THE magazine May 2011

Santa Fe’s Monthly

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of and for the Arts • May 2011

T E R I G R E E V E S : S TO R IE D B E A D S

SAT UR DAY MAY 28, 5 - 7 P M Please join us for an ar tists reception and a special viewing of the lauded PBS series Craft in America featuring segments on George Nakashima and Teri Greeves

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

c o n t e n t s

Letters

39

International Spotlight: Art HK, Hong Kong, China

16

Universe niverse of sculptor Nathaniel Hesse

41

Feature: The Woodmans, by Diane Armitage

21

Studio Visits: Bon Malten and Savoy Rath

45

23

One Bottle: The Paul Bara Champagne “Grand Rosé,”

by Joshua Baer

25

Dining Guide: The Compound and Saveur

Critical Reflections: 505 at the Richard Levy Gallery (Alb.); Blow Up! at Eggman and Walrus; David Leigh at Eileen Braziel; David Ryan at James Kelly Contemporary; Earth Now at the New Mexico Museum of Fine Art; and Kay Harvey at 333 Shelby Street Gallery (Montezuma Annex)

29

Art Openings

30

Out & About

36

Previews: Composing the Artist at Monroe Gallery of Photography; Erin Cone at Nüart Gallery; and Meow Wolf: The Due Return at the CCA

5

55 Green Planet: Dr. Helen Mary Caldicott. Photograph by Jennifer Esperanza 57

Architectural Details: Trampas, NM. Photograph by Guy Cross

58

Writings: “Flight Attendant,” by Roger Salloch

Berthe Morisot once remarked, “I do not think any man would treat a woman as his equal, and it is all I ask because I know my worth.” At least until recently, Morisot was correct regarding both her worth and how, due to her gender, the world was ignorant of it. For almost a century, rather than being recognized for her own work, this remarkable Impressionist painter was better known as the subject of several Manet paintings. Even when critics praised Morisot’s work, they rarely saw beyond the fact that the artist behind the paintbrush was a woman. “It is a woman’s work,” wrote Camille Mauclair, “but it has a strength, a freedom of touch, and an originality which one would hardly have suspected.” However, among the Impressionists themselves, Morisot was considered an equal. She and her sister, Edma, studied with Camille Corot, widely regarded as the main precursor to the Impressionists. One day in 1868, while admiring a Rubens painting at the Louvre, Morisot met Édouard Manet. The two formed a lifelong friendship, and each became a great influence on the other’s work. Along with Manet, Cézanne, Monet, Sisley, and Pissarro, Morisot was deeply involved with the Impressionists’ rebellion against the stubbornly unprogressive Paris Salon. Berthe Morisot by Jean-Dominique Rey (Flammarion, $50) is an elegant presentation of Morisot’s finest work, replete with sketches, personal correspondence, and an illustrated biography and time line. The book confirms Morisot’s inclusion in the ranks of the great masters of Impressionism.

T I C K E T S O N S A L E 7 M A Y at the Lensic box of fice • w w w.lannan.org

211 W. San Francisco St, Santa Fe, NM. Tel 505.988.1234 www.lensic.com

—From Hidden Agendas by John Pilger

TICKETS: $6 general / $3 student + senior with ID. Lensic Performing Arts Center

“It’s not enough for journalists and broadcasters to see themselves as mere messengers without understanding and revealing the hidden agendas of the message and the myths that surround it. We ought never to be agents of power, always of people.”

Lannan is podcasting Readings & Conversations! Please visit www.lannan.org, to learn more, listen, and subscribe to have the events automatically downloaded to your computer.

Wednesday 15 June, 7 pm

R E A D I NG S & CON V E R SAT I O N S R E A D I NG S & CON V E R SAT I O N S

John Pilger with David Barsamian

LETTERS

magazine

VOLUME XVIII, NUMBER VIII WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids P U B L I S h e R / C R e At I V e D I R e C t O R Guy Cross PUBLISheR / FOOD eDItOR Judith Cross ARt DIReCtOR Chris Myers COPy eDItOR edGar sCully PROOFReADeRS JaMes rodewald KenJi Barrett S tA F F P h O t O G R A P h e R S dana waldon anne staveley lydia Gonzales e D I t O R I A L A S S I S tA n t elizaBeth harBall WeBMeISteR

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JiMMyy Montoya: 470-0258 (MoBile) THE magazine is published 10x a year by THE magazine Inc., 1208-A Mercantile Rd., SantaFe,NM87507.Corporateaddress:44BishopLamyRoad,Lamy,NM87540.Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail: themagazineSF@gmail.com. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not respon sible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its advertisers .and is not responsible or liable for errors in any advertisement.

| M A y 2011

Photographs and paintings by Carola Clift at William Siegal Gallery, 540 South Guadalupe Street, Santa Fe. Opening Reception: Friday, May 29, from 5 to 7 pm.

TO THE EDITOR: The article in your April issue on Anselm Kiefer by Roger Salloch is a beautifully written article—one of the best I’ve read on Kiefer.

I claim no expertise on Kiefer, but I received my long-ago degree in modern German history, and have remained a student of that subject ever since. What this piece has to say on that aspect of Kiefer’s work I believe contains real insights—insights that anyone with a strong interest in contemporary art would enjoy reading.

I own a very moving and emotional Lillith from 1998. There was a time when Kiefer’s work was seriously misunderstood and even thought to be anti-Semitic. No longer the case. In fact, I think Kiefer had a major exhibition at the Tel Aviv Museum, which also, I believe, acquired his work.

—roGer sMith, via eMail TO THE EDITOR: The Roger Salloch piece on Anselm Kiefer in your April issue was magnificent. I was particularly struck by some of the aperçus, such as ”Art is consequence” and “Germans do not take irony lightly.” Mr. Salloch brings his novelist’s sensibility to art criticism, which sets up a mutual relationship between the critic and the art and the artist, rather than the usual analysis of art, which conceals itself behind an invisible wall of “superior” objectivity.

—John friedMan, via eMail TO THE EDITOR: Roger Salloch: where have you been all of my art-criticism reading life? Your essay on Anselm Kiefer is beautiful.

—anne day, via eMail TO THE EDITOR: As a survivor of child incest, I felt compelled to write to you after reading the poem “The Unforgiven,” by Julie Motz in your April issue. I had a mother who also “struck a bargain”—a bargain of silence with my father. I was just a child of six when the sexual abuse began. And it went on until I was eleven years old. My mother turned a blind eye to what was going on (years later, just before her death,

she admitted that she knew what was going on, but was unable to address the abuse, as she feared my father).

This abuse by both my father and mother turned me into a damaged person—unable to trust or love anyone. Motz’s poem is a beautiful and touching poem by a sad person. I can only hope that she was able to overcome the horrors of her youth.

—MaryBeth Meuli, via eMail TO THE EDITOR: THE magazine serves the community of Santa Fe as a conduit to the arts in various media. However, that conduit reaches far from the chamisa of the high desert.

Since we began to advertise in THE magazine after a tenyear absence from Santa Fe, our Denver ‘outpost’ has received numerous inquiries and sales from our presence in THE. I highly recommend those outside of Santa Fe to consider the persuasiveness of print and name recognition in THE magazine.

—r randolph lauB, denver. Co., via eMail TO THE EDITOR: I read with interest the article by Diane Armitage on the architecture of Antoine Predock. We will be visiting Copenhagen this year in June and I thought I would like to visit the Danish National Archive that Predock designed. I searched the Web but the only items I could find about the building were Predock’s architectural models on his Website. The Denmark and Copenhagen Websites direct you to the old buildings in town and never mention Predock’s building. Did he ever build this structure?

—hans van heyst, via eMail To Hans van Heyst: I’m sorry to report that Antoine Predock’s design for the Danish National Archive didn’t win the competition—I called the architect’s office in Albuquerque to verify whether the building existed or not, and the answer was no. I apologize for your wild goose chase, but I honestly believed that the charismatic structure had become a reality.

—diane arMitaGe

THE magazine | 5

WILL WILSON: AUTO IMMUNE RESPONSE LAB May 27 - AUGUST 31, 2011

TOTEM: IAIA FACULTY AND STAFF EXHIBITION May 27 - July 31, 2011

MoCNA ART MARKET May 28 - 29, 2011

HIDE: SKIN AS MATERIAL AND METAPHOR Exhibition organized by the National Museum of the American Indian, Smithsonian Institution.

Through July 31, 2011

MEMORY, TEXTURE AND TIME: IAIA BFA EXHIBITION Through May 12, 2011

railyarD Gallery

Santa Fe Art Institute

DanChristensen

May

bars and scrapes april 29-june 5, 2011 Opening reception: Friday, april 29, 5:30-7:30pm

5/20 Multimedia artist and educator

Kim Stringfellow

lecture, 6 pm Tipton Hall.

5/21-22 workshop ‘Historical, ecological and activist issues in art’, 10am-4pm SFAI 4/22 – 5/31 Exhibition, 9am-5pm M-F SFAI

Eve Andrée Laramée Kim Stringfellow 5/26 5:30pm SFAI

Residency Readings & Open Studios Keep an eye out for info about our exciting Summer Architecture Tours!

WWW.SFAI.ORG, 505- 424 5050, INFO@SFAI.ORG, SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FE NM 87505 | THE SANTA FE ART INSTITUTE EXPLORES THE INTERCONNECTIONS OF COMTEMPORARY ART AND SOCIETY THROUGH ARTIST AND WRITER RESIDENCIES, PUBLIC LECTURES AND WORKSHOPS, EXHIBITIONS, & EDUCATIONAL OUTREACH THIS PROGRAM PARTIALLY FUNDED BY THE CITY OF SANTA FE ARTS COMMISION AND THE 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS

Durango, 1986, acrylic on canvas, 62½" x 48"

Downtown Gallery

SammyPeters surFace tensiOns may 6-june 5, 2011 artist reception: Friday, may 6, 5:30-7:30pm

Tenuous: remaining; certainty, 2011, oil & mixed media on canvas, 48" x 60"

LewAllenGalleries Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 125 W. Palace Ave. (505) 988.8997 www.lewallengalleries.com info@lewallengalleries.com

MICHAEL ROUILLARD Framed Light 2005-2011

APRIL 29 - MAY 31, 2011 Opening Reception / Friday, April 29, 5 - 7 P.M.

CHARLOTTE JACKSON FINE ART 554 South Guadalupe St., Santa Fe, NM 87501 Tel 505.989.8688 / www.charlottejackson.com C h r o m a , 2 0 0 5 , o i l s t i c k o n a l u m i n u m , 8 2 1/ 2

x

3 8 7/ 8 i n c h e s

MONROE GALLERY of photography

Composing The Artist Photographs of Artists and Writers

Steve Schapiro: Rene Magritte, Museum of Modern Art, New York, 1965

Opening Reception Friday, May 6 5-7 PM Exhibition continues through June 26 Open Daily 112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810 e: info@monroegallery.com www.monroegallery.com

JILL MOSER NEW PAINTINGS JAMES KELLY CONTEMPORARY MAY 13 – JUNE 18 OPENING RECEPTION FOR THE ARTIST FRIDAY, MAY 13, 5–7 PM 1601 PASEO DE PERALTA, SANTA FE, NEW MEXICO 87501 T 505.989.1601 F 505.989.5005 JAMESKELLY.COM RYDER 2011 ACRYLIC & OIL ON CANVAS, 29 X 31 INCHES

Steve Joy CATHEDRAL, Paintings

Jonathan Blaustein THE VALUE OF A DOLLAR SERIES, Photography May 27 through June 17, 2011 Friday, May 27th, 5–7 pm

Icon, Carpathia #2, 2011, 36 x 40 inches, mixed media on wood panel box

The Natural World in the Nineteenth Century Archival pigment prints 22 x 17 on Rives BFK 310 gsm 100% rag mould-made paper $135.00 includes shipping

ZANEBENNETT CONTEMPORARY

3

ART

View other images www.gwahl.com

435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com Mon–Sat 10–5, Sunday 12–4, or by appointment Railyard Arts District Walk last Friday of every month

G.WAHL Gallery

1408 Wazee St. Denver, CO 80202 303 825-9928

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

Masterpi e c e s

o f

Happy Birthday Robert Allen Zimmerman Photographs by David Michael Kennedy, Lisa Law, Baron Wolman, and Guy Cross Opening: Friday, May 20, 2011, 5 - 7 p.m.

Exhibition Dates: May 20 through June 28, 2011 Bob Dylan turns 70 on May 24 and the Andrew Smith Gallery is celebrating with an exhibition of photographs by gallery artists David Michael Kennedy, Lisa Law, Baron Wolman, and Guy Cross. Intimate portraits as well as live shots of the iconic troubadour will be on view.

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

P h ot o g ra p h y

INC. Bob Dylan, The Castle Solarium, Los Angeles, CA, 1966 © Lisa Law

OP ENING RECEPTION :

• 505.984.1234 • www.AndrewSmithGallery.com

William Penhallow Henderson (1877-1943) “Dahlias”, c.1919. Oil on board, 24” by 18”.

Signed lower right, titled and signed verso. Excellent original condition. Framed in a 1920’s Newcomb-Macklin frame. Exhibited 1963 New Mexico Museum of Fine Arts, Santa Fe.

Beautiful flowers always pop up in Spring We just acquired this extraordinary William Penhallow Henderson painting from a Tesuque family who collected it in 1967.

Henderson’s “dahlias” are now close to a century old and they are still fresh as a daisy. Buy yourself a floral bouquet that will last forever.

F I N E A R T S O F T H E S O U T H W E S T, I N C email info@fineartsofthesouthwest.com www.fineartsofthesouthwest.com painting is subject to prior sale. copyright 2011 Fine Arts of the Southwest, Inc. All rights reserved.

BIG PAPER

WESLEY BERG • ALISON KEOGH • PETER LIGON • LARRY BOB PHILLIPS MAY 13 - JUNE 18 SHELBY SHADWELL • LISA WEDERQUIST

annex

333 montezuma

OPENS FRIDAY MAY 13 5P-7P 505•982•8889

www.222shelbystreet.com

L E E

P R I C E | full

06 may | opening reception friday 5 - 7 pm through 31 may 2011

Ice Cream, oil on linen, 31 x 62

EvokeContemporary.com

the journey of self-discovery as the life principle of an artist

thinking of and using form in its full spatial existence

A child does not just start practicing law or become an accountant. He or she may

Art consists of very specific arrangements of form and scale. This includes negative

just start to draw, and this spontaneous discovery can carry them for a lifetime.

and positive space, volumetric and linear, mass and emptiness. I neither favor solid

Remaining true to the creative process forces an artist to cross a threshold

objects nor linear ones. It is the interplay and learned reason for each that my work

at some time in life, and there is no going back. Retirement is never an issue

depends on. The scale of all things in relation to each other also determines the

or considered.

outcome. The arrangements are limitless.

Inducing emptiness to exclaim its secret

the artist as philosopher

Questioning the void, the unknown, is a unique path for the artist. “What if” is behind

It is impossible for an artist not to have a philosophy, though often it is not obvious or

most actions of an artist. The blank canvas, the empty stage, and sheet music with

desired. The inevitable is the work that is made, and when it is shared it provides thoughts

no notes—all reflect the artist answering the call of why we are here and what it is

of being and existence. It takes courage to show one’s belief system to others. Some

to be human.

artists are better than others at doing this, but it is where we make our stand.

UNIVERSE OF

Nathaniel

Hesse

degree fro boasts an m the Rho impressive de Island S Foundry fr resume. H chool of D om 1991 t e received e o s ig 1 995. His w n and was Galerie Ca his Bachelo the head fa ork has be therine Nè r of Fine A e b g n exhibite ricator at re in Paris rts New York d t , he Shidoni across the the Heland City, and in B country an er Gallery ronze New Mex Hand Arte d in Europ in Palm Be ico at the s Gallery, t e a , ch, Florida including Shidoni Co he College , the Sculp ntemporar based art, o f t S u a re Center nta Fe, and y Gallery, co -founde in Sandra Hu d by Hesse the Sculpt m ure Ranch in 2002. T p h r ie s Gallery, , a venue fo he Sculptu sculpture, r r e o u R t a d n o ch hosts a or and lan installation n annual in ds, and per v it formance a t io n al show of art. Detail s: sculptur eranch.org

photoGraph By

dana waldon

Working with simple, basic forms

the happy accident

Our world is made up of simple and basic forms. We live in the third dimension,

The artist is an accident waiting to happen. Determination and trust in one’s skills

we use three primary colors, and all things are made from three primary shapes.

create the vision from one action to the next. Doing this consecutively makes art.

Basic chemistry provides us with cement: sand, lime, and water. Computers use basic ABA logarithms. The apparent simplicity, though, produces a very complex world,

Being self-critical

and nature is the best example. Working with simple forms in relation to each other

It is necessary to be critical of what we make, but that can also be self-defeating.

reflects this complexity, and with studied decisions will produce formidable art.

We all live in an imperfect world, which allows for diversity and self-expression.

It also anticipates what we might do in another dimension, say the fourth or fifth.

We have to accept this when making art because the process is intuitive critical

What we do with the limitations of our earthly existence becomes our purpose and a

thinking. Pushing forward from one action to the next produces great work. The time

refining process for our entity.

will come, though, when this self-criticism works against the final result and stifles the outcome. It is the art that is most perfectly imperfect that gives us the greatest reward. That’s because it looks like us. D

| may 2011

THE magazine | 17

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Thinking in Glass with Silvia Levenson June 27– July 1

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STUDIO VISITS

“There’s no retirement for

an artist. it’s your way of living so there’s no end to it.” —Henry moore

WE asked two local teenage artists to talk of their thoughts on art, and on life as an artist. Photographed By Lydia Gonzales— a 13-year-old photographer.

photographs by lydia gonzales

I agree with Henry Moore. I believe that an artist never stops being an artist, and even after death, his or her art will remain, encouraging others to create their own art. I see life as an artist as a never-ending path that forks in ways that open more and more opportunities for one’s self. Looking ahead, I can see myself at a point where I do only the art that I want to do, with no pressure from anyone, because when there is too much pressure, I end up just making mistakes more than actually doing the

I completely agree with Henry Moore—there is no retirement

thing that people wanted

for an artist because to be an artist is to see the truth and beauty in every moment. Being an artist is a mindset, a commitment to think politically and creatively all the time. I sketch, doodle, and write every day. But beyond that, to embody the title of artist is to draw inspiration from every moment and to build and elaborate on ideas until they come to fruition in a final piece. I hope that young artists around the world will find their voice, take a stand for their art, and represent their beliefs. I also hope that young people will have the courage to take risks and that the older generation will support them. Art invades almost every aspect of life, and, arguably, everything is art. I believe that the need for new creative design and solutions to the global distress will be solved by young artists. And I intend to be a part of that solution.

—Bon Malten

me to do. But as an artist I can bypass all of that without thinking of messing up or disappointing someone. Art must be free from all rules and boundaries.

-—Savoy Rath Savoy Rath is fifteen years old. The art that interests him is digital design. An artist who influences him is a poet named Ian Curtis—the Joy Division vocalist and songwriter. Rath will be attending the New Mexico School for the Arts where he will study visual arts. He submitted art to the Alliance for Young Artists and Writers, and won a Gold Key Award for a 3-D stereo business card that he designed. www.savvyz.com

Bon Malten is seventeen years old and a senior at Desert Academy in Santa Fe. This fall she will be attending the Eugene Lang New School of Liberal Arts in New York City. Her main interests are photography, printmaking, painting, psychology, yoga, and philosophy. In March 2011, Malten was part of a group exhibition at The Fisher Press, in Santa Fe.

| may 2011

THE magazine | 19

lunch - monday thru saturday sunday brunch dinner - nightly

“Elegant yet informal, with successfully inventive dishes, it is widely considered to be the city's finest restaurant.”

—Travel & Leisure

231 washington avenue - reservations 505 984 1788 gift certificates, menus & special events online

www.santacafe.com

a Santa Fe tradition since 1944

The Pink Story The Pink Adobe was established in 1944 by Rosalea Murphy. Known affectionately by locals as "The Pink," the restaurant has grown into a local and national landmark since its humble beginnings serving Dobe Burgers, French onion soup, and hot apple pie.

The restaurant is housed in historic adobe building, the décor is a mixture of old Santa Fe, old New Orleans, and Rosalea’s bohemian life style. Our menu remains Pink Adobe Classic and features dishes that five generations of Santa Feans grew up eating, plus new favorites and occasional specials.

PINK ADOBE

Lunch: Monday-Friday in Dragon Room Dinner: 7 nights a week from 5:30 pm.

DRAGON ROOM BAR

Weekdays, afternoon, and 7 nights Dragon Room Bistro Menu available all afternoon & evening

The Pink Adobe • 406 Old Santa Fe Trail • Reservations: 983.7712

ONE BOTTLE

One Bottle:

The 2009 Commanderie de la Bargemone Rosé

by Joshua Baer

If you live in Santa Fe you may have noticed that May is the month when

What if lilac wood was poisonous? What if we invited our friends over for an

the lilacs bloom. Santa Fe is always beautiful, but the blooming of the

inaugural lilac-wood grilling, built a fire in the Weber, grilled some lamb chops

lilacs is the kind of annual event that deserves its own festival.

and sliced fennel, sat down to dinner, and everybody went into convulsions?

Lilac blossoms come in three colors: eggshell white, intimate

Wikipedia said that syringa vulgaris, the common lilac bush, was

pink, and a deep, thick violet that manages to be simultaneously antique

a “flowering woody plant in the olive family (Oleaceae) native to woodland

and modern. In Santa Fe, the violet blossoms are the most common

and scrub from Southeastern Europe to Eastern Asia…. The genus name

but there are just enough white and pink blossoms to keep the violet

Syringa is derived from Greek syrinx meaning ‘a hollow tube or pipe’ …and

blossoms from becoming monotonous. While the colors of the lilac

refers to the broad pith in the shoots in some species, easily hollowed out to

blossoms get all the attention, it is their smell that makes lilac season

make reed pipes and flutes in early history.”

so enjoyable. About a week into its bloom, the lilac blossom starts to

throw off aromas of dry wheat, ripe Comice pears, and mesquite honey.

reassuring. But what got my attention was the word “syringa.” Like most

If you have never stood in front of a blooming lilac hedge, closed your eyes, and inhaled the aroma, then this is the year to do it. No matter what kind of life you are living, your soul will thank you for the experience.

Two winters ago, I was on a walk near our house

I liked the part about the reed pipes and the flutes. That was residents of Santa Fe, I had spent time driving up and down Siringo Road.

After reading about lilacs, it was easy to imagine Siringo Road in the old days, lined on both sides with lilac hedges.

That night, we grilled rib steaks over lilac wood.

The smoke was fragrant but not perfumed. I could not identify

when I passed by a lilac hedge that was a block long. I had

any traces of lilac in my steak but my steak tasted better than

walked by the hedge many times. Each May, it was my

any beef I had eaten. Over the next few months, as we grilled

favorite place to stand, close my eyes, and inhale.

all kinds of beef, lamb, chicken, and fish, I got to know the

The first thing I noticed about the hedge was that it

idiosyncrasies of lilac wood. It is a temperamental wood,

was smaller. Then I saw the cuttings on the ground. Most

so you have to wait for the coals to look like they are dead,

of the cuttings were the size of twigs but a few were the

but the results are worth the wait. Eating food cooked over

size of a baseball bat.

lilac wood is a lot like drinking a great wine: the flavors are

clearly ambiguous and ambiguously clear.

After I got back from my walk, I asked my wife if she

knew the people with the block-long lilac hedge. She said

she had spoken with them once. I asked her if she would

Bargemone Rosé.

mind going over and asking them if we could have their lilac

cuttings. I did this because I am terrible—pathetic, really—

of France, just outside the village of Aix en Provence. In the

at asking people for favors. Whenever I ask a favor, I keep

glass, Bargemone’s Rosé is a transparent copper backlit with

thanking the person in advance, which makes people nervous.

flashes of gold. The bouquet is an unspoken promise. On the

This is a fault I have tried to correct but the fault is buried so

palate, the wine keeps that promise. The finish may be the

deeply in my psyche that I cannot get rid of it. My wife, on the

Commanderie’s best aspect. It lingers for an extra moment

Which brings us to the 2009 Commanderie de la Commanderie de la Bargemone is located in the south

other hand, is highly skilled at asking people for favors. There

before it disappears.

is something about her eyes, about the way they almost cross,

You can buy the 2009 Commanderie de la Bargemone

that makes people want to give her whatever she wants.

Rosé at Liquor Barn for $17 or at Susan’s Fine Wines and

About an hour after my wife went to ask the people

Spirits for $16. Most of the garden variety French rosés

with the lilac hedge if we could have their cuttings, a pickup

taste the same each time you drink them. That consistency

truck pulled into our driveway. A man and a woman got

can be comforting but after a while it begins to lower your

out of the truck. The man had a friendly smile. The woman

expectations. The 2009 Commanderie de la Bargemone Rosé

looked like a movie star. The bed of their truck was stacked

is just the opposite. With each sip, this

with lilac cuttings.

wine renews your expectations—and

then it exceeds them. D

My wife came up the driveway. “Where do you want

them?” said the man. My wife took the man and the woman to the place where I chop wood. After the four of us unloaded the truck, I thanked the man and the woman for letting us have their cuttings. “No, thank you,” said the woman. “This’ll save us a trip to the dump.”

After they left, I started thinking about all the food

I could grill over the lilac wood, but then I got nervous.

| may 2011

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2011 by onebottle.com. For back issues, go to onebottle.com. You can write to Joshua Baer at jb@onebottle.com

THE magazine | 23

DINING GUIDE

Seared Diver Sea Scallops at

The Compound Re s t a u r a n t 653 Canyon Road Reservations: 982-4353

$ KEY

INEXPENSIVE

$

up to $14

MODERATE

$$

$15—$23

EXPENSIVE

$$$

VERY EXPENSIVE

$24—$33

$$$$

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

EAT OUT MORE OFTEN!

Photos: Guy Cross

...a guide to the very best restaurants in santa fe and surrounding areas...

Aztec Cafe & Restaurant 317 Aztec St. 820-0025.

Breakfast/Lunch/Sunday Brunch.

Dinner soon.

Smoke-free.

Major credit cards. $$ Cuisine: Organic comfort food. Atmosphere: Casual and friendly. House specialties: For our breakfast, we love the Smothered Vegetarian Breakfast Burrito and the Organic Egg Sandwich. Lunch favorites include the “real deal” Philly Cheesesteak Sandwich and the super-fresh Garden Salad. Don’t miss the Fresh Fruit Smoothies and the delicious Housemade Ice Cream. Comments: Chef de Cuisine, Aidan Maloney knows his stuff.

311 Cafe on the Trail 311 Old Santa Fe Trail. 984-8500.

Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: For breakfast, have La Fruits Rouges Crepe (mixed berries and whipped cream) or the Stuffed and Toasted French Croissant. For lunch, choose from any of the homemade quiches or wonderful salads. Tempting dinner entrees include the Grilled Flat Iron steak and the Seared Duck Breast and Glazed Turnips Comments: Authentic French bistro fare.

315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190.

Dinner Beer/Wine. Smoke-free inside. Patio.

Major credit cards. $$$ Cuisine: French.

Atmosphere: Reminiscent of an inn in the French countryside. House specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town.

Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list.

Amavi Restaurant 221 Shelby St. 988-2355.

Dinner/Sunday Brunch Full bar. Smoke-free.

Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Elegant. House specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp.

Comments: Farm to table. Chef Megan Tucker is doing it right.

Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 .

Breakfast/Lunch/Dinner Smoke-free. Valet parking.

Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno

sauce, and the nine spice beef tenderloin.

Comments: Attentive service.

Andiamo!

322 Garfield St. 995-9595.

Lunch/Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas, and a sharp waitstaff.

Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319.

Lunch/Dinner No alcohol. Smoking.

Cash. $$ Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. House specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib-eye steak is juicy and flavorful.

Body Café 333 Cordova Rd. 986-0362.

Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual.

House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy.

Cafe Cafe Italian Grill 500 Sandoval St. 466-1391.

Lunch/Dinner Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual.

House specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff.

Café Pasqual’s 121 Don Gaspar Ave. 983-9340.

Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free.

Major credit cards. $$$ Cuisine: Multi-ethnic.

Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. House specialties: Hotcakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese.

The Compound 653 Canyon Rd. 982-4353.

Lunch/Dinner Full bar. Smoke-free. Patio.

Major credit cards. $$$$ Cuisine: Contemporary American.

Atmosphere: 150-year-old adobe with pale, polished plaster walls and white

linens on the tables. House specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts are absolutely perfect. Comments: Seasonal menu. Chef/ owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen.

Copa de Oro Agora Center at Eldorado. 466-8668.

Lunch/Dinner 7 days a week. Take-out.

Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: International. Atmosphere: Casual. House specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, and the slowcooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Well worth the short drive from downtown Santa Fe. Corazón 401 S. Guadalupe St. 424-7390.

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Casual.

House specialties: You’ll love the thincut grilled ribeye steak topped with blue cheese, or the calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music?

Corazón is definitely your place.

Counter Culture 930 Baca St. 995-1105.

Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and Pernod cream sauce, and a delicious hanger steak. Comments: Boutique wine list.

Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565.

Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$ Cuisine: All-American. Atmosphere: Popular patio shaded by big cottonwoods.

Great bar. House specialties: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers Coyote Café 132 W. Water St. 983-1615.

Dinner Full bar. Smoke-free.

Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling.

House specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak.

Comments: Good wine list.

Downtown Subscription 376 Garcia St. 983-3085.

Breakfast/Lunch No alcohol. Smoke-free. Patio.

Cash/ Major credit cards. $

Cuisine: Standard coffee-house fare.

Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze.

Over 1,600 magazine titles to peruse. House specialties: Espresso, cappuccino, and lattes.

El Faról 808 Canyon Rd. 983-9912.

Lunch/Dinner Full bar. Smoking. Patio.

Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheekto-cheek dancing. Murals by Alfred Morang.

El Mesón 213 Washington Ave. 983-6756.

Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins.

Geronimo 724 Canyon Rd. 982-1500.

Dinner Full bar. Smoke-free dining room. Patio.

Major credit cards. $$$$ Cuisine: French–Asian fusion fare.

Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. House specialties: Start with the superb foie gras. Entrées we love include the green miso sea bass, served with black truffle scallions; and the classic peppery Elk tenderloin. Comments: Tasting menus are available.

Il Piatto 95 W. Marcy St. 984-1091.

Lunch/Dinner Full bar. Smoke-free.

Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling.

House specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, prosciutto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week.

Jambo Cafe 2010 Cerrillios Rd. 473-1269.

Lunch/Dinner Smoke-free.

Major credit cards. $$ Cuisine: African and Caribbean inspired.

Atmosphere: Basic cafe-style. House specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. Comments: Obo was the executive chef at the Zia Diner.

Josh’s Barbecue 3486 Zafarano Dr., Suite A. 474-6466.

Lunch/Dinner Beer/Wine

Major credit cards. $$ Cuisine: Barbecue. Atmosphere: Casual, House specialties: Delicious woodsmoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces.

Josh’s was written up in America’s Best BBQs. Kohnami Restaurant 313 S. Guadalupe St. 984-2002.

Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio.

Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual.

House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials.

Comments: The sushi is always perfect.

Try the Ruiaku Sake. It is clear, smooth, and very dry. Comments: New noodle menu.

Friendly waitstaff.

La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Hiway 285 / Vista Grande Breakfast/Lunch/Dinner/ Beer/Wine. Smoke-free Major credit cards. $$ Cuisine: Salvadorian Grill. Atmosphere: a casual open space. House specialties: Loroco omelet and anything with the panfried plantains. Try the Salvadorian tamales and the poblano del dia. Everything is fresh. Recommendations: The buttermilk pancakes are terrific. Comments: Chef Juan Carols and family work hard to please.

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636.

Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese.

Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—it will rock your taste buds.

La Plazuela on the Plaza 100 E. San Francisco St. 989-3300.

Breakfast/Lunch/Dinner Full Bar. Smoke-free.

Major credit cards. $$$ Cuisine: New Mexican and Continental.

Atmosphere: A gorgeous enclosed courtyard with skylights and hand-painted windows exudes Old World charm. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée try the Braised Lamb Shank, served with a spring gremolata, roasted piñon couscous, and fresh vegetables.

Comments: Seasonal menus Mangiamo Pronto!

228 Old Santa Fe Trail. 984-2002.

Lunch/Dinner Beer/Wine/Sake. Smoke-free.

Visa & Mastercard. $$ C uisine : Italian. A tmosphere : Casual.

H ouse specialties : Great pizzas—we suggest the Pesto pizza, with roasted chicken, basil pesto, red bell peppers,

continued on page 27

| may 2011

THE magazine | 25

Taste the New Southwest Chef Charles Dale’s modern rustic cuisine introduces a Contemporary American fare that is regionally inspired

by Northern New Mexico and infused with local and organically sourced ingredients.

T R ADIT IO NAL JAPAN E S E RA M E N H O U S E

shibumi R

A

M

E

N

Y

A

Lunch: 11:30 am – 2:30 pm Monday – Friday Dinner: 5:30 –10 pm Monday – Saturday Kaiseki / Izakaya Dinner: Last Thursday of the Month 26 Chapelle Street, Santa Fe, NM 87501 505.428.0077 ■ shibumiramen.com Fragrance Free

877.262.4666

198 State Road 592, Santa Fe

■

Parking Available

encantadoresort.com

Summer’s almost here!

Copa’s live music in our heated courtyard begins mid-May, Fridays and Saturdays, 6–8 pm, weather-permitting.

Too cool to be outside? Snuggle into our newly redecorated dining room with linen table-cloths and a fabulously extended menu including Fish & Chips!

Call us today with your reservations, catering requests or take-outs!

466-8668 ~ CopaDeOro.net Summer Hours Begin May 13 ~ Hours: 11 am – 3 pm and 5 – 8:30 pm AT THE AGORA IN ELDORADO

® Consignment

Studio

Come see our expanding summer collections

10 am – 5 pm / Tuesday – Saturday | Studio B2. The Agora | 505.603.6382

Coming soon! Patio seating at the Tap Room, featuring our out-door grill specialties.

Call in your orders!

Carry Out 466-4206 LA TIENDA, Eldorado Monday–Saturday ~ 11 am – 7 pm

DINING GUIDE

specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen.

Saveur 204 Montezuma St. 989-4200.

Breakfast/Lunch Beer/Wine. Smoke-free. Patio.

Visa/Mastercard. $$ Cuisine: French meets American.

Atmosphere: Casual.

Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and build-your-own sandwiches, wonderful soups, and an excellent salad bar). Comments: Breakfasts, organic coffees, and super desserts. Family-run.

Breakfast / Lunch / Take-Out

Saveur

204 Montezuma Street, Santa Fe caramelized onions and mozzarella cheese or the Fritzo pizza, with spicy sausage, capiccola ham, roasted peppers, and provolone cheese. C omments : For dessert, choose from the pasteries, cookies, pies, cakes, and gelato.

M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929.

Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made tortillas, green chile stew, and pork spareribs.

Comments: Perfect margaritas.

Max’s 401½ Guadalupe St. 984-9104.

Dinner Beer/Wine. Non-smoking.

Major credit cards. $$ Cuisine: Contemporary. Atmosphere: Intimate and caring. House specialties: Specializing in “sous vide,” a method that maintains the integrity of the ingredients. Start with the Baby Beet Salad. For your main, try the Pan Seared Day Boat Scallop or the Sous Vide Chilean Sea Bass. For dessert, we love the Dark Chocolate Globe. Comments: Chef Mark Connell is making magic.

Mu Du Noodles 1494 Cerrillos Rd. 983-1411.

Dinner/Sunday Brunch Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: Noodle house. Atmosphere: Casual and friendly. House specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa.

Museum Hill Cafe Museum Hill, off Camino Lejo. 984-8900.

Breakfast/Dinner Beer/Wine to come. Smoke-free.

Major credit cards. $$ Cuisine: American, Mediterranean and Mexican. Atmosphere: Casual and friendly. House specialties: The Thai Beef Salad is right on the mark. Try the Smoked Duck Flautas—they’re amazing.

Comments: Menu changes depending on what is fresh in the market.

Nostrani Ristorante 304 Johnson St. 983-3800.

Dinner Beer/Wine. Smoke-free/Fragrance-free Major credit cards. $$$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: A renovated adobe with a great bar. House specialties: For your main, try the Stuffed Gnocchetti with Prosciutto and Chicken, or the Diver Scallops.

Comments: European wine list. Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.”

O’Keeffe Café 217 Johnson St. 946-1065.

Lunch/Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$$ Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of O’Keeffe. House specialties: Try the Northern New

| may 2011

Mexico organic poquitero rack of lamb with black olive tapenade.

Pho Kim 919 E. Alameda. 820-6777.

Lunch/Dinner Sake/Beer. Smoke-free.

Major credit cards. $$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: Stir Fry beef w/ Broccoli, Rice Vermicelli Noodles w/ Grilled Chicken, Broken Rice w/ Grilled Pork Chop, and the Crispy Sea Food Bird Nest. Comments: Good food that is simply prepared. Easy on the wallet.

Pizza Centro Santa Fe Design Center. 988-8825.

Agora Center, Eldorado. 466-3161 Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza.

Atmosphere: Counter service and a few tables. House specialties: The Central Park and the Times Square thin-crust pizzas are knockouts. Comments: A taste of the Big Apple.

Plaza Café Southside 3466 Zafarano Dr. 424-0755.

Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free.

Major credit cards. $$$ Cuisine: American and New Mexican.

Atmosphere: Bright and light, colorful, and friendly. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chile stew.

Rasa Juice Bar/Ayurveda 815 Early St. 989-1288 Major credit cards. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso.

Rasa offers a varied selection of the above, made with organic ingredients. If you love smoothies, try the Berry Banana or the Going Green—you will love them.

If juice is your thing, our favorites are the Shringara (love and passion), made with beet, apple, pear and ginger, and the Bhayanka (inner strength), made with spinach, kale, carrots, celery, and lemon.

As well, Rasa has vegan thumbprint cookies, granola, and Congee (a traditional rice soup). Comments: Add to this mix vintage clothing, handmade jewelry, Ayurvedic herbs and treatments.

Rasa is an expansion of Spandarama Yoga Studio, and serves to support and inspire a healthy and mindful lifestyle.

Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886.

Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: A salad sampler might include the red quinoa, roasted beets), and potato with dill. Muffins and croissants are baked in-house. Recommendations: Inspired breakfast menu.

Restaurant Martín 526 Galisteo St. 820-0919.

Lunch/Dinner/Brunch Beer/Wine

Major credit cards. $$$ Cuisine: Contemporary American fare. Atmosphere: Casual. House specialties: For your main course we suggest you try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna.

Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765.

Sunday Brunch/Lunch/Dinner/Bar Menu.

Full bar. Smoke-free dining rooms.

Major credit cards. $$$ Cuisine: All-American classic steakhouse.

Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we suggest that you choose the chocolate pot.

Ristra 548 Agua Fria St. 982-8608.

Dinner/Bar Menu Full bar. Smoke-free. Patio.

Major credit cards. $$$ Cuisine: Southwestern with French flair.

Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms. House specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006.

San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044.

Lunch/Dinner Full bar.

Major credit cards. $$ Cuisine: As American as apple pie.

Atmosphere: Casual with art on the walls. House specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at the DeVargas Center.

Santacafé 231 Washington Ave. 984-1788.

Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$$ Cuisine: Contemporary Southwestern.

Atmosphere: Minimal, subdued, and elegant. House specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the panseared salmon with olive oil crushed new potatoes and creamed sorrel.

Comments: The Chocolate Mousse with Blood Orange Grand Marnier Sauce is perfect. Appetizers at the bar during cocktail hour rule.

Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033.

Lunch/Dinner Full bar. Patio.

Major credit cards. $$ Cuisine: American and New Mexican.

Atmosphere: Casual and friendly. House

Second Street Brewery 1814 Second St. 982-3030.

Lunch/Dinner Beer/Wine. Smoke-free inside. Patio.

Major credit cards. $$ Cuisine: Simple pub grub and brewery.

Atmosphere: Casual and friendly.

House specialties: The beers are outstanding when paired with beersteamed mussels, calamari, burgers, fish and chips, or the grilled bratwurst.

Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278.

Lunch/Dinner Beer/Wine. Smoke-free inside. Patio.

Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers here are truely outstanding, especially when paired with beersteamed mussels or the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst.

Comments: Fun bar and great service.

The Pink Adobe 406 Old Santa Fe Trail. 983-7712.

Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: Try the Creole Mary—a Bloody Mary made with Stoli, finished with a skewer of celery, olives, and pickled okra. For lunch in the Dragon Room, we love the Gypsy Stew with cornbread, the Pink Adobe Club—smoked turkey breast, bacon, lettuce and tomato, and fresh sprouts topped with spinach mayonnaise, or the Combination Plate—a Cheese Enchilada, Pork Tamale, guacamole, pinto beans and posole with red or green chile and a tortilla. For dinner, you cannot go wrong ordering the classic Steak Dunigan—a New York cut smothered with green chile and sauteed mushrooms or the Fried Shrimp Louisianne. Comments: Great pour at the bar. The Pink is almost 70 years old.

The Shed 113½ E. Palace Ave. 982-9030.

Lunch/Dinner Beer/Wine. Smoke-free. Patio.

Major credit cards. $$ Cuisine: New Mexican. Atmosphere: This local institution is in an adobe hacienda just off the Plaza. House specialties: You an’t go wrong ordering the stacked red or green chile cheese enchiladas. Comments: Try their sister restaurant, La Choza.

Shibumi 26 Chapelle St.At Johnson St. 428-0077.

Lunch/Dinner Smoke-free/Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house.

Atmosphere: Tranquil and elegant.

Table and counter service. House specialties: Start with the Gyoza—a spicy pork pot sticker or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, beer, and champagne. Comments: Zen-like setting.

Shohko Café 321 Johnson St. 982-9708.

Lunch/Dinner Sake/Beer. Smoke-free.

Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine.

Atmosphere: Sushi bar, table dining.

House specialties: Softshell crab

tempura; sushi, and bento boxes. at El Gancho Old Las Vegas Hwy. 988-3333.

Lunch/Dinner Full bar. Smoke-free dining room.

Major credit cards $$$ Cuisine: American.

Atmosphere: Family restaurant with full bar and lounge. House specialties: Aged steaks; lobster. We suggest you try the pepper steak with Dijon cream sauce.

Comments: They know steak here.

S teaksmith

Teahouse 821 Canyon Rd. 992-0972.

Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace.

Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the gourmet cheese sandwich, and the Teahouse Mix salad.

Terra at Encantado 198 State Rd. 592. Tesuque. 988-9955.

Breakfast/Lunch/Dinner Full bar. Patio.

Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: Elegant, with great views from the dining room and the bar. House specialties: Enjoy cocktails with appetizers like the Smoking Nachos in the cozy ambience of the bar. At lunch, our favorites are the Wild Mushroom Quesadilla and the always teriffic Encantado Burger with perfect Pomme Frites. For dinner, if available, start with the Risotto with Shaved Truffles or the Guajillo Glazed Jumbo Prawns. You cannot go wrong at dinner ordering the perfectly-cooked Harris Ranch Beef Tenderloin served with foie gras butter and brandy sauce, or the exquisite Fish of the Day—both are simply delicious. Comments: The service is excellent, enthusiastic, and unobtrusive. Chef Charles Dale certainly knows what “attention to detail” means.

Tia Sophia’s 210 W. San Francisco St. 983-9880.

Breakfast/Lunch No alcohol. Smoking/non-smoking.

Major credit cards. $ Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. House specialties: Green chile stew and the huge breakfast burrito stuffed with bacon, potatoes, chile, and cheese. Comments: Tia Sophia’s is the real deal.

Tree House Pastry Shop and Cafe 1600 Lena St. 474-5543.

Breakfast/Lunch Tuesday-Sunday Smoke-free.

Major credit cards. $$$ Cuisine: Only organic ingredients used.

Atmosphere: Light, bright, and cozy.

House specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche.

Tune-Up Café 1115 Hickox St.. 983-7060.

Breakfast/Lunch/Dinner Major credit cards. $$ Cuisine: American, Cuban, Salvadorean, Mexican, and, yes, New Mexican.

Atmosphere: Down home, baby.

House specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Lunch: the El Salvadoran Pupusas are the best.

Vinaigrette 709 Don Cubero Alley. 820-9205.

Lunch/Dinner Beer/Wine. Smoke-free.

Major credit cards. $$ Cuisine: Call it farm-to-table-tofork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are knockouts— fresh as can be. We love the Nutty Pear-fessor salad—it rocks!

Zia Diner 326 S. Guadalupe St. 988-7008.

Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio.

Major credit cards. $$ Cuisine: All-American. Atmosphere: Down home. House specialties: Huevos Rancheros or the chile rellenos and eggs are cannot miss breafast choices. For lunch or dinner, we love the meat loaf, chicken-fried chicken, and the fish and chips. Comments: Friendly waitstaff. The hot fudge sundaes are always perfect and there are plenty of dessert goodies for take-out.

THE magazine | 27

Roland Reiss Apertures and Short Stories

OnLy In DreAmS, 2001, 48” x 64”, Acrylic on canvas

Alex couwenberg Trajectory

PArTy crASHer, 2011 32” x 30”, Acrylic on canvas

Merion estes Lost Horizons

LOST HOrIzOnS #34, 2009, 44” x 30”, Paper collage, photo downloads, acrylic

May 4 - 29, 2011 Opening Reception Friday, May 6, 5:00 - 7:00 p.m.

David Richard Contemporary 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 www.DavidRichardContemporary.com | info@DavidRichardContemporary.com

ART OPENINGS

M

A

THURSDAY, APRIL 28 sfcc mEdia aRTs GallERy, 1604 Richards Ave., Santa Fe. 428-1320. Rough Cut/Rough Stock: video exhibit by Gerry Gritzman, photography

by Terry Colby. 4:30-6:30 pm.

Y

cHiaROscuRO cOnTEmPORaRy aRT, 708 Canyon Rd., Santa Fe. 992-0711. Passport: works by Gayle Crites. 5-7 pm.

EvOKE cOnTEmPORaRy, 130 Lincoln Ave., Ste. E F, Santa Fe. 995-9902. Full: paintings by Lee Price. 5-7 pm.

FRIDAY, APRIL 29 daRnEll finE aRT, 640 Canyon Rd., Santa Fe. 984-0840. The Symmetry of Spring: works by Gin Pollock. 5-7 pm.

GERald PETERs GallERy, 1011 Paseo de Peralta, Santa Fe. 954-5700. Albert Paley: Sculptural Works.

Works 5-7 pm. lEWallEn GallERiEs aT THE RailyaRd, 1613 Paseo de Peralta, Santa Fe. 988-3250. Bars & Scrapes: Scrapes new paintings by Dan Christensen.

5:30-7:30 pm. luna ciRclE GallERy, 925 Luna Circle NW, Alb. 948-3840 or 505-243-9267. Dreams of Marcellin: paintings by Marcellin Simard. 5-8 pm.

SATURDAY, APRIL 30 GEnERaTOR, 723 Silver Ave. SW, Alb. 505-4633995. Jarrod Beck: Massive Gypsum. 5-7 pm. nEW mExicO POTTERs and clay aRTisTs at the Santa Fe Women’s Club, 1616 Old Pecos Trail, Santa Fe. 575-649-9727. Contemporary Clay Fair Fair. 10 am-5 pm. Also Sun., May 1, 10 am–5 pm.

RalPH GREEnE sTudiO GallERy, 114 Central SW, Alb. 505-243-9267. Greene Women: paintings by Ralph Beery Greene. 5-8 pm.

GallERy 822, 822 Canyon Rd., Santa Fe. 9891700. Paintings by Jami Tobey. 5-8 pm. in nPOsT aRTsPacE at the Outpost Performance Space, 210 Yale SE, Alb. 505-268-0044.

Adaptive Management Management: paintings by W. Howard Brandenburg. 5-8 pm.

KaRan RuHlEn GallERy, 225 Canyon Rd., Santa Fe. 820-0807. Janet Lippincott: The 1960s: paintings and drawings. 5-7pm. lEWallEn GallERiEs dOWnTOWn, 125 W. Palace Ave., Santa Fe. 988-8997.

Surface Tensions Tensions: works by Sammy Peters.

5:30-7:30 pm. maniTOu GallERiEs, 123 W. Palace Ave., Santa Fe. 986-0440. Jerry Jordan and Martha Pettigrew: paintings and sculptures. 5-7:30 pm. maRiPOsa GalERy, 3500 Central Ave. SE, Alb. 505-268-6828. New Work: jewelry by Lauren Tobey. Mixed-media works by James Jimenez.

What My Mother Taught Me: Me photography by Kyle Zimmerman. 5-8 pm. mEyER EasT GallERy, 225 Canyon Rd., Santa Fe. 983-1657. Alyce Frank: new paintings.

5-7 pm. mEyER GallERy, 225 Canyon Rd., Santa Fe. 983-1434. Joseph Lorusso: new works. 5-7 pm.

FRIDAY, MAY 6 105 aRT GallERy, 105 4th St. SW, Alb. 505-2383491. Recombinant Art: works by Alex Chavez.

5-8 pm.

Baca sTREET POTTERy, 730 Baca St., Santa Fe. 614-5215. Grand opening. 4-7 pm.

mOnROE GallERy Of PHOTOGRaPHy, 112 Don Gaspar, Santa Fe. 992-0800. Composing the Artist Artist: classic portraits. 5-7 pm. nEW cOncEPT GallERy, 610 Canyon Rd., Santa Fe. 795-7570. Catalyst-Ten Artists’ Work: group show. 5-7 pm.

ART OPENINGS nEW GROunds PRinT WORKsHOP & GallERy, 3812 Central Ave. SE, Alb. 505-268-8952.

Floating World: World mixed-media prints by Dan Noyes.

5-8 pm. nüaRT GallERy, 670 Canyon Rd., Santa Fe. 9883888. En Tierra de Sueños Azules: paintings by Alberto Gálvez. 5-7 pm.

PiPPin cOnTEmPORaRy, 125 Lincoln Ave., Ste. 114, Santa Fe. 795-7476. Grand opening.

5-7 pm.

TOucHinG sTOnE GallERy, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Artifact: ceramics by Tim Rowan. 5-7 pm.

WEyRicH GallERy/THE RaRE visiOn aRT GalERiE, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410.

Contemporary Concepts: fused glass and metal works by Doug Gillis.

5-8:30 pm.

SATURDAY, MAY 7

luna ciRclE GallERy, 925 Luna Circle NW, Alb. 948-3840 or 505-243-9267. Dreams of Marcellin: paintings by Marcellin Simard. 5-8 pm.

WEDNESDAY, MAY 11 ins nsTiTuTE Of amERican indian aRTs at the Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 424-2300. Vision Forward: student showcase. 6:30-7:30 pm.

FRIDAY, MAY 13 222 sHElBy sTREET GallERy at 333 Montezuma Annex, 333 Montezuma Ave., Santa Fe. 9828889. Big Paper: group show. 5-7 pm. cEnTER fOR cOnTEmPORaRy aRTs, 1050 Old Pecos Trail, Santa Fe. 982-1338. The Due Return: interactive multimedia group show. 5-10 pm.

Info: theduereturn.com

Baca sTREET POTTERy, 730 Baca St., Santa Fe. 614-5215. Open studio and party. 10 am-7 pm.

ExHiBiT 208, 208 Broadway SE, Alb. 505450-6884. Lucy Maki: selected paintings and constructions. 5-8 pm.

cOnvERGEncE sTudiOs, 7 Placitas W. Rd., Placitas. 505-771-1006. Placitas Studio Tour. Also Sun., May 8. 10-5 pm.

la TiEnda aT EldORadO, 7 Caliente Rd., Ste. B-1, Santa Fe. 670-6649. Twentieth Anniversary Tour: group show. 5-7:30 pm.

Eldorado Studio Tour

WEavinG sOuTHWEsT, 106-A Paseo del Pueblo Norte, Taos. 575-758-0433. New tapestry works by Donna Loraine Contractor. 6-8 pm.

PREsTOn cOnTEmPORaRy aRT, 1755 Avenida de Mercado, Mesilla. 575-523-8713. 2011 May Exhibition: group show. 6:30-8:30 pm.

Exhibition

SUNDAY, MAY 8

vEnTana finE aRT, 400 Canyon Rd., Santa Fe. 9838815. Interval: works by Tamar Kander. 5-7 pm.

alBuquERquE musEum, 2000 Mountain Rd. NW, Alb. 505-243-7255. Clara Driscoll and the Tiffany Girls: Girls talk by Margaret Hofer, Curator of Decorative Arts at the New York Historical Society. 1 pm. Exhibit Sun., May 8 through Sun., Aug. 21.

vivO cOnTEmPORaRy, 725 Canyon Rd., Santa viv Fe. 982-1320. Flowers in the Desert: works by Judy Hall-Stapes. Indigenous Geometry: sculptures

by Allen Gordon. 5-7 pm.

SATURDAY, MAY 14 GHOsT POny GallERy, 1634 State Rd. 76, Truchas. 689-1704. Blythe Bellwether: photographs by Agata Kaczmarska, paintings by Trish Booth. 4-7 pm.

Sculptures by Albert Paley at Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. Reception: Friday, April 29, 5-7 pm. Show runs to June 11.

| may 2011

MONDAY, MAY 9

maslEy GallERy, 1 University of New Mexico, Alb. 505-277-4112. Graduating Art Education Students’ Exhibition Exhibition. 3-5 pm.

continued on page 32

THE magazine | 29

WHO SAID THIS? "Always be good to rock ‘n’ roll and it will be good to you."

1. Phil Spector 2. Sam Cutler 3. Rodney Bingenheimer 4. Kim Fowley 5. Levon Helm 6. Smokey Blue

HERE’S THE GREAT DEAL! $500 B&W full-page ads ($800 for color) in the June issue for artists without gallery representation in New Mexico. Reservations by Mondday, May 16. 505-424-7641

OUT & ABOUT Photos: Mr. Clix, Dana Waldon, and Jennifer Esperazana

ART OPENINGS

RiO BRavO finE aRT, 110 N. Broadway, Truth or Consequences. 575-894-0572. April Showers Bring May Flowers Flowers: group show. 6-9 pm.

SUNDAY, MAY 15 cORRalEs sOciETy Of aRTisTs at La Entrada Park, 500 Jones Rd., Corrales. 505-898-9898. Art in the Park Park. 10 am-4 pm. Info: corralesartists.org nEW mExicO HisTORy musEum, 113 Lincoln Ave., Santa Fe. 476-5200. New Mexico’s AfricanAmerican Legacy: Visible, Vital, Valuable. 2-4 pm.

THURSDAY, MAY 19 sanTa fE aRT insTiTuTE, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Summer Architectural Tour: Ricardo Legoretta’s office campus. 5-7 pm.

FRIDAY, MAY 20 mEyER EasT GallERy, 225 Canyon Rd., Santa Fe. 983-1657. Recuerdos: paintings by Fatima Ronquillo. 5-7 pm. mEyER GallERy, 225 Canyon Rd., Santa Fe. 9831434. Don Brackett: New Works. 5-7 pm.

TOWER GallERy, 78 Cities of Gold Rd., Santa Fe. 455-3037. Chimera: works by Cannupa Hanska Luger. 5-7 pm.

SUNDAY, MAY 22 HulsE/WaRman GallERy, 222 Paseo del Pueblo Norte, Taos. 575-751-7702. Desert Series: photographs by David Zimmerman. 2-5 pm.

TUESDAY, MAY 24 andREW smiTH GallERy, 122 Grant Ave., Santa Fe. 984-1234. Happy Birthday Robert Allen Zimmerman aka Bob Dylan Dylan: photographs

by David Michael Kennedy, Lisa Law, Baron Wolman, and Guy Cross. 5-7 pm.

FRIDAY, MAY 27 daRnEll finE aRT, 640 Canyon Rd., Santa Fe. 984-0840. Undercurrents: works by Susan Morosky. 5-7 pm.

GEBERT Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. Memorial Day Weekend. 5-8 pm.

HunTER KiRKland cOnTEmPORaRy, 200-B Canyon Rd., Santa Fe. 984-2111. Serenata: works by Jennifer J.L. Jones. 5-7 pm. nüaRT GallERy, 670 Canyon Rd., Santa Fe. 9883888. Denouement: paintings by Erin Cone. Evidence of a Society Society: paintings by Randall Reid. 5-7 pm.

ROBERT nicHOls GallERy ER , 419 Canyon Rd., ERy Santa Fe. 982-2145. Now They Are Gone: innovative work of Navajo/Hopi potter Nathan Begaye and Navajo ceramist Katheleen Nez. 5-7:30 pm.

William siEGal GallERy ER , 540 S. Guadalupe ERy St., Santa Fe. 820-7744. Two-person Show: photographs and paintings by Carola Clift.

Paintings by Jane Cook. 5-7 pm. zanE BEnnETT cOnTEmPORa POR Ry PORa R aRT, 435 S. Guadalupe St., Santa Fe. 982-8111. Cathedral Series: paintings by Steve Joy. Value of the Dollar: Series photography by Jonathan Blaustein. 5-7 pm

Top: A solo show—Recombinant Art—of works by Alex Chavex at 105 Art Gallery, 105 4th Street SW, Albuquerque.

Reception: Friday, May 6, 5-8 pm.

Bottom: Happy Birthday Robert Allen Zimmerman aka Bob Dylan at Andrew Smith Gallery, 122 Grant Avenue, Santa Fe. Photographs by David Michael Kennedy, Baron Wolman, Lisa Law, and Guy Cross. Reception: Tuesday, May 24, 5-7 pm. Photograph: David Michael Kennedy.

SATURDAY, MAY 28 sHiPROcK sanTa T fE, 53 Old Santa Fe Trail, Santa Ta Fe. 982-8478. Storied Beads: works by Teri Greeves. 5-7 pm.

SPECIAL INTEREST aBiquiu WORKsHOPs, P.O. Box 745, Abiquiu.

505-685-4732. Art workshops in May. Info: abiquiuworkshops.com GEORGia ia O’KEEffE musEum, 217 Johnson St., Santa Fe. 946-1000. Programs and lectures throughout May. Info: okeeffemuseum.com GERald ER PETERs GallERy ER , 1011 Paseo de Peralta, ERy Santa Fe. 954-5700. Albert Paley: sculptural works. Mike Glier: new paintings. Through Sat., June 11. lannan fOundaT unda iOn at the James A. Little undaT Theatre, 1060 Cerrillos Rd., Santa Fe. 988-1234.

In Pursuit of Cultural Freedom Freedom: Michael Ratner on contemporary civil liberties issues. Tues., May 24, 6 pm. Info: lannan.org musEum Of cOnTEmPORa POR Ry PORa R naT a ivE aRTs, 108 Cathedral Place, Santa Fe. 983-8900. Will Wilson: Auto Immune Response Lab Lab. Fri., May 27 through Wed., Aug. 31. Totem: IAIA faculty and staff exhibition. Fri., May 27 through Sun., July 31. Hide: Skin as Material and Metaphor. Through Sun., July 31. Info: mocnasantafe.org musEum Of indian aRTs and culT ul uRE at the Santa Fe Convention Center, 201 W. Marcy St., continued on page 34

32 | THE magazine

may

2011 |

G

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

Niman Fine Art dan namingha

Legends Santa Fe steven yazzie

Windsor Betts fritz scholder (1937-2005)

One Artist Road Fine Art featuring michelle ferran

Blue Rain Gallery 3 man wood sculpture show

David Richard Contemporary roland reiss

Pippin Contemporary alan soffer, a world apart

Evoke Contemporary lee price, full

Allan Houser allan houser

CONNECT TO OUR GALLERIES WWW.SFGALA.ORG

ART OPENINGS

Santa Fe. 473-9002. Native Treasures Indian Arts Festival. Sat., May 28 and Sun., May 29, 9 am-4 Festival pm. Info: nativetreasuressantafe.org nEW mExicO HisTORy TOR musEum, PalacE Of THE TORy GOv O ERnORs, 105 W. Palace Ave., Santa Fe. 4765100. Wild at Heart—Ernest Thompson Seton: lectures by William deBuys and David Witt.

Fri., Apr. 29, 6 pm and Sun., May 1, 2 pm. Info: nmhistorymuseum.org nEW sTudiO a.d. and aRT + dEsiGn, 312 Rosemont Ave., Alb. 505-244-0223. Art + Animals: auction and art sale organized by BECA. Animals Sat., May 14, 11 am-2 pm. Info: becaicad.org O Offc EnTER, 808 Park Ave. SW, Alb. 505-2471172. Reception and silent auction at Sumner and Dene. Fri., May 6, 5-9 pm. Albuquirky House Tour: tour of three unique Albuquerque residences.

Sat., May 7, 1-4 pm. Info: offcenterarts.org PlaciTas T Tas sTudiO TOuR, various locations in Placitas. 505-771-1006. Fourteenth Annual Placitas Studio Tour Tour. Sat., May 7 and Sun., May 8.

Info: placistasstudiotour.com sanTa T Ta fE aRT cOllEcTOR GallERy ER , 221 ERy W. San Francisco St., Santa Fe. 988-5545.

Journey with the Easel Easel: works by Jo Sherwood.

Tues., May 31 through Wed., June 15. Info: santafeartcollector.com

sanTa T f E a RT i nsTiTuTE , 1600 St. Michael’s Ta Dr., Santa Fe. 424-5050. Lecture: artist and educator Eve Andrée Laramée. Fri., Apr. 29, 6 pm. sanTa T fE cHildREn’s musEum, 1050 Old Pecos Ta Trail, Santa Fe. 989-8359 ext. 111. SFCM 2011 Gala: live auction and music to support the Santa Gala Fe Children’s Museum. Sat., May 21, 6:30-10 pm. Info: santafechildrensmuseum.org sanTa T Ta fE cOuncil On inTERnaT na iOnal naT RElaT la iOns at Santa Fe Preparatory School, laT 1101 Camino de la Cruz Blanca, Santa Fe. 982-4931. The Genius of Islam: How Muslims Made the Modern World World: lecture by Bryn Barnard. Fri., Apr. 29, 5:30-7:30 pm. Info: sfcir.org sElBy flEETWOOd GallERy ER , 600 Canyon Rd., ERy Santa Fe. 992-8877. Poetry in Process: works

by Christina Chalmers, Rodney Hatfield, Julie Schumer, and Nicolas Wilton. Through Tues., May 31. Info: selbyfleetwoodgallery.com TaOs PuBlic liBRaRy R , 402 Camino de La Ry Placita, Taos. 575-758-3063. “Archaeology and the Pursuit for High-Mountain GoldHistoric Mining in Taos County”: lecture by Michael Burney. Sat., May 14, 1:30-3:30 pm.

Healing Hands with Lenny Foster, Artist, Author Author.

Sat., May 21, 1:30-3:30 pm. Info: taosgov.com

univERsiTy Of nEW mExicO BOOKsTORE, 2310 Central Ave. NE, Alb. 505-277-7494. Book release for Mal and Chad: The Biggest, Bestest Time Ever! by Stephen McCranie. Sat., Apr. 30, 1-4 pm. Book reading and signing for Wrecker

by Summer Wood. Tues., May 3, 12 pm. Info: bookstore.unm.edu William R. TalBOT finE aRT, 129 W. San Francisco St., Santa Fe. 982-1559. Moradas & Missions of New Mexico by 20th Century Regionalists. Through Sat., May 28. Info: Regionalists williamtalbot.com

PERFORMING ARTS alBuquERquE THEaTRE a aTRE Guild, P.O. Box 26395, Alb. Various performances in May. Info: abqtheatre.org GHOsT RancH, HC77 Box 11, Abiquiu.

685-4333. Bluegrass Camp at Ghost Ranch: instruction for bluegrass musicians. Wed., May 18 through Sun., May 22. Info: ghostranch.org nEW mExicO musEum Of aRT, 107 W. Palace Ave., Santa Fe. 476-5068. Roadworks 2011 Campfire Girl Tour Tour: Michelle Shocked concert.

Wed., May 11, 7 pm. Info: nmartmuseum.org O’sHauGnEssy PERfORmancE sPac O’ P E at Santa Fe University of Art and Design, 1600 St.

Michael’s Dr., Santa Fe. 501-3333. Rez Abbasi’s Invocation Quintet featuring Vijay Iyer and Greg Osby with iNK oN pAPER. Sun., May 15. Info: highmayhem.org sanTa T fE PlayHOusE, 142 E. De Vargas St., Ta Santa Fe. 986-1801. Julie Brette Adams: One Woman Dancing Concert Concert. Thurs., May 19, Fri., May 20, Sat., May 21, 8 pm. Sun., May 22, 2 pm.

CALL FOR ARTISTS 516 aRTs, 516 Central Ave. SW, Alb. 505242-1445. Superheroes: Icons of Good, Evil & Everything in Between Between: multi-media group exhibition. Deadline: June 1. Info: 516arts.org HisTORic sanTa T fE fOundaT Ta unda iOn, 545 Canyon undaT Rd., Ste. 2, Santa Fe. 983-2567. Opening for artist in residency at El Zaguán. Info: historicsantafe.org/ArtistResidency inc ncOGniTO GallERy ER , P.O. Box 3941, Alb. 505ERy 888-8397. IMAGE New Mexico 2011: juried show. Deadline: May 15. Info: incognitogallery. com PasTEl sOciETy Of nEW mExicO, P.O. Box 3571, Alb. 505-895-5457. Pastel Society of New Mexico 20th Annual National Pastel Painting Exhibition. Fri., Nov. 4 to Sun., Nov. 27. Info: Exhibition pastelsnm.org

David Zimmerman’s Desert Series at Hulse/Warman Gallery, 222 Paseo del Pueblo Norte, Taos. Reception: Sunday, May 22, 2-5 pm.

34 | THE magazine

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2011 |

888.412.7310

PREVIEWS

Composing the Artist May 6 through June 26 Monroe Gallery of Photography 112 Don Gaspar Avenue, Santa Fe. 992-0800 Reception: Friday, May 6, 5 to 7 pm.

There are rarely sufficient words to describe an artist’s personality and work. Often it takes a fellow creator to capture the essential nature of the artist. Richard Avedon’s severe, black-and-white images dramatically expose the nature of his subjects. His portraits of Marilyn Monroe, Twiggy, and mental hospital patients are defining images in the annals of American photography. John Loengard’s photo essays for LIFE magazine, which include series on Georgia O’Keeffe and the Shakers, earned him the title of one of American Photo’s “one hundred most influential people in photography” in 2005. In 1994, Loengard captured Avedon seated before the clutter of his studio. Loengard’s photograph of Avedon, straddling a chair and twiddling his glasses, captures the quietness of a photographer known for his intense and energized images. On May 6, the Monroe Gallery of Photography will open an exhibition entitled Composing the Artist, where viewers can see Loengard’s image of Avedon in addition to many more photographs of renowned creators. Over fifty images will be shown, capturing iconic artists and writers at work or in portraiture. The short list includes Salvador Dalí, Georgia O’Keeffe, William Faulkner, Allen Ginsberg, Andy Warhol, and Vladimir Nabokov. In these photographs, the essential personality of the artist is revealed, and an image of the past becomes visual history.

John Loengard, Richard Avedon at his Studio, New York City, gelatin silver print, 1994

Meow Wolf Presents: The Due Return May 13 through July 10 CCA’s Muñoz Waxman Gallery 1050 Old Pecos Trail, Santa Fe. 982-1338 Reception: Friday, May 13, 5 to 10 pm.

“An inter-dimensional ship has settled on an alien landscape. After traveling for two hundred years through thirty different time-spaces, The Due Return is now settled on the landscape of a foreign world, where the ship is utilized to harvest resources from the alien planet.” This is the vision for Meow Wolf’s collaborative effort, The Due Return, a multimedia experimental art space. After winning SITE Santa Fe’s SPREAD grant, a collective of over fifty local, national, and international emerging artists created a 2,500-foot, multi-level “ship” for patrons to explore.

The structure and elements of The Due Return tell a story of inter-dimensional travel through different alien landscapes, integrating performing arts, a drinks lounge, digital interactive features, a multimedia archive, and music, in addition to many other elements. The exhibition promises to be an out-of-this-world artistic experience unlike anything previously created.

The Due Return, (installation view in process)

Erin Cone: Denouement May 27 through June 12 Nüart Gallery, 670 Canyon Road, Santa Fe. 988-3888.

Opening Reception: Friday, May 27, 5 to 7 pm.

Erin Cone has boldly earned her success. In 2003, she abandoned a career as a designer and illustrator to become a fine artist. Soon afterward, her first solo show on Canyon Road sold out, a success followed by many others. She has been featured on the covers of Art Ltd. and American Art Collector magazines, her paintings have tripled in value since 2000, and she is currently represented by five different galleries in the United States.

Cone’s paintings are as confident as her career. Her works feature placidly aloof women—often resembling the artist herself as she frequently acts as her own model—and use decisive lines and colors to describe her subjects within a minimal and undefined space. She balances the human figure with delicate geometry, and though the artist’s compositions are minimal, they are also emotionally rich. She describes the tension in her work as a “deliberate push-and-pull between near-photorealistic detail and my own vocabulary of visual glitches that challenge that very realism.” Cone’s upcoming show rests upon the enigmatic theme of denouement, the final unfolding of events unknown to the viewer. The Austin Chronicle praised her portraits in 2002, saying, “Each moment, expertly captured… only [hints] at the stories leading up to and away from its framed representation.”

Right: Erin Cone, Etiquette, acrylic on canvas, 60” x 48”, 2011

36 | THE magazine

| december 2010 / january 2011

JULiA roBerts THE FIGURE

A 30 -year Retrospective drawings of the nude, male and female

ARTiST ReCepTion May 14th 5-7pm Johnny Alston on the flute

Visits with the Artist noon on Saturdays May 28, June 11 & 25th

exhibit thru June 25th 30" x 22 1/4"

Dorothy rogers Fine Art The Design Center ~ 418 Cerrillos Road Santa Fe, nm 87501 505.955.1984 www.drogerscollection.com dorothyrogers @earthlink.net Hours: Tues.~Sat. 11 to 5

HARWOOD MUSEUM OF ART, UNIVERSITY OF NEW MEXICO

TCA – TAOS CENTER FOR THE ARTS

SOMOS – SOCIETY OF THE MUSE OF THE SOUTHWEST

Ongoing Exhibits

Encore Gallery Exhibits

Literary Events

Agnes Martin painting installation Ken Price altar installation

to may 29 Juried Exhibition, Transformed by Taos

to june 19 New Mexorado: Artists in NM and CO

Stables Gallery Exhibits

may 13 Junior Poetry Slam, Harwood Museum of Art june 02 Helen Phillips and Magdalene Smith reading Location TBA july-august Summer Writers Series, Thursday evenings Harwood Museum of Art october 21-22 12th Annual Taos Storytelling Festival Taos Community Auditorium

Taos Ongoing Events

Children’s art classes, Saturdays & Sundays Museum Store trunk shows, Saturdays Yoga in Agnes Martin Gallery, Wednesdays Selected Events

may 03 Live from 92nd Street Y Howard Gardner and David Brooks may 07 Rape of Europa film may 15 Dual Demonstration: master painters David A. Leffel and Sherrie McGraw may 21-22 Taos Chamber Music Group concert may 27 From the Globe Theatre in HD Shakespeare’s As You Like It

harwoodmuseum.org 575.758.9826

may 1-13 Annual UNM Student Art Show may 15-26 Annual Children's Art Show Ongoing Events

Film Series, Sunday afternoon, Monday & Tuesday evenings Events

may 7 Taos Youth Ballet The Chef and the Firefly may 14 Opera Live from the Met in HD Wagner’s Die Walküre may 21 Sundance Institute Native Film with Q & A may 25 The Sandra Wong, Dominick Leslie, Ty Burhoe Trio concert

tcataos.org 575.758.2052

Ongoing

Used book sale at SOMOS office, first Saturdays of the month, 10am-1pm Monday-Friday

somostaos.org 575.758.0081

Taos may 2011

See more Taos art events and travel planning info at TaosWebb.com/artcalendar

GAIL BUONO

"Chaco Kaleidoscope" • digital inkjet print

www.gailbuono.com Santa Fe Studio Tour Saturday and Sunday, June 18th & 19th Studio#19 on the map • 505-629-6568 Preview party on Friday, June 17th, from 5 to 7pm at the Santa Fe University of Art and Design Running through the month of June:

"Gail Buono Digital Prints"

at The Screen Gallery • 1600 St. Michael’s Drive

I N T E R N AT I O N A L S P O T L I G H T

Comunication, 2010 by

Mariana Vassileva

Courtesy: Galerie DNA, Berlin, Germany

Hong Kong has become the hub of the swiftly evolving Asian art scene, attracting international attention after becoming one of the most successful art auction centers in the world. Of course, the city has an art fair to match its growing reputation. ART HK is flashy and daring, and has drawn over one hundred sixty-one top galleries from around the world. The event, which is known for being as big and bustling as Hong Kong’s traditional food and clothing markets, has been described by visitors as “on fire,” “amazing,” “overwhelming.” Though only in its fourth year, ART HK has exploded in popularity and is already heralded as “the Art Basel of Asia.” Last year, ART HK attracted an audience of more than forty-six thousand—sixty percent more than in 2009. The space is replete with installations and performances—last year, artist Samson Young led an iPhone orchestra and Rirkrit Tiravanija displayed his work Ne Travaillez Jamais, towering and intricate bamboo cages inhabited by a number of small birds. ART HK coordinators are also committed to representing regional and younger artists. This year, a new showcase entitled ASIA ONE will feature exciting upcoming artists of Asian descent. ART HK takes place from May 26 to 29 at the Hong Kong Convention and Exhibition Center, a magnificent, multi-purpose venue located in the heart of Hong Kong on Victoria Harbour. D | may 2011

THE magazine | 39

ROBERT NICHOLS GALLERY s a n ta f e

Historic, Classic, and Innovative Native American Pottery

samuel Manymules

Glen nipshank

Diego Romero

alan e. Lasiloo

Katheleen nez

Les namingha

Robert tenorio

nathan Begaye

santiago Romero

now they are Gone: May 27th—June15th showcases the work of Navajo/Hopi potter Nathan Begaye (1959–2010) and Navajo ceramist Katheleen Nez (1954–2011) Online at robertnicholsgallery.com and in the gallery 5-7:30 p.m., May 27

419 Canyon Road, santa fe, nM 87501 | 505.982.2145 www.robertnicholsgallery.com | gallery@robertnicholsgallery.com

F E AT U R E

The Woodmans, film still (George, Betty, and Charlie Woodman), 2010

The by

Diane Armitage

In December of 1980, I was in New York on my winter break from art school

and then away from its galvanizing subject—Francesca herself—who continues

at the University of New Mexico. I was visiting a friend who lived in lower

to evade the truth and whose work still casts a spell after thirty years of intense

Manhattan and we were on our way out one evening when he introduced me

scrutiny. No one will ever know why this gifted individual chose the route she

to a photographer who rented studio space in his loft. Her name was Francesca

did. What melodramatic and narcissistic dream took hold of her persona so

Woodman. I had studied ceramics for several years and I knew of her mother’s

thoroughly—so starkly—that she felt there was no way out of her situation but

work in clay; Betty Woodman was by then fairly well known and her unusually

an end to everything? And what is on the other side of the mirror of narcissism?

vibrant ceramics had crossed over into the contemporary art world.

Indicators of an opposite state. A fear of non-existence. A constant need to

I remember that encounter with Francesca quite well—her poise, her coy air

verify and validate one’s process of being-to-becoming.

of seduction, her extremely feminine aura. That night, she had come from having

The movie, directed by Scott Willis and produced by Neil Barrett, was shown in

dinner with her parents, who were also living in New York. Francesca and I talked a

Santa Fe this past winter at the Center for Contemporary Arts, and it was, in its way,

little about her career and she seemed wistful about where I lived; she knew about

a fitting venue for it. Francesca’s brother Charlie worked there in the early 1980s

the Roswell Artist-in-Residence Program and expressed a desire to get a grant so

when he was an emerging video artist and CCA was just getting off the ground with

she could live and work in New Mexico for a while. Our conversation was brief

plans for expansion; there had been talk then about a show of Francesca’s work,

but it was memorable. Later on I thought to myself, Francesca has it all—talent,

but nothing ever came of it. The film is beautifully produced and edited and it pivots

ambition, looks, an affluent, supportive family, a studio in New York, a second home

effortlessly between the black and white of Francesca’s photographs and the colorful

in Italy, and a host of connections. This lucky woman! Yet, within a month of that

world of the surviving Woodmans: Boulder, Colorado, where Francesca grew up;

meeting, Francesca jumped to her death out of her apartment window. The artist

New York City, where Francesca moved after graduating from the Rhode Island

who seemed to have it all lost herself in a vortex of impenetrable anguish and

School of Design in 1979, and where her parents relocated in 1980; and gorgeous

perhaps even rivalry and rage. That she was on the edge of a dangerous precipice,

Tuscany where the family also has a sumptuous villa. Casual affluence and a sense

however, was not remotely evident in our interaction.

of privilege are part of the subtext and maybe even part of the emotional turmoil

The Woodmans is a documentary that attempts to wrap itself around a

that increasingly gripped the mind of Francesca. Did an ongoing sense of entitlement

mystery nestled inside of an enigma. As such, it takes an elliptical path toward

cripple her ability to mature as a person and an artist? Was it part of her unraveling in continued on page 42

| may 2011

THE magazine | 41

Francesca Woodman, Untitled, silver gelatin print, n.d.

the distance between two points: the reality of being one among many hopeful artists

In the book Bachelors by Rosalind Krauss, Francesca is one of nine artists featured

in New York, and the reality of an inflated sense of self? The movie, ever respectful,

in a scholarly treatise that, among other issues, frames a debate around the power

is never able to disclose what the underpinnings were of Francesca’s implosion other

of an artist’s work that “can only be revealed by recourse to another type of logic

than “she was depressed.” She might have been depressed but she wasn’t “crazy,”

altogether.” Perhaps this is self-evident to the critical evaluation of any art, but that

and it seems that her problems, whatever they were, came to a head so astoundingly

idea seems particularly relevant when dealing with Woodman’s photographs, most of

fast. She was all of twenty-two when she died.

which were done as a student—first at a boarding school, and then at RISD. The artist

Some of the people in the movie who discuss the artist suggest that fame wasn’t

had worked on her own for only about a year and a half, and that last cycle of her life

knocking on her door fast enough, and she couldn’t will, at the snap of her fingers, the

proved crucial in pushing Woodman into a despair that both is and is not difficult to

brilliant light to arrive that would put her career into high relief. And then there was

fathom. Woodman as an artist was both precocious and stunted; she was not afraid

the matter of her parents’ growing success: besides the widening circle of acceptance

to explore an extremely subjective viewpoint, but was unable to participate in its

for her mother’s work, her father, an abstract painter, had recently been included

essential need to deepen. When is too much subjectivity too much for a developing

in a group show at the Guggenheim Museum—a wondrous stroke of good fortune

ego? Krauss discusses Woodman’s student work and the “problem sets” posed by the

for a man who had spent so much of his artistic life at the sidelines of recognition.

faculty or self-imposed by the artist: “She internalized the problem, subjectivized it,

Francesca killed herself five days before his exhibition was scheduled to open. Make

rendered it as personal as possible.” As personal as possible….

of that what you will, but it certainly registered in my mind as a significant dovetailing fact in this scenario of covert competition and the quest for attention.

Woodman was her own best model, subject, object, and point of entry into a personal space that toys with self-absorption in the way that Cindy Sherman’s

F E AT U R E

Francesca Woodman’s photographs are of an ego in transit between degrees of self-obsession Film Stills series plays with its opposite. Even though Sherman’s sole focus is

nowhere except inside the artist’s mind. This work by the father reeks of trying

herself, it is not her SELF that is revealed. Woodman’s photographs are nothing if

to compete with, if not complete, Francesca’s oeuvre. However, toward the end

not revelations of an ego in transit between degrees of self-obsession. It’s what

of the movie, the father gives voice to a thought that does ring true: he says that

makes her work so fascinating, it’s what makes it cohere. In forcing the hand of

it is something in and of itself to survive, that he has lived to the age of seventy-

destiny as she did, Woodman gained the fame and recognition she felt was her

seven and that counts for something in this life—something Francesca would

reward for having been a “model subject”—this is the prismatic lens through

never experience.

which she posed and moved and brooded on her future.

Growing up and growing older—Francesca would be fifty-three had she lived

Back to The Woodmans—and note the plurality of the film’s title. This

and continued to flesh out, literally and figuratively, her body of work which may

documentary isn’t just about Francesca. It also concerns, however obliquely,

or may not have made the cut of time in the fickle art world. Was she a good artist?

the dynamics of an ambitious art-world family that continued to unfold and

Yes. Was she a great artist? No. Whether she would have developed the generosity

thrive in the shadow of Francesca’s terminal meltdown. It’s a pleasure to follow

and depth of character to achieve greatness is something we can’t ever know,

Betty Woodman at work on a huge commission for the American Consulate in

and now, Francesca’s success story rests on a fulcrum of disappearance—she cut

Beijing—her huge wall relief is nothing if not full of verve. But in a weird turn

herself off at the pass and never lived to see another Tuscan summer. One of the

of events, George Woodman took up photography after Francesca’s death, and

loveliest scenes in the movie is when Betty Woodman cuts an armful of brilliantly

it’s more than a little disconcerting to see him play with his daughter’s tropes—

colored flowers from her garden and puts them on a table in her Italian villa—so

the vulnerable young female nudes, the inverted sense of an image’s belonging

simple a gesture, so full of regard for the colors and textures of life. D

| may 2011

THE magazine | 43

May 7 & 8 Mother’s Day Weekend 10 am to 5 pm Free Self-Guided Tour

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Dana Patterson Roth #38

Riha Rothberg #13

Joan Fenicle #41

Dianna Shomaker #7

Sara Sheeler #32

1 Lynae Maxim 2 Betty Temple 3 Roxanne Bebee Blatz 3 Roger Preston 4 Shirley Ann Sloop 5 Adriana Scasscellati 6 Andi Callahan 7 Dianna Shomaker 8 Susan Jordan 9 Barbara Rosner 10 W. Elstner 11 Dawn Wilson-Enoch 12 L. Heath 13 Wayne Mikosz 13 Riha Rothberg 14 Bianca Harle 15 Cate Clark 16 Bunny Bowen 17 Sharon Perotti 18 Gail Gering 18 Sarena Mann 18 Carolyn Van Housen 19 Jade Leyva 20 Michael Prokos 21 Ralph Churchill 22 James Gay 23 Daniel North 24 Marcia Rackstraw 25 Karl & Mary Hofmann 25 Peaches Malmaud 26 Roger Evans 27 Judith Roderick 28 Jim Fish 29 Geri Verble 30 Bill Skees 32 Sara Sheeler 33 Karen M. Shatar 34 Laura Robbins 35 Katherine Irish Henry 36 Marie Maher 37 Sonya Coppo 38 Dana Patterson Roth 39 Lisa Chernoff 40 Nancy & Jon Couch 41 Joan Fenicle

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CRITICAL REFLECTIONS

DaviD Ryan: Glitches & Fixes David Ryan’s colorful abstract wall

sculptures lead us through graceful imaginary landscapes reminiscent of topographic maps and three-dimensional jigsaw puzzles. By combining MDF (Medium Density Fiberboard) or Corafoam with the tools of modern technology (Adobe Illustrator, laser cutting machines, and CNC routers), the artist creates interlocking, layered, and brightly painted compositions that bring forth a unique contemporary vocabulary that seduces us with its fancy and playfulness, yet also reveals the fragile line between chaos and order that is currently shaping the graphic impact of our environment.

Each of these constructions demonstrates Ryan’s remarkable ability to create both visual motion and meditative states. Whimsy is grounded by thoughtful focus.

Energy is subdued by a sense of containment. This paradox brings us deeper into every work, enabling us to stop and reflect on the artist’s poetic fusing of drawing, painting, and sculpture, generating unexpected and challenging content.

There is a classical sensibility in these constructions: Ryan’s lines—straight, curve, or zig-zag—become the skeletons on which biomorphic shapes and positive and negative space find structure.

The artist received his MFA from the University of Nevada, Las Vegas, where he was mentored by Dave Hickey, whose perceptions on art, art history, and culture are nothing short of brilliant. Hickey is able to find the extraordinary in the ordinary, an ability that Ryan shares. Ryan also references art history while simultaneously responding to popular culture. A choreography of many shadings of bright red, orange, yellow, green, blue, and violet pulses

James Kelly contempoRa R Ry Ra 1601 paseo De peRalta R Ralta , santa Fe off the walls—especially in the largest work, Chumbley, Fass!—suggesting a link to California Finish Fetish artists and the rich neon lights of Las Vegas. In fact, the brilliance of Ryan’s colors suggests a luminosity generated by light, not pigment. TNETENNA, composed of layers of organic shapes of blue, mustard yellow, white, pink, red, and black, evokes broad associations with the biomorphic works of Jean Arp and Wassily Kandinsky and the color theory of Josef Albers and Johann Wolfgang von Goethe. These combine with an inventive nod to billboard iconography and urban signage.

PIBAC, cloud-like shapes of bright blue, yellow, black, and white—including an accent of a thin red circle—feels like a riff on Jean Dubuffet with a thread to comic book bubbles and cartoon explosions.

An architectural sensibility also pervades these works.

Ryan’s compositions look similar to the layering of site contours on architectural models, but they also address much more. Architecture can be a curious compilation of styles and materials on odd sites—like the casinos in Las Vegas. Yet Ryan takes the vernacular iconography of these “glitches and fixes” and moves them to an elegant place, much like the architect and historian Robert Venturi.

Venturi’s innovative and thoughtful approach to design rejected banal modernism by embracing historic architecture and responding to the everyday context of the American city. His groundbreaking1972 book, Learning from Las Vegas, was the result of a documentation and analysis of the Las Vegas Strip that he and his wife, city planner Denise Scott Brown, conducted with their students at Yale. This radical manifesto, written with Scott Brown and colleague Steven Izenour, was “a call to reinvigorate design with symbolic

content, advocating the study of the commercial strip and the role signs play in conveying meaning to the landscape.”

Ryan’s imaginative constructions seem to parallel this call.

Precious Lilywhite is built up of black, pear-shaped layers, punctuated with a vertically cut yellow ellipse symbolically emerging from within the darkness. The black shapes are arranged with gaps and crevices between them.

“Inlayed” squiggles of charcoal grey flow and snake like water meandering along these joints. Straight lines stretch diagonally across the surface of the yellow, the straight elements grounding the buoyant golden energy, establishing an atmosphere of meditative reflection.

Ultra & Neon is the only diptych in the exhibition. It’s an insightful sculptural exploration of positive and negative space. The pale green central areas of each part have curving lines sweeping across them. The energy of the pale green “body” of the left relief is tamed by a partial edging of purple triangles and fuchsia rectangles, surrounded by a white field.

The green “body” of the right is aroused by white on a field of black, accented with a tiny purple triangle and two larger fuchsia geometric figures. Unlike any of the other works in the show, these pieces speak directly to each other. Colors and shapes are not contained within boundaries. They open to one another and the wall, creating a powerful in-between realm like an invisible third eye. Perhaps this diptych may create a whole new avenue for the artist to explore. Will the space between parts be developed? Will shapes and colors flow out into the gallery, energizing the third dimension?

Will they spill down the wall? It is always a joy to find a place in an artist’s work that takes us beyond the here and now.

—susanna caRlislE

David Ryan, Chumbley, Fass!, acrylic on Corafoam, 78” x 133” x 5½”, 2009-2010

| may 2011

THE magazine | 45

e

eaRth now: ameRican photoGRaphe GR GRaphe Rs earth Not:

It has been more than forty years since a helicopter circling overhead filmed sculptor Robert Smithson loping down his Spiral Jetty, the earthwork construction of mud, black basalt rocks, white salt crystals, earth, and water. It projected 1500 feet from the northeastern shore of the Great Salt Lake near Rozel Point, Utah, to end in a sweeping counterclockwise coil. Set in translucent red waters like some colossal question mark on the land of the Latter Day Saints, the earthwork took six days to construct in April 1970—the same month that saw the inauguration of the first Earth Day. It was almost eight years after the 1962 publication of Rachel Carson’s Silent Spring, widely considered to be the quiet catalyst of the ensuing environmental movement.

That movement got a major boost from works like Smithson’s Spiral Jetty (1970) and Walter de Maria’s Lightning Field (1977), landmarks in the Earth Art and related movements under the umbrella concept of environmental art, at work today in the installations of British land artists Richard Long and Andy Goldsworthy.

The inaccessibility of these site-specific works gave to photography a dual function of documenting the

anD the

enviRonment

process as well as embodying it as conceptual art.

Land art continues to inspire the ecological movement, whose concern with nature and man’s impact on the environment can rightly claim as early advocates the traditional “nature” photographers from Ansel Adams and Eliot Porter back to the pioneer 19th century photographers of the Wilderness, whose common aesthetic had roots in the earlier American landscape painting tradition of the Hudson River School.

Earth Now: American Photographers and the Environment features prints by more than thirty photographers whose images of the land advocate for the environment. The exhibition begins with Ansel Adams and Eliot Porter, moves to Robert Adams, Robert Glenn Ketchum, and Mark Klett, all active from the 1970s, and to the present with contemporary photographers, many working in the Southwest.

It shouldn’t be surprising that an exhibition that attempts an ambitious view, however selective, of environment Earth through past and present American photography should fall short. But Earth Now in the first place falls flat. One problem may have to do with the presentation, which comes across largely as a spinoff of

new mexico museum oF aRt 107 west palace avenue, santa Fe the photography book that accompanies it: Earth Now: American Photographers and the Environment (Museum of New Mexico Press, 2011) by the Museum’s curator of photography. The gallery fails to combine image and text to provide informed commentary on the state of the environment and the role of American photography in both shaping and revealing the nation’s response to it.

The exhibition seeks to strengthen viewers’ awareness of their surroundings and their impact upon it. But save for some half dozen wall texts that introduce a theme for the prints grouped under them, viewers are given no information on the wall label for each individual print that provides context or photographer’s intent, keys to the import of the image. Yet, conversely, several online images err in the opposite direction by (well-written) text that proffers what the image should mean and/or do for the viewer—e.g., “In one picture, a towering sign advertising ‘Ultimate’ fuel is encased in a tattered shroud, perhaps symbolizing the death of post-war American car culture and the obsolescence of its ubiquitous landmark, the gas station.” Okey dokey.

Gallery viewers are left to make their own way through the exhibition—at a pace of some six seconds per image by my observation. That’s enough time to admire the prints—which range from powerful to prosaic—but not nearly enough to engage images which in the end ask no questions of them.

And that speaks to a more fundamental problem.

Earth Now falls short as well as flat, because it is not ambitious enough to portray the current risk to the environment by corporate and consumer excess, nor aggressive enough to challenge our response to it.

Photography may be unfairly burdened over other arts with the responsibility to convey “objective truth,” but it is uniquely equipped to deal with “inconvenient truths.” In Earth Now, the elephant in the room is the absence of any critical commentary on the ongoing impact of the energy industry on the environment.

By critical commentary I do not mean judgmental, nor casting blame, but assigning responsibility. Instead of that, a wall text summarizes the exhibition’s wellmeaning call to respond to the tension between conservation and commerce with “adaptation, compromise, and acceptance,” responses that, absent a critical accounting of the energy industries, amount to resignation and belie the current state of urgency. The second elephant is the one not in the room—namely the relentless national and local political lobby to roll back the regulatory advances supporting the environment over the last several decades.

In 2008 the Pearl Montana Exploration Company requested permits to drill for oil near Smithson’s Spiral Jetty. Last month BP requested permission to resume drilling ten deepwater wells in the Gulf of Mexico. What goes around comes around. For all its good faith, Earth Now fails to speak to the fire next time.

—RicHaRd TOBin

Bremner Benedict, two Grey hills, pigment print, 30”x 30”, 2008. © Bremner Benedict

CRITICAL REFLECTIONS

DaviD leiGh: the Donna paRty

t

“[T]he Donner Party is a story of hard decisions that were neither heroic nor villainous.”

–Ethan Rarick, Desperate Passage: The Donner Party’s Perilous Journey West

“[The title is] like the Donner Party, only funnier.”

–David Leigh

that loaded phrase

“the Donner Party” has become shorthand for one of Manifest Destiny’s great tragedies and humankind’s ultimate taboo: cannibalism. Caught in California’s Sierra Nevada mountain range near Lake Tahoe during a spine-tingling adventure set in a horrifically wretched winter, only half of a wagon train–load of pioneers lived much past 1846. Understandably, the subject was not illuminated with tremendous forthrightness by those who actually endured it; still, we can be fairly sure that most, if not all, of the survivors resorted to consuming their fellows. Hungry enough to kill one another for food, theirs is a gruesome and fascinating tale. In short, while the history of this event is riddled with innuendo and the titillation of taboo, plainly the Donner Party was a pioneer’s nightmare nearly every plodding and freezing step of the way. George Donner, elected the wagon train’s leader by virtue of his easygoing nature and mature years, traveled with his wife, Tamsen, and their five daughters. While Tamsen remained in good health until the end, she refused, more than once, to leave her ailing husband when she had the chance. She paid with her life for sticking to that decision, and her daughters became orphans in the spring of 1847.

It is entirely possible that Tamsen Donner’s choice to stay by her

eileen BRaziel R Fine aRts 54 1/2 east san FRancisco stReet eet , s anta F e husband’s side resulted in her murder; he died from an infection brought on by malnutrition. Both probably wound up in the bellies of their neighbors and family members.

That David Leigh chose to make art about the Donner Party, and by a twisted thread of association, Donna Reed of TV sitcom fame—she starred in her own show in the late 1950s into the sixties—is evidence of just how far Leigh, and by extension artists in general, will go to keep their creative juices flowing. Leigh accepts what he must to bump the artmaking process into action, and in a neat twist, his show’s theme centers on a group of people who made all the wrong choices, with Tamsen countered by a fictional character who not only sticks unswervingly by her husband’s side, but does it in heels, shirtwaist, and pearls. None of this nasty starving business for Donna Reed. Perhaps Leigh named his exhibition The Donna Party not so much for grins, but because Donna—being imaginary—would inevitably make better choices than Tamsen, and Leigh, as an artist, has more than once felt the sting of real risks taken and rejected. Here he made some funny (ha-ha and odd, as is his wont) choices; some that worked and some that didn’t, and bless him for taking chances. His drawings are always worth spending a great deal of time in front of, transforming before your eyes from cartoonish outlines of buck teeth and scrotums to the blackened sockets of a starving child. His Tamsen Donner series of framed drawings are strangely reminiscent of all those studies for The Raft of the Medusa by the nineteenth-century Romantic painter Theodore Géricault, who reportedly kept decomposing body parts in his studio in order to prompt the frisson of death.

Leigh’s Medusa, then, is his installation piece Kids, a monumental wall drawing that slips from one corner to the next, as if the life is

oozing out of it one molecule at a time. Compared to the studies, it has softened, melted almost, into something tenuous; a vulnerability is exposed that is more profound than it is endearing, although it is both. Leigh’s drawings tend to alternate between the “aha!” and the “aw.” They are complex and charming. Just when you think you’ve made the right choice about how to think about one of his pieces, it zeroes in and bites you hard—a sort of cannibalistic picture intent on taking raw chunks out of your mind.

There were two problems with the exhibition itself: The gallery layout didn’t allow for the kind of spaciousness that Leigh’s drawings require. (Of course Braziel deserves kudos for supporting the artist however she can.) His drawings are phenomena on their own, and demand an almost scientific state of observation.

Second, Leigh chose to include other objects—a manual for a Triumph motorcycle, a “food pyramid” made of vinyl stickers in which a grizzly bear was trumped by a disproportionately huge rabbit, a couple of stretched soda bottles on a box, and an oil-spot turned into an egg—and while I understood their relevance, it was peripheral, more clever than effective. I suspect Leigh is much more intelligent than most of the rest of us, and I don’t expect to understand his exhibitions. What I crave is to see more drawings, and then still more, the lines longer and looser, wobbling into a future I can’t imagine out of a past that is beyond comprehension.

He’s got his history right, I think, and presents it as refracted through the multiple and ever-changing lenses of contemporary popular culture. I want to see if that rabbit eats the grizzly, and what choices Leigh makes in order to submit, as witness and provocateur, another potentially irreconcilable encounter between survival and wonder.

—KaTHR aTHRyn THRyn m davis

David Leigh, Kids, graffiti markers and acrylic on wall, 9’ x 15’, 2011

| may 2011

THE magazine | 47

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CRITICAL REFLECTIONS

t 505

the locals are loco.

Holding down the 505 at Richard Levy Gallery are five artists with long-term connections to what up until recently was Northern New Mexico’s only area code. This handful of ruffians doesn’t actually have much in common thematically, but they share a level of finish, craft, and intelligence of design that makes them hang well on the wall together in this group exhibition.

James Westwater, who spent years in Santa Fe but recently relocated to New York, pop-ironizes Gainsborough’s Blue Boy in his art-about-art-type-art about how much he loves art. And he does, and it shows in his superb color sense and compositional strategies. Westwater

RichaRD levy GalleRy 514 centRal R Ral avenue sw, sw alBuqueRque has long worked with elements of formal elimination through his recurring lozenge technique, a kind of branding and simultaneous establishment of denial of entry. This Duchampian anti-brand, this blockage of access is further complicated in this new work by flattened, illustrative, paint-by-number type representations of small rectangular fragments of the Rococo Master’s best picture. Westwater nicely straddles the line between formal logo design and the claustrophobic intensity of Magritte. These are smart paintings about what it takes to make smart paintings, and in the end, irony compounds irony and you’re left realizing just how much the artist truly loves the icon and the era his images deconstruct.

Mary Tsiongas also reworks the painterly past in Vanish, her video version of Albert Bierstadt’s The Sierra Nevada, California. Using green-screen effects, the artist is able to plant a naturalist philosopher-type guy in a straw hat in the nineteenth-century wilderness landscape who appears to be able to manipulate it in various ways at will.

Her time traveler appears on the scene like an apparition, and at the end of his actions he vanishes. On a physical level the merging of video realism with Bierstadt’s naturalism produces the effect of enlivening the painting’s extant intensity such that certain elements of the picture are given a brief illusion of movement by association. Tsiongas flips the switch in the mind’s eye calibrated to the visual language of moving imagery and superimposes it upon the older visual language of painting. Subjecting the still image to this filter makes possible the isolation and comparison of two dramatically different, but equally accepted, forms of visual realism.

Time, movement, and change then become the subject, as the abstract nature of all visual languages is exposed. When Bierstadt painted this image in 1873 much of the continent was still lush wilderness, though the European landscape tradition this painting emerges from was devised precisely to document the beginning of the end of wilderness at the dawn of the Age of Industry.

Bierstadt’s cult of nature Romanticism is here extended through new media by Tsiongas to include humankind’s imminent demise, if we don’t reverse our destructive ways. The landscape, altered however irredeemably, will still be there, the planet will spin, but minus you, me, or Prospero in a straw hat—not exiled, but extinct.

As if to balance these vanishing worlds, the rest of the show is rounded out by more solid objects. Linking the first two artists to the last two is the work of “anonymous artist 21c.” These now classic trompe l’oeil paintings by Albuquerque’s most mysterious art phantom help bridge the gap between the illusory and the empirical. In this case it is the artist who commits the vanishing act while the perfectly painted objects have an air of de Chirico’s metaphysical paintings, and Magritte once again.

Color-wise and in size besides, these still lifes connect to the abstract forms of Tom Waldron’s new enamel-onpine reliefs. Bubbling intermittently across the white ground of the wall, like Hans Arp’s elements set free of rectangles and frames and pushed more convincingly into three dimensions, they employ Waldron’s signature explorations of fluid form and curved planes.

Finally, we land our flight through the Land of Enchantment amid the skillfully crafted and succinct ceramic volumes of Anna Hepler. Like Platonic Solids from an asymmetric planet, these odd facets and angles are carefully calibrated, producing forms that seem both eccentric and essential somehow, with vague echoes of Noguchi in the balance between the geometry and the more organic tactile surfaces of the pieces. Hepler’s work brings us safely back down to earth in this beautiful place we call home.

—JOn caRv R ER Rv James Westwater, Together Again, acrylic on found painting, 22” x 18”, 2008

| may 2011

THE magazine | 49

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A

Kay haRvey: liKe wateR A capriccio is Italian

CRITICAL REFLECTIONS

oR

FiRe

for “following one’s fancy” and most often refers to an imaginative, unpredictable musical composition. Kay Harvey’s new show at 222 Shelby Street Gallery is called Capriccio, and it’s aptly named.

Surveying the artist’s work, one might certainly conclude that she is nothing if not free-spirited and delightfully improvisational. This month-long exhibition spans a period of twenty-six years and encompasses two gallery locations.

As such it offers a comprehensive look at Harvey’s everevolving artistic career. Within the range of styles on display, the artist’s lively approach is evident throughout; this abiding quality of energetic individuality is consistent with Harvey’s apparent intent on getting paint onto paper—or Mylar or aluminum, as the case may be, in the most dynamic way possible.

Harvey has spent much time abroad, with residencies in New York City, Italy, France, Spain, and India, and she understandably cites travel as a major source of artistic inspiration. Time spent under the tutelage of such artistic heavyweights as Richard Diebenkorn and Lynda Benglis has had a great influence on the variety and tone of her artistic style, which Benglis lauded as “a much realized, ritual motion of what a painting … can be said to be about: color, texture, light and surface.” Harvey is a long-time New Mexican with Southwestern roots. Her late father had an office on Shelby Street and the family acquired the adjacent building, presently the 222 Shelby Street Gallery, in 1976; it wasn’t, however, specifically an arts space until 2008 when Harvey began informally showing her own work there.

According to Harvey, she is drawn to and becomes “interested in the subject like water or fire and I work until there is no more energy in it for me to express.” Indeed, her artistic output is demonstrative of an ability to deftly navigate dynamic themes of chaos and composure, and her propensity toward examining contextual tension is forcefully evidenced in Strocoto VII (Vietnam). The work’s parenthetical title hints at conflict, and this piece accordingly provokes an intense reaction in the viewer. From below, a jaunty black curve dips upward to create an ersatz cradle. The area directly above is lined with sharp red scratches that add a peculiarly visceral element to the painting, but these anxious marks are countered with the nearby presence of calm, hazy gray pillars. A thrilling splash of orange hovers over the lower elements of the piece, as if poised to descend upon or else absorb them. These disparate components of color and shape, which have the potential to appear disjointed, are compositionally and aesthetically sound, and the painting’s aluminum backdrop adds an edgy quality to the work.

Sometimes Harvey’s ebullient use of hue and texture can overwhelm the eye, which is the ultimate effect of Elements 01. In keeping with the general tone of Harvey’s work, this large painting is vibrant and free-spirited, but feels somewhat unfocused and forced in its predilection for exuberance. Elements is indeed chromatically exciting, but the high-wattage blues and bright banana yellows seem to compete for canvas space, and the same red dashes that added a titillating tension to Strocoto VII (Vietnam) feel splayed and busy here. By the artist’s own admission she likes her colors to, “blend and bend and obscure and reflect

222 shelBy stReet eet G alleRy 222 shelBy stReet eet , s anta F e and transmit and become form again.” Nevertheless, she’s best when more discernibly focused, as demonstrated in works like Untitled, Pentimento Series. Here Harvey has layered pigments and textures in an intelligently delegated way that is nevertheless replete with spontaneity and whimsy. Colors are wisely chosen and come in moderate doses. Cake-batter yellows share the stage with soft siennas and mossy greens, and the work is dominated by a smooth stretch of cornflower blue that seems to float just above the canvas. This shimmery azure form is hypnotically aloof; its apartness from the rest of the composition is deftly realized and the effect is of some leisurely cloud passing over an otherworldly landscape.

This compelling exhibition includes a number of collages and small drawings, with the artist’s sense of color and

texture rarely skipping a beat. Harvey has acknowledged that thematic relationships do indeed appear throughout her work, but that overt likenesses within serial groupings are largely inadvertent. This unplanned cohesion is intriguing, and it endears us to an artist whose oeuvre seems vastly innovative and yet recognizably her own. Thanks to the breadth and variety of work on display here, Capriccio is a special opportunity to see an unabashedly adventurous local artist who has molded a distinct narrative for herself.

With steadfast fidelity to her personal vision, Kay Harvey is seemingly unimpeded by mimicry or boredom, and her artistic career evinces an admirable expression of the creative impulse.

—iRis mclisTER

Kay Harvey, Untitled, Pentimento Series, oil on linen, 96” x 72”, 2001

| may 2011

THE magazine | 51

CRUSH No. 2, Ultrachrome Pigment Print, produced 2002, © 1997

www.joanzalenski.com See more at Studio #47 • Eldorado Art Tour • May 14-15, 10am-5pm

CRITICAL REFLECTIONS

W Blow up

Whackadizzical

is the first word that comes to mind, then splendifferentia, then ca-joing.

Splamtacular would also do, or spubbly, in a bubbly meets special kind of way. In a pillowy push of painterly boundaries Claire Ashley, currently on the faculty of the Chicago Art Institute, nicely upends and high-bounces the “ductlight” gallery at the already quizzirkiest alterno-artspace in Santa Fe today. Her incredible inflatable paintings-gone-cartoon-sculpture perfectly complement the gallery’s splasmodic lighting apparatus as it writhes across the low ceiling of the room. Air-powered and eccentric in extremis, her inflatables are also interconnected by their own plasticized canvas “ductwork.” These feeding tubes (as it were) hooked up to electric fans are how they gather the air supply with which they mirthfully maintain their buoyancy.

eGGman anD walRus aRt empoRium 130 palace avenue, santa Fe When envisioned as a support for painting, since a large part of Ashley’s practice is in fact classifiable as painting on canvas (albeit plasticized), these pieces are positively, ridiculously, preposterous. This is a kind of painting blown out of all proper proportion, like in the hilariously pathetic Paul McCarthy performance Painter.

In a sense, Ashley accomplishes abstractly here what McCarthy achieves on a foundation of narrative. There’s a homegrown quality that links Ashley to Ree Morton, or even Philip Guston. One might almost imagine her installation as a Squeak Carnwath that happens to be negotiable in three dimensions. Either way, this work is comically freaky-fresh, or a fertile flash on the seventies Californian Funk-Art movement, all theatricality of the absurd intact.

“So how is she as a painter?” you very well may ask. “What exactly goes on these fluffy and exquisitely

Claire Ashley, Star (Patrick), Pinwheel, KeyholePuffin (Boat), spray paint, duct tape, and plasticized canvas tarpaulin, 2011

| may 2011

awkward balloons?” The painting is super-saturated chroma and day-glow-colored duct-tape circles next to large swaths of plasticized white; the effect is minimalist and modernisty, touch o’ graffito, but all beat-up and faded-crinkly like lovely old circus tarps.

Like Ashley is acknowledging that the language of Modernism is aged and essentially defunct (though apparently still being spoken fluently in some quarters of Shy town).

Taking a tack directly opposite that of Ashley, Stephanie Plichta, her partner in crime, or rather, the exhibition, seemingly strips painting of its support altogether. Neatly realizing the painter’s fantasy of being able to paint in the air, Plichta suspends, in thick bloblets and swirls of transparent gel medium, brushstrokes and smears of acrylic paint peeled from her palette. The flimsidelicate result is then tacked directly to the wall like a dying butterfly. Eschewing the rectangle of tradition, Plichta’s pieces stretch out in amorphous curls and ripples of pure painterliness, as if a passage of paint had been lifted from, oh say, a Jules Olitski piece or work by another Ab-Exer, and stuck to the walls with pins. Plichta is a recent graduate of the selfsame Institute of Art where Ashley teaches.

The commonality that most prominently runs between these two artists and their alternately inflated and in absentia canvases is the primal element mentioned above: air. Both artists have found ways to live the dream of hanging an image aloft, like thought itself. In the case of Claire Ashley the solution is spectacularly clumsy, like a clown on a high wire. By the time you understand that her inflatable sculptures are actually paintings it almost doesn’t matter what she paints on them. Yet, if her work were stretched out on a rectangle, plasticized textures intact, it would indeed make for good, intriguing, paintings. For Plichta, with her cleaner and more direct solution, everything rides on the qualities of the paint itself. This particularly ambitious high-wire act Plichta has set for herself has amazing potential, but she needs to strengthen her pure painterliness (which sounds somehow absurd) to really pull it off. There is something limp in her paint application, an uneven resolve in the brushstroke, a thinness, or structural compositional defect, or something else ineffable but real in the tactility of her paint. Look at de Kooning, Frankenthaler, Gorky, Hofmann, and Guston once again.

Plichta has found an idea well worth striving for; the abandonment of the rectangle it portends is superb. With more attention to the structural aspects of paint application there is wild potential here. One wonders if she’s really ready for primetime quite yet, but her experiments, some more successful than others, are nonetheless inspiring to see. But that’s the less inflated aspect of what the Eggman is here to incubate. Goo goo g’joob.

—JOn caRv R ER Rv

THE magazine | 53

Marcellin Simard, Defy Gravity, 2011, oil on canvas.

Dreams of Marcellin

Private Opening Reception April 29, 5 -­ 8 PM First Friday Public Opening May 6, 5 -­ 8 PM ArtsCrawl May 20, 5 -­ 8 PM Luna Circle Gallery 925 Luna Circle NW Albuquerque, NM 8102 Gallery Hours: 10 AM - 3 PM For appointment call 505-948-3840 / 505-243-9267. lunacirclegallery.com | marcellinsimard.com

’ g. e do e ar s I e i th t rd he n ow wa ut t ly o b re B th ut ‘p andany ter. moner to at m as y m ike p h the y m is m roo l I to f m d g r e y o M ne rom wa th o t f re t to ge est visi b

Make your appointment today!

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A Great Grooming Shoppe at the Agora Shopping Center in Eldorado

GREEN PLANET

Dr. Helen Caldicott Physician • Author • Anti-Nuclear Advocate

“If a regulatory gene is biochemically altered by radiation exposure, the cell will begin to incubate cancer, during a ‘latent period of carcinogenesis,’ lasting from two to sixty years.”

The single most articulate and passionate advocate of citizen action to remedy the nuclear and environmental crises, Dr. Helen Caldicott has devoted the last thirty-eight years to an international campaign to educate the public about the medical hazards of the nuclear age.

After a study she led on the health effects of radiation on children was not published, because “it didn’t say anything good about radiation exposure,” she resigned to work full-time on the prevention of nuclear war.

In her Santa Fe talk in March of 2011, she stressed that “ingesting just one Alpha emitting particle can cause cancer in the human body. There is no safe level of exposure to radiation. People who say that don’t understand how radiation affects the human body.”

Dr. Caldicott noted that she came to speak in New Mexico because the work of the Los Alamos Study Group was among the most effective in the effort to rid the world of nuclear weapons. www.helencaldicott.com www.lasg.org

Photographed March 2011, Santa Fe, New Mexico © Jennifer Esperanza

| may 2011

THE magazine | 55

MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”

A R C H I T E C T U R A L D E TA I L S

Trampas, NM photo by guy cross

| may 2011

THE magazine | 57

WRITINGS

FLIGHT ATTENDANT By

roGer salloCh

four years later she wrote to say “we are never very far away.” he liked that “away” it made him sail some quiet sea where coral reefs kept the world at bay and he could still hear the whisper – have you ever done it this way?

“Never” did it for him too, had them so far removed from the earth’s orbit it rubbed her warm and lively up out of the passing hours as though you could undress a decade with a single kiss, Let me do it now she said, and when the face of the clock was butt naked and blushing pink they covered it with rose petals.

Roger Salloch lives in Paris. He is a writer and photographer whose stories have appeared in The Paris Review, The North Atlantic Review, Fiction, and Ploughshares, among other publications. He regularly contributes articles about the arts for the French edition of Rolling Stone, and has written articles about Lucian Freud, Robert Longo, Anselm Kiefer, and Henry Darger for THE magazine. Exhibitions of Salloch's photography have taken place in New York, Paris, Hamburg, Naples, and last summer in Vologda, Russia. A memoir, In Germany, is currently in pre-production as a feature film.

58 | THE magazine

How many times can a man wish for something more than the shadow of a face, blow an eyelash into space and hold his breath?

How many dreams does it take to unfasten the buttons of time and dancing through the naked hours pull her in so close even she gets the message: you never left. so why not stay?

Photo by Roger Salloch may

2011 |

RO U N DSTON E STUDIO

GALLERY

2nd St Studios SANTA FE NM 505.919.9354 Photography of Norman F.Carver Jr. normancarver.com Architecture of Mitch Witkowski roundstonedesign.com Artifacts of the Ancient World

Code, 2011, Brush & ink drawing on hand-pounded bark, silk, 30 x 56 inches

Gay l e C r i t e s Pa s s p o r t May 6 - June 4, 2011 Opening Reception, Friday, May 6, 5-7pm

“In this new body of large-scale collages, I have combined handmade materials by indigenous artisans in different parts of the world, including “bark” poundings from Tonga, camel hair weavings from Iraq, paper from Japan, natural indigo dye from India and silk from China. Many of the materials in these works are soon to be culturally obsolete. Superimposed over these rare indigenous art forms are intricate brush marks, drawn to represent our interconnectedness.” –Gayle Crites

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

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

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