Page 1

Santa Fe’s Monthly









of and for the Arts • May 2013

From The Me sa s Arts & Crafts of the Hopi an exhibition celebrating Georgia O’Keeffe in New Mexico: Architecture,Katsinam and the Land May 17 – September 11

Dya n i W h i t e h aW k



Since Federico Fellini’s scathing portrayal of camera-wielding photographers in his 1960 film La Dolce Vita. the term “paparazzi” has carried a negative connotation. The paparazzi aren’t trying to create art; instead, their most interesting and profitable shots are the ones that eliminate distance between a famous target and the viewer. Celebrities are hunted down by the paparazzi, who take advantage of everything from stars’ and celebrities’ emotional collapses to their bad hair days, and they will stop at nothing to get their shot. famous: Through the Lens of the Paparazzi (Thames & Hudson, $34.95 paper) is a wonderfully printed, large-format book that showcases the black-and-white photography of Bruno Mouron and Pascal Rostain, with a short essay by Philippe Garner. On the glossy cover is, who else, Kate Moss. Turn the pages and find celeb after celeb, including Brigitte Bardot, Michael Jackson, Princess Diana, Sharon Stone, Samuel Beckett, Mick Jagger and Jerry Hall, Richard Burton and Elizabeth Taylor, Naomi Campbell, Woody Allen, Princess Grace, and, pictured here, Luciano Pavarotti and Nicoletta Mantovani. And the list goes on and on and on and on….



photographer Dana Waldon


universe of


studio visits:


art forum:


food for thought:


one bottle:

27 dining 31 art

Nancy Clusiau and Steve Dolfer

Woman as Garnish, by Bette Yozell Vegetable Literacy

The 1985 Domaine de La Romanée-Conti Echézaux by Joshua Baer


Bouche, Sweetwater, and the onezerosix (Silver City)


32 out &


38 previews: Sam Scott at Yares Projects and Peter Sarkisian: 1994-2011 at the New Mexico Museum of Art 41 international 37


person of Interest:

Lichtenstein: A Retrospective at the Tate Modern, London

Bill Kaderly, Under the Radar, by Richard Polsky

47 flashback: Laura Carpenter and Leo Castelli, circa 1994 49 critical reflections: an-thol-o-gy at ViVO Contemporary; Art/Life Counseling with Linda Montano at SITE Santa Fe; Cumulous Skies at the Community Gallery; Kris Cox at LewAllen Galleries; Nancy Youdelman at Eight Modern; Phillis Ideal at David Richard Gallery; Remnants of the First World and Bound Together/ Seeking Pleasure in Books at the UNM Art Museum; and Speak to Me: Nineteenth Annual Juried Graduate Exhibition at the UNM Art Museum 59 green planet: Golda Blaise: designer, creator, up-cycle goddess, and artist. Photograph by Jennifer Esperanza 61 architectural 62



Pojoaque, NM. Photograph by Guy Cross

“Chancing Upon,” by Steve Ausherman

In Pursuit of Cultural Freedom A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

EDUARDO GALEANO with Marie Arana WEDNESDAY 15 MAY AT 7 PM LE NSIC PE R FOR M I NG ARTS CE NTE R MARCH 9 The Day Mexico Invaded the United States On this early morning in 1916, Pancho Villa crossed the border with his horsemen, set fire to the city of Columbus, killed several soldiers, nabbed a few horses and guns, and the following day was back in Mexico to tell the tale. This lightning incursion is the only invasion the United States has suffered since its wars to break free from England. In contrast, the United States has invaded practically every country in the entire world. Since 1947 its Department of War has been called the Department of Defense, and its war budget the defense budget. The names are an enigma as indecipherable as the Holy Trinity. — From Children of the Days: A Calendar of Human History by Eduardo Galeano © 2013.

Eduardo Galeano is an essayist, journalist, historian, and activist, as well as one of Latin America’s most beloved literary figures. His books include the trilogy Memory of Fire, The Book of Embraces, We Say No, and Mirrors: Stories of Almost Everyone. Galeano was the first recipient of the Lannan Prize for Cultural Freedom in 1999. His new book is Children of the Days: A Calendar of Human History.



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 P u b l i s h e r / F o o d Ed i t o r Judith Cross Art Director Chris Myers C o p y Ed i t o r Edgar Scully P r o o fR e a d e r S James Rodewald Kenji Barrett s t a ff 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 social media Laura Shields Contributors

Diane Armitage, Steve Ausherman, Joshua Baer, Sharon Cassin, Davis Brimberg, Jon Carver,Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Iris McLister, Peter Ogilvie, Richard Polsky, Richard Tobin, Lauren Tresp, Bette Yozell, Andrea Senutovitch, and Susan Wider C o VER

Photograph by Jennifer B. Hudson Courtesy UNM Art Museum. See page 49

ADVertising Sales THE magazine: 505-424-7641 Lindy Madley: 505-577-4471 Distribution

Jimmy 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 number: (505)-424-7641. Email address: Web address: All materials copyright 2013 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed 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 represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement. m ay


Radius Books will soon be publishing a comprehensive book about John Connell, one of the most notable artists to work in New Mexico. To help fund this undertaking, a Kickstarter project has been launched. It features many rewards, including limited edition prints of some of Connell’s last drawings, as well as a pieces by Allan Graham, Eugene Newmann, and Sam Scott. For details and to contribute, please go to or to and search for “John Connell Why Do I Still Have Eyes?” TO THE EDITOR:


It was so good to see Charlotte Moorman on the cover of your April issue. Charlotte was a good friend and always invited me to participate in her wild annual New York City events each year when I was showing my art in New York back in the late sixties and early seventies. Charlottte was taken from us too soon. She was a true original and a very loving person. Thank you for the memories. —Dick Hogle, La Puebla, NM, via email

Thank you for the terrific review of Zane Bennett Contemporary Art’s Black Space exhibition. Richard Tobin is certainly a fine writer. Also, the preview of Michael Freitas Wood’s exhibition is beautiful as well and I am sure will encourage many to come to the gallery to see the work. Thanking you for your support and interest in ZBCA. —Meg Hachmann, Zane Bennett Contemporary Art


Your April issue supports a very intriguing cover: I can remember when Charlotte Moorman gained notoriety for wearing her “TV bra.” The tone of Joshua Baer’s column in this issue felt very mellow—such a nice way to ease into Spring. I still wish you’d list the names of the individuals in the “Out and About” section. As an out-of-town reader, I’d enjoy knowing who these people are—such as “gallery owner,” so and so, etc. I would also like it if there was a way the photograph on the “Architectural Details” page (which is always excellent and often evocative) could be type-free. Finally, I loved the quirky Pie Town “Food for Thought” page. I’ve been there and if the truth be known, it’s even weirder than the story would suggest. —Andrew Brennerman, Oakland, CA, via email


The April issue of THE magazine featured a story about several spas in New Mexico. Sierra Grande Lodge in Truth or Consequences was featured in the story. About two weeks after the issue hit the stands, Ted Turner announced that he had just purchased Sierra Grande Lodge. Congratulations to your editors and staff on having the unique ability to see what’s happening before it happens—precognition. —Vinny “The Tool” Corsano, Yonker, NY, via email

This issue dedicated to the memory of Gifford Phillips and Eric LaMalle Letters: Email to Mail: 320 Aztec St., Suite A - Santa Fe NM 87501

THE magazine | 5

through May 31 Xuan Chen

Charles Fresquez

Color Matter

New Paintings

Opening June 7th: Alex Katz Richard Levy Gallery • Albuquerque • • 505.766.9888

E X H I B I T I O N E N D S M AY 2 5

Bound Together Seeking Pleasure in Books IN THE WAKE OF JUÁREZ The Drawings of


ALICE LEORA BRIGGS UNIVERSIT Y OF NE W MEXICO ART MUSEUM AL BUQUERQUE ­ 505.277.4001 Tuesday – Saturday­10 – 4 Closed­Sunday­&­Monday Alice­Leora­Briggs,­ Gun + Smoke (detail),­2007,­sgraffito­on­wood­panel,­courtesy­of­the­Avants/Oullette­Collection.­ Henri­Matisse, Le Florilège des Amours de Ronsard (detail),1948,­lithograph,­purchased­with funds­from­the­Friends­of­Art. Martin­Stupich, Limestone blocks at quarry, Nevada, 1988, pigment­inkjet­print,­courtesy­of­the­artist.



MAY 3 - JUNE 3, 2013 O p e n i n g R e c e p t i o n F r i d a y, M a y 3 rd , 5 - 7 P M




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Street, |






w w w . c h a r l o t t e j a c k s o n . c o m

third rail, 2012-13, oil and wax with pencil on canvas, 46 x 43 inches

lee price +


sean cheetham

03 may 5 – 7 pm | opening reception friday evening, through 31 may 2013

Sean Cheetham, Moraga Heights, oil on panel, 45 x 30

Lee Price, Self Portrait With Lemons II, oil on linen, 76 x 34


20 APRIL – 16 JUNE 2013 AGAIN: Repetition, Obsession and Meditation in the Lannan Collection Again features artworks where repetition, obsession or meditation, are key elements to the artist’s process, sometimes obvious in the resulting artwork, sometimes not. Whether what compels each is expressed as a life-long obsession with a subject, such as the bird for Jean-Luc Mylayne, or a repetitive action, as seen in prints by Sol LeWitt and Agnes Martin, or a meditative practice that results in an object like Susan York’s hand-polished solid graphite sculptures, the artists in this exhibition repeat themes, motions, motifs and materials again and again, over and over.

Lannan Gallery 309 Read Street Tel. 505.954.5149 Gallery Hours: Saturdays and Sundays noon to 5pm (weekends only or by appointment)

Renate Aller Stuart Arends Uta Barth Chuck Close Olafur Eliasson Lawrence Fodor

Martha Hughes Cassandra C. Jones Sol LeWitt David Marshall Agnes Martin Pard Morrison

Jean-Luc Mylayne Jorge Pardo Buzz Spector Roger Walker Susan York

Image: Olafur Eliasson, The Lighthouse Series, 1999, Twenty color photographs, 9½ x 14¼ inches each, Collection Lannan Foundation.


April 26 through May 24


Mimmo Paladino CAS T PAPE R PRIN TS

May 31 through June 21 O PENI NG RECEPTI O N:

Friday, May 31 from 5 – 7 pm

435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111


Tuesday–Saturday 10–5 or by appointment


Railyard Arts District Walk last Friday of every month


Marco Petrus belle cittÀ aPril 26-june 9.2013 railyard gallery

brad ellis

line, forM & color: harMonic convergence May 3-june 2.2013 downtown


LewAllenGalleries RailyaRd: 1613 Paseo de Peralta (505) 988.3250 downtown: 125 W. Palace Avenue (505) 988.8997

Dana Waldon’s first camera was a PolaROid, given to her by her father when she was just seven years old. Her first photograph was of her bare feet on the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album. Waldon is a working photographer who travels extensively around the United States on assignments that include photographing children, landscapes, and architecture. As well, Waldon has been a staff photographer for THE magazine for the past decade. Balancing Commercial and Fine Art Photography

motion and have a slight out-of-focus touch. I know a lot of photographers who refuse

I love the “balancing act”—it forces me to create outside the box and challenges me

to photograph children. What they dislike about it most is what I love the most—their

to deliver what the client wants. I try to bring a little bit of each to both. As for “fine

refusal to sit still, as well they should, and that they have absolutely no idea what to

art” photography, I don’t take myself too seriously; otherwise it takes the joy and

do in front of the camera—such innocence. They don’t dilute themselves in any way,

spontaneity out of making photographs. I do the best work I can and offer the finest

that is, if you can photograph them without their parents being in the room. Parents

print I can for my clients.

ruin the moment.

Photographic Influences

Future Projects

Patrick Demarchelier, Avedon, and Scavullo were the fashion photographers in

I am working on a book of photographs of the three hundred plus artists I have

New York and Europe—they drove me wild with their creative imagery when I was

photographed for THE magazine over the past decade. I’m selling large-scale photographs

modeling during the eighties. As for my portraiture influences, my son, Dylan, has

(wall-size) on a site called IkonicARTPhotos on I travel all over the country

inspired me the most, along with Jock Sturges, my very favorite.

for various editorial work as well as doing private portraiture commissions.

Photographing Iconic New Mexico

The Attraction of

I love it out here for all the obvious reasons—the light and vistas are like no other

Digital Imagery

place I’ve experienced. The New Mexico landscape is magical and to have daily

I’m not sure yet if I am attracted to it. I miss my Nikkormat. I pull it out when I take my

opportunities to capture it through the lens is a tremendous honor. And being a

roadtrips and the ‘kerplunk’ of that shutter still sends me.

southern Georgia redneck girl at heart, you just can’t beat a photograph of an old pick-up truck—they are treasures that I respect and cherish. I love the antique patinas, lines, and details—every truck has a story to tell. 

Photographing Children Knowing how fleeting childhood is—and not to sound like a Hallmark card—but I love to document and archive those precious moments. I love making images that are in


photograph by m ay


Peter Ogilvie THE magazine | 15


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Architecture, KAtsiNAM, ANd the LANd M ay 1 7 – S e p t e M b e r 1 1 , 2 O 1 3

Ernst Haas: Martin Luther King, Birmingham Jail, 1963

Exhibition continues through June 30 An afternoon at a lunch counter. A thousand arms linked at the elbows. A firing line of water hoses. A pack of German Shepherds. A letter from a Birmingham jail. A devastating explosion. The Dodgers win the World Series. Beatlemania begins. John F. Kennedy is assassinated. A world that would never be the same. 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e:

Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. private Collection © Georgia O’Keeffe Museum

This beauTiful exhibiTion tells the little-known story

of how the new Mexico landscape, and O’Keeffe’s introduction to Hispanic and indigenous art and architecture, inspired a significant creative shift in her painting. in addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists ramona Sakiestewa and dan namingha.

Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land was organized by the Georgia O’Keeffe Museum. this exhibition and related programming were made possible in part by a generous grant from the burnett Foundation. additional support was provided by american express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe arts Commission 1% Lodger’s tax Funding. partiaLLy Funded by tHe City OF Santa Fe artS COMMiSSiOn and tHe 1% LOdGerS’ tax.

217 Johnson st., santa fe, nm 87501



Studio visits

Saint Francis of Assisi said, “If you work with your hands, you’re a laborer. If you work with your hands and your mind, you’re a craftsman. If you work with your hands and your mind, and your heart, you’re an artist.” Two Santa Fe artists respond to this statement. Keeping your heart in the work can be a challenge at times. The work that I do with fabrics and custom interiors certainly has a strong labor aspect. I often think of what I do as sculpting with fabric—this keeps the heart active and alive in my work. Fabric has texture, colors, patterns, pliability, sensuality, and the power to change things—often dramatically. Like a canvas, fabric can take color, with the added bonus of being able to wear it, sit on it, or in the case of a pillow, throw it across a room. The more unique, the better for me.

—Nancy Clusiau Clusiau’s art can be seen at 901 West San Mateo Road. She invites readers to come by the shop and see for themselves how she creates custom home fabrications—from the simplest accents to a complete transformation of their living space.

Without the guidance of the heart, he hands and mind are ronin, or masterless samurai. Dangerous, fickle, not to be trusted. Certainly not to be entrusted with the great works that life demands. Do our masters, whoever they are, value the fruits of our hearts? Or only the products of our hands and minds? What is a life without heart? How many choose this path? Why? How many feel they have no choice but to abandon their hearts’ desires? If art and heart are the same, what moment of life is artless? If my heart, mind and hands inspire feeling in others, that’s the greatest success I could hope for as an artist.

—Steve Dulfer Dulfer’s work is mostly architectural, done on commission. Occasionally he does sculptural work for himself.

photographs by

m ay MAY

2013 2012-13

Anne Staveley magazine ||19 5 THE THE magazine


THE magazine asked a clinical psychologist and two people who love art to share their take on this painting, Woman as Garnish, by Bette Yozell. They were shown only the image—they were not told the title, medium, or name of the artist. We see a plethora of symbolism in this highly sexually and aggressively charged image. A woman is being carved like a vegetable with a peeler. The artist implies she is “good enough to eat,” no doubt a sexual innuendo. Yet, the angry expression of “cutting a person down” would apply as well. This work also reminds me of the infamous Hustler magazine cover from the 1970s in which a woman was placed inside a meat grinder. While the image here is far milder, it contains the same overall impression. Additionally, the cut strawberry in the foreground resembles the inner structure of the vagina while the plum appears like a clitoris and closed labia. Perhaps it is the artist doing the peeling. The woman’s eyes are like black holes, implying she is blind to the harm being done to her, and soulless. The woman is also not reacting in pain. Like an automaton, she allows herself to be dissected. Is the artist suggesting that women allow themselves to be sexually victimized? The size of the enormous produce speaks of abundance and reproduction. A naked woman among fruit placed there by her Creator recalls Eve in the Garden of Eden. Another interpretation is that she is being peeled back psychologically as well as physically. We also see how Freud’s concept of dream condensation can be applied to art. He theorized that a single dream image symbolizes many things simultaneously. This image is rife with psychoanalytic material.

—Davis Brimberg, Ph.D., Clinical Psychologist, Santa Fe

menacing the stool as if with one knock it would push it over.

opinion, no right of refusal, no humanity, and, in the case of

Why isn’t she fighting whoever is peeling her? Is she being

women, no femininity. When a woman is objectified, she is made

This painting is screaming out to be translated, analyzed,

prepared for dinner or perhaps a review? Why the fruit?

to be less than human, and once anyone is considered less than

and deciphered. The subject matter disturbs me.

Why no tooth marks? A true vegan’s nightmare, anyone’s

human, anything, including violence, is acceptable—note that

The young woman is drowning blindly, in the vortex of

really, with the meaning open to various interpretations.

her eyes are either closed, or blank, or maybe even plucked out.

symbolic meaning. She is sitting on a stool; she is posing

There is no blood, thank goodness, only the disturbing view

The objectification of this woman attacks the dignity of all women.

for someone, but whom? Perhaps it’s her reflection in the

of subterranean flesh. Food for thought.

I believe that the artist knows that this is a disturbing portrayal of

mirror or a perverse fantasy. Is she posing for an artist, a

—Andrea Senutovitch, Artist, Santa Fe

a woman as an object, and that the artist is saying that like an old

voyeur? One can imagine the piece after purchase being

tire, this woman is only good for as long as she is needed, and

hung in a kitchen, the new owner staring at it while eating

This is a difficult piece of art to view. I have no idea if a man or

then will be discarded. Human waste. Or since vegetables and

a bowl of Cheerios and ignoring the basket of fruit on the

a woman created it, and that probably does not matter. What

fruit surround her, the artist may be saying that this submissive

table. She who we should give a name, hmmmmm...let’s say

matters is that objectifying women—seeing them as a means to

woman’s flesh is tasty and will be the perfect complement to the

Victim, is completely naked, surrounded by fruit and, oddly,

an end—shows that this artist fails to understand that women

vegetables and fruit, which are, of course, all organic.

one eggplant. The eggplant, which is larger than the others, is

are beings like himself or herself, not objects. Objects have no

—Sharon Cassin, Photographer, Tuscon, AZ

20 | THE magazine

m ay


“Hand of Fate,” bronze, 18” h x 19w x 15 1/2”d, 2013


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THE magazine | 23

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T he 1985 D omaine

One Bottle:

de la

R omanée -C onti É chézeaux

by Joshua


Now the moon is almost hidden

and reminds you that you’re not the one who’s keeping score.

The stars are beginning to hide

You assume that you’re using your intuition and senses to judge the wine.

The fortune-telling lady

In fact, the wine is judging you.

Has even taken all her things inside

In the glass, the 1985 Domaine de la Romanée-Conti Échézeaux is a

All except for Cain and Abel

hazy ruby. The bouquet ties together some of the loose ends articulated by

And the hunchback of Notre Dame

the finish. If you have not yet tasted the finish, those loose ends will make no

Everybody is making love

sense. If you are familiar with the finish, the bouquet’s references may seem

Or else expecting rain

like a trick of the mind, but those references are the opposite of trickery.

And the Good Samaritan, he’s dressing

On the palate, the Échézeaux displays the charms and idiosyncrasies of

He’s getting ready for the show

a beautiful woman, but those charms and idiosyncrasies are displayed

He’s going to the carnival tonight

in a masculine style, the way men used to approach ladies and say,

On Desolation Row

“May I have this dance?” The finish is simultaneously generous and stingy.

(All lyrics are from “Desolation Row” by Bob Dylan, 1965. ©1965 by Warner Bros. Inc.; renewed 1993 by Special Rider Music.)

It hides what it delivers but also delivers what it hides. Music, poetry, and wine have attributes in common. They are designed to seduce you, to take your inhibitions and turn them inside out. These

Bob Dylan was born on May 24, 1941, in Hibbing, Minnesota. By the time

days, the consensus opinion is that the art of seduction is obsolete.

he wrote “Desolation Row,” in July of 1965, he was twenty-four years

In an age where you can have sex with another person without

old, and world famous. Dylan recorded “Desolation Row” for the first

touching them, why waste time disguising your true intentions?

time on July 29, 1965, with Harvey Brooks on electric bass and Al

My theory is that the truth is not all it’s cracked up to be. If you

Kooper on electric guitar. The eleven-minute, twenty-one-second

love someone, and want her or him to love you, by all means, be

version that appears on Dylan’s sixth album, “Highway 61,” was

honest, but don’t confuse being honest with telling the truth.

recorded on August 4, 1965, at Columbia Records’ studio in New

On May 24, 2013, Bob Dylan turns seventy-two. In the forty-eight

York City. Russ Savakus played bass. Nashville musician Charlie

years since he wrote and recorded “Desolation Row,” he has written

McCoy played acoustic guitar. McCoy’s delicate, playful, neo-

many great songs, including, but not limited to, “Just Like a Woman,”

Mariachi guitar introduces you to the song, then it leads you

“Stuck Inside of Mobile (With the Memphis Blues Again),” “Visions

between the stanzas and down the song’s blind alleys, much in

of Johanna,” “Dear Landlord,” “I Dreamed I Saw Saint Augustine,”

the same way that Virgil guides Dante through Hell.

“Lay Lady Lay,” “Señor,” “Most of the Time,” “Man in the Long Black

Like Dylan himself, the words and the music of “Desolation

Coat,” and “Not Dark Yet.” If you listen to those songs, memorize

Row” are not clear. They do not tell you what you need or want

their lyrics, and carry their banshee music in your heart, sooner or

to know. They give equal weight to lies, to truth, to lies about

later they will lead you back to “Desolation Row.”

the truth, and to the truth about lies. On your way through the song, something happens to the way you live in time. The

Praise be to Nero’s Neptune

assumption that events occur in a linear fashion is disrupted.

The Titanic sails at dawn

After challenging your sense of time, the song moves on to your

And everybody’s shouting

identity. Are you who you think you are, or somebody else? By

“Which Side Are You On?”

the end of the song, the honest answer is, “I’m really not sure.”

And Ezra Pound and T. S. Eliot

Which brings us to the 1985 Domaine de la Romanée-

Fighting in the captain’s tower

Conti Échézeaux. 1985 was the last of the old-school years in Burgundy.

While calypso singers laugh at them And fishermen hold flowers

When they were released, the 1985 red Burgundies were

Between the windows of the sea

praised for their finesse—the wine world’s version of a left-

Where lovely mermaids flow

handed compliment. Among the experts, the consensus

And nobody has to think too much

opinion was that the eighty-fives lacked structure and

About Desolation Row

would not age well. In 1988, I bought two cases of DRC’s Échézeaux and started drinking them. Each bottle taught me more about wine than any other bottle I have opened. The most valuable lesson was that a great wine does not tell you its secrets the first, second, or third time you taste it. A great wine misleads you. The moment you think you understand it, the wine changes the rules m ay


Happy Birthday, Bobby. Whatever you’re drinking, I hope you enjoy it as much as I enjoy your songs. 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 ©2013 by For back issues, go to Send comments or questions to

THE magazine | 25

dining guide

Classic Escargots à la Bourguignonne

Bouche 451 West Alameda Street, Santa Fe Reservations: 505-982-6297




up to $14









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

$34 plus


Photos: Guy Cross

...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: A beautiful new bar with generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special dinners and wine pairings. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American w/ a Southwestern twist. Atmosphere: A classy room. House specialties: For lunch, we suggest the Ahi Tuna Tacos or the Fried Ruby Trout. For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon or the Free Range Northern New Mexico Lamb Roast. Dessert fave is the the Chef’s Selection of Artisanal Cheeses. Comments: Terrific cocktails from mixologist James Reis. Attentive service, and a creative chef (Juan Bochenski) assure that you will have a superb dining experience. Bobcat Bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$ Cuisine: As American as good old apple pie. Atmosphere: A lowslung building with eight seats at the counter and four tables. House specialties: The inch-and-a-half thick green chile cheeseburger is perect. The secret? A decades-old, well-seasoned cast-iron grill. Go.

Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. Comments: Teriffic soups and salads. Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros. Cafe Cafe Italian Grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, try the perfectly grilled Swordfish. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta pancakes with fresh berries, the chicken enchiladas; and the green-chile Cheese burger. Comments: Organic and housemade products are delicious. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Sandwich. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, Kung Pau

Chicken, and Broccoli and Beef. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.

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

Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers.

Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. 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.

Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.

Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way.

Doc Martin’s Restaurant 125 Paseo del Pueblo Norte. 575- 758-2233. Lunch/Dinner/WeekendBrunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Friendly—down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito. Comments: Great bar, wonderful desserts, and a kid’s menu.

Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups.

Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room with with a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-tocheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.

Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is smooth and dry. La Plancha de Eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Nice Sunday brunch.

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Enclosed courtyard. House specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad. For your entrée, try the Braised Lamb Shank with couscous, and vegetables. M aria ’ s N ew M exican K itchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: Freshly made Tortillas and Green Chile Stew. Comments: Perfect margaritas. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch, start with the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrées we love are the Grilled Atlantic Salmon with Green Lentils, Sautéed Swiss Chard, and the French Cut Pork Chop with Habanero-Pineapple Syrup. Comments: Good dessert selection. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic products. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$

continued on page 29 m ay


THE magazine | 27


a restaurant

Join us nightly in our lounge for happy hour

1$ Shrimp & Jonah Crab Claws from 5-7pm

Sun-Thur, 5:00 -9:00 pm u Fri- SaT, 5:00 - 9:30pm 315 Old SanTa Fe Trail, SanTa Fe, nm reServaTiOnS: (505) 986.9190 u www.315SanTaFe.cOm

x x








HAPPY HOUR Mon-Fri 4-6 pm

Ask About our 3 for 2 Lodging Specials

575-758-2233 125 Paseo del Pueblo Norte • Taos, NM

dinner nightly 229 galisteo street 820.2253

dining guide

Shrimp and Grits at Sweetwater Harvest Kitchen 1512 Pacheco Street, Santa Fe • 795-7383 Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. Ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 57 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad. Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed

m ay


new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails and House Margaritas only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Start with the Seared Ahi Tuna. For your main, we suggest the Chicken Fried Chicken, with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips. All desserts are right on the mark. Comments: Wines from around the world. Quality beers. Two happy hours: 3-6 pm and 9 pm on. Generous portions/reasonable prices. Mention THE magazine and receive an appetizer on the house. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. Shibumi 26 Chapelle St. 428-0077. Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sake Cuisine: Japanese noodle house. Atmosphere: Tranquil and elegant. House specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as Japanese beers, and champagne. Comments: Zen-like.

Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff, Station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly and casual. House specialties: For your breakfast, the Ham and Cheese Croissant. Fo lunch, the Prosciutto, Mozzarella, and Tomato sandwich Comments: Special espresso drinks. El Gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here. Steaksmith


Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey or the Baked Eggs with Crème Fraiche and Herbs. Lunch favorites are the Indonesian Vegetable Curry on Rice; the Fabulous Figs Flatbread: with Black Mission Figs, Prosciutto, and a Harvest Salad. Comments: For your dinner , we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for only $19. Wines and Craft beers on tap. Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes and the Santa Fe Style

Chilaquiles. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service.

Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal.

The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad with Prickly Pear Vinaigrette. For dinner, start with the Grilled Artichokei. The Trout with a Toasted Piñon Glaze is a winner. Comments: Nice wine bar.

tomme: a restaurant

The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. Comments: BBQ Oyters on Saturday. The Pink Adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: Order the red or green chile cheese enchiladas. Comments Always busy. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best ribs.

229 Galisteo St. 820-2253 Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Innovative Contemporary. Atmosphere: Casual and friendly. House specialties: Start with the Carmelized Leek Tart. Entrée: We love the Brick Chicken and the Pan Seared Yellowtail. Comments: Super desserts—get the Panna Cotta! Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: real friendly.w Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light and cheerful. House specialties: All organic salads. Love the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: When in Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Vivre 304 Johnson St. 983-3800 Dinner. Beer/Wine. Fragrance-free. Major credit cards. $$ Cuisine: Inspired French food. Atmosphere: Intimate. House specialties: we suggest you start with the sublime Fennel Soup with Pernod and Mussels. For your main, try the Whole Roasted Trout with Sautéed Green Beans, or the Roasted Chicken with Thyme Jus and Potatoes. For dessert we love the Fresh Grapefruit served with Honey Vanilla Syrup. Comments: An extensive wine list. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs Over sixty-five brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, get the Southwestern Chicken Salad or the crispy Fish and Chips. Comments: The bar is place to be at cocktail hour.

On the Road with THE magazine @ 1zerosix 106 N. Texas Street Silver City, New Mexico

575-313-4418 “Torte del Chocolate”

THE magazine | 29

RICHARD ANUSZKIEWICZ Variations: Evolution of The Artist’s Media 1986 – 2012


May 10 - June 15, 2013

Artist Reception: Friday, May 17, 5:00-7:00 PM

DAVID RICHARD GALLERY RAILYARD ARTS DISTRICT 544 South Guadalupe Street, Santa Fe, NM 87501 | p (505) 983-9555 Richard Anuszkiewicz, Translumina – Blue Tinted Red, 1991, Acrylic on wood construction, 24” x 24”

Beverly Fishman, Dividose: E.X.P., 2011-2012, Enamel on stainless steel, 58” x 84”


M AYa r t o pe n i n g s FRIDAY, MAY 3

Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Flux: work by Clark Walding. 5-7 pm. Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Spatial Order: paintings by Bebe Krimmer. Works on Paper: paintings by Daniel Brice. 5-7 pm. Evoke Contemporary, 130 Lincoln Ave., Santa Fe. 995-9902. Figurative paintings by Lee Price and Sean Cheetham. 5-7 pm. Freestyle Gallery, 1114 Central Ave. SW, Alb. 505-243-9267. NM 2012 HI: paintings by Camilla S. Haneberg. 6-9 pm. Harwood Art Center, 1114 7th St. NW, Alb. 505242-6367. I Have A Question and There’s No One Left to Answer It: work by Evey Jones and Harriette Tsosie. 6-8 pm. High Desert Art and Frame, 12611 Montgomery Blvd. NE, Ste. A-4, Alb. 505-265-4066. Mitzie Bower’s Scratchboard: pen-and-ink work by Mitzie Bower. 5-8 pm. LewAllen Galleries, 125 W. Palace Ave., Santa Fe. 988-8997. Line, Form and Color—Harmonic Convergence: work by Brad Ellis. 5:30-7:30 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Paintings by Jerry Jordan. Watercolors and pastels by Tom Perkinson. 5-7 pm. Marigold Arts, 424 Canyon Rd., Santa Fe. 9824142. Affectionately Observed: prints, watercolors, and sculpture by Nancy Frost Begin. 5-7 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505268-6828. Wondrous Tales in Painting and Pottery: paintings by Mary Thomas and pottery by Kenyon Thomas. 5-8 pm. Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Full Circle: work by Randall Reid. 5-7 pm. Patina Gallery, 131 W. Palace Ave., Santa Fe. 9863432. Not Your Mother’s Jewelry: group show. 5-7 pm. Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Works by Doktor A, Chet Zar, and Doubleparlour. 6-9 pm. Taos Center for the Arts at Caffe Renato, 133 Paseo del Pueblo Norte, Taos. 575-758-2052. Mostly Collage: work by Judy Van Heyst. 5-7 pm. Taos Center for the Arts at Encore Gallery, 145 Paseo del Pueblo Norte, Taos. 575-758-2052. The Act of Nonviolence: fifty students show works of art from three hundred submissions. 4-6 pm. Touching Stone Gallery, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Origin: ceramic work by Jonathan Cross. 5-7 pm. Tune Up Café, 1115 Hickox St., Santa Fe. 690-1649. A Solar Installation: work by Brian Arthur. 3:30-5 pm.

Patrick Oliphant: A Survey at Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. Drawings, paintings, sculptures, monotypes, and cartoons. Reception: Friday, May 10 from 5 to 7 pm. Book signing: Saturday, May 11 at 2 pm. m ay


Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Mixed Influences: glass sculpture by Marcia Truell Newren. 5-8:30 pm. continued on page 32

THE magazine | 31


For artists without gallery representation in New Mexico. Full-page B&W ads for $600. Color $900. Reserve space for the June issue by Wednesday, May 15. 505-424-7641

OUT AND ABOUT OUTphotographs AND ABOUT by photographs Mr. Clix by Mr.Waldon Clix Dana Dana Waldon and Jennifer Esperanza and Jennifer Esperanza

Honey Harris interviews THE magazine on Honey Harris interviews Thursday, May 9, 10:30 THE magazine on am Tune to:May 98.19,FM KBAC Thursday, 10:30 am Tune to: 98.1 FM KBAC


WHO WROTE “Poetry is the achievement of the synthesisTHIS: of hyacinths and biscuits.” “Poetry is the achievement of the synthesis of hyacinths and biscuits.” 1. Carol Ann Duffy 2.Carl Sandburg 3. Wallace Stevens 4. Robert Frost 1. Carol Ann Duffy 2.Carl Sandburg 3. Wallace Stevens 4. Robert Frost

Jonas JonasPovilas PovilasSkardis Skardis

Mac (and Mac (andPC) PC)Consulting Consulting Training, Planning, Setup, Troubleshooting, ® ®

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

phone: (505)577-2151 577-2151 phone: (505) email: email: Serving Northern NMNM since 1996 Serving Northern since 1996




Metallo Gallery, 2856 State Hwy. 14, Madrid. 471-2457. In Microscale: group show of miniature works. 4-8 pm. Rancho Milagro Collection, 127 Bent St., Taos. 575-758-3733. Group Show: paintings, sculpture, and furniture by Jim Wagner. Paintings by Jonathan Warm Day Coming. Furniture from the Ed and Trudy Healy collection. 4-6 pm. SUNDAY, MAY 5

Leich Lathrop Gallery, 323 Romero St., NE, Alb. 505-243-3095. Intimate Visions: works on paper by Marietta Patricia Leis. Other works by Deborah Gavel and Joyce Schupe. 3-5 pm. FRIDAY, MAY 10

Eggman and Walrus, 130 W. Palace Ave., Santa Fe. 660-0048. Outside the System: Maurice Burns retrospective with Billy Soza War Soldier. 5-9 pm. Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. A Survey: work by eminent cartoonist Patrick Oliphant. 5-7 pm. Karen Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Recent Works: paintings by Kevin Tolman. 5-7 pm. Winterowd Fine Art, 701 Canyon Rd., Santa Fe. 992-8878. Thaw-glass reimagined: work by Karen Bexfield. 5-7 pm. SATURDAY, MAY 11

Native Stock Pictures, 1036 Canyon Rd., Santa Fe. 208-720-0999. Bison and Beeswax: photo-encaustic work by Marilyn Angel Wynn. 10 am-4 pm. FRIDAY, MAY 17

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Variations—Evolution of the Artist’s Media 1986-2012: work by Richard Anuszkiewicz. Wavelength: work by Beverly Fishman. 5-7 pm. La Tienda at Eldorado, 7 Caliente Rd., Santa Fe. Eldorado Studio Tour 2013: preview artists’ reception. 5-7 pm. photo-eye

Gallery, 376-A Garcia St., Santa Fe. 988-5158. Photographs by John Delaney and Svjetlana Tepavcevic. 5-7 pm.

Ribak/Mandelman House, 209 Ribak Lane, Taos. 575-770-4233. Reckoning with Modernism: textile works by Terrie Hancock Mangat. Paintings by Shelley Horton-Trippe. 4-8 pm. Turner Caroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. New Work: work by Shawn Smith and Rusty Scruby. 5-7 pm. SATURDAY, MAY 18

Encaustic Art Institute, 18 Country Rd. 55A, Cerrillos. 424-6487. Wax with Dimension: work by EAI members. 12-5 pm. SUNDAY, MAY 19

203 Fine Art, 203 Ledoux  St., Taos. 575-7511262. Paintings, Monotypes, and Sculpture from the 1980s: work by the late Bill Gersh. 5-8 pm.

Las Placitas Presbyterian Church, 6 mi. E. of I-25 on NM 165, Placitas. 505-867-8080. Placitas Artists Series: work by Sonya Coppo, Gary Priester, Cheri Reckers, and Sergio Salvador. 2-5:30 pm.

516 Arts, 516 Central Ave. SW, Alb. 505-2421445. Urban Foragers and Weedrobes: talk by artist Nicole Dextras. 3 pm. 


Buckalow’s Fine and Decorative Art, 412 12th St., Carrizozo. 763-350-2661. Small Abstractions: work by Douglas Stanton and Geoff Marcy. 11 am-6 pm.

GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Forge, Spin, Wrap, and Weld: metal-work group show. 5-7 pm. Hunter Kirkland Contemporary, 200-B

Outside the System—a show of paintings by Maurice Burns with Billy War Soldier at Eggman & Walrus Art Emporium, 130 West Palace Avenue, 2nd Floor. Reception: Friday, May 10 from 5 to 9 pm.

Canyon Rd., Santa Fe. 984-2111. Solo Show: mixed media on wood panel by Jennifer J. L. Jones. 5-7 pm. Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-1777. Stands with a Fist—Contemporary Native Women Artists: group show. Facing the Camera—Santa Fe Suite: work by Rosalie Favell. For Instance, Look at the Land Beneath Your Feet: work by Kade L. Twist. MoCNA Mural Project: work by Nani Chacon. Apache Chronicle. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Works on Paper: group show. 5-7 pm. Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Work by Cecil Touchon. 5-7 pm. Santa Fe Art Collector, 217 Galisteo St., Santa Fe. 988-5545. Dahlia Rumba: paintings by Phyllis Hilley. 5-7 pm. SATURDAY, MAY 25

Act 1 Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. Beloved Taos: paintings by Peggy McGivern. 4-6 pm. Range West, 2861 Hwy. 14, Madrid. 4740925. Cirque de la Vie: paintings by Shelly Johnson. 3-6 pm. Ribak/Mandelman House, 209 Ribak Lane, Taos. 575-770-4233. Reckoning with Modernism: textile works by Terrie Hancock Mangat and paintings by Shelley HortonTrippe. 3-6 pm. FRIDAY, MAY 31

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Berlin: work by Susan Herdman. Color Interference: work by Matthew Kluber. Works by Max Almy and Teri Yarbrow. 5-7 pm. Eight Modern, 231 Delgado St., Santa Fe. 995-0231. Asa Nisa Masa: work by Fay Ku. 5-7 pm. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Sutras: work by Polly Barton and Alison Keogh. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Paintings and Monotypes from the 1980s by Bill Gersh at 203 Fine Art, 203 Ledoux Street, Taos. Reception: Saturday, May 11 from 4 to 7 pm.

34 | THE magazine

Guadalupe St., Santa Fe. 982-8111. Mixografia Prints: works by Mimmo Paladino. 5-7 pm. SPECIAL INTEREST

A Gallery Santa Fe, 154 W. Marcy St., Santa Fe. Weave/Wright. Through Sat., May 25. 516 Arts, 516 Central Ave. SW, Alb. 505-2421445. Flatlanders and Surface Dwellers: group show. Through Sat., June 1. ABQ Uptown, 2200 Q St. NE, Alb. 713-2249115. First Annual Taste of ABQ: food festival. Sat., May 18, 12-4 pm. Albuquerque Convention Center, 401 2nd St. NW, Alb. 505-344-9382. Southwest Book Fiesta: book signings by authors from LPD Press and Rio Grande Books. Fri., May 10, 10 am-2 pm; Sat., May 11 and Sun., May 12, 11 am-2 pm. Albuquerque Museum, 2000 Mountain NW, Alb. 505-243-7255. Project Dreamscape: Meow Wolf student collaboration. Fri., May 10. Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. The Big Hoot: work by Larry Bob Phillips and David Leigh. Through Sun., May 12. Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Eventua Finale: Fri., May 3, 8 pm: Laura Goldhamer, Cole Bee Wilson, and Cheryl on Sat., May 4, 8 pm. City of Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., Santa Fe. 955-6705. Cumulous Skies—The Enduring Modernist Aesthetic in New Mexico: group show. Through Fri., June 7. Corrales Society of Artists at La Entrada Park, Corrales and La Entrada Rd., Corrales. Art in the Park: arts and crafts fair. Sun., May 19. Eldorado Arts and Crafts Association, various locations in Eldorado. 2013 Eldorado Studio Tour. Sat., May 18 and Sun., May 19, 9 am-5 pm. Friendship Bridge at United Church of Santa Fe, 1804 Arroyo Chamiso, Santa Fe. 9840160. 7th Annual Dessert with Desiree: opera continued on page 36 m ay


openings 301-6317. Figure in Space: work by Deanne Richards. Through Fri., May 10. Santa Fe Convention Center, 201 W. Marcy St., Santa Fe. 476-1250. Native Treasures Indian Arts Festival. Fri., May 24, 5:30-7:30 pm; Sat., May 25 and Sun., May 26, 10 am-4 pm. Silver City Museum, 312 W. Broadway, Silver City. 575-538-5921. Workshops, book signings, and other events throughout May. Taos Lilac Festival, various locations in Taos. 575-758-8870. Inaugural Taos Lilac Festival: crafts, food, and music. Fri., May 17, 12:307:30 pm, Sat., May 18 and Sun., May 19, 10 am-5 pm. Village of Corrales, various locations in Corrales. 505-688-0100. Corrales Art Studio Tour. Sat., May 4 and Sun., May 5, 10 am-5 pm. Wise Fool New Mexico presents the world premiere of SeeSaw. Friday, May 3 at 8 pm and Saturday, May 4 at 1 and 8 pm at the Santa Fe Railyard Park. Free. Photo: Joshua Sage.

lecture by Desiree Mays on the 2013 Santa Fe Opera season.  Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Georgia O’Keeffe in New Mexico—Architecture, Katsinam, and the Land. Fri., May 17 to Sun., Sept. 8. Greer Garson Theatre, 1600 St. Michael’s Dr., Santa Fe. 986-9748. Made for Each Other: Assistance Dogs of the West graduation ceremony. Wed., May 15, 7 pm.  GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Know Place. Like Home.: paintings by Jennie Kiessling and Lori Schappe-Youens. Through Fri., May 17.

Santa Fe Artists Market, 1607 Paseo de Peralta, Santa Fe. 310-1555. Santa Fe Artists Market. Saturdays, 8 am-1 pm. Santa Fe Book Arts Group at the Palace of the Governors, 110 Washington Ave., Santa Fe. 983-1373. The Celebration of the Book: display of handmade books. Thurs., May 2 to Sat., May 4, 10 am-4 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Summer Preview Exhibition: group show. Through Sat., May 25. The Sum of Its Parts: group show. Through Sat., June 1. Santa Fe Community College, Media Arts Center, 6401 Richards Ave., Santa Fe.

Lodge Santa Fe, 750 N. St. Francis Dr., Santa Fe. 231-3803. Cinco de Mayhem: burlesque performance by Zircus Erotique Burlesque Company. Fri., May 3, 9 pm. Mine Shaft Tavern, 2846 Hwy. 14, Madrid. 473-0743. CrawDaddy Blues Fest: live blues and Cajun foods. Sat., May 18 and Sun., May 19, Noon-7 pm. Concerts and music festivals throughout May. mineshafttavern. com National Hispanic Cultural Center, Journal Theatre, 1701 4th St. SW, Alb. 505246-2261. Red Note: musicians and dancers of Jesus Muñoz Flamenco. Fri., May 17 and Sat., May 18, 8 pm.

V i VO C ontemporary , 725 Canyon Rd., Santa Fe. 982-1320. An-thol-o-gy: work by Ro Calhoun, Ann Laser, and Patricia Pearce. Through Mon., May 13. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Selections: group show. Through Sat., May 25. PERFORMING ARTS

Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Cheryl: performance art. Sat., May 4, 8 pm. Cowgirl BBQ, 319 S. Guadalupe St., Santa Fe. 982-2565. Concert by singer/songwriter Shantel Leitner. Sat., May 4, 2-5 pm.

Harwood Museum, 238 Ledoux St., Taos. 575-758-9826. Trudy’s House: work by Jim Wagner. The Early Years: work by R.C. Gorman. The Third Chapter: paintings by Fritz Scholder. The Third Chapter: work by Woody Crumbo. Promo Hobo: street art installation. Through Sun., Sept. 8.

Recent Works—acrylic and mixed-media paintings by Kevin Tolman—at Karan Ruhlen Gallery, 225 Canyon Road. Reception: Friday, May 10 from 5 to 7 pm.

New Mexico School for the Arts, 275 E. Alameda St., Santa Fe. 982-6124. ArtSpring 2013: dance, music, theater, and visual arts. Fundraising gala: Fri., May 10, 7 pm.

Hunter Kirkland Contemporary, 200B Canyon Rd.,
Santa Fe. 984-2111. Three Painters Paint: Peter Burega, Gregory Frank Harris, and Rick Stevens. Through Sun., May 5.

Santa Fe Railyard Park, 740 Cerrillos Rd., Santa Fe. 316-3596. SeeSaw: performance by Wise Fool New Mexico. Fri., May 3, 8 pm; Sat., May 4, 1 pm and 8 pm. wisefoolnewmexico. org

Lannan Gallery, 309 Read St., Santa Fe. 954-5419. Again—Repetition, Obsession and Meditation in the Lannan Collection: group show. Through Sun., June 16.

Taos Community Chorus at various locations in Taos and Dixon. 575-7586966. Sing Out!: A Tribute to African American Spirituals. Sat., May 4, 7 pm at Embudo Presbyterian Church in Dixon; Sun., May 5, 5 pm at St. James Episcopal Church in Taos; Sat., May 11, 7 pm at First Presbyterian Church in Taos; Sun., May 12, 5 pm at San Francisco de Asis Church in Ranchos de Taos.

Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-1777. Thicker than Water: group show. Summer Burial: work by Jason Lujan. Through Sun., May 12. museum OffCenter Community Arts Project at Sumner and Dene Creations in Art, 517 Central Ave. NW, Alb. 505-247-1172. Albuquirky Little Houses: art auction fundraiser. Fri., May 3, 5-8 pm. Albiquirky House Tour: self-guided tour of three artists’ houses. Sat., May 4, 11 am-4 pm.

Unitarian Universalist Church, 107 W. Barcelona Rd., Santa Fe. 795-9079. Evoke!: world music and dance. Fri., May 17, 8 pm.

Placitas Studio Tour, various locations in Placitas. 505-771-1006. 16th Annual Placitas Studio Tour. Sat., May 11 and Sun., May 12, 10 am-5 pm.


Artisan, 2601 Cerrillos Rd., Santa Fe. 9544179. Budding Artist Fellowship: win $100 of materials per month for one year for artists between 13 and 17 years old. Deadline: Wed., May 15.

Richard Levy Gallery, 514 Central Ave SW, Alb.
505-766-9888. Color Matter: paintings by Xuan Chen. Project Room: paintings by Charles Fresquez. Through Fri., May 31.

36 | THE magazine

James A. Little Theater, 1060 Cerrillos Rd., Santa Fe. 988-1234. 2nd Annual Spring Repertory Concert: dance performance by Belisama Contemporary Dance. Fri., May 24 and Sat., May 25, 7 pm.

What Becomes a Legend Most: Four solo shows with work by Jim Wagner, R.C. Gorman, Fritz Scholder, and Woody Crumbo at the Harwood Museum of Art, 238 Ledoux Street, Taos. Reception: Sunday, May 19 from 10 am to 5 pm. Exhibition runs to Sunday, September 8. Image: R.C. Gorman.

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16th Annual Tour

Mother’s Day Weekend May 11th & 12th 10 am to 5 pm. 23. JAMES GAY














1. Jo Anne Fredrikson, quilt art 2. L. Heath, oils, fusionism 3. Susan Jordan, gourd art 4. Dianna Shomaker, mixed media 5. Andi Callahan, jewelry 6. Sandy Johnson, jewelry 7. Adriana Scassellati, pastel painting 8. Adrienne Kleiman, painting 9. Sal Gullo, metal sculpture 10 Shirley Ann Sloop, jewelry 11. Jim Carnevale, photography 12. Roxanne Bebee Blatz, photogrophy Roger Preston, photography 13. Betty Temple, mixed media 14. Glen Petersen, decorative beadwork 15. Lynae Maxim, collage 16. Wayne Mikosz, mixed media mirrors & painting Riha Rothberg, mixed media 17. Bianca Harle, painting 18. Bunny Bowen, wax resist painting 19. Gail Gering, metal media Sarena Mann, mobiles Carolyn Van Housen, jewelry 20. Althea Cajero, jewelry Joe Cajero, bronze sculpture 21. Michael Prokos, ceramics 22. Betsy Churchill, ceramics Ralph Churchill, wood carving 23. James Gay, photography 24. Lois Wagner, jewelry 25. Marce Rackstraw, drawing and painting 26. Karl and Mary Hofmann, pottery Peaches Malmaud, fabric printing/painting 27. Roger Evans, sculpture and painting 28. Judith Roderick, silk painting 29. Cate Clark, mosiacs and ceramic tile 30. Katherine Christie Wilson, painting 31. Jim Fish, wood sculpture Meg Leonard, pastel painting Linda Nisenbaum, jewelry 32. Ann Pollard, painting 33. Denise Elvrum, fused glass 34. Debby Brinkerhoff, watercolor 35. Meg Johnson, silk painting 36. Geri Verble, jewelry 37. Audrey Ross, jewelry 38. Laura Robbins, mosaics, ceramics and glass 39. Katherine Irish Henry, pastel paintings 40. Marie Maher, photography 41. Lisa Chernoff, fused glass 42. Nancy and Jon Couch, water prisms 43. Dana Patterson Roth, photography 44. Joan Fenicle, painting and photography

Maps available at all studios

w w w. p l a c i t a s s t u d i o t o u r. c o m DIRECTIONS: Take I-25 to Placitas exit 242 and follow the signs. 505-771-1006

Sponsored by Placitas MountainCraft Soiree Society


Peter Sarkisian: Video Works, 1994-2011 May 4 to August 18. New Mexico Museum of Art, 107 West Palace Avenue, Santa Fe. 476-5072. Reception: Friday, May 3, 5-7 pm. Peter Sarkisian’s 1999 work Hover is a Madonna and Child for the Silicon Age—a young mother, projected at five different angles onto a painted cube, lovingly cradles her small son. Although the two are naked and seem to be trapped within their enclosure, they are placid, needing nothing more than each other and the six walls of their strange, angular womb. The mother begins to shift and slide around, and her son mimics her motions. Meanwhile, the projection slowly speeds into fast-forward, and by the end, the two have become one in a slightly unnerving blur of motion and sound. The work, which was featured in the 2002 Whitney Biennial, is at once sculpture and video art—and at once timeless and cutting-edge. Sarkisian, who is based in Santa Fe, has achieved national recognition for his innovative, sometimes whimsical multi-media works. Named Master Video Artist in 2007 by the National Endowment for the Arts, Sarkisian has had his work exhibited at museums worldwide. Starting this month, fifteen different works by Sarkisian, including Hover, will be on display at the New Mexico Museum of Art. To get a better idea of Sarkisian’s world before you go, be sure to visit the artist’s website:

Four Tides, Four Decades: Paintings by Sam Scott May 24 to June 30. Yares Art Projects, 123 Grant Avenue, Santa Fe. 984-0044. Reception: Friday, May 24, 5 to 7 pm.

Peter Sarkisian, Extruded Video Engine, Large (Version 1) (detail), vacuum-formed thermal plastic, video projection, audio, 39” x 40” x 8”. Pending gift of Cindy Miscikowski and the Ring-Miscikowski Trust.

When abstract artist Sam Scott left his teaching position at the University of Arizona a few years back, he spent his retirement pay on a boat—“a fifteen foot West Wight Potter ketch rigged sloop,” Scott writes. “Her hull was yellow, her lines were clean.” He dubbed her “Spray,” and sailed from an island off the coast of Texas, riding the tide out into the sea toward a series of barrier islands “where tiny mule deer shared the beaches and wind-swept dunes.” There, Scott studied the tides—their power and his powerlessness. For a painter preoccupied with freedom, the experience was profound. When Scott returned to shore to teach at Texas A&M’s art department, he was given a one-thousand-square-foot studio space to create what he would later call The Four Tides, a series of four paintings, which convey the weight and pull of the ocean with broad washes of color and fine-spun, whirling lines. Four Tides, Four Decades will be on view at Yares Art Projects, along with many other works from the artist’s vibrant, five-decade career. Over the years, Scott has become somewhat of a Santa Fe institution, a symbol of our city’s preoccupation with color, the elemental, and becoming, as he puts it, “properly lost in the storm of becoming.” Sam Scott, High Tide, acrylic on canvas, 84” x 120”, 1996

38 | THE magazine

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Weaver / Wright

April 5 - May 25, 2013 Also - Hesse Aronov Man Ware Forlano van Buren Ware Masoni Salloch Voelkel A Gallery Santa Fe 154 West Marcy 104 Santa Fe , NM 87507 505-603-7744

EAI Events for May May 4 - 26 EAI Gallery open on weekends, noon - 5 Join us to view the largest selection of encaustic/wax art in the world. Over 130 nationwide members works for sale and a permanent collection of over 100 artists.

May 18th Members Show: “Wax with Dimension� Opening May 18th, noon - 5 pm. Exhibit runs through June 16th. Presenting the 2D & 3D possibilities of encaustic art by EAI Members.

The Encaustic Art Institute is located on the scenic Turquoise Trail, close to historic Cerrillos and Madrid, NM. Thanks to Los Alamos National Bank for their continued sponsorship. EAI is a registered 501c3 non-profit.

The Encaustic Art Institute 18 County Road 55A(General Goodwin Road), Cerrillos, NM 87010 (505) 424-6487

For more information, visit:


Paula Roland, Between World, 110" x 115", graphite, enamel paint on canvas

With works by Paula castillo, Alison Keogh, Peter ogilvie, Paula Roland, Judy tuwaletstiwa, Marcia Weese and others...

April 26 – May 25

opening Reception April 26, 5 –7pm


i n t e r n at i o n a l s p o t l i g h t

Brushstroke with Spatter by

Roy Lichtenstein

Although he is known for his paintings of melodramatic comic-book heroines, Roy Lichtenstein’s oeuvre was expansive and experimental. He responded to artistic movements like Futurism, Cubism, and Surrealism, and late in life he even created a series of sublime Chinese landscapes, coloring narrow, craggy mountaintops rising from the mist with his signature hand-painted dots. When Lichtenstein died, in 1997, The New York Times remembered him as “the quintessential master of Pop painting and a major figure in American art.” Nevertheless, the artist’s work did not see a major exhibition for well over a decade after he passed—until now. After a run at Chicago’s Art Institute and a visit to the National Gallery in Washington, D.C., five decades of Lichtenstein’s artwork have hopped the pond and are now on display at Tate Modern, in London. If you missed your chance to see this show stateside, it’s certainly worth checking out this massive exhibition in the U.K.—Lichtenstein: A Retrospective was the best-attended exhibition of the last ten years at the Art Institute of Chicago. Through May 27 at Tate Modern, Bankside, London. m ay


THE magazine | 41

Jim Wagner, In Love You Can Talk to Birds, 1993, acrylic on canvas, 50 x 62



Gala Opening Reception S AT U R DAY, M AY 4, 2013 4-6 P M

127 B E N T S T R E E T , T AO S , NM 575 . 758 . 3733 w w w. r a n c h o m i l a g r o c o l l e c t i o n . c o m


person of interest

Kaderly: Under the

R adar By Richard Polsky

It had been a long time coming. Between 1939 and 1942, an illiterate ex-slave from Montgomery, Alabama, by

lives. Seated in the spacious room, I struck up a conversation with a woman named

the name of Bill Traylor created approximately twelve hundred spectacular drawings

Polly, who turned out to be the owner. It was a serendipitous moment; she was

of local street life. He was befriended by a young white artist named Charles

originally from Sausalito—my current hometown. During the 1970s, Polly had been

Shannon, who preserved his work and helped bring recognition to Traylor’s art.

part of a contingent of hippies who lived on a flotilla of funky houseboats. Eventually

Since the early 1960s, when Traylor gradually became known, there have been only

she married, moved to neighboring Mill Valley, raised her kids, and got divorced.

five new discoveries of significant Outsider artists: Joseph Yoakum, Martin Ramirez,

Looking for a fresh start, she found herself drawn to New Mexico and wound up in

James Castle, the Philadelphia Wireman, and Henry Darger. Given this country’s rapid

Silver City. Despite its name, the town was actually known for copper mining. When

march toward homogeneity, the chances of an encounter with a great self-taught

the copper veins played out, it went into a long downward spiral.

artist are as slim as the phone book of Silver City, New Mexico. Which is one of a

During the 1980s, civic leaders came together to reinvent their city of ten

number of reasons why a trip to Silver City, during the summer of 2010, had been the

thousand as a center for the arts. With a downtown of handsome, century-old buildings

furthest thing from my mind.

serving as a magnet, they were able to lure artists and a surprising number of galleries.

I had been sitting in Che’s Lounge, an edgy bar in downtown Tucson with an

Soon, a handful of hip restaurants sprang up to accommodate visiting tourists. With the

iconic portrait of the Argentinian revolutionary stenciled on a naked brick wall.

rejuvenation of Isaac’s Bar, which featured live country music on the weekends, the

My friend Mac Daddy, a local Hells Angel at the time, once said to me, “Why would

town found its heart. Silver City’s climb back from the dead was complete.

you want to patronize a Commie bar?” I didn’t see it that way. I was lured by the

Polly and I continued our conversation. Out of the corner of my eye I spotted

promise of happy hour and an ice cold Miller High Life for only a buck. Even so,

a polychromed, three-foot-tall wooden sculpture sitting on the floor adjacent to

I probably had no business being there. The room was packed with patrons who

our table. I noticed it had a curvilinear body, which loosely resembled a snail shell.

looked like refugees from a Mad Max movie.

Its whorls were painted a rich shade of gray that art historians might refer to as Jasper

I found myself seated on a bar stool, flipping through the pages of the Downtown

Johns gray. It was decorated with a coat of red spots encircled by purple rectangles.

Tucsonan, when I noticed a small display ad that read: SILVER CITY—ONLY THREE

But here’s the kicker; while the paint was still wet, the artist had intentionally


squeegeed the surface, gently blurring the two colors. It was a sophisticated move,

COME AND CHECK US OUT! That seemed liked a good idea since I was already

reminiscent of Brice Marden.

planning to drive to Santa Fe and Silver City was more or less on the way. I had high

Polly continued to quiz me about the current state of Sausalito: “Are the

hopes for Silver City based on visiting Bisbee and Jerome, other prominent mining

houseboats still around?” “Is the Trident still in business?” As I proceeded to answer

towns in the region, which had also undergone a revival. Each was filled with an

her queries, I couldn’t take my eyes off the sculpture. The creature had an elongated,

intriguing combination of mystery and melancholy, and for some unknown reason, a

smooth, unpainted neck which extended into a head whose meticulously painted

single absurdly good restaurant.

facial features appeared to be divided by a peace sign. A branch, with its tip cut

As I began driving toward Silver City, the scenery transitioned from strands of

off, extended about three inches from the face, forming a crooked nose. A tightly

giant anthropomorphic saguaros to open vistas of silver-green sagebrush. Upon pulling

manicured beard framed the entire face. Perched on its head was a black top hat,

into “Silver,” I spotted a promising-looking café called the Javalina Coffee House. Its

worn at a slight tilt, which gave the work a touch of whimsy. Whatever it was that

name suggested a witty play on the local wild javelina and a slang term for coffee.

I was staring at, it was an amazing piece of art. Pointing to the carving, I said, “Hey

Judging by the original pressed-tin ceiling, the café had experienced a number of past

Polly, what is this?” She smiled, “Oh, that.” “Seriously” I said, “Who’s the artist?” continued on page 44

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THE magazine 43

“You know, I really can’t remember his name. He’s some guy who lives just outside

known restaurant in San Francisco, but eventually decided he wanted his own place.

of town. I bought it a few year ago for only ten dollars.” As someone used to dealing

Given the area’s prohibitive rents, he realized he’d have to relocate. Somehow, Jake

with blue-chip art, including six- and seven-figure paintings by Andy Warhol, I was

wound up in Silver City, where he bragged about buying a house for thirty-thousand

charmed by the quaint sum. I then asked, “Do you have his address—maybe I can

dollars (plus another thirty-thousand dollars to renovate it), and still had enough

meet him while I’m in town?” “I haven’t seen this guy in years. He probably moved

left over to open a dining establishment. Without going into all of the superlatives,

away or something.” Flipping it over, I spotted a signature on its bottom. I said, “Hey,

I enjoyed one of the more memorable meals of my life at 1zero6: a simple mesquite-

here’s his name… Kaderly. Does that sound familiar?” “Nope.”

grilled chicken breast smothered in several types of New Mexican red chilies—each

There comes a moment when rapture turns to a desire to possess. That moment

bite was sex. As I ordered a second glass of Pinot Noir, my thoughts drifted to my art

was now upon me. I asked, “Would you consider selling it?” “You really want to buy it?

acquisition. Right before dessert, I told Jake about it and offered to return to my hotel

Well, things have been kind of slow this summer. With the ninety-degree heat… the

room to retrieve the piece and show it to him—which I did. When we looked at it,

economy… What would you give me for it?” I blurted out, “How about fifty bucks?”

I noticed how much it resembled the sculpture of H.C. Westermann, an educated

Judging by the expression on her face, Polly was impressed by my offer. “Hmm.

artist with an Outsider artist’s sensibility. A typical piece of his might be a quirky

I could use the money. Can you pay me in cash?” I instantly opened my wallet and

robotic figure, meticulously crafted from various exotic hardwoods. Upon paying the

peeled off a fifty. I was delighted. It wasn’t everyday I could buy something that thrilled

check, I realized Kaderly was someone special who fell into the same category as

me for what amounted to a tad more than lunch money. I thanked Polly, expressed

Westermann. I desperately wanted to meet the artist, buy a few more of his works,

how much I enjoyed meeting her, and bade her farewell. Her parting words to me

and perhaps even get involved with his career. There was only one small problem.

were to be sure and have dinner at onie zero 6.

I didn’t know how to find him, nor apparently did anyone else.

According to Polly, the restaurant’s Pacific Rim fusion cuisine was an experience

Once I returned to Sausalito, I marveled at how my fifty-dollar acquisition held

not to be missed. Later that evening, I took a short stroll from my hotel over to

its own with the rest of my collection. When people came over to visit they pointed at

1zero6. The jewel box of a room contained only eight tables. The décor was kept to a

the Kaderly and always commented on it. No one was indifferent. I became obsessed

minimum; a few Chinese kites were suspended from the ceiling. I was greeted by Jake,

with finding out more about him. Just for the hell of it, I went on my computer, clicked

the chef, who also turned out to be a Bay Area transplant. He once worked for a well-

on Google, and typed the words: Kaderly, Silver City, New Mexico. Bingo.

Though Kaderly is a serious artist, he

Guy Cross photographs by Guy Cross

photographs by

person of interest

Soon I was back in Santa Fe, heading south on Interstate 25. After a couple of

tapped. The only comparison I could come up with, as far as someone who came to

wrong turns, I pulled into the town of Gila, about thirty miles from “Silver.” Soon

his art so late in life, was Bill Traylor. I arrived armed with $300 in cash, just in case

I spied a long, purple stucco wall in the distance. I had found Bill Kaderly’s studio.

I found a few works to my liking. That didn’t prove to be a problem. As I pointed to

It was surrounded by cottonwood trees, whose downed limbs were used exclusively

various pieces and asked prices, Kaderly called out, “That one? $75. The sculpture

by the artist for his creations. He was once quoted as saying, “If it can’t outrun me, it’s

in back? $150. The piece you’re holding? You can have it for $50.” I can’t remember

gonna become art.” A contingent of “root” creatures that resembled aliens from the

ever having so much fun buying art. It was one of those rare instances where I could

cult flick Barbarella appeared to be guarding the entrance. This was not a promising

more than afford to purchase whatever I wanted. Within five minutes, my wad of

beginning. As anyone who has ever scoured the Deep South in search of Outsider art

twenties was exhausted.

will tell you, there are (almost) more animals whittled from tree roots than the area’s ubiquitous fire ants.

Kaderly began bubble-wrapping my acquisitions.s I wandered outside and surveyed the carvings scattered along the purple wall. A certain root creature called

Kaderly extended his hand. He was heavily tanned and looked like he was in his

out to me. It resembled a funky, two-foot-long caterpillar, painted in day-glow lime

mid-sixties. Once he led me into the inner sanctum of his studio I was overwhelmed

green. It reminded me of the hookah-smoking caterpillar from Alice in Wonderland.

by row after row of remarkable sculptures. What really stood out was the work’s

Kaderly walked over to me, his arms overflowing with wrapped works of art.

sense of humor; a number of carved heads had protruding tongues. Though Kaderly

He noticed me holding the caterpillar. I put it down and said to him, “Maybe next

is a serious artist, he obviously didn’t take himself too seriously. Kaderly told me a

time.” We began loading my Honda, each of us feeling like he had gotten the better

little about his background; very little. He once lived in Ojai, California and made a

of the bargain. With a wave of his hand, Bill strolled away. I was about to slide behind

living as an upholsterer. That would partially explain his manual skills. Upon retiring

the wheel, when he turned around and marched back to my car. He said, “Here, you

to Gila he bought a small place, noticed a lot of cottonwood on the property, and

forgot something.” It was the caterpillar.

found himself compelled to start carving things. While this story isn’t unusual among self-taught artists—at some point they all experience an artistic calling—you sensed it was a little different for Bill. It felt more like he needed something to do with his time and unexpectedly discovered a well of hidden talent, which had never been

Bill Kaderly’s work can be seen at The Art Gallery at Casitas de Gila Guesthouse in Gila, New Mexico (877-923-4827). Richard Polsky is the author of the recent The Art Prophets. He lives in Sausalito, California. He can be reached at

he doesn’t take himself too seriously

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THE magazine 45

New Blood


work By marla allisoN, chris pappaN, de haveN solimoN chaffiNs May 3 - May 29, 2013 I rECEptIOns May 3 and May 24, 5-7pM EMbErs, aCryLIC On CanVas, 60 X 60”

LEgEnds santa fE I 125 LInCOLn aVEnUE I santa fE nEW MEXICO 87501 I LEgEndssantafE.COM I 505 983 5639

UNIVERSE OF F l a s h b a c k : C a r p e n t e r & CA s t e l l i , c i r c A 1 9 9 4

D EaC mber/JANUARY m y e 2013


magazine||47 5 THEmagazine THE


Rio P ueblo Ascension



oil on canvas

F O U R T I D E S F O U R D E Cca taAlog uD ES e av a ila ble paintings + works on paper 1981 – 2013

M AY 2 4 – J U LY 1 , 2 0 1 3 P R E V I E W & R E C E P T I O N F R I D AY, M AY 2 4 , 5 : 3 0 – 7 : 3 0 P. M .

YARES ART PROJECTS 123 GRANT AVE, SANTA FE, NM 87501 www.ya res a r tprojects .com (5 0 5 ) 9 8 4 - 0 0 4 4

80" x 70"

Critical Reflection

Speak to Me: Nineteenth Annual Juried Graduate Exhibition

University of New Mexico Art Museum 1 University of New Mexico, Albuquerque

Wassily Kandinsky stated, “Everything has a secret soul, which is silent more often than it speaks.” —Julie Joyce, from her curator’s statement for Speak to Me

In the past month, I’ve watched Ingmar Bergman’s movie Persona twice and felt confounded by that

by Bree Lamb was intriguing and I wished there had been

everything they cared to say and would never utter

impenetrable triangulation of one person’s muteness,

more. Lamb photographed cast-bronze trophies in the

another word. Futility—or maybe it was resignation

another’s stream of consciousness dialogue, and the beach

form of a cheerleader and a basketball player but their faces

to overwhelming transformative events—seemed to

house that they stayed in. The house takes on the function

were obliterated by thrift-store price tags slapped on in a

preoccupy their secret souls or the secrets in their soul.

of the scene of a crime. But what crime? The inability to

haphazard manner. There was no constructed environment

What was curious was that the male figure (in the image on

love? Hatefulness? Careless speech? Inertia? Indifference to

around either the cheerleader or the athlete. They merely

the cover of this issue) looked very similar to the female

suffering? The site of the beach house at first seems idyllic,

slipped into an oddly beautiful chromatic space that hinted at

figure in the second print, included in this review. And how

but the other side of Bergman’s mise-en-scène is that the

a buried dialogue both political and aesthetic.

do we know they aren’t the same person? She lies supine

house and its rocky shore become a matrix for an intensely

Lea Andersson’s abstract painting Conjunction (Passing

in a short gray dress on the same dirty floor surrounded by

neurotic unfolding of oppositions between the actress who

Close) withstood intense scrutiny, and its black matte surface

similar off-white walls, except her head is being engulfed

refuses to speak and her caregiver who unburdens herself in

established a sense of gravitas. There was more there than

by a large woodpile. His head rests its weedy headdress

careless ways that prove destabilizing. In the exhibition Speak

one imagined at first glance. This perception was borne out

against the wall as if it weighed a ton and prevented him

to Me, Emma Levitt’s two-sided print Littoral Reach managed

by the very tiny metallic flecks that seemed to blink on and

from ever being able to stand up straight again. In this

to tap into some of the same existential puzzles as Persona.

off on the surface as one’s angle of viewing changed. These

work, the signifier and the signified cannot be pried apart

One side of Levitt’s print appears almost mindlessly

tiny reflected bits of light made one think of stellar objects

even with a crowbar and, anyway, who would want to?

bucolic—a cyanotype of a beach house, a marshy shoreline,

in distant space receding away from us at great speeds

Any analytical intervention might shatter Hudson’s delicate

and wheeling gulls in a foggy coastal sky. But there was

and sending us their good-bye messages before infinity

balance of conceptual refinements.

another side to this accordion-folded, freestanding print.

swallowed them up.

—Diane Armitage

The opposite view was defined by dark renderings of a rocky

It felt like the subjects in Jennifer Hudson’s pair of

coast on either side of the print; what joined the two clumps

separate, but related, untitled pigment prints had said

Jennifer B. Hudson, Untitled, pigment ink print, 10” x 10”, 2011

of brooding rocks and water was this series of horizontal, hand-drawn lines that spanned from one coast to another over empty space and the ambient texture of the paper. This ostensibly inward-turning scene was impossible to explain and the fifteen or so parallel lines felt like they had been drawn by an outsider artist who could only communicate in this stuttering language of dark linear imperfections. One of the things I liked about KB Jones’ painting Lea is that it was on the creepy side, and the model— with her upper torso and face in profile—was lying on the grass among some spindly flowers and appeared lifeless. This could almost have been a portrait done in a morgue, and only by accident did I find out that the Lea in question is very much alive (and also one of the graduate students in this exhibition). One can see how the title for the exhibition is fully realized in this particular work. Not only does the viewer want the subject to speak in order to prove her viability, the subject, though her eyes are closed, also appears in a deeply meditative state as if she is willing the black sky to open up and deliver some profound insight. This facsimile of a death mask is really a disguise for a trancelike state that beckons all of us to speculate about what lies inside and outside the mind of the artist. It is she who is thinking, Speak to me. The photographic work was strong overall, as it usually tends to be at UNM, and the untitled pair of images

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THE magazine | 41

THE magazine | 49

Cumulous Skies Community Gallery 201 West Marcy Street, Santa Fe

The spokespeople for the federal killing machine blab about the “international community” as they turn a

the twelfth century or so, and before they started aping

blind eye to the bigot gods of the theocracies and tyrants

so called “primitive art.” An Arlo Namingha stone carving

they back with weapons and your cash, as they sell

smiles from across the room. It focuses on the curling

arms to both sides of multiple violent conflicts, seek the

edges of horizontality as both register and form with subtle

overthrow of democratically elected leaders, gun down

sensitivity, reminding one that Namingha practices one of

teenage citizens by video game, jail whistleblowers, and

the town’s most refined and rigorous aesthetics, and that his

deliberately torture, kill, and maim, to make money.

great ability is to consistently bring out the lightness and the

Who dies and who gets killed in your ideal social support

life of stone using the simplest of means.

structure? Who profits by it?

In a breakthrough for an artist known for his

The world isn’t ideal. But the recent Cumulous Skies

naturalism, Chris Richter has pared down his former aspen-

exhibition at the Santa Fe Community Gallery is. Ideal in

tree compositions to sheer abstractions, still vertically

that it brought together many of the strongest voices in

inclined (a touch of Clyfford Still, compositionally) but

Santa Fe and allowed them to speak to one another and

elegant in satin surface beyond belief. Fyodor links each

to the aesthetic history of this community in a way that

piece in the show to a small reproduction from New

isn’t possible in the commercial galleries, and, as this show

Mexico’s Modernist legacy, and the natural world emerges

shows, is vital. Your local community loves art, and artists,

as the major inspirational source out here, past and present.

and has for centuries valued the power of the maker. I want

Tony Abeyta presents a large signature landscape of virga over

to thank the curator, artist Larry Fyodor, gallery director

the mountains. Modernist in execution, and quintessentially

Rod Lambert, and the participating artists, for a beautiful,

local in subject matter, Abeyta’s painting reminds you that

intelligent, and inspired show. It’s nice to see that the

so much of the work of this region finds its origins in the

competing galleries can play nicely together, too. That they

land and light for which New Mexico is known. Mokha Laget

recognize that there is something for everyone in this sort

brilliantly abstracts the landscape even further. Stacey Neff’s

of collaboration.

blown and cast recycled-glass bubble sculpture is as sensual

Which is exactly why it’s so hard to be proud of

as anything she’s wrought. The piece abstractly references

my national community. Our psycho-leaders long ago

the atmospheric, gravity-defying pile-up of the exhibition’s

lost sight of the philosophical egalitarianism upon which

title. The pooled and spilled liquidity of Dara Mark’s marks

the nation was based. Who they remind me of most, in

on translucent paper have a physical energy a photo can’t

their arrogance, ignorance, and uber-violence, are the

capture. The same goes for Paul Shapiro’s mystic spaces.

Europeans of centuries past with their heinous traditions

Lonnie Vigil, Santa Fe’s most underrated ceramicist presents

of colonialism (aka global militarism), aristocracy, (aka the

a stunning steel-gray vessel with a shape both timeless and

1%), central bank monopolies (aka the Federal Reserve),

contemporary. Jamie Hamilton’s wild sculpture watches

murderous class structures (don’t pretend), and the same

over all, like a mechanical, sprung-clockwork sentry. Susanna

old superiority/inferiority complexed Judeo-Christian ethic

Carlisle and Bruce Hamilton, along with Madelin Coit,

of debasing the other. The current problems with my

seem sent over from Currents to remind us that fascinating,

national community are the result of bad ideas inherited

cutting-edge new-media works are also prominent in Santa

from Europe, though much of Europe is today further

Fe’s current contemporary scene.

along in terms of true egalitarianism—“we hold these truths to be self-evident,” etc.

Finally, in the center of the exhibition is a killer piece by Tom Joyce, recycled from tons of scrap iron

Fyodor recognizes that the region’s artistic leaders are

obtained from a missile manufacturer. Joyce talks about

her indigenous people. Bob Haozous set sculpture to greet

“silencing” the metal by turning it in on itself, and the

you at the door in the form of two cast concrete, cumulous

elegant, cloudlike form he creates has great beauty

clouds. A subtext of atomic disaster emits a low radioactive

and presence. To re-cycle a thing of such sepulchritude

hum at odds with the cartoon-flower cuteness. Hard to

illustrates possibility. You don’t have to put up with a

see a Haozous smoke signal and not associate it with the

United States of Thugs and Thieves and the despair they

proximity of Los Alamos, the cancerous masses found in the

induce. You could continue the historic drive toward

deer nearby, and the distances to Hiroshima and Fukushima.

greater egalitarianism that made our nation great back in






the philosophical and spiritual realms of European

the day, like they still do in Santa Fe.

—Jon Carver

Constructivism and American Minimalism long before our Euro ancestors emerged from their tribal backwoods in

Stacey Neff, Sin Cera Blue Study 10, blown and cast recycled glass, 45” x 11” x 11”, 2012

Critical Reflection

Bound Together: Seeking Pleasure in Books Martin Stupich: Remnants of the First World

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

An art museum exhibition devoted entirely to books? I imagined there would be variety and history and surprises.

learn that he based each vinyl illustration on a line or title from

pigment inkjet prints presented here show dams, bridges,

And I found all of that. But the UNM Art Museum also offers

a poem. For example, he illustrates the Pierrots poem with a

open-pit mines, and other scars. It is deeply disturbing that

a mini world of books that presents questions about the book

clock face.

these photos are so lovely. We don’t want to see beauty in

as an art object, as a photo album, and as a state of mind. The

Dame Elizabeth Frink’s 1986 Aesop’s Fables combines

the destroyed, terraced landscape in Morenci open pit copper

twenty-six objects in the exhibition range from a pathology

spare text and lean drawings full of motion. Frink is a British

mine, Arizona but Stupich’s effect is truly beautiful. The swirls

notebook to a book of hours facsimile to pop-up books to

sculptor known for her large human and animal figures. Her

and tiers of roads and cut terraces have destroyed everything

a tiny accordion-fold book with gypsum from White Sands

drawings are wonderful surprises. The Complete Angler of

natural, yet there is a geometric beauty in these layers seen

National Monument on its cover. “These books harbor within

Izaak Walton and Charles Cotton by Izaak Walton is another.

against the unspoiled hills nearby. In Derby Dam spanning the

their pages distinctive worlds of image, text, or a synthesis of

Here is an example of double fore-edge painting. The design

Truckee, Nevada we should be seeing destruction, but instead

both into which the astute observer can roam and wonder,”

painted onto the outside edges of the pages reveals two

the dripping water looks like sinew and the log and rock in the

curator Michele M. Penhall writes in the gallery guide to the

different scenes depending on which way the pages are

foreground seem just as solid as the dam supports farther back


fanned. Roughly a third of the objects in the exhibition are

in the photograph. The disintegrating structures in Mill ruins

There are illustrated literary works such as Florilège

from the UNM Libraries’ Center for Southwest Research

with shadow, American Flat, Comstock Lode, Nevada, look like the

des Amours de Ronsard with poems by Pierre de Ronsard and

and Special Collections, which makes me want to learn more

fallen blocks of a crumbling Greek temple. Stupich allows the

lithographs by Henri Matisse. Penhall takes us a step closer

about the depth of their collection. My sole frustration as

shadows of whatever looms behind us to fall onto the graffiti

to the art by offering this quote from Matisse in the wall text:

I wander among the books is that I am only allowed to see

carved into the stone, “BEHOLD THE ANCIENT TEMPLES.”

“I do not distinguish between the construction of a book and

the pages on display that day. But the wall text indicates that

Stupich challenges our ideas about man-made and

that of a painting.” There is a super-size volume of The Works

“pages on many volumes will change during the course of the

natural worlds. In Greenhouse at Boyce Thompson Arboretum,

of Geoffrey Chaucer with ornamented pictures by Sir Edward

exhibition.” I plan a return visit. Or several.

cacti and path, Arizona we understand the rationale for

Burne-Jones, wood engravings by W. H. Hooper, printed by

Up the stairs from the museum’s main gallery housing

creating structures to protect these plants. The rounded,

William Morris. Books, yes, but also visual feasts. Quelques

the book exhibition, the Van Deren Coke Gallery is given over

vertical cacti contrast nicely with the angular, sloping glass

poèmes de Jules Laforgue is illustrated with serigraphs on vinyl

to photographs by Martin Stupich. Also curated by Penhall,

roof panels, but it is hard to look at the photograph and not

by Patrick Caulfield. Penhall brings us right inside Caulfield’s

this exhibition forces us to ask upsetting questions. The most

feel just as trapped as these cacti. In Burned truck stop along

process by sharing his words: “I had no intention of illustrating

unsettling one is about finding beauty in ghastly, man-made

Interstate Highway 80 near Winnemucca, Nevada, even the

in the usual sense, but rather with everyday objects.” We also

structures that have gouged the landscape. Stupich’s sixteen

burned-out structure looks like it is meant to be a sculpture. And the abandoned structure in the snow from Cyanide tank support ruins at abandoned silver mill, American Flat, Nevada, forms a heart shape and tugs at our logic. It is Stupich’s aim to make us think. “I photograph the natural and the engineered world,” he says, “thinking that the pictures help to illustrate our collective autobiography.”

—Susan Wider

Left: Dame Elisabeth Frink, detail from Aesop’s Fables, offset lithography. Gift of Mr. Saul Steinberg. Bottom: Martin Stupich, Bridge over canal, Venice, California, pigment inkjet print, 1974. Courtesy of the artist.

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THE magazine | 51

Santa Fe Art Institute More about the 2013 Season CONTESTED SPACE at

Earth Chronicles Project, The Artist's Process: New Mexico Film Screening, With Fran Hardy & Bob Demboski. In partnership with The Nature Conservancy. Monday May 13, 6pm SFAI Exhibition runs through May 17 The Sound of Sunset: How to Write About the Edge of Time. An Earth Chronicles Poetry Workshop with Lauren Camp. Thursday May 9 6:30 – 8:30pm SFAI Artists & Writers in Residence, MAY OPEN STUDIO Thursday, May 23, 5:30pm SFAI


Douglas Stanton “Small Abstractions” May 11 - June 23, 2013

Opening Reception: Saturday, May11, 11am - 7pm Live Music and Refreshments


412 12th St. Carrizozo, NM 88301, 763.350.2661 Gallery Hours: Fri/Sat/Mon:10-4 PM /Sun:12-4 PM


Nancy Youdelman: Dogs Are Forever

Eight Modern 231 Delgado Street, Santa Fe

Women have always collected things—BERRIES, scraps of cloth, buttons. Given that fiscal control was

and beading, bejeweled with zirconium, pearls, plastic

floral amulet expose the gown as an imaginative fairytale

historically in the pockets of men, it is no wonder that

and seashells. Some become mantels for dried flowers,

costume, its hardened armature that of an enchanted

women were conservative in their resources. Miriam

bouquets whose dead matter seem to be a substitute for


Schapiro and Melissa Meyer track this parsimony in Waste

the missing body. These dried plants are gathered from

Before a girl grows up, she plays dress-up and

Not Want Not: An Inquiry into What Women Saved and

Youdelman’s garden and get smothered and preserved

Youdelman’s boxes of vintage jewelry, racks of special

Assembled—FEMMAGE (1977-78). Their essay catalogues

beneath acrylic mediums and wax embalming, leaving a

occasion dresses, little shoes, and brimming garden pose

activities including collage, assemblage, découpage,

bountiful, textured, and somewhat glamorous surface.

the perfect assortment of wear. Although her femmages

photomontage, and, lastly, femmage, a word coined by

The Prowler’s molded shape boasts two humps

may spark the memory of violent corsets, decorated

the duo to include “all of the above activities as they were

for breasts, puffed sleeves for shoulders, and a slender

bound bodices, and societal maquillage, Youdelman’s

practiced by women using traditional women’s techniques

waistline. The skirt is long, like a debutante gown, and the

newest show also pays homage to a little girl. Alongside

to achieve their art—sewing, piecing, hooking, cutting,

whole thing seems to celebrate the laden, crunchy tree

decorative costuming, beloved canines are featured

appliquéing, cooking and the like”—the results of which

branches and upturned roses that hang from the bust and

throughout, and the bronzed surface of Dogs Are Forever

were generally considered the “leftovers of history.”

are brushed over in gold paint. This indelicate undercoat

boasts thirty mini vintage black-and-white photos, one

Femmage is Meyer and Schapiro’s succinct summation of

suggests the drama of an Alexander McQueen gown and

dated April 1934, all of happy dogs panting or doing tricks.

some of “the most extraordinary works of art.”

the handiwork of a thousand threaded beads. At the

Amid these photographs and domestic objects are the

Nancy Youdelman collects vintage relics and pieces

hip, as if tucked away for safekeeping, is a playful letter

homes and hearts of little girls and like so many before

them together, the results of which pioneered the feminist

warning its reader of a late-night ruse and signed, “the

and after her, Sally grew up and became a woman. But

art movement. In 1970, Youdelman and fourteen other

Prowler.” Alongside the dress, at arm’s length, are three of

before that, she loved someone with all her heart and that

students were part of the nation’s first Feminist Art Program

Youdelman’s Sweet Souvenirs, slender floral bouquets that

person was Tuffy. Grownups may come and go, but dogs

at the California Institute of Arts under the mentorship

are bound together with sewing thread and jewels and

are forever. Tuffy, the one I love.

of Judy Chicago. In 1972, Youdelman participated in the

preserved with an encaustic coating. Their juxtaposition

—Hannah Hoel

seminal exhibition Womanhouse—produced by Schapiro

was a curatorial choice by Eight Modern, and here they

and Chicago—which saw ten thousand visitors. Leading

look like wands charged with the power to protect and

the way for later works like Tracey Emin’s My Bed (1998),

possibly destroy. A gold dress, a mischievous note, and a

Nancy Youdelman, Dogs Are Forever, mixed media with encaustic, 31” x 39” x 6”, 2013. Photo: Michael Karibian

Womanhouse sought to redefine domesticity through the deconstruction of the home. It staged a series of decisive installations inside an abandoned Hollywood mansion; in works like Shoe Closet and Aprons in the Kitchen, the role of women’s wear was equally reconsidered for its embodiment of gender performativity. It is under Schapiro’s tutelage that Youdelman first used clothing in her artwork. Fast-forward three decades and Youdelman’s third solo show at Eight Modern, fondly titled Dogs Are Forever, opened to a familiar feminist crew that included Judy Chicago. The latest assembly of dresses, bouquets, and children’s shoes displays a triumphant eBay purchase of old photographs that in part chronicle the tale of a young girl and her dog Tuffy. Bronzed plaster and organic debris hold an assortment of colorful, encrusted vintage buttons. Cast from a child’s dress with puffed sleeves and Peter Pan collar, Tuffy is the [One] I Love boasts a lovely scrapbook sprawl, or femmage, compiled from gendered domestic objects. Six little black-and-white photographs are collaged onto the skirt, telling a small story about Sally and her dog. The back of one of the photos reads, “Tuffy is the I love,” gently inscribed by a young hand girl who omitted “one” from her earnest declaration. Youdelman’s vintage dresses evoke the diaries of departed girls and women, whose garments still linger, and are collected by the artist, festooned with gold chains

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Phillis Ideal: Overlap

David Richard Gallery 544 South Guadalupe Street, Santa Fe

Phillis Ideal’s first solo exhibition at David Richard Gallery is comprised of twenty-one abstract paintings in

Off The Deep End, completed over the course of

finished surface textures. The many contributing layers

a surprising, unpredictable palette. The title of the show,

four years, is a large, sixty-one by seventy-one inch acrylic

of each image are smoothed into a sumptuous, velveteen

Overlap, consistent with the titling of her pieces, is starkly

and collage on panel. Its more aggressive composition

surface that breathes an air of hushed finality.

descriptive, and also provides a useful guide with which

illustrates a further duality that characterizes Ideal’s

A relationship with Abstract Expressionism or Color

to proceed in viewing. Overlap refers to Ideal’s process, in

work—the layering of flat expanses of color with painterly

Field painting is evident, and has been commented on in

which she layers and pieces together paint and elements

brush strokes. Her brushwork, though exuberant and

previous statements about Ideal’s work. But while Abstract

of collage. She often pours onto previous layers, allowing

seemingly spontaneous, reads as more confident than

Expressionist painters sought out sublime, disembodied

the paint to flow organically in response to the preceding

reckless. A background of blasé olives, grays, and blues

images through the purity of paint, Ideal’s work is strikingly

episodes of mark-making. This practice of constructing an

is accentuated by stark blows of black, brown, and forest

different due to the patent materiality of her process. Her

image layer by layer is combined with gestural brushwork

green. Dissonant flashes of coral, lemony yellow, and sky

method of pouring paint—of collaging elements together and

and highly finished surface textures to result in “paintings”

blue punctuate the stillness, bringing refreshing light and

allowing them to influence how the paint takes shape—limits

that reward prolonged viewing. I refer to them as “paintings”

levity to the whorl of gestural strokes.

her role as author. Instead, Ideal is something more akin to a

because Ideal’s practice is intimately rooted in materiality

In the diptych She Said He Said (2012),  two panels

conductor, orchestrating the formal elements of her medium

and medium. Despite their smooth, two-dimensional

share the same highlights of lime green, but otherwise clash

until they have fulfilled their purpose. Rather than painting

surfaces, the resulting artworks are more aptly referred

in palette and composition. The title reflects an interest

a painting, she constructs it, grounding and embodying her

to as sculpted objects with presence and body, rather than

in the opacity that results in the overlapping of visual and

images in the process that creates them. The resulting art

painted, disembodied images.

material components. Each panel features expanses of

objects are two-dimensional images inseparable from their three-dimensional material bodies.

The most arresting aspect of this show is Ideal’s choice

dense, static color, obscuring the painterly strokes that

of palette. Colors vary from dull grays, olive greens, and

preceded them. The left is dominated by a towering billow

Phillis Ideal’s paintings probe and question: at

passionate reds to crisp jolts of lime green and peachy coral.

of dusty rose. The right asserts an ominous cloud of black.

what point does paint become image? When, after

In Conceal, Reveal (2010), clean, sweeping strokes of cerulean

Hope for the seemingly incompatible compositions (or

layering continuously, is the act of mark-making “done”?

blue frame a muddle of ochre and gray, bringing life and breath

couple?), however, is given in the spontaneous strokes of

When does the “painting” or “art” emerge? An awkwardly

to colors that previously hung stale and stagnant. The title

lime green that unite Ideal’s surprising, non sequitur forms

collaged block of neon coral among romantic, painterly

draws attention to the dual nature of a layering practice: the

and colors.

swirls might be Ideal’s tongue-in-cheek answer. Perhaps

frame-like composition creates a window to a moment that

Formal variety occupies each painting. Where soft,

the inability to provide a satisfactory answer for these

has passed, a temperament that has since lost its will. Though

sweeping brush strokes meet blocks of dense color

questions is what imbues her paintings with momentum

Conceal, Reveal is more minimal in its composition compared

and hard edges there is depth of composition, but also a

and persistent vitality.

to the more vivacious pieces in the exhibition, it epitomizes

stratigraphic layering of the artworks’ evolution through

—Lauren Tresp

the core visual and process-based motifs that characterize

moods, disjunctive thoughts, and pulsations of energy.

the exhibition. Ideal’s layering illustrates a visual history of

Paint is ever-mutable under Ideal’s hand. The potential

the painting’s evolution while simultaneously concealing it,

for additional pours of pigment and continual overlapping

Phillis Ideal, Off The Deep End, acrylic and collage on panel, 61” x 71”, 2008-2012

transforming the image into something altogether new.

of visual or material elements is tempered only by highly

Phillis Ideal, Conceal, Reveal, acrylic on panel, 14” x 11”, 2010

m ay


THE magazine | 49

Critical Reflection

an - thol - o - gy

ViVO Contemporary 725 Canyon Road, Santa Fe

I don’t spend much time on Canyon Road. As a local, I find it quaint and very pretty and sometimes squeamishly

with opaque black paint. The darkness of the works and

Arkansas native and Santa Fe resident Ann Laser con-

earnest in its veneration of Western painting. ViVO Contem-

their uniform surface texture make them somewhat bleak,

tributed several very lovely prints to the exhibition, most

porary, an unassuming little gallery located at the top of the

even funereal, but they’re playful and seem to chide the

of which achieve a Zen-like quality in their moderated tone

street, offers art in a wide range of styles and genres—and

tempered, sensible art around them. Other works are embel-

and scale. In Entanglement, a thick black squiggle competes

a recent visit turned out to be an unexpectedly pleasant re-

lished with clockworks, bobs and bits, and food packaging, all

with an underlying pattern of pale green and dark, brackish

minder of why Canyon Road is an abiding gem of an arts dis-

coated in matte-black paint. Their chalky coating doesn’t at all

orange. Underneath it all is a subtle wash of lemon yellow,

trict in America’s increasingly cynical creative climate. ViVO

diminish from the intrigue, but rather increases our curiosity

a color that imbues this quiet composition with a fresh,

kicked off its spring season with an-thol-o-gy, billed on its

about what lies beneath, and why.

Springtime quality—wonderfully seasonal at a time when

website as “an intimate group exhibit.” The show highlight-

Of a somewhat similar ilk are Ro Calhoun’s assemblag-

ed the gallery’s stable of artists, a mostly local bunch whose

es. These incorporate junkyard elements like machine parts

The highlight was the work of Patricia Pearce, whose

work ranges from the painterly to the artsy-crafty. ViVO is

and antiquey objets to form weird mash-ups; one such work

heavy, black sculptures are cunningly maximalist. Although

committed to representing New Mexico-based artists, and

merges old fashioned typewriter letters with a headless

they are clearly man-made, they yet retain peculiarly organ-

it’s also the only gallery in Santa Fe with a room devoted

baby doll, and the effect is charmingly creepy. The exhibition

ic qualities—they’re intuitive and seductively bleak. Listen

exclusively to the display of book art. (Apparently it’s a pop-

space is small, and it was hard to tell which works were part

up, Santa Fe: a meander down Canyon Road at the start

ular concept. Earlier this year, the gallery paired poets with

of the show and which weren’t. An altered book piece by

of a long summer is perhaps just what your acupuncturist

artists and asked them to inspire each other; the experiment

Joy Campbell was wonderfully balletic, a beautiful standout

ordered. Why not pop into ViVO before cervezas at El Farol?

produced interesting, personal collaborations and attracted

that fit in harmoniously with surrounding works. I was sor-

If this show is any indication, one of America’s most beloved

a big turnout at an otherwise barren time of year for gal-

ry to discover that more examples of ViVO’s much-touted

historical art destinations still has the power to captivate.


book art were not on view during this exhibition, and it was

—Iris McLister

Located just across from Geronimo restaurant, ViVO is housed in one of those charming, historic adobes with too-

summer is tantalizingly just out of reach.

worth a quick peak throughout the gallery to discover more thoughtful work from Campbell, a former English teacher.

Patricia Pearce, Three Spools + One, mixed media, 12” x 14”, 2013

short ceilings and creaky wooden floors. Inside, there’s no trace of traditional, Santa Fe–style art. Instead of cowboys and Indians, the intimate space is filled with minimal prints, loosely figurative sculpture, and the aforementioned book art, making it a study in contrasts. Acrylic painting, mixed media, works on paper, photography, encaustic, glass, sculpture, and more are distributed throughout a two story space that’s sensitively organized and easy to be in. Though the work included in an-thol-o-gy covers a range of genres, tonally they are remarkably similar, rendered in conservative variations of cream, beige, and tan. This limited palette of earthy hues acts as a perfect foil for the work of Patricia Pearce, whose diorama-like assemblages were the highlight of the show. Reminiscent of the fabulously weird work of Louise Nevelson, Pearce’s wall-mounted sculptures jut out defiantly from the cream-colored walls. They contain an assortment of found objects and steam-punk elements. In Artifact and Alchemy V, a smallish architectural structure incorporates spools, little boxes, and unnameable objects, all coated

m ay


THE magazine | 55

Art/Life Counseling


Linda Montano 1606 Paseo


SITE Santa Fe Peralta, Santa Fe

“Good art is not always good life.” —Linda Mary Montano

I went to SITE Santa Fe on a Friday afternoon in late March for a counseling session with artist Linda

I sure had no idea.

my first response is ‘There’s no way. I couldn’t do that.’

Mary Montano (see THE magazine, April 2013, p. 56). For

I was able to record my voice during my session with

safety in numbers, I dragged along a friend. All I knew

Montano; I wrote notes while she spoke to me. Below,

Montano zeroed in on my use of the term “spiritual

about the deal was that I would spend about fifteen

as succinctly and honestly as I can bear to transcribe my

warrior” and asked how I might define its opposite. We

minutes participating in an “Art/Life” counseling session,

notes, is the gist of our session—a session that quickly

came up with the idea of being a spiritual slob. “Okay, be

via Skype, with Montano, whom I’d never met and didn’t

came to feel like a conversation with a very close friend.

that,” she counseled. “Embrace your pilgrimage to that

know much about except that she’s performed some

Montano, wearing a knitted chicken hat that bobbed

aspect of yourself. Relax into being the master of spiritual

incredible acts of endurance and ritual over the decades.

up and down on the video screen as if it had a life of its

slovenliness.” I laughed, relieved that she wasn’t berating

Acts that required commitment on a level of climbing—

own, initiated the session by asking me what was going on

me as the lazy good-for-nothing I have all too often taken

and surviving—Mount Everest, acts that Montano has

in my life. Maybe it was the hat, but I decided I could trust

myself for. We shared along the lines of reaching a certain

performed during her whole adult life with a quiet

her entirely. My response follows: “Living as a spiritual

age and having done some serious dues-paying. Now, she

humility I cannot fathom. I hadn’t yet seen her exhibition,

warrior is getting more important as I get older, but I

advised, was the time to “receive. Receive. Be a gushy

Always Creative, currently at SITE. My only advance work

have a lot of fear around my physical self, about living

receiver of beauty and love.”

consisted of skimming press releases and talking with a

authentically in my body. I learned as a young woman not

Montano thought maybe I could become such a

few people who know of Montano’s long career. But I

to really trust my body, and it feels as if it’s betraying

master of spiritual slovenliness that I could open an

wanted to go with an open mind—no preconceptions, I

me again, in a whole new way, now that I’m aging. I’ve

academy. “The Academy for Spiritual Slobs!” I crowed,

told myself.

changed; I’m a different person now physically. I feel like

envisioning myself as the beloved headmaster—a

The truth is that I was afraid. I arrived for my

I have to change my ways—become more conscious and

Dumbledore to magic-less Muggles—at a school full

appointment with more than a few trepidations: What

proactive about my health—in order to be who I’m really

of Buddha-bellied seekers of self-acceptance on their

the heck was I supposed to do and say? Why was I even

supposed to be. But I’m scared; I’m really scared and I

delighted paths to nirvana.

there? What was my role? What is “Art/Life” Counseling?

don’t know if I can do it. I look at someone like you, who

This is what I shared with Montano about what I

Was I supposed to somehow know that already? Because

has done these incredible feats of physical endurance, and

had gotten from our session: “I don’t need to do anything

So that’s what’s on my mind.”

except be what I am. You helped me identify that I have this ideal picture for myself that isn’t accurate—slim and healthy and flexible and doing yoga and never experiencing any pain in my body or being sick. Who is that? Who am I talking about? But now, after years of saying ‘no,’ I’m learning how to say ‘yes.’ I am learning to be okay with the softness of who I really am.” So, I’ll be starting a school for spiritual kindness. Anyone care to sign up? We might not be great at being tortured artists, but we’ll be amazingly happy human beings. On Saturday, May 18, from 10 am to noon, Linda Mary Montano will be offering Art/Life Counseling live in the gallery on a first-come, first-serve basis. Admission to SITE is free during those hours.

­—Kathryn M Davis

“Art/Life Counseling” (left: Marion Wasserman, right: Linda Mary Montano) at members’ opening for Linda Mary Montano: Always Creative, February 21, 2013. Photo: Kate Russell

Critical Reflection

Kris Cox 1613 Paseo

Fuck Off You Fucking Fuck

LewAllen Galleries Peralta, Santa Fe


beige strip painted across the male’s eyes. This pulls the viewer back from an implied narrative to operate at the cameo level

is a luminous painting (80” x 60” x 5”) with a monochrome

documentary object. That effect is assured by a canvas swatch

of the horse in profile, inferring instead some symbolic link

caramel surface made satin by pigmented putty and inflected by

affixed to the panel to the right of the image, whose pattern

between the two, one that bears the tragic import of the play

the expletive whose bold san serif typeface runs top to bottom

of meandering lines formed by pigment dripped from a brush

Equus, with its blinded horses and unseeing gods. What first

down the center of the panel. So as you visually respond to the

appears to record the color palette used for the painted figure.

appears with the striking visual force of a photogravure, abruptly

beautiful, flaxen color field you mentally mouth the graphic text

The attached swatch challenges the viewer’s suspension of

descends to the realm of ominous dreams.

that divides it. The experience is akin to meditating on a Zen

disbelief much as an early Renaissance painter’s trompe l’oeil

The question of the artist’s intent with such license is likely

koan or a haiku that ends as a raunchy limerick. The incongruity

towel at the entrance to a deeply receding room exposes the

not the same as the early Renaissance painter’s bragging rights

it poses for this very strong panel typifies the quirky, poetic

underlying flat perspective pattern sustaining the illusion of

for mastering the new perspective. Nor does it simply explore

tension that pervades a consistently strong show.


the terrain between poetic abstract expression (including de

By the early 1980s Kris Cox was already a master

Artist’s Child is another instance of “girl interrupted”: A

Kooning’s “homeless representation”) and expressive but specific

ceramic artist whose clay vessels from that period—surrealist

girl’s teal blue silhouette is sculpted against a Florentine green

“objecthood.” Perhaps the answer is exemplified in the Fuck Off

pots, fantasy jars, sci-fi teapots, and terra cotta tableaux—still

background bordered on each side by complementary vertical

painting and its off-putting expletive, which, like all the disarming

overwhelm with their virtuoso technique, beguiling shapes, and

rose strips. Here, the Quattrocento-portrait quality of the young

tactics Cox deploys, succeeds in checking the tendency to view

structural beauty. Since 1995, Cox has widened his focus to

girl in profile is challenged by Cox’s placement of a flat plane

his (or any other) art simply as a self-conscious study in the

embrace pictorial form, transferring his command of ceramic

over the back half of the head, revealing the pictorial deception

application of Minimalist praxis—which it might be, but do we

craft into two-dimensional formats using text and mixed media.

while enhancing it by virtue of our very awareness of it.

care?—and enabling the viewer to actually feel “the beauty of

Cox has waived his mastery of the ceramic medium, with all

Cox employs this explicit formal device in several paintings

its attendant success, and opted instead for the risky path of

to produce a creative discordance that is resolved on another

What insulates Cox from any trace of the derivative

experimentation, with its frequent fellow traveler: failure.

level. Even his large Post Concentric Episode Series can be read

or contrived is a complete command of his process. His

Cox employs the medieval French ceramic technique of

as flat geometric diagrams on the parchment surface of the

wry artistic license lets him imbue (or fail to imbue) the

champlevé enameling and the sixteenth-century Japanese raku

waxy panel or as constellations floating in deep space. In similar

hybrid nature of contemporary art with the seamless traits

firing technique to achieve his mixed-media wall paintings. And

fashion the dot grid of his Relative Timeline Series, Blue 48 can

of integrity and authenticity. His cheek is a check against

the work continues to reflect his shift to mainstream currents

read alternately as “deep space nine” or as an Amish quilt.


controlled chaos” (gallery statement)—or whatever he’s doing.








of contemporary art: His paintings straddle the allusive, poetic

In a few instances, the deployment of such disruptive

tradition of abstraction and the literal, theatrical legacy of

formal tactics comes across as forced; it does not achieve its

polemics. Cox creates serious work that does not take

Minimalism, while exploiting the postmodern capacity of the

intended purpose—i.e., it fails. But that’s what experimentation

itself seriously.

photo image to reconcile both in a single powerful work that is

is all about, and the success of the large sepia painting Dream

—Richard Tobin

at the same time evocative image and expressive object. Case

Diptych is an eloquent argument for such failure. The left panel’s

in point: The intimate quality of what comes across at first as

digital image of a male’s head in frontal view is countered on the

a female portrait in Woman/Artist is interrupted by the red

adjacent right panel by a horse’s head in profile. The impression

strip painted across her eyes, tilting a personal image toward a

of some noble Republican Roman portrait is belied by a neutral

m ay






Kris Cox, Woman/Artist, mixed media, 21” x 16” x 1” (image), 6½” x 7 ½” x ¾ ”(swatch), 2012

THE magazine | 57

500+ full-color images in 260+ pages 4000+ artists indexed to their galleries Gallery, Studio & Museum profiles Detailed street-by-street maps Informative articles Dining & lodging resources Glossaries of art terms


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I love to work with materials that tell a story, materials that I find at flea markets or roadside garage sales. I started making jewelry when I was nine years old. I am fully connected to my works, and in the moment of creation I experience pure divinity. I live for the sharing of my passion and am so thankful that I get to witness each process. The pieces that are in this photograph are ones that I made this past winter. Most of them I created in the nude, by a fireplace. There is something completely pure about creating things in the nude, by a fire—so natural, so animalish and so human. I am very connected to the headpiece— the texture of the flowers and the color selection and placement of antlers harvested from a friend’s winterkill. It’s fierce and I love it!   Written by the artist:

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m ay


THE magazine | 59

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Guy Cross THE magazine | 61


Chancing Upon by Steve Ausherman Walking the woods edge I notice animal prints in the soft-thawed earth Raised like Braille for passing geese To scrutinize from above. A long two-toed slash opens the mud Where a deer slipped While running. I lean down and immerse index finger In the pool of cool water collecting in the print From recent rains. I lift hand to mouth and trace the ridges Of my tongue with moist fingers, Taste my heritage running down DNA strands Of corn, of church pews. Steve Ausherman is a poet, painter, and photographer whose writings have been published in many journals across the United States. “Chancing Upon� is from his new book of poetry, Creek Bed Blue (Encircle Publications, $12.95).

62 | THE magazine

I press my eyes shut tightly and pray My family can hold onto this land For one more passing year. m ay


Patrick Oliphant: A Survey Selections from Rome and other works

Surprise!, 2012, charcoal on paper, 27 3/4 x 39 1/2 inches. Š 2013 Patrick Oliphant, courtesy Gerald Peters GalleryŽ

May 10 - June 8, 2013 Opening Reception with the artist: Friday, May 10th from 5-7pm A catalog will be available for purchase | Booksigning: Saturday, May 11th at 2pm f O r f u th e r in fO rm at iOn P leas e cOn tact evan feldm an, d irectOr em a il: efeldm an @G P G allery.cOm Or call 5 05.9 5 4.5738

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Untitled MCF-1, 2013, Oil on paper, 23 x 30

May 3 - June 1, 2013

Daniel Brice

THE magazine - May 2013 Issue  

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

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