Santa Fe’s Monthly
e n O
of and for the Arts • February/ March 2011
IC ON S
53 Old Santa Fe Trail Upstairs on the Plaza Santa Fe, NM 505.982.8478 shiprocksantafe.com
c o n t e n t s 5 Letters
National Spotlight: Heinrich Kühn at the Museum of Fine Arts, Houston
Universe of the Axle Contemporary Vehicle
39 Feature: One + One = 3
Studio Visits: Sara Novenson and Yozo Suzuki
One Bottle: The 2007 Domaine Les Pallières Gigondas “Terrasse du Diable,” by Joshua Baer
Critical Reflections: Case Studies from the Bureau of Contemporary Art at New Mexico Museum of Art; C*nsorship and A Fire in My Belly at Santa Fe Art Institute; Christine McHorse and Diego Romero at James Kelly Contemporary; David Kearns at 222 Shelby Street Gallery; Francesca Yorke at Fisher Press; Gade: Half Tibetan–Half Chinese at PW Contemporary; insolitus at Skotia Gallery; Mokha Laget at the Center for Contemporary Arts; Paul Thek at the Whitney Museum of American Art (NYC); and Sensory Crossovers: Synesthesia in American Art at the Albuquerque Museum
Green Planet: Dr. Elizabeth Kapu’uwailani Lindsey, award-winning filmmaker and anthropologist. Photograph by Jennifer Esperanza
Architectural Details: Spring Melt. Photograph by Guy Cross
Writings: “My Name is Abstract,” by David Breskin. Image by Ed Ruscha
23 Dining Guide: Shibumi, Zia Diner, and Backroad Pizza 27 Art Openings 28 Out & About 34 Previews: Flora at the Roswell Museum and Art Center and Small Sculptures at Santa Fe Clay
Japan is a country of contrasts—all-night karaoke parlors and hushed zen gardens, discreet geishas and the exhibitionist harajuku girls, complex social formalities and even more complex gang subcultures. One of the greatest surprises for the gaijin (outsider) in Japan is the country’s vast pornography market, which exists slightly below the radar of a dignified society focused on appearances and pride. Hentai media, such as erotic anime comics, and video games can be acquired in enormous pornography stores, with floors organized in an ascending order of sexual perversion. In fact, hentai (a word often translated as “abnormal”) has a long history. During the Edo period—beginning in 1603—Ukiyo-e prints, which depicted the pastimes of the common people, were massively popular. They included meisho-e: pictures of famous places, gi-ga: caricatures, yokai-ga: pictures of mythical monsters, and shunga: paintings and prints of all manner of sexual acts. Shunga has its roots from before the Edo period, and can be traced back to the eighth century. Ukiyo-e shunga are known for being simultaneously comical, brash, and artistically exquisite. Not surprisingly, these vivid images attracted the attention of Pablo Picasso in the 1890s, during the height of Europe’s infatuation with all things Japanese. Secret Images: Picasso and the Japanese Erotic Print (Thames and Hudson, $50) reveals the undeniable connection between Picasso’s art and Japanese shunga. Here, Picasso’s work is juxtaposed with the Japanese prints they echo. This stunning book chronicles an important chapter in the history of explicit art, and helps to explain a closeted aspect of today’s Japan.
211 W. San Francisco St, Santa Fe, NM. Tel 505.988.1234 www.lensic.com
T i c k e T s o n s a l e 5 F e B R U a R Y at the Lensic box office • W W W.lannan.oRg
TICKETS: $6 general / $3 student + senior with ID. Lensic Performing Arts Center
An evening in celebr Ation of the life and work of David Foster Wallace (19622008). Writers David lipsky, r ick Moody, and Joanna Scott will read some of their favorite selections from Wallace’s writings followed by an in depth discussion moderated by Michael Silverblatt of KcrW’s Bookworm.
Lannan is podcasting Readings & Conversations! Please visit http://podcast.lannan.org, to learn more, listen, and subscribe to have the events automatically downloaded to your computer.
We all suffer alone in the real world; true empathy’s impossible. But if a piece of fiction can allow us imaginatively to identify with a character’s pain, we might then also more easily conceive of others identifying with our own. This is nourishing, redemptive; we become less alone inside. It might just be that simple. –David Foster Wallace from an interview in The Review of Contemporary Fiction, 1993
R e a d i ng s & Con v e R sat i o n s R e a d i ng s & Con v e R sat i o n s
Everything and More: A Tribute to David Foster Wallace Wednesday 16 March 7 pm
VOLUME XVIII, NUMBER VII WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P U B L i S h e R / C R e At i V e D i R e C t O R Guy Cross PUBLiSheR / FOOD eDitOR Judith Cross ARt DiReCtOR Chris Myers COPy eDitOR edGar sCully PROOFReADeRS JaMes rodewald KenJi Barrett S tA F F P h O t O G R A P h e R S dana waldon anne staveley e D i t O R i A L A S S i S tA N t elizaBeth harBall WeBMeiSteR Jason rodriGuez CONtRiBUtORS
diane arMitaG ita e, veroniCa itaG C aronson, Ca Joshua Baer, david BresKin, susanna Carlisle, Jon Carver, Matthew Chase-daniel, Kathryn M davis, Jennifer esperanza, lydia Gonzales, Marina lapalMa, alex ross, ed rusCha, and riChard toBin COVeR
Santa Fe sculptor Rebecca Tobey mentors aspiring artists—Santa Fe High School students—who are preparing for the 14th Annual ARTfeast. Event: Friday, February 25 to Sunday, February 27. Schedule, events, and tickets: artfeast.com TO THE EDITOR: After perusing the piece your reviewer, Diane Armitage, wrote in October’s issue on the Turner to Cezanne show at the Albuquerque Museum, I am very disheartened and cynical about the credibility of this writer. For those of us who have viewed the truly great masterpieces of the artists represented in this exhibition in museums in major American cities and in Europe (and I suspect most of your readers have), an enormous disparity should be clear! What these two wealthy spinsters from Wales collected is by no means representative of the best of the artists involved. There are many fine paintings in this exhibition, but the verve, vivacity, and fundamental impact of the periods/eras represented were seriously lacking. Whether the prudish tastes of these spinsters would not condone purchases of busty barmaids, dancing girls, or depictions of lascivious entertainments, or whether their singularly narrow taste in acquisitions restrained the Davies ladies, the results are a vapid expression of the School of Paris. Anyone not familiar with the achievements of these great artists is getting cheated out of a comprehensive understanding of art from Turner to Cezanne. Hence, this is not an “intensely enjoyable exhibition,” but a misrepresentation of the achievements of these great artists. We have been shortchanged. Blah.
frightening, and that it could lead to the loss of individual freedoms that many of us—myself included—have taken for granted. When I wrote the column about the letter from the future, my intention was to raise the following questions to One Bottle’s readers: Where is the outrage? And, if you are not outraged yet, what do you think your life will be like with Sarah Palin as your president?
TO THE EDITOR: Even though I am not a wine drinker, I enjoy Joshua Baer’s wine column each month, as it always contains food for thought. This month, however, I think he imbibed too much wine before writing. I don’t mind a letter from the future, but reprinting lies is just not good journalism. The claim that Sarah Palin “does not hold grudges” is just plain hogwash (with lipstick). Google “Palin vindictive” and you will find plenty of evidence to the contrary. I don’t pretend to know the future, but I doubt anyone who blatantly misrepresents the present does either. Reprinting those untruths reflects badly on your normally fine publication, and leaves a false impression on your readers.
TO THE EDITOR: I happened upon your publication while passing through Santa Fe. It reminded me very much of the early-twentieth-century French art publication, L’Humanité. Good work.
—eriC Gustafson, santa fe, via eMail
the MaGazine: 505-424-7641 edie dillMan: 505-577-4207 vinCe foster: 505-690-1010 Cynthia Canyon: 505-470-6442 DiStRiBUtiON
JiMMyy Montoya: 470-0258 (MoBile) THE magazine is published 10x a year by THE magazine Inc., 1208-A Mercantile Rd., SantaFe,NM87507.Corporateaddress:44BishopLamyRoad,Lamy,NM87540.Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not respon sible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers .and is not responsible or liable for errors in any advertisement.
| february/march 2011
—Joshua Baer, santa fe, via eMail
TO THE EDITOR: Thank you for publishing the letter from Mr. Elmore in your December issue. I do not understand why this incident is not getting more attention, and I for one hope to see a lot more published on this issue in the future. I am amazed that an FBI agent representing the United States Government would state in a Power Point presentation at a public gathering in Santa Fe that 30% of all the art being sold in Santa Fe is bogus, for one reason or another. Apparently his only evidence came from something he heard at an art seminar in New York City. We all know about the unfortunate existence of fakes and misrepresentations in the art business, but for someone in his position to publicly state that a significant number of the business people in Santa Fe are crooks is reprehensible, and if he were to say that is not what he said then he needs to sit down and watch his own presentation.
—paul parKer, via eMail
—reBeCCa lee KinG, via eMail
TO THE EDITOR: We recieved the December/January “Best Books” issue in the mail. The Frida Kahlo: Face to Face, Rachel Whiteread Drawings, and Julian Schnabel Polaroids books look great. Thanks so much.
— li Gitlo, prestel puBlishinG, new yorK City, via eMail —a
—Jeff sussMann, santa fe, via eMail
TO JEFF SUSSMAN: I agree with almost everything you said in your letter. When I look at the current economic and political environment in the United States, I see three forces at work: the Republicans, who have already declared, in no uncertain terms, that it is their mission to undermine President Obama’s presidency and to remove him from office, even if that means blocking every piece of legislation that could improve our current economic environment; the Democrats, who see no reason to object to the Republicans’ mission, or to defend President Obama; and, President Obama himself, who, along with his advisors, continues to ignore the fact that there are somewhere between forty and fifty million American voters who are capable of electing Sarah Palin as our next president. I think the combination of these three political forces is
This issue is dedicated to the life of Helmut Löhr who passed away on December 25, 2010. Helmut was a pioneering voice in art, music, and science—and a good friend to many artists. He will be missed. Photograph by Joan Brooks Baker.
The magazine 5
PREDOCK LIKE A SIGNATURE: SKETCHES AND MODELS
DISTINGUISHED SPEAKERS SERIES February 15 ANTOINE PREDOCK, FAIA “LANDSCAPE APPARITIONS”
ROADCUT: THE ARCHITECTURE OF ANTOINE PREDOCK
Lecture and book signing with Antoine Predock and Christopher Curtis Mead, author of Roadcut: The Architecture of Antoine Predock
The paintings are very much of a piece with Hesse’s sculptures. A few will be familiar, but the majority are not, and the combined force is little short of stunning.
Roberta Smith, New York Times
CHRISTOPHER MEAD UNM Regents’ Professor “MADE IN NEW MEXICO” Both lectures to be held at 5:30 pm George Pearl Hall, School of Architecture Garcia Honda Auditorium Central at Cornell Avenues
March 25 – July 24
UNIVERSITY OF NEW MEXICO ART MUSEUM
JANUARY 28 – JULY 24
UNIVERSITY OF NEW MEXIC O ART MUSEUM Located in the UNM Center for the Arts by Popejoy Hall Tuesday – Friday 10am – 4pm • Saturday – Sunday 1– 4pm www.unm.edu/~artmuse • 505.227.4001
www.unm.edu/~artmuse • 505.227.4001
No Title,1960, oil on canvas, 48 x 48 inches, collection Ursula Hauser
Composure Rules, 36" x 36", oil on canvas
Meeting on an Edge, 46" x 40", oil on canvas
Ta Ra Firnoo, 49" x 36", oil on canvas
gopa&ted2, inc presents
1955, 28" x 42", oil on canvas
Quiet Study, 36" x 36", oil on canvas
Orange Field, 30" x 40", oil on canvas
Jeff Kellar & Emi Ozawa through February 19th closing reception: February 19, 6-8 pm
March 4 - April 8 an anonymous artist Anna Hepler Mary Tsiongas Tom Waldron James Westwater
Project Room: Isa Leshko: Thrills and Chills
Richard Levy Gallery
Art & Art Materials
C U R R E N T E X H I B I T I O N — N O W T H R O U G H M AY 8
P U B L I C M O N D AY S
P R O G R A M:
MARCH 21 & 28, APRIL 4
Life is a Creative Process - Is Creativity for Everyone? Tony Vaccaro, Georgia O’Keeffe with “Pelvis Series, Red with Yellow” Yellow”, 1960. Color photograph, 14 3/4 x 17 in. Georgia O’Keeffe Museum © Tony Vaccaro 2007.03.001
Working from pre-recorded interviews wi th l eadi ng ar ti sts, wri ters and scientists talking about how they create, lecturer and author Desirée May s presents a series of conversations on the creative process. Participants will choose a personal project to explore and will present their experience of the creative process. Radio host Mar y Charlotte Domandi and music critic James Keller will join the March 28 class. For detailed program information please visit us online at okeeffemuseum.org. Museum Education Annex, 123 Grant Avenue. 3-Day Workshop: $75. Individual Class: $30. Member and Business Partner Discounts. Reservations: 505.946.1039 or online at okeeffemuseum.org
O PE N D AILY
2 1 7 JO HNSON STREET
Armitage-Morse quarter page ad THE:quarter page ad THE 1/17/11 2:55 PM Page 1
JONATHAN MORSE Originals New Digital Drawings February 18th to March 5th Opening Reception: February 18th, 5 to 8 pm
THE FISHER PRESS GALLERY – WINTER SALON New Media Series
DIANE ARMITAGE Initial Conditions Recent Video Work
A Multi-Media Visual Art Event April
Two Friday Evenings in March
22 23 24
The 18th and 25th, 5 to 8 pm
343 East Palace Avenue Santa Fe NM 87501 347-281-1332 www.appletongallery.com
THE FISHER PRESS, 307 CAMINO ALIRE, SANTA FE, NM Phone (505) 984-9919 — Web: http://thefisherpress.com/
Faculty and Student Drawing and Painting Showcase
Laura Rosenfeld, World Apart (detail)
Ellen Koment, Artifact
Xuan Chen, Grey
Santa Fe Community College | School of Arts and Design Opening Reception | 5 to 7 p.m., Thursday, February 3 Exhibit Dates | February 3 through March 10, 2011 The exhibition features the following events: • Gallery talk by Drawing and Painting faculty, Tuesday, February 8, 11:30 a.m. to 12:30 p.m., Visual Arts Gallery, Room 701 • Student Roundtable Discussion, Thursday, February 17 from 1:30 – 3:00 p.m. in Room 716. Mondays through Fridays | 8 a.m. to 5 p.m. | 6401 Richards Avenue | (505) 428-1501 | www.sfcc.edu/gallery
Bryony Bensly, Love Story
Axle Contemporary is an art gallery housed in the back of an
eighteen-foot-long, aluminum step van. Rebuilt and retrofitted in the summer of 2010 by Matthew Chase-Daniel and Jerry Wellman, the gallery is complete with clerestory windows, a beamed wood ceiling, and recessed track lighting.
Works on paper are hung unframed with magnets on the clean white walls. Daily location information is always on the website and on Facebook and Twitter.
THE magazine had an opportunity to speak with the Axle vehicle itself to gain a fresh perspective on the project.
HOW I CAME INTO BEING I was born to a division of the Grumman Corporation. My uncle was an E2 Hawkeye in Vietnam and a cousin was the Apollo Lunar Module. My slacker brother-in-law is a canoe up on a lake near Hibbing, Minnesota. In my younger years they had me schlepping Twinkies and Ding Dongs and Ho-Hos. Then I somehow ended up in Colorado Springs, being driven to distraction by an Elvis impersonator— ”Blue Moon,” “Blue Suede Shoes...” I almost blew a head gasket. Finally some nice retired step-van-loving gearhead named Chris took pity on me and I was saved. He rebuilt my engine and sold me to a couple of guys from Santa Fe who have finally treated me with the respect I deserve. I’m over forty and I can’t run around like I used to. I get to hang out by the Farmer’s Market, bask in the sun by SITE Santa Fe, mellow out under the big Buckeye trees on Canyon Road, and party downtown by Rouge Cat. I really can’t complain. I never have to drive far, and I’m well hung with contemporary art. I feel like I’m finally serving the community. Those Twinkies were tasty at first, but bad for body and soul in the long run. Art is where it’s at, man. MY MISSION IN THE LOCAL ART WORLD I think of Hermes: the messenger, trickster, and giver of great gifts. I want art to be a moving experience. I want to surprise and invigorate people. I’m mobile. I’m a forum for the experimental and a venue for the
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underexposed. Established institutions like the New Mexico Museum of Art, SITE Santa Fe, CCA, El Museo Cultural, and the Children’s Museum have welcomed me with open arms. I’m a courier at the crossroads with a load of fresh produce from the cultural zeitgeist. I don’t want to be bound by conventional definitions of art. My mission is to make connections, enliven discourse, empower people: to show us all our own inherent dynamic and creative selves.
oil pressure rise and a piston misfire. Slowly, I was able to ease into equanimity by focusing on the rhythms of my well-oiled crankcase. Santa Fe became an art center in the world through an embrace of the unusual. Canyon Road got to be a big deal because artists were running their own scene there. It was funky and charming. I don’t want to steal anybody’s place, just find my own. I don’t think my six-by-ten-foot exhibition space is a real threat to anyone.
RESPONSES FROM GALLERIES The best galleries all seem to love me. They want me to hang out with them. They see that by sharing our ideas and inspiration we can go farther together. It is good for them, for me, for the artists of New Mexico, and for Santa Fe’s place in the world. Art, innovation, community! However, I once saw a gallery owner transformed into what appeared to be an angry chicken: cold, vacant eyes and a sharp and dangerous beak. As I recall, he said something like “That is my gallery,” as he pointed up Canyon Road. “You have no right to park here. You have no right to be here. I want you gone. I don’t know who you are and I don’t want to know who you are. I don’t want to hear a word of what you have to say. I want you out of here!” He paused to take a breath and continued, “ I don’t want to say it again: I don’t want to hear anything from you. You’re a jerk. I just want you to leave!” I felt my
KEEPING IT ON THE ROAD Jerry and Matthew are committed to taking me out to serve a wide community. I’ve been to high school art classes, a Día de los Muertos celebration, a food drive, a cancer awareness fundraiser, and gala museum openings. I’ve been to Española, Albuquerque, and all over Santa Fe. All of this is possible through the sale of artwork, both from my gallery and through the Axle website at www.axleart.com. Responses from Artists The artists love me. Oh, if only I were flesh and blood. Upcoming Exhibitions In April my walls will host work by John Davis, Nina Mastrangelo, Madelin Coit, Kathleen McCloud, and the Vasulkas. Later in the year there are plans for selfportraits, travel diaries, non-rational narratives, reprocessed photographs, human-animal transmutations, and harvest. D
THE magazine 13
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What Is Kiln-glass? February 9
Kilnformed Pattern Bars February 11–14 Intro to Fusing & Slumping February 22–23 & 25 FREE ARTIST TALk
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Survey of Kiln-glass March 7–12 Painting with Glass March 16 Basic Kilncast Glass March 18–19 & 21 Class
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9:30am - 12:30pm THE PASTEL PROCESS - Mike Mahon 1:30pm - 4:30pm WATERCOLOR: SOLID FUNDAMENTALS - Michael Allen McGuire 9:30am - 12:30pm ACRYLIC SURFACE TECHNIQUES - Darlene Olivia McElroy 1:30pm - 4:30pm OIL PAINTING - McCreery Jordan 9:30am - 12:30pm EXPERIMENTAL DRAWING INTO ACRYLIC PAINTING - Diane Rolnick 1:30pm - 4:30pm
PORTRAIT PAINTING IN OIL FROM MODELS - Roberta Remy
5:30pm - 8:30pm
COLLAGE COLLAGE - Sandra Duran Wilson
9:30am - 12:30pm OPEN SCULPTURE CLASS - James Roybal 1:30pm - 4:30pm PASTEL LANDSCAPE - Jakki Kouffman 9:30am - 12:30pm ABSTRACTIONS IN ACRYLIC I - Dan McBride 1:30pm - 4:30pm
ABSTRACTIONS IN ACRYLIC II - Dan McBride
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ALLA PRIMA STILL LIFE IN OIL - $99 - 4-Week Session starting February 12 - Colt Prehm
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ABSTRACT ACRYLIC PAINTING - Tom Scott Reno
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PARENT & CHILD SUNDAY PAINTERS - $99 - 4-Week Sessions starting Feb 13 & Mar 13 - Bill Drugan
Classes must be paid in full in advance to reserve your space. Artisan reserves the right to cancel classes at any time for any reason. All tuitions become non-refundable seven days prior to the start of class.
Strathmore Sale Jan 17 thru Feb 14
25% Off Artisan Price! 2601 Cerrillos Road • 505.954.4179 Artisan-SantaFe.com
be sacrificed to their art. Like the bees, they must put their lives into the sting they give.” We asked two
artists to respond to Ralph Waldo Emerson’s statement. As an artist, my intention is to communicate and express ideas and emotions that transcend my everyday means of communication. It requires every bit of me to do that, so I can relate to Emerson’s statement. There is both great challenge and enormous satisfaction in making art. The challenge is to create the sort of alchemy that allows the object to exist as more than the mere sum of its parts. The satisfaction comes in feeling that indefinable energy that the object emits. Without those elements, art is just decoration.
—Yozo Suzuki Yozo Suzuki recently exhibited an installation of sculpture at Linda Durham Contemporary Art, Santa Fe.
Emerson’s quote brings to mind the sacrifice—the suicidal, pain-filled lives some artists have lived. But then what of the bee? Between its birth and the suicidal sting that can end its life, what does it do? It pollinates the beautiful flowers that could not survive without it. It makes honey, the most spectacular ambrosia of all time, creating wonderful sweetness in the lives of the creatures of the Earth. As an artist, I can only aspire to create such beauty as the bee. The bee cannot change its nature, its destiny, or path. Since childhood, this has been true for me as well. The buzzing of creativity has sustained me through relationships, material challenges, and many tribulations in life. To be true to one’s art, an artist must put all of her life force into her work, just as the bee literally pours her life into her sting. The mission of my “sting” is to remind the viewer of the beauty, magnificence, and mystery of life.
—Sara Novenson Novenson’s most recent show was in March, 2010, at URJ Gallery, New York City. She has had two one-woman shows in Switzerland, and a one-woman show at the Bad Münstereifel Cultural Center, near Cologne, Germany. In July, her work will be shown at the Novenson/Nichols Gallery, 821 Canyon Road. www.novenson.com
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THE magazine 17
MIRIAM MISENKO www.misenkoboldman.com
“Kneeling on Rice”
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Lunch: Monday-Friday in Dragon Room Dinner: 7 nights a week from 5:30 pm.
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The Pink Adobe • 406 Old Santa Fe Trail • Reservations: 983.7712
The 2007 Domaine Les Pallières Gigondas “Terrasse du Diable” by Joshua Baer
In the wine world, tasting notes are a big deal. Many of the people who buy and sell wine for a living are insecure about their own taste, so they turn to recognized wine experts for their taste. More often than not, that outsourced expertise is delivered in the form of the tasting note. The reigning king of the tasting note is Robert Parker of Monkton, Maryland. Mr. Parker is editor-in-chief of The Wine Advocate, a monthly newsletter about wine. (For the record, I think The Wine Advocate is the Rosetta Stone of wine newsletters and that anyone who wants to learn about wine should pay attention to Robert Parker. To subscribe to The Wine Advocate, go to erobertparker.com.) Here are Robert Parker’s tasting notes about the 1996 Dom Perignon, widely regarded as one of the greatest Champagnes of all time: “Notes of crushed rocks, honeysuckle, lemon oil, orange marmalade, and white pear provide a stunning aromatic display as well as palate impression. Great acidity and huge flavor intensity backed up by vibrant acidity make this an exquisite Champagne. 98 points.” (Mr. Parker rates individual wines on a 100-point scale, with 60 being a disaster and 100 being perfection.) The reigning queen of the tasting note is Serena Sutcliffe, a Master of Wine and the current director of Sotheby’s International Wine Department. Here are Serena Sutcliffe’s tasting notes on the 1996 Dom Perignon: “Intense, piercing, rich winey nose. It almost smells Burgundian! Great honied flavour with winey length. Orange zest finish. Great verve and gravitas, combining the two 1996 characteristics of high sugar and high acidity.” What these and other wine experts’ tasting notes have in common is the widely held assumption that wine tastes like food. This assumption has produced what is commonly known as “Winespeak,” an oenological patois that has become the de facto dialect of the wine world. While Robert Parker and Serena Sutcliffe speak an elegant—and occasionally poetic—form of Winespeak, other wine experts are less restrained. Here are Bruce Sanderson’s tasting notes on the 1996 Dom Perignon (Mr. Sanderson is the tasting director and senior editor at The Wine Spectator, arguably the best-known wine magazine in the world): “This features floral, candied citrus, pencil shaving and hazelnut aromas and flavors. It’s fresh and focused, with a firm structure offset by a mouthfilling richness and a lacy texture. Not a blockbuster, but seamless and seductive in its approach. Score: 93.” (The Wine Spectator rates individual wines on a 100-point scale similar to Robert Parker’s.) At One Bottle, we disagree with the experts. (And by “we,” I mean One Bottle’s research department, which consists of my wife, Eliza, a small group of friends and in-laws who think highly of Eliza’s cooking, and myself.) While we enjoy the unintended comedy of Winespeak, we think Winespeak is based on a false premise. We like to drink wine with food but do not think wine is aptly described in terms of food. In short, we think there is more to wine than berries and cherries. We think wine is more accurately described in terms of the human experience.
| february/march 2011
Here is One Bottle’s description of the 1996 Dom Perignon: “If you are dating a Formula One driver, a jaded heiress, an aspiring tycoon, or a chef who thinks foam is ‘really cool,’ then this is an excellent first or second date wine. On the other hand, if you got married during the twentieth century, then this is the Champagne to pour on your thirteenth, nineteenth, or twenty-third anniversary. It has class, and lots of it, but when it comes to charm, it leaves you wanting something more.” We also think that assigning a numerical value to a bottle of wine is like referring to a woman as “a nine” or “a ten.” It may be expedient, but when it comes to wine (or to women, for that matter), what, exactly, is the big hurry? Which brings us to the 2007 Domaine Les Pallières Gigondas “Terrasse du Diable.” In the glass, the 2007 Terrasse du Diable gives you choices. You can use a range of colors—garnet, scarlet, ruby, crimson—to describe the way this wine absorbs and reflects light, or you can admit that the color of the 2007 Terrasse du Diable is beyond description. Like the color of the space between the stars, it manages to be as deep as it is dark. The bouquet leads you into a quiet room, then it hypnotizes your sense of smell. As you inhale the bouquet, you feel grateful but also apprehensive. Something special is about to happen, something beyond the reach of your expectations. On the palate, the 2007 Terrasse du Diable makes up for all the bad luck and scorched relationships that haunt our lives. The textures, flavors, and surprises woven into this wine will raise your spirits and keep them elevated for hours, maybe even for days. If you want to congratulate yourself on your own cleverness, open a bottle of Dom Perignon. If you want to fathom the depths of another person’s heart, or your own heart, open a bottle of the 2007 Terrasse du Diable. You can buy the 2007 Terrasse du Diable from Supercellars in Ridgewood, New Jersey, for $27 a bottle. Magnums are available from the San Francisco Wine Trading Company in San Francisco, California, for $76 a magnum—and yes, you will taste the difference. This wine will be available for another three or four months. After that, it will become impossible to find. Why? Because this is a wine full of grace. Here are my tasting notes, from a dinner a few weeks ago: “Everyone responds to the Terrasse. It’s easy to drink but hard to forget. The generosity factor is off the charts. If taste is destiny, then we are lucky to be drinking this wine.” D One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2011 by onebottle. com. For back issues, go to onebottle. com. You can write to Joshua Baer at email@example.com
THE magazine | 21
Gyoza (Spicy Pork Pot Stickers) at
shibumi 26 Chapelle Street, Santa Fe 428-0077
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.
EAT OUT MORE OFTEN!
Photos: Guy Cross
...a guide to the very best restaurants in santa fe and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town. Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. Amavi Restaurant 221 Shelby St. 988-2355. Dinner/Sunday Brunch Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Elegant. House specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp. Comments: Farm to table. Chef Megan Tucker is doing it right. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin. Comments: Attentive service. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas, and a sharp waitstaff. Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try
the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese. The Compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Smoke-free. Patio. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/ owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Copa de Oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, and the slowcooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Worth the short drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual. House specialties: You’ll love the thincut grilled ribeye steak topped with blue cheese, or the calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music? Corazón is definitely your place.
Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and Pernod cream sauce, and a delicious hanger steak. Comments: Boutique wine list. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$ Cuisine: French–Asian fusion fare.
Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb foie gras. Entrées we love include the green miso sea bass, served with black truffle scallions; and the classic peppery Elk tenderloin. Comments: Tasting menus are available. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, prosciutto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Smoke-free. Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. Comments: Obo was the executive chef at the Zia Diner. Josh’s Barbecue 3486 Zafarano Dr., Suite A. 474-6466. Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces. Josh’s was written up in America’s Best BBQs. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry—like drinking from a magic spring in a bamboo forest. Comments: New noodle menu. Friendly waitstaff. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Hiway 285 / Vista Grande Breakfast/Lunch/Dinner/ Beer/Wine. Smoke-free Major credit cards. $$ Cuisine: Salvadorian Grill. Atmosphere: a casual open space. House specialties: Loroco omelet and anything with the pan-
fried plantains. Try the Salvadorian tamales and the poblano del dia. Everything is fresh. Recommendations: The buttermilk pancakes are terrific. Comments: Chef Juan Carols and family work hard to please. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—it will rock your taste buds. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights and hand-painted windows exudes Old World charm. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée try the Braised Lamb Shank, served with a spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus Luminaria Restaurant and Patio Inn and Spa at Loretto 211 Old Santa Fe Trail. 984-7915. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Valet parking. Major credit cards. $$$ Cuisine: American meets the Great Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the awardwinning tortilla soup If you love fish, order the perfectly prepared coriander crusted kampache or the Santa Fean paella—it is loaded with delicious shrimp, salmon, clams, mussels, roasted peppers, and onions. Comments: Organic produce when available. Mangiamo Pronto! 228 Old Santa Fe Trail. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Visa & Mastercard. $$ C uisine : Italian. A tmosphere : Casual. H ouse specialties : Great pizzas—we suggest the Pesto pizza, with roasted chicken, basil pesto, red bell peppers, caramelized onions and mozzarella cheese or the Fritzo pizza, with spicy sausage, capiccola ham, roasted peppers, and provolone cheese. C omments : For dessert, choose from the pasteries, cookies, pies, cakes, and gelato. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, green chile stew, and pork spareribs. Comments: Perfect margaritas.
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| february/march 2011
THE magazine | 23
from terra restaurant. TR ADIT IO NAL JAPAN E S E RA M E N H O U S E
erra Restaurant invites you to indulge your senses in the enticing creations of Chef Charles Dale this Valentine’s Day. Here are some special menu items to warm any heart: Maine Lobster and Arugula Salad with avocado, baby beets, palm hearts and hazelnut vinaigrette “Hot Date” Rack of Lamb with pumpkin seed mole, lamb shank and polenta relleno, piñon nut, orange and cilantro gremolata Chocolate-O – red and white chocolate sphere and cherry brandy sauce
Lunch: 11:30 am – 2:30 pm Monday – Friday Dinner: 5:30 – 10 pm Monday – Saturday Kaiseki / Izakaya Dinner: Last Thursday of the Month 26 Chapelle Street, Santa Fe, NM 87501 505.428.0077 ■ shibumiramen.com Fragrance Free
Reservations: 505.946.5800 198 State Road 592 I Santa Fe I encantadoresort.com
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breakfast local breakfast bar pastries kid’s menu kid’s menu 326 S. Guadalupe • 988-7008 • www.ziadiner.com organic cookies merry
• Gentlemen’s Lunch $100 • Edible Art Tour $35 • Feast or Famine Free with EAT ticket or $15 • Gourmet Dinner $175 • Artists’ Brunch $75 • Home Tour Free Admission • All Event Discounted Ticket $350
505.603.4643 • firstname.lastname@example.org
Edible Art Tour tickets are also available at participating galleries and through Tickets Santa Fe, Lensic Box Office, 505.988.1234, ticketssantafe.com.
Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with beersteamed mussels, calamari, burgers, fish and chips, or the grilled bratwurst. Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers here are truely outstanding, especially when paired with beersteamed mussels or the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Comments: Fun bar and great service.
The scrumptious Southern Fried Chicken Salad at the
326 South Guadalupe Street • 988-7008 Max’s 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Major credit cards. $$ Cuisine: Contemporary. Atmosphere: Intimate and caring. House specialties: Specializing in “sous vide,” a method that maintains the integrity of the ingredients. Start with the Baby Beet Salad. For your main, try the Pan Seared Day Boat Scallop, the Sous Vide Chilean Sea Bass. For dessert, we love the Dark Chocolate Globe. Comments: Chef Mark Connell works his magic with inovative cuisine. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Noodle house. Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa. Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900. Breakfast/Dinner Beer/Wine to come. Smoke-free. Major credit cards. $$ Cuisine: American, Mediterranean and Mexican. Atmosphere: Casual and friendly. House specialties: The Thai Beef Salad is right on the mark. Try the Smoked Duck Flautas—they’re amazing. Comments: Menu changes depending on what is fresh in the market. Organic ingredients when available. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free/Fragrance-free Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: A renovated adobe with a great bar. House specialties: For your main, try the Stuffed Gnocchetti with Prosciutto and Chicken, or the Diver Scallops. Comments: European wine list. Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.” O’Keeffe Café 217 Johnson St. 946-1065. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Nice wine selection. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center, Eldorado. 466-3161 Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza. Atmosphere: Counter service and a few tables. House specialties: The Central Park and the Times Square thin-crust pizzas are knockouts. Comments: A taste of the Big Apple. Plaza Café Southside 3466 Zafarano Dr. 424-0755.
Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chile stew.
Major credit cards. $$$ Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006.
Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso. Rasa offers a varied selection of the above, made with organic ingredients. If you love smoothies, try the Berry Banana or the Going Green—you will love them. If juice is your thing, our favorites are the Shringara (love and passion), made with beet, apple, pear and ginger, and the Bhayanka (inner strength), made with spinach, kale, carrots, celery, and lemon. As well, Rasa has vegan thumbprint cookies, granola, and Congee (a traditional rice soup). Comments: Add to this mix vintage clothing, handmade jewelry, Ayurvedic herbs and treatments. Rasa is an expansion of Spandarama Yoga Studio, and serves to support and inspire a healthy and mindful lifestyle.
San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at the DeVargas Center.
Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets), and potato with dill. Muffins and croissants are baked in-house. Wonderful soups. Divine desserts. Recommendations: Inspired breakfast menu.
Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Key Lime Semifreddo and Chocolate Mousse with Blood Orange Grand Marnier Sauce are perfect desserts. Appetizers at the bar during cocktail hour rule.
Restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch Beer/Wine Major credit cards. $$$ Cuisine: Contemporary American fare. Atmosphere: Casual. House specialties: For your main course we suggest you try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna. Comments: Chef-owned.
Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen.
Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we suggest that you choose the chocolate pot.
Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and build-your-own sandwiches, wonderful soups, and an excellent salad bar). Comments: Breakfasts, organic coffees, and super desserts. Family-run.
Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio.
Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio.
The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: Try the Creole Mary—a Bloody Mary made with Stoli, finished with a skewer of celery, olives, and pickled okra. For lunch in the Dragon Room, we love the Gypsy Stew with cornbread, the Pink Adobe Club—smoked turkey breast, bacon, lettuce and tomato, and fresh sprouts topped with spinach mayonnaise, or the Combination Plate—a Cheese Enchilada, Pork Tamale, guacamole, pinto beans and posole with red or green chile and a tortilla. For dinner, you cannot go wrong ordering the classic Steak Dunigan—a New York cut smothered with green chile and sauteed mushrooms or the Fried Shrimp Louisianne. Comments: The Pink is about to celebrate its 70th birthday. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: This local institution—some say a local habit—is in an adobe haciendajust off the Plaza. House specialties: We suggest the stacked red or green chile cheese enchiladas with blue corn tortillas. Comments: Great chile here. Try their sister restaurant, La Choza. Shibumi 26 Chapelle St.At Johnson St. 428-0077. Lunch/Dinner Smoke-free/Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, beer, and champagne. Comments: Same menu for lunch and dinner. Suberb service in a Zen-like setting. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell crab tempura; sushi, and bento boxes.
at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Smoke-free dining room. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks; lobster. We suggest you try the pepper steak with Dijon cream sauce. Comments: They know steak here.
Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the gourmet cheese sandwich, and the Teahouse Mix salad. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with great goodies: bacon, potatoes, chile, and cheese. Tia Sophia’s is the real deal. Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$ Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche. Tune-Up Café 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: American, Salvadorean, Mexican, Cuban, and New Mexican. Atmosphere: Down home baby, down home. House specialties: Our breakfast favorites are the scrumptious Buttermilk Pancakes with bananna and blueberry and the knock- your-socks-off Tune-Up Breakfast. Lunch: the Yucatan Fish Tacos are always perfect and the El Salvadoran Pupusas are a favorite of many locals. Comments: Guy Fieri of “Diners, Driveins and Dives” visited the Tune-Up recently. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: Call it farm-to-table-tofork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are knockouts— fresh as can be. We love the Nutty Pear-fessor salad—it rocks! Comments: Only organic greens used. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. PatIo. Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: Huevos Rancheros or the chile rellenos and eggs are cannot miss breafast choices. For lunch or dinner, we love the meat loaf, chicken-fried chicken, and the fish and chips. Comments: Friendly waitstaff. The hot fudge sundaes are always perfect and there are plenty of dessert goodies for take-out.
Hankering for a slice of a perfect, thin-crust pizza with generous toppings. Backroad Pizza is your place—1807 Second Street and 5 Bisbee Court.
| february/march 2011
THE magazine | 25
Abstracted bodies February 1 - 26, 2011 Opening Reception: Friday, February 4, 5:00 - 7:00 PM Featuring paintings and drawings by : William Brice, Peter Chinni, Michael Cook, Beverly Fishman, Jean-Marie Haessle, Gregory Frank Harris, Marcia Lyons, Paul Henry Ramirez, Louis Ribak and David Solomon William Brice, Untitled, 1978, 24” x 18”, Charcoal on paper
ART feast Edible Art Tour Friday, February 25, 2011 5:00 - 8:00 PM Food Provided by Cowgirl BBQ Featuring glass mosaic sculptures of Jean Wells
Coke and hamburger, 2010, glass mosiac tiles
George Rush March 2 - 27, 2011 Opening reception with artist: Friday, March 4, 5:00 - 7:00 PM
5am, 2010, 54” x 50” Oil on canvas
a.k.a. zen March 2 - 27, 2011 Opening reception: Friday, March 4, 5:00 - 7:00 PM Featuring paintings and sculptures by : Simon Aldridge, Lisa Cahill, Meris Barreto, Laura De Santillana, Gregory Frank Harris, Max Hendler, Otis Jones, Matsumi Kanemitsu, Minoru Kawabata, Masatoyo Kishi, Scott Malbaurn, Robert Motherwell, Harue Shimomoto, Jack Zajac Minoru Kawabata, Yellow Slow, 1965, 64” x 44”, Acrylic on canvas
David richard Contemporary 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 www.DavidRichardContemporary.com | info@DavidRichardContemporary.com
FEBRUARY MARCH FEBRUARY/
THURSDAY, FEBRUARY 3 insTiTuTO cervanTes, 1701 4th St. SW, Alb. 505-724-4777. Mujeres y Mujeres (Women and Women) Women): photography exhibition. 6:30 pm.
FRIDAY, FEBRUARY 4 bridGe fOr emerGinG cOnTemPOrary arT (at New Studio A.D.), 312 Rosemont Ave. NE, Alb. 505-244-0223. Group exhibition for emerging contemporary artists. 5-8 pm. briGhT rain Gallery, 206½ San Felipe NW, Alb. 505-843-9176. Living Grids: work by Lea Anderson. 5-9 pm. david richard cOnTemPOrary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555. Abstracted Bodies Bodies: group show. 5-7 pm. inPOsT arTsPace P Pace at Outpost Performance Space, 210 Yale SE, Alb. 505-268-0044. The Holy Family Family: paintings by Mark Horst. 5-8 pm. las cruces museum Of arT, 491 N. Main St., Las Cruces. 575-541-2137. Sight Unseen: sculptures by Michael Naranjo. Unseen 5-7 pm. maniTOu Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Yin Yang Bling! 5-7:30 pm. mariGOld arTs, 424 Canyon Rd., Santa Fe. 982-4142. Winter in New Mexico: watercolors by Robert Highsmith. 5-7 pm. mariPOsa sa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Frock, Paper, Scissors: recycled-tin works by Marcia Sednek. 5-8 pm. maT a rix fine arT, 3812 Central Ave. SE, 100-A, Alb. 505-268-8952. Nature Morte: still lifes by Susan Evans, Sarah Hartshorne, and Jacklyn St. Aubyn. 5-8 pm. neW GrOunds PrinT WOrKshOP & Gallery, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Sunny Side Up: monotypes and mezzotints by Beth Up Kassay. 5-8 pm. neW mexicO museum Of arT, 107 W. Palace Ave., Santa Fe. 476-5072. Cloudscapes: photographs from the Cloudscapes collection. 5:30-7:30 pm. PaleTTe cOnTemPOrary arT and crafT, 7400 Montgomery Blvd. NE, Alb. 505855-7777. Resin Nation: jewelry by Mel Stiles. 5-8 pm.,
SITE Santa Fe—1606 Paseo de Peralta—presents three solo exhibitions by artists Ruth Claxton, Amy Cutler, and Runa Islam. Reception: Friday, February 4, 5-7 pm. Image: Amy Cutler.
continued on page 30
| february/march 2011
The magazine | 27
WHO SAID THIS? “Love is of all passions the strongest, for it attacks simultaneously the head, the heart, and the senses.”
1. Eric Fromm 2. Lao Tzu 3. Sam Keen 4. Aristotle 5. Blaise Pascal
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OUT & ABOUT
Photos: Mr. Clix, Dana Waldon, Lisa Law, Lydia Gonzales, & Jennifer Esperazana
si siTe sanTa T fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. Three solo exhibitions: Ruth Claxton, Amy Cutler, and Runa Islam. 5-7 pm. WOOden cOW Gallery, 7400 Montgomery Blvd. NE, Alb. 505-999-1280. Heart Attack: works by Nicole Hotopp and gallery artists. 5-8 pm.
SATURDAY, FEBRUARY 5 GeneraTO enera r, 723 Silver Ave. SW, Alb. 505850-0298. Strength in Numbers: installation by Karl Hoffman. 4-6 pm.
FRIDAY, FEBRUARY 11 exhibiTT 208, 208 Broadway SE, Alb. 505450-6884. re:cover: paintings by Angela Berkson. 5-8 pm.
FRIDAY, FEBRUARY 25 david richard cOnTemPOrary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555. ARTfeast: glass mosaic sculptures by Jean Wells, with Cowgirl BBQ as 2011 ARTfeast partner. 5-8 pm. eli levin sTudiO, 830 Canyon Rd., Santa Fe. 986-8234. Lights Out: art in the dark by Greta Young. Sunset – 9 pm. venTana T Tana fine arT r , 400 Canyon Rd., Santa Fe. 983-8815. 2011 ARTfeast: ceramics by Rebecca Tobey, with Guadalupe Café as 2011 ARTfeast partner. 5-8 pm. zane benneTT cOnTemPOrary arT r , 435 S. Guadalupe St., Santa Fe. 982-8111. Paintings by Deborah Barlow. 5-7 pm.
Through a Narrow Window: Window Friedl Dicker-Brandeis and the Early Bauhaus at the University of New Mexico Art Museum, 1 University of New Mexico, Albuquerque. Show runs through Sunday, March 13. Image: Friedl Dicker-Brandeis.
muñOz-Waxman Gallery aT a cca, 1050 Old Pecos Trail, Santa Fe. 263-0994. 18 Days: exhibition, sale, and performances by Days women artists of New Mexico. 5:30-8 pm.
SATURDAY, FEBRUARY 26
SATURDAY, MARCH 5
Jus usT fOr r Grins, 490-B W. Zia Rd., Santa Fe. 428-7878. Symbiosis: works by Sandy Vaillancourt. 4-6 pm.
SATURDAY, FEBRUARY 12
FRIDAY, MARCH 4
uniTarian T Tarian universalisT cOnGreGaT a iOn Of aT sanTa T fe, 107 W. Barcelona Rd., Santa Fe. Ta 988-1655. International Women’s Day Poetry and Art Exhibit Exhibit. 6-9 pm.
riO bravO rav fine arT r , 110 N. Broadway, Truth or Consequences. 575-894-0572. SILK: textiles by Sandy Hopper. 6-10 pm. SILK
david richard cOnTemPOrary, 130 Lincoln Ave. Ste. D, Santa Fe. 983-9555. a.k.a ZEN: group show of paintings and sculptures. New paintings by George Rush. 5-7 pm.
FRIDAY, FEBRUARY 18 The fisher Press, 307 Camino Alire, Santa Fe. 984-9919. New Media Series. Originals: digital drawings by Jonathan Morse. 5-8 pm.
SATURDAY, FEBRUARY 19 516 arT r s, 516 Central Ave. SW, Alb. 505-242-1445. Latino/a Visual Imaginary: Intersection of Word and Image Image. 6-8 pm. GreG mOOn arT r , 109-A Kit Carson Rd., Taos. 575-770-4463. Winter Sonata: new works by Greg Moon. 5-7 pm. la Tienda exhibiT sPace P , 7 Caliente Rd., Eldorado. 577-2702. The Way I Saw Things: new paintings by Braldt Bralds. 5-8 pm. ThrOuGh The flOW l er, 107 Becker Ave., Belen. 505-864-4080. Work by Shirley Klinghoffer. 2-4 pm.
m aniTOu Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Works by Jennifer O’Cualain and Steve Worthington. 5-7:30 pm. maT a rix fine arT r , 3812 Central Ave. SE, Suite 100-A, Alb. 505-268-8952. In the Attic: paintings by Archer Dougherty. 5-8 pm. PaleTTe cOnTemPOrary arT r & crafT, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Works by Eyvind Earle. 5-8 pm. sanTa T fe clay, 545 Camino de la Familia, Ta Santa Fe. 984-1122. Summer Workshops Preview Exhibition Exhibition: work by 2011 Summer Workshop Program artists. Pottery by Steven Godfrey and Andy Shaw. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Slow Clay: works by Willi Singleton. 5-8:30 pm.
unseTTled Gallery, 905 N. Mesquite, Las Cruces. 575-635-2285. T L The Edge of Somewhere: abstract landscape paintings by Marjorie Moeser. 4-6 pm.
FRIDAY, MARCH 11 PresTOn cOnTemPOrary arT r cenTer, 1755 Avenida de Mercado, Mesilla. 575-523-8713. Works by Kevin Box, Craig Dongoski, Fran Hardy, and Suzanne Kane. 6:30-8:30 pm.
Williams Festival Festival: performances through Dec. 2011. Various other productions during February. Info: abqtheatre.org asPen sanTa T Ta fe balleTT at the Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 983-5591. ASFB Presents Aily IIII. Sat., Feb. 5, 7:30 pm. Info: aspensantafeballet.com lensic PerfOrminG arT r s cenTer, 211 W. San Francisco St., Santa Fe. 988-1234. Jazz Meets the Classics Classics: featuring the Santa Fe Symphony Orchestra and the Danilo Pérez Trio. Sun., Feb. 20, 4 pm. Info: lensic.org
SATURDAY, MARCH 12
liTTle WinG aT a The candyman cenTer, 851 St. Michael’s Dr., Santa Fe. 699-5470. Lougow’s grunge and the folk music of Ramona Cordova. Thurs., Feb. 3, 9 pm.
riO bravO rav fine arT r , 110 N. Broadway, Truth or Consequences. 575-894-0572. From the Edge of the Abyss Abyss: artist-in-residency exhibition by W.B. Brown. 6-9 pm.
sT. JOhn’s cOlleGe, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Ives Quartet in Concert Concert. Fri., Feb. 4, 8 pm. Info: stjohnscollege.edu
FRIDAY, MARCH 18
The fisher Press, 307 Camino Alire, Santa Fe. 984-9919. New Media Series. Initial Conditions: recent video work by Diane Conditions Armitage. 5-8 pm.
abiquiu WOrKsh K OPs aT Ksh aT GhOsT ranch, P.O. Box 1212, Abiquiu. 505-685-0921. Creative retreats and workshops for artists and writers, March through October. Info: abiquiuworkshops.com
FRIDAY, MARCH 25 James Kelly cOnTemPOrary, 1610 Paseo de Peralta, Santa Fe. 989-1601. A Race Car and Some Breakfast Cereal Cereal: new paintings by David Ryan. 5 pm.
ar feasT sanTa arT T Ta fe, 102 E. Water St. (ARTsmart office), Santa Fe. 603-4643. Edible-art tour, fashion show, and other events. Fri., Feb. 25 through Sun., Feb. 27. Info and tickets: artfeast.com
The fisher Press, 307 Camino Alire, Santa Fe. 984-9919. New Media Series. Initial Conditions: recent video work by Diane Conditions Armitage. 5-8 pm.
chiarOscurO cOnTemPOrary arT r , 712½ Canyon Rd., Santa Fe. 992-0387. Revolving Winter Group Show Show. Tues., Feb. 1 to Sat., Mar. 26. Info: chiaroscurosantafe.com
cOllecTed WOrKs K Ks bOOKs OOK TOre, 202 Galisteo St., Santa Fe. 988-4226. Talk and book signing with Terry Allen and Dave Hickey. Sun., Feb 6, 2 pm.
albuquerque TheaT hea re Guild, 712 Central Ave. SE, Alb. 505-247-1909. Tennessee
Latina/o Visual Imaginary: Intersection of Word and Image—an exhibition focusing on the connectedness between contemporary Latino arts and literature—at 516 Arts, 516 Central Avenue SW, Albuquerque. Reception: Saturday, February 19, 6-8 pm. Artist’s talk with Pepón Osorio and Amalia Mesa-Bains on Sunday, February 20, 1 pm at the Albuquerque Museum, 2000 Mountain Road NW, Albuquerque. Image: Pepón Osorio.
30 | The magazine
Santa Fe Art Institute
Jan18 - Feb25 David Wojnarowicz's
A Fire in My Belly Looping continuously 9am - 5pm, Gallery 1 Projection Room, SFAI SFAI will be screening “A Fire in My Belly” in response to the National Portrait Gallery’s removal of the film from exhibition Hide/ Seek: Difference and Desire in American Portraiture under pressure from right-wing political and religious groups.
Friday Feb 25 – C*nsorship: A P*nel Discuss**n Robert Atkins, Roberto Bedoya, Jan Brooks, Blake Gopnik
A Juried Show with Award Winning Artists, Children’s Art Activities, and Continuous Artists Demonstrations at the Las Cruces Convention Center
Harmony Hammond, Lucy Lippard. 6pm, Tipton Hall
Thursday Feb 24 – Open Studio, 5:30pm SFAI Come see and hear the work of our talented and interesting February artists and writers in residence! WWW.SFAI.ORG, 505- 424 5050, INFO@SFAI.ORG, SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | THE SANTA FE ART INSTITUTE EXPLORES THE INTERCONNECTIONS OF COMTEMPORARY ART AND SOCIETY THROUGH ARTIST AND WRITER RESIDENCIES, PUBLIC LECTURES AND WORKSHOPS, EXHIBITIONS, & EDUCATIONAL OUTREACH THIS PROGRAM PARTIALLY FUNDED BY THE CITY OF SANTA FE ARTS COMMISION AND THE 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS
Friday, March 25 - Noon to 5pm Saturday, March 26 - 10am to 6pm Sunday, March 27 - 10am to 5pm 680 University, Las Cruces, New Mexico. Info:www.daarts.org and click on the Las Cruces Arts Fair Logo
HARWOOD MUSEUM OF ART, UNIVERSITY OF NEW MEXICO
TCA – TAOS CENTER FOR THE ARTS
SOMOS – SOCIETY OF THE MUSE OF THE SOUTHWEST
Encore Gallery Exhibits
Winter Writers Series
Agnes Martin painting installation Ken Price altar installation to february 20 Mandelman & Ribak in Taos John Nichols, Calaveras Suite from march 5 New Mexorado: Artists in NM and CO
to march 12 Alyce Frank exhibit, Life Work march 18 - may 29 Juried Exhibition, Transformed by Taos
february 4 George Wallace reads from Fanfares for the Common Man february 11 Youth Writers’ Night at TCA february 18 Poets Veronica Golos and Dana Levin february 25 Karen Kerschen and Marcia Fine march 4 Donald Sturrock reads from Storyteller: The Authorized Biography of Roald Dahl
Taos Ongoing Events
Children’s art classes, Saturdays & Sundays Museum store trunk shows, Saturdays Selected Events
february 4-5 Romeo & Juliet in HD from Globe Theater february 14 Valentino Film & Fashion Show february 19-20 Taos Chamber Music Group concert february 25-27 Winter Ski Film Festival march 5-6 Taos Shortz Film Festival march 12 Louise Bourgeois Film march 25-29 Ballet Extravaganza in HD from Royal Ballet of London
february 3-4 National Theatre Live in HD, King Lear february 12 Live from the Met Opera in HD, Adams’s Nixon In China february 18 -19 Telluride Mountain Film on Tour february 26 Live from the Met Opera in HD, Gluck’s Iphigénie en Tauride march 11-19 Working Class Theatre, The Water Engine by David Mamet march 19 Live from the Met Opera in HD, Donizetti’s Lucia di Lammermoor march 25-26; april 2 National Theatre Live in HD, Danny Boyle’s Frankenstein march 31- april 1 Arlo Guthrie Journey on Tour
Used book sale at SOMOS office, first Saturdays Youth mentorship program in Taos schools
february/march 2011 See more Taos art events and travel planning info at TaosWebb.com/artcalendar
encOre Gallery at the Taos Community Auditorium, 145 Paseo del Pueblo Norte, Taos. 575-758-2052. Life Work: works by Alyce Frank. Through Sat., Mar. 12. Info: tcataos.org
selby fleeTWOOd Gallery, 600 Canyon Rd., Santa Fe. 992-8877. Works by Peter Burega and Steven Seinberg. Fri., Feb. 4 through Fri., Apr. 1. Info: selbyfleetwoodgallery.com
GeOrGia ia O’Keeffe museum, Education Annex, 123 Grant Ave., Santa Fe. 946-1037. Various workshops, lectures, and youth programs during February and March. Info: okeeffemuseum.org
sT. JOhn’s cOlleGe, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Shakespeare’s “Problem Plays” Plays”: a spring 2011 community seminar. Wednesdays, Feb. 2 through Mar. 9, 7-9 pm. Info: stjohnscollege.edu
harWOO ar d museum Of arT r , 238 Ledoux St., Taos. 575-758-9826. New Mexorado: Artists Living and Working in the Albuquerque-Denver Corridor Corridor: more than one hundred twenty works from eighty artists. Opening concurrently with New Mexorado’s opening weekend—Fri., Sat., Mexorado and Sun., March 4, 5, and 6—is the threeday T Taos Shortz Film Fest, featuring more than fifty juried short films from around the world, and panel discussions.
uniTarian T Tarian church Of lOs alamOs, 1738 N. Sage St., Los Alamos. 505-662-2346. New works by Maureen Howles. Feb. 1 through Feb. 28, Mon., Tues., Thurs., Fri., 9 am-3 pm. universiTy T Of neW mexicO arT Ty r museum, 1 University of New Mexico, Alb. 505277-4001. Roadcut: The Architecture of Antoine Predock Predock. Like a Signature: sketches and models. Through Fri., July 22. Info: unm.edu/~artmuse
insTiTuTO cervanTes at Domenici Education Center, National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-724-4777. Art and Feminism in 2011 2011: roundtable discussion. Thurs., Mar. 31, 6:30 pm. Info: albuquerque. cervantes.es James Kelly cOnTemPOrary, 1610 Paseo de Peralta, Santa Fe. 989-1601. Free Spirit: Christine McHorse and Diego Romero. Through Sat., Feb. 19. Info: jameskelly.com linda durham cOnTemPOrary arT r , 1807 Second St. #107, Santa Fe. 466-6600. 6/6/6: six artists, six cities, six connections—a 6/6/6 traveling art exhibition that created itself through connectivity. Fri., Feb. 11 through Sat., Mar. 12. neW mexicO TanGO academy, 3812 Central Ave. SE, Alb. 267-679-4422. New Mexico’s first all-tango school opening Sat., Feb. 5. Info: nmtangoacademy.com sanTa T fe arT Ta r insTiTuTe, 1600 St. Michael’s Dr., Santa Fe. 424-5050. A Fire in My Belly: film by David Wojnarowicz. Exhibition runs through Fri., Feb. 25., Mon.-Fri., 9 am-5 pm. C*NSORSHIP: panel discussion. Fri., Feb. 25, C*NSORSHIP 6 pm. sanTa T fe clay, 545 Camino de la Familia, Ta Santa Fe. 984-1122. Small Sculptures: work by Miguel Abugattas, Cynthia Rae Levine, Karen Theusen Massaro, and Katherine Taylor. Through Sat., Feb. 26. sanTa T Ta fe cOuncil On inTernaT erna iOnal ernaT relaT ela iOns at the Forum, Santa Fe University of Art and Design, 1600 St. Michael’s Dr., Santa Fe. 982-4931. Terrorism Ten Years Later Later: lecture series. Sat., Feb. 26; Sat., Mar. 19. Info: sfcir.org sanTa T fe WinTer fiesTa Ta Ta at various locations Ta in Santa Fe. 800-777-2489. Events and parties. Fri., Feb. 18 through Sun., Feb. 27. Info: santafewinterfiesta.com
32 | The magazine
The Way I Saw Things Things—new paintings by Braldt Bralds at La Tienda Exhibit Space, 7 Caliente Road, Eldorado. Reception: Saturday, February 19, from 5-8 pm. Strength in Numbers Numbers—an installation by Karl Hoffman at Generator, 723 Silver Avenue, SW, Albuquerque. Reception: Saturday, February 5, from 4-6 pm.
universiTy T Of neW mexicO arT Ty r museum, 1 University of New Mexico, Alb. 505-2774001. Through a Narrow Window: Friedl Dicker-Brandeis and the Early Bauhaus. Fri., Jan. 28 through Sun., Mar. 13. Info: unm. edu/~artmuse universiTy T Of neW mexicO arT Ty r museum, 1 University of New Mexico, Alb. 505-2774001. Under the Skin of New Mexico: The Art of Cady Wells Wells. Fri., Jan. 28 through Sun., May 22. Info: unm.edu/~artmuse WarehOuse 21, 1614 Paseo de Peralta, Santa Fe. 989-4423. Bento Box Cinema: Japanese film festival. Sat., Feb. 19 and Sun., Feb. 20. William r.. TalbOT fine arT r , 129 W. San Francisco St., Santa Fe. 982-1559. Modernist Printmaking: early twentieth-century works Printmaking from the Southwest, the Midwest, and Mexico by American regionalists. Fri., Feb. 4 through Sat., Apr. 2. zane benneTT cOnTemPOrary arT r , 435 S. Guadalupe St., Santa Fe. 982-8111. Prints by Tony Cragg. Through Fri., Feb. 18.
CALL FOR ARTISTS cOrrales bOsque Gallery, 4685 Corrales Rd., Corrales. 505-898-7203. Jurying new candidates for gallery representation. Deadline: between 1:30 and 5 pm on Tues., Feb. 8. Info: corralesbosquegallery.com
Calendar listings for the April issue are due no later than tu t esday, March 15. Kindly email listings to email@example.com, or mail to the magazine, 1208-A Mercantile Road, Santa Fe, NM 87507. Send images if possible.
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Flora: Group Show March 19 through July 21, 2011 Roswell Museum and Art Center, 100 West 11th Street, Roswell. 575-624-6744 In a famous essay entitled “Seeing,” Annie Dillard challenges her readers to carefully observe the natural world, celebrating the universes that can be found in minutiae. In a similar vein, Georgia O’Keeffe once lamented, “Nobody sees a flower, really, it is so small. We haven’t time—and to see takes time like to have a friend takes time.” Artists like O’Keeffe have long been inspired by a careful examination of the natural world. Flowers, especially, have attracted the artist’s eye, not only for their seductive beauty but also for their symbolic presence in many different traditions. From poet Edmund Waller’s “lovely rose” to the sacred lotus in Hindu tradition, flowers can be found in every aspect of world culture. In an exhibition entitled Flora, the Roswell Museum and Art Center demonstrates the richness of the floral theme with works from their permanent collection. Featured artists include Henriette Wyeth, New Mexican folk artist George Lopez, and Roswell sculptor Alex Kraft. Flora is a celebration of flowers and the meanings they inspire, rewarding all those who pause to truly see the small wonders of nature.
Small Sculptures Miguel Abugattas, Cynthia Rae Levine, Karen Theusen Massaro and Katherine Taylor January 21 through February 26, 2011 Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122 Opening Reception: Friday, January 21, 5 to 7 pm. If the broad, bland palate of winter is beginning to bore, a remedy can be found at Santa Fe Clay. There, a show of small works by four unique artists promises to revitalize your eyes with their warm, elemental surfaces. Cynthia Rae Levine’s severed conical forms are simplified versions of the geometries she observes in the natural world. Her coil-built vessels contain movements of lines, planes, and curves, which come together to create sensations of harmony and discord. Karen Theusen Massaro composes similarly elegant but more intimate arrangements of colorful tablets and cones. Delicate patterns playfully lead the eye about her small but complex surfaces. As intricate as coral reefs, Katherine Taylor’s ceramics bloom with energy. Taylor is inspired by the complex interactions that occur between people and their environment, and her sculptures suggest both the curves of the human body and the Earth’s contours. Miguel Abugattas manipulates positive and negative space with curves both voluptuous and slight, evocative of the Southwest landscape. His works attempt to physically give shape to the hopes of modern Native Americans. This is the first opportunity to view a significant collection of work from these artists at Santa Fe Clay.
Barbara Latham, Milkweed, egg tempera on panel, 1940
Karen Thuesen Massaro, Clay Tablet Quartet, slip-cast clay, 4 1/2” x 30” x 9 1/2”, 2008
34 | THE magazine
| february/march 2011
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MONROE GALLERY of photography
1912 - 2010
Lau b S
RICHARD C. MILLER
ph l o
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would like to thank all my customers for the continued support I have received after many of our relocations. I have clients who have been bringing their artwork to me some forty years later. I strive to develop a very personal business – I am always dedicated to my customer’s complete satisfaction in every way.
James Dean taking a break from filming "Giant", 1956
A Retrospective Opening Reception Friday, February 11 • 5-7pm Exhibition continues through April 17 Open Daily
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A N D R E W S M I T H G A L L E RY,
Masterpi e c e s
P h ot o g ra p h y
Come out of the cold and into the warmth of the Andrew Smith Gallery to view masterpieces of photography. Featuring work by legendary photographers Ansel Adams, Alfred Stieglitz, Edward Weston, Yousuf Karsh, Lee Friedlander, Paul Caponigro, Elliott Erwitt, Edward Curtis, Henri Cartier-Bresson, Annie Leibovitz and many more. Winter - Fifth Avenue, 1893 © Alfred Stieglitz “My picture, ‘Fifth Avenue, Winter,’ is the result of a three hours’ stand during a fierce snow-storm on February 22, 1893, awaiting the proper moment. My patience was duly rewarded. I remember how upon having the negative of the picture I showed it to some of my colleagues. They smiled and advised me to throw away such rot. ‘Why, it isn’t even sharp, and he wants to use it for enlargement!’ Such were the remarks made about what I knew was a piece of work quite out of the ordinary, in that it was the first attempt at picture making with the hand camera in such adverse and trying circumstances from a photographic point of view.
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N AT I O N A L S P O T L I G H T
Miss Mary Sitting by
The word “photography” comes from the Greek roots phos, meaning “light,” and graphos, meaning “writing” or “painting.” Thus, the word “photography” may be taken to mean “to paint with light.” At the beginning of the twentieth century, a small group of photographers began a concerted attempt to legitimize their craft as a fine art. Among them were Edward Steichen, Alfred Stieglitz, and Heinrich Kühn. These early photographers—known as the Pictorialists—rejected the idea that photography was simply a mechanical documentation. The Pictorialists created photographs using painstaking methods such as gum bichromate printing, which allowed for a more exacting treatment of the negative. The results were textured and painterly, often evocative of Impressionist works. Austrian Pictorialist Heinrich Kühn was first exposed to photography during his medical studies in Berlin, where microphotography was used for research. Kühn later distinguished himself among the Pictorialists with his mastery of the autochrome printing process and his research into the manipulation of brightness values. His subjects reflected the romantic ideals of the time, and he is known for intimate portraits and idyllic country landscapes. The Museum of Fine Arts, Houston, is presenting an exclusive retrospective of Kühn’s work, on view from March 6 through May 30. Over one hundred photographs will be shown, representing four decades of Kühn’s influential career in “painting with light.” D
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THE magazine | 37
Deborah Barlow New PaiNtiNgs February 25 – March 18 OPe NiNg Re ce PtiON:
Friday, February 25th, 5–7 pm
Jim Dine PRiNts Joe Novak celeBRatiNg cOlOR March 25 – april 22 OPe NiNg Re ce PtiON:
Friday, March 25th, 5–7 pm
colette Hosmer and NM women in the arts sculPtuRe, PaiNtiNgs, aND PRiNts april 26 – May 20 OPe NiNg Re ce PtiON:
Friday, april 26th, 5–7 pm
Jonathan Blaustein Value OF tHe DOllaR steve Joy New PaiNtiNgs
March 11 - June 25
May 27 – June 17 OPe NiNg Re ce PtiON:
Friday, May 27th, 5–7 pm
435 south guadalupe street, santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com tue–sat 10–5, or by appointment • Railyard arts District walk last Friday of every month
Opening Reception Friday March 11th, 2011 6:30pm-8:30pm
F E AT U R E
One + One
a New York magazine article, critic Jerry Saltz wrote, “Sometimes placing one work of art near another makes one and one equal three. Two artworks arranged alchemically leave each intact, transform both, and create a third thing. This third thing and the two original things then trigger cascades of thought and reaction; things you didn’t know you needed to know until you know them; then you can’t imagine ever not knowing them again. Then these things transform all the other things and thoughts you’ve had. This chain reaction is thrilling and uncanny.” THE magazine posed the following question to curators from the New Mexico Museum of Art, the Albuquerque Museum, the Harwood Museum, and the University of New Mexico Art Museum: If you could juxtapose any two works of art from the museum’s collection, which two pieces would you choose, and what message do you wish to convey with the two pieces selected? Their responses follow.
The Albuquerque Museum’s bronze portrait Bust of Arthur Jerome Eddy (1898) by Auguste Rodin (1840-1917) puts the exquisitely expressive modeling, bold forms, and disturbing yet delicate details of Luis Jiménez’s Howl (1986) in perfect context. Both works were originally sculpted in clay, then cast in bronze, an unusual material for Jiménez. As Rodin stylized details on Eddy’s blocky, faceted jacket and cockeyed slab of a bowtie, so Jiménez used smudged snakes of wet clay to form the Mexican wolf’s matted coat and starved ribcage. You can see the minute ridges of Rodin’s fingerprints loosely forming the delicate strands of hair rising from the temples. Jiménez confidently left his fingerprints to cast flowing, worried lines in the wolf’s brow and muzzle. The lightly carved, pensive eyes of the scholar are as intense as the quick, deeply gouged and glinting eyes of the wolf. In even a fairly mundane portrait (for Rodin) of the first American art historian of James McNeill Whistler, Wassily Kandinsky, and other modernists, Rodin captures intellectual vitality. In his less than heroic portrait of an underappreciated beast, Jiménez expresses wild, passionate longing. The personalities of these individuals, both subjects and artists, are all dynamically and subtly on view. This comparison could be a sculpture modeling lesson in two powerful studies of personality.
—Andrew Connors, Curator of Art, Albuquerque Museum Auguste Rodin, Bust of Arthur Jerome Eddy, cast bronze, 17½” x 19½” x 11¼”, 1898 Luis Jiménez, Howl, cast bronze, 60” x 29” x 29”, 1986
continued on page 40
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At first glance, James Drake’s monumental portrait Jaynelle Across the Sea and Meridel Rubenstein and Ellen Zweig’s Portal to Archimedes’ Chamber have little in common. But placed within eyeshot of each other in the museum’s exhibition Case Studies from the Bureau of Contemporary Art, the alchemy of their pairing is nothing short of epic. The Rubenstein/Zweig collaborative work considers the confluence of cultures during the Manhattan Project: the Native American community of San Ildefonso Pueblo and the scientific community that passed through the Puebloan gateway to reach Los Alamos. The video component, with imagery melting as if in a crucible, portends a transformative moment in world history. Opposite, Drake’s drawing of a young girl is composed of charcoal on fragments of torn paper reconstituted into a whole. Jaynelle embodies one culminating moment after the bombing of Hiroshima and Nagasaki: a life lost, tragically young, and just one of many, to the effects of radiation “across the sea.” Each powerful in its own right, together the two artworks equal an even more potent narrative that makes the viewer consider New Mexico’s role in the story of the atomic bomb, and the impacts, both small and large, on individual lives.
—Laura Addison, Curator of Contemporary Art, New Mexico Museum of Art, Santa Fe. James Drake, Jaynelle Across the Sea (World War II), charcoal and tape on paper mounted on canvas, 120” x 84”, 2006. Museum purchase with funds from the Friends of Contemporary Art and an anonymous donor, 2008. Photo: courtesy of the artist. Meridel Rubenstein and Ellen Zweig, Portal to Archimedes’ Chamber, Oppenheimer / Archimedes #1, Oppenheimer / Archimedes #2, palladium prints, steel, laser discs and players, and video monitors, 1990. Museum purchase with funds from the Jordie M. Chilson Estate, 1997. Conservation funds provided by the Alan and Peggy Tishman Foundation, 2010. Photo: Blair Clark.
F E AT U R E
Consider two masterpieces of American photography. Less than a decade after the end of the Great War, Charles Sheeler’s Power House, No. 1, captures America’s industrial prowess—a celebration of manufacturing productivity: the automobile— in a seemingly simple image of seven smokestacks atop the Ford’s Model A factory. The chimneys, framed tightly, rising to the top edge of the photograph, are presented as a functioning icon, as an indefatigable symbol of modern America, to behold with awe and pride, as if it were the Ideal. Yet the scene, which was commissioned by Ford for advertising purposes, and is nearly cinematic in its small-scale grandeur (Fritz Lang’s “Metropolis” was also created in 1927), is strangely foreboding. Sheeler’s artistic genius resides in his use of perspective as harbinger, so that our looking upward at the giant smokestacks is both a gaze at the sublime and submission that makes us into people revering some kind of new god. Against Sheeler’s Power House, consider Minor White’s Rochester, 1954. It is a photograph of a seemingly negligible subject—that of a decrepit boiler unit, barely intact, abandoned, and menaced by a poisonous sumac and other weeds—yet an image laden with pathos. The steam works have no use; there is no triumph or even nostalgia in the deteriorating relic. Dust to dust. There lies the genesis of the American industrial ruin, of what would become the vast wastelands of Flint, Michigan; Gary, Indiana; Lowell, Massachusetts, and other cities. The poetic turn of the scene is evidenced through White’s empathy for the defunct thing: the trunk-like, supine vent becomes an anonymous body, perhaps like that of a fallen soldier or a nameless worker given out under the strain of labor. Both eroticized and tragic, the gentle ruin is memorialized in this prescient image.
—E. Luanne McKinnon, Director, UNM Art Museum Minor White, American (1908-1976), Rochester, 1954, gelatin silver print, Both works from the Collection of UNM, Albuquerque. Charles Sheeler, American (1893-1965), Power House No. 1, Ford Plant, 1927, gelatin silver print, . Gift of Eleanor and Van Deren Coke.
I believe the thick creative energy that exists in Taos is partly caused by a terrific collision of belief systems and cultures. Curating in Taos amounts to getting out of the way of this collision. The alchemy of juxtaposing two objects—in this case installation—is doubly amplified by the nature of this community. The Harwood Museum has recently opened a new building, and my desire for the opening was to create a low, vibrating, and undeniable hum with an element of surprise. Installation seemed to be the most appropriate way to achieve this. The curatorial staff chose two unusual spots to place two very diverse, yet similar installations—one a storage closet, the other the curatorial office. The common element was the presence of a prie dieu in each space. Death Shrine 1 by Ken Price was installed in the curatorial office. A selection of bultos and retablos from the Mabel Dodge Luhan collection was installed in the broom closet, giving the religious and the atheist a place to kneel before works of art. We wanted the proximity of the installations to work as a philosophical path working to “transform” the visitor’s experience of each installation.
—Jina Brenneman, Visual Arts Curator, Harwood Museum of Art, Taos Ken Price, Death Shrine 1, mixed media, 1972-1977. Mabel Dodge Luhan Shrine. (In honor of Luhan’s gifts to the Harwood: various Taos artists’ bultos and retablos)
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THE magazine | 41
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SenSory CroSSoverS: SyneStheSia Sharyn Udall is the highly respected art historian
and writer who curated this exhibition, and it takes its place as one of her most ambitious curatorial efforts. Along with Carr, O’Keeffe, and Kahlo: Places of Their Own—one of the best shows at the New Mexico Art Museum in the last decade—Sensory Crossovers: Synesthesia in American Art further establishes Udall’s gift as an astute theme-based curator capable of weaving together a wide range of distinctive visions in service of a thought-provoking whole. There was so much to like in Sensory Crossovers that it’s difficult to know where to begin until I think about Agnes Pelton. This show provided a chance to see work by one of my favorite artists from the twentieth century. Wholly original in nature, Pelton’s abstract paintings were emblematic of a spiritual quest that led her to excavate her metaphysical cravings and to give them visual equivalents. What Pelton brought to the surface were images that were radiant and stunning examples of an unselfconscious painterly perfection. In 1938, Raymond Jonson recognized her as a kindred spirit and invited her to be a founding member of the New Mexico Transcendental Painting Group, although Pelton did not live in New Mexico but in the California desert. The Voice is one of the works Jonson acquired, and it is, in my opinion, one of Pelton’s most successful and enigmatic paintings, and ranks with the great iconic works of American art. Michael Zakian wrote in his book Agnes Pelton: Poet of Nature that the artist “interpreted the [inner] voice as an utterance reaching out into space. This hybrid plant/animal shape embodies its title in the way it radiates prehensile arms that attempt to touch and embrace one sympathetic to its message… the glowing base represents the pure energy that lies at the root of all living things.” In this exhibition, the artists—Charles Burchfield, Arthur Dove, Georgia O’Keeffe, and Horace Pierce among others—shared with Pelton an emphasis on forces that emanate from the natural world, along with energies that arise from within the self and merge with our various faculties of perception. These artists produced images that were inflected by sounds, cold, heat, fog, or phenomena like fire, lightning, storms, and steam. And of course, music. Horace Pierce, the husband of the late Florence Pierce, died prematurely at the age of forty-two, and there is a suite of eight small paintings included here—Symphony #2 from 1949 to 1952. These tightly rendered abstractions have a very contemporary look, as if generated by a computer in response to sound waves. Each work on paper has its own rhythmic scheme of lines or geometric shapes. The pastel palette and mathematical precision of Pierce’s images were in sharp contrast to the hallucinatory work of Charles Burchfield, whose watercolors are drenched in his subjective vocabulary of somber-hued, nature-based explorations. It’s been a good year for the legacy of Burchfield; a recent show of his work, Heat Waves in a Swamp, curated by the contemporary artist Robert Gober, opened at the Hammer Museum last year and then went to the Whitney Museum. It was received by the art world as if it had seen Burchfield’s inspired paintings for the first time, and perhaps for many individuals this was true.
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There are six Burchfield paintings in Sensory Crossovers and although familiar with his work, I felt a decided jolt seeing some of it again. In pieces such as Storm in Sunlight, Song of the Marsh, or The Moth and the Thunderclap—all watercolors on paper—it’s as if Burchfield felt volcanic movements deep within the earth that rose up and through his body and passed out through his fingers, crossing over into vibrations that he saw as well as felt. Burchfield was entrained with these vibrations that were translated into impressions of heat, decay, glowing light, or a brooding duskiness, and his versions of a world draped in snow will make you huddle within your clothes, so intense are his expressions of the weather. No one rendered the psychological heaviness and dreariness of bone-chilling winter quite like Burchfield. What is synesthesia? It means one sensation invoking another such as a color that triggers off an emotion or an
the albuquerque muSeum 2000 mountain road nW, albuquerque impression of a sound. Sensory Crossovers demonstrates a kind of forensics of perceptions in formal relationship with other sensations. The artists in this show have tried to embody experiences as visual images infused with other implied stimuli. However, Udall hasn’t just dipped into the tried and true from American art history but has included several contemporary artists as well, many of them from New Mexico: Signe Stuart, Sam Scott, the late Helmut Löhr, Rosalyn Driscoll, and Greg Stephens. Stephens’ installation The Light Falls is a work that features electronically configured light patterns which rise and fall in their own specially built cubicle, and they are loosely based on the patterns of moving water. Viewing this light show was like being caressed by the most delicate and intimate of substances—a spiritual liquidity if you will, potent and ethereal at the same time.
—diane armiTa TaG Ta aGe
Agnes Pelton, The Voice, oil on canvas, 26” x 21”, 1930. Bequest of Raymond Jonson, Jonson Gallery Collection, University of New Mexico Art Museum, Alb.
The magazine | 43
david kearnS: Painting grouCho’S duCk
222 Shelby Street gallery 222 Shelby Street, Santa Fe
if you like to discover in paintings some questions you hadn’t thought to pose, then
FranCeSCa yorke the FiSher PreSS 307 Camino alire, Santa Fe
english artist Francesa yorke y has created a series of compelling and thoughtful diptychs, works comprised of two seemingly disparate images placed side by side. On the left half of each diptych is a black-and-white photograph of cage fighters; on the right a calligraphic drawing on a colored ground (either blue, yellow, orange, red, or green). Each image has its own meaning—together they create new associative and interdependent meanings. As with all visual imagery, the questions must be: What is going on here? What is the code? What is the way to look at and really appreciate these works? Yorke’s photographs of w Y cage fighters in the world of Ultimate Fighting are very beautiful—striking in both composition and lighting. They are violent photographs, yet sensual and intimate—somewhat reminiscent of George Bellow’s paintings of prizefighters done in a gray tonality. Take Blue Fight: One combatant has just been knocked down. He is on his back, while the man who put him on the canvas “lords it” over him. To the right is a calligraphic drawing in India ink on a dark blue background. Dark blue is a universal color, considered to be ultra-modern. But why are these two images placed next to each other? What do they mean? Now look carefully at the two images, and think of how constellations are represented by astrologers and astronomers. When a line is drawn through each star in a constellation, a shape is formed. Look closely again. The calligraphic drawing on the right is the visual equivalent of the photograph on the left. Like a sketch or an etching, there is a sense of immediacy about the mark of the artist. What Yorke does with her drawings is to hide all but the relevant data in order to reduce complexity, similar to the way that abstraction works in art—the object that remains is a representation of the original, with unwanted detail omitted. Abstract thinking like Yorke’s is the most complex stage in the development of cognitive thinking, in which thought is characterized by adaptability, flexibility, and the use of concepts and generalizations. I say, raise your
Francesa Yorke, Blue Fight, 37” x 49”, 2010
Painting Groucho’s Duck— Painting Duck—twenty-three twenty-three works by David Kearns on view at 222 Shelby Street Gallery in Santa Fe—is F e—is not a bad place to start. Kearns indulges in an anti-painterly looseness of rendering that would seem to aamount mount to a kind of self-denial in someone who teaches drawing for a living. His object-scapes bring to mind Manny M anny Farber’s late paintings, though without their exhilaration and bird’s-eye precision. In places a deep love of the gestures of a large paint-laden brush is evident and might call to mind Philip Guston, except these are mashups not monuments. Maybe Basquiat is a more apt referent. The sketchiness here builds a certain cartoonish momentum, seeming to insist on the tentative and arbitrary quality of our visions. On a Beach shows a pile-up of detritus, iconic images adrift at a shoreline, with—on the upper left left— —aa painting — within the painting reminiscent of Anselm Kiefer’s blasted landscapes. It shares this after-the-cataclysm quality with several other works, such as Among the Ruins, in which vaguely rendered versions of the nuclear hazard symbol hover over the flotsam. When the deliberately childlike rendering allows some repose or shades into crafting, a hint of Morandi-like nostalgia for spatial or compositional coherence emerges. But it is swiftly nixed by the accumulation of objects, recurring from one work to the next: a chair, animals, buildings, and above all trees— mostly in provisional or ghostly forms as if overtaken by their own private winter. Golden is one of the few works that is purely abstract. When Kearns does move toward abstraction there’s a promising distillation of feeling. Several works have a stage-set quality, with flattened buildings as backdrops to flattened icons. There are few human figures, except in Sleeping, where a body-shaped bundle lies at the foot of some trees. Shady Place, very similar in format, size, colors, composition, and materials, forgoes the figure and offers a more classically grounded composition. One small painting of a duck is the most “oriented” piece in the show—the duck is in stable relation to the horizon, its bill pointing to the right as if telling the viewer which way to read or to exit. The “duck” of the show’s title appears in many of the paintings, meant by the artist to leaven with humor how seriously he takes painting. Kearns makes numerous references to the act of painting as well as to the painting as an object; there are frequent paintings within the paintings, as if he were quoting something or speaking to himself. There seems to be a disjuncture between, on the one hand, the painterly self-referentiality and apocalyptic tone and, on the other, the scattered ducks and clowning. What Groucho Marx and his brothers unleashed on the world was a kind of frictionless mayhem, the apotheosis of anarchy delivered with a grin. In these paintings such seamless inevitability is not fully realized. These works on board or panel or paper are all realized in acrylic paint, with prolific variations in texture, gloss, and gesture that suggest a genuine, ongoing exploration. Kearns engages with the dynamics of surface and resistance, transparency and opacity, which is what makes looking at his paintings a visceral experience.
David Kearns, On a Beach, acrylic on paper, 48” x 53”, 2009
ChriStine mChorSe & diego romero: Free SPirit the imaginary love-child of Maria Martinez, the great San Ildefonso potter, and Francesco Borromini, the florid Baroque architect, would undoubtedly be Christine McHorse. Her micaceous clay vessels introduce an element of muscular architectonics and formal complexity into the realm of indigenous southwestern ceramics in a way that would make both parties of this proposed mythical parentage proud. Her deep, warm black surfaces shimmer with the chatoyance of mica that has been a brilliant part of the pottery here for millennia, while her radical curvilinear clay constructs owe as much to the Baroque, Brancusi, and Barbara Hepworth as they do to ancient regional forms. Her particular southwestern ceramic tradition is all-encompassing. It includes influences from the anonymous pueblo potters of traditional Navajo designs, the sculptural shapes of the legendary Alan Houser, the whimsy of recent transplants like Ken Price, and everyone who ever crafted a vessel in this environment in between. The walls of her vessels are impressively thin, while none whatsoever exists for her between the erroneous categories of Art and Craft. Sculpturally speaking, she deserves a place alongside Henry Moore and Isamu Noguchi. Her sense of a poised and balanced sensuality makes her their equal. On the level of technique her craft is consummate and incredible. To call it perfect would be an understatement, because beyond that, it is also awesomely alive and inventive. Diego Romero’s bowls are similarly spectacular. His excellent reputation for both black humor and intelligence is well deserved. While he is best known for updating Mimbres pottery through unflinching images of contemporary Native American life, including the ongoing impact of genocide and colonization, the hardships of alcoholism,
Diego Romero, Olympia, 2010, earthenware, 7” x 15” x 12½”, 2010
| february/march 2011
and the devastation wrought by AIDS, this exhibition is something of a departure. Alongside working drawings of his better-known subjects he displays a witty new series of bowls depicting the superhero Wonder Woman as “Diana the Queen of the Amazon.” Olympia takes the form of a classical Greek kylix with an interior image of a voluptuous Wonder Woman as a reclining nude dressed in only her golden headband. The overlapping levels of allusion are positively postmodern. Firstly, this is a brand new take on the ancient tradition of the red figure vases of the Greeks that often depicted the warrior culture of mythology, which has world-cultural similarities to many indigenous American societies. Next, the title is a conflation of the name of the Aegean mountain home of the Gods and Goddesses with the name of Manet’s scandalous painting of a Parisian prostitute. And finally, this combines to collapse the feminist distinction between the two, too-constrictive traditional roles of women as either goddesses or whores in the male gaze. Here, Diana is instead a feminine warrior in control of her own sexual identity (like Manet’s Olympia or Goya’s Maja Desnuda) and a resplendent Amazon Queen. The fact that Romero is able to milk all this from the iconic figure of a Saturday-morning cartoon character testifies to his particular genius. Of course Diana, the Roman name for Artemis, has her origins as a multi-breasted mother goddess in Asia Minor, before she assumes the role of the huntress and great archer revered by the Amazons. Romero deconstructs the layered meanings implicit in the comic-book creation and reconstructs them bilingually within the overlap between Greek and Southwest ceramic and cultural conventions. He also brings mainstream iconography into the Mimbres pottery tradition as a kind of reverse
JameS kelly ContemPorary 1601 PaSeo de Peralta, Santa Fe colonization, or taking back of territory. As usual, he accomplishes his goals with a light and amusing touch and flawless craft, though on deeper reflection his implications are inevitably serious and significant. Leave it to James Kelly Contemporary to lead the new Railyard Galleries in finally stepping away from the (yawn) innocuous abstraction that has stultified the scene in this budding Arts District over the past year or so. James Kelly was there when the railyard was still just the railyard, long before it became the Railyard, so it is fitting that he would push things further down the tracks in the direction they need to go. Free Spirit highlights two artists who are doing exactly the kind of work that needs to be done in Santa Fe today. Rather than offering secondhand versions of work from other parts of the country or world, they are bringing to the fore contemporary work that can only come from this region, yet is on a par with the best work globally. Part of this is probably related to both artists’ native roots. Indian Market is in fact the biggest reason Santa Fe is on anybody’s artistic map, but native or non-, what the contemporary arts scene here needs are unique visions found nowhere else. Free spirits Christine McHorse, Diego Romero, and James Kelly are generously giving us exactly what we need.
Christine Nofchissey McHorse, Untitled, 2010, micaceous clay, 25 ½” x 11½”, 2010
The magazine | 45
gade: halF tibetan–halF ChineSe
mokha laget: Crux Center For ContemPorary artS rt 1050 old PeCoS trail, Santa Fe
the term Bildung
bears the promise of growth and transfiguration. Unfolding from its root “bild” (German for “image”), the designation evolved from origins in sixteenth-century Pietistic theology to become an ideal of Enlightenment pedagogy. In Crux, the Algeria-born, Cerrillos-based artist Mokha Laget attaches the expression to the title of almost each of twenty works in a series of paintings executed in 2009. In the spirit of their appellation, each suggests a world in which the process of transformation is compelled by extreme cultural collisions, expressed here in the conflicted visual modalities of hard-edge abstraction, meticulous calligraphy, and gestural splatters painted on slender, occasionally cruciform supports. A spare grouping of three horizontal works (Bildung XVII, XI, and VII) suspended in parallel bears equal traces of Laget’s own educational experience—both as a former studio assistant to the Washington Color School artist Gene Davis and as the recipient of a postgraduate degree in Linguistics from Georgetown University. In each, equalwidth vertical stripes rendered in solid, predominantly pastel hues serve as backdrops to tightly cropped calligraphic strokes. In Bildung VII, the interstice between two lines of the English alphabet attracts the viewer’s gaze past the foundations of language and into a purely asemic space of syncopated coloration. Paring the composition to no more than highly deliberate sequences of stripes and symbols, Laget operates with a profound economy of means to navigate the boundaries between the effable and ineffable. Bildung XII proves more problematic. Consisting of two abutting canvases in a reclining T-shaped configuration, the work merges scumbled earth tones, passages of dark rasorial markings, and short bands of pure color. Although visually harmonized, the painting’s minimalist echoes of Barnett Newman’s Who’s Afraid of Black, Red, and Yellow? remain only echoes—replacing its reference’s lucid conceptualism with a sense of archetypes deliquescing into formal pastiche. Moreover, a similar privileging of august atmospherics over lively visuality is played out in the exhibition’s installation strategies; works are often hung at such heights that access to elaborate visual details is eschewed for a facile play at monumentality. Laget better acquits herself when she embraces a less theatrical approach. Lucky 13, the exhibition’s sole sculpture, succeeds as a peppy, Tuttle-inflected take on Duchampian provocation. Here, a barely kneehigh log stands erect and unadorned but for a blush of pink that extends in an inch-wide ribbon up its side and fully coats its summit. Noa’s Song, a trio of precariously joined wafer-size canvases that remain bare but for a single stripe along a single edge of each, possesses an alluring nonchalance while oscillating between exacting asceticism and oddball arbitrariness. The cross that dangles through Crux may be understood as the sign in which all signs are consumed, but the exhibition suggests that a less determinate and desperate symbolism may be better adapted to consuming our attention.
PW ContemPorary 129 WeStt San FranCiSCo Street, Santa Fe
For about half a century, Tibet has been a region of China, which had a political and social Revolution in the middle of the twentieth century. Fifty years, had ffor or an individual, is at least half of a very long life; but, as historian Fernand Braudel rreminded eminded us, in historical terms it’s nothing. For two millenia, Tibet carried forward what w hat Columbia University Professor Robert Thurman calls an “inner revolution”— mastering the mind for the benefit of all mankind. Tibet’s indigenous culture and philosophy has spread powerfully to the West via India and also survived in place, as human culture does in its own ways. Gade, born in Lhasa in 1971 to a Chinese father and Tibetan mother, studied art in Beijing. Blending the profound and precise forms of Tibetan Buddhist art with modern mass-media characters and icons, he conjures imaginary fields in which the sacred and the commercial snuggle and scintillate. Amorphous beings clutch little red books, soldiers high-step and salute. King Kong, surrounded by mummies and snakes, sits on a lotus-flower throne devouring a maiden. A slouchy youth with a big knife leers from the smoky ambience of heavenly realms. Mao rests on his side in the Buddha’s paranirvana position; headless goblins squat at the feet of blindfolded Buddhas flanked by young, Red Guard–style girl guides and buxom, bikini-clad bodies with Mickey Mouse heads. A group of round paintings is eroded by a kind of washing out of its color to various degrees—is it the old world fading, the illusions dissolving, the unnamable future invading? Halos contain lamas, clowns, and reverentially inclined space-alien heads in gold, green, and rich persimmon shades. Below them Spider Man, missiles, and slinky dakinis consort in pictorial space that uses a language of devotional art to narrate what it feels like, visually, to live in Asia in the twenty-first century. As various catalogues available at PW Contemporary testify, Tibetan art today is vital and varied. Gade’s is a vibrant voice within it, expressing his “intermediate” or outsider status. Is the artist criticizing Chinese militarism? Is he tweaking the hyperdevotional aspect of Tibetan Buddhism? These questions are irrelevant. The work operates in a viscerally symbolic mode and the artist endorses a postmodern view: A work’s meaning is more constructed by the viewer than decreed by its maker. Complex religious iconography collides with a mass of free-floating global signifiers in an accomplished performance. While all this may sound manic as described, the effect is slow-fuse curiosity. Attracted by a sultry beauty, you come close, gaze, and eventually walk away with a lot to mull over.
— lex rOss —a Mokha Laget, Bildung XXVI, 72” x 25” x 2”, 2009
Gade, Raging Fire, acrylic and natural pigments on cotton canvas, 39” diameter, 2010
CaSee Studie tudieS
it’s an understatement
that some pretty incredible artists live (or lived) in New Mexico; many off these artists have works in the state’s Museum of Art o ccollection. ollection. Curator Laura Addison, functioning as a Sherlock Holmes H olmes investigating the institutional system, has created a memorable exhibition out of what she found while digging in memorable the stacks. As posited by the very nicely done wall text, the premise for Case Studies from the Bureau of Contemporary Art affords Addison the perfect excuse to have at the museum’s collection and show—with intelligence and pizzazz—some of its better pieces. The “Memo re: Re-Assessment of Art Display Practices” wall text in the entry hallway rewards the interested viewer with an insider’s sense of the thought and care that go into curating a selections-style show, questioning how art gets displayed in museums. Addison’s questions, in the guise of the detective cum curator, include “Who determines the aesthetic value of an object?, How does a museum exhibition influence what we think about a work of art?”, and the ever-troublesome “Should we explain the artist’s intention in making the work?” This last question, versus “Do we allow the artwork to speak for itself without any curatorial or educational intervention?”, represents the eternal curatorial dilemma, offered for consideration by the very audience to whom the wall text is aimed—a presentation that allows the viewer to become part of the process to the extent that each desires or is capable of it. Interpretive materials are provided
neW mexiCo muSeum oF art 107 WeStt PalaCe avenue, Santa Fe
in the forms of clipboards chock full of idea as well as audio guides. The curator has drawn her conclusions; nonetheless, her methodology is transparent, and its bottom line, the exhibition itself, functions as its proof. It’s a fine exhibition of sixty-plus artists, and its Holmesian thesis is the house built on a rock-solid foundation of greatlooking, significant art. Frankly, no hypothesis would have been necessary for such a cogent creation to work, but it’s nice that Addison has gone the extra mile to give us one that works so well. After all, not many curators would consider opening a show called “My Favorite Art from the Museum’s Collection.” Although, come to think of it, I’d sure go see a show with that title. But that’s not what curators get paid the big bucks for; we expect from our state-run institutions—fairly or not— clever compilations that instruct and uplift as they entertain. The exhibition opens on an evocative minor note with Jennifer Joseph’s 9.2, a gauzy hornets’ nest of acupuncture needles and wire. The symphony gears up quietly in the first gallery with a display of reductive works that are anchored by two line drawings by the late, great Taos artist Agnes Martin. She used her linear compositions to project the Buddhistic beauty of empty space back onto the viewer, compelling him/her toward profound emotion. Thanks to author Lucy Lippard’s residence in New Mexico, the show includes an ink-wash drawing (No Title) by Post-Minimalist luminary Eva Hesse, as well as a perfect white painting from 1959 by Robert Ryman. Posed
against these magnificently unassuming artworks is ceramist Eddie Dominguez’s Time of Reflection, an installation of all-black tableware housed in a trastero. The focused regionalism here comes off quite well against works by celebrity artists. Again and again, Addison positions internationally known names— Bruce Nauman, Louise Bourgeois, and Peter Voulkos, among others, as well as the previously mentioned Martin, Hesse, and Ryman—amidst resident artists, including Tom Joyce, Eugene Newmann, and Meridel Rubenstein, to great effect. The result is a satisfying demonstration of New Mexico’s place in the contemporary art world, with the whole fame question going quite fuzzy: Isn’t James Drake a world-class artist? What about Joel-Peter Witkin? Of course they are, and their works in this show are spectacular. Our laying claim to these artists does not detract from their global status. This is one of Case Studies’ best qualities—that it extends well beyond the perceived limits of regionalism to feature plain-old, first-rate art. Not limited to New Mexico artists, the exhibition nevertheless manages to imply that all of its artists belong here somehow. After the first gallery’s opening notes, the music of the exhibition builds to a brawny, process-oriented splendor, brass and percussion going full volume, with big hitters including Nauman’s Three Tunnels Interlocking, Not Connected, a painterly charcoal drawing that reveals, as if there were any doubt, just how smart this artist is. Works by Joyce and Voulkos are included in this room, along with six Siluetaseries photographs by Ana Mendieta and a small Stake Woman sculpture by Bourgeois. Rick Dillingham’s Untitled Ceramic Vessel is numinous against Constance DeJong’s Nitrate Painting XV. Around the corner, Robert Gaylor’s found–plastic dishware installation is just so danged pretty that it’s irresistible. Sweeping into a symphonic finale, Sarah Charlesworth’s gorgeous Homage to Nature is all saturated color and form, and stands as a perfect companion piece to Erika Wannenmacher’s Head, Heart, Hands, a small self-portrait in carved and painted wood, and to Tasha Ostrander’s lush Detail from “Quinter’s Thought Trap.” On the wall behind them lies the exhibition’s piece de resistance, La Guadalupana by Delilah Montoya, a photograph blown up into a monumental altar installation that bears the brunt of what it can mean to be Hispanic in New Mexico. Next to it, Meridel Rubenstein and Ellen Sweig’s Portal to Archimedes’ Chamber: Oppenheimer from 1990 is a video installation that delivers the magic of creation and (atomic) destruction to the viewer with all the force of Kali herself, under her own spell in the Land of Enchantment.
—KaT aThryn m davis Robert Gaylor, Untitled XXIII, digital inkjet print, part of found-thermoplastic installation, 22½” x 30”, 2007. Gift of Natalie and Irving Forman, 2008.
| february/march 2011
© Robert Gaylor. Photo courtesy of the artist.
The magazine | 47
insolitus: Suda/CiFuenteS/Wall Skotia gallery 150 WeSt marCyy Street, Suite 103, Santa Fe
Insolitus: My Latin dictionary
(glad I kept it after Winnie Ille Pu) tells me that the title of this group show of three talented artists means “unusual,” “uncommon.” So insolitus is an apt way to characterize the recent, thoughtfully displayed exhibit at Skotia Gallery. G allery. It’s apt if only for the fact that what is common to the work of all three artists— JJoshua oshua Suda, Rodrigo Cifuentes, and Elliott Wall—is quite uncommon in contemporary art and rarely stressed or even taught in art schools today: namely, realism, denoting a art style of depiction that faithfully captures the visible appearance of objects, producing a “photographic likeness” in the case of the human subject, and a highly convincing illusion of three-dimensionality, with its fullest manifestation as trompe l’oeil. Suda and Wall achieve this hyperrealism with the aid of digital software programs (GIMP and Photoshop, respectively), beginning with manipulation of a photo image with the digital editing and retouching tool, and followed by the hands-on application of oil paint. Cifuentes works from a photo source as a reference but relies directly on draftsmanship to obtain a more tactile, textured realism. In Suda’s and Wall’s work the focus is the portrait, in the broad sense of the genre that embraces the model as subject rather than a specific individual, or sitter. In Wall’s oil paintings, several of the titles have a classical reference from Greek and Roman mythology: his Artemis is the Greek goddess of the hunt, the Roman Diana; the goddess in his Khloris is identified by the Latin poet Ovid as the Greek version of the Latin Flora, Roman goddess of flowers, wife of the west wind Zephyr. And Wall’s Lyre Plyre 3 depicts a nymph holding the ancient stringed instrument favored by Apollo—well actually, as any observant viewer would see, it shows the model posed as if she were a nymph. Wall follows the nineteenthcentury painting convention for figure studies involving a nude female, in which the model is portrayed in the guise of some classical goddess or mythic maiden. Happily so, since today (much as then), the viewer is as about as interested in the mythical reference as the moonlit model in Wall’s Artemis is in the quiver of arrows artfully placed by her side, towards which her languorous reach is simply a formal device of the artist to reveal the full sensuality of his reclining nude. Likewise for Khloris, whose dominant pale-green background, while symbolic of Flora, is largely a chromatic conceit to set off the figure of the crouching model. Wall’s model in Khloris—featured in four of his five paintings in the show—points up another aspect of his work shared in common with Suda’s paintings. The strength of the figure studies of both artists, beyond formal effects and vibrant immediacy, is in no small part a function of the artist’s choice of model, be it by design or chance. The female models who are the subjects of Suda’s Amalgamation, Disconnect, and At a Moment are visually interesting, as is Wall’s principal model for his paintings, invoking an artist-and-model tradition as recent as Andrew Wyeth’s Helga and as old as Rembrandt’s Saskia. Does that imply that either artist’s work would lose much of its appeal, if not its effect, without these specific models? Sure, why not. But if not, enough to warrant a healthy respect on the part of the artist for the role of the model as muse—a respect that Wall and Suda already bring to their work. The wry tone of the small graphite, oil, or graphite-and-oil studies of Rodrigo Cifuentes are in stark contrast to the formal tack of the works by the two other artists of insolitus. Yet Cifuentes brings a high degree of drawing skills to bear in rendering arresting images of meticulous decay and orderly dissolution. While his imagery is highly veristic, and in some pieces approaches photorealism, that verism is harnessed in the service of a grim and gritty social commentary. A kind of desperate black humor informs the surrealist image of a spider perched atop an infant skull ((Julio Ruelas Harassing a Child). The desiccated remains of one human jawbone ((Mexican Still Life) and the rotting flesh that clings to another (The Price of Technology Technology) merge for the viewer in a macabre pairing of memento mori with a grisly caveat emptor. A Goya on Gatorade, Cifuentes chronicles a rarely seen but never absent stratum of modern life for much of the world. The challenge to realist painting from photography, dating from the late nineteenth century, fades today in comparison with the mimetic capacity of digital technology to create and manipulate high-definition, 3-D imagery. Perhaps the only effective response can be found in the kind of work on view in insolitus, one which is marked, in the approach of all three artists, by an overriding sense of creative control and an underlying concern for poetic import.
—richard TObin Elliott Wall, Khloris, oil on panel, 60” x 36”, 2006
Paul thek: diver–a – retroSPeCtive
I hope the work has the innocence of those Baroque Crypts in Sicily; their initial effect is so stunning that you fall back for a moment and then it’s exhilarating. There are 8,000 corpses—not skeletons, corpses—decorating the walls, and the corridors are filled with windowed coffins... It delighted me that bodies could decorate a room, like flowers… —Paul Thek
experiencing the Paul thek ek
exhibition is like drifting into a mixed-up dream, riding the subconscious, and awakening the senses. “Meat” made of wax and hair, wearable wooden headboxes slathered in wax and decorated with dead birds, latex bodies covered in fish, paintings on newspaper, intimate journals, bronze rats, and a table held up by a plaster dwarf create a kaleidoscopic environment that is so clever and so physical it gets under your skin and takes your breath away. Thek was fearless in all realms of his art. He mocked the establishment, flaunted his sexuality, exposed his troubled and visionary soul. He created erotic and daring works when Minimalism and Pop were at their apex. He turned Conceptual Art on its head with messy, throw-away installations, works on newspaper, Polaroid performances, childlike paintings, and intimate journals—combining kitsch, folklore, myth, religion, and verbal and visual puns. An artist’s artist, he died of AIDS in 1989 at the age of fifty-four, ignored by the art establishment. The works of Robert Gober, Damien Hirst, Kiki Smith, Mike Kelley, and Paul McCarthy, to name a few, are offshoots of his visionary force field. Thek started as a painter, but his visit to the crypts in Palermo, in 1963, with friend and lover, photographer Peter Hujar, motivated him to explore the “hottest subject known to man—the human body.” When he returned to New York, he began making Technological Reliquaries— visceral sculptures responding to the emotional and spiritual bankruptcy of Minimalism and Pop Art. These “Meat Pieces,” made of painted wax, hair, leather, and metal tubing are presented in beautifully crafted Plexiglas boxes that glow with an eerie light like a Dan Flavin neon. The earliest objects look like chunks of meat, but the rotting flesh seems disembodied with no specific reference to where it may have come from. Ridiculing Warhol and Pop, Thek placed one inside a Brillo box. Other wax sculptures on view include casts made from the artist’s body. These dismembered limbs, some wrapped with leather straps, others decorated with butterfly wings, are displayed in coffin-like boxes, becoming visual puns on religious relics and suggesting bondage—slavery, control, and sex play. His most ambitious work of this period was a wax effigy of himself placed inside a pink ziggurat, The Tomb. Although The Tomb has been lost, fragments and photographic documentation by Hujar give us a glimpse of this surreal and sensual architectural installation that was later dubbed The Death of a Hippie. In spite of the attention that came from these radical works, Thek left New York because he felt the art world was becoming too commercial. He spent the next ten years as a Rimbaud-like itinerant working in Europe, where he created ephemeral, in-situ museum installations made out of impermanent materials such as latex, plaster, newspaper, candles, flowers, and sand—throw-away art—lasting only
for the duration of an exhibition. Many were collaborations with The Artists Co-op from Amsterdam. Fortunately the Whitney did not try to reconstruct these remarkable works, but has exhibited the bits and pieces that remain— along with photographs and video documentation. Through these fragments and images, we glimpse the intense energy generated by the completed works. Much was performance filled with Dionysian excess, yet coupled with curious innocence, childlike wonder, and deep engagement with Catholicism. He called his installations “Processions,” a reference to religious ceremonies, processions, and parades. The Dwarf Parade Table—a display of debauchery and destruction littered with empty Champagne bottles, a dead dog, and other detritus, supported by a plaster dwarf—could have been done by Paul McCarthy. A latex cast of Thek’s nude body, covered in fish, attached to the underside of another table, hangs above Dwarf Parade. The striking Fishman in Excelsis Table has disintegrated over time, amplifying the artist’s fascination with resurrection, rebirth, impermanence, and the dark side of the heart. When Thek returned to painting, he continued to create a complex visual vocabulary of contrast and contradiction. Many works were made on newspaper. While still in Italy, he
Whitney muSeum oF ameriCan art 945 madiSon avenue, neW york City painted Diver on a page from the International Herald Tribune (his “home ground”). The image of a naked man diving into a pristine azure sea suggests Thek’s fearless plunges into unknown, primal, and risky waters. It’s an apt symbol for the retrospective. This painting also seems a precursor to Bill Viola’s mystical water videos. Thek’s final works include small, jewel-like landscapes and paintings with text and images that seem to be made by a child. Many are hung low on the wall, close to the floor, with children’s chairs in front of them. The artist knew he was dying, so the contrasting images of New York City enveloped in a misty glow beside childlike works alluding to death—such as a crudely drawn clock with hands at eleven o’clock with the text, “FACE OF GOD”—become poignant poems of loss, especially since they seem to be slipping toward the ground. The most personal works on view are Thek’s journals. Intimate musings mingle with beautifully rendered images. The journals break your heart, make you laugh, challenge your thoughts, and impel you to feel. Thanks to curators Elisabeth Sussman and Lynn Zelevansky, Thek’s extraordinary vision, overlooked and unrecognized in his lifetime, is getting the attention it has always deserved.
Paul Thek, Untitled Untitled,, from the series Technological Reliquaries, wax, paint, polyester resin, nylon monofilament, wire, plaster, plywood, melamine laminate, rhodium-plated bronze, and Plexiglas, 14” x 151/16” x 7½”, 1949
| february/march 2011
The magazine |49
Collaborate - Create - Communicate
FlavorGrafix e s t 1 9 9 2 - w w w. F l a v o r G r a f i x . c o m - 5 0 5 - 3 1 6 - 0 2 3 7
Elizabeth Kapu’uwailani Lindsey, Ph.D.,
The first female National Geographic Fellow, award-winning ward-winning filmmaker, and anthropologist Ancient Light In an era of technological advancement we are bloated with information yet starved for wisdom. Our deepest knowing is obliterated by modernity’s franticness. Perhaps one day we will conclude that faster is not always better and more is never enough. During this period of uncertainty it would be wise to re-right the script, where wealth is measured by generous acts and leadership, by courageous vision. How different our circumstances would be if we remembered that as one race, divinely human, we were born for a higher destiny destiny. Like ancient mariners who charted unknown seas, we are now the voyagers. As it was with my ancestors, whose resources on double-hulled canoes were finite, so it is on this vessel called Earth, making our reliance upon one another crucial. It’s time we cast light into dark, fear fear-based places where we separate ourselves by color, culture, economics. Call it what you will, prejudice, hatred, anger anger, judgment, self-inflicted pain, it’s borne of the same bitter fruit that serves no one. In this daring, next chapter we would be wise to compose a legacy for those yet to be of an enlightened endowment based on humility and humanity; a wisdom that measures success not by power but by compassion, where the value of youth gives way to the wisdom of age. Like the stars which guided our forefathers into vast, new frontiers, our legacy can, and must, be as illumined, for we are beneficiaries of Ka Po’e o ka Malamalama, the Light of the Ancients. K
Photo © Jennifer Esperanza | february/march 2011
The magazine |51
t s no i is zing sic! o a n an m mu e pi is a et d ther. e e th t h an m g Wha d s ne roo n i a u ay g. re t e g Pl zin an this th a I c h to am at inis off th ’ll f m I Ia
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Spring Melt photograph by guy cross | february/march 2011
THE magazine | 53
MY NAME IS ABSTRACT By david BresKin I will put those critters in their place. I will turn the world inside out. Turn wolf into dog. Learn. I will learn the world. My cave’s but a nascent condo, my arms thrown rocks for starters. See this lightning strike lecture how to slash-and-burn the world. Gaur becomes cow. Macaw becomes headdress. Elephant, spear then grand piano. It’s all very much my concern, the world. If the hunting is exhausted, or too exhausting here, bloody right I’ll go there. I’m hardly out to churn the world. Mistakes, sure. There have been problems with rats and many things too small to see. But I hang in there. I don’t spurn the world. Take the garden. Early work, and no mean feat. Putting plants in rows brought neat sliced bread and more, machines to quern the world. This cuts that. I’m cold, that cat can be my coat. There’s water under dust. As you can see, actually, I yearn the world. A tracing finger in the dirt made huge but quiet bang. Numbers: a brand new liquid. Now I can CERN the world. There are headaches. Eels, goats, butterflies, they’ve got no worries, No loose particles, no lost bits. Me, I can urn the world. It’s a sexy gas – revved up by the voltage, the chutzpah, the wiles, the nads, the art and the oomph to adjourn the world.
David Breskin’s poems have been featured in The Paris Review, The New Yorker, and Parnassus, among other publications, and he is the author of Fresh Kills Supermodel, and The Real Life Diary of a Boomtown Girl. In Dirty Baby (Prestel, $125), Breskin collaborates with composer and guitarist Nels Cline in response to artist Ed Ruscha’s “censor strip” paintings. Breskin matches his ghazals, an ancient form of Arabic verse, with works by Ruscha. The book includes CD recordings of Cline’s compositions as well as Breskin’s poetry readings, and is intended to be a multimedia experience. The title of the book alludes to the union of three different art forms, giving birth to a “dirty” yet captivating mongrel. This book is Breskin, Ruscha, and Cline’s “Dirty Baby.”
Image: Ed Ruscha
54 | The magazine
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