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Santa Fe’s Monthly

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of and for the Arts • July 2012

L E AT HE R L E G AC Y : A A RO N L O P E Z T H U R S DAY, J U LY 12 , 5 – 7 P M

53 Old Santa Fe Trail

Upstairs on the Plaza

Santa Fe, New Mexico


5 Letters 18

Universe of santera Virginia Maria Romero


Art Forum: Julie Blackmon

25 Studio Visits: Nicolas Herrera and Tara Evonne Trudell 27

Food for Thought: The Hot Dog


One Bottle: The 2009 Comte Abbatucci Ajaccio Rougem“Cuvée Faustine” by Joshua Baer

31 Dining Guide: Il Piatto, Chopstix, and Estella’s Cafe

49 Interview: James Kelly 53 Critical Reflections: Charles Ross at Gerald Peters Gallery; Dialogues in Steel at Charlotte Jackson Fine Art; Joe Ramiro Garcia at LewAllen Galleries; John Chervinsky and Jenna Kuiper at Richard Levy Gallery (Alb.); Miguel Gandert at Andrew Smith Gallery; Odyssey + Art: The 1960s at Yares Art Projects; Tom Waldron at William Siegal Gallery; and Transparent at the Lannan Foundation 67 Green Planet: Jeremy Allen, photograph by Jennifer Esperanza 69 Architectural Details: Vacancy, photograph by Guy Cross 70

Writings: “The Gathering of Ravens,” by Cynthia West

35 Art Openings 36 Out & About 44 Previews: ART Santa Fe, Center for Contemporary Arts, and SITE Santa Fe 47 National Spotlight: The Collaborative at the Museum of Latin American Art, Long Beach, CA

Photographer Norman Mauskopf is decidedly old school. Eschewing digital photography, he shoots with a Leica using black-and-white film. Much more than just a documentary photographer, Mauskopf is also an anthropologist, making photographs of Northern New Mexico’s vanishing Hispanic culture. Descendents (Twin Palms Publishers, $60) is beautifully printed and designed—see the glorious two-page spreads shot with a panoramic lens, particularly the photograph of a white horse with a derelict barn in the background and the image of an abandoned truck set against a background of homes and outbuildings under a leaden sky. Mauskopf’s photographs of low-riders, of the interiors of homes, and of sacred and secular ceremonies and events are right on the mark. A big plus is that there are no captions or text to distract from the photographs. At the back of the book is a poem by Jimmy Santiago Baca entitled “Singing at the Gates”—a wonderful complement to Mauskopf’s photographs. Mauskopf is the recipient of the W. Eugene Smith Fellowship for his work on this project.


28 APRIL–15 JULY 2012 Transparent presents painting, photography, sculpture and works on paper spanning over 50 years from the Lannan Collection. Each artwork embodies an aspect of the word transparent, from transmitting light so that what lies beyond is seen clearly, or being fine or sheer enough to be seen through, to work that is free from pretense or deceit, or that seems to allow the passage of x-ray or ultraviolet light.

309 Read Street, Santa Fe, NM 87501 Tel. 505 954 5149 Gallery Hours: Saturdays and Sundays from noon to 5pm (weekends only) Image: Uta Barth, Ground #78, 1997, color photograph on panel 41 x 39 inches, Collection Lannan Foundation


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

Brace for Impact—a two-person show with disturbing dioramas by M.J. Husband and mixed-media work and paintings by B.J. Quintana at Eggman & Walrus, 131 West San Francisco Street and 130 West Palace Avenue, 2nd Floor. Reception: Friday, July 20, from 5:30 to 9 pm. Exhibition runs to August 11. Image: M.J. Husband.

fac e boo k C h i e f Laura Shields C ontributors

Diane Armitage, Joshua Baer, Julie Blackmon, Davis Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Iris McLister, Irene Orcott, Suzanne Sbarge, Leon Shellburne, Richard Tobin, Cynthia West, and Susan Wider CoVER

Photograph by Miguel Gandert Courtesy Andrew Smith Gallery, Santa Fe

A D V e rtising S al e s

THE magazine: 505-424-7641 Edie Dillman: 505-577-4207 Chase Auldt: 505-690-3639 D istribution

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St. Suite A. Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, Email: Website: All materials are copyright 2012 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unsolicited materials. As well, THE magazine is not responsible or liable for any misspellings, incorrect dates, or inc rect iformation 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.

| j ul y 2012

TO THE EDITOR: Nice review in your May issue of the Interlopers show at Evoke Contemporary, which was built upon the Sandy Besser Collection. We were blessed however that Evoke chose to double the work being shown to include several huge drawings in black-and-white on paper by Harriet Yale Russell. Not only did the size and scale dominate the center section of the gallery (they were beautifully mounted and lit), Russell’s imagery is in no way related to the contemporary realism that has been considered the staple of EVOKE exhibitions. It is instead a clear and exciting statement that imaginatively developed abstract imagery is alive and well in American art. There is, first, no way to describe the effect of what Russell does to her paper or the marvelous flights she takes us on. With a vast range of ink densities and black-andwhite tones she creates textures and volumes that are a match and more for Kim Stanley Robinson’s universes. But while her images and line work are vigorous and ebullient, she develops effects that can be reassuring and grounding. I could carry on about Russell’s work (I’m sorry your reviewer missed it) but I urge your readers to catch up with her at EVOKE and I congratulate the gallery for taking a bold step on behalf of some important art. —Wadman Daly, via email TO THE EDITOR: This is in response to William Peterson’s letter regarding THE’s review of Agnes Martin: Before the Grid (May 2012). While I too find nothing in Agnes Martin’s Expulsion painting to support any link to Masaccio, beware any attribution that begins with “It’s quite obvious,” as Peterson’s letter did. Mr. Peterson makes a credible argument that Martin’s amorphous composition could depict Daphne and Apollo, but on visual and stylistic grounds the pair of figures could just as easily depict Daphnis and Chloe, or even Pasiphae and the Bull, or Adam and Eve. Regarding his linkage of Agnes Martin’s painting to AbEx style á la Mark Rothko’s Slow Swirl on the Edge of the Sea (1944), and to Picasso and Miro as part of a desire by Martin to

explore ancient myths as a form of what Jung called the “collective unconscious”: While aspects of Martin’s painting do recall Rothko’s work at this time (e.g. Slow Swirl, especially the red and blue accents), Martin’s canvas, like Rothko’s before her, seems to me to be closer overall to Gorky’s “biomorphic landscapes” of this time—e.g. similar to his large Summation (1947) in pencil, pastel, and charcoal on buff-colored paper mounted on composition board. When you move from style to iconography (themes, content), the claim for Martin’s link to the AbEx interest in classical mythology and Jungian collective unconscious doesn’t find much traction. Martin was not an intellectual and literary in the sense that the AbEx painters were, and her own interest in classicism began earlier, at Columbia University Teachers College, dating from the early 1940s. The Adam and Eve story does fit, I believe, and for two reasons. First, the title goes back to the original owner, a partner of Agnes’s who would not likely make up the title, or would at the least indicate that she (partner) did not know for certain the title or subject; and even in that case—if the partner herself was making an attribution—she’d likely draw upon what Agnes was thinking and doing at that time based on her relationship with Martin. Second, the Adam and Eve story is the iconic image of one of the fundamental tenets of Calvinism—man’s absolute depravity due to original sin and the subsequent fall (of Adam and Eve) from grace and expulsion from the Garden. This tenet is one she had, I would argue, wrestled with for years and only resolved—however tenuously—by 1972 (see The Untroubled Mind). sAll that said, and provided we have no explicit proof that the Expulsion title was given by Agnes Martin (directly or through her partner at the time), Peterson’s takes on the painting, while not compelling, are credible and intriguing. —Richard Tobin, Santa Fe, via email

THE magazine welcomes your letters. Letters may be edited for clarity. Send to: THE magazine | 5

Robert Kushner




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

5 - 7 PM


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

David Kimball Anderson tRAVEL : ROME, NAMCHE

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

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

653 Canyon Road Santa Fe NM 87501 505 983-2745



J U LY 1 2 - 1 5 , 2 0 1 2

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FRIDAY, SATURDAY, SUNDAY / JULY 13, 14, 15 / 11-6 PM / $10 AT THE DOOR/ 505.988.8883 / WWW.ARTSANTAFE.COM



SATURDAY, JULY 14 , 6:30 P.M. / New Mexico History Museum / $10 ART Santa Fe Presents keynote speaker Acclaimed Art Critic and Art Historian


ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234 1st Row: Ken Asahina, Gallery SUDOH, Odawara City, Japan; Luisa Gonzalez, Consorcio de Arte, Buenos Aires, Argentina; Marcelo Suaznabar, Romano Fine Arts, Apote, Bolivia; 2nd Row: Angel Fernandez, Cohn Drennan Contemporary, Dallas, Texas; Master Artist Fazli, Galleria Kabul, Kabul, Afghanistan; 3rd Row: Katsu Ishida, Systema Gallery, Osaka, Japan & Kathmandu, Nepal; Yasuo Jo, Watanabe Fine Art, Osaka, Japan; Paola Rascon, El Paso Community Foundation, El Paso, Texas & Juarez, Mexico

downtown Gallery

ForrestMoses sylvan wateRs june 29-july 29.2012 artist Reception: friday, june 29, 5:30-7:30 pm

railyard Gallery

WoodyGwyn elements of landscape july 20-august 26.2012 artist Reception: friday, july 20, 5:30-7:30 pm

LewAllenGalleries Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 125 W. Palace Ave. (505) 988.8997



C A S E S T U D Y | J U LY 2 7 - A U G U S T 2 7 , 2 0 1 2 O p e n i n g R e c e p t i o n f o r t h e A r t i s t : F r i d a y, J u l y 2 7 , 5 : 0 0 - 7 : 0 0 p m

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

C h a r l e s A r n o l d i , Wu r s t e r, 2 0 1 1 , a c r y l i c o n c a n v a s , 6 4 x 5 6 i n c h e s

Leich Lathrop Gallery

Representing Artists Aaron Bass, Helen Cozza, Donna Dodson, Chuck Lathrop, Krittika Ramanujan, Stephanie Lermer, Andy Moerlein, Stephanie Roberts, and Carol Sanchez

Gallery hours: Tuesday - Sunday 10 am to 5 pm Plazuela Sombra

323 Romero Street NW, Suite 1 • Albuquerque, NM 87104 Phone: 505.243.3059 •

Joanne Lefrak Treasure Sites

June 29 – July 21





in the absence of others 2011, Archival Inkjet on Somerset Watercolor Paper, 21x 48 inches unframed, edition of 2

BarBara harnack

MichaeL LancaSTer

“Top hat - early circus series” 15.5 x 10.25 x 10.25 raku fired ceramic, bakelite, gold thread, paper

a novel by Michael Lancaster at

this artist page sponsored by SanTa Fe capiTaL ManageMenT, LLc helping artists, scientists and others with retirement and wealth management Sam DeLuca, CFP • 3600 Rodeo Lane, Santa Fe, nm 87507

J U LY 6 – A U G U S T 1 1 , 2 0 1 2 PREVIEW & RECEPTION F R I DAY, J U LY 6 , 5 : 3 0 – 7 : 3 0 P M

YARES ART PROJECTS 123 GRANT AVE, SANTA FE, NEW MEXICO 87501 w ww. ya re s a r t proj e c t s . c om (505) 984- 0044 Above: Sheet Series II

2012 (diptych)

23.75 k gold on glass

24" x 80" x 7"

A major Santa Fe summer event!

Twenty-five acclaimed artists from across the USA and Canada

Juliette Aristides William Barnes Daniel Barsotti Lyndall Bass Michael Bergt Steven Boone Lea Bradovich

Braldt Bralds Susan Contreras David Copher Edward Fleming Flicker Matthew Gonzales Kevin Gorges

Michael Grimaldi David Hoptman Daniel Hughes Laila Ionescu Geoffrey Laurence Charles Pfahl Coulter Prehm

Elias Rivera Christopher Rote Anthony Ryder David Simon

- Curated by Geoffrey Laurence -

July 6 - August 5 Public opening, July 6, 5 - 7 PM

The Steven Boone Gallery 714 Canyon Road, Santa Fe, New Mexico, 87501 Ph. 505-670-0580 • Email: • To see all the artwork, go to:

Dan Hughes


oil on canvas

48 x 36 inches

Heads up The Art of the Portrait

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

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ALAGalleries ARTSAtDISTRICT Lincoln Avenue

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

ďŹ rst friday artwalk monthly ~ 5 - 7pm

Legends Santa Fe nicholas herrera

David Richard Contemporary merion estes

Blue Rain Gallery roseta santiago

Pippin Contemporary sandra duran wilson

Allan Houser allan houser | quintessential works

Evoke Contemporary re-presenting the nude II

Niman Fine Art arlo namingha

Windsor Betts john nieto


IN THE PURSUIT OF HAPPINESS WHAT MAKES PEOPLE HAPPY? IS POVERTY MORE THAN A LACK OF MONEY? HOW DO WE MEASURE WELL- BEING, INDIVIDUALLY AND COLLECTIVELY? CCA presents IN THE PURSUIT OF HAPPINESS, an exhibition and symposium that stimulate dialog around art, inequality, and changing public policy. EXHIBITION: July 20–September 9, 2012 Artist Regina Foster, visionary economist James Foster, and a panel of experts explore these questions and more on Friday, July 20. OPENING RECEPTION & SYMPOSIUM: Friday, July 20, 2012 Symposium: 6:30–7:30pm Opening Reception: 7:30–9:00pm Muñoz Waxman Gallery 1050 Old Pecos Trail Santa Fe NM, 87505 | 505.982.1338

CENTURY BANK sponsor of the exhibition and synposium




June 29 through July 20, 2012



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


group show curated by John O’Hern

06 july 5 – 7 pm friday evening through 31 july 2012

Jamie Adams | Jeanniestretch, 2010, oil on linen, 42 x 54 courtesy Zolla / Lieberman Gallery | Chicago


four hundred years ago, the Spanish came to the New World and brought significant changes. One of the most lasting changes was their faith—Catholicism. Painted and carved images of saints (santos) have lived in the homes of Hispanic and Native American New Mexican families for hundreds of years. Santeros, the local artists who made the santos, began to carve and paint the saints to supply churches and homes. Enter Virginia Maria Romero, a self-taught, awardwinning santera who has taken the retablo, redefined it, reinvented it, and made it her own. Her contemporary religious retablos are inspired by the culture of New Mexico and by her Polish-Irish heritage, which sets her work apart from others of that genre. The style, color, and composition of her retablos exhibit her uniqueness and creative quality. An exhibition of her work will be on view at Manitou Gallery, 225 Canyon Road in Santa Fe. Opening reception on Friday, July 27, from 5 to 7: 30 pm.  

Becoming a santera I became a santera quite by accident—or maybe not. In 1998, my mother passed away suddenly and unexpectedly. I was handed her belongings in a plastic bag. In the bag were the clothes and shoes she had been wearing and a small red cloth pouch in which she carried several small crosses. The crosses seemed to me a sign or a symbol with a hidden purpose, left for me to figure out. With the crosses—and turtle as my guide (I believe in totem animals)—I was led to Our Lady of Guadalupe parish, in Tortugas, New Mexico. As a result I was inspired to paint a retablo of Guadalupe, which began my vocation as a santera.  

Using Traditional Materials For my retablos I use traditional materials including carved and adzed pine, homemade gesso, watersoluble and hand-collected pigments (ochre, cochineal, black walnut), homemade piñon sap varnish, and wax.  

Retablos for Religious Purposes & the Retablo as Decoration Some people choose to talk about, define, and lecture about their spirituality. I choose expression through my artwork. I am not a scholar on the subject of the meaning or purpose of religion or saints, but I do know that my work has a purpose to me, and to others who have expressed to me how my work affects and inspires them. I think it is a personal choice of how retablos are to be used. It is not up to me to define what that purpose is to others. For me, retablos have a religious purpose.  

The New Work My new works consist of retablos, altars, crosses, and acrylic paintings. In some of the pieces I continue to combine saints and animals. I’ve also just released a new CD—Iktushiwi/Raven Speaks— in collaboration with Karuna R. Warren & the New World Drummers, with my artwork and poetry. I feel my work speaks for those whose voices cannot be heard.

Photograph | j ul y 2012


Guy Cross THE magazine | 19



Dear Friends, Thank you for joining us on May 5th for a day of blessing and celebration as we consecrated our campus. We are overflowing with gratitude to all who participated, and for the depth of conversation and connection we are creating together at the Academy. In the company of our friends and supporters, including special guests, we honored the history of this land, as well as the history and lineage of the Academy, and began to look together to a brighter future of learning and education serving future generations. We invite you to join with us in deepening the conversation by attending an Academy Program, making a donation to our work, and by attending our free Ernest Thompson Seton 152nd birthday celebration event on Saturday, August 11th. With Gratitude, Aaron Stern, Founder and President rSvP and questions to:

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JOHN RUDDY & TAYLOR DALE July 1st 1st July66- August - August

Opening receptionFriday Friday 6, 5-7pm Opening Reception JulyJuly 6, 5-7pm Taylor A. Dale Fine Tribal Art presents Taylor A. Dale Fine Tribal Art of presents Antique Ceremonial Containers Tribal Cultures

Ant ique Cer em onial Cont ainer s of Tr ibal Cult ur es

John Ruddy Textile & Ethnographic Art presents Hard to Resist: Resist-dyed Textiles from Asia

**Special Folk Arts Week Event** Gallery Talks Wednesday July 11 3-4:30 pm

Upstairs at 129 W. San Francisco Street, Santa Fe NM 87501•505-989-9903 Tuesday – Saturday 11-5 & by appointment


THE magazine asked three persons involved in the arts and a clinical psychologist to share their take on this photograph—Olive and Market Street—by Julie Blackmon. They were shown only the image—they were not told the title, medium, or name of the photographer. An exhibition of new work by Blackmon is on view at photo-eye Gallery, 376-A Garcia Street, Santa Fe. Opening reception: Friday, July 13, from 4:30 to 7 pm. An intense little girl directs us to look at

Trinity: young man, old woman, and ingénue.

to find the source of the music? Before she has

with horizontal and vertical compositional

this cityscape. She is the only emotionally

Maybe it’s Mary Magdalene and Christ and

time to decide, a boy on a bike zooms past her,

conceits, set off by an off-kilter STOP sign.

charged figure in the artwork. The other

the dog is just a fluke, or better yet, the Man

almost knocking her down and nearly hitting a

The young girl in the center of the frame

people are apathetic and disconnected

incarnate. And what about that mural on

dog in the road. The dog lets out a shrill bark.

turns to look at the viewer—human contact,

from each other, functioning in isolation.

the wall? It looks like some Socialist Realism

She stands frozen, paralyzed for the moment.

perhaps—while what might be her dog heads

A mural on the left shows a man watering

propaganda piece about how hearty Russians

She takes a deep breath and keeps walking,

for a discarded hamburger lying in the street.

a tree, the warmest part of the image—but

love tending the communal fields. I really

humming the melody in a minor key.

In a window are two children, just watching.

he too is indifferent to the other people.

want to know what the poster is on the door

A dog crossing the street and the birds above

dead center. That’s probably the key. I don’t

also show no interest in the street action.

know, but someone needs to give the girl a

The road itself is a crossroads at a dead end,

wakeup call.

echoing the somber mood of the work. A centrally located building has opaque glass

—Irene Orcott Art Tourist

windows which allow neither outsiders to

—Suzanne Sbarge Executive Director, 516 ARTS

Add a flock of birds in the sky moving right to left, juxtaposed against an airplane moving left to right, and you have an image (whether

There are many elements in this image where

a photograph or photo-realistic painting)

all of the action takes place at a T-junction.

made by an artist who is essentially a collagist

An old women with a cane walks from left to

madly in love with formal composition, one

right carrying a shopping bag, with an image

who finds beauty in imagery replete with the

see in nor insiders to see out to the street.

She looks back, trying to figure out where

on the bag of a “ripped” young man. Strange.

theme of alienation. This image is reminiscent

Two children (possibly boys) stare blankly

the music, just barely audible in the distance,

Who could it be that she has been shopping

of one of those goofy puzzles you saw when

out of the window of an apartment. Perhaps

is coming from. She finally recognizes the

for? Seen from behind is a male figure carrying

you were a kid, which asked, “What’s wrong

the artist felt depressed while creating this

Russian waltz in D minor, called Expectation.

a rolled-up newspaper. Exiting the frame on

in this picture?” Only thing that does not make

work. Homes are often interpreted as the

Her grandmother used to play it over and

the left is a partial image of a young, white man

sense in this picture to me is that the shadow

self. Metaphorically, homes represent the

over on the accordion, with a strange look of

wearing a sweatshirt, shorts, and sneakers.

of the young man in a hooded sweatshirt is

psychological experience someone “lives

concentration on her face. Time stops, as she

The hood on his sweatshirt is pulled up over

not falling in the same direction as the other

in,” in the past or present. These children

remembers the twist of her grandmother’s

his head, the same way Trayvon Martin wore

shadows. I guess that is what one might call

may signify the artist’s childhood. Blocked

mouth, the far-away look in her eyes, and the

his sweatshirt. Is he dangerous? Maybe, maybe

the artist’s prerogative.

windows are also metaphors for secrets.

muscles moving in her neck as the bellows

not. You just never know. I suspect that he is

This image is full of life, human and animal,

move in and out. Should she go back and try

simply an element in an image that is filled

—Leon Shellburne Struggling Artist

yet it fills us with a sense of detachment and apathy. Life is heartbreaking for all the people in this photograph.

—Davis K. Brimberg Ph.D., Clinical Psychologist I used to have a red coat like that, a little Red Riding Hood coat for the holidays. An old woman wears it on a clean city street, too clean to be New York. but is that a hipster? Maybe it’s Portland. Hansel and Gretel are probably in Florida sunbathing despite the trail of readily available breadcrumbs. Then there is that annoying blonde preteen looking back over her shoulder—she is so annoying. Angel-blond hair and a stellar pout, she seems to say, “I’m ready for my close-up, Mr. DeMille.” Gosh, why did THE magazine choose this image? It’s so creepy and strange. Why is that girl staring at me? I’m sure that’s what people said about Manet. The three figures make a triangle like some Holy

22 | THE magazine

| j ul y 2012

LENNY FOSTER’S LIVING LIGHT GALLERY “In the Time of Angels” A Series of Archival Pigment Prints by Award-Winning longtime Taos resident Lenny Foster

“Threshold to Grace”

Saturday, July 7, from 5 to 7pm During the Kit Carson “Gallery Stroll” Sometimes angels disappear into the crowd, humbly checking our groceries, delivering our mail, or tending to the most mundane of tasks. If we can open our eyes for a moment and view the world as they do, we would be amazed at how easy it is to see the divine spark in each of us. To witness a miracle is to begin to see our neighbors in their angel wings, and to realize that we don them, too.

107 Kit Carson Road, Taos • 575.737.9150 •

Francisco de Goya once said, “Fantasy, abandoned by reason, produces impossible monsters; united with it, she is the mother of the arts and the origin of marvels.”


Sometimes when I have a fantasy of making a piece of art,  I get scared. I find that when I think about what I want to do too much, then I don’t do the work. Other times when I am scared yet still do what I want to do, it always ends up being okay. Even if some people are going to get pissed, at times I make art that not everyone is going to be happy with—I just can’t do “pretty” work, I can only make work speaks to me, like my piece La Conquistorda.

—Nicholas Herrera In 2011, Herrera had a one-man show at Legends Santa Fe, a father-and-daughter show at the Harwood Museum of Art, Taos, and was in the annual El Rito Studio Tour. In 2012, Herrera will be having an exhibition—Mestizo—at Legends Santa Fe, opening on July 6, which will feature two collaborative works with artist Susan Guevara. Herrera is a participating artist in the Santa Fe Symphony’s 2012 Painted Violins event in October.

The realities of my life have challenged me since I was a child. I never really learned how to “cope” merely relying on survival instinct many times to move forward. These realities fed my fantasies and it became clear to me when I decided to reclaim all those broken parts of me, that in order to really rise in my life, not merely “survive,” it would be crucial to reveal these excruciating parts that made me whole. Art, in any form, is not only a healing tool, it is the next breath, the release of creative energy, the cultivating of spirit and self. As an artist and woman, combining words with visual art through film, poetry, photography, and mixed media has allowed this wonderment with such purposeful passion and fearlessness that I am humbled to be such a vessel to represent the woman-ness, the earth-ness, and the excruciating honesty of feeling.

—Tara Evonne Trudell Trudell is in the process of filming and documenting her summer. The documentary is called Poetry in Random Places. Trudell says “It is not an easy process baring one’s soul in the words of poetry, but the excruciating beauty of this fascinates me and inspires me to continue on this path.” She will be reading poetry in random places: farmers markets, street corners, fields of corn, and sidewalks.


| j ul y 2012


Anne S taveley

THE magazine | 25

Taste the New Southwest


Inspired by Northern New Mexico and infused with local and organically sourced ingredients, Chef Charles Dale’s new menu blends a sense of balance, place and comfort to create a new twist on Contemporary American Cuisine.

shibumi R







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 ■ Fragrance Free

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Cindy Sherman signed C-print. 14” x 14” # 107/125, 1985. $8,000. Your price $7,000

OTHER WORKS AVAILABLE BY Wes Mills • Robert Stivers • Forrest Moses Edward Stanton • Kathleen Morris • Rose Simpson and a host of other artists 505-570-1460 for appointment

food for thought

The Hot Dog In France it’s called a chien chaud. In Spain it’s a perrito caliente. If you were in Germany, you’d ask for a heisser hund. But most likely you’d enjoy it at home, at a picnic, or at a baseball game—after all, there’s nothing more American than the hot dog. The hot dog’s genealogy traces back to Germany, where the frankfurter was developed in the 1800s. German immigrants were responsible for bringing these thin, spiced sausages to the United States. The origins of the hot dog as we know it—a frankfurter nestled in a bun—are subject to debate. Some credit Coney Island businessman Charles Feltman, who began selling sausages in rolls in 1867. Others believe they were created in 1904 by peddler Anton Ludwig Feuchtwanger, whose wife suggested that he serve his steaming hot sausages in buns so his customers wouldn’t burn their hands. Whatever their origin, hot dogs became one of our country’s most iconic foods. According to the National Hot Dog and Sausage Council, Americans typically consume seven billion hot dogs—or eight hundred and eighteen hot dogs per second—during “Hot Dog Season,” which lasts from Memorial Day to Labor Day. On Independence Day, Americans will enjoy one hundred and fifty million hot dogs, enough to stretch from D.C. to L.A. more than five times. D

| J U L Y 2012

THE magazine | 27

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One Bottle:

The 2009 Comte Abbatucci Ajaccio Rouge “Cuvée Faustine” The Man Who Threw His Life Away told us that everything we believed in was

bunch of old Burgundies, pour them into a crater, and decant the mix into

a lie. “You sit here, eating and drinking,” he said. “You say grace, you laugh at

brand new Corsican bottles? Is that your idea of a practical joke?”

each other’s jokes, you bitch and moan about the politicians. You think you’re

“I would never do that,” I said.

safe, but you’re not. The truth is, you’re in danger, but you don’t know it, which

“Then why does this taste like a fifty-year-old Chambertin?” he said. “This is

makes your chances of survival that much worse. Everything you learned in high school, or from your parents—everything you think life has taught you? All of that was a lie. None of this is your fault. You never decided to grow up in a culture

the best red wine I’ve ever had.” “Jean-Charles Abbatucci,” I said. “He’s the best of the Corsicans. Or one of the best.”

of dishonesty. But you grew up in one anyway, and now you’re all functioning

“What’s the grape?”

parts of the lie. You depend on the lie as much as the lie depends on you.”

“Seventy percent Sciaccarellù, thirty percent Nielluccio. Nielluccio’s their

I asked The Man Who Threw His Life Away to explain what he meant by a culture of dishonesty. “Take your opinion of me,” he said. “You think, because I threw my life away, that I’m a loser. You won’t say it to my face, but if I wasn’t here tonight, you’d say it to each other. ‘All that talent, and look what he did with it.’ The truth is, you pity me. You think I’m a wasted soul. What you don’t know—what you can’t know—is that when I threw my life away, I set myself free.” “And why can’t we know that?” said Cold Razor.

Sangiovese. Sciaccarellù’s unique to Corsica. It’s interesting that it reminds you of an old Burgundy.” The Man Who Threw His Life Away gave me what we all referred to as his friendly scowl. “Why is that interesting?” he said. “At blind tastings, masters of wine use Corsican reds made with Sciaccarellù to fool aspiring sommeliers. The theory is that it tastes like Pinot Noir.” “Do you subscribe to that theory?” “No. To me, the only thing that tastes like Sciaccarellù

“Because you worship at the altar of self-deception.”

is Sciaccarellù. Not that I have a whole lot of experience drinking

We were sitting around the big oak table in the kitchen at

Corsican reds. Or tasting them blind.”

my house, eating what was left of a roast chicken dinner. My wife,

“You always belittle yourself,” said The Man Who Threw His

Queen of Wands, had cooked the chicken. I had picked out the

Life Away, “at least when it comes to wine. I like that.” He turned

Champagne and the other wines. It was not so much a dinner

to Long Eyes. “Does that answer your question?”

party as a gathering of misfits who liked to eat and drink in the company of other misfits. Careless Wizard was there with his

Which brings us to the 2009 Comte Abbatucci Ajaccio Rouge “Cuvée Faustine.”

wife, Relentless Nymph. Jaguar Lady had flown in for the dinner,

In the glass, Abbatucci’s “Cuvée Faustine” is a clear,

all the way from Morelia. Her new girlfriend, Long Eyes, was

unapologetic scarlet. The bouquet is the wine’s first shot

sitting on Jaguar Lady’s lap. You would think that two grown

across your bow. It reminds you of coves, monasteries, oases,

women would have a difficult time eating dinner with one of

and sacred groves. On the palate, the “Cuvée Faustine” is so

them seated on the other’s lap, but they had a knack for it.

authentic, so direct and pure, that the hair on the back of your

My guess is, they had done it before.

neck stands up. I have tasted some emotional wines but none

Cold Razor was there, too, with his wife, Blessed Ages.

of them sent chills up and down my spine. I have to warn you

Under any other circumstances, Cold Razor would have been

about the finish. If you think falling in love is something that only

the guest of honor. He had written a series of macho-man novels

happens between people, or between people and animals, or

about the end of civilization. One of the novels, A Complete

between people and the color of the ocean, then you will have

Game, had been made into a movie starring Elder Whack-Job and

your opinions about love rearranged by the finish of the 2009

Perfect Ass, so Cold Razor was a celebrity, at least for Santa Fe,

Abbatucci “Cuvée Faustine.”

which made Blessed Ages a celebrity, too. But in a room with The

Late that night, after the other guests had gone home and

Man Who Threw His Life Away, it was no contest. Wherever The

my wife had gone to bed, I asked The Man Who Threw His Life

Man Who Threw His Life Away ate dinner, he was the guest of honor.

Away if he wanted a bottle of the “Cuvée Faustine” to take with

Long Eyes lifted her glass. “Not to change the subject,” she

him. “No thank you,” he said. “The only place to drink that wine

said to The Man Who Threw His Life Away, “but seeing as you’re

is here at your table, with your wife and her killer roast chicken, and

like, an authority on the entire universe, I have to ask. What do

with you and your self-absorbed friends. Anything less complicated

you think of this wine?”

than that would be a shortcut, and all shortcuts lead to hell.”

The Man Who Threw His Life Away asked for a piece of bread. My wife gave him one. He mopped his plate and ate the bread, then he drank all of the wine in his glass. “Damn,” he said. He looked at the bottle, then he looked at me.

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2012 by For back issues, go to Send comments or questions to

“2009. Ajaccio. Yeah, right. What do you do? Open up a

| j u L Y 2012

THE magazine | 29


Chef Matt Yohalem with farmer Matt Romero at the Santa Fe Farmer’s Market

Il Piatto 95 West Marcy Street Reservations: 984-1091




up to $14







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



$34 plus


Photos: Guy Cross

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

905 W. Alameda St. Breakfast/Lunch Major credit cards. $ Cuisine: Coffehouse fare. Atmosphere: Casual. House specialties: Espressos, Lattes, Macchiatos, Italian Sodas, Hot Chocolates and Teas. Comments: Food menu at the counter changes daily. Bobcat Bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$

Cuisine: American as apple pie. Atmosphere: A low-slung building with eight seats at the counter and four tables. House specialties: The inch-anda-half thick green chile cheeseburger is sensational. The secret? A decades-old, well-seasoned cast-iron grill. Go. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled eggplant sandwich. For dinner, go for the perfectly grilled Swordfish Salmorglio. Comments: Friendly waitstaff. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Breast Sandwich. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Combination plates available. Friendly owners. (The) Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe with white linen on the tables. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is flawless. Desserts are perfect. Comments: Chef/owner Mark Kiffin, winner of the James Beard Foundation’s “Best Chef of the Southwest” award. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled

Salmon. Comments: Boutique wine list. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: All-American. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Nice wine list. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes. Dragonfly Cafe & Bakery 402 Paseo del Pueblo Norte, Taos 575-983-3085. Lunch/Dinner Beer/Wine. Patio. Cash/Major credit cards. $$ Cuisine: Organic. Atmosphere: Casual. House specialties: Kale Salad and the French Country Beef Stew. Dinner faves include the Grilled Salmon and the Moroccaan Roast Chicken


El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant. House specialties:

Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Tasting menus available.

baked New Mexico goat cheese. For your entrée, try the Braised Lamb Shank, served with a spring gremolata, couscous, and vegetables. Comments: Seasonal menus.

Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: New on the menu: a perfect New York Strip Strip Steak at a way better price than the Bull Ring—and guess what— you don’t have to buy the potato.

Cuisine: New Mexican. Atmosphere: Casual. House specialties: Burgers, Pulled Pork, Lamy Cubano Sandwich, Braised Short Ribs, and the Wedge Salad. Comments: Huevos Rancheros, Belgian Waffle,and a Special Drink Menu at Sunday Brunch. Kid friendly.

Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo stuffed with spinach, black olives, feta cheese, roasted red peppers, over organic greens. Comments: Chef Obo wins awards for his fabulous soups. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and dry. Comments: New noodle menu. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Recommendations: Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies, fresh herbs, and spices. For your entrée, we suggest the Noung. Comments: Generous portions. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with

L egal T ender 151 Old Lamy Trail. 466-1560 Lunch/Dinner Beer/wine. Patio. Major credit cards. $$

M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$

Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas, and Green Chile Stew. Comments: Famous for margaritas. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Mu Du is committed to organic products. Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900. Lunch: Tuesday - Sunday Beer/Wine. Major credit cards. $$ Cuisine: American/Contemporary New Mexican. Atmosphere: Casual. House specialties: We love the Smoked Duck Flautas. Comments: Seasonal menu. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Hero Sandwiches, Pancakes, and over-the-top Gourmet Burgers. Comments: Deli platters to go. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Fragrance-free Major credit cards. $$$ Cuisine: Innovative regional dishes from Northern Italy. Atmosphere: Elegant. House specialties: Start with any salad. Entrees we love: the Veal Scalopinni or the Roasted Trout with Leeks, Pepper, and Sage. Dessert: Go for the Mixed Berries with Lemon. Comments: Organic ingredients. Menu changes seasonally. Frommers rates Nostrani as one of the “Top 500 Restaurants in the World.” Please note: fragrance-free.

continued on page 33

| j ul y 2012

THE magazine | 31



The Legend Lives On Burgers • Sandwiches • Salads • Fish • Short Ribs • Chicken • Mac & Cheese Green Chile Stew • Charred Wings • Beer & Wine • Kid’s Menu Thursday • Friday • Saturday: Noon-9 pm. Sunday Brunch w/ Patio Drink Specials

Lunch : Noon–4:30 pm. Dinner: 5 to 8:00 pm. Sunday Brunch: 10 am-3 pm. Dinner Reservations: 466.1650 •

DINNER NIGHTLY 315 Old Santa Fe Trail • Reservations 505.986.9190 151 Old Lamy Trail, Lamy • www.The Legal

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



877.262.4666 198 State Road 592, Santa Fe

DINING GUIDE House specialties: Breakfast rules here with their famous stuffed French Toast, Corned Beef Hash, and Huevos Rancheros. A hand-breaded Chicken Fried Steak rounds out the menu. Comments: The Pantry has been in the same location since 1948. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, get the Steak Dunigan, with green chile and sauteed mushrooms, or the Fried Shrimp Louisianne. Comments: Cocktail hour in the Dragon Room is a Santa Fe tradition.


Chopstix 238 North Guadalupe Street, Santa Fe Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso—made with organic ingredients. Juice: our favorite is the Shringara, made with beet, apple, pear, and ginger. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. The Haystack fries rule Recommendations: Nice wine list and a good pour at the bar/ Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Gyoza, Softshell Crab, Sashimi and Sushi Platters, and a variety of Japanese Tapas Comments: A savvy sushi chef makes San Q a top choice for those who really love Japanese food. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger, the Grilled Yellowfin Tuna Nicoise Salad, or the New York Strip. Comments: Sister restaurant located in the DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: The worldfamous calamari never disappoints. Favorite entrées include the perfectly cooked grilled

| j ul y 2012

rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: The daily pasta specials are generous and flavorful. Appetizers during cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and build-yourown sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Family-run. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with Beer-steamed Mussels, Calamari, Burgers, and Fish & Chips. Comments: Sister restaurant at 1607 Paseo de Peralta, in the Railyard District. Shibumi 26 Chapelle St. 428-0077. Lunch/Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as beer and champagne. Comments: Zen-like setting.

choose the Ham and Cheese Croissant a Fresh Fruit Cup. Lunch fave is the Prosciutto, Mozzarella, Tomato sandwich Comments: Special espresso drinks. at El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.


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

Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff,

The Palace Restaurant & Saloon 142 West Palace Avenue 428-0690 Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Old World flavor with red-flocked wallpaper in the bar. House Specialties: For lunch: the “Smash” Burger or the Prime Rib French Dip. Dinner: We love the Chicken Breast Diablo Italiano, Tuscan Shrimp, or the All-American Steak au Poivre. Comments: Great pour at the bar. Italian, Hawaiian, New Mexican, Chinese, and Moroccan influences show up on the dinner menu.

Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine cofffee and teas. Atmosphere: Friendly and casual. House specialties: For your breakfast

The Pantry Restaurant 1820 Cerrillos Rd. 986-0022 Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: New Mexican/American. Atmosphere: Bustling with counter service and extra-friendly service.

The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Many folks say that they are the best tin Santa Fe. The Ranch House (Formerly Josh’s BBQ) 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: Nice bar. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $ Cuisine: New Mexican. Atmosphere: Casual. House specialties: Green Chile Stew, the traditional Breakfast Burrito, stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal. Tomme Restaurant 229 Galisteo St. 820-2253 Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Cheese Board. Entrée: Choose the Steak Frites, or the Southern Fried Chicken. Fave dessert: the Caramel Pots de Crème. Comments: Innovative cuisine Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Major credit cards. $$$ Cuisine: Only organic ingredients used.

Atmosphere: Light, bright, and cozy. House specialties: Order the fresh Farmer’s Market Salad, or the Lunch Burrito, smothered in red chile. T une -U p C afé 1115 Hickox St.. 983-7060. Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home, House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Comments: Super Fish Tacos and the El Salvadoran Pupusas are excellent. Beer on tap in late May. V inaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: We call the food here: farmto-table-to-fork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are totally amazing— as fresh as can be. We love the Nutty Pear-fessor salad, and the Chop Chop Salad. Comments: Vinaigrette will be opening a “sister” restaurant in Albuquerque in the fall. W hoo ’ s D onuts 851 Cerrillos Rd. 629-1678 6 am to 3 pm. Major credit cards. $ Cuisine: Just donuts. Atmosphere: Very, very casual. House specialties: Organic ingredients only. Comments: Our fave donut is the Maple Barn. Organic coffee is a big plus. Z acatecas 3423 Central Ave., Alb. 505-255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo cooked or the Slow Cooked Pork Ribs with Tamarind Recado-Chipotle Sauce. Over sixty-five brands of Tequila are offered. Comments: Savvy waitstaff. Z ia D iner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Down home baby, down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad, the Meat Loaf, all the Burgers, and the crispy Fish and Chips. Comments: The bar is the place to be at cocktail hour. Sweets and pastries are available for take-out.

Estella’s cafe in Las Vegas , Nm. 65-years-old

THE magazine | 33

JUDY CHICAGO ReViewing PowerPlay JUNE 29 - AUGUST 11, 2012

ARTiST REcEPTioN: FRidAy, JUly 6, 5:00 - 7:00 Pm

Photo by donald Woodman

In the Shadow of the Handgun, 1983, Sprayed acrylic and oil on canvas, 108” x 144”

Full color catalogue Available with essay by dr. Jonathan d. Katz

SATURDAY WITH JUDY - JULY 7TH Open to the public: • Judy chicago in conversation with dr. Jonathan d. Katz 3:00 – 4:00 Pm • Book signing 4:00 - 5:00 Pm New mexico museum of Art St. Francis Auditorium

With $75 tax deductible donation to Through The Flower, receive: • Reserved seating at conversation with dr. Jonathan Katz at the New mexico museum of Art • Private reception and tour of the exhibition with Judy chicago 5:00 - 7:00 Pm at david Richard Gallery • Raffle for a signed commemorative print of Judy chicago’s famous Boxing Ring ad from the december, 1970 ARTFoRUm • Refreshments provided by Zia diner Tickets available in advance: (505) 864-4080 or 544 South Guadalupe Street, Santa Fe, Nm 87501 | p (505) 983-9555 | f (505) 983-1284


J U LY A r t o p e n i n g s FRIDAY, JUNE 29 B ellas A rtes G allery, 653 Canyon Rd., Santa Fe. 983-2745. Wildflowers/Garden Flowers: collages and paintings by Robert Kushner. 5-7 pm. Canyon Road Contemporary Art, 403 Canyon Rd., Santa Fe. 983-0433. Vast Intimacies: pastels by Kathy Beekman. 5-7 pm. David Richard Contemporary, 544 S. Guadalupe St., Santa Fe. 983-9555. ReViewing PowerPlay: paintings, drawings, weavings, bronze reliefs, and cast paper by Judy Chicago. Select Works from 1964 to 1975: work by Deborah Remington. Life Strategies: new works by Silvia Levenson. NOTE: Exhibition opens June 29. Opening reception on Friday, July 6, 5-7 pm.

Heidi Loewen Porcelain Gallery, 315 Johnson St., Santa Fe. 988-2225. News Broadcasts: ceramic, mixed-media collages, and vessels by Debora Barrett. 5-7 pm. James Kelly Contemporary, 550 S. Guadalupe St.. Santa Fe. 989-1601. In the Absence of Others: photography and sculpture by Nic Nicosia. 5-7 pm. LewAllen Galleries, 125 W. Palace Ave., Santa Fe. 988-8997. In Urbanism: blown and carved glass sculpture by Ethan Stern. Sylvan Waters: paintings and monotypes by Forrest Moses. 5:30-7:30 pm. Red Dot Gallery, 826 Canyon Rd., Santa Fe. 820-7338. Summer 2012 Opening: group show. 4:30-7:30 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe.

983-8743. Dedication to Contemplation: works by Laura Orchard. 4:30-7:30 pm. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Treasure Sites: works by Joanne Lefrak. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Staying Ahead of the Beast: paintings by James Havard. 5-7 pm.

SATURDAY, JUNE 30 Heinley Fine Arts, 119-C Bent St., Taos. 617947-9016. Remarkable Women of Taos: works by Beatrice Mandelman, Alyce Frank, and Gisella Loeffler. 5:30-8 pm. Nativo Lodge, 6000 Pan American Fwy. NE, Alb. 505-983-5220. The Rising Artists Project: works by Jaque Fragua, Lynnette Haozous, and Ehren Natay. 7-10 pm.

FRIDAY, JULY 6 Blue Rain Gallery, 130 Lincoln Ave. Suite C, Santa Fe. 954-9902. Witness: paintings by Roseta Santiago. 5-7 pm. Delgado Street Contemporary, 238 Delgado St., Santa Fe. 982-6487. Beyond Barracks: paintings by Gary Denmark. 5-7 pm. Evoke C ontemporary, 130 Lincoln Ave., Santa Fe. 995-9902. Re-Presenting the Nude II: group show, curated by John O’Hern. 5-7 pm. GF Contemporary, 707 Canyon Rd., Santa Fe. 983-3707. The Saturation of Color: group show. 5-7 pm. Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. Mestizo: folk art by Nicholas Herrera and Susan Guevara. 5-7 pm. Manitou Galleries, 225 Canyon Rd., Santa Fe. 986-0440. Works by William Haskell, Kim Wiggins, and Liz Wolf. 5-7:30 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Collective Wonders: works by Jim Kopp, Amber Middleton, and Susan Skinner. Skullery and Shapery: paintings by Eric McCollon. 5-8 pm. McLarry Modern, 225 Canyon Rd., Santa Fe. 983-8489. Carol Brookes: New Works. 5-7 pm. Monroe Gallery of Photography, 112 Don Gaspar Ave., Santa Fe. 992-0800. People Get Ready—The Struggle for Human Rights: group show. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Gallery Artists: group show by twelve painters, sculptors, and photographers. 5-7 pm. Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Dialed In: vintage radio show. 5-8 pm. Peyton Wright Gallery, 237 E. Palace Ave., Santa Fe. 989-9888. James Hilleary and The Washington Color School. 5-8 pm.

Collage and Beyond: collages and paintings by Beatrice Mandelman at 203 Fine Art, 203 Ledoux Street, Taos. Reception: Saturday, July 14, from 5 to 8 pm.

continued on page 38

| j un e 2012

THE magazine | 35

HERE’S THE DEAL for artists without gallery representation in New Mexico. Full-page b&w ads for $600, color $900. Reserve your space for the August issue by Monday, July 16.


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

Jonas Povilas Skardis

Mac (and PC) Consulting WHO SAID THIS?


“Art is never finished, only abandoned.”


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

phone: (505) 577-2151 email:

1.Nikki Giovanni 2. Guillaume Apollinaire 3. Leonardo da Vinci 4. Ralph Waldo Emerson Serving Northern NM since 1996

ART OPENINGS Pippin Contemporary, 125 Lincoln Ave., Santa Fe. 795-7476. Bending Light: works by Sandra Duran Wilson. 5-8 pm. Santa Fe Southside Library, 6599 Jaguar Drive, Santa Fe. 231-0054. Elements—2X2 3X3 4X4: original photographs and hand-pulled prints using different printing methods by Will Karp. 4-6 pm. SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. More Real? Art in the Age of Truthiness: group exhibition. 5-7 pm. Stephen Boone Gallery, 714 Canyon Rd., 6700580. Heads Up: portraiture group show curated by Geoffrey Lawrence. 5-7 pm. Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-5083049. A Certain Splendor: work by Phil Noto. 6-9 pm. Tai Gallery, 1601-B Paseo de Peralta, Santa Fe. 984-1387. Legacy of Inspiration—Shono Shounsai and his Students: group show. 5-7 pm. The Commissioner’s Gallery, 310 Old Santa Fe Trail, Santa Fe. 827-5762. Light, Space, and Time: group show. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Boom Blooms, Bugs and Blossoms: silk paintings and wearable art by Cheri Reckers. Ceramics and steel works by Michael Ceschiat. 5-8:30 pm. Yares Art Projects, 123 Grant Ave., Santa Fe. 984-0044. Art = Gold + Glass: gilded artwork by Martin Cary Horowitz. 5:30-7:30 pm.

SATURDAY, JULY 7 Greg Moon Art, 109-A Kit Carson Rd., Taos. 575770-4463. After Dark: juried group show. 4-7 pm.

THURSDAY, JULY 12 Shiprock Santa Fe, 53 Old Santa Fe Trail, Santa Fe. 982-8478. Leather Legacy: works by Aaron Lopez Bautista. 5-7 pm.

FRIDAY, JULY 13 Addison Rowe Fine Art, 229 E. Marcy St., Santa Fe. 982-1533. Jozef Bakos and His Circle: paintings and watercolors made by Los Cinco Pintores and other New Mexico artists during the 1930s and 1940s. 5-7pm. Chiaroscuro Contemporary Art, 702½ Canyon Rd. (Gypsy Alley), Santa Fe. 992-0711. Australian Contemporary Indigenous Art—Part II: works by contemporary Australian Indigenous artists. In partnership with Vivien Anderson Gallery, Melbourne, Australia. 5-7 pm. Eight Modern, 231 Delgado St., Santa Fe. 9950231. Drawings: works by Jimmy Mirikitani. 5-7 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Screendoor—Opaque Images of This and This: drawings, paintings, and monotypes by John Felsing. 5-7 pm. Mark Sublette Medicine Man Gallery, 602A Canyon Rd., Santa Fe. 820-7451. Pattern and Abstraction: paintings by Francis Livingston and Navajo “Transitional” blankets. 5-7 pm. Mark White Fine Art, 414 Canyon Rd., Santa Fe. 982-2073. Evolving Visions—Santa Fe to L.A.: works by Mark White and Ethan White. 5-8 pm. Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. Works by Cary Henrie. 5-7 pm. Nuart Gallery, 670 Canyon Rd., Santa Fe. 9883888. Paper, Pattern, and Ink: paintings by Nina Tichava. 5-7 pm.

Forrest Moses’s most recent body of paintings and monotypes—Sylvan Waters—at LewAllen Galleries, 125 West Palace Avenue, Santa Fe. Reception: Friday, June 29, from 5:30 to 7:30 pm.

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Line + Brush: jewelry by Myung Urso. 5-7:30 pm.

Pop Gallery, 142 Lincoln Ave., Suite 102, Santa Fe. 820-0788. Fantastical Five!: group show. 6-9 pm.


Rio Bravo Fine Art, 110 N. Broadway, Truth or Consequences. 575-894-0572. Bratislava or Bust—Larry Blum’s Extraordinary World: photography. 6-9 pm.

Gallery, 376-A Garcia St., Santa Fe. 988-5159. Domestic Vacations: photographs by Julie Blackmon. 4:30-7 pm.

Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Glimpsing the Astral: works by Carl Schuman. 4:30-7:30 pm. VERVE Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. Nocturnes: book and exhibition by Josephine Sacabo and Dalt Wonk. 5-7 pm. Poetry reading and conversation with authors on Saturday, July 14, 2 pm.

SATURDAY, JULY 14 203 Fine Art, 203 Ledoux St., Taos. 575-751262. Collage and Beyond: collages and paintings by Beatrice Mandelman. 5-8 pm.

WEDNESDAY, JULY 18 Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Han Sug Bong: Korea’s Master Ceramicist. 5-7 pm.

FRIDAY, JULY 20 Archetype Dermigraphic Studio/Gallery, 529 Adams St. NE, Suite A, Alb. 505-265-0972. Hummingbird Views: mixed-media works by Christian Gallegos. 5-8 pm. Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. In

Re-Presenting the Nude II, a biennial group exhibition featuring figurative art at EVOKE Contemporary, 130 Lincoln Avenue, Santa Fe. Reception: Friday, July 6, from 5 to 7 pm. Image: Kent Williams.

continued on page 40

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Grand Opening Fr iday, June 29th

SANTA FE 409 Canyon Road Santa Fe, NM 87501

Te l e p h o n e : 2 8 1 - 7 8 8 - 7 6 0 9 w w w. w a d e w i l s o n a r t . co m Director: Ana Gonzales Biele


4 4 1 1 M o nt ro s e B l vd # 2 0 0 , H o u s to n , T X 7 7 0 0 6


the Pursuit of Happiness: works by Regina Foster with a presentation by James Foster. 6:30-9 pm.

Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Be It: works by Matt Barton. 5:30-8 pm.

Eggman and Walrus, 131 W. San Francisco St. and 130 W. Palace Ave., Santa Fe. 660-0048. Brace for Impact: works by M.J. Husband and B.J. Quintana. 5:30-9 pm.

Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Case Study: paintings by Charles Arnoldi. 5-7 pm.

GF C ontemporary, 707 Canyon Rd., Santa Fe. 983-3707. Market Value: group show. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. New Works: bronze sculptures by Ted Gall and collages by Michael Madzo. 5-7 pm.

Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Xavier Mascaro: Masks. 5-7 pm. Gerald P eters G allery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Naturalism Group Show: works by Arturo Chavez, John Encinias, Matt Smith, and Bart Walter. 5-7 pm.

McLarry Modern, 225 Canyon Rd., Santa Fe. 983-8489. Cody Hooper: New Works. 5-7 pm.

Giacobbe Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. New Works: paintings by Wendy Chidester. 5-7 pm.

Nuart Gallery, 670 Canyon Rd., Santa Fe. 9883888. Redirecting the Past: paintings by Randall Reid. 5-7 pm.

InArt Santa Fe, 219 Delgado St., Santa Fe. 983-6537. Structural Integrity: works by Mark Yearwood. 5-8 pm.


Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Lay of the Land (East Coast meets the Southwest): group show. 5-7 pm.

Blue Rain Gallery, 130 Lincoln Ave., Suite C, Santa Fe. 954-9902. Fandangos to Farmers, Minstrels to Miners: paintings by Jim Vogel. New Works: woodcarvings by Gustavo Victor Goler. 5-7 pm.

Manitou Galleries, 225 Canyon Rd., Santa Fe. Madera—Artistry in Wood: works by Virginia Maria Romero and Kim Beesley. 5-7:30 pm.

Paint by Numbers, a group exhibition at the Richard Levy Gallery—514 Central Avenue SW, Albuquerque—takes a look at the work of five artists creating art that both reinforces and questions reality. Show runs July 6 to August 17. No reception. Image: Matthew McConville.

Meyer East Gallery, 225 Canyon Rd., Santa Fe. 983-1657. New Works: paintings by Robert LaDuke. 5-7 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Dusk to Dawn—Landscapes of the Southwest: works by Lee MacLeod and Anita Ginocchio. 4:30-7:30 pm. TAI Gallery, 1601-B Paseo de Peralta, Santa Fe. 984-1387. Sado Contemporary: sculpture by Honma Hideaki and Watanabe Chiaki. 5-7 pm. Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Dawn: ceramic sculptures by Yukiya Izumita. 5-7 pm. Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. Color Rx: works by Rex Ray and Jennifer Joseph. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Contemporary Art from Latin America: group show. 5-7 pm.

SPECIAL INTEREST 203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Variable Prints: works on paper by Ann Saint John Hawley. Through Sat., July 7. After Dark, a juried show celebrating all things nocturnal at Greg Moon Art, 109-A Kit Carson Road, Taos. Reception: Saturday, July 7, from 4 to 7 pm. Image: Geoffrey Baker

Albuquerque Theatre Guild, location TBA,

Alb. Speaking of Shakespeare: conversation with John Andrews and David Richard Jones. Wed., July 18, 7:30 pm. Art Santa Fe at the Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 9888883. Art Santa Fe: international art fair with demonstrations and lectures. Thurs., July 12 through Sun., July 15. Capriccio Foundation, 222 Shelby St., Santa Fe. 982-8889. The Taos Clay: works by Lee Mullican. Through Fri., Aug. 17. Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Garden II— House: music and intermedia composition by Chris Jonas with the TILT Brass. Fri., June 29 and Sat., June 30, 8 pm. City of Santa Fe Community Gallery, 201 W. Marcy St., Santa Fe. 955-6705. Elements: ceramic and glass art. Through Mon., Aug. 20. David Richard Contemporary, 130 Lincoln Avenue, Suite D, Santa Fe. 982-0318. Current Work: new works by Lilly Fenichel. On the Edge: new works by Doug Edge. Naturally: works by Merion Estes. Collages from the 1960s: works by Beatrice Mandelman. On view through Sat., July 21. El Museo Cultural de Santa Fe, 555 Camino de la Familia, Santa Fe. 670-6473. Currents 2012— continued on page 42

40 | THE magazine

| j ul y 2012

MONROE GALLERY of photography

PEOPLE GET READY The Struggle For Human Rights

Jeff Widener/AP: A lone man stops a column of tanks near Tiananmen Square, 1989 Beijing, China

Opening Reception: Friday, July 6 5 - 7 PM 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e:


ROBERT TURNER | AUGUST 3 - SEPTEMBER 8, 2012 545 Camino de la Familia, Santa Fe, NM 87501 505.984.1122


GF Contemporary, 707 Canyon Road, Santa Fe, presents Market Value—a group show in which each artist takes a one-dollar bill and transforms it to make a statement about the current state of our economy. Reception: Friday, July 20, from 5 to 7 pm. Image: Chuck Zimmer.

The Santa Fe International New Media Festival: video installations, multimedia performances, documentaries, art-games, and more. Through Sun., July 8.

Performance Space at La Tienda, 7 Caliente Rd., Santa Fe. 471-1565. Wordharvest: book writing workshops throughout July.

Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Traces: paintings and works on paper by Tim Craighead. Through Sat., July 21.

Rail Readers Book Club at the Las Cruces Railroad Museum, 351 N. Mesilla St., Las Cruces. 575-647-4480. Discussion of Madam Millie, by Max Evans. Wed., July 18, 11 am.

Giacobbe Fritz Fine Art, 702 Canyon Rd., Santa Fe. 986-1156. The Saturation of Color: group show. Through Wed., July 25.

Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Paint by Numbers: group show. Fri., July 6 through Fri., Aug. 17.

Harwood Museum, 238 Ledoux St., Taos. 575758-9826. Beatrice Mandelman: Collage. Sat., July 7 through Oct.

Santa Fe Art Institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Discovery and Direction—An Art/Life Workshop: conducted by Robert Atkins. Mon., July 9, 16, and 23, 6:30 to 9 pm. Works by Steve Lambert. Mon., July 9 through Fri., July 27; lecture, Mon., July 2, 6 pm.

Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Perpetual Unfolding: works by Rick Stevens. Through Sun., July 8. Hyatt Regency Tamaya Resort and Spa, 1300 Tuyuna Trail, Santa Ana Pueblo. 505-867-1234. Summer Artisan Market: Native American dance, music, and art. Sunday, July 1, 10 am to 3 pm. Kitchen Angels at various locations in Santa Fe. 471-7780. Splendid Fare!: seven course meal with readings from culinary literature. Sat., July 7. Beginnings and Endings: cooking class with Chef Johnny Vee. Sat., July 28. Masters of Native American Sculpture and Cuisine: food, sculpture, and performance by flautist Phillip Haozous. Sat., July 21. Leich Lathrop Gallery, 323 Romero St. NW, Suite 1, Alb. 505-243-3059. New gallery; group show. Museum of Contemporary Native Arts, 108 Cathedral Pl., Santa Fe. 983-1777. Under The Influence—Iroquois Artists at IAIA. Ladies and Gentlemen, This is the Buffalo Show: works by Frank Buffalo Hyde. Through Tues., July 31.

Penasco Theatre, 15046 State Hwy. 75,
Peñasco. 575-587-2726. Performances throughout July.

William R. Talbot Fine Art, Antique Maps & P rints , 129 W. San Francisco St., Santa Fe. Indian Summer—1830-1950: earlynineteenth-century Americana by Karl Bodmer, George Catlin, & McKenney & Hall.

Santa Fe Chamber Music Festival at the St. Francis Auditorium, 107 W. Palace Ave., Santa Fe. 9821890. 40th Anniversary Season: chamber music performances. Sun., July 15 to Mon., Aug. 20.

William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Fundraiser for Bunny Conlon. Art by Larry Bell, Walter Chappell, Bill Gersh, Wes Mills, Tom Waldron, Colette Hosmer, and Stacey Neff. Tues., July 24 5-8 pm,

Santa Fe Concert Association, various locations in Santa Fe. 984-8759. Festival of Song and Festival of Dance: throughout July.

PERFORMING ARTS Aspen Santa Fe Ballet at the Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Program 1:
Fri., July 13 and Sat., July 14, 8 pm. The Hong Kong Ballet: Tues., July 31, 8 pm. National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-724-4771. Río de Lágrimas/River of Tears: multimedia performance. Fri., June 29, Sat., June 30, 8 pm; Sun., July 1, 2 pm.

St. John’s College, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Music on the Hill: Wednesdays, July 11, 18, and 25, 6-8 pm. The Bandshell at the Santa Fe University of Art and Design, A Midsummer Night’s Dream: through July and August. Schedule: Wise Fool New Mexico at the Armory for the Arts, 1050 Old Pecos Trail, Santa Fe. 575-613-2193. BUST Women’s Circus Intensive: women’s circus performance. Fri., June 29, 7 pm; Sat., June 30, 2 pm and 7 pm.

Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Summer Slide Series: weekly lectures, Wed., 7 pm. Private and group lessons through the summer. Santa Fe International Folk Art Market, Museum Hill, Santa Fe. 992-7600. Santa Fe International Folk Art Market. Fri., July 13 through Sun., July 15. Seton Gallery, 133 Seton Village Rd., Santa Fe. 995-1860. The Eye of the Naturalist— Observation and Personal Transformation: works by Ernest Thompson Seton. Wed., July 11 and Wed., July 25. Spanish Colonial Arts Society on the Santa Fe Plaza, Santa Fe. 982-2226. Spanish Market Week: market and events. Mon., July 23 through Sun., July 29. St. John’s College, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Lectures, community seminars, and performances throughout July. Taos Art Museum at Fechin House, 227 Paseo

42 | THE magazine

del Pueblo Norte, Taos. 575-758-2690. Artwork on display for A Russian Night in Taos gala /auction. Thurs., July 5 through Fri., Aug. 24.

Redirecting the Past—new paintings by Randall Reid at Nüart Gallery, 670 Canyon Road, Santa Fe. Reception: Friday, July 20, 5 to 7 pm.

| j ul y 2012

remarkable women of taos Bea Mandelman • Alyce Frank • Gisella Loeffler July – August 2012

Bea Mandelman Still Life With Fruit

21.5 by 27.5 inches oil on canvas

Alyce Frank The Canyon of the Rio Grande at Arroyo Hondo 34 by 44 inches oil on canvas

Opening and Reception: Saturday, June 30th, 5:30 - 8 pm


July 12–15 @ The Santa Fe Convention Center Opening Night Gala Vernissage: Thursday, July 12, 5 - 8 PM | Trapped 2011; reconfigured shoe leather, weathered barbed wire; 5.5 ft. x 5.5 ft.

consultants & dealers in traditional, contemporary & modern art 119 bent street, taos, new mexico catalogue available on request or view works online click ”upcoming exhibits”



Regina Foster, A Sign of Things to Come, oil on canvas. 24” x 24”, 2012 Michiyoshi Deguchi, Innerdrawing NO11803, Acrylic Resin Dome, ink on paper, laser print, 27½” x 27½” x 5”, 2011 Courtesy Gallery SUDOH, Odawara City, Japan.

ART Santa Fe Tuesday, July 12 through Friday, July 15 Santa Fe Convention Center, 201 West Marcy Street, Santa Fe. 988-8883 Gala Opening and Vernissage: July 12, 5 to 8 pm. With the cancellation of SOFA West, it would be a travesty to miss ART Santa Fe, as it’s now the international contemporary art event of the Santa Fe summer. And with exhibitors from Argentina, Afghanistan, Nepal, and Japan, the twelfth annual ART Santa Fe is something to celebrate. Works to look for include Border Series by Monica Lozanos (one of Mexico’s top contemporary photographers), which depicts the inventive—and sometimes appalling—methods people devise to flee their home countries, and a lovely survey of Afghani artists by Galleria Kabul. Of course, local galleries will also make an appearance, including Zane Bennett Contemporary Art and DR Contemporary. This year’s keynote speaker is eminent art critic and historian Barbara Rose, who was the first Morgan-Menil Fellow at the Morgan Library and Museum in New York. Other events include several demonstrations: Ted Sawyer of Bullseye Glass will show how kiln-formed glass is made, and Yu-Ra Lee, president of the Korean Traditional Paper Association, will demonstrate the creation of a handmade Korean paper called hanji.

Regina Foster/James Foster: In the Pursuit of Happiness Friday July 20 to Sunday, September 9 Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338 Reception: Friday, July 20, 6:30 to 9 pm. The dullest of philosophers knows that money doesn’t buy happiness, but for centuries the most brilliant minds have struggled to puzzle out what does. Aristotle thought it was balance, the Bible touts devotion to God, and Americans can’t seem to shake the idea that it is a charmed mixture of a successful career, a paid-for house, a peaceful marriage, and a Labrador Retriever playing with the kids in a perfectly manicured back yard. In the Pursuit of Happiness, an exhibition of paintings by Regina Foster at the CCA’s Muñoz Waxman Gallery, considers this conundrum on a grander scale. Foster’s work is partly inspired by a relatively new economic paradigm known as the Gross National Happiness Index,”—pioneered in Bhutan,—which measures the well-being of a people not on their Gross Domestic Product, but on the health of their environment, the wisdom of their government, the strength of their social bonds, and so forth. Foster is also inspired by her brother-in-law, James Foster, renowned professor of economics and co-author of the Multi Disciplinary Poverty Measure, an algorithm closely related to the Gross National Happiness Index. In Regina Foster’s paintings, brilliantly colored birds and tranquil Buddhas break forth from patterns of limitation, celebrating the emergence of happiness and success in unlikely environments. Concurrent with the exhibition, the CCA will also host a symposium led by James Foster on public policy and art’s place in social and economic movements.

44 | THE magazine

Seung Woo Back, W001-001, from Real World I series, digital print, 2004 Courtesy the artist and Gana Art Gallery, Seoul, South Korea.

More Real? Art in the Age of Truthiness SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199 Sunday, July 8 through January 2013 Reception: Friday, July 6, 5 to 7 pm. Stephen Colbert’s now-famous term “Truthiness” is defined by the American Dialect Society as “the quality of preferring concepts or facts one wishes to be true, rather than concepts or facts known to be true.” Truthiness lies at the heart of SITE Santa Fe’s upcoming international exhibition. Technology and globalization are changing the world so quickly that we have trouble distinguishing what is true—and what is not. More Real? Art in the Age of Truthiness presents work that grapples with this conundrum, such as Colored Vases, ancient pottery repainted in gleeful colors by Ai Weiwei, and pieces from An-My Lê’s “Small Wars” series, the Vietnamese artist’s conceptualization of homeland and war using staged and documentary photographs. In the tradition of SITE’s international shows, the entrance to the building will be transformed, this time by award-winning Los Angeles architect Greg Lynn. Lynn’s swooping, parabolic portal will serve as a “disorientation room” leading to the rest of the exhibition, where viewers will begin to absorb the meaning behind the other works on view. A fictional exhibition orientation video will then greet viewers in the lobby, a work created by artist Jonn Herschend, known for his penchant for bringing humor into the often humorless art world. More Real? is a joint presentation of SITE Santa Fe and the Minneapolis Institute of Arts, and will travel to Minneapolis in 2013.

| j un e 2012


NUMBERS July 6 – August 17 A Group Painting Exhibtion 1. Xuan Chen 2. Corydon Cowansage 3. Alex Gross 4. Norbert Marszalek 5. Matthew McConville Richard Levy Gallery



GeOrGia O’KeeFFe and tHe Faraway:

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


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


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The Power to Kill by

Mely Barragán

Knives. Broken glass. Spikes. Dark bodies of water. Since the time our mothers cried “Don’t touch!” or “Stay away!” we have associated certain objects with danger, approaching them with a strange mixture of caution and fascination. Three Mexican artists have sought to capture the seductive power of danger with works currently on view at the Museum of Latin American Art, in Long Beach. Included is a piece by Tijuana-born artist Mely Barragán entitled The Power to Kill, featuring cartoonish, plush leather purses shaped like kitchen knives. One of My Spiked Balls, by Daniel Ruanova, is a silver mace dangling like a pendulum, with glistening spikes protruding at all angles. Like Barragán’s work, One of My Spiked Balls confuses perceptions of safety and potential harm, as the plastic work seems part toy, part torture device. (In 2009, the Los Angeles Times called Ruanova’s work “about as ambiguous as razor-wire fences.”) An installation by Miguel Fernández—a table topped with bits of broken glass—might recall childhood realizations of risk, eliciting a very real fear of pain. As if observing a caged and starving predator, viewers quietly sit and contemplate the glass. All works are on display through July 20, at MOLAA, 628 Alamitos Avenue, Long Beach, California. D

| j u L Y 2012

THE magazine | 47









G o

e int


ra tog

by ss

When you talk to people in the art world about Jim Kelly, the word is that he is intelligent, articulate, restrained, and has an extremely savvy eye. Since 1997, James Kelly Contemporary—just a stone’s throw from SITE Santa Fe—has mounted exhibitions of many of today’s most important artists from the United States and Europe, including Richard Tuttle, John McCracken, Ed Ruscha, Franz West, Arlene Shechet, Ken Price, Agnes Martin, Victoria Sambunaris, Ellsworth Kelly, Roni Horn, Bruce Nauman, Wes Mills, and Peter Sarkisian. Shows are planned in 2012 for Robert Kelly, Nic Nicosia, and Aldo Chaparro. THE magazine met with Kelly in his elegant new gallery space to talk art and aesthetics. THE magazine: How did you get into the gallery business? Jim Kelly: It’s kind of a long story, as many stories go. I was always interested in art. I studied it in college, which was in Dallas, where I grew up. From there I got involved with the Dallas Museum as an intern, and from that point I started cataloguing private art collections in Dallas, and got to know collectors. After that I went to graduate school in arts administration and got an MBA. And then I went and worked in New York for a while at the Museum of Modern Art. TM: What did you do at the Museum of Modern Art? JK: I did an internship there for three months, and then I thought it would be interesting to check out the gallery side of the art world. I had knowledge of the museum side at a certain small level, and thought that I would look into the gallery field or the auction business, just to see what else might be available. I interviewed with some of the auction houses in New York, but they didn’t really feel right for me at the time. I knew Laura Carpenter, because she’s also from Dallas and I also knew her for many years as a friend, and so I decided to ask her about working in her New York gallery. She said, “I don’t have any openings in New York, but come back to Dallas and I’m sure there will be something I can work with you on here.” So in 1986 I started working with her in Dallas and ended up working for her for over twelve years. When she moved to Santa Fe in 1991 to open her new gallery here, I also moved to become her director.

continued on page 50

| j u L Y 2012

THE magazine | 49

I like art that makes one puzzle over what the artist is doing I like art that makes one puzzle over what the artist is doing TM: Is your aesthetic similar to Laura’s? JK: We share an

overwhelm the art, and yet if you’re building a gallery then

known gallery district. So, in that regard, the address may

interest in minimal art, and a clean approach to things. In that

you want to have something that has integrity as far as a

not mean as much as what the experience is when visiting

regard, yes, there is a basic shared aesthetic.

building is concerned, and to allow the architect to create

the gallery.

something that would be harmonious with the exhibitions. TM: What kind of art do you relate to? Some people relate

TM: Do first impressions in the art world mean a lot, and

to art that challenges, some to art that makes a statement

TM: Is that the selection of the person who hires them? JK:

is presentation very, very important? JK: Yes, absolutely.

about process. What kind of art do syou particularly respond

Well, possibly, yes. But I do think that it’s important for the

I mean, we are selling aesthetics, and it has to be easily

to? JK: Well, I do like art that makes one think. I like art that

architect and the client to have equal contributions to the

seen when somebody comes into the gallery. They

makes one puzzle over what the artist is doing and what the

project. I don’t think that the best buildings are built with

want to be able to understand what type of work they

artist is trying to say with what he or she has done. I like the

only one voice, meaning if the client shrinks back and allows

might encounter in the space and what type of artists

fact that I can try to understand how the artist is thinking,

the architect complete freedom, then you may not get the

the gallery shows. So, yes, I think that it’s important to

although many times it’s not possible. But there’s something

best building, or if the client is so heavy-handed that they

present a good impression as you walk in to the space.

that’s intriguing about it.

hamstring the architect, then you’re not going to get a good

TM: What about Matthew Marks’ new gallery—the

project there either. I think that the best buildings come

TM: Do clients often ask for help in installing a work in

windowless cube in Culver City? Have you seen it? JK: No.

out of a good relationship and camaraderie between the

their home? JK: I always offer to the client that if they need

architect and the client.

help installing the work, we are able to do that. Or, if they

TM: Have you read about it? JK: Well, slightly. I don’t know much about it, but I’ve read a bit about it, yes.

want recommendations of installation people to help them, TM: I remember Aristotle Onassis saying some forty

we can offer that too. If it’s a specifically made work that is

years ago that having the right address is as valuable as

supposed to have a particular type of installation, then I will

TM: It’s a cube, with no windows, and some skylights

anything else in a business. What do you think of that?

need to see what’s going on there. But I don’t make that a

designed by Culver City–based Zellnerplus in collaboration

JK: I can agree with that to some degree. There are two

part of a sale. I usually offer to help with installation, and if

with the artist Ellsworth Kelly. Of the building, Marks said,

things. One is, if a gallery is in a well-established gallery

they don’t take me up on it, then of course that’s fine too.

“All of a sudden, I have a building that’s a work of art.” That

district and you want to be in that district, then yes, in that

However, some clients are very friendly and they simply

made me wonder: How important is the architecture and

case the address is important. On the other hand, if you

enjoy having you over to see their collections and show you

design of a gallery? JK: Good architecture is as important as

were building a destination gallery outside the traditional

how a new acquisition relates to the others in the collection.

good art, and to have both come together in an exhibition

arts district—a beautiful stand-alone building—the

space is very important. You don’t want the architecture to

experience could be enhanced by its not being in the well-

TM: So let’s say something like that happens. Six months later


and what the artist is trying to say with what he or she has done. you have a show of artist X and think, This piece would be

the world. There’s not a lot of foot traffic that comes through

not from politics.” What do you think of that? JK: Yeah,

perfect for Client Y’s hallway or guest house. Do you tell the

the gallery, so through participating in art fairs I can increase

I think that’s true. When you think about politics, and I mean

client your thoughts? JK: Yes. The more I get to know and

the exposure for the artists and develop new contacts.

in the pure sense of democracy, it comes from the people

interact with a client or a collector the better I understand

upwards. And so we the people elect our representatives,

their aesthetic and what they’re attracted to and what

TM: The importance of reviews? JK: It is important to

our politicians, and they’re supposed to work on our behalf.

they’re not attracted to. So if I see something appropriate or

have a critical response to art and to exhibitions, whether

It’s not that way any longer. [Laughs.] I think that social change

I have an exhibition planned that I feel they would enjoy, then

it’s in a gallery or in a museum or other spaces. Exhibitions

does come from the people. That’s where art comes from,

I would definitely give them a call to let them know about it.

can’t exist in a vacuum, without any communication about

that’s where music is coming from, that’s where writers are

the works, without reviews. In my mind, discourse implies

coming from. So when the people finally come out and say,

TM: So you do that as a service? JK: Of course, but I wouldn’t

constructive discussion or criticism, both good and bad.

this is not right, we don’t want this, the politicians finally pay

necessarily say, “Oh, I have a painting and it would look great

And that creates more interest in what I as a gallery owner

attention and make some changes. But the politicians are not

in the powder room.” It is more about the aesthetic of their

do, and what a museum curator is doing. So in that regard

able to dictate down and tell us what we need, although they

collection and whether or not I think a particular work

I think it is really important to have a conversation.

try to do that all the time. But I do agree with John Trudell’s

would fit into that.

statement. TM: Do you feel like you’re kind of a one-man show? JK:

TM: Speaking of collections, considering the work I’ve seen

No, I have a very good staff. Stephen Husbands has been

TM: What are two or three exciting shows you have coming

in your gallery over the years, would I be surprised by the

with me since the opening of the gallery. Stephen has been

up next year? JK: There are several this summer, the first

art in your home, which, I should say, I’ve never been to? JK:

very loyal and I owe much of the gallery’s success to him.

being a show of Nic Nicosia’s new work. Opening at the end

I don’t think so. Obviously I have works of art by the artists

It takes hard work by many people to run a gallery; no gallery

of June. It will be his third show at the gallery and will include

I work with and admire, so I don’t think you would be too

owner can do it alone.

a very theatrical installation along with new photographs.

surprised. However, I do have a small collection of Acoma

The other will be a show for Robert Kelly, which opens in

pottery, so that might be a surprise to you.

TM: How about short takes on a few names? JK: All right.

TM: Do you typically buy a piece from each of your shows?

TM: Irving Blum. JK: Irving is a friend. I’ve known him for

show I’m pleased about is Aldo Chaparro. Again, it will be the

I know that many galleries used to do that. JK: If I have a

several years and he’s a great personality. He has been

first time I’ve shown his work. He is based in Mexico City

commitment to the artist, then it would be good on my part

involved with the art gallery scene and collecting world for

and he makes sculpture. Typically they hang on the wall but

to buy one for myself. And over the years I’ve tried to do

many, many years and I admire what he’s done.

sometimes they’re freestanding, and I think there are people

August. This will be the gallery’s first show with Robert, and I am pleased to be able to present the work. The other

that, but in some cases the cash flow does not allow me to do so, but it always has been a goal of mine.

here in Santa Fe who will be very interested in the work. TM: James Drake. JK: Yes, James is also a friend, and he

I am also working on an exhibition of works by Cuban artists,

recently joined the gallery. He’s very sincere, and over the

many of whom I recently visited in Havana.

TM: Are there one or two pieces that you have at home

last twenty or thirty years has really created a very steady

that you would never sell no matter what? And if there are,

career. I admire the dedication he has.

which ones are they? JK: Oh yes, I have a piece by Sherrie Levine that I would never sell.

TM: And one last thing—any regrets? JK: Oh, everyone has regrets.

TM: Ken Price. He died, sadly. JK: Yes, Ken was also a friend, and I had two shows of his work over the last ten years. He

TM: One of her photos? JK: No, it’s a three-dimensional

was very self-effacing. At the end of his life he was suffering

work, not a photograph. I love having it and she’s become

greatly from a cancer that he was dealing with, but he never

a good friend. She lives here part of the time, and that’s an

really complained about it—he was very noble. And I admire

important connection for me, so I would never sell that.

his work greatly. He had an uphill battle working with the

Though I actually don’t have that many. [Laughs.] D Guy Cross is the co-publisher and creative director of THE magazine.

ceramic material, which a lot of people have a prejudice TM: Any plans for a Sherrie Levine exhibition soon? JK:

against. But he persevered and stayed true to his

Maybe next year. I had a show in 2007, but I haven’t planned

art and now his work is much admired.

one for this season. TM: Richard Tuttle. JK: I very much enjoy TM: Do a lot of clients want to meet the artists? JK: Not

Richard and how he thinks. Again, getting

necessarily. There are some collectors who don’t feel the

back to the earlier point I was trying to make

need to meet the artist. Some artists might have difficult

about art that inspires me, Richard makes

personalities, and they don’t really want to experience that.

works of art that make you stop and think:

However, I think that in most cases clients do enjoy the

how did he come up with this idea? What is he

opportunity to meet an artist whose work they admire, but

trying to say? And with Richard you’re puzzled

in some cases it’s not that important to them. It just depends

all the time. He frequently changes his process

on the individual. And I might add that some artists don’t

and the result is extremely challenging. And

want to get to know the collectors, so it works both ways.

besides that, his art makes me smile.

TM: Are art fairs important? JK: Yes, they are. They are

TM: John Trudell—a Native American artist,

relevant for a gallery like mine because I’m in a very small

musician, writer, and activist—wrote, “sSocial

town, and it’s not easy to get to Santa Fe from many places in

change will come from culture, art, and music,

| j u L Y 2012

THE magazine | 51

Nicholas herrera



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Miguel Gandert: Saints In my photographs I’ve always attempted to show the strength and dignity of the social classes I work with, to show them at their best. Often when dealing with a lower income population, one only shows the sadder and painful sides of life. I’ve chosen to show direct portraits of a proud people. —Miguel Gandert

No valid

negative critique of Miguel Gandert’s project of ethnographic documentary photography can be made from the perspective of his intentions. He accomplishes everything he sets out to do, with immense style and grace. On a formal level his silver gelatin prints are rich and sumptuous, well composed and technically outstanding. The images are fantastic, intriguing, even haunting, and the gift he gives viewers is one of insight into a world with which they may or may not be familiar. A common problem with ethnographic photo-documentation is that it can typically be characterized as rich people taking pictures of poor people for other rich people to look at. An excellent example would be Cyril Christo’s photographs of African natives. No matter how technically accomplished the work is, it never escapes the valid criticism that it functions as a kind of aesthetic colonialism. The old idea that a camera is a kind of soul-stealing device is absolutely true in this sense. This is related to why indigenous people worldwide tend, in general, to despise anthropologists. But what does it mean when the anthropologist descends from the same culture he or she sets out to study, or, as in Gandert’s case, the observer is also a participant? For his stunning photograph Christ in the Sarcophagus, taken during a ritual in Nombre de Dios, Mexico, Gandert broke away from assisting in laying the effigy of Christ into place only seconds before he snapped the shutter. No valid criticism can be made that Gandert is an outsider looking in. Quite the contrary, as a native of Española, NM, with deep roots in the region, he is documenting his own Hispanic cultural background and current traditional practices with the passion and insights of an insider. In this way, Gandert’s work is muy auténtico and thereby more potent than the usual ethnographer’s fare. So what’s my problem with it? You can’t criticize a submarine for not being able to fly, or critique an airplane for not operating underwater, but you can decide whether either vehicle is appropriate to its context. When Gandert has his one-man show at the National Museum of American History at the Smithsonian in 1990 it makes all kinds of sense. He presents a slice



Andrew Smith Gallery 122 Grant Avenue, Santa Fe

of American life that a great many people are unfamiliar with, and doing so enriches everyone’s understanding of our contemporary multicultural reality. This is a very good thing. When his work shows up in the Whitney Biennial, as it did a few years ago, it starts to smack of rich people looking at poor people, though there’s nothing Gandert can really do to solve that problem. You don’t turn down the Whitney just because it might be the wrong context for your work, right? Or because some high-society person isn’t going to get it. But this dilemma raises real questions about museum mechanisms, the marketing of art, and the inevitable complexities of content versus context. At the elegant Andrew Smith Gallery on Grant Street, where Saints and Sinners (the name of the show, as well as a bar in Española) is given a room of its own, the context seems just fine given the gallery’s emphasis on photography and Gandert’s remarkable achievements. But when some wealthy Anglo who has just transplanted himself from the East Coast or California to the La Tierra subdivision buys one of these penitente prints because they go well with the exposed adobe and vigas of his new New Mexican summer home I start to get a little sick to my stomach. Yet again, what can Gandert, a (surely underpaid) University of New Mexico professor, do about that moral problema, short of single-handedly overthrowing capitalism? If only he could. That’s a great submarine you’ve got, but put it up in the sky and it’ll drop like a rock. Beautiful airplane you got going there, but set it in the water and it sinks like a stone. This all amounts to saying that there is a fine line between expanding awareness of culture, and aesthetic quasi-colonialism. The critique here is not of Gandert’s project, but is directed instead at how mainstream culture tends to echo a history of colonialism in its ongoing commoditization of ethnicity. And finally, as someone who sees Catholicism particularly, and Christianity in general, as one of the greatest evil delusions to ever beset humanity, many of these images make me ill. I can’t look at these pictures without thinking about the atrocities of the Spanish Inquisition, or the medieval tunnels connecting the monasteries and convents lined with the bones of dead newborns. The Vatican continues to be the wealthiest institution in the world, while many if not most of her adherents suffer in poverty; nothing Christ-like about that. Rituals that celebrate “St. James the Moor Killer” are reprehensibly ignorant. We might as well venerate George Bush Jr. as the new Great Crusader, cheer for the Ku Klux Klan, and piously promote priestly pedophilia.

—Jon Carver Miguel Gandert, Christ in the Sarcophagus, Nombre de Dios, Mexico, silver gelatin print, 2008

| j ul y 2012

THE magazine | 53

Elliot Norquist

and J eremy

Tertium Non

Datur: Dialogues in Steel, the show’s title, is meant to express the give-and-take between informing artist and unformed material—here, between foundry sculptor and resistant steel— and by extension the conversation of viewer with the finished product. But “dialogue” in this exhibition of work by sculptors Elliot Norquist and Jeremy Thomas also infers a creative exchange between the two bodies of work. In that respect the title underscores a fundamental problem with the show, which has to do not with their collaboration but with the actual deployment of the works of both sculptors, one that unwittingly transforms a dual pointcounterpoint into a duel of disjunctive aesthetics. The work of Thomas comprises eight highly chromatic forged steel sculptures, six of which fall within the scale of his Morpho Didius Blue (20” x 26” x 19¼”), while the remaining two extend some five to eight feet in all three dimensions. Each welded form is an ensemble formed of discrete fluid surfaces defined by glossy coats of bright blue, yellow, or orange. As the titles suggest, the forged steel abstracts are highly allusive, resembling birds in flight (Southern Tail Birdwing) or organic pods (Soul Green), while the large pieces Bailer Yellow and Gleaner evoke the lacquer-green and yellow world of John Deere tractors.

Thomas: Dialogues

Being biomorphic, Thomas’s sculptures straddle the line between organic and abstract, but in the show they do not convey the inherent tension between the two modalities that is the strength of such abstracted form. Instead, in the gallery space they come across as tentative rather than assertive, and as such they fail to really engage the viewer. This is in large part a function of their placement. Thomas’s morphed pods and avian volumes continue the Modernist tradition of abstract forms whose suggestive shapes evoke a fictive space inhabited by nature and quickened by a veiled narrative. This poetic space is dispelled by several of the small pieces on the gallery floor that appear randomly placed like abandoned spinning tops or Lego toys. These pieces intrude into the viewer’s space rather than assert their physical presence in it. That disjunction dispels the poetic space around the pair of large pod sculptures, exposing the otherwise ambivalent surfaces of the squash blossom forms whose physical presence and scale in the gallery is made more transparent by the diverse surface coatings that suggest a volume assembled from two molds. In their spare geometry, Norquist’s painted steel squares, triangles, and concentric circles on the surrounding gallery walls seem to frown down upon the playful pods on the gallery floor. In each wall piece the elements are painted in complementary color contrasts:



Kansas Sunflower has a bright blue circle surrounded by a band of yellow ochre. Red Cherry Lifesaver’s deep red circle is edged in black, and the bright orange disk of Fire Season is edged in yellow ochre, while in another piece a small, intense red-painted steel disk pursues a larger fleeing black triangle. Each of Norquist’s geometric forms plays out like a theorem of Euclid, asserting a proposition that is demonstrated by its interaction of shape and color. If their conjunction with the organic shapes of Thomas’s luminous pods heightens the Minimalist look of Norquist’s work, that characterization is not supported by the sculptor’s focus on color, shape, and composition. That approach to the art object is a Modernist one rejected by artists like Donald Judd and Frank Stella, who defined what would come to be called Minimalism. And perhaps this disparity of Norquist’s style with the Minimalist aesthetic provides a clue to the show’s overall failure to realize the separate strengths of the collaboration. In Aristotle’s classic formulation of different categories of opposition, two propositions are contradictory if one is the denial or negation of the other. Unlike contraries (black vs. white), which allow a third, mediating proposition (brown), in the case of contradictories (alivedead) tertium non datur—i.e., a third (mediating) option is not possible. For all its debt to the late Modern, Abstract Expresssionist current,

Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe the succeeding Minimalist aesthetic had as its core tenet a flat contradiction or denial of the fundamental Modernist notion of the art object. Perhaps best articulated by Judd, the “specific objects” that would succeed Modernist paintings and sculptures could be, and were, as visually diverse and disparate as Judd’s own sequence of modular metal boxes, Carl Andre’s rows of bricks, Claes Oldenburg’s colossal vinyl Floorburger, and John Chamberlain’s welded crushed-auto sculptures. Thus for all their transitional ties to late Modernist work, Minimalism’s specific objects involved a denial of the allusive, of implied narrative, and of rational manipulation of color and shape—attributes of Modernist work—and an affirmation of the “primary object” instead, Judd’s physical, unmediated, object in literal space—“specific, aggressive, and powerful.” Neither Thomas’s biomorphic sculptures nor Norquist’s geometric wall compositions subscribe to the Minimalist aesthetic. Their placement in the gallery as if they did—as if they were specific objects in literal space—has the unintended effect of denying the Modernist, allusive space they normally inhabit and affirming a Minimalist identity as specific objects which they do not possess. At the core level of aesthetics, there is no dialogue here in the absence of a clear affirmation or denial. Tertium non datur. —Richard Tobin

Installation View


Joe Ramiro Garcia: Look Into

A Gen X child

Joe Ramiro Garcia just missed the fifties. Back then, old-fashioned values were not so old, and public figures grew up to be icons. Felix the Cat emerged in the twenties but obviously has nine


lives because even I remember him. Howdy Doody gave way to Marilyn Monroe, who died in 1962. That same year Andy Warhol purchased rights to a 1953 publicity still and made Lemon Marilyn, which we will never forget. If you can stand to see it again, Garcia uses variations in his

Joe Ramiro Garcia, Monk, oil and alkyd on canvas over panel, 60” x 60”, 2012   

Joe Ramiro Garcia, Goodwill, oil and alkyd on canvas over panel, 36” x 48”, 2012

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LewAllen Galleries 125 West Palace Avenue, Santa Fe new show, Look Into the Sun, at LewAllen Galleries. Born in 1966, Garcia arrived barely in time for psychedelic spirals and the Grateful Dead bear. Calvin and Hobbes arrived in the eighties along with PacMan and lately an anonymous Banksy imagines counterculture icons on buildings. Everyone loves a refresher course, and Look Into the Sun playfully downloads America’s Americana post–World War II. Full of bright colors and open areas made of ingenuous geometry, Garcia’s work feels light and spacious, kind of like gazing up at that big scorcher in the sky. After all, what’s wrong with looking into the sun? Even if mom and dad say not to stare directly at it, sometimes it’s worth the impending blindness because in that moment mom and dad seem old fashioned and you feel free and innocent. The world feels big and you feel small but it’s not scary. Garcia says about his work, “If there is a message in my painting, it’s that I’m not sure of anything and I’m okay with it.” Seeing sunspots is just an aftereffect and the big world looks different depending on your perspective. Garcia turns the hierarchy of grownup versus kid on its head. In Monk, the top third of the sixty-by-sixty-inch canvas is covered in a recreated collage of “found” imagery. Paraphernalia from the past is transferred to the canvas using gum arabic. This effect simulates a collage or scrapbook of memorabilia, but of course there is nothing actually there but paint. The originals are nowhere to be found. Amid these image transfers you’ll find a coupon flyer for grape juice, an obituary picture turned upside down, a piece of a crossword puzzle, a page written with Asian

characters, a disco ball, PacMan, and a plump tomato also turned on its head. It doesn’t seem to matter which way is up, recalling a time before we were grownups when gravity was just a word. Simulations of quotidian Americana, this cluster composes a pseudo-sky with horizon butting up to a pale yellow background that’s adorned with golden, yellow rectangles and quaint scalloped edges. Mirroring the blue window on the left that’s striped like venetian blinds, the yellow background conjures visions of vintage yellow wallpaper or fifties kitchen appliances. This is the scenery and the setting in which the child is reared, which recedes into the background while a big brown monkey lets go of his balloon, owning the foreground and the entire canvas. The child stands on the bottom right corner facing out into nothing—the blank gallery wall. Maybe he’s on a time out or maybe, like Charlie and the Chocolate Factory, Charlie is the one to inherit the factory and not some stuffy grownup. Wide-eyed, the monkey is nearly the same size as the window, looking simultaneously dwarfed and oversized in his anthropomorphism. A roving personality who also appears in Waiting Room, the little guy is markedly different from his surroundings, always staring out from the canvas with unbridled innocence while simultaneously trumping the adult world. He looks like an afterthought or a wheatpasted addition similar to Banksy’s black silhouette of a girl carried away by balloons or a protesting rat wearing a peace sign—limericks set against the backdrop of the real world. Loveable vestiges of simplicity rise like cream. Or at least we hope they do, and even through our cynicism this is the American Dream. One could surmise that the tabula rasa lives, or that it’s okay to be grown up and unsure of everything while time continues leaving memories and image transfers. French theorist Jean Baudrillard observed, “We require a visible past, a visible continuum, a visible myth of origin, which reassures us about our end.” Somehow through seeing all the memorabilia that forms our collective past, we stop worrying about where we are going—even if we are looking at simulations. This is the only pretense in the show, the elephant lurking in your head that may doubt the replicas and whisper, “Where are we going?” With originals long gone, that authentic Goodwill pile from 1972 gets categorized in Garcia’s painting Goodwill and the childhood stuffed monkey becomes an acetic monk. Garcia’s paintings prompt the viewer to remember a collective past, a myth of origin. Fraught with political agendas, consumed by products, and overwhelmed by media control, the world seemed bigger than ever and still does. Garcia’s show puts us in a waiting room looking into the sun at paintings of American history. —Hannah Hoel

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John Chervinsky: Frames Jenna Kuiper: The Jewel

The angle of

incidence is equal to the angle of reflection. This is a law in the world of physics, and one could normally bank on this rule, but in the photographs of John Chervinsky, a physics professor at Harvard, rules are meant to be toyed with, tweaked, and subtly pushed here and there by a plethora of conceptual speculation concerning what we think we see and what is actually there. His work is so impeccably crafted that at first it seems to exist in a vacuum, untouched by particles of deceptive thinking. Chervinsky’s images are, in part, thought experiments about the act of representation in dialogue with the vast terrain of abstraction. As real as the apples and oranges are in his still lifes, Chervinsky also positions the actual fruit alongside a painted image of it—a painting based on a section of the original still life cropped by the artist and then sent to China to be carefully rendered by some anonymous hand. The painting that results is sent back to Chervinsky, framed, and then placed back in its original position in the still life and photographed again. Representation becomes a re-presentation that is carefully balanced on a fulcrum of Chervinsky’s abstract thinking. His process works deftly and, as spare as his images are, they radiate a variety of associations that tantalize the mind of the viewer.



It’s obvious that Chervinsky is fascinated by the genre of still life and its venerable past, a genre that became more complicated in the canvases of Cézanne. Cézanne’s apples now seem to us to have been the linchpin of early Modernism with its ongoing and mutable cult of form: the alterations of forms that sidestepped dimensional illusions as they accepted the limitations of paint applied to a flat surface. It seems Chervinsky would have his cake and eat it too and that is part of the conundrum of his work in the Studio Physics series—that slippage between the veracity in the photographs of real objects and the clever transformation of them as they approach the world of Cézanne. In Cézanne’s arena of action, the painted forms are made to look like substantial volumes, but really they are only a reconstruction of an idea about what a painting might mean. Chervinsky leaves nothing to chance in his photographs. The rigor of his day job as a physics teacher spills over into the work, and there is an elegant but not unpleasant sense of über-control in his compositions, and their mathematical underpinnings are very much intact. A sense of “doing the math” is more evident, however, in his black-and-white photographs, where angles of incidence and their concomitant reflections are created and then whimsically denied. In the work Through the Looking Glass—from the series An Experiment in Perspective—what appears at

John Chervinsky, Apples, Painting on Door, archival inkjet print, 24” x 30”, 2011

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Richard Levy Gallery 514 Central Avenue SW, Albuquerque first to be a mirror image of a mesh cone in the foreground is actually a second photograph of the cone but placed in the picture so as to toy with the implication of a mirrored reflection.

refractory nature of the imagination. What at first seems rather facile in the thinking behind Chervinsky’s art is revealed as a series of carefully teased-out puzzles full

Jenna Kuiper, Untitled (from 17 stones, 013), 5” x 7”, 2012

That’s only the beginning of Chervinsky’s doubling down on illusions in this work that revels in dissembling and playing with geometry, angles, planes, reflections, and the

of pictorial rigor, eloquence, and a sly beauty. This is tonic work that backs away from politics and emotional displays in favor of the crossbreeding of a timeless Pythagorean spirit with the quixotic nature of an early modernist revolutionary subsequently infused with the blood of a trickster. In the project space at the gallery is a suite of seventeen small paintings on panel by Jenna Kuiper. They all depict the same hunk of amethyst seen from various angles, hence the title of her show, The Jewel. I am drawn to work done in a coherent series that investigates one thing—in this case, a many-faceted violetcolored quartz crystal, and there is something quite mesmerizing about this very subdued and introverted work. Even using a nit-picky realist technique to capture the essential details of the stone, the renderings themselves say less about the amethyst and more about Kuiper’s engagement with the mysterious meanings that lie within the act of painting. Kuiper’s precise control of her brush doesn’t hide the fact that this work takes us around yet another corner in the debate between abstraction and representation. Kuiper’s paintings don’t hold up at a distance and they aren’t meant to. Intimacy is key here and so is a willingness to view her process as a form of silent meditation—a quest for the jewel in the lotus of art.

—Diane Armitage

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The Andrew Smith Gallery, INC.

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

o f

P h o t o g r a p h y

Miguel Gandert Saints and Sinners: Rituals of Penance and Redemption Continues through July 30th, 2012

The Andrew Smith Gallery celebrates our 2012 summer season with the exhibit, “Saints and Sinners: Rituals of Penance and Redemption,” by award-winning New Mexican photographer Miguel Gandert. Miguel Gandert, Hijo Del Hombre

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

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JULY 20 AUGUST 11 2012


Artists Reception Friday July 20 5:30 – 9pm

MJ HUSBAND 131 W San Francisco + 130 W Palace Avenue 2nd F Santa Fe NM 87501 505 660 0048


Charles Ross: Solar Burns

What am I

looking at? A yellow path through a white maze, bullet holes in couch cushions, the centers of geodes, eyeballs of exotic birds? Charles Ross’s Solar Burns installation at Gerald Peters Gallery fascinates on multiple levels. First, there is Ross’s process. He focuses sunlight to a single point through a large magnifying lens and burns the sun’s motion onto painted, three-quarter-inch-thick wooden planks. Each burn lasts for a specific time period—sometimes an entire day, sometimes a set number of minutes, sometimes precisely eight minutes and nineteen seconds, the time it takes sunlight to reach the earth. Then Ross creates artworks that group the multiple planks. In assembling these ordered arrangements he delights us with his use of color, and the sun’s artistry delights us when we look deep into each unique burn. The exhibition includes seven solar burn installations and one large prism. Curator and gallery director of contemporary art, Mary Etherington, spreads the show somewhat awkwardly over three distinct spaces in the gallery. The kelly green color that Ross uses in Melancholia II: Durer’s Magic Square x 4 (2011)

meets us when we walk through the front door. These solar burns comprise sixteen teninch-square planks that alternate symmetrically in four rows of four: green-white-greenwhite, white-green-white-green, etc. There is a numbered, sixteen-box magic square in Durer’s engraving, and Ross’s burn times in minutes and the plank layout correspond with these numbers and with Durer’s placement of the squares. These planks have some of the deepest appearing “bullet holes” of the entire exhibition. Turn right, and Etherington presents Ross’s next twenty-one planks in their own foyer. Here we have white, ten-inch-bythirty-inch rectangular planks, stacked seven down, three across. The burn arcs of the left-hand column, Solar Burn Week, Capricorn (12/26/07-01/01/08), are wry smiles. The central column’s tracings in Solar Burn Week, Aries (03/25/07-03/31/07), are flatter smirks (typical of Spring and Fall burns). Those of the right-hand column, Solar Burn Week, Cancer (07/21/07-07/27/07), frown slightly. These burn trails leave behind traces of a caramel color along with black smoke puffs. The burns’ centers appear perfectly braided, glistening, and crystallized. I can’t help it; I see

Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe giant feathers. What I’m really meant to see are the results of sunlight burning a day-long path across each panel. Clear days create broader smoke trails, clouds leave unburned spots, and a rainy day renders a blank plank. The five remaining burn artworks hang together in the Contemporary Exhibition Gallery. I can’t stop trying to navigate the one with the solar yellow brick road. It is from Ross’s series called 137 Solar Burns, named for the significance of the number 137 in the fundamental laws of the universe. The 137 square white-and-yellow eight-inch-by-eightinch planks­ distributed in rows of seventeen across and eight down, with nine in the far left-hand column­—have me believing I am meant to find my way along a yellow path through a white maze. I give up, and switch my fascination to staring deep inside the burns. Within each feathery, smoky center are geode-like, glittery cores, each different, each gorgeous. The exposure times for each square in all of Ross’s 137s last for eight minutes and nineteen seconds. On the next wall is Ross’s most colorful solar burn of the exhibition. Another of the 137s, the outer planks are painted vermillion and the inner cluster includes nine turquoise,

eight white, eight yellow, and eight pink planks, again representing eight minute, nineteen second burns. “They are the colors of the sun as he interprets it,” Etherington explains. 28 triangle orange (2007) changes gears with an entirely orange pyramid shape of twenty-eight planks, each eight by eight inches. Their burn centers (yes, eight minutes, nineteen seconds) are often scarab-like. The last of this exhibition’s 137s is another monochromatic piece, this time in blue. The final work, The Year 111 Magic Square (Yellow) (2011)—six planks by six planks—uses the interior-cluster colors from the vermillion 137s. In this case Ross’s exposure recipe equals the number of minutes that corresponds with the numbers in the Magic Square 111. The artist’s ninety-six-inch-high inverted triangular prism, Tapered Prism Column, feels out of place among the feathery burns. The prism is completely filled with oil, and nearby vibrations cause slow turbulence in the oil. The viewer can look upward to detect this movement. Using the prism to line up the planks from nearby solar burn artworks refracts their colors, which helps us experience the sun’s colors as Ross does. —Susan Wider

Charles Ross, 137 solar burns each in the time it takes sunlight to reach the earth, 8 minutes, 19 seconds: vermilion, solar burns, 80” x 152”, each solar burn 8” x 8”, 2005 / 2010

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THE magazine | 59

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

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



Odyssey + Art: The 1960s “I don’t get into ‘becauses.’ When you come into a studio you see a number of works. My habit is to go to the one I like most. If you start to say ‘because’ you get into art jargon.” —Clement Greenberg

So said the

master— nay, the originator—of art jargon himself. Clement Greenberg (1909–1994) was one of the first modern art critics as we understand the term today, and we’ve been arguing theory on the pages of art magazines and texts ever since the mid-twentieth century, Greenberg’s heyday for penning and pronouncing numerous “becauses,” despite his protestations. The bottom line is that Greenberg believed in what he saw; he wrote criticism to justify why he liked what he liked. It was his fervent, though theoretically improbable, belief that a work of art—and Clement favored abstract painting, for its flatness, over other mediums—was either good or it wasn’t. As he reasoned, “You like it, that’s all, whether it’s a landscape or abstract. You like it. It hits you. You don’t have to read it. The work of art—sculpture or painting—forces your eye.” And the fact is that Greenberg had a

remarkable eye for art, at least through the sixties, when he championed what he called Post-Painterly Abstraction as the coming wave in the progression of modern art history as it had been limned since Cubism shattered the picture plane. After Greenberg famously declared Abstract Expressionism in general, and Jackson Pollock in particular, the new wave and its master of important art after World War II, thus shifting the capital of the Western art world from Paris to New York, the critic continued to announce what was best as he saw it—until Post-Modernism managed to deflate his intellectual process. Decrying the second and third generations of Ab-Ex artists as derivative painters who muddied up the waters of “medium purity,” and emerging Pop as too superficial to “force the eye,” Greenberg’s last theoretical and aesthetic victory took place on the hallowed grounds of “Post-Painterly Abstraction.” As defined in the eponymously titled 1964 exhibition he curated at the Los Angeles County Museum of Art, the movement was characterized by a notable openness and clarity that differentiated it from all-over, action-based Abstract Expressionism. PostPainterly Abstraction tended toward one of

Yares Art Projects 123 Grant Avenue, Santa Fe two branches: open geometric forms that morphed from Barnett Newman’s early color-field abstractions into the hard-edged, shaped canvases of Ellsworth Kelly. The second strain in Greenberg’s pet movement was “soak-stain” painting as it was developed by Helen Frankenthaler, who was the first to pour turpentine-thinned pigment directly onto untreated canvas, thereby making her paintings flatter than wallpaper. Greenberg thought this was the “next big thing” when he saw it in the early fifties; later, Morris Louis, Kenneth Noland, and Jules Olitski would follow suit in their applications of paint to canvas, and Greenberg promoted the heck out of them. All this is to say that, first, Greenberg did indeed have an eye for art, and second, that art looks terrific as shown in Yares Art Projects’ inaugural exhibition, Odyssey + Art. Odyssey is a bright jewel in the Greenbergian crown of painting. This is an accomplished collection that spans the above-mentioned art movements of the middle of the twentieth century. Works by Frankenthaler, Louis, and Olitski are spectacular, with an emphasis on saturated, jubilant color. Olitski’s Lucy’s Fancy is a monumental

showstopper. Its wobbly, amoebic form suggests cellular mitosis and the joyous effortlessness of life itself. The Noland, nearly bled of color, leaves something to be desired; fortunately, a superlative example of his work hangs elsewhere in the gallery. Also worth mentioning is Enchanted Reverie (1962–3) by Hans Hofmann, the teacher to many first-generation Ab-Exers, who mastered the push-pull, or tension, of color and form on a canvas in a way that no one had since Cézanne. Esteban Vicente’s Genesee (1963) was a revelation to this writer, comparing favorably to its neighbor, Frankenthaler’s July Understated (1967), a large piece that clearly shows her debt to Hofmann. Vicente’s painting is more powerful despite its smaller size, especially in terms of color; it is subtler than July even though his technique relied heavily on the mark of the brush against an impasto of pigment as opposed to her staining of the canvas. Finally, Gene Davis and Thomas Downing’s hard-edged, geometric paintings suit the exhibition perfectly, firmly anchoring Odyssey within Clement Greenberg’s epic history of modern art.

—Kathryn M Davis

Jules Olitski, Lucy’s Fancy, magna on canvas, 79” x 125”, 1960

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THE magazine | 61

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The Lannan

Foundation’s spa-like gallery space, with its fountains, sand-colored walls, and shuttered windows, is tranquil if spartan; it’s the perfect setting for an exhibition like Transparent. After stints in Palm Beach and Los Angeles, the Foundation seems to have found a permanent home in downtown Santa Fe, where it’s been quietly supporting a variety of arts initiatives for twelve years. Press literature for the Foundation’s current exhibition proclaims that included works are “free from pretense or deceit… in such a way that it is easy for others to see what actions are performed, implying openness and accountability.” The organization’s founder, J. Patrick Lannan Sr., was a self-made millionaire entrepreneur from Chicago. He began collecting modern art in the 1950s and amassed thousands of important works before retiring to Palm Beach, where he set up a salon-style art museum. After Lannan’s death, in 1983, his estate became the subject of a bitter feud—small wonder considering he bequeathed the entirety of it to his art-collecting foundation, and not a penny to any of his six children. Court proceedings were antagonistic, but J. Patrick Jr. was eventually named the Foundation’s new director, making him head of one of the nation’s most powerful art-buying institutions. Under Lannan Jr.’s guidance, the Foundation expanded to include social justice programs, which some argued betrayed his father’s original mission to collect and display visual art. Any criticism seems inappropriate considering how consistently generous the Foundation has been in supporting art; it’s provided hundreds of thousands of dollars in financial aid to alternative media groups like The Nation, Democracy Now Productions, and Mother Jones Magazine, and has given thousands of dollars in grants to struggling artists and writers. Additionally, the organization offers artist residencies and has recognized outspoken contemporary thinkers like Arundhati Roy and Cornel West with annual Cultural Freedom Prizes. By making opportunities available to new artists, Lannan is still arguably deeply focused on supporting contemporary art, and when the Foundation does acquire artwork it’s automatically earmarked as a gift to an American museum. With its inclusion of artists like Subhankar Banerjee, Uta Barth, and Peter Alexander, this exhibition proves that the Foundation has

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Lannan Foundation 309 Read Street, Santa Fe a keen eye for excellent contemporary art, which makes sense when you realize that they’ve been at the forefront of collecting avant-garde and “difficult” art for many decades. To wit, the Foundation has supported a variety of Earthworks projects, including James Turrell’s unusual Roden Crater. In fact Turrell, with his longstanding practice of conceiving not only new ways of looking at natural environments but also managing to re-conceptualize the physical forms those environments can take, is a perfect fit for a show like Transparent. I was pleased to see two spare aquatints included here, both titled Deep Sky Portfolio. Identically sized and similarly themed, they are obviously from the same time and series. Viewing the first is like looking down a dark hallway, toward a window or portal that contains radiating rings of light. The strange brightness injects unexpected levity to the work. The other Turrell piece is decidedly eerier. The viewer is looking into the corner of a shadowy room, onto a thin strip of glowing light. In both of these photos, the theme of transparency is subtle and wonderfully provocative. Morris Louis’s massive mid-1950s acrylic painting Untitled, from the artist’s lauded Veil series, is visually sublime. Lannan Sr. became an early collector of Louis’s work after he was introduced to the artist by Clement Greenberg. With its layers of gauzy, washed-out blues and reds, Untitled is one of the few pieces in the exhibition that employs a variety of colors, even if they are fairly subdued. Though individually the colors are thinly applied, altogether they achieve a captivating density that challenges our perception of the texture and impact of the work. Elsewhere, pieces that initially seem transparent are deceptively opaque. Subhankar Banerjee’s Sky: Often I Look Up and Wish for Rain is an incredibly simple photograph of an overcast sky, whose wispy clouds in fact prevent the work from being purely transparent. The grouping is enigmatic but elegant, making the show as provocative visually as it is intellectually. Even ruthlessly minimal works, like Kate Shepherd’s Standing Open Box, with its pencil-thin marks of oil paint outlining a geometric form, have a distinct materiality that makes the exhibition feel clever, confident, and weighty. Transparency in any context is a lofty goal, but it uniquely befits an organization as complex as the Lannan Foundation.

—Iris McLister

Subhankar Banerjee, Sky: Often I Look Up and Wish for Rain, digital dye coupler print with face-mounted Plexiglas, 30” x 40,” 2009

Morris Louis, Untitled, acrylic on canvas, 955/ 8 ” x 775/ 8 ”, 1954

THE magazine | 63


For decades dedicated her life to the development and support of contemporary art. Now she needs OUR support. BUNNY'S EXTENSIVE ART COLLECTION IS BEING OFFERED FOR SALE. 100% of proceeds will provide for her continuing care.


Please join us Reception Tuesday, July 24th, 2012 from 5 to 8pm WILLIAM SIEGAL GALLERY Railyard District 540 South Guadalupe Street Photo Credit: Guy Cross

Preview 10am to 5pm Santa Fe 505 / 820 3300

Our gratitude to THE magazine for their generous sponsorship.


Tom Waldron: New Sculpture


with authority their mass and orientation, Tom Waldron’s sculptures invite viewers to follow with their eyes— and sometimes their hands as well—their inexorable flow into apparently endless space. In this they resemble natural forces as well as human-produced tools, which offer their form and function to the world without equivocation. Waldron has lived and worked in Corrales, New Mexico, for thirty years. His engagement with nature and human engineering, with the fundamentals of tool and craft, is clearly masterful. A tool is an embodiment of longaccumulated knowledge about how a given material—wood, stone, clay, metal, fabric, paper—yields to human intervention and intention. In a related way, engineered structures, major or minor—bridges, dams, sluices, sails, oars, prows, rudders— reflect a deep study of the materials and forces being controlled, channeled, or made to behave in desired ways. The final product is usually recognizably reciprocal, even isomorphic, with what it seeks to affect, be it be sand, steel, concrete, water, wind, or gravity itself. In the exhibition at William Siegal Gallery, most of Waldron’s recent work is of painted wood; earlier pieces are made of welded sheets of heavy steel, somehow imbued with the structural elegance of folded paper. In all cases color is a strong element, handled by the artist with superb subtlety. There are wall-mounted, roomand landscape-sized pieces. These and the tabletop pieces work well. Less successful are the pieces balanced on ledges. For some reason the precariousness and arbitrariness of the ledge undermines the sense of these works as being gravitywedded and thus inevitable. Titles such as Flowstone, Wake, Slipstream, Balleen, and Blue Fin reflect a close observation and mirroring of the natural world. The title of another piece is Harrow, which is a tool for breaking up clods of earth for planting. In all cases, the stability and weight of each work counterbalances an implied trajectory, evoking the dynamics of movement in space. These works are not about “finish,” but they do feel very finished, in the sense of being immutable. Their chic monumentality functions equally across different sizes and scales and emphasizes a certain impenetrability. Art critic Peter Schjeldahl recently referred to an undeniably widespread

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dissatisfaction with “the modernist dogma of art’s hermetic autonomy,” observing in the same breath that we are equally fed up with “the jokes played on art by Duchamp and his legions of progeny.” Although this show operates within an admittedly limited repertoire of formal strategies,

William Siegal Gallery 540 South Guadalupe Street, Santa Fe it reminded me how comforting it can be—in this world of spin and virtuality— to come into contact with something so much a thing-in-itself. If sculpture is an object that redefines the space around it, these works speak quietly of edges, surfaces, planes, and angles pointing to

the unknowability of absolute reality. Their density can trigger a sensation akin to coming unexpectedly upon a trickling fountain at the center of a walled and leafy garden while trekking across a hot, sprawling city.

—Marina La Palma

Tom Waldron, Harrow, steel, 16” x 21” x 8”, 2012

THE magazine | 65

Enchanted Landscape

Featuring five artists whose artistic expressions capture a sense of earth, sky and place. Show dates: June 30 - July 21 Opening Reception Saturday, June 30 from 5 to 7 pm 7 Caliente Road Santa Fe, NM 87508 505.428.0024 THE-LambertCOLOR.qxd:Layout 1


5:45 PM

Page 1

Santa Fe Art Institute

Advertising and public space intervention artist, Steve Lambert Lecture: Monday 7/2, 6pm Tipton Hall Workshop: Creating a Crowd Sourced Wiki for Santa Fe, Sat & Sun 6/30 -7/1 10am – 4pm SFAI Exhibition: 7/9-27, SFAI 9am – 5pm M-F Discovery & Direction: An Art/Life Workshop Conceived & conducted by Robert Atkins 3 group meetings and 3 private sessions between 7/9 – 23 Social Justice focused Author/Speaker/ Blogger, Courtney Martin Lecture: 8/6. Workshop: 8/4-5 July Artists & Writers in Residence Open Studio: Thursday 7/26, 5:30pm SFAI WWW.SFAI.ORG, 505-424 -5050, INFO@SFAI.ORG. SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURES STUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS AND YOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE. PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS

jennifer esperanza photography

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enjoy recycling clothes because I feel there is a history with fabric that intrigues me. I have re-used saris, old clothes from the twenties and thirties, and vintage bedsheets. It’s very interesting to see what I can create out of used fabric.” Seventeen-year-old fashion designer Jeremy Allen with his sister Rhiannon who is wearing a dress made from a 1930s bedspread.

Photograph by Jennifer Esperanza

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People look at me and say, “That’s Lassie, and she’s so, so beautiful.” The secret of my beauty is my monthly appointment with my groomer. Add to that my “Clean-up Deluxe” on my birthday, I am a happy dog.

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A R C H I T E C T U R A L D E TA I L S a r c h i t e c t u r a l d e ta i l s

A bandoned A dobe , T aos photograph by


G uy C ross photograph by

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Guy Cross

THE magazine | 57 THE magazine | 69


The Gathering of Ravens by

Cynthia West

Pieces of the night with wings, where they fly the darkness shines blue. They fill every tree. The hills provide bleachers for thousands. Wild cawing dissects the wind, stitches it back into new patterns. They gather from every direction, inking the sky with meaning. As I pass, they startle, weaving me into their black water. Shadows that open mountains, that lift the naked willows, their indigo cries predict more than the coming of snow.

“The Gathering of Ravens� is from In the Center of the Field (Sunstone Press, $16.95). West, known for painting, poetry, photography, digital imaging, and book arts is the author of four other collections of poetry: For Beauty Way, 1,000 Stone Buddhas, Rainbringer, and The New Sun.

70 | THE magazine

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Charles Ross Solar Burns

Charles Ross, 28 triangle orange, 2007, 28 solar burns, each in the time it takes sunlight to reach the earth, 60 x 60 inches

Š 2012 courtesy Gerald Peters Gallery.

June 15 - July 28, 2012 Opening Friday, June 15, 5-7 pm Book S igning: Char les Ross | The Substance of Light

Mary Etherington, Director of Contemporary Art in co l l ab o r ati o n w i th Lo i c M al l e Ar ts , P a r is

1011 Paseo de Peralta, santa Fe, nM 87501 | tel 505-954-5700

Chiaroscuro Contemporary Art

in association with Vivien Anderson Gallery Melbourne, Australia

Teresa Baker, Kalaya munu Malilu Tjukurpa, 2011, Acrylic on linen, 78x78 inches

Contemporary Indigenous Australian Art

July 13 - September 8, 2012 Opening Reception, Friday July 13, 5-7:30 pm, Australian Artists in Attendance! Illustrated Catalog Available Artists Include:

Jean Baptiste Apuatimi Kaye Baker Teresa Baker Watarru Collaborative

Djambawa Marawili Dorothy Napangardi Anyupa Stevens Ginger Wikilyiri

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


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

The Magazine - July, 2012 Issue  
The Magazine - July, 2012 Issue  

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