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Santa Fe’s Monthly

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of and for the Arts • November 2011


C L A S S IC N AVA J O TA F OYA DANI S H MODE R N E MER SON ME HAF F Y

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


5

Letters

12

Universe of Lydia Gonzales

16

Art Forum: Advertising Illustration from the 1950s

19

Studio Visits: Leah Gonzales and Jack Parsons

21

Food for Thought: Ad Hoc at Home by Thomas Keller

23

One Bottle: The 2007 Robert Chevillon Nuits-Saint-George “Les Perrieres” by Joshua Baer

25

Dining Guide: Azur Mediterranean Bistro & Wine Bar and Whoo’s Donuts

29

Art Openings

30

Out & About

35

Previews: Harmony Hammond at dwight hackett Projects; Photographic Truths & Other Illusions at the Santa Fe Community College Visual Arts Gallery; and Sanguivorous: at the KiMo Theater (Alb.) and Warehouse 21(Santa Fe)

37

National Spotlight: Julian Schnabel at the Museo Correr, Venice, Italy

39

Interview: Irene Hofmann, Director and Chief Curator at SITE Santa Fe, by Guy Cross

45

Critical Reflections: Group Show at the University of New Mexico Art Museum (Alb.); John Geldersma at Chiaroscuro; Munson Hunt at the Center for Contemporary Arts; Peter Rogers at the Roswell Museum; Portrait of a Landscape at LewAllen Galleries at the Railyard; SUPERHEROES: Icons of Good, Evil and Everything in Between at 516 Arts; and William Betts at Richard Levy Gallery (Alb.)

55

Green Planet: Eve Ensler: Playwright, Performer, Feminist, and Activist. Photograph by Jennifer Esperanza

57

Architectural Details: Skull. Photograph by Guy Cross

58

Writings: “Jamali-Kamali” by Karen Chase 2007 Robert Chevillon Nuits-Saint-Georges “Les Perrieres.”

Steve Jobs had an enormous impact on the world—he has been called “the Thomas Edison of our age,” “the Bob Dylan of machines,” and “the Elvis of the hardware-software dialectic.” Jobs demanded perfection from his employees at Apple, once telling them that they should go “beyond what anyone thought possible” and “do really great work that will go down in history.” This came to pass and Apple transformed the computer, music, and communication industries. From the first iMacs to the iPad 2, userfriendliness and design have been hallmarks of all Apple products—even the packaging plays to the senses. In her introduction to Apple Design (Hatje Cantz, $60) Ina Grätz writes, “Apple has never developed an entirely new electronic product—it did not invent the computer or the MP3 player, or even the cell phone. That these devices are nevertheless considered to be among the most innovative of our time can be explained above all on the basis of their product design. Jobs understood that ‘simplest was the ultimate sophistcation’ and that Apple’s future was in creating the coolest hardware and software to deliver music and movie content.” Apple Design features over two hundred examples of Apple designs by Jonathan Ive, Apple’s Senior Vice President of Industrial Design. Edited by Sabine Schulze and Ina Grätz, the book compares approaches to industrial design with Apple’s approaches, as well as providing insight into Apple’s pioneering prodution methods and materials. Add to this mix the now-famous “Ten Rules for Good Design” from Apple’s chief designer, Dieter Rams, and this is a fascinating book. As the November issue of THE magazine was being printed, another book—Steve Jobs—Walter Isaacson’s authorized biography, went on sale. Word is that the biography drips with Jobs’ outrage at companies such as Google, who he claims stole from Apple’s iPhone to build many of the traits in Google’s Android software. In the Washington Post, Michael S. Rosenwald wrote that Steve Jobs is “...a textbook study of the rise and fall and rise of Apple and the brutal clashes that destroyed friendships and careers. And it is a gadget lover’s dream, with fabulous, inside accounts of how the Macintosh, iPod, iPhone, and iPad came into being.” Both Apple Design and Steve Jobs are must-have books.


Los Angeles Times

T i c k e T s A V A i L A B L e N O W ! at the Lensic box of fice • w w w.lannan.org

R e a d i ng s & Co n ve R sat i o n s

—Chris Abani,

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

belongs to that special group of American voices produced by global upheavals and intentional, if sometimes forced, migrations. These are the writer-immigrants coming here from Africa, East India, Eastern Europe and elsewhere. Their strug gles for identity mark a new turn within the ranks of American writers I like to call “the in-betweeners.” The most interesting work in American literature has often been done by such writers, their liminality and luminosity in American culture produced by changing national definitions (Twain, Kerouac, Ginsberg), by being the children of immigrants themselves (Bellow, Singer), by voluntary exile (Baldwin, Hemingway) and by trauma (Bambara, Morrison). dinaw mengestu

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

Wednesday 16 November, 7 pm

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

Dinaw Mengestu with Penn Szittya


LETTERS

magazine

VOLUME XVIII, NUMBER V 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 PReVIeW/CALeNDAR eDITOR elizaBeth harBall WeBMeISTeR

Jason rodriGuez

An exhibition of mixed-media work by Tanmaya Bingham—Last Supper: Family Style—will be on view through November 26 at box gallery, 1610-A Paseo de Peralta, Santa Fe.

CONTRIBUTORS

diane arMitaG ita e, Joshua Baer, davis BriMBerG itaG er , erG Jon Carver, Karen Chase, Kathryn M davis, Jennifer esperanza, anthony hassett, Marina la palMa, anthony leMonGello, iris MClister, alex ross, ellieBeth sCott, riChard toBin, and susan wider COVeR

Untitled, 2010 B By

lydia Gonzales

ADVeRTISING SALeS

the MaGazine: 505-424-7641 edie dillMan: 505-577-4207 yvonne Montoya: 505-310-2200 vinCe foster: 505-690-1010 DISTRIBUTION JiMMyy Montoya: 470-0258 (MoBile)

THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone: (505) 424-7641. Fax: (505) 424-7642, E-mail address: themagazineSF@gmail.com. Web address: www.TheMagazineOnLine.com. All materials are copyright 2011 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unsolicited materials. As well, THE magazine is not responsible or liable for any misspellings, incorrect dates, or inc rect 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.

| N O V e M B e R 2011

TO THE EDITOR: I was very sorry to read Kathryn M Davis’s review of the O’Keeffe Research Symposium. Granted, there was not much space to review such a gathering. However, to recognize clothing over scholarship certainly set a particular tone which missed the mark. In brief, the assembled scholars were outstanding and the presence of artists (not mentioned in the review) was ideal and a superb complement to the subject matter (reminder: without artists, no art historians). The content of the presentations was sharp and beyond the superficial questions that have been and continue to be posed. This was refined scholarship that asked for lots of attention and focus, some hard thinking, and then more questions. Art history is to be used, so how this information can be used is of importance. Rob Storr is brilliant and will stir the pot, which is why he is loved and hated. However, I would not consider him a barometer for the failures or successes of the gathering. —Jennie KiesslinG, Masonville, Co. via eMail TO THE EDITOR: October 2011 was another great issue. Keep up the good creative work. One minor correction. On page 39, in the article on Patti Smith, the year noted should be 1967, not 1976. I was a friend and classmate of Mapplethorpe’s and was with him when he and Patti met. Patti had a small notebook and a dog-eared paperback on Rimbaud. They were immediately attracted—soulmates. —riChard lowenBerG, santa fe, via eMail TO THE EDITOR: I had three diverse thoughts while reading the October edition: For Kathryn M Davis: Arguably the first recognition of Gertrude Stein in America came by way of an article that Mabel Dodge Luhan wrote for Arts and Decoration to coincide with the Armory Show. For Richard Tobin: I wish you had mentioned Rena Rosequist in your article on the Taos exhibition. Although not known for her art, she was one of those who was at Black Mountain College. For Jon Carver: I object quite strenuously to your phrase “these are just scientific theories and subject to change.” This thinking is why we are so contentious about evolution and climate change as two examples. Gravity is also still pretty much a theory, as is relativity. I urge you to test these if you think scientific theories are so ephemeral. Please examine the diference between a hypothesis and a theory. Theories only change with major paradigm shifts, so they should not be treated so casually to suggest they are easily discarded. I am particularly upset about your use of this phrase in an article on art since one of the things that I try to do is to use art to explain science. —steven rudniCK, via eMail

TO THE EDITOR: I have long considered Jon Carver to be one of New Mexico’s finest art writers; I am thus particularly honored by his thoughtful and lucid review of my recent solo exhibition, Seven Miles Per Second, at Blue Rain Gallery. Carver’s review of James Hart’s work is also spot-on. Thank you, Jon Carver, and thank you THE magazine for giving pages to high-caliber writers, as well as to artists such as Rulan Tangen—who is perhaps the most inspiring and significant artist in New Mexico today. —erin Currier, santa fe, via eMail TO THE EDITOR: THE magazine asked four people to share their interpretation of a Tom Chambers photograph. Three complied but WTF is Donald Woodman’s problem? Does he believe he needs to educate us, the great unwashed, with his knowledge of photographic history? Should we embrace his photography because it is based on his personal reality? I find it offensive that Woodman takes the opportunity to slam another photographer’s work and promote himself, instead of offering his interpretation of the image. Obviously, he knows nothing about Chambers’ process. For the sake of disclosure, I’m a long-time fan of Tom Chambers’ work. —l larry oGan, santa fe, via eMail TO THE EDITOR: I am profoundly humbled and singingly proud to be so honored in THE magazine. Please share with Tony Hassett how impressed I am with his review of Dancing Earth. It was deftly articulate—acutely indicative of a broad understanding of the canon of American performing arts, and an unsentimental witness to the impact on viewers, while even absorbing some of the subtle nuance of many layers and years of creative process and cultural understanding. There are only two full-time paid dance critics in the United States—for the New York Times and the Washington Post—the latter critic winning a Pulitzer Prize for her work (perhaps an award for being the last of a dying breed); so having a review of any kind is increasingly rare, yet totally necessary for validation in the field, and for support from funders. I feel very, very fortunate to have had such an observant art critic in attendance, and I am extremely grateful that THE magazine was able to experience what has taken me years to create. Thank you for lifting indigenous contemporary dance to visibility—alongside international-caliber contemporary visual arts—by placing this review in the pages of THE magazine. —rulan tanGen, via eMail

THE magazine | 5


photographic

other October 18 through November 14, 2011 Public Reception: November 11, 5 to 6:30 p.m.

Jo Whaley, Smerinthus saliceti, Archival pigment photograph Courtesy of Photo-Eye Gallery, Santa Fe

Kerry Skarbakka, Stairs, C-Print (Lightjet)

Lisa M. Robinson Woudsend, Digital C-Print

In Conjunction with the Society for Photographic Education SW 2011 Regional Conference Hosted at Santa Fe Community College from November 10 to 13, 2011 School of Arts and Design | Visual Arts Gallery Mondays through Fridays, 8 a.m. to 5 p.m. 6401 Richards Ave., Santa Fe • (505) 428-1501 • www.sfcc.edu

Michael Roque Collins Tides of MeMoRy November 4 - December 11, 2011

LewAllenGalleries AT T H E R A I LYA R D

1613 Paseo de Peralta Santa Fe, NM 87501 tel 505.988.3250 www.lewallengalleries.com info@lewallengalleries.com

Sailing the Sepik Tide (detail), 2010-11, oil on linen, 82" x 124"


C A L I F O R N I A : PA S T & P R E S E N T

CHARLES ARNOLDI, RON DAVIS, TONY DELAP, ED MOSES

CHARLOTTE JACKSON FINE AR T Tel 505.989.8688 / 554 South Guadalupe St., Santa Fe, NM 87501 / www.charlottejackson.com RON DAVIS, Spindle, 1969, 50 1/ 2 x 132 inches (shaped), Moulded Polyester Resin and Fiberglass, Dodecagon Series (PTG 0078)


Lensic Presents

two intriguing theater events Under Construction – new works in progress

Rinde Eckert

Becoming… Unusual: The Education of an Eclectic A new, one-man multimedia performance of song, dramatic monologues, lecture and video from Rinde Eckert’s anthology of theatrical loners

ELODIE HOLMES

Liquid Light Glass Fine Glass Art Studio & Gallery

“This remarkable performer has the humility to acknowledge his human awkwardness as well as his divine grace.” – The New York Times

November 4

7 pm $10 / $5 students

John Brown’s Body by Stephen Vincent Benét

Come to our 2011 Baca Street Arts Tour & Sale Dec 2-4

A dramatic reading of the epic American poem to commemorate the 150th anniversary of the Civil War Featuring Jonathan Richards, Robert Martin, Ali MacGraw & Molly Sturges

December 11

7 pm $10–$15

Tickets Santa Fe

505.988.1234

www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

t h e l e n s i c i s a n o n p r o f i t, m e m b e r - s u p p o r t e d o r g a n i z at i o n

Glass Demos • Hours: Monday - Saturday 10am-5pm 926 Baca Street #3 • Santa Fe, NM 87505 505-820-2222


THE THICK OF IT

ARLENE SHECHET JAMES KELLY CONTEMPORARY NOVEMBER 18, 2011 FEBRUARY 4, 2012 OPENING RECEPTION FOR THE ARTIST NOVEMBER 18, 5 –7 PM PLEASE JOIN US FOR THE INAUGURAL OPENING OF OUR NEW SPACE IN THE SAME BUILDING AT 550 SOUTH GUADALUPE IN THE RAILYARD JAMES KELLY CONTEMPORARY 505.989.1601 / JAMESKELLY.COM ALL AT ONCE 2011 GLAZED CERAMIC, GLAZED FIRE BRICK, STEEL 45-1/2 x 14 x 13-1/2 INCHES PHOTO: ALAN WIENER


William Betts

An inspiring, change making event

Terminal

Santa Fe Art Institute

FUNDRAISER

October 14 - November 23, 2011

Bill McKibben Environmentalist, Author, Teacher, Humanist Patriot, Organizer, Arts Supporter! November 9, 2011, 7pm The Lensic Tickets $25 - $100* Tickets Santa Fe 988 1234 * benefit level tix include signed copy of Eaarth and dinner with Bill

Artists & Writers in Residence November Open Studios, Thursday 11/17 5:30pm SFAI, reception to follow! FREE 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

Richard Levy Gallery • Albuquerque • www.levygallery.com

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

TERRY STRICKLAND

FORREST SOLIS

the peterson-cody gallery, llc

Contemporary Artists Legendary Art ©

Our Dancing Days

oil

30x40

“Stories Inside”

Lying Abed Mornings

mixed media

36x36

November 4 - 30, 2011

SMARTPHONE SCAN

Artists’ Reception Friday, Nov. 4 5 pm -7 pm 130 West Palace Avenue • Santa Fe, New Mexico 87501 • 505-820-0010 PetersonCodyGallery.com • info@petersoncodygallery.com

View the Exhibit: PetersonCodyGallery.com


R O B E R T

S T R I F F O L I N O VESTIGE OF SUMMER

Vestige of Summer II, oil on canvas, 72 x 72

04 november 5 – 7 pm | opening reception friday evening, through 30 november 2011

EvokeContemporary.com


UNIVERSE OF

Just fourteen years old, Lydia Gonzales has the focus, confidence, intelligence, moxie, and the eye necessary for her to succeed as a photographer—or at any of her other varied interests. To date, Gonzales has done several photographs of artists for THE magazine’s “Studio Visits” page. For this issue, Gonzales photographed Irene Hofmann, Director and Chief Curator at SITE Santa Fe (see page 39), as well as our November cover. WHY INTEGRITY MATTERS First of all, what is integrity? Integrity means personal honesty and independence. I was once told that integrity is doing the right thing even when no one is watching. When we are not being watched, we are put into a situation where anything is possible, and in that case, we have to choose responsibility and honesty. Without integrity, there would be a lack of peace: Integrity implies tranquility and ease, and without that the world would be chaotic. There would be no such thing as a good human being. Favorite Artist or Photographer I do not have an all-time favorite photographer or artist. I am, however, inspired by a few artists. Georgia O’Keeffe is one of my favorites because of her strong feminine power. She was a woman who spoke what was on her mind—this strength translated into her work. I also love photographers who use 35 millimeter film. Using mostly film in my photography, I enjoy viewing the essences others can capture with film. My Notion of Beauty What is beauty to me? My answer is not very profound. However, I do know what I believe is beautiful. Simplicity is beauty. I tend to be in awe of the natural world. Rocks, water, and dirt are beauty to me. Living in nature, witnessing nature, and thinking in nature construct beauty in my mind. Doing it My Way I photograph with 35 millimeter film. My photographs and taste have changed hugely since I’ve started photographing with film. I tend to photograph in black-and-white, although I still love color. I do not use any lighting, nor do I edit my photographs after they are taken. When I was photographing with a digital camera, I found myself changing the photos after I took them, which was tedious work. The reason I use film is because I prefer the outcome versus digital. Film is expensive, but it helps to produce simple, powerful photographs, which is my personal goal when photographing. Visual or Musical Influences I am a musician; however, I would say that I am more influenced visually than musically. Photographers who capture real things happening, not posed, create images that influence my work the most. Documentary photography influences me. In magazines like National Geographic, photographs capturing social issues resonate in my mind. Then, when I go out to photograph, I want to shoot something that is not posed, that is real and actual without any boundaries. My Ambition My interests cover a plethora of topics and activities. I cannot now choose a certain career or lifestyle that I hope to have. I do have plans to travel and see the world, and to be outside as much as possible. I do not see myself giving up any of my interests in order to live by just one. photograph by

| nov e mb e r 2011

Anne Staveley THE magazine | 13


20

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ANNUAL

National Pastel Painting Exhibition Prestigious Juried Show - featuring 142 paintings by 87 artists from NM and beyond…

OPEN TO PUBLIC

FREE ADMISSION

FREE DEMOS (schedule on website)

November 4 - 27, 2011 Opening Reception - Friday, Nov. 4 • 5 - 8 pm

EXPO NM • Hispanic Arts Center 300 San Pedro NE, Albuquerque Exhibit Hours: Tuesdays - Sundays • 10 am - 5 pm (closed Thanksgiving Day, Nov. 24)

www.pastelsnm.org

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Salon Gift Certificates also Available. Product

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Check out the hippest, eco-conscious weekend long art market and adult & youth juried art exhibit featuring recycled material artists. Best place to buy holiday eco-gifts! Cynthia Cook

Fri 5pm - 9pm Admission $5 7pm Fashion Show $5 Under 12 Free

www.recyclesantafe.org Sat 9am - 5pm Free Admission Make-n-Take Art

Sun 10am - 5pm Free Admission Make-n-Take Art

Thank you to our generous sponsors!


ART FORUM

THE magazine asked a clinical psychologist and three members of Santa Fe’s art community to share their interpretations of this unattributed advertising image from the 1950s. They were shown only the image; they were not given any other information. Their responses follow: “Hmm, Jim’s going to love this new dessert. These cupcakes will be so moist and delicious.” She is the “perfect” fifties housewife. Her kitchen is clean and tidy; her china fits neatly in its shelves. Even the labels on the canisters are centered. Psychologically, baking has been a symbol of pregnancy for many women. We see she is married but is she expecting a child or trying to get pregnant? The red, white, and blue colors add to the patriotic feeling of Americana during World War II. Old style bottles of milk and butter and eggs recall her earlier carefree childhood, whereas the electric clock and mixer represent her present adult life of responsibility. The clock also anticipates her future—for good or ill. She appears somewhat anxious and distracted. Is she worried that Jim will be sent to battle? Her curls are tucked sweetly behind her ears and her dress and apron are as neat as can be. But is domesticity all she aspires to? Does she feel trapped? Perhaps she wants to pursue a career or an education. The artist makes a statement about the psychosocial constraints women experienced at that time. From a psychological perspective, the “perfect” wife in her neat kitchen represents obedience. Would this woman be satisfied with her life choices twenty or thirty years later? Surely there is much more happening inside this Betty Crocker woman.   —Davis K. Brimberg, Ph.D., Clinical Psychologist, Santa Fe Is this an example of the genre of painting known as Photo-Realism? Or is it a photograph? Or is it a drawing based on a photograph? Hard to tell. What does stand out in this Norman Rockwell-ish image of an America long-gone is that this is one perplexed young woman—probably newly married (see the wedding band)—who is wondering how on earth will she be able to bake that special cake for her hubbyhubby, when she has never baked a cake in her life. The clock on the wall tells us that it is 4:15 in the afternoon; hubby-hubby will be home within a few hours, and there she stands, frozen—like a deer caught between flight and fear—not knowing what to do next, and not knowing whether the recipe book she is holding will really work. She is a good girl—good is obvious by the goody-two-shoes apron she wears. She may be thinking that she is trapped in a marriage she never thought would be a trap. Or, perhaps, she is simply wondering where on earth she misplaced her bottle of Valium. —Anthony Lemongello, Screenwriter, Albuquerque In his book Difference and Repetition (1968), Gilles Deleuze proposes that the consummate artificiality of literal repetition––a mode in direct conflict with the interminable flux of moral and natural orders––establishes the preconditions for initiating a rupture in the continuity of life. Thus, when art replicates the past, it 16| THE magazine

Advertisng image from the 1950s. Illustrator unknown.

paradoxically introduces a point of pure contemporaneity: a site of a non-historical excess of time produced through art itself. In other words, by hypostatizing the past, art acknowledges the contemporary as a point of delay that was always present and is always potentially extendable into the space of an indefinite future. Boring? Yes, but that’s the point: It is precisely boredom that links the protagonist of the above image to her sustained relevance. As Heidegger has taught us, boredom is the closest we can come to sensing the presence of the present––a sensation that renders physical our disbelief in the future’s ability to captivate us. For the periodizing photograph’s central figure, the future is at once close and distant: The clock above may signal 4:15 (leaving only a short span until dinner), but her inaction disaffirms the promises of modernity evoked by the chromed cake pan, retro-futuristic stand mixer, extruded plastic colander, and gridded egg carton that surround her. Paralyzed by the spectacle of modern life, she is wasting time. And this is where art comes in: It treats wasted time as excessive time––“attesting,” as Boris Gröys has remarked, “to our life as pure being-in-time, beyond its value within the framework of modern economic and political projections.” More than a matter of women’s labor, suburban anomie, or technology’s commoditization of the domestic sphere, the real lesson here is that— like the model’s cake batter—it looks as though time folds, and it doesn’t fold neatly. —Alex Ross, Curator and Critic, London Sweet Betty is thinking, “Who am I, Oh Lord? My thoughts are in conflict, and I am tempted to break free of what I have been told. I was always taught to follow the rules and not deviate from the recipe. What would they say if I were to add more chocolate and less flour? Or more butter? Yes, yes, more butter for my cupcakes—you know I love my eggs, Lord, so there must be more eggs added. The richness is, I must confess, a temptation to me. Will it tempt me in other ways, Lord? Hmmmm! I want to be a willing wife, but will these temptations make me willing? Am I the cupcake? Maybe if I break out of my mold, I will have my own cookbook and they will put me on the cover. If that happens, I will need a new apron and heels. I like it Lord, oh I like it.” —Elliebeth Scott, Artist, Santa Fe

| november 2011


“Your time is limited, so don’t waste it living someone else’s life.” Steve Jobs 1955 - 2011

Thank you Steve, for changing our lives. THE magazine and One Bottle


danielquatphotography creative photography for creative people

MONROE GALLERY of photography

JOHN LOENGARD

portraits

Patrick Jablonski © 2011 Daniel Quat

AGE OF SILVER

505-982-7474

www.danielquatphoto.com

fiduciary fəᶥdōōSHēˌerē

(n.) A person who acts for another with total trust, good faith, and honesty.

Keith K. Anderson

Registered Investment Adviser

505.984.2563 2227 Calle Cacique Santa Fe, New Mexico 87505 New clients by referral only.

Richard Avedon, New York, 1994

Opening Reception Celebrating the New Book Friday, November 25 5-7 PM Exhibition continues through January 29, 2012

112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810 e: info@monroegallery.com www.monroegallery.com


STUDIO VISITS

The German playwright Bertolt Brecht wrote,
“Art is not a mirror held up to reality, but a hammer with which to shape it.” Two artists respond to his statement.

I would differ with Brecht’s statement in that art can be a mirror held up to reality and that photographs, especially, can allow a viewer to, in the words of Edward Weston, “present the significance of facts so that they are transformed from things seen to things known.” This idea speaks to the overarching theme of my book Dark Beauty (Hudson Hills Press, $60), which is about memory, time, and loss—the world of the ordinary, which when looked at closely reveals a disappearing time and our shared history as memory. ­—Jack Parsons In 2012, Parsons will participate in the New Mexico Shrines exhibition at the New Mexico History Museum. He is currently working on two book projects—one is about the temples of Luang Prabang, in Laos; the other is a non-documentary project, which will take him to Japan in November.

All art represents as well as forms, reality. The outcome of creation can be taken as an image of what the artist sees, which is different for all individuals due to the subjective nature of reality. One artist could paint a photo-realistic representation, while another artist could use symbolism to create their figurative portrayal of reality. Even though the artist who uses symbolism isn’t depicting exactly what he sees, he still creates his own aesthetic of life. Ultimately, all forms of art are interpretations of the many facets of life, and uniquely help shape our world. —Leah Gonzales In 2011, Gonzales’s work was shown at the Commencement Exhibition at the Maryland Institute College of Art, Baltimore, Maryland. leahbodeahart.blogspot.com

photographs by

| nov e mb e r 2011

Dana Waldon THE magazine | 19


SAN Q

31 Burro Alley (next to the Lensic)

992-0304


F ood for thought

Ad Hoc at Home by

Thomas Keller

Chef Thomas Keller’s legendary cooking is revered worldwide. Ad Hoc at Home (Artisan, $50) is inspired by his Napa Valley restaurant, Ad Hoc, which serves accessible family-style meals. The book conveys Keller’s desire that every cook’s life be enriched by the meals they prepare for their families and friends. He encourages cooks to have relationships with the growers and butchers who provide their ingredients, to repeatedly practice cooking their favorite meals, and to be more relaxed in the home kitchen. Ad Hoc at Home also demonstrates Keller’s emotional connection with the food he prepares. Take the last meal he prepared for his father before his father’s death— barbecued chicken with mashed potatoes and collard greens, followed by strawberry shortcake. The recipe’s last directive is simply: “Take care of your parents.” The book has over two hundred recipes tailored for foodies who care about ingredient quality and are keen to cook scrumptious food at home without having to buy a sous vide machine.

| nov e mb e r 2011

THE magazine | 21


“...known for its creative, contemporary southwestern cuisine.” –Bon Appétit

Thanksgiving Dinner

lunch – monday thru saturday sunday brunch dinner nightly

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gift certificates, menus & special events online www.santacafé.com

The Compound Restaurant: A Family Tradition Reservations 982.4353

653 Canyon Road

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Drink different. Small Batch Heirloom Spirits Hand Crafted in New Mexico at Rancho de Los Luceros Destilaría

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TAOS LIGHT NI NG W HI SK EY • HAC I E NDA GI N • VO DK A VI R AC O C HA • C O NQU I STADO R O R ANGE LIQUEUR • BRIMSTONE ABSINTHE


one bottle

One Bottle:

The 2007 Robert Chevillon Nuits-Saint-Georges “Les Perrieres” by Joshua Baer I plan to stay here a little while For these are moments only, moments of insight, And there are reaches to be attained, A last level of anxiety melts In becoming, like miles under the pilgim’s feet. —From The Task by John Ashbery, 1967 John Ashbery was born on July 28, 1927, in Rochester, New York. His mother was a biology teacher. His father was a farmer. Ashbery wrote his first poem at the age of eight. In 1983, in an interview that appeared in The Paris Review, Ashbery talked about his childhood. “We lived out in the country on a farm. I had a younger brother whom I didn’t get along with—we were always fighting the way kids do—and he died at the age of nine. I felt guilty because I had been so nasty to him, so that was a terrible shock. My ambition was to be a painter, so I took weekly classes at the art museum in Rochester from the age of about eleven until fifteen or sixteen. I fell deeply in love with a girl who was in the class but who wouldn’t have anything to do with me. So I went to this weekly class knowing that I would see this girl, and somehow this being involved with art may have something to do with my poetry.” It was always November there. The farms Were a kind of precinct; a certain control Had been exercised. The little birds Used to collect along the fence. It was the great “as though,” the how the day went, The excursions of the police As I pursued my bodily functions, wanting Neither fire nor water, Vibrating to the distant pinch And turning out the way I am, turning out to greet you. —The Chateau Hardware by John Ashbery, 1967

My favorite poem by Ashbery is Myrtle, which appeared in The New Yorker in 1993. If I’m depressed or angry, or even hungover, reading Myrtle makes me happy. And if I’m already happy, reading Myrtle makes me laugh, not because it’s funny, but because it’s such a great poem.

How funny your name would be if you could follow it back to where the first person thought of saying it, naming himself that, or maybe some other persons thought of it and named that person. It would be like following a river to its source, which would be impossible. Rivers have no source. They just automatically appear at a place where they get wider, and soon a real river comes along, with fish and debris, regal as you please, and someone has already given it a name: St. Benno (saints are popular for this purpose) or, or some other name, the name of his long-lost girlfriend, who comes at longlast to impersonate that river, on a stage, her voice clanking like its bed, her clothing of sand and pasted paper, a piece of real technology, while all along she is thinking, I can do what I want to do. But I want to stay here. What I like about Myrtle is the way the poem moves back and forth through its own identity. Ashbery’s voice is like the taste of a great red Burgundy. It is what it is, but it is also something else, something that defines itself by refusing to be defined. Which brings us to the 2007 Robert Chevillon Nuits-SaintGeorges “Les Perrieres.” In the glass, the 2007 “Les Perrieres” bends the light through

People have always had strong reactions to John

its garnet robe. The bouquet manages to be simultaneously

Ashbery’s poetry. While he is one of the most admired poets

delicate and strong. On the palate, the delicacy and strength

in the world, he has also been accused of writing poetry that

that appeared as one aroma in the bouquet go their separate

is deliberately confusing and vague. In 1958, following the

ways. At first, you feel like you are being led in two directions,

publication of Ashbery’s second book of poems, The Tennis

but by the middle of the bottle you remain in one place. This

Court Oath, the critic James Schevill observed: “The trouble

quality of separation and convergence, of being reunited with

with Ashbery’s work is that he is influenced by modern

your first impressions, is the hallmark of a great red Burgundy.

painting to the point where he tries to apply words to the

In 1987, John Ashbery wrote April Galleons, a poem about

page as if they were abstract, emotional colors and shapes.

what happens when love and ambiguity appear on the same

Consequently, his work loses coherence.”

stage. These are the last lines of April Galleons:

I started reading John Ashbery’s poems in 1971, in my sophomore year of college. At the time, I wanted to understand the world but also had the sneaking suspicion that the world was beyond my understanding. In his poems, Ashbery spoke a language that confirmed my suspicion. But what could I make of this? Glaze Of many identical foreclosures wrested from The operative hand, like a judgment but still The atmosphere of seeing? That two people could Collide in this dusk means that the time of Shapelessly foraging had come undone: the space was Magnificent and dry. On flat evenings In the months ahead, she would remember that that Anomaly had spoken to her, words like disjointed beaches Brown under the advancing signs of the air. —From Fragment by John Ashbery, 1969

| nov e mb e r 2011

…. Come To look at us but not too near or its familiarity Will vanish in a thunderclap and the beggar-girl, String-haired and incomprehensibly weeping, will Be all that is left of the golden age, our Golden age, and no longer will the swarms Issue forth at dawn to return in a rain of mild Powder at night removing us from our boring and Unsatisfactory honesty with tales of colored cities, Of how the mist built there, and what were the Directions the lepers were taking To avoid these eyes, the old eyes of love.

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

Azur

Mediterranean Bistro & Wine Bar Dinner Only 428 Agua Fria Street Reservations 992-2897 $ KEY

INEXPENSIVE

$

up to $14

MODERATE

$$

$15—$23

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.

VERY EXPENSIVE

$$$$

$34 plus

EAT OUT OFTEN

Photos: Guy Cross

...a guide to the very best restaurants in santa fe and surrounding areas... 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. Tempting dinner entrees include the Grilled Flat Iron steak and the Seared Duck Breast. Comments: Authentic French bistro fare. 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Smoke-free inside. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: Reminds on of an inn in the French counyside. House specialties: Steak Frites, seared Pork Tenderloin, and the Black Mussels are all winners. Comments: A beautiful new bar with generous martinis, a teriffic wine list and a “can’t miss” bar menu. Winner of Wine Specator’s Award of Excellence. Amavi Restaurant 221 Shelby St. 988-2355. Lunch/ Dinner/Sunday Brunch Full bar. Smoke-free. Major credit cards. $$$$ Cuisine: Mediterranean. Atmosphere: Elegant. House specialties: The tapas appetizer thrills and the pollo al mattone, marinated for two days and served with pancetta, capers, and house preserved lemon, may be the best chicken dish you’ve ever had. Also try the tiger shrimp. Comments: Farm to table. Chef Megan Tucker is doing it right. Andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ 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. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American cuisine. Atmosphere: A casual, yet elegant room evoking the feeling of an Anasazi cliff dwelling. House specialties: We suggest blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin. Comments: Attentive service. Aztec Cafe & Restaurant 317 Aztec St. 820-0025. Lunch/Sunday Brunch/Dinner: Friday/Saturday Smoke-free. Major credit cards. $$

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. Comments: Don’t miss the Fresh Fruit Smoothies. Azur Mediterranean Bistro & Wine Bar 428 Agua Fria St. 992-2897 Dinner Wine/Beer Major credit cards. $$ Cuisine: Mediterranean. Atmosphere: Intimate restaurant housed in a small adobe building with a charming bar. House specialties: If you like pasta, try the Butternut Squash with Crimini Mushrooms, Shallots, Shaved Parmesan, and Brown Sage Butter. We also enjoyed the Grilled Angus Ribeye, the North African–Style Stuffed Trout with Calamari, Wild Rice and Quinoa, and the perfect Foie de Veau Provençale. Comments: A variety of delectable small plates are offered. And to boot, a terrific wine list. Bobcat Bite Restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$ 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.

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

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.

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. Go.

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. Super buffalo burgers. 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.

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: Our faves: the arugula and tomato salad, the grilled hanger steak, the lemon rosemary chicken, and the pork chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Try the Enoteca Menu, available from 2-5 on weekdays. 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, honeyglazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Josh’s was written up

recently in America’s Best BBQs. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; soft shell crab; dragon roll; chicken katsu; noodle dishes; and Bento box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry. Comments: We love the new noodle menu. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Hiway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free Major credit cards. $$ Cuisine: Salvadorian Grill. Atmosphere: a casual open space. House specialties: Loroco omelet and anything with the pan-fried plantains. Try the Salvadorian tamales and the poblano del dia. Everything is fresh. Recommendations: The Sunday brunch 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. $$$ Cuisine: Vietnamese. Atmosphere: Casual and friendly. House specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—it will rock your taste buds. Comments: Generous portions coupled with good service. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights and handpainted 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 : Super pizzas—we suggest the Pesto pizza, with roasted chicken, basil pesto, red bell peppers, caramelized onions and mozzarella cheese. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner

continued on page 27

| nov e mb e r 2011

THE magazine | 25


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DINING GUIDE

outstanding, especially when paired with beer-steamed mussels or the beerbattered calamari, burgers, fish and chips, or the truly great grilled bratwurst. Comments: Fun bar, kid friendly, and a personable waitstaff.

Whoo’s Donuts

Forget Dunkin’—Whoo’s is All-Organic—from Donuts to Coffee. 851 Cerrillos Road • Santa Fe • 7 days • 6 am to 4 pm.

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. Lunch: Tuesday - Sunday Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: American/Contemporary New Mexican. Atmosphere: Casual and friendly. House specialties: We love the Asian Shrimp Tacos, they’re are right on the mark. Try the Smoked Duck Flautas— they won’t disappoint. Comments: Menu changes seasonally. Nostrani Ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free/Fragrance-free Major credit cards. $$$ Cuisine: Regional dishes from Northern Italy. Atmosphere: A renovated adobe with a great bar. House specialties: The new fall menu includes the wonderful Grilled Baby leeks with goat cheese and tomato vinaLgrette, Marinated Trout with cumcumber and radish, and absolperfect Chicken Florentine. Frommer’s rates Nostrani as one of the “Top 500 Restaurants in the World.” Note: Fragrance-free. Pizza Centro Santa Fe Design Center. 988-8825. Agora Center, Eldorado. 466-3161 Cash or check. No credit cards. $$ Cuisine: Real New York-style pizza. Atmosphere: Counter service and a few tables. House specialties: Try the Central Park and the Times Square thin-crust pizza. Comments: A taste of the Big Apple. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American and New Mexican.

| nov e mb e r 2011

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. $$ Cuisine: Organic juice bar. Atmosphere: Calm. House specialties: Smoothies, juices, teas, chai, cocoa, coffee, and espresso, all made with organic ingredients. If juice is your thing, our favorite is the Shringara (love and passion), made with beet, apple, pear and ginger. Comments:  Add to this mix vintage clothing, handmade jewelry, Ayurvedic herbs and treatments. Rasa is an expansion of Spandarama Yoga Studio. Real Food Nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. House specialties: Grilled veggie burgers and organic, grass-fed beef burgers stand out, as well as some of the best French fries in Santa Fe. Recommendations: Kid-friendly restaurant that rose out of the old Fina Gas Station ashes and fills the need for fresh, organic food. 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. $$$ Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. House specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, choose the chocolate pot. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Elegant bar with a nice bar menu 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 Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large open room with a Sushi bar and table dining. House specialties: Sushi, Vegetable Gyoza (dumplings), Softshell Crab, Yaki Noodles, Sashimi and Sushi Platters, and a selection of Japanese Tapas (Izakaya). Comments: A selection of boutique sake and a savvy sushi chef. A teriffic restaurant—highly reccommended.

San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch, go for the San Francisco Street hamburger on a sourdough bun or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the flavorful twelve-ounce New York Strip, or the Idaho Ruby Red Trout. Comments: Visit their sister restaurant at the DeVargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. House specialties: The world famous calamari never disappoints. Favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Appetizers during cocktail hour rule. Santa Fe Bar & Grill 187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Start with the cornmealcrusted calamari. For your main course, try the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, or the Prawns à la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily chef specials, gourmet and buildyour-own sandwiches, wonderful soups, and an excellent salad bar). Comments: Breakfasts, organic coffees, and super desserts. Family-run. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are outstanding when paired with beer-steamed mussels, calamari, burgers, and fish and chips, Second Street Brewery at the Railyard 1607 Paseo de Peralta. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. House specialties: The beers are

Shibumi 26 Chapelle 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. Try the pepper steak with Dijon cream sauce. Comments: They know steak here.

Steaksmith

Tabla de Los Santos 210 Don Gaspar at the Hotel St. Francis

992-5863

Breakfast/Lunch/Dinner/Sunday Brunch

Smoke-free. Patio Full Bar. Reservations suggested Major credit cards. $$$ Cuisine: New Mexican–inspired fare. Atmosphere: Archways leading to a patio for al fresco dining. House specialties: The Chile Relleno del Cielo appetizer is bursting with flavor. The organic Chicken Paillard with chile caribe is grilled and served with fresh market potatoes and locally grown vegetables. Recommendations: If the calamari with butter-garlic sauce is available, get it! For dessert, the organic goat milk flan is the best. Comments: Chef Estevan Garcia creates a wonderful menu—a mix of complexity and simplicity. Teahouse

821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork. Atmosphere: Casual. House specialties: We love the Salmon Benedict with poached eggs, the quiche, the gourmet cheese sandwich, and the Teahouse Mix salad. Terra at Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: Elegant, with great views from the dining room and the bar. House specialties: Enjoy cocktails with appetizers in the cozy ambience of the bar. For dinner, start with the Risotto with Shaved Truffles. For your main, order the Harris Ranch Beef Tenderloin served with foie gras butter, or the Fish of the Day. Comments: Excellent ervice. Chef Charles Dale certainly knows what “attention to detail” means. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Full Bar Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual.House specialties: For lunch we love the Gypsy Stew with cornbread and the Pink Adobe Club. For dinner, try the Steak Dunigan, with green chile and sauteed mushrooms or the Fried Shrimp Louisianne. Comments: Great pour at the bar.

The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution just off the Plaza. House specialties: You can’t go wrong ordering the stacked red or green chile cheese enchiladas. Comments: Try their sister restaurant, La Choza. The Supper Club 628 Old Las Vegas Hwy. 466-2440 Dinner Beer/Wine. Smoke-free. Major credit cards. $$$ Cuisine: Fine dining. Atmosphere: Comfortable and intimate. House specialties: Organic salads and soups, sustainably-raised meat, poultry, and seafood. Recommendations: Shrimp and Grits with Spanish Chorizo, Tagliatelle with Oyster Mushrooms, and the perfect Berkshire Pork Chop. Comments: Good wine list. Only 6.8 miles from the Plaza and every mile worth it! Chef Kim Muller rules. 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: 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. Comments: The El Salvadoran Pupusas are excellant. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$ Cuisine: We call the food here: farmto-table-to-fork. Atmosphere: Light, bright and cheerful. House specialties: All of the salads are knockouts— fresh as can be. We love the Nutty Pear-fessor salad—it rocks! Comments: fresh, fresh, fresh. Whoo’s Donuts 851 Cerrillos Rd. 629-1678 6 am to 4 pm. Major credit cards. $ Cuisine: Donuts, donuts and, yes, even more knockout donuts. Atmosphere: Very, very casual. House specialties: This bakery has every yummy flavor you can think of and more. Organic and local ingredients makes you feel happy about what may be your guilty pleasure. Gourmet dark chocolate comes from Whoo’s next door neighbor—and coowner—ChocolateSmith. Comments: Our fave donut is the maple bar, with or without the bacon. Organic coffee is a big plus. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$ Cuisine: All-American. Atmosphere: Down home. House specialties: Huevos Rancheros or the Chile Rellenos and eggs are breafast choices. For lunch or dinner, we love the Southwestern Chicken Salad, the Meat Loaf, all the Burgers, and the Fish and Chips (maybe the best in Santa Fe). Comments: Hot fudge sundaes are absolutely perfect and there are lots of dessert goodies.

THE magazine | 27


BAY AREA ABSTRACTION: 1945 - 1965 JACK JEFFERSON | FRANK LOBDELL | CHARLES STRONG NOVEMBER 11 - DECEMBER 31, 2011

Charles Strong, Harrison Street Untitled, 1962, Mixed media on paper, 25.5 x 30.5”

Also featuring: EDWARD DUGMORE | LYNN FAUS | LILLY FENICHEL | JAMES KELLY | MICHAEL KENNEDY | ROBERT MCCHESNEY | DEBORAH REMINGTON | HASSEL SMITH

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


ART OPENINGS

NOVEMBER ART OPENINGS THURSDAY, NOVEMBER 3 sanTa T Ta fE CommuniTy Ty CollEGE main Hall Ty GallEry, 6401 Richards Ave., Santa Fe. 428-1533. Odus Lynd Retrospective: Retrospective photography. 5-7 pm.

FRIDAY, NOVEMBER 4 albuquErquE PHoToGraPHErs’ GallEry, 303 Romero St., Suite N-208, Alb. 505-244-9195. Precious Metal: Metal platinum-palladium and silver prints by Douglas Kent Hall. 6-9 pm.

E EvoKE C onTEmPorary, 130 Lincoln Ave.. Suite F, Santa Fe. 995-9902. Vestige of Summer: paintings by Robert Striffolino. Summer 5-7 pm. las CruCEs musEum of arT r , 491 N. Main St., Las Cruces. 575-541-2137. NASA ART: group show of works inspired by NASA. Works by Annie Leibovitz, Nam June Paik, Norman Rockwell, Andy Warhol, and William Wegman. 9 am-4:30 pm.

briGHT rain GallEry, 206½ San Felipe St. NW, Alb. 505-843-9176. I Left My Heart in San Francisco: paintings by Trevor Lucero. 6-8:30 pm. Francisco

lEWallEn GallEriEs aT a THE railyard,1613 Paseo de Peralta, Santa Fe. 988-3250. Tides of Memory: paintings and sculptures by Michael Memory Roque Collins. 5:30-7:30 pm.

El zaG a uan GallEry, 545 Canyon Rd., Santa Fe. 983-2567. Assemblage and Narrative— Conversations with Bones and Barbed Wire: Wire works by Brenda Roper. 5-7 pm.

mariPosa osa GallEry, 3500 Central Ave. SE, Alb. 505-268-6828. Broken Spaces: works by Richard Hogan. Icons and Ancestors: paintings by Jeff Sipe. 5-8 pm.

PETErson-Cody GallEry, 130 W. Palace Ave. Santa Fe. 820-0010. Stories Inside: oil paintings by Terry Strickland. Mixed-media work by Forrest Solis. 5-7 pm. rio GrandEE THEa HEaT aTrE GallEriEs, 211 N. Main St., Las Cruces. 575-523-6403. Jewelry by Steve Hornung, paintings by Michelle Arterburn, photographs by Elaine Querry, and weavings by Jessica Kurtz. 5-7 pm. sCa s Ca ConTEmPorary, 524 Haines Ave. NW, Alb. 505Ca 228-3749. GAA’s Annual Silent Art Auction: University of New Mexico faculty and graduate work. 5-9 pm. suKHmani nob Hill, 105 Amherst Dr. SE, Alb. 505-2552883. Ceramic works by Sat Shabad Khalsa. 5-8 pm.

SATURDAY, NOVEMBER 5 la TiEnda nda ExHibiT sPa PaCE aCE, 7 Caliente Rd., Santa Fe. 930-4821. atmospheric3: paintings by Anna Keller, Jane Otten, and Charlotte Scot. 5-7 pm.

An exhibition of new works by John Barker—Everything Barker— Must Go—at Eggman & Walrus Art Emporium, 130 West Palace Avenue, 2nd Floor. Reception: Friday, November 4, 5:30 to 9 pm.

| novEmbEr 2011

SUNDAY, NOVEMBER 6 musEum of ConTEmPorary naT a ivE arT r s, 108 Cathedral Place, Santa Fe. 424-2351. Growing Paradise: sale of handmade book by Dr. Ann Paradise Filemyr with Piero Fenci, Elizabeth Akamatsu, and printmaker Charles Jones of LaNana Creek Press. 2-4 pm.

FRIDAY, NOVEMBER 11 david riCHard ConTEmPorary, 130 Lincoln Ave., Suite D, Santa Fe. 983-9555 983-9555. Bay Area Abstraction—1945-1965: works by Jack Jefferson, Abstraction—1945-1965 Frank Lobdell, Charles Strong, and others. 5-7 pm. ExHibiTT/208, 208 Broadway Blvd. SE, Alb. 505450-6884. Air: paintings by Elen Feinberg. 5-8 pm. PrEsTon ConTEmPorary arT r CEnTEr, 1755 Avenida de Mercado, Mesilla. 575-523-8713.

continued on page 32

THE magazine | 29


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“A critic without a good eye is a eunuch in a harem.” 1. Clive Bell 2. Darby Bannard 3. Henry Fielding 4. W.C. Fields


ART OPENINGS

November 2011 Exhibition: photography by Al Weber, paintings by Bruce McClain and Glynis Chaffin-Tinglof. Fine art scrolls by Signe Stuart. 6:30-8:30 pm. rEd doT GallEry, 826 Canyon Rd., Santa Fe. 820-7338. Lumen: Photography. 4:30-7:30 pm. sanTa T Ta fE CommuniTy Ty CollEGE visual arT Ty r s GallEry, 6401 Richards Ave., Santa Fe. 4281501. Photographic Truths & Other Illusions: group show. 5-6:30 pm.

SATURDAY, NOVEMBER 12 riobravofinEarT r , 110 N. Broadway, Truth or Consequences. 575-894-0572. Fictions: sculptural glass work by Deb Klezmer. 6-9 pm.

THURSDAY, NOVEMBER 17 EGGman and Walrus, 130 W. Palace Ave., Santa Fe. 660-0048. Everything Must Go: paintings by John Barker, with MIX and unveiling of ART pong. 5:30-9 pm.

FRIDAY, NOVEMBER 18 maniTou T Tou GallEriEs, 225 Canyon Rd., Santa Fe. 9869833. Walter Blakelock Wilson, An American Artist: 66 Years of Painting—a Retrospective. 5-7:30 pm. sTranGEr faCT a ory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Late Season: works by Chris Ryniak and Amanda Louise Spayd. 6-9 pm.

SUNDAY, NOVEMBER 20 PlaC la iTas T Tas arT r isTs sEriEs at Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Works by Karen Halbert, Marce Rackstraw, Ann Pollard, and Marilyn Stablein. 5 pm.

FRIDAY, NOVEMBER 25 mariGold arT r s, 424 Canyon Rd., Santa Fe. 9824142. Annual Holiday Show: weavings by Barbara Marigold. 5-7 pm.

zanE bEnnETT ConTEmPorary arT r , 435 S. Guadalupe St., Santa Fe. 982-8111. Small Works: inauguration of print room. 5-7 pm.

SPECIAL INTEREST 222 sHElby sTrEET GallEry and 333 monTEzuma annEx, 222 Shelby St.; 333 Montezuma Ave., Santa Fe. 982-8889. Fall Spotlight: group show. Through Thurs., Dec. 1. Spotlight Info: 222shelbystreet.com abiquiu inn, 21120 Hwy. 84, Abiquiu. 505-6854378. The Coronado Expedition: gouache prints by Douglas Johnson. Thurs., Nov. 3, 5:30 pm. Lecture: 7 pm. Light in the Desert: book signing and lecture with Tony O’Brien. Thurs., Nov. 17, 7pm. Info: abiquiuworkshops.com aHalEnia sTudios, 2889 Trades W. Rd., Unit E, Santa Fe. 699-5882. Inner Demons III: group show. Sat., Nov. 5; Sun., Nov. 6, 1-6 pm. Open by appt. through Fri., Nov. 4. Info: ahalenia.com/ demons CHarloTTE JaCK a son finE arT r , 554 S. Guadalupe St., Santa Fe. 989-8688. California Past and Present: works by Charles Arnoldi, R Present Ron Davis, Tony DeLap and Ed Moses. Through Wed., Nov. 9. Info: charlottejackson.com CHiarosCuro, 702½ Canyon Rd., Santa Fe. 9920711. November Feature: abstract paintings by Mike Stack and Tim Jag. Fri., Nov. 4 through Sat., Dec. 3. Info: addisonarts.com ConGrEGaT a ion aT albErT, 3800 Louisiana Blvd. NE, Alb. 505-883-1818. Living in Two Worlds—How Do We Keep Our Balance? Balance?: Rabbi Harry Rosenfeld with Navajo Medicine Man Johnson Dennison. Sat., Nov. 5, 4 pm. Info: congregationalbert.org CorralEs soCiETy ET ETy of arT r isTs at the Corrales Recreation Center, 500 Jones Rd., Corrales. 5050-898-9898. 4th Annual Corrales Holiday Art Festival Festival. Fri., Nov. 25 and Sat., Nov. 26, 10 am-5 pm; Sun., Nov. 27, 10 am-4 pm. Info: corralesartists.orgs

The 2011 Recycle Santa Fe Art Festival takes place on Friday to Sunday, November 11 to 13 at El Museo Cultural de Santa Fe—1615-B Fe— Paseo de Peralta. recyclesantafe.org. Image: Cynthia Cook.

CrEaT a ivE sanTa aT T fE at various locations in Santa Ta Fe. 983-6021. Fall Santa Fe Studio Tour 2011. Sat., Nov. 12, 10 am-5 pm; Sun., Nov. 13, 12-5 pm. Info: santafestudiotour.com

GEorG or ia o’K orG ’KEEffE musEum, 217 Johnson St., Santa Fe. 946-1000. From New York to Corrymore—Robert Henri and Ireland. Through Sun., Jan. 15. Various other events through November. Info: okeeffemuseum.org

dixon sTudio Tour, various locations in and around Dixon. 579-9675. 30th Annual Dixon Studio Tour Tour. Sat., Nov. 5 and Sun., Nov. 6, 9 am-5 pm. Info: dixonarts.com

HarW arWood Wood musEum, 238 Ledoux St., Taos. 575758-9826. Oli Sihvonen—The Final Years. Sun., Sept. 4 to Feb. 5, 2012. Black Mountain College and New Mexico. Sat., Sept. 24 to Feb. 5, 2012. Info: harwoodmuseum.org

doña ana arT r s CounCil at young y Park, Las Cruces. 575-523-6403. 40th Annual Renaissance ArtsFaire. Sat., Nov. 5, 10 am-6 pm; Sun, Nov. 6., ArtsFaire 10 am-5 pm. Info: las-cruces-arts.org dWiGHT HaCKETT d a aCKETT ProJECTs, 2879 All Trades Rd., Santa Fe. 474-4043. Against Seamlessness: paintings by Harmony Hammond. Through Sat., Nov. 26. Info: dwighthackett.com

El musEo CulT ul ural, 555 Camino de la Familia, Santa Fe. 603-0558. Recycle Santa Fe Art Festival. Fri., Nov. 11, 5-9 pm; Sat., Nov. 12, Festival 9 am-5 pm; Sun., Nov. 13, 10 am-5 pm. Info: elmuseocultural.org

Stories Inside—oil paintings by Terry Strickland and mixed-media work by Forrest Solis—on view at Peterson-Cody Gallery, 130 West Palace Avenue. Reception: Friday, November 4, 5 to 7 pm. Image: Terry Strickland.

fisHErr PrEss, 307 Camino Alire, Santa Fe. 9849919. In Memoriam—Don Roach: oil paintings of northern New Mexico. Earth Measure Blues: paintings by Danielle Shelley. Through Sat., Nov. 5. Info: thefisherpress.com

JamEss KElly ConTEmPorary, 1601 Paseo de Peralta, Santa Fe. 989-1601. Land Marks—Photographs from Taos, New Mexico: photographs by Debora Hunter. Through Sat., Nov. 12. Info: jameskelly.com la CiEnEGa EG arT EGa r isT sTudio udio Tour, in and around La Cienega. 699-6788. 38th Annual La Cienega Artist Studio Tour: work by sixteen artists, photographers, sculptors, and ceramicists. Sat., Nov. 26 and Sun. Nov., 27, 10 am-5 pm. Info: lacienegastudiotour.com lannan foundaT ounda ion at the Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Dinaw Mengetsu with Penn Szittya. Wed., Nov. 16, 7 pm. Info: lannan.org lasT GallEry on THE riGHT finE arT r , 830-A Canyon Rd., Santa Fe. 660-5663. New gallery owned by artists James Touché, James Peterson, and Linda Storm. Info: lindastormart.com

continued on page 34

32 | THE magazine

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S A N TA F E C O M M U N I T Y C O L L E G E | S C H O O L O F A R T S & D E S I G N

New This Spring Art LAw

LEGL 203 | CrN 31304

taught by Debra Self

Explore legal issues affecting the art and gallery world as well as traditional and digital media. Learn to analyze and apply the law that regulates artists and fine art. Topics include artist rights, artistic freedom and its limits, principles of copyright and trademark law, contracts, rights of privacy and publicity, censorship, and common business relationships in the art world. Debra Self has been an attorney for 30 years and a brush painter in the Chinese tradition for 12 years. She has broad experience in most areas of contracts, transactions and general commercial law and now works as a mediator and arbitrator.

this class is held at SFCC’s red Dot Gallery 826 Canyon Road

The Red Dot Gallery is a student-run and operated gallery exhibiting work by SFCC students, alumni, faculty and staff while providing real-life business experience to participating student interns from across SFCC’s arts, business, gallery management, media arts and culinary programs.

rEGiStrAtioN BEGiNS MoNDAy, Nov. 14

for New Mexico residents

LEARN MORE Visit www.sfcc.edu or call (505) 428-1332

TaosArtCalendar:November2011 See more at TaosArtCalendar.com

Taos HARWOOD

TCA

SOMOS

Ongoing Exhibits

Encore Gallery Exhibits

Literary Events

Agnes Martin painting installation Ken Price altar installation through february 05, 2012 Black Mountain College and New Mexico through february 19, 2012 Oli Sihvonen: The Final Years

through november 30 The View From Here: nine months of meditation 90 works on paper by Tres Orejas artist Theresa Gray

NEA BIG READ November 2011 Kick Off november 05 From author Louise Erdrich’s Love Machine, Taos Public Library & Taos Center for the Arts november 09 History & Identity: Perspectives of a Native Teacher, Taos Center for the Arts november 10 Can Love Heal? panel discussion, UNM-Taos Klauer Campus november 12 Story Time for 4 to 8 year olds, Taos Public Library Draw Your Life! 6th to 10th Grade, Harwood Museum Joy Harjo keynote presentation, Taos Center for the Arts november 15 Talks Books, UNM-Taos Library november 22 Finding Strength Through Balance, TBA november 29 YA Lit: What's all the Fuss About? TBA november 30 Smoke Signals, film screening, Taos Center for the Arts

Ongoing Events

Yoga in Agnes Martin Gallery, Wednesdays Selected Events

november 04 Metropolis, film november 05 L’Amour Fou, life of Yves Saint Laurent, documentary film Family Day at the Harwood november 12 Harlan, documentary film november 16 Who Does She Think She Is? documentary film november 18 The Mill & The Cross, film november 19 – 20 Taos Chamber Music Group

HARWOOD MUSEUM OF ART, UNIVERSITY OF NEW MEXICO harwoodmuseum.org 575.758.9826

Events

november 01 Bellflower, film november 02 & 09 SMU-In-Taos & UNM-Taos, Free Lecture Series november 03 Cashore Marionettes Life in Motion, performance november 04 & 11 The Kitchen from National Theatre of London, Live in HD november 05 Wagner’s Siegfried from the Met, Live in HD november 06, 07, 08 Mozart’s Sister, film november 13, 14, 15 Life Above All, film november 19 Glass’s Satyagraha from the Met, Live in HD november 20, 21, 22 The Future, film november 27, 28, 29 Higher Ground, film TAOS CENTER FOR THE ARTS tcataos.org 575.758.2052

SOCIETY OF THE MUSE OF THE SOUTHWEST somostaos.org 575.758.0081


ART OPENINGS

los ranCHos aGri-naT a urE C EnTEr , 4920 Rio Grande Blvd., Los Ranchos. 505-385-8056. Los Ranchos Art Studio Tour. Tour Sat., Nov. 5 and Sun., Nov. 6, 10 am-4 pm. Info: losranchosarttour.com mETallo ET GallEry, 2863 Hwy. 14, Madrid. 471-2457. Dia de los Muertos: group show including Melissa Morgan, Steven Vigil, and Antonio Roybal. Through Tues., Nov. 8. Info: metallogallery.com muñoz Waxman GallEry aT a THE C EnTEr for ConTEmPorary arTs, 1050 Old Pecos Trail, Santa Fe. 982-1338. Munson Hunt Exhibition: sculptures by Munson Hunt. Through Sun., Jan. 8, 2012. Info: ccasantafe.org musEum of ConTEmPorary naT a ivE a rTs , 108 Cathedral Place, Santa Fe. 983-8900. Growing Paradise: reading, exhibition, performance, Paradise and artist talk with Ann Filemyr, Piero Fenci, Elizabeth Akamatsu, Charles Jones, Juan Carlos Urena, and Jeana Paul-Urena. Sun., Nov. 6, 2-4 pm. Info: iaia.edu/museum musEum of nEW mExiCo, 107 W. Palace Ave., Santa Fe. 476-5072. Past, Present, Future—Three New Mexico Photographers: Photographers works by Michael Berman, David Taylor, and Connie Samaras. Through April 2012. Info: nmartmuseum.org naT a ional H isPani P Pani C C ulT ul ural C EnTEr , 1701 4th St. SW, Alb. 505-246-2261. ¡Fabuloso!— Figures in Clay from the Van Deren and Joan Coke Collection. Collection Through summer 2012. Info: nhccnm.org nEW mExiCo farm and ranCH HEriTa T GE Ta musEum, 4100 Dripping Springs Rd., Las Cruces. 575-522-4100. The Land of Enchantment: Commemorating the Centennial of New Mexico Statehood: Statehood historical photos and artifacts. Thurs., Nov. 17, 5:30-8 pm. Exhibition runs through Sept. 2012. Info: nmfarmandranchmuseum.org

nEW mExiCo HisTory musEum, 105 W. Palace Ave., Santa Fe. 476-5100. Illuminating the Word—The Saint John’s Bible: contemporary handwritten and illuminated Bible. Through Sat., Apr. 7, 2012. Contemplative Landscape: photography group show. Through Sat., Dec. 31. Various other events through November. Info: museumofnewmexico.org nEW mExiCo HisTory musEum at the Lensic, 211 W. San Francisco St., Santa Fe. Illuminating the Word Word: presentation by calligrapher Donald Jackson. Mon., Nov. 7, 6 pm. Info: nmhistorymuseum.org o HauGHnEssy PErformanCE sPa o’s P CE , Santa Fe University of Art and Design, 1600 St. Michael’s Dr., Santa Fe. 473-6200. Reading and book signing with poet and essayist Danielle Cadena Deulen. Tues., Nov. 8, 7 pm. Info: santafeuniversity.edu PasTEl soCiETy of nEW mExiCo at Expo New Mexico Hispanic Arts Center, 300 San Pedro NE, Alb. 575-895-5457. 20th Annual National Pastel Painting Exhibition Exhibition. Fri., Nov. 4-Sun., Nov. 27. Reception: Fri., Nov. 4, 5-8 pm. Info:pastelsnm.org PHoTo - EyE PH GallEry, 376-A Garcia St., Santa Fe. 988-5152. First Wednesday Salon: featuring photographers Debora Hunter and Leigh Anne Langwell. Wed., Nov. 2, 6:30-8:30 pm. Info: photoeye.com

quivira CoaliTion at Embassy Suites, 1000 Woodward Place NE, Alb. 505-820-2544. New Agrarian Career Connection: job fair meets county fair livestock show meets speed dating. Wed., Nov. 9, 6:30-8:30 pm. rio GrandE THEaT a rE , 211 N. Downtown aT Mall, Las Cruces. 575-523-6403. Road to Freedom: film. Sat., Nov. 12, 7 pm; Sun., Nov. Freedom 13, 4 pm; Fri., Nov. 18, 7 pm; Sat., Nov. 19, 7 pm. Info: roadtofreedomfilm.com

roTunda GallEry at the State Capitol Building, 490 Old Santa Fe Trail, Santa Fe. 792-2985. “Artist Books and Poetry”: talk by Marilyn Stablein. Mon., Nov. 7, 12-2 pm. Info: vampandtramp.com/finepress/s/Marilyn Stablein.html

nEW mExiCo sCHool for THE arTs aT a WarEHousE 21, 1614 Paseo de Peralta, Santa Fe. 310-4194. The Complete History of America (abridged) (abridged): theater performance. Wed., Nov. 2 to Sat., Nov. 5, 7 pm. Info: nmschoolforthearts.org

sanTa T f E a rT i nsTiTuTE at the Lensic, 211 W. Ta San Francisco St., Santa Fe. 424-5050. Annual fundraising event with environmentalist and speaker Bill McKibben. Wed., Nov. 9, 7 pm. Info: sfai.org

ouTPosT PErformanCE sPa P CE , 210 yale y Blvd. SE, Alb. 505-268-0044. John Jorgenson Quintet: gypsy jazz. Thurs., Nov. 17, 7:30 pm. Quintet Info: outpostspace.org

souTHWEsT WomEn’s fibEr arT CollECTivE aT THE G ranT C ounTy C onfErEnCE C EnTEr , a 3031 Hwy. 180, E., Silver City. 575-538-5733. Silver City Fiber Arts Festival Festival: fine fiber art and supplies, demos, lectures, workshops, and special exhibits. Fri., Nov. 11 to Sat., Nov. 12, 10 am-5 pm. Info: fiberartscollective.org Taos arT musEum aT a f ECHin H ousE , 227 Paseo del Pueblo Norte, Taos. 575-7582690. Passion of Paint: works by Mary Dolph Wood. Through Sun., Nov. 27. Women Painters of Northern New Mexico Mexico: works from the museum’s collection. Through Dec. Info: taosartmuseum.org

rio GrandE THEaT a rE , 211 N. Downtown aT Mall, Las Cruces. 575-523-6403. Various events through Nov. riograndetheatre.com

CALL FOR ARTISTS 516 arTs, 516 Central Ave. SW, Alb. 505242-1445. ISEA2012 Albuquerque—Machine Wilderness: exhibition and call for proposals. Wilderness Deadline extended: Tues., Nov. 15. Info: isea2012.org 516 arTs, 516 Central Ave. SW, Alb. 505242-1445. New Mexico Showcase: juried exhibition of New Mexico artists. Deadline: Thur., Dec. 1. Info: 516arts.org

zanE bEnnETT ConTEmPorary arT, 435 S. Guadalupe St., Santa Fe. 982-8111. Recent Work in Combined Media Media: works by Bruce Dorfman. Whether: works by Rachel Stevens. Through Fri., Nov. 18. Info: zanebennettgallery.com

b ullsEyE G lass C omPany , 3722 SE 21st Ave., Portland, OR. 503-227-2797. Emerge 2012 2012: 7th International KilnGlass Exhibition for emerging artists. Deadline: Wed., Dec. 7. Info: bullseyeglass. com/emerge

PERFORMING ARTS

C all for a rTisTs and C rafTsPEoPlE in New Mexico working on paper or with paper to form a coop gallery specializing in original paper works. All media welcomed. Contact Chuck Lathrop at 505-891-8146 or 781-7898167 or studio2951@qmail.com

albuquErquE THEaT a rE G uild , P.O. Box aT 26395, Alb. Performances throughout November. Info: abqtheatre.org la Casa sEna CanTina, 125 E. Palace Ave., Santa Fe. 988-9232. Carpenters—Yesterday Once More More: starring Stephanie Duran. Sun., Nov. 6, 5:30 pm. Info: starsneverfade.com

d ECEmbEr and J anuary is a doublE issuE . a ll lisTinGs arE duE no laTE la r THan m onday , d EC . 14. s End imaGEs if PossiblE .

Left: A two-person exhibition— exhibition—Late Season—by Chris Ryniak and Amanda Louise Spayd is on view at Stranger Factory, 109 Carlisle Blvd. NE, Albuquerque. Reception: Friday, November 18 from 6 to 9 pm. Image: Amanda Louise Spayd Right: Placitas Artists Series presents Karen Halbert, Marce Rackstraw, Ann Pollard, and Marilyn Stablein. Reception: Sunday, November 20, from 5 pm at Las Placitas Presbyterian Church (6 miles east of I-25 on NM 165). Image: Marilyn Stablein. PlacitasArtistsSeries.org

34 | THE magazine

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2011 |


PREVIEWS

Sanguivorous: a film by Naoki yoshimoto World Premiere: KiMo Theater, 423 Central Avenue NW, Albuquerque. 505-768-3522. Screening with live music by Tatsuya Nakatani and Edward Wilkerson, Jr. on Saturday, November 12, 8 pm. kimotickets.com or the KiMo box office. Warehouse 21, 1614 Paseo de Peralta, Santa Fe. 989-4423. Screening with live music by Tatsuya Nakatani and Edward Wilkerson, Jr. on Sunday, November 13, at 3 pm. From Sanguivorous—the first silent Japanese vampire movie.

A young man is tied to a chair in a darkened room. A dim chandelier hangs above his head. He turns nervously to his right. A woman slowly approaches from the shadows. At first, he can only see the dim outline of her white kimono. Then, she turns to face him, raising her upturned hand to reveal long, pointed nails. Slowly, a ghostly flame appears in the palm of her hand. She looks at him, her eyes deep and dark, her gaze longing. The man bravely returns her stare, but his ragged breathing betrays his fear. Such moments are the lifeblood of a good vampire film, as director Naoki yoshimoto knows. In this experimental silent film, a young Japanese woman learns she is a vampire and struggles to contain her burgeoning appetites. It features Ko Murobushi, known for his performances of Butoh—an avantgarde melding of dance and performance art that originated in Japan in the late 1950s. Live contemporary music by Tatsuya Nakatani on percussion and Edward Wilkerson, Jr. on saxophone will accompany the premiere of the film. The screening is a couple weeks past Halloween, but fans of the eerie—and the experimental—will not be disappointed.

Harmony Hammond: Against Seamlessness Through November 26 dwight hackett Projects 2879 All Trades Road, Santa Fe. 474-4043 Harmony Hammond’s wrapped paintings are not exactly monochromes. She calls them “near-monochromes,” or “becoming-or-unbecoming monochromes.” Hammond’s focus is as much on texture as on color—viewers may long to run their fingers over the paintings’ studded crisscrossing strips and chunky layers of oil paint. These monochromes are not sterile with simplicity. Rather, they indicate physicality and the feminine act of creation—a fleshiness, even, says art critic Tirza True Latimer, who explains, “This work dredges up and revalorizes the ‘seamy’ sexual/sensual/corporal content that the formalist discourse of monochromatic painting suppresses.” Latimer’s essay is included in a catalogue accompanying the exhibition, published by Santa Fe’s Radius Books. Hammond was a major player in the 1970s feminist art movement in New york City, and is known for co-founding Brooklyn’s A.I.R. Gallery in 1972, the first gallery in the United States managed by and for female artists. Hammond’s work is in many collections, including the Museum of Modern Art and the National Museum of Women in the Arts. She has lived and worked in Galisteo since 1989, and is also involved in local community advocacy projects, such as the restoration of Galisteo Creek Bosques.

Photographic Truths & Other Illusions Through November 14 Santa Fe Community College Visual Arts Gallery, 6401 Richards Avenue, Santa Fe. 428-1501. Reception: Friday, November 11, 5-6:30 pm. Harmony Hammond, Red Bed, oil and mixed media on canvas, 80½” x 50½”

Clare Elizabeth Benson, The Shepherd 3, inkjet print.

| N O V e M B e R 2011

Is photography a lie? In every photograph, the photographer has chosen to frame the image in a certain way. Composition, lighting, and subject are all carefully considered and manipulated. Many photographers—especially photojournalists— seek to convey the truth of the world they are standing in when they take the picture. However, what falls within the frame of a photograph is unavoidably limited, and though an image may speak of certain truths, it will never contain the whole. One technique used to avoid subjectivity is to expose the manipulation of the photograph within the photograph itself—think of Annie Leibovitz’s iconic Hollywood portraits, in which lights and reflectors often betray the painstakingly staged nature of the shoot. In Photographic Truths and Other Illusions, photographers examine the paradoxical nature of their work. Andy Bloxham’s image of female tattoo artists is a colorful caricature of subculture and gender roles—a statement only achieved by the deliberate staging of his subjects. Similarly, Clare Elizabeth Benson’s photograph of taxidermied deer heads being trucked out of the woods is obviously manipulated, but her message remains honest. The exhibition includes works by Society for Photographic Education Regional Conference speakers and faculty from Northern New Mexico College, Santa Fe Community College, the Santa Fe University of Arts and Design, and the University of New Mexico.

THE magazine | 35


The Andrew Smith Gallery, INC.

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

Ansel Adams, St. Francis Church, Rancho De Taos, NM, 1950 Ca., © 2011 Trustees of Ansel Adams Publishing Rights Trust

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

o f

P h o t o g r a p h y

The Andrew Smith Gallery is the leading gallery for classic 19th and 20th Century photographs. Artists include Ansel Adams, Edward S. Curtis, William H. Jackson, Laura Gilpin, A. C. Vroman, F. J. Haynes, Alfred Stieglitz, Timothy O’Sullivan, Edward Weston, Annie Leibovitz, Carleton Watkins, John K. Hillers, Paul Caponigro, Lee Friedlander, Henri Cartier-Bresson and many more. The Andrew Smith Gallery is also home to many regional photographers including Joan Myers, Barbara Van Cleve, Alan Ross, Jody Forster, Baron Wolman, Victor Masayesva, Lisa Law, David Michael Kennedy, Elliott McDowell and Duane Monczewski.

• 505.984.1234 • www.AndrewSmithGallery.com


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

Arrowhead (2010) by Julian

Schnabel

Collection: Gian Enzo Sperone and Marco Voena There has always been a lot of buzz surrounding artist and filmmaker Julian Schnabel. His bombastic, carry-water-for-no-man personality has earned him at least as much press as his “plate paintings” or his award-winning films. His ex-wife, Olatz López Garmendia may have described him best: “charming... and scary.” Whether or not Schnabel deserves the attention is beside the point—he has made an undeniable mark on the contemporary art world and it is up to us to decide how he did it. Works from Schnabel’s career are currently on view at Venice’s Museo Correr. Julian Schnabel: Permanently Becoming and the Architecture of Seeing approaches Schnabel solely as a visual artist, sidestepping the issue of his public persona. Instead, the show focuses on the artist’s most prevalent themes, such as the sea, geography, literature, and his personal life, and reveals the artist’s diverse range of influences—from Francisco Goya to Jackson Pollock. Sir Norman Rosenthal curates the show, boldly juxtaposing many of the works with the museum’s neo-classical architecture. The exhibition will be on view through November 27.

| nov e mb e r 2011

THE magazine | 37


INTERVIEW

Sporting a Bettie Page ’do and an impressive resume, Irene Hofmann— the new director and chief curator at SITE Santa Fe— is guiding the organization in a new direction. THE magazine met with Hofmann to discuss her plans, and SITE’S current EXHIBITION— Agitated Histories

us and for the artists we work with. This potential doesn’t exist

or concept in contemporary art. Perhaps it doesn’t happen

at many institutions and it is an important part of SITE’s history

every other year, but every three years instead. There are a

of working with artists and will be an important part of SITE’s

lot of great ideas being explored to bring further definition to

future. The other important part of considering SITE’s past and

our shows and an opportunity to make a larger contribution

planning for the future is reconsidering SITE’s signature biennial

to the discourse of contemporary art. In addition to focusing

exhibition. After seventeen years of biennials, this is an important

new energy around SITE’s signature biennial exhibition,

moment to define or re-define this signature exhibition.

I would also like to see SITE become known for more than just

its biennial. At the moment, much of our audience nationally only

TM: SITE has been doing biennials since 1995. IH: Exactly, and a

knows SITE as a biennial. Bringing more visibility to our year-round

lot has changed in the art world since then. Only a few biennials

exhibition programs, the artists we are presenting, and ultimately to

existed anywhere in the world when SITE launched its first

Santa Fe as a vibrant (and must-see) contemporary art destination

biennial, and now there are hundreds internationally. The very

is a big focus for us and it benefits our entire cultural community—

idea of the biennial seems to have lost some of its importance. So,

that’s not too lofty a goal is it? To begin to achieve this, we go back

one of the things I was asked to do when I arrived was to answer

to the strategies of forging national and international collaborations

the question: What can be done with SITE’s biennial? There is

with other museums, co-organizing and touring our exhibitions,

potential for this institution to step out—as it did when it was first

and generating major new artist commissions that have a reach and

founded—with a really big gesture and a new kind of signature

exhibition life beyond SITE’s walls.

exhibition. This is time for SITE to redefine its biennial exhibition.

TM: You said that there have been some successes and some

TM: The critic Jerry Saltz trashes biennials—he says it’s just

failures. What are the successes and what are the failures? IH:

the same old stuff. IH: Same old stuff. And in a lot of cases,

That’s always a hard question, and it begins with defining what

it’s the same curators, same artists—same kind of circuit.

success looks like—which can be different for each show. For some

shows, success is positive press, audience reception, or attendance

TM: So you want to break out of this box? IH: Yes, we want

numbers, but there are other important measures and metrics that

to break out of this box and redefine what a biennial is at SITE.

look at the quality of a visitor’s experience, the importance of an

Once a more singular concept and idea, today biennials are

exhibition in the trajectory of an artist’s career, and the contribution

everywhere, even municipalities around the world are now

that a show can make to the field of contemporary art perhaps

hosting “biennials” often with the idea that it will drive tourism

through creative and curatorial experimentation. Often a truly

their way. Even the definition of a biennial has changed and

successful show hits high marks on a number of these metrics. SITE

perhaps become diluted. So at SITE, we are now engaged in

has had some really innovative shows in the past from a curatorial

a process of redefining what our biennial will be for the future.

perspective, but perhaps they didn’t connect with the audience as was hoped. Was this a failure? Not to me. In fact, SITE is a venue

TM: And you would like... IH: I would like us to have a

where new ideas and artistic experimentation must have a voice

signature exhibition that explores a more focused territory

and platform to be expressed.

THE magazine: As director of the Contemporary Museum in Baltimore, you left it in better shape than you found it because

photograph by

L ydia G onzales

you expanded its vision. What’s your plan for expanding SITE’s vision? Irene Hofmann: At seventeen years, SITE has had many successes over the years, so there is a lot to build on here. I’ve spent a lot of time in my first year studying SITE’s history— considering what succeeded here, what may have failed, what makes SITE unique. I looked at who the audience is (then and now), studied the changes that have taken place in Santa Fe, and considered important developments in the art world—all to try to understand this institution and the legacy that I inherited. Many people have opinions about institutions such as SITE, and I had to form my own when I arrived. I believe that there is great potential for a bigger vision for SITE­—we have an opportunity to reach and involve a larger community locally and to broaden our visibility and impact nationally and internationally. For one, there is untapped potential to partner with peer organizations nationally and to originate exhibitions that travel to other cities. Not only can these strategies expand opportunities for the artists we champion, they allow us to share resources. One of the things that I loved doing in Baltimore was to commission artists to make new work. I had none of the resources of space that are here at SITE. With a fourthousand-square-foot workshop, so much more is possible for continued on page 40

| nov e mb e r 2011

THE magazine | 39


TM: The word “artist” is tossed about like mad. A person puts paint on a piece of canvas and he says he’s an artist; a

I have been able to collaborate with such a curator since we

TM: So you’re the glue. Ih: That is one way to put it—I’m

both have a lot we can teach each other.

like the glue. Not unlike a movie producer—first raising the

person takes a picture, he’s a photographic artist, etc. I don’t

money and then helping make it all happen.

believe that’s true. What makes an artist is that when the work

TM: Are you a conceptual curator? Ih: Sort of. When you

is done, it makes the viewer see something they didn’t see

get to an institution like SITE, that doesn’t have a collection,

TM: Let’s talk about pyramids. In every business there is one—

before and/or understand something new. If the work doesn’t

and where my work is not about building the brand of the

y City, and publishing, art, whatever. I grew up in New york

affect other people, it’s just illustration. Ih: If you ask me

institution through a collection but rather through developing

heard names like Kline, de Kooning, Motherwell, Lichtenstein,

what is the definition of good art, then that is very close to my

new exhibitions, I suppose the curator’s role can become a

blah blah blah. And then you go on from there and it’s Ruscha,

definition. But what makes someone an artist?

lot more mysterious and even conceptual. Sometimes my

the Ferus Gallery and the California guys, and then you get to

work is about being a sounding board and a facilitator. At

Damien Hirst and Jenny Holzer, and on and on. Well, there’s

TM: That they have a concept, an idea—something they want/

times I have become an artist’s therapist [laughs]. I often help

not a lot of room at the top of the art pyramid. Artists like

need to explore? Ih: Right. The artist Dawoud Bey has some

negotiate new territory for them, whether they’re working

Damien Hirst and Jenny Holzer are suddenly there. Where did

really frank advice for young aspiring artists about what makes

with a new medium or needing to deal with finances or legal

they come from? Do most of these artists have to work their

someone an artist, and what it takes to succeed. He tells his

issues—it’s all part of what might be necessary as we work

way up or are they just propelled to the top of the art pyramid?

students that despite the fact that we now see a cult around

with artists to help realize their vision. This is all stuff that you

Ih: I don’t think that an artist’s assent to the top of the pyramid

the “new” and “emerging” that results in some young artists

don’t learn in art history classes—you learn when you start

is as sudden as it may seem at times. Behind all of those names

being snapped up for their first show even while they are still

to do work like this. Commissioning new work is a big part

in school, having this kind of expectation about being an artist

of my practice as a curator because I love being there at that

is unrealistic. Instead, he tells them that before you start to

moment when something extraordinary is being created.

expect success, you need to commit to an idea and spend at least ten thousand hours in pursuit of your work. This is a

TM: T Talk about Agitated Histories, which just opened. When you

mind-boggling number but one that suggests the importance

commission new work are you ever disappointed? Ih: When

of making a commitment to an idea. With this in mind and

we’re working on a new commission there are worries that

getting back to your question about what makes an artist—it

can come up because you don’t know what the final work will

is about passion and commitment to a vision. Then, whether

look like until it’s finished. Thankfully, I haven’t had the scenario

it’s actually good art or not is another matter. For me it has to

of having to stop work on a commission or felt disappointed by

do with how I respond to it—does it move me, stick with me,

the result of a new work. This is in large part because, by the

haunt me, does it challenge me to think differently about the

time I am inviting an artist to make a new work, I generally have

world, and does it tap into my sense of wonder? When some

already followed their career for many years and may have even

of these factors come into play in a work of art, that’s what

gotten to know them—this makes me much more confident in

grabs me.

my selections and sets the stage for a successful relationship.

TM: T Talk about how you create an exhibition. Where does the

TM: Are most of the people that you commission blue-

concept arrive, and is being a curator a bit of a juggling act—

chippers? Or are they the young, emerging, and up-and-

making something out of nothing? Ih: First, I want to comment

coming artists? Ih: A little of each, but more often I am

on the fact that the word “curator” has come into the

working with mid-career artists who are at a point in their

vernacular to mean a whole range of activities around selection

career when an open invitation for a new commission has

and arrangement. I mean, “curator” and “curated” are being

the potential of igniting and realizing a major new idea or

used today to talk about everything from merchandizing a

an exciting new direction for that artist’s work. Ultimately,

store to creating a selection of music, and just today I saw a trip

it does not matter what stage an artist is at in their career.

you mentioned were years of commitment. Of course, having

being described as having been curated. I’m not sure if all of this

For a new commission, I need to know that they have a track

an influential and supportive gallery can make all the difference

makes it easier or harder to describe what I do!

record, and I want to have the confidence in that artist so I

as we have seen many times. Let’s face it, galleries like Gagosian

will be able to raise funds for the project, and to be able to

can be kingmakers—they have a highly visible and even global

say with confidence that they will deliver a great new piece.

platform, resources beyond most museums, and a brand that

TM: Like staging a house for a sale? Ih: Exactly. So, to return to your question, as a curator I operate in a very specialized arena

yoshua Okon, Still from Octopus (2011), four channel video projection, 18 y Courtesy of the artist

is defined and understood by the market. Getting to the top of

because I am working with living artists, often commissioning

TM: Whom do you have to answer to at SITE? Ih: The staff, the

the pyramid, however, has to start with being an exceptional

new work from them, and helping to produce a context for

board, the audience, the funders, the artists… I guess, everyone!

artist and, with the support of some of the über-gallerists

understanding the next generation of art. Even within art

the top of the pyramid can be reached. Having said this,

museums, the range of curatorial activities and curatorial

TM: Do the funders try to tell you what to do? Do they say no,

even though contemporary art museums operate in a rather

practice is pretty broad. I have many colleagues who don’t

we don’t like this? Ih: Everyone has their opinions, certainly,

different part of the art world eco-system than the market, I

quite understand the work I do because they’re working with

and not everyone likes every show (and I don’t expect them to),

would like to think that a really smart exhibition—even in a

historical collections and artists who are no longer alive.

but if we are clear about our mission and about the larger vision

venue off the mainstream art world grid—can have an equally

we are seeking support for, this doesn’t become a problem.

significant impact on an artist’s career. SITE has often been that

TM: They’re in a different realm… Ih: yes, y a very different

Ultimately it is my job to communicate about our program,

kind of venue for artists over the years. SITE’s shows have been

realm. They are curators who are caring for objects, producing

deliver what we promise, and when it comes to the more risky

a starting point for some artists, and for others, a place where

scholarship around those works, and creating collections that

or experimental new works, carefully shepherd them so they

they can try something new, moving them to a whole new level

provide them a broader context. The most fun happens when

can be fully realized and appreciated by our audience.

in their work.


INTERVIEW

wHAT MAkES AN ARTIST? FOR ME, IT’S ABOUT A COMMITMENT TO AN IDEA

8:30 min.

SITE Santa Fe’s inaugural SPREAD at the Santa Fe Farmers Market, March 18, 2011 Photograph by Bill Stengel

continued on page 43

| N O V e M B e R 2011

THE magazine | 41


ODUS LYND RETROSPECTIVE October 19 through November 17

PUbLic RecePtiON Santa Fe Community College Main Hall Gallery thursday, november 3 5 to 7 p.m.

Santa Fe Community College Photography Student Odus Lynd studied a myriad of photographic processes and approaches. He was an accomplished photographer when he died this past summer. He was loved and respected by his peers and faculty for his eloquence of thought, sense of humor and philanthropy: he supported students with the least means through anonymous donations of materials. He was a gift to those who knew him. The School of Arts + Design offers this retrospective of his work in his memory. As a passionate photographer, Odus produced a substantial body of work representing serious inquiry into his subject matter by creating landscapes and figure studies of lasting impact and beauty. Please join us to celebrate this wonderful member of our community at a public reception for the OduS Lynd RetROSPeCtive on thursday, november 3, from 5 to 7 p.m. at SFCC’s Main Hall Gallery, 6401 Richards Ave. All photographs in this solo exhibition are for sale.

This event is sponsored by SFCC’s ART on CAMPUS and the School of Arts +design. Contact SFCC’s Art on Campus Office at (505) 428-1533 or visit www.sfcc.edu.

6401 Richards Ave. Santa Fe, NM 87508


INTERVIEW

TM: Do you often go to galleries? Are you looking for artists who

in response to a specific historic archive. Some of the archives

draws us in, yet once we learn more details about this comic

may fit into SITE? IH: I do and I am always looking. I try to keep

that inspired these works include, for example, archives of the

scene, the tragic irony of Octopus comes into focus. Another

up on what’s happening in the galleries here, and in particular

civil rights movement, recordings of political protests of the

theme is “the persona,” which includes works that interrogate

in the galleries that are part of the contemporary art discourse.

Vietnam era, photographic records of the American Indian

the image, impact, and legacy of iconic historic figures. Michael

There is a lot of interesting work being made in Santa Fe that

Movement, and aboriginal rights demonstrations. Another main

Jackson, Lenny Bruce, and Baudelaire are some of the personas

I’m just starting to learn more about. Am I looking for work for

theme in the exhibition is “the reenactment.” Representing

that are explored through these works. And the final theme

SITE in particular? I’m always looking for that wherever I am,

this theme are works that present a restaging or reenacting

explored in Agitated Histories is “the intervention.” These

but I recognize that in getting to know the galleries here, I also

of a moment in history as a means to better understand it, or

works recall charged events in history that register cautions

might be able to make interesting connections for them or their

to bring it back to our attention. Mark Tribe, the artist who

about the future.

artists with my colleagues in other parts of the country. I view

originally sparked the idea for this show, created such a work.

showing my support of local galleries as an important part of my

Tribe was teaching at Brown in the early 2000s, and was struck

TM: Are you easily impressed by many artists? IH: I’m usually

job—after all, they are a vital part of growing a contemporary

by the lack of political engagement by the student population.

impressed by artists I’m working closely with at any given

art community and keeping young artists here in Santa Fe.

There was a war going on, and no one seemed to care about

moment. Mark Tribe and Geof Oppenheimer—each with

anything that was happening outside of the campus. So Tribe

major installations in Agitated Histories—are two that I am

TM: I was going to ask you about young artists because we

started to look back at political speeches and protests from

particularly impressed with at the moment.

have a young woman, actually young girl, Lydia Gonzales, who

the Vietnam era, and wondered what meaning these speeches

just turned fourteen, who is making photographs for THE, and

might have today. His work, entitled The Port Huron Project, is a

TM: Are reviews important? IH: They are.

she’s really good. I want to have her photograph you instead of

series of reenactments of protest speeches from the Vietnam

one of our adult photographers. Is that a good idea? IH: Why

era. Delivered by an actor or performance artist to an audience

TM: Are there a lot of critics who get it right? IH: I think not.

not? I would love to see her perspective.

of invited guests and passers-by, these live restagings and the

I don’t think there is a show out there that couldn’t be looked

video documentation that now remains, impart impassioned

at critically. When I’m developing a show, I’m often thinking

TM: In an essay by Naum Gabo, he wrote, “Art derives

words, spoken from historic moments of struggle. Decades

about what’s missing? What’s the Achilles heel of the thesis,

from the necessity to communicate and to announce.” Your

removed from their original context, speeches by figures like

how can it be improved? I think that when art criticism is really

thoughts? IH: Some art does, and a lot of the work in Agitated

Stokely Carmichael, Angela Davis, and César Chávez pose

good, it empowers the audience to develop their own, more

Histories absolutely derives from a need to announce.

questions about the detached nature of political dissent today.

informed opinions.

TM: Talk about Agitated Histories. IH: Sure. A show like Agitated

TM: He had them reenact the speeches? IH: Yes, he staged

TM: The importance of the preparators? IH: Oh, they’re vital.

Histories is a great example of the kind of group show that I like

contemporary reenactments of these speeches. The piece

Especially when we are installing work that involves more than

to do and the process that’s involved. This is an exhibition with

we are showing at SITE is the video documentation of those

hanging a picture on the wall. When there are new works, the

twelve artists—a thematic exhibition with a variety of media,

reenactments. Watching them becomes a bit disorienting

preparators join me in helping an artist realize a new piece. When

featuring artists spanning two generations and who are from all

because they look like contemporary political rallies and yet

artists bring an artwork that they’ve shown in a small venue to

over the country. How does that kind of idea or theme begin?

if you watch long enough the historic location of the speech

SITE, there’s another opportunity, too. Maybe they always

For me, it often is sparked by the work of a single artist that

is revealed.

wanted to show a particular piece on a larger scale—projected

sticks with me and begins to resonate further as I think about

on four walls. A preparator needs to have a lot of really great

it. This usually leads to making connections to other work, and

TM: This goes back to making people look at a work of art

ideas, be calm when an artist is nervous, and have the skills to

I begin to imagine how this artist’s work might be interesting

where the viewer sees/understands something they never

come up with a solution to whatever comes our way.

in comparison with another artist’s work, and I start to build

would have seen or thought of before. IH: Right. There’s

off of that.

another artist in the exhibition who is doing what we can very

TM: He or she needs to have the tactical abilities to manifest

loosely call a reenactment of the Guatemalan Civil War.

the vision. IH: That’s right. And if I may brag a little, Pae White,

TM: So you make something out of nothing? IH: Not exactly,

who was featured in our summer show gave me one of the

but shows like this often come from a single artwork or a single

TM: Which I know nothing about. IH: Many of us don’t. Yet

best compliments about SITE’s crew. She said, “Your crew

artist, and then a larger idea is formed. Agitated Histories is

looking back in history, we can see that the United States had a

found the most elegant solution for my installation. It wasn’t

an exhibition that presents works that create a dialogue with

hand in that conflict. The war consumed Guatemala for decades,

always the easiest solution; they went for the most elegant

historic figures, movements, and events. For some of the artists

ultimately displacing many Guatemalans to the United States.

solution.” That kind of commitment to the elegant solution is

in this exhibition, history is a subject to be challenged, rewritten

Many of them ended up in Los Angeles, where Yoshua Okón

really invaluable.

or recreated, while for others it is a source of inspiration

lived in the early 2000s and where he got to know a number

and creative energy. A part of the organization of Agitated

of these men. In a twist of an historic battle reenactment,

TM: Talk about SPREAD. IH: SPREAD was my immediate

Histories that is important to mention is that this is a show

Okón’s video installation Octopus revisits the Guatemalan Civil

response to what I saw as a need for SITE to connect in a more

that began in a much smaller version at my former institution,

War with a group of these men who actually participated in

meaningful way with the local community, and to be supportive

the Contemporary Museum in Baltimore. When I presented

the original conflict and who now stand side by side working

of creative people in this region in a way that wasn’t just about

the show there, it had only six artists; in bringing the show to

as day laborers out in front of a Los Angeles Home Depot. In

exhibitions. Simply put, SPREAD is a micro-granting initiative

SITE, our Assistant Curator Janet Dees has joined me as co-

this four channel video, Okón’s protagonists stage a battle in a

that involves staging a large community dinner to raise funds for

curator and we now have more than doubled the number of

busy Home Depot parking lot that is at once humorous and

artistic projects across all disciplines. SPREAD is a platform for

participating artists. In this expanded form of Agitated Histories,

politically charged. They crawl in formation across the asphalt,

the community that SITE created and now has an established

there are four main ideas that emerged as this show developed:

conduct “surveillance” from the perch of a shopping cart,

infrastructure and has, thankfully, a tremendous following.

the archive, the reenactment, the persona, and the intervention.

and engage in “combat” among tool shed displays, wielding

First, in the category of “the archive” are works that developed

imaginary guns. As is often the case in Okón’s works, humor

I nterview : G uy C ross , P ublisher , THE

magazine

magazmagazinmagazine

| nov e mb e r 2011

THE magazine | 43


Atmospheric

3

Works by Anna Keller, Jane Otten, and Charlotte Scot. at The La Tienda Exhibit Space

Red Dot Gallery Come visit Santa Fe’s newest gallery! The Red Dot Gallery features a variety of exciting and innovative works of art by Santa Fe artists. Visit us at the top of Canyon Road!

Lumen: Photography Opening Reception November 11 4:30-7:30 Exhibit dates: November 11 - December 5, 2011 Red Dot Gallery

826 Canyon Road, Santa Fe, NM 87501 505.820.7338 www.red-dot-gallery.com

From bold abstraction to excavations of past lives

Opening Reception Saturday, November 5 from 5 to 7 pm Show runs through December 3 www.TheExhibitSpace.com 7 Caliente Road Santa Fe, NM 87508 505.428.0024

S M ALL WOR KS

NO V E M B E R 25 , 2 0 1 1 – JAN UAR Y, 2 0 1 2

Opening Reception: Friday, November 25th, 5–7 pm

Inauguration of our new print room

ZANEBENNETT CONTEMPORARY

ART

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


CRITICAL REFLECTIONS

D

Michelle Cooke, Lora Fosberg,

and

Shaun Gilmore

Eight Modern 231 Delgado Street, Santa Fe

Don’t miss this—it runs to December 3. “It” being the

forest. Another, Dig Deep, depicts a tractor in the same forest

appears as explicit statement in her epigrammatic signage set

current group show at Eight Modern, which features work by

perched above a vast hole excavated by its backhoe, the bucket

out against a striped backdrop evoking the American highway—

Michelle Cooke, Lora Fosberg, and Shaun Gilmore. An initial

on its hinged pole pulling up fallen vegetation from the depths

fusing Jenny Holzer’s truisms with Ed Ruscha’s Standard Station,

sense of serendipity in the gallery’s choice of artists for the show

below, like some atavistic predator. The images give the lie to

a eulogy to America’s restless and ruinous on-the-road culture.

gives way in time to awareness of a shared aesthetic that links this

the aspiration claimed by the upbeat titles by conveying instead

Fosberg’s spare, graphic style and its understated

unlikely ensemble. That aesthetic is based on a graphic sensibility

the term’s literal meaning, in which “aspiration” denotes a

commentary are matched by Shaun Gilmore’s ink-and-mixed-

and an eye for understatement common to three artists whose

sucking process that evacuates a cavity and leaves a vacuum.

media drawings of the topography of Southwestern landmarks,

works are—and look—very different one from another.

Fosberg’s droll visual style carries over to what pass for textbook

like the mesas of La Bajada, Los Alamos, and Acoma in New

Lora Fosberg’s work embraces India-ink-and-gouache

illustrations of sections of tree trunk whose spare depiction in

Mexico and the petrified forest of Big Lithodendrum in Utah,

sketches, on paper or paper transferred to canvas or panel.

India ink, gouache, plaster, and wax portrays them as carcasses.

(with a brief foray to McDougall’s Forest, Wales). Gilmore’s

These mixed-media works on paper, along with several relief

The tongue-in-cheek labeling in Then and Now, purporting to

placement of colored collage strips on the drawings belies their

prints, fall into three series dealing, on different levels, with the

indicate a cut tree’s age by the gap between the trunk’s inner

aerial perspective and broadens topography’s reference to the

environment. A common theme is the stark contrast between

core (Then) and outer bark (Now), functions instead as an epithet

elevation contours of a relief map to encompass a figurative

what we do to the earth and how we frame those actions.

for a depleted forest. Fosberg’s droll conceits find expression

connotation embracing the local culture as well. Works like

The relief print Focus on Growth shows a large tractor treading

in her India-ink-and-gouache drawings of subterranean dwellings

Early Horizon (2006), North of Acoma Pueblo (2010), and The

over downed lumber as it carves a path through a pristine pine

below the surface of some rust-belt urban landscape. Satire

Wave of Sandia (remembered) (2010) imbue the entire series with a sense of cryptic narrative quietly charged with elements of myth and nostalgia. Even a chance but striking visual similarity between Gilmore’s ink-and-mixed-media small study, titled View from La Bajada (2010), and Fosberg’s ink-and-gouache line drawing, titled Everything and Nothing (2011), seems to reinforce a common tact that informs their lean, linear imagery with tacit, understated commentary. The low-key graphic line and spare imagery in the work of both Lora Fosberg and Shaun Gilmore are rounded out in the graphite drawings and glass installations of Michelle Cooke. The graphite-on-panel Pear Series drawings depict the fruit with an accuracy and immediacy that elevate each rendering to the level of a pear portrait, evoking that same curious anomaly in Cezanne’s errant apples. The elegant economy of Cooke’s graphite studies of old leaves conveys a simultaneous effect of intimacy and monumentality at work in some of Gilmore’s topographic reliefs. And by far the most dazzling fusion of the immediate and the ephemeral is found in Cooke’s glass installations: rows and echelons of transparent glass squares mounted on white-ground wall panels and projecting perpendicularly from the panel surface. Each configuration is marked by the disarming literalness of the glass squares— at once aggressively tactile and effacingly transparent. The simplicity of each grid configuration reveals a directness that is unassuming and unpretentious and at the same time maintains the unmatched purity of a geometric square and its self-activating sequences. That gives the material medium of the transparent glass squares an enormous evocative power. The chiastic configuration of Cooke’s Double V (2010) commands the space in the way that Ronald Bladen’s giant 1967 X installation straddles the courtyard of the Corcoran Gallery—at once a structural truss and transcendent apparition. As in Square 44 (2010) and Zeta (2011), the action of light upon the transparent grid of glass creates a reciprocal exchange in which the sequence of shadows assumes the grid’s sculptural identity while its projecting squares dissolve into insubstantial pattern.

—R ichard T obin Lora Fosberg, Then and Now, mixed media on panel, 42” x 42”, 2011

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THE magazine | 45


INTRODUCING

ONLINE ART AUCTION

LAS CRUCES MUSEUM OF ART NOVEMBER 4, 2011 - JANUARY 21, 2012

Organized by the Smithsonian Institution Traveling Exhibition Service and the National Aeronautics and Space Administration in cooperation with the Smithsonian’s National Air and Space Museum. Sponsored by the Las Cruces Museum of Art and the Las Cruces Museum of Natural History. Above: Chakaia Booker, Columbia Tribute, 2006 / Mixed media

Hours: Tues-Sat 9-4:30 The Museum of Art is FREE, open to the public, and ACCESSIBLE. Group tours are available by appointment.

www.las-cruces.org/museums Las Cruces Museum of Art 491 North Main Street, Las Cruces, NM 88001 / 575.541.2137

BIDDING OPENS THE 15TH OF EACH MONTH

collectorsguideauctions.com


CRITICAL REFLECTIONS

D

Munson Hunt: Reclamation

Center

for

Contemporary Arts, Muñoz Waxman Gallery 1050 Old Pecos Trail, Santa Fe

Deforestation is occurring around the world at an

squeaking metal. On the day I visited the exhibition there was no

We might be forgiven a blush of pessimism when faced

unprecedented pace. In the Southwest, soil-scorching droughts have

evidence of a sonic accompaniment. And yet, richly evocative of

with species extinction, global warming, irreversible habitat

caused what is arguably the most extensive die-off of trees ever

an abandoned industrial site, the interior of the Muñoz Waxman

loss, apocalyptic wildfires, deforestation, and the growing mass

documented by modern science. In New Mexico alone upward of fifty

Gallery provided an inviting echo chamber for the wind outside.

of urban poor. Admittedly, globalization has created numerous

million piñon trees have perished in the past decade, with higher than

The particular appeal of Hunt’s work lies in its knowing attempt

intractable problems, not the least of which is our feeble green-

normal temperatures weakening forests, making them susceptible

to reconcile formally distinct, quite geometric sculptures with their

washing and our unsettling denial. Munson Hunt’s deep scrutiny

to bark beetle infestations, soil erosion, and wildfires. Driven by

surroundings. From within the burnt forest of Reclamation, one’s

of her motif and her ability to render its raw truth within the

relentless drought and surging summer winds, the Las Conchas fire,

principal vista is up, from the blackened rectangular shapes in

hard-won diction of her art will at least remind us that, no

the largest fire in New Mexico’s history, eventually scorched 150,000

human scale to the ceiling’s darkened trestles. The expressive aims

matter what the quibbles and demurrals the average American

acres, threatening both the city of Los Alamos and the plutonium

of this sculpture struck a remarkable balance between the distinctly

has with accepting reality, there are still artists at work with no

facilities at the Los Alamos National Laboratory. As of early October,

poetic nature of her conception (of sites reclaimed) and the gallery

such delusions.

24,915 wildfires had burned 3,852,575 acres across the state of

cube’s monastic serenity.

—Anthony Hassett

Texas, representing 48% of all acreage burned in the United States in 2011. In keeping with the general insanity that now informs most of the critical thinking in the United States, these catastrophes are often worked into a number of evasion strategies, such as distancing, compartmentalizing, positive framing, and cynicism-strategies that ultimately allow a large portion of the population to enthusiastically embrace catastrophic climate change as unimportant, resolvable, or in the best case scenario, as a commercial windfall. Over the past few decades, artists have played their part in informing and transforming our perceptions of nature, in attempts to reconcile humans with the natural environment and its implicitly sacrosanct character. Perhaps the most well-known artist who worked in this capacity was Robert Smithson, whose 1968 essay “The Sedimentation of the Mind: Earth Projects” provided a critical framework for a movement that has now enveloped the world. His best-known piece, and probably the most famous piece of land art, is Spiral Jetty in Utah’s Great Salt Lake. Related sensibilities have informed the work of Dennis Oppenheim, Helen Mayer Harrison, and Ana Mendieta, to name a few. But if these artists were some of the most lauded of their era, they were hardly the only ones finding different ways to assert their sense of personal identification with the earth. An intriguing case in point is found in the work of Munson Hunt. Like Mendieta, Hunt draws analogies between the body and the earth, but in a more insistently totemic way. In the same way that the Very Large Array casts its powerful aesthetic presence on the land, Hunt’s work evinces landmarks that rise above the flatness of our ordinary perception, recruiting associations from archeology, art history, architecture, high technology, heavy equipment, and studio art. In her most recent exhibition, Reclamation, Hunt has carved ten robust constructions placed in an indoor setting, hewn monoliths that signify larger nature. Hunt’s sculptures often seem memorializing in function, and in this case their commemorative purpose is fashioned from a copse of chain-sawed and charred cottonwoods, long dead before they were collected by the artist from a ranch north of Santa Fe. Integrating art with environmental activism, Hunt condenses in these harsh but elegant totems an expression of a deepening and ever more pervasive anxiety about the potentially catastrophic effects of our environmental ills. Subjected to deep scarring and repeated doses of fire and oil, their charred surfaces compete on cue with the mountains surrounding Los Alamos, now blackened and denuded of life. In addition to these ten monolithic forms there was originally a plan for a sound component to accompany the work: wind, birds,

| nov e mb e r 2011

Installation view

THE magazine | 47


J

John Geldersma: Black Wings

Chiaroscuro 708 Canyon Road, Santa Fe

John Geldersma’s sculptures at Chiaroscuro

The verticality of these pieces is in continuity with the

rigorously minimal and highly charged with associative

Gallery are imbued with both the bayou exuberance of his

poles Geldersma had been making for some time. A number

meanings supplied by the viewer in collaboration with the

Louisiana background and the minimalist rigor of his East

of such poles are included in this exhibit. Asymmetrical,

object. The three horizontal burned and painted aspen

Coast artistic training and early milieu. His work shows a

made from found trees or branches, Geldersma’s poles

components of Resting Spirits, from 2006, have knobby,

loving give and take with his materials. The dialogue includes

are like totems that a very precocious child might come

tool-like, and rocket-cone-shaped finial ends that again

scraping, sanding, drilling, burning, painting, and varnishing,

up with. More than six feet high, painted and incised, some

momentarily raise the issue of function only to transcend

but also seems to embody a kind of deep listening to the wood

of these arched spires can be rotated on their axes; doing

it, the way African fetish objects do by their mysterious,

itself. Several pieces in the show are called “cairns,” stacked

so feels a bit like dancing with a tree. The wing motif,

even magisterial presence. There is a gravitas to all of

piles of wood blocks, some on wood bases, others on steel

from which the exhibit derives its name, marks a shift

Geldersma’s work that has much to do with the artist’s

plate bases. Traditionally, a cairn is a pile of stones stacked as

in Geldersma’s work during the past five years toward

deep engagement with wood’s essential qualities. Even

a kind of barrier, signal, or boundary to indicate that a place

horizontal works. In several pieces of the Black Wings

when burned, varnished or painted, the warps and textures

is considered sacred, or is significant in some way. Built since

series, a technique of subtraction of wood from the outer

of the wood speak clearly of their origin as a cherry, pine,

prehistoric times throughout the world, they were frequently

edges creates a wave-like form suggesting movement and

aspen, or maple tree.

associated with the human figure in cultures as diverse as Inuit

tension at the center. Geldersma’s working method seems

Growing up in Louisiana, Geldersma was influenced

and Alpine. Cairns are still in use today, for example, to mark

a very modern version of that archetypal trope of artistic

by indigenous and imported Caribbean cultural elements,

trails in U.S. national parks, and in some Buddhist cultures

practice we might associate with, say, Michelangelo hewing

such as local traditions of Voudou, Roman Catholicism,

they symbolize the Buddha. I particularly liked the group of

away the extraneous marble to free the perfect human

and that carnivalesque expression of mixed heritage, ritual,

three called Hanging Cairn A, B, and C. Suspended from a stout

figure waiting inside. Black Wings #5 consists of three

decoration, and display known as the Mardi Gras festival.

rope attached to a viga, each is composed of blocks of pine

deconstructed aspen logs mounted horizontally one above

He now lives and works in New Mexico, and the elemental

wood resembling children’s blocks, but of different sizes and

the other on a wall. Portions of each log are sliced neatly

aspect of all his work fits with and reflects the southwest

assembled so that they rotate independently, giving each piece

away, as timber might be cut for particular construction

aesthetic. A series of Crossroads pieces evokes both the

a multitude of faces and orientations that can be manipulated

purposes. It is just sliced wood with a varnish or burnish

landscape and the Christian cross while acknowledging the

by the viewer. This is touchable art and has much to do with

on one face and no imaginable function. Yet the viewer is

underlying older quadrant symbolism of indigenous cultures

the loving touch of its maker. In Square Cairn A and Square Cairn

launched into a poetic realm by the very purposelessness of

where the vertical and horizontal axes cross at midpoint,

B, although their components do not rotate, this dynamic

the thing itself. This is the territory of Wallace Stevens’ 1915

with neither the sky nor the earth, neither the physical nor

quality is also at work, arising from varied shapes and sizes,

poem “Thirteen Ways of Looking at a Blackbird,” or literary

the spiritual, being privileged. Rather, the two are engaged

as well as complex, subtle colors in interplay with the innate

critic William Empson’s 1930 book Seven Types of Ambiguity.

in vibrant equilibrium.

In other words, a state of perception is induced that’s both

—Marina La Palma

John Geldersma, Y Wings, painted Ponderosa pine, 19” x 47” x 4”, 2011

qualities of the wood.


CRITICAL REFLECTIONS

L

William Betts: Terminal

Richard Levy Gallery 514 Central Ave SW, Albuquerque

“Like it or not,” artist William Betts seems to say, “Big

from what we see in front of us, the abler we are to truly see—

Brother is watching you.” With Terminal, the current exhibition

and watch—it.

Elsewhere Betts uses vibrant color to create scenes where people lounge poolside or sprawl out on sunny beaches.

at Albuquerque’s Richard Levy Gallery, Betts creates computer-

In the most impressive group of paintings from Terminal,

In Untitled 1:20, two women sit on chairs in the sand, heads

generated paintings based on stills from surveillance videos.

we are confronted with black-and-white stills taken from airport

bent in conversation and barely visible from underneath straw

He explores the omnipresence of security cameras in modern

security video footage. I don’t imagine that these unorthodox

hats. There is no detectable drama, no action—but despite the

society, and in doing so exposes the disquietude that comes

depictions of airplanes would appeal to a wide audience—they

breeziness of this relaxed scene, we feel chilled nonetheless.

with the act of watching and being watched. Before choosing

are bleak and grainy, and from across the room they look like

The discomfort comes from the fact that we have a bird’s-

to make art a full-time career, Betts worked variously in gas,

grotesquely enlarged segments from security photographs.

eye view, really a lens-like view, of these oblivious strangers.

real estate, and software technology. Upon moving to Houston

Close up, they dissolve into thousands of tiny pixilated dots,

We have the singularly creepy, robotic sensation of watching

in 2003 to focus exclusively on painting, he secured a license

evincing a bizarre twist on pointillism. YYZ 10.30.2010 is a

people who are unaware of being watched.

that permitted him to view surveillance videotapes from

massive, fuzzy portrait of an airplane. The black jet engines face

Betts’s astonishing artistic technique challenges the very

the city’s department of transportation. Utilizing a software

us, and the strangely mammalian muzzle of the fuselage points

notion of what paintings are supposed to look like. There is

system of his own design, Betts translates security video stills

straight ahead. Even the two windows of the cockpit look

something calculating and detached about the digitized work in

into paintings comprised of computer-generated acrylic dots

humanoid, like eyes wearing black sunglasses. The plane takes

Terminal, and rightly so. Betts’s space-age method of conveying

that stand in for photographic pixels. The closer one gets, the

on a strangely familiar quality, becoming less of a vessel and more

the futuristic act of digitized observation results in an exhibition

less distinguishable the subject; what appear at first glance to

of a relatable thing. Although we indeed feel a sort of squeamish

of resoundingly science fiction proportions, full of work that is

be blown-up, fuzzy photographs are in fact highly technical,

voyeurism, any suggestion of imminent danger or overt tension

as strangely beautiful as it is radically compelling. In using digitally

digitized acrylic paintings.

is absent. After all, these scenes are recognizable to anyone

created artwork to visually translate the mechanical act of video

To consider the underlying implication of these images is a

who’s ever walked through an airport terminal, but distorted

surveillance, Betts creates a clever symmetry, reminding us

provocative exercise in which the very process of looking forges

just enough to make us instantly aware that we are viewing

of our role in a culture that deems observation as not only a

an intriguing relationship between the act of observation and

them from a camera’s perspective. Betts has capitalized on

necessary societal component but as an increasingly pervasive

the object under observation. Assuming that it is easier to see

America’s perceived need for widespread security surveillance,

aspect of modern existence. In viewing this exhibition, we

something from up close than it is to see something from far

particularly since the September 11 terrorist attacks. The now-

appropriate a voyeurism usually reserved for hidden cameras,

away, Betts poses an uncomfortable proposition for his viewers:

ingrained notion of homeland security can also be seen as the

causing us to question our increasingly passive acknowledgment

The closer we get to what we look at, the less recognizable it

overbearing obligation we face as a society to be even passively

that being scrutinized is simply a natural part of American life.

becomes. Counterintuitively, the farther we distance ourselves

on guard for such an attack.

—Iris McLister

William Betts, YYZ 10.30.2010, acrylic drops on canvas,v

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THE magazine |49


F

Peter Rogers: A Painter’s Progress Roswell Museum and Art Center 100 West 11th Street, Roswell

Fifty years is a long time for any artist to pursue a single body of work, but that’s how long Peter Rogers has been painting

his Quest series. Rogers, who lives and works in the Hondo Valley

south and west of Roswell, continues to reconfigure his visions of a highly stylized inner space weighted with such polarities as male and female, darkness and light, youth and old age, mystical clarity and psychological opaqueness. The Quest paintings, begun when the artist was barely out of art school in England, where he was born, were more fully developed after Rogers moved to New Mexico and became part of the celebrated Wyeth-Hurd clan when he married Carol Hurd. Perhaps it was the transcendental New Mexico light— coupled with inspirations fed by the power of landscape and the power of love—that reinforced Rogers’ visionary nature. However, as this retrospective reveals, Rogers has painterly and graphic skills that are truly noteworthy and veer away from the visual style he uses in his Quest images. The artist’s ability to draw is undeniable, and he brings to his portraits an almost uncanny likeness that breathes life into his subjects and rises above mere

Peter Rogers, Roughnecks at Work I, India ink and oil on panel, 32” x 48”, 1970. ARCO Collection, Los Angeles

verisimilitude. On a trip to England in 1989, Rogers visited a nephew

Some of the strongest work in A Painter’s Progress is Rogers’s

of machinery barely under control. Although the image is full of a

and took photographs of the nephew’s children, using them later as

India ink on panel drawings such as Fallen Branch, Flood Debris, and

dramatic realism, the work is essentially an abstraction and the more

the basis for the work Portrait of Charlotte, Polly, Hester, William and

Arroyo After Rain. Within the exquisite rendering, there seems to be an

wonderful for slipping the bonds of perfect detail. Part of Rogers’

Alexandra. The children, more than just being beautifully rendered

acknowledgment of the dark side of nature—its destructive power, its

renown as an artist with multiple commissions to his name is his ability

within a somber-looking landscape, represent five haunting portraits

pitilessness. Rogers’ expert handling of the often difficult medium of

to combine technical skill with a strong emotional component.

of distinct personalities harmonized and spiritually balanced within

ink and wash is made manifest in a work that was reproduced in the

“The seeing of the eyes and the breathing of the nose bring

nature. It’s as if the children were from another dimension the sole

catalog but was not in the show. Part of a commissioned cycle he did

messages to the heart. It is the heart which causes all decisions to

function of which was to allow individuals to determine their own

on the development of the North Slope oil fields in Alaska, Roughnecks

be made, but it is the tongue which reports what the heart has

destiny. This is an odd characteristic of the work—this sense that

at Work I, from 1970, is a tour de force of darks and lights, and vertical,

thought out… This determines the peculiar nature of everything.”

the children are masters of their own fate and, to be sure, this is not

horizontal, and diagonal forms all at the service of a composition that

This quote is from an ancient Egyptian papyrus scroll, and the text

an easy quality for any artist to convey—but it’s there in the painting.

depicts strength, resistance, human struggle, and the menacing power

was part of the printed material in the gallery that Rogers provided for the viewing of his Quest cycle. And here the artist’s work takes a one-hundred-eighty-degree turn from the world of sublime technique and into the artist’s realm of personal myth. For decades, Rogers has been reworking his vocabulary of visionary symbols: crescent moons, lightning bolts, flying horses, muses, wise men, hermits, lovers, dreamers, doves, bodies of water. His painting style is one of idealized, streamlined figures, and his palette is limited to browns, burnt sienna, creamy whites, moody blues, and sometimes a bright yellow. Given that all the material of the Quest paintings comes from the artist’s inner visions, curiously the figures all lack the evidence of an inner life; these symbolic beings, along with the animals and the landscapes, are mere schematic pieces of a mystical puzzle with which the artist has invested his spiritual longings. The revealing of personal visions takes a special kind of courage; in today’s art world, such material often gets a sideways skeptical glance. Within a climate of elevated ironic posturing, spiritual sincerity often doesn’t pay, and yet Rogers continues to ponder his own depths and, in often huge works such as Images of the Way, the artist steadfastly engages with his cinematic mythology in which individuals rise up into the sky, hide out in caves, dive into deep waters, pray to the moon, or hold onto their golden apples of the sun. Rogers’ Quest paintings seem to me to be the work of a man who loved too much, and we, the uninitiated viewers, are merely spies in the house of love.

—Diane Armitage Peter Rogers, Images of the Way, mixed media, 74¼” x 1015/ 8 ”, 1997. Collection of Roswell Museum and Art Center


CRITICAL REFLECTIONS

F

Boyd & Evans: Portrait

of a

Landscape

LewAllen Galleries at the Railyard 1613 Paseo de Peralta, Santa Fe

Fionnuala Boyd and Les Evans offer a concept

the foreground is only painted from the waist up, so we

The way that Boyd & Evans incorporate shadows

of landscape that challenges us to broaden the way we

must be following close behind him. Are we walking with

is intriguing and also lends an element of surrealism.

define the word. Their scenes regularly pair man-made

him toward the unbridled horse? And why is this horse on

So many of the shadows in the paintings are coming

elements with natural ones, and the work evolves from

the road and not behind the fence like the others? Five

from objects outside of each canvas that we wonder

their own photos and surrealistic photo distortions of real

long shadows in the foreground of Canyonlands (2011)

what is looming beyond the frames. What is behind us in

places. This British husband-and-wife team is an extreme

point down the dirt road toward an angry sky. The slightly

Giggle Springs, casting that impossible shadow on the

example of a collaborative artistic couple with a built-in

distorted shadows must belong to the people who stepped

white pickup truck? Are there even taller cliffs to the

feedback loop. It isn’t just that they are both painters; it’s

out of the SUV on the right. Or is there another vehicle

right and left in Canyonlands, just outside the canvas,

that they both paint on the same canvasses and discuss

behind us somewhere? One of the shadow figures appears

creating those giant shadows at the edges of the

each painting’s progression thoroughly. They have evolved

to be holding a camera, and for a dizzying moment the

painting? And many of the works even incorporate the

as a painterly duo over the past forty years.

viewer is tricked into thinking that this could be his or

perspective distortion of photos taken with a wide-angle

her own shadow. The position of the line of hikers in High

or fisheye lens.

At a distance of about twenty feet, Boyd & Evans’ work looks confusingly like actual photos. Move closer,

Water (2009) suggests that we are next in line.

Photography is the Boyd & Evans sketchbook

and the eye gradually figures out that the works really

And there are stories everywhere. Many of the small

are oil paintings. But an element of surrealism sneaks

towns, roadways, shorelines, and sandstone cliffs are

with a particular affinity for the American Southwest—

in—shadows occur in impossible ways, pools of water

reminders of road trips we have each taken. This elicits

and

reflect clouds that aren’t really there, or tire tracks curve

our willingness to ponder, ask questions, and search for

photographic images. They use Photoshop to blend

illogically. Their landscapes often include buildings or

narrative. We speculate about the relationship between

and

automobiles or human figures, and we begin to understand

the two people in Man and Boy (2001). The old man’s

altering the perspective and scale to create composites

that these are all part of what makes up their landscape

caring face is as wrinkled as the rocks behind him, and the

of real and fictional scenes. Then they paint the

narrative. In Giggle Springs (2010) the sun as easily casts

younger man is disenchanted, ready to pull away like the

results which, in their words, “write stories” on

gas pump shadows on the snowy ground as it does rock

tide. In Jumping in the Sugar Bowl (2002), the young man

canvas. They have two studios and normally have

ledge shadows on the distant mountain peaks; it’s all part

is airborne in mid-jump and the young woman’s body is

two paintings underway simultaneously, one in each

of the same landscape from where we stand as viewers.

taut, watching along with us to see how he will tumble

studio. This allows them to trade places regularly as each

It’s even easy to get caught up in guessing what sort of

down the white sand dune. We see their car nearby and

painting progresses.

lens the artists might have used for the actual photos that

their footprints leading up the dune and we imagine what

The twenty-one paintings in the LewAllen Galleries

inform the paintings.

their story might be. Even the bright blue sky here is

show include many that have never been seen in North

The playful placement of figures and objects sucks us into each canvas. In New Morning (2000) the man in

equivalent. have

They

have

amassed

combine

travelled

over

images

painted as a series of curves, as though viewed through

America before. Lucky us.

a distorted lens.

—S usan W ider

and

one

the hundred

image

world—but thousand

elements,

often

Boyd & Evans, Man and Boy, oil on canvas, 16” x 79”, 2001

| nov e mb e r 2011

THE magazine | 51


W

Re-Imagining American Identities

and

Dead Leg

University of New Mexico Art Museum UNM Center for the Arts, Albuquerque

With seven thousand square feet of exhibition

The Gallery’s south wall is separated into five bays, and

installation occupies the Museum’s entire Main Gallery. This is

space and thirty thousand objects in their collection, deciding

Otto-Diniz and Penhall use them to great advantage. They have

fitting, as the UNM Art Museum is the first to present Deacon’s

what to include in exhibitions can keep UNM Art Museum

created thematic groupings of five to six images each under

work in New Mexico. It is a treat to walk round and round the

curators up at night, and preoccupied on their vacations.

the headings of Childhood, Crime and Punishment, The Civil War,

beautifully lit piece, trying to figure out how and where it starts

Co-curators Sara Otto-Diniz and Michele M. Penhall had ten

Ritual, and Domesticity. The photographs elicit both joy and

and ends, a sort of maze in motion. Constructed of compressed

thousand photos to choose from in assembling a cross-section

outrage. The viewer smiles right along with the gleeful little

2-by-2 lengths of oak, with four “strands” of wood throughout,

of American faces in the seventy-five images that make up Re-

girl bending backwards on the ladder in an untitled 1930 photo

the pieces are sometimes straight, sometimes curved, sometimes

Imagining American Identities. Their choices create eerie feelings

by Edward Steichen. Counter this with Lewis W. Hine’s 1909

twisted. They flow through stainless steel bindings and present

of both pride and shame about America’s past. Images on the

image of a much-too-young girl at work in a textile mill with her

different textures and tones depending on the viewer’s location

north wall of the museum’s Van Deren Coke Gallery merit a

male boss towering over her.

in relation to the winding of the wood. The work touches the

subtitle of “famous people photographing famous people.”

The acquisitions philosophy at the UNM Art Museum

ground in seven places, but feels light and rhythmic. All four of the

Here is Edward Steichen’s iconic picture of Willa Cather—white

has always been to acquire works that assist the UNM faculty

wooden threads emerge from and return to one wooden, peg-leg

blouse, dark necktie, arms crossed and that playfulness at the

and students with their academic priorities. In so doing, the

cylinder. Known for his large-scale abstract works, Deacon was

corners of her eyes. Mathew Brady’s 1864 portrait of a seated,

museum’s photography collection has become one of the

part of the New British Sculpture group along with Stephen Cox,

lonely Abraham Lincoln is stark and chilling. Caroline Kennedy’s

world’s gems for both range and image quality. Rounding out

Anthony Gormley, Alison Wilding, Anish Kapoor, and Shirazeh

searching eyes interrogate us from Cecil Beaton’s portrait of her

the exhibition is a display case featuring sixteen daguerreotypes,

Houshiary. Deacon collaborates with his associate Matthew Perry

as a child. Intermingled with these famous subjects are equally

ambrotypes, and tintypes that represent a variety of small,

on the production and construction of his large-scale wooden

haunting photos by Doris Ulmann, Edward S. Curtis, Laura

portable framed images from the mid-1800s. Episode 3 from

sculptures. “Material and its manipulation are core areas in what

Gilpin, Dorothea Lange, and others, of unnamed individuals,

Ken Burns’ film The Civil War runs on a continuous loop at the

I do,” says Deacon. The museum staff wisely opted to include,

their identities erased. In roughly seventy feet of wall length and

west end of the gallery, with seating provided. Will visitors leave

in a side alcove with seating, a three minute time-lapse film of

thirty-three photographs, the viewer has a sense of gripping

feeling that our collective past, looking right back at us from

the installation of Dead Leg at the L.A. Louver gallery in Venice,

loss. Are these individuals’ stories, lessons, and contributions

these images, has brought us to a better place? Or not?

California. Additionally, an interview with Richard Deacon plays

Richard Deacon’s Dead Leg (2007) sculpture takes us to

still with us? Or are they fading with the aging images? Do we still listen to you, Mr. Lincoln?

another place entirely. Measuring 8 x 28 x 9 feet, the Dead Leg

Left: Richard Deacon, Dead Leg, oak and stainless steel 8’ x 28’ x 9’’, 2007 Courtesy the artist and L.A. Louver.

Right: Dorothea Lange, Ex-slave with Long Memory, Alabama, gelatin silver print, 1937 Courtesy UNM Art Museum.

outside the museum, adding to the interpretive programming.

—Susan Wider


CRITICAL REFLECTIONS

B

Superheroes

516 ARTS 516 Central Avenue SW, Albuquerque

BAM! Here comes 516 ARTS with another killer exhibition. Superheroes is an all-good, twenty-plus-artist showing of aesthetic defenders kicking you in the kisser. Like you’re minding your own business when outta nowhere—POP, ZING, ZOWIE—you’re attacked by a buncha evildoers, and at the end of some horrendously freaky ordeal you emerge with a bizarre set of powers that set you apart from the rest of the world forever... Okay, so maybe it didn’t quite happen like that. But WHAMMO!—from your newfound vantage point upon the human race you see humanity in all its struggling frailness, vulnerabilities exposed, and you have to decide: Do I save the planet and all humanity with my amazing new superpowers, or SMASH!, flatten them all like I’m a hedgefunder and they’re just little bugs. Pondering this question, you are greeted at the door by Mr. Bends, a larger-than-life scubadiving cyclops created by Esteban Bojorquez of Santa Fe. Hard not to like and hard not to fear. His pose suggests, with perfectly balanced ambiguity, either an extreme of love and acceptance, or a zombielike desire to destroy everything in his path. Bojorquez has created the sculptural embodiment of a character with no middle ground, the absolute absolutist, and the self-dueling dualist, opposing himself in both directions, immobilized in big monster-boots of indecision. It doesn’t have to be one way or another. It’s almost always both and neither. That’s what you want to tell the big lug, but he’s not asking you. So, faster than a speeding bullet you make for the telephone booth in the center of the space. You’ll duck in there, shed your street clothes, and emerge in the form of… but wait, someone has already been here. On the floor of the booth is a pile of clothes—men’s slacks with the belt still in them, a white shirt, and a dollop of tie. The brilliance of ABQ artist Benjamin Johnsen’s installation is a focus on the obsolescence of Clark Kent’s clothing to the narrative of the Superman storyline. Removing a layer to emerge in a new identity propels the rising action as our hero then immediately flies into the air to conquer some more eeevil. If the camera were to linger—like Goddard—scrap the old up, up, and away, and instead come close-in on the phone booth and pan down to the floor, they’d see you as a homeless guy going through the pockets of the clothes the last super-dude left behind, before ducking into the phone booth and changing into them yourself. You emerge in your newfound secret identity, with Clark Kent’s wallet and watch to boot. DA DA! Ordinary Guy. You proceed unrecognized, yet ready for action. And boy do you get it. Mark Newport is in permanent motion, knitting non-stop. Knitting full-body superhero costumes is a commitment, and one that Newport takes seriously. In a video, we see the artist sitting in profile, in a head-to-toe knit suit of beige, creating all-yarn bodysuits for such tough guys as Argyle Man. The fact that he’s got six or so of these life-size hand-knit suits on display seems like an almost superhuman feat itself. As Ordinary Guy you are stunned by his fortitude and the issues it raises for you and your super ordinary sexuality in relation to your inherited concept of the ultra sexuality of the hero crowd. Regardless, Newport is a force for good. Yet, we suffer for our art as tireless crimefighters and lazy, crazy-headed supervillians. Witness the digital prints of Boneface from Liverpool, UK (though soon to conquer the world.) These are the heroes down on their luck, socked in the jaw, bloody-nosed and all portrayed in playful Pop colors like deflating balloons making the pain of the party more perfectly, poignantly dismal. Or what about the psychic break implied by the classic Alone, a brilliant short film realized by Gerard Freixes Ribera using old Lone Ranger footage with all the other characters digitally removed. So he talks to Tonto, but Tonto isn’t there, and, hilariously, he fights a nonexistent bad guy. The extreme of the individualist ethic of the hero extends clearly into the realm of madness. Think Joe Arpaio and just how tonto the all-alone Ranger looks in this 2008 Ribera masterpiece. Of course, the real superheroes these days are those occupying Wall Street in their stand for peace and economic justice. Hats and everything else off to them for taking that super-brave step into the street, to employ that best and most mighty superpower humans have going— cooperation for our mutual betterment—in order to make economic justice real. Superheroes is up through the first week of January 2012. So don your cape and boots, jump out your window, and fly your super-ass down to Albuquerque to occupy 516 ARTS.

—Jon Carver

| nov e mb e r 2011

Mark Newport, Ends-man, hand-knit acrylic and buttons, 80” x 23” x 6”, 2010

THE magazine | 53


“Every individual matters. Every individual has a role to play. Every individual makes a difference.” Dr Jane Goodall

Randolph Laub studio 303 303 825-9928 825-9928

jennifer esperanza photography jenniferesperanza.com

505.204.5729

We are two happy pups in a pickup truck...I am called Bullet and this is my pal, Shadow. It is the first week of the month and we have two things to do today. First we get to take a long walk with our master. Then we head to our personal groomer for a special cleanup. It’s always fun there...they give us treats!

Make your appointment today!

466-6708 A Great Grooming Shop at the Agora Shopping Center in Eldorado


GREEN PLANET

EVE ENSLER: PLAyWRIGHT, PERFORMER, FEMINIST, AND ACTIVIST “When I was writing my book, I found this piece of information: 74% of young girls say they are under pressure to please someone,” says Eve Ensler, V-Day founder and author of I Am an Emotional Creature: The Secret Life of Girls. “V-Girls and Emotional Creature are a call to question rather than to please. It is a call, a reckoning, an education, an act of empowerment for girls, and an illumination for parents and for all,” she says. V V-Girls, a global network of girl activists and advocates empowering themselves to create the changes they imagine for the world, was inspired by Eve Ensler’s I Am an Emotional Creature: The Secret Life of Girls. V-Girls is a platform for girls to amplify their voices and ignite their activism.

www.vday.org

PHOTOGRAPHED IN SANTA FE, NM By JENNIFER ENNIFER ESPERANzA z zA

| N O V e M B e R 2011

THE magazine | 55


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


AC RH CH L ED E TA AR i TEET CETCUTRUARLAD TA I L SI L S

Empty House by

Guy Cross

Skull photograph by Guy Cross | nov e mb e r 2011

THE magazine | 57


WRITINGS

Jamali-Kamali (excerpt) Again, an orange fog has come. Where have you been, Kamali, are you a whoremonger? Why is your head always in my books? Storms are heading south from the Himalayas. Gather your belongings, we will do some travelling. Tonight we will study maps by the light of my oil lamp, to educate you in more ways than one. I ordered the kheer drugged with love potions. Have some. On the map of your body, there is nowhere I would not travel.

This is an excerpt from Karen Chase’s latest book, Jamali-Kamali: A Tale of Passion in Mughal India, a book-length homoerotic poem. Her poems, stories, and essays have appeared in many magazines, and her work has been widely anthologized. She is the award-winning author of three collections of poetry and the non-fiction book, Land of Stone. Chase will be reading from Jamali-Kamali at Collected Works on Thursday, November 10, at 6 pm.

58| THE magazine

| novEmbEr 2011


JOHN GIBSON | BLACK

November 18 - December 17, 2011 v i e w m O r e wO r k s at g p g a l l e ry. cO m

For more information contact Evan Feldman, Director

Opening reception with the artist: Friday, November 18th, from 5-7pm

(505) 954-5738 or efeldman@gpgallery.com 1011 Paseo de Peralta, Santa Fe, NM 87501 | 505-954-5700 School, 2011, oil on panel, 54 x 60 inches. Š John Gibson, courtesy Gerald Peters Gallery.


Nov e mb e r Feature November 4 December 3, 2011

New Work Concurrently on View: Rebecca Bluestone Daniel Brice John Garrett John Geldersma Rose B. Simpson Emmi Whitehorse

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

1/2

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

www.ChiaroscuroSantaFe.com

THE magazine November 2011  

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

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