Page 1

Santa Fe’s Monthly









of and for the Arts • May 2015


53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 |


03 letters 14 universe of: Artist Nina Elder 18 art forum: The Lives of Others, directed by Florian Henckel von Donnersmarck 21 studio visits: Chace Haynes and Matt Thomas 23 ancient city appetite: Arroyo Vino by Joshua Baer 25 one bottle: Aquafina Purified Drinking Water by Joshua Baer 27 dining guide: Joseph’s Culinary Pub and Il Piatto Italian Farmhouse Kitchen 31 art openings 32 out & about 38 previews: Come Join Me Up Here at GVG Contemporary and New Language, New Vistas: Women Artists of New Mexico at Matthews Gallery 41 flashback: John McCracken, Medanales, NM, 1996, photograph by Guy Cross

43 national spotlight: Envisioning Ecstasy: Works by Cira Crowell and Christopher Michel at Tibet House, New York City 45 feature: Man Ray’s Shakespearean Equations by Jackie M 49 critical reflections: Aisthesis: The Origin of Sensations at Piazza Litta, Varese, Italy, Bebe Krimmer at Chiaroscuro, Decomposition at Evoke Contemporary, Elliot Norquist at Charlotte Jackson Fine Art, Gallery Fake at Eileen Braziel Art Advisors, Human Drift at SCA Contemporary (Alb.), Inventory of Light at Peters Projects, and Keeping Things Whole at Zane Bennett Contemporary Art 59 green planet: Jeanette Hart-Mann and Chrissie Orr: Artists, Activists, and Creators of SeedBroadcast, photograph by Jennifer Esperanza 61 architectural details: Spring Trees, photograph by Guy Cross

One of the seminal forces in the art of the past century was, and still is, abstraction. Modernism was born from an art that was liberated from mimesis by color and shapes existing independently beyond rigid academic and political hierarchies. Postmodernism still embraces aspects of abstraction as a powerful means of thought and expression. Adventures of the Black Square—Abstract Art and Society 1915-2015 (Prestel, $60) focuses on the history of geometric abstraction from its origins in Russian Constructivism through its global evolution over the last century. This particular form of abstraction differs from the biomorphic genre whose images are derived from nature and

visualizations of psychic elements, as well as the gestural and existentialist influences of Abstract Expressionism. The pure forms in geometric abstraction are based on mathematically derived systems and are most commonly monochromatic and non-representational. The book traces developments in this formalist style, chronologically identifying four key themes beginning with the utopian vision of a new future for society based on technological progress. That era was followed by the architectonic movement, which employed the three dimensional capacity of the style to create clean, minimal social environments, dissolving boundaries between art

and society. With the rise of mass media, geometric abstraction would influence communication, promoting ideas through text and image. Lastly, the book tracks abstraction’s absorption into the everyday vocabulary of material culture and social relations. For each of the periods there were innovators furthering the black square’s influence on European, North and South American, Middle Eastern and East Asian aesthetics and politics. The catalogue accompanies an exhibition at the Whitechapel Gallery, London, with essays edited by the gallery’s director, Iwona Blazwick and its curator-at-large, Magnus af Petersens.

Dan Christensen atmospherics

may 15 - June 21. 2015

Reception: FRiday, May 15, 5:00 -7:00 pM

READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.



WEDNESDAY 6 MAY AT 7PM LENSIC PERFORMING ARTS CENTER Claudia Rankine is the author of Don’t Let Me Be Lonely: An American Lyric, a multi-genre

Untitled, 1969, acrylic on canvas, 101½" x 75"

book blending poetry, images and essays in which she writes, “Forgiveness, I finally decide, is not the death of amnesia, nor is it a form of madness as Derrida claims. For the one who forgives, it is simply a death, a dying down in the heart, the position of the already dead.” In praise, Jorie Graham wrote, “Rankine breaks out of virtual emotion, reawakens honesty, and exhibits such raw political courage and aesthetic bravery it sends tremors through the entire field of American poetry as she finds it.” Her new book Citizen, continues Rankine’s unique genre and presents a powerful testament to the individual and collective effects of racism on society.

TICKETS ON SALE NOW or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

Untitled #69, 1971, acrylic on canvas, 75" x 88"

LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta Santa Fe, NM 87501 (505) 988.3250


magazine VOLUME XXII NUMBER IX WINNER 1994 Best Consumer Tabloid

SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS James Rodewald Kenji Barrett S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley OUT & ABOUT PHOTOGRAPHER Audrey Derell CALENDAR EDITOR B Milder WEBMEISTER Jason Rodriguez SOCIAL MEDIA Laura Shields

CONTRIBUTORS Carol Anthony, Diane Armitage, Joshua Baer, Stella Maria Baer, Davis K. Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Marina La Palma, Jackie M, Arthur Sze, Richard Tobin, Lauren Tresp, and Susan Wider COVER Assemblage by Man Ray


THE magazine: 505-424-7641 Lindy Madley: 505-577-6310 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 2015 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.



Parables and Stories: A Re-interpretation: new paintings by Paul Steiner on view at Gallery 901, 708 Canyon Road, Santa Fe. Reception: Friday, May 1 from 5 to 8 pm. On view through May 27.

TO THE EDITOR: Thank you to both Hannah Hoel and Richard Tobin for their reviews of the Axle Indoors show at Peters Projects in the April issue of THE. I would like to clarify a misunderstanding that Mr. Tobin erroneously promotes in his review. The exhibition was not hosted by the “tony” Gerald Peters Gallery. Gerald Peters Gallery now resides in the historic Bandelier House located at 1005 Paseo de Peralta. What has replaced the “mothership” Gerald Peters Gallery is Peters Projects, a completely new gallery and program that I have developed from the ground up over the past two years. My intent is to provide a unique experience for Santa Fe gallery goers, and I invited Axle Contemporary to produce an exhibition as the first of three annual collaborative community-based shows that celebrate our diverse artistic community. Without the limitations paramount to a mobile gallery, they had the freedom to think big. The Axle Indoors show did not “lack the original context of the work,” because Peters Projects was the original context for this work—the artists were specifically invited to show multiple pieces of current works without being restricted by size or medium. The result was a ground-breaking survey of a large cross section of contemporary art in Santa Fe seen by thousands of visitors, many returning multiple times. My heartfelt thanks also goes out to the artists who participated and the community at large for making Axle Indoors an eminently successful event. —Ylise Kessler, Peters Projects, Santa Fe, via email TO THE EDITOR: I seldom pick up THE magazine anymore. But when I do, I am concerned by the absence of any Spanish Colonial (think Spanish Market-traditional and contemporary, think WPA, think CCC, think adobe, think acequia, think low-riders) representation of any kind! I don’t need to tell you the history of New Mexico. We’ve been here

over 400 years, and it is because of the Spanish Colonial presence that there is something called Santa Fe Style. What are you trying to say when you exclude my ancestors and the agricultural/water-based democracy that they built an enduring life upon? Maybe you should call it THE: the magazine for a preferred and narrow cultural view of New Mexico, realtor approved. —Camilla Trujillo, Santa Fe, via email TO THE EDITOR: I have a bone to pick with two of your reviewers— Ann Landi and Marina La Palma. Landi wrote about Strata, an exhibition of work by architect Antoine Predock at the Richard Levy Gallery and La Palma wrote about On the Map at 516 Arts. I attended the openings of both shows and it appears that neither writer paid close attention to the exhibitions. What I read in your April issue was so far removed from what I experienced that I must admit I was dumbfounded. I can only imagine that the review of From the Ground Up: Design Here + Now was assessed during the opening reception—where over 1,000 people attended. The Predock exhibition at Richard Levy Gallery was a wonderful show that revealed this architect’s multi-faceted design processes. How Landi missed the chronological story of Predock’s layered design process in the Tacoma Art Museum installation is hard to imagine. To her credit, Landi did some further research and connected Predock’s expressive approach to the influence of abstract expressionism. Perhaps both reviewers were overwhelmed by the crowds and could not really “see” the work. If that was the fact, they should have come back to look at another time, or simply reviewed the opening party itself. Bottom line is that neither reviewer’s writing reflects well on your wonderful publication and both reviewers could probably use a good talking-to. —Melissa Colburne, via email

THE magazine | 5

Think you ve seen the O Keeffe Museum? Look again!

Georgia O’Keeffe, Blue – A, 1959. Oil on canvas, 30 x 36 in. Georgia O’Keeffe Museum. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.

Georgia O’Keeffe:


Line, COLOr, COMpOsiTiOn

of photography

M ay 8 – s e p T e M b e r 1 3 , 2 O 1 5


The power of Georgia O’Keeffe’s artwork derives from her mastery of essential elements of art making: line, color, and composition. To understand the richness of O’Keeffe’s artistry, this exhibition reveals, through paintings and drawings spanning her career, her disciplined drawing practice, dramatic color palette, and innovative sense of composition.

Pioneering Photojournalist

Exhibitions and public programs are made possible in part by generous support from The Burnett Foundation, The Hearst Foundations, and the Nancy D. and Robert J. Carney Exhibitions Endowment. Additional support was provided by the Santa Fe Community Foundation; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; and the Santa Fe Arts Commission and the 1% Lodgers’ Tax. O’Keeffe: Line, Color, Composition is part of Santa Fe’s Summer of Color.



Stature of Liberty, New York Harbor, 1952 ©Time Inc

Exhibition continues through June 28 Galleries


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On View at David Rothermel Contemporary

Shirley Klinghoffer: CRT Revisited

May 23 – October 11, 2015 Organized by Museum of Glass

The artwork in Shirley Klinghoffer’s CRT series was inspired by hospital forms used to support women’s bodies during radiation therapy. With sensitivity and discipline, she has transformed these forms into molds over which she has slumped skins of glass that freeze a moment of extreme vulnerability. Learn more about Klinghoffer’s Healing Objects Project and her Visiting Artist Residency at crt-revisited.

Shirley Klinghoffer, CRT 0981, 1999. Slumped glass installation; dimensions varied. Photo by Malcom Varon.

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controlled, conceptual, and often monochromatic. Her work explores the visual repercussions of land use in the West, spanning production, consumption, and waste, with special interest in features such as gravel pits, mines, and lumber mills. In a sense, Elder is a visual anthropologist. Through paintings, drawings, and installation, she examines the contemporary landscape as a reflection of the economies, politics, and culture of modern life. Her work has been exhibited at the Harwood Museum in Taos, the Center for Contemporary Arts in Santa Fe, the Rule Gallery in Marfa and Denver, and most recently at Central Features in Albuquerque. SITE AND MATERIAL

dollars worth of metal, resulting in a hundred billion dollar

One of the most important steps in my research is

profit for the Guggenheims and JP Morgan. I was surprised

a physical interaction with place. I hike into mines, I

by many aspects of what I encountered, primarily the

petitioned for security clearance and was able to visit the

minimal environmental impact that the mine at Kennecott

Nevada Nuclear Test Site, and I will sleep among radar

actually had, the speed at which entropy happens in Alaska’s

dishes. Through physical inhabitation I seek to develop

extraordinarily dynamic landscape, and the current invisibility

empathy for a place and its history. The impacted

of the Kennecott Corporation, a company that grew from

landscapes that inspire me are often of a scale that is

that mountain side in Alaska and now has interests ranging

somewhat inconceivable and only through physical

from Zimbabwe to Peru to Utah, and an annual value of one

experience do I perceive the industrial sublime. I gather

hundred and twenty eight billion dollars. This summer

material from sites that then become part of my studio

I will travel to the Yakataga Bay Radar Site on the Lost

process. Using radioactive charcoal that I harvested from

Coast of Alaska, surrounded by eighteen-thousand-

the burned forests surrounding Los Alamos National Lab,

foot-tall mountains and giant ice fields. Although it was

I recreated classified photos from early atomic tests. I use

decommissioned in the 1980s it is one of the few remaining

discarded paint that is considered industrial waste. My

intact radar sites. This project is allowing me to investigate a

drawings of mines are burnished with soil and rocks and dirt

new set of questions: How does a once functional and now

that I gather from tailing piles and slag heaps. By embedding the

obsolete place become a place again? What does it mean to

actual site into my representation of it, I hope to further

bear witness to a place that will never be monumentalized,

reveal how integrated industry and extraction are to our

but was significant not only in my father’s life but also to

consumer-based existence.

the nation’s entire notion of safety and security? What can I communicate and transmit from a silent place about


humanity, what we value, what we preserve, and what we


State Land Commissioner Aubrey Dunn wants James

disregard? You can see me interviewed about this project in

I make paintings and drawings of industrially

Tyler’s sculpture Brickhead: Hope removed from its

an ice cave under the Kennecott Glacier at https://polarlab.

impacted landscapes in order to re-complicate

current position on Old Santa Fe Trail, and proposes to

the mundane, see the unseen, and unveil the

replace it with an educational display of an oil pump jack. As

camouflaged places on which our daily lives depend.

an artist, an environmentalist, and a person who is deeply


Although I will probably never paint a human

committed to Santa Fe’s vibrant and creative future, I could

I am currently making large-scale photo-realistic drawings

figure, my work is about people, their needs,

not agree more. James Tyler’s website states that he strives

of the mines where Kennecott Corporation and its

their policies, their economies, and their power.

to create a global vision of art. I have nothing against this, nor

subsidiaries perforate the globe. These mines span

Industrial sites are monuments to The American

do I have anything against the concept of hope, and I hope this

from Australia to Canada to Peru. Each day, Kennecott

Dream, icons of man’s dominion over land and our

sculpture finds a good home. I applaud this rare opportunity

Corporation extracts approximately four hundred and fifty

ability to provide the raw material for our wildly

to expose that it is land use and resource exploitation, not

thousand tons of rock from their copper mine near Salt

consumptive existence. Rather than ignore mines,

art, that keeps this state economically solvent.

Lake City, one of hundreds of sites that they are exhuming. I choose to draw these sites realistically because their

power plants, factories, and the military-industrial complex, I use aesthetics and art contexts to bring the


vastness and structure is unfathomable, yet a photograph

industrialized landscape into a conscious space that

I am thrilled to have support from the Polar Lab at the

documents their actuality. They look otherworldly and

encourages reflection on what we use and what we

Anchorage Museum to engage in long-term research in

hyperbolic, yet without any one of these massive mines

are using up. I question the resiliency of a natural

Alaska. In 2014, I spent three weeks in the towns of McCarthy

our daily lives would be impossible. In holding myself to

environment barraged with industrial voracity, and

and Kennecott, deep in the thirteen-million-acre Wrangell-

reproducing the mines in near photographic detail, I am

I hope that my paintings and drawings create a

Saint Elias Wilderness. Early last century the copper mine

a witness to these places to which our contemporary

platform for further investigation.

at Kennecott produced a staggering three hundred billion

existence is bound.



THE magazine | 15

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“…these large buildings are always burning with the slow and implacable fires of human desperation.” —Tennessee Williams, The Glass Menagerie

This photograph looks like it was shot in the diner from Edward Hopper’s painting Nighthawks—only many years have passed, and now the curtains are pulled shut against


the night. Here we are inside the space looking around instead of outside looking in.


Even the walls are the same pale ochre as the walls in Hopper’s painting. There are


five people in the photograph but each one is in their own world—none of them are talking or looking at one another. They are individuals, islands in a stream of fluorescent light whose buzz you can just about hear. The woman closest to the camera looks like she is going to say something, but her dark glasses prevent us from guessing what. The

This is a café of loneliness. Five figures are present, but no one interacts with each other—all seem to be consumed by their own personal misery. Additionally, none of the figures look out to the viewer and engage us. For example, the woman in the foreground wears sunglasses, as if shielding herself. Combined, there is an overall feeling of emotional detachment. Psychologically, there are many things here that mimic symptoms of clinical depression. Indeed, the figures’ emotional

man behind her looks at the back of her head, as if her hair might hold the answer. We are left only with empty chairs and shadowed barstools, illuminated ashtrays, and faces turned the other away. And yet the woman with hidden eyes leaves us with a sense of expectation—she wants to say something. We can’t be sure what, but maybe, if we wait just a little longer, she will speak to us.

—Stella Maria Baer, Painter, New Haven, CT

withdrawal, anhedonia (a loss of pleasure in activities once enjoyable), and lethargy are striking. Such apathy is echoed in the fact that no one is speaking, eating,

We are backstage in a theater—a slice of that deafening bang of 1930s noir. Late

or drinking (Loss of appetite is also a common symptom of depression.). One

in the evening, he slips in and points a finger at her seated in the front booth. She’s

imagines these relatively young people were once vibrant prior to entering this

handling the situation with kid gloves, knowing that he is contemplating her thoughts

café. Curiously, we see an empty chair next to the front woman. Is she waiting for

from afar. She caresses her clasped hands knowing that what she has done has

someone to join her? Or is the chair’s empty presence a symbol of an important

consequences. Scents of old fragrances of perfumes, stale beer, and years of smoke

lost relationship? The closed doors and windows (with curtains drawn) provide a

and loneliness are everywhere. Ancient fluorescent lights have worked in the bar for

sense of privacy. We see the inner workings of a depressed mind.

years. Maybe someone, now forgotten, drew back these curtains too soon.

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

—Carol Anthony, Artist, Santa Fe

magazine magazine 18 | THE 20 | THE

MM AA Y Y2015 2015

18th Annual Tour Mother ’s Day Weekend May 9 and 10 10 am to 5 pm

Maps available at all studios













1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 19 20 21 22 22 23 24 25 26 27 28 29 30 31 31 32 32 33 34 35 35 36 36 36 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

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Introducing Renowned Artist Deborah Gold and the Grand Opening in our New Location at 708 Canyon Road Friday May 1st 5 - 8 PM


PAUL CÉZANNE SAID, “IT’S SO FINE AND YET SO TERRIBLE TO STAND IN FRONT OF A BLANK CANVAS.” TWO ARTISTS RESPOND TO HIS STATEMENT. I find myself loving and hating my work at every stage. There seems to be no rhyme or reason to what constitutes a finished work for me. Everything in the studio at every point is fair game. And nothing is finished until it leaves the studio and lives on another’s wall. One of my favorite things to do is to mess up paintings to the point that they disturb me, and it is usually at this point that I know they are almost complete for this moment. —Chace Haynes Haynes’s art can be viewed at his studio: Baca Art Projects, 922 Baca Street, Santa Fe.

I couldn’t agree more. I come to a blank canvas with sketches and patterns that I want to test out. I arrive considering that this is just a test. This gives me the freedom to explore. The canvas is then an exciting possibility. In preparing my panels, I layer a series of paper and paint, and when sanded and sealed it takes on a life of its own. This medium then informs me to the type of pattern to execute, as well as the scale that would work best. Sometimes I jump in and it’s just wrong. I’ve more than once covered up a pattern and started over again. I impose my own desires, but also need to stand back to see what the prepared surface wants. It’s all an experiment. —Matt Thomas In 2015, Thomas’s work was shown at David Anthony Fine Art and at the Harwood Museum of Art in Taos. In April 2015, he was the featured artist at the Taos Art Council’s Art in Public Places Project. In May, Thomas will be in an exhibition that takes place in Germany—Contemporary Artists of New Mexico—curated by Anthony Hassett and Andreas Lapos. photographs by



A nne S taveley

THE magazine 21

Spring Forward!



GROW Y’OWN Set Up Now! 490-1849


Ancient City Appetite by Joshua


Arroyo Vino 218 Camino La Tierra, Santa Fe Tuesdays through Saturdays, 5:30 to 9:00 PM 505 983-2100 From the parking lot, the door to Arroyo Vino, the wine shop, is on your left,

Prosciutto Wrapped Norwegian Cod (with baby turnips, scallion potato cake,

at the east side of the portal. The door to Arroyo Vino, the restaurant and wine

capers, and beurre blanc); $32. Chef Shane likes a good Riesling. The 2011

bar, is on your right. If you go in through the door on your left, you’ll walk through

Bründlmayer Riesling “Heiligenstein Alte Reben” ($92) complements his superb

the wine shop, which doubles as Arroyo Vino’s cellar, on the way to your table.

Norwegian cod.

There’s something about walking by boxes and racks of good wine that liberates the appetite. In the dining room, check the blackboards for specials, then take a look at the menu. These are the items you don’t want to miss. Confit Duck Larb (with Bibb lettuce, cilantro, and red onions); $14. At first,

Shoyu Marinated Hanger Steak (with crispy charred spring onion, forbidden rice, edamame, and wasabi peanuts); $34. The best hanger steak I’ve tasted, ever. To make it last, order the Fingerling Potato Confit (with tarragon aioli and lardons), $8, as a side dish, and a glass of the 2013 Ca’ Rugate Valpolicella, $13 a glass or $36 a bottle.

the flavors and textures argue. Then they reach an agreement. I’ve never

For dessert, I recommend a glass of the 2011 Roûmieu-Lacoste Sauternes, $15;

tasted anything like this. The Vilmart Champagne Cuvée Rubis Brut Rosé ($108,

and no less than two orders of the Exploding Liquid Truffle, $3 a truffle. The

from the wine shop) works well with all the appetizers, especially the larb.

Roûmieu-Lacoste is one of the wine world’s best-kept secrets. It’s not just

Tempura Battered Shiitake Mushrooms (with Ponzu dipping sauce); $12. We

a dessert wine. You can drink it with anything. The Exploding Liquid Truffle

ordered this twice, first as an appetizer and later as an entrée. It might be the best

blurs the line between sustenance and decadence. If you have a sense of

thing on the menu.

adventure, an addictive personality, or both, keep ordering truffles and glasses

Cacio e Pepe (homemade tagliatelle with Pecorino Romano and black pepper); $18, as a first course, $24, as an entrée. “Cheese and pepper” in Italian. Delicious simplicity. Colin Shane, the chef at Arroyo Vino, knows how to innovate, but his strength is the way he balances innovation with tradition. M AY


of the Roûmieu-Lacoste until somebody tells you to stop. Photograph by Douglas Merriam, courtesy of Arroyo Vino. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send favorites to

THE magazine 23

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O ne B ottle :

AQUAFINA Purified Drinking Water by J oshua We lived in the house for nine years before I found out about the view

“No, it’s me,” I said. “Hang on,” he said. I heard the sound of running

from the roof. Each room in the house had a view. The kitchen, my

water, then silence. The door opened. My father had on the thick rubber

room, and my parents’ bedroom had views of the Bay Bridge and

apron he wore in the darkroom. “What did you do to your arms?” he said.

Golden Gate Bridge. In Berkeley, people called that a two-bridge

He was annoyed. I had interrupted him.

view. To qualify as a three-bridge view, your house had to have views of the Bay, Golden Gate, and Richmond-San Rafael Bridges.

“There’s a ship on the bay,” I said. “I think there’s something wrong with it.”

The stand of redwood trees to the northwest of our house kept

After he checked the bruises on my arms, my father took off his

us from having a three-bridge view.

apron and got his binoculars. I followed him through the house and

The day I discovered the view from the roof was one of those brilliant Bay Area days you get in late April or early

out onto the kitchen porch. You could see only half as much of the bay from the porch as you could see from the roof, but

May after a rain storm. The air was so clear, you could

the topaz blue freighter was still there, following the same

see the peaks of the Farallon Islands, thirty miles west

clockwise course from the waters east of Treasure Island

of the Golden Gate. As the crow flies, our house was

to Alcatraz, from Alcatraz to Angel Island, and from Angel

ten miles east of the Golden Gate, so that was at least

Island south towards the Bay Bridge.

forty miles of visibility. To get onto the roof, you had to climb the wooden

The freighter started another loop. I looked back and forth between the bay and the binoculars in my father’s

fence that ran along the side of our carport, tip-toe

hands. During the war, he had been a lieutenant in the

across the parapet above my father’s darkroom, stand

Navy, on the Ticonderoga. In his hands, the binoculars

on the milk crate outside the window to my parents’

were perfectly still.

bedroom, jump, grab the rain gutter, and do a pull-up until your hands and hips were parallel to the roof. I was nine, and had just learned how to do a pull-up. The

“Should we call the Coast Guard?” I said. “There’s nothing wrong with her,” he said. He continued to watch the freighter. “She’s just resetting her compass.”

roof was flat, so as soon as I felt the rain gutter against

Which brings us to Aquafina, the purified drinking water.

my stomach, I leaned forward, let go of the gutter, and

Unlike Evian, Fiji, Vittel, or Volvic, Aquafina does not

rolled onto my side. The roof smelled of tar. Gravel bit

come from an exotic locale like the French Alps or South

into my arms and elbows. I hadn’t expected the gravel

Seas. According to Pepsi, which owns and distributes it,

to hurt as much as it did, but the pain was worth it. The

Aquafina comes from “a public source”—corporate-speak

moment I got to my feet and saw Berkeley, Oakland,

for tap water. Pepsi says their purification process

Alameda Island, San Leandro, Redwood City, San Mateo,

includes reverse osmosis, ultraviolet sterilization, and

the Bay Bridge, the city, Alcatraz, the Farallons, Angel

ozone sterilization. When I decided to write a column about

Island, Sausalito, Belvedere, and the long, graceful line of

a bottled water, I assumed Vittel or Volvic would be the

Mount Tamalpais, I knew I was lucky. This was not the

featured bottle. They were, after all, French waters with

kind of luck I would relish later, either as a teenager or

stylish labels. But after tasting twenty brands, foreign and

college student. This was the best of luck, dumb luck, and

domestic, Aquafina—despite its garish label and Pepsi-esque

the luck of the Irish all rolled into one panoramic vision.

shoulder—emerged as the best-tasting water.

Halfway between the tip of the Berkeley pier and

When your computer crashes, you restart it. In therapy,

Treasure Island, a topaz blue freighter was heading north

a common goal is to relive parts of your childhood. In cuisine,

through San Francisco Bay. As I watched, the freighter

when the flavors get crowded, a good chef goes back to

turned west, toward Alcatraz, then it turned north, circled

fresh ingredients. When a painter’s eye gets lost, he or she

along the south shore of Angel Island, and headed east,

looks at classic art, or at so-called “primitive art.” All of this

towards the Berkeley pier. Before it got to the tip of the

used to be called “starting over.” These days, it’s “a reset.”

pier, it turned south, but as it approached the Bay Bridge

What if you could reset your taste just by drinking

the freighter came about, headed north, and arrived

water? Ice heals a burn. Can water restore a jaded palate?

back at the part of the bay where I had first noticed it.

Instead of challenging you with complexity, water is

I climbed down from the roof and went into my father’s office. The darkroom door was closed, which meant he was in there, printing. “France?” he said, from inside the darkroom. My mother’s name was Frances. He called her France. M AY

B aer .


consistent, neutral, and simple. If you want your wine to taste better, a bottle of water might be the answer. One Bottle is dedicated to the appreciation of good waters, good wines and good times, one bottle at a time. All content is ©2015 by Send e-mail to

THE magazine | 25


White Fish Mousseline with House Pickles and Pumpernickel Toast Points

JOSEPH’S CULINARY PUB 428 Montezuma Avenue Reservations: 982-1272 $ K E Y



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. photographs by

$34 plus


G uy C ross

...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. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. Comments: Attentive service. Arroyo Viono 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. Atmosphere: Warm and welcoming. House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb—all perfect. Comments: Menu changes depending on what is fresh in the market. Superb service. Top-notch wines in the restaurant and wine shop. Bang Bite 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering. Major credit cards Cuisine: American.Fresh, local & tasty. Atmosphere: Orange food truck in parking lot. House specialties: Burger and fries and daily specials. Lotta bang for the buck. Bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Start with

the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro. Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner ( Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. Comments: Chris Galvin Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pastas are right on the mark. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. 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 the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines. Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good. 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 where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food. Atmosphere: Casual and friendly. House specialties: The Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. Comments: Nice selection of beers on tap or bottles. Georgia

225 Johnson St. 989-4367. Patio. Dinner - Full bar. Major credit cards. $$$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: Try the Pan-Roasted Salmom—it is absolutely delicious. Comments: Good wine list, a sharp and knowledgeable wait-staff, and a bar menu that you will love. G eronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. Comments: Wonderful desserts. Harry’s R oadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. Comments: Friendly. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad, the Lemon Rosemary Chicken, and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to table. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties:. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. Comments: Super selection of Sake. Jalapeno’s Barrio Cafe 2411 Cerillos Road 983-8431 Breakfast/Lunch/Dinner Major credit cards. $$$ Food truck parked in front Cuisine: Call it New Mexican/ Mexican. Atmosphere: Food truck with seating in the building. House

specialties: The Chicharon Burritom and the Stuffed carnitas quesadilla are faves. Comments: Pricey, but well worth it. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. Comments: Truely fabulous soups. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks. For your main, try the Crispy Duck, Salt Cured Confit Style. Comments: The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts abound and great service. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian Tamales. Comments: Sunday brunch is a winrer! Lan’s Vietnamese Cuisine s 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is amazing. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. Comments: Friendly. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the

continued on page 29 M AY


THE magazine | 27

Celebrating 20 Years! anniversary weekly specials

Mother’s day Menu


Sunday, May 10, 5-9pm u 3 courses, includes dessert Prix Fixe: $45/ person u For reservations call (505) 986-9190

1/2 price wine by the bottle


All bottles on the wine list

1/2 price preMiUM SpiritS

Roasted Beet Salad with Fromage Blanc champagne tarragon vinaigrette or Fresh Spring Pea Soup with Lemon Grass Crema

Grey Goose, Don Julio, Bombay Sapphire, Maker’s Mark Bourbon


e thursdays

e Fillet of Sole with Ginger & Lime


asparagus, shimiji mushrooms & baby turnips or


All “SAntA Fe SpiritS” drinkS $5

Petite Filet with Wilted Spinach

Wheeler’s Gin, Colkegan Single Malt Whiskey, Expedition Vodka

chickpea fritters & housemade worcestershire



e Lemon Custard Crêpes with Red Wine-Poached Currants or Chocolate Soufflé “Ala Babs” with Blackberry Whipped Cream


$8 bAr MenU or 5 plAteS For $35 Sunday-Thursday, 5:00 - 9:00pm


Fri day- Saturday, 5:00 - 9:30pm


315 Old Santa Fe Trail



Reservations: (505) 986.9190


Baking for Santa Fe Since 1983



seasonal ingredients to the table. Excellent wine list.

IL PIATTO ITALIAN FARMHOUSE KITCHEN | 95 W. MARCY STREET | 984-1091 House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining. Masa Sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ Cuisine: Japanese. Atmosphere: Low-key. House specialties: For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. Comments: Highly recommended. Midtown Bistro 910 W. San Mateo, Suite A. 8203121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Nice desserts. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. Cuisine: Southern-New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips. Comments: Fair prices. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast: go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. All of the burritos are great. Patty Melt is super. Comments: Green Chilie is perfect.



Rio Chama Steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs, and Burgers. Haystack fries rule. Recommendations: Excellent wine list. S an F rancisco S t . B ar & G rill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Good bar food. Atmosphere: Casual, with art on the walls. House specialties: Lunch: the San Francisco St. hamburger or the grilled Salmon filet with black olive tapeade and arugula on a ciabatta roll. Dinner: the flavorful twelve-ounce New York Strip steak, with chipotle herb butter, or the Idaho Ruby Red Trout with pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: Their world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ 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 Bite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. Dinner: the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Try any of the burgers on rye toast instead of a bun. Their motto” “Love Life. Eat good.” We agree. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary. House specialties: Tuna Steak, ChickenFried

Chicken with mashed potates and bacon bits, and the New York Strip with a yummy Mushroom-Peppercorn Sauce. Desserts are on the mark. Comments: Nice wine selection. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Hot daily specials, gourmet sandwiches, Get the Baby-Back Ribs when available. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers. Shake Foundation 631 Cerrillos Rd. 988-8992. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American Burger Joint. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Amazing shakes made with Taos Cow ice cream. Comments: Sirloin and brisket blend for the burgers. Shohko Café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: The Mediterranean Breakfast—Quinoa with Dates, Apricots, and Honey. Lunch: the Indonesian Vegetable Curry on Rice; Comments: Wine and Craft beers on tap. Terra at Four Seasons Encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties:. Dinner: Start with the sublime Beet and Goat Cheese Salad. Follow with the PanSeared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings

The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-5832233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Southwest and American. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: American Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada Comments: Super bar. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to table-to mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source for teas in the great Southwest.

Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese or the daily specials. Comments: The real deal. Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, New Mexican. Atmosphere: Down home. House specialties: Breakfast:We like the Buttermilk Pancakes. Lunch: Great specials Comments: Easy on your wallet. Vanessie


Santa Fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizers. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: Seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave., SW. Verde 851 W. San Mateo Rd.. 820-9205. Gourmet Cold-Pressed Juice blends Major credit cards. $$ Cuisine: Just Jjuices. Atmosphere: Light, bright, and cheerful. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure. Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine American Atmosphere: Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Comments: A variety of delightful pasteries and sweets are available for take-out.

THE magazine | 29








THROUGH - MAY 24, 2015

Tom Green, Six Conditions, 1998, Acrylic on board, 18.25” x 23”

Francis Celentano, Six Radial Globes Opened, 2008, Acrylic on canvas, 46”










Meridel Rubenstein, Summer Seasonal, 2009 - 2011, 54” x 40”


Leo Valledor, Zenithing, 1983, Acrylic on canvas, 48” x 108”


MARIO YRISARRY LARRY ZOX The Railyard Arts District


544 South Guadalupe Street, Santa Fe, NM 87501


(505) 983-9555 |



Peters Projects, 1011 Paseo de Peralta, Santa Fe. 954-5800. Patrick McFarlin’s Goldfinch Variations: tangents on the famous Goldfinch painting from 1654 by over fifty artists. 5-7 pm. FRIDAY, MAY 1

203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Ron Cooper—Irony and Enigma: flattened bottles and phrases using language as a type of poetic game. 4-7 pm. Branigan Cultural Center, 501 N. Main St., Las Cruces. 575-541-2154. Good Penmanship: work by Elizabeth Morisette. 5-7 pm. Artist Talk: 5:30 pm. Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Anne Appleby—The Galisteo River Basin Paintings: canvases inspired by Appleby’s daily walks through the Galisteo Watershed. 5-7 pm. David Rothermel Contemporary, Corner of Lincoln and Marcy, Santa Fe. 575642-4981. New Faces: geometric paintings by Matt Neuman. 5-8 pm.

Gallery 901, 708 Canyon Road, Santa Fe. 780-8390. Parables and Stories—A ReInterpretation: oil paintings by Paul Steiner. 5-8 pm. New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5041. Fire Season: photographs by Jane Fulton Alt, Patricia Galagan, Philip Metcalf, Larry Schwarm, and Greg Mac Gregor that explore the dynamic element of fire. 5:30 pm.

Warehouse 1-10 Contemporary Art Space, 110 N. Main St., Magdalena. 575854-3253. Extra Virgin Petrus Oil: crude oil and other media on multi-layered vinyl by Mery Godigna Collet. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Rhythm and Gestures: acrylic and mixed-media paintings by Marta Light. 5-8:30 pm. SATURDAY, MAY 2

Patina Gallery, 14341 W. Palace Ave., Santa Fe. 986-3432. Water, Sky, Earth, and Mountains: meditative landscapes by Tomie dePaola. 5-7:30 pm. Pop-Up Collective, 339 Central Ave. NE, Alb. REFORM: works by seven visual artists for exhibition and auction. One night only: 6-11 pm. Sorrel Sky, 125 W. Palace Ave., Santa Fe. 501-6555. May Flowers: paintings of flora and fauna by Phyllis Stapler and Cynthia DeBolt. 5-7:30 pm. Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. John Barker: abstract and figurative works by Barker. 5-7 pm.

516 ARTS, 516 Central Ave. SW, Alb. 505-242-1445. Studio Sale in the Gallery: gallery artists sell selected works at fantastic discounts to benefit 516 ARTS. Members preview: 5-6 pm. Public opening: 6-8 pm. El Monte Sagrado, 317 Kit Carson Rd., Taos. 575-758-3502. Iconic Images of Nature: mixed-media oil paintings by Mel Scully. 5-7 pm.

GVG Contemporary, 202 Canyon Rd., Santa Fe. 982-1494. Come Join Me Up Here: contemplative oil paintings by Mary Tomás. Whimsical narrative paintings and abstracted landscapes by Lori SchappeYouens. 5-7 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. New Language, New Vistas— Women Artists of New Mexico: works by artistic pioneers Dorothy Eugenie Brett, Doris Cross, Janet Lippincott, and Beatrice Mandelman. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Julia Roberts— Etchings and Collagraphs: works on paper by the Santa Fe artist. 5-7 pm.


Nisa Touchon Fine Art - Santa Fe, 1925 Rosina St., Suite C, Santa Fe. 817944-4000. Inaugural exhibition. At the Threshold of Becoming: new mixed-media paintings and collages by Gary A. Bibbs. 5-7 pm.

Exhibit/208, 208 Broadway Blvd. SE, Alb. 505-217-5992. s(and)—an introduction: works defying categorization by gender or place by fourteen artists. 5-8 pm.

Shidoni Galleries, 1508 Bishops Lodge Rd., Santa Fe. 988-8001. Presentation of Stones: new sculptures by Tommy Hicks. 5-7 pm. Celebrating Twenty-Five Years on Lincoln Avenue—New Directions: works by Dan Namingha and his sons Arlo and Michael. On view at Niman Fine Art, 125 Lincoln Avenue, Santa Fe. Reception: Friday, May 22 from 5:30 to 7:30 pm. Sculpture: Dan Namingha.

continued on page 34 M AY


THE magazine | 31

WHO WROTE THIS? WHO WROTE THIS? “Look where you want to go, “Look where you want to go, not where you don’t” not where you don’t” André Gide or Ann Guyer André Gide or Ann Guyer or Ram Dass or Yogi Berra or Ram Dass or Yogi Berra

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505-424-7641 or email: 505-424-7641 or email:

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with Honey Harris and THE magazine and THE Thursday, Maymagazine 7 10:30 am Thursday, 98.1 FM KBAC May 7 10:30 am 98.1 FM KBAC

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Verve Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. Beyond the Shadows: photographs by Susan Burnstine and Xiaoliang Huang. Honky Tonk: photographs and a film by Henry Horenstein. Reception: 5-7 pm. Film screening: Sat., May 9, 1 pm.

Through Sat., May 30. Art House, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux: innovative computer, digital, interactive, video, and electroluminescent art. Ongoing: Thurs.Sat., 10 am-5 pm.


ARTScrawl, Alb. Citywide, self-guided arts tour: Fri., May 1, 5-8 pm. Artful Saturday in the Heights:s Sat., May 16. Create your tour:

Ghost Pony Gallery, 1634 State Hwy. 76, Truchas. 505-689-1704. Domesticated Animals: new works by Trish Booth. 4-7 pm.

Corrales Art Studio Tour, Corrales. More than seventy-five artists, showing work at fortythree locations. Sat. and Sun., May 2 and 3.


Jean Cocteau Cinema, 418 Montezuma Ave., Santa Fe. Group Gallery Show: works by Stephanie Alia Corriz, Michael Ellis, and Jordain Cheng-Kinnander. 5-7 pm.

CrawDaddy Blues Fest, Madrid Railyard, Madrid. 505-473-0743. Great live blues and Cajun food. Sat. and Sun., May 16 and 17, noon8 pm.


Nüart Gallery, 670 Canyon Rd., Santa Fe. 988-3888. Layers: chromatic paintings by Antonio Puri over rational grids that are textured by the inclusion of soil from Chandigarh. 5-7 pm.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Mapping the Human Condition (Family, Nature, War, Authority, Memory, Compassion): survey of paintings and drawings by Washington, D.C. artist Tom Green. Bent Perimeters—The Shaped ‘Canvas’ and Abstraction, 1960s to Today: works that challenge the conventional picture plane. Both through Sun., May 17. davidrichardgallery.


the ART.i.factory, 930 Baca St., Suite C, Santa Fe. Selected Stories: Narrative Works by Jeffrey Schweitzer: limited prints from Schweitzer’s latest book. 4-6 pm. FRIDAY, MAY 22

small-scale sculptures by Brian Russell. 5-7 pm.


David Rothermel Contemporary, Corner of Lincoln and Marcy, Santa Fe. 575-6424981. Revealing the Sublime: acrylic abstract works by David Rothermel. 5-8 pm.


Andrew Smith Gallery, 122 Grant Ave., Santa Fe. 984-1234. Fire and Ice: photographs by Joan Myers of the changes wrought by volcanic activity and the movement of polar ice sheets.

Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Jennifer J. L. Jones: mixed-media works by Jones. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Rhythm and Hues: paintings and sculptures by gallery artists, presented in conjunction with Santa Fe’s “Summer of Color.” 5-7 pm. Niman Fine Art, 125 Lincoln Ave., Santa Fe. 988-5091. Celebrating Twenty-Five Years on Lincoln Avenue—New Directions: works by Dan Namingha and his sons Arlo and Michael. 5:30-7:30 pm. Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 983-8743. Conversations with Color: Phoenix Simms integrates expanses of black canvas with high-key acrylics. 5-7 pm. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Continuum: large and

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. American Op Art In The 60s and Eden Turned on its Side: Photosynthesis, Part II: work by Meridel Rubenstein. 5-7 pm.

Top: Peters Projects—1011 Paseo de Peralta, Santa Fe—presents the Goldfinch Variations— an exhibition of more than fifty artists’ unique interpretations of the seventeenth-century Dutch masterpiece, The Goldfinch, by Carel Fabritius. Curated by Patrick McFarlin. Reception: Thursday, April 30 from 5 to 7 pm. Show runs through Saturday, June 6. Image: Carel Fabritius. Bottom: Line, Color, Composition opens on Friday, May 8 at the Georgia O’Keeffe Museum, 217 Johnson Street, Santa Fe. No reception.

Historic Santa Fe Foundation, 545 Canyon Rd., Santa Fe. 983-2567. Historic Structures of Santa Fe: paintings by twenty artists in watercolor and gouache based on significant historic sites in Santa Fe. 5-7 pm. William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. A Stone’s Throw: sculptures by Tim Rowan and paintings by Leopoldo Cuspinera Madrigal. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Creating Shape: new works by Karen Yank. 5-7 pm. SATURDAY, MAY 30

MoCNA, 108 Cathedral Park, Santa Fe. 424-2300. Julie Buffalohead—The Truth About Stories: recent works on paper by the Minneapolis-based artist. 4-5 pm. continued on page 36

34 | THE magazine




El Rancho de las Golondrinas Living History Museum, 334 Los Pinos Rd., Santa Fe. 471-2261. Battlefields & Homefronts New Mexico—The Civil War and More: reenactments of cavalry, camp life, brass band music, ladies’ life, and more. Sat. and Sun., May 2 and 3, 10 am-4 pm.


First Presbyterian Church, 208 Grant Ave., Santa Fe. 225-571-6352. Come Rain or Come Shine: choral music by The Zia Singers. Sat., May 9, 4 pm. $20 at the door. Students free. Performance Santa Fe and the Santa Fe Jewish Film Festival, Maria Benitez Cabaret at The Lodge, 1050 Old Pecos Tr., Santa Fe. 216-0672. Between Fire and Ice: Berlin kabarett with Adrienne Haan. Sun., May 24, 6:30 and 8:30 pm. Tickets: or

Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 989-3283. Over one hundred pieces of encaustic/wax artwork for sale by EAI members nationwide. Open: Wed.-Sun., 10 am-5 pm. Eye on the Mountain Art Gallery, 614 Agua Fria St., Santa Fe. 928-308-0319. Colorful Spring: new canvases by Rachel Houseman and Paula Swain. Through Fri., May 22.

Theater Grottesco, Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe. 474-8400. The Moment of YES!: theatrical event about communication and creating common culture. Performances: Thurs., May 21 through Sat., June 7. Gala and performance: Sat., May 23, 6 pm. Schedule and tickets:

Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Line, Color, Composition: works showcasing O’Keeffe’s process—from conceptualization to finished canvases. Through Sun., Sep. 13.

Upstart Crows of Santa Fe, Scottish Rite Temple, 463 Paseo de Peralta, Santa Fe. A Midsummer Night’s Dream: company of young actors presents Shakespeare’s popular comedy. Fri., May 15, at 7 pm and Sat., May 16, at 2 pm. $5 at the door.

Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Albert Paley: solo exhibition of decorative art by the Rochester-based artist. Through Sat., June 13.


Historic Santa Fe Foundation, Santa Fe. 983-2567. Mother’s Day Tour: tour the Drury Plaza Hotel, the Church of the Holy Faith, the Scottish Rite Center, and the Felipe B. Delgado House. Tickets for sale at each site. $5 members, $10 individuals, and $20 families. Sun., May 10, 1-4 pm. Las Cruces Museum of Nature & Science, 411 N. Main St., Las Cruces. 575-522-3120. Student Workshop: Bones: special presentation about bones by Joseph Moreno. 1 pm. Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Placitas Artists Series: stereograms, silk fiber arts, jewelry, oil paintings. 2-3 pm. Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Placitas Artists Series May Concert: Chamber Music Potpourri. 3-5 pm. Magdalena Open Studio and Gallery Tour, Magdalena. 866-854-3217. Contemporary photography, fiber art, prints, artist books, blacksmithing, readings, and music.  Sat., May 2, and Sun., May 3, 10 am-4 pm. Live music, Sat., 6 pm-midnight, and Sun., 11am-1 pm. Map of locations: MoCNA, 108 Cathedral Park, Santa Fe. 4242300. Future Tellers: IAIA BFA thesis exhibition. Through Sat., May 16.

36 | THE magazine

Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. The Red That Colored the World: more than one hundred thirty objects that explore the history of cochineal and the nature of the color red. Sun., May 17, through Sun., Sep. 13. NMSU University Art Gallery, D.W. Williams Hall, 1780 E. University Ave., Las Cruces. 575-646-0111. In Between: MFA thesis exhibition. Through Sat., May 9. Paa-Ko Fine Artists, 232 Paa-Ko Dr., Sandia Park. Paa-Ko Fine Artists Art Show & Sale: works in a variety of media by ten Paa-Ko community artists. Sat. and Sun., May 2 and 3, 11 am-5 pm. Passport to the Arts, Canyon Rd., Santa Fe. Weekend-long event featuring a silent auction, music, children’s art projects, and a variety of special shows and exhibitions celebrating the art of Canyon Road. Fri., May 8, and Sat., May 9. Petroglyph Tours, Wells Petroglyph Preserve, Mesa Prieta. Sat., May 16 and Sun., May 24. $25 per person. Reservations: call 505-852-1351 or email Placitas Studio Tour, Eighteenth Annual Tour

on Sat., May 9 and Sun., May 10, 10 am-5 pm. Maps available at all studios. I-25 to Placitas exit 242 and follow the signs.

Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 989-3282. 5th Annual National Juried Encaustic/Wax Exhibition: apply by Mon., Aug. 3.

Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. Coordinates: group show with Thomas Barrow, Tom Waldron, and others. Closing reception: Sat., June 6, 6-8 pm.

Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. From the Ground Up: Twenty-sixth annual regional juried ceramics exhibition. Deadline to apply: Fri., May 8.

Santa Fe Botanical Garden, 715 Camino Lejo, Santa Fe. 471-9103. The Power of Place: sculptures by Phillip Haozous, Allan Houser, Estella Loretto, Dan Namingha, and others. Fri., May 15 through May, 2016.

Santa Fe Independent Film Festival, 418 Montezuma Ave., Suite 15, Santa Fe. Cuttingedge programming, independent films, Native cinema, New Mexico films, student films, and masters discussions. Submissions due Fri., May 15.

Shiprock Santa Fe, 53 Old Santa Fe Trail, Santa Fe. 982-8478. Group Show: new works by Jaque Fragua and Phillip Vigil. Through Sat., June 6.

Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte, Taos. 575758-2690. Russian Night in Taos: 11th annual juried exhibition and auction. Open to artists inspired by the Southwest. Apply by Sat., May

Tansey Contemporary, 652 Rd., Santa Fe. 995-8513. Art Tansey Contemporary Sculpture inaugural exhibition. Through Wed.,

Canyon Speaks: Center May 13.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Up in Neon: neon works by François Morellet and Frédéric Bouffandeau. Through Fri., May 22.

Top: Fire and Ice: photographs by Joan Myers of the changes wrought by volcanic activity and the movement of polar ice sheets at Andrew Smith Gallery, 122 Grant Avenue, Santa Fe. Show runs through Saturday, May 30. Bottom: Multi-media work by Stephanie Alia Corriz, Michael Ellis, and Jordain Cheng-Kinnander at the Jean Cocteau Cinema, 418 Montezuma Avenue, Santa Fe. Reception: Thursday, May 14 from 5 to 7 pm. Image: Stephanie Alia Corriz.



TANSEY CONTEMPORARY SCULPTURE CENTER Brian Russell “Continuum,” Solo Exhibition

“HEMISPHERE VENTILATION” ~ Brian Russell ~ Cast glass and forged metal sculpture ~ 18" x 17" x 15"

May 22 – June 19, 2015

Please Join us for the opening on Friday, May 22, 5-7 pm 619 Canyon Road


New Landscapes, New Vistas: Women Artists of New Mexico Matthews Gallery 669 Canyon Road, Santa Fe. 992-2882 Friday, May 8 through Sunday, May 31 Reception: Friday, May 8, 5 to 7 pm. Among the many artists who came to Taos and Santa Fe in the early twentieth century were a number of women modernists seeking opportunities that were unavailable to them in East Coast markets. Their presence in New Mexico not only provided them with a voice in the art colonies, but also influenced their styles and subject matter. New Landscapes, New Vistas documents the range and quality of these talented artists who landed, and thrived, in New Mexico. Agnes Sims arrived in 1938 and found herself attracted to and inspired by the Native American petroglyphs, which she studied in situ, developing her own symbolic language of forms in her paintings and sculptures. Bea Mandelman and her husband, Louis Ribak, were encouraged to visit Taos by their friend John Sloan. Shortly after their decision to stay, Mandelman made the shift from landscape painting to pure abstraction, becoming one of a new wave of Taos Modernists who found the light, landscape, and encounters with the cultures of the Southwest influencing her paintings, collages, and works on paper. The post–World War II era saw the arrival of Janet Lippincott, who attended the Emil Bisttram School for Transcendentalism in Taos and the Alfred Morang Academy of Fine Art on the G.I. Bill. Lippincott’s seminal development had occurred in the Paris of Matisse and Picasso. Her 1954 move to Santa Fe fused these early influences with new inspirations, creating a unique abstract style she expanded over five decades. Doris Cross arrived in 1972, from New York City, where she had studied in the 1930s at the Art Students League with the Abstract Expressionist painter Hans Hofmann. Her work and her vital participation in Santa Fe’s avant-garde community led to the evolution of a style that moved from modernist figuration to abstraction and conceptualism. The story of the development of twentieth-century women in New Mexico would not be complete without the inclusion of the aristocratic bohemian Dorothy Eugenie Brett. Arriving in Taos from England in 1924, she traveled with D.H. Lawrence and his wife, Frieda, initially as guests of Mabel Dodge Luhan, and stayed for the rest of her life. Brett’s distinctive pastel mystic visions depicted Native life in rhythmic, stylized, almost naïve paintings, and her unmistakable presence (cowboy hat and ear trumpet in hand) graced the Taos arts community until her death in 1977.

Come Join Me Up Here: Mary Tomás and Lori Schappe-Youens GVG Contemporary 214 Delgado Street, Santa Fe. 982-1494 Friday, May 8 through Friday, May 29, 2015 Reception: Friday, May 8, 5 to 7 pm The two painters showing in Come Join Me Up Here address spaciousness in their work, but in very different ways. Mary Tomás layers thin oil washes to create a mesh of floating colors that melt and merge, forming abstract canvases whose overall effect is of quietude and serenity. The translucent colors evoke an ethereal world of emotional and spiritual realms that speak to each viewer’s personal states of calm and tranquility. Lori Schappe-Youens, on the other hand, creates detailed semifigurative elements that cling or clump as molecules and atoms do in fields of open space. This work is reminiscent of Paul Klee’s painting style in iconic works like the Twittering Machine. A number of Schappe-Youens’s pieces have fanciful titles such as Drop that Anchor For Me, Letting the Universe Do Its Work, or Even Dung Beetles Love Their Home, which create an interpretive context for the colors, shapes, and drawn elements. These whimsical works and titular references elicit smiles and transport viewers to imaginative and magical harbors. We Meet at the Top is a metaphorical reference to a place where birds, and even people, can connect, and rise above the petty details of life. Others have biographical references, as in I Remember When Flying Was Fun. And don’t we all remember those days—whether flying is a reference to airplanes and airports or flights of fancy. The exhibition presents an invitation to join both of these artists to see beyond, soar, or penetrate deeply via the act of painting.

Top: Doris Cross, Head Man, oil pastels with acrylic paint, 16” x 24”, 1970 Bottom: Lori Schappe-Youens, Let Us Take the Canoes There, mixed media on canvas, 48” x 36”, 2015

38 | THE magazine





MAY 1 – MAY 25, 2 015

What THE magazine OPENING RECEPTION has done for our art community MAY 1, 2015 5PM to 7PM in New Mexico Panel discussion with the artist and representatives from New Mexico Tech Department of Civil and Environmental Engineering, New Mexico Wilderness since July 1992 Alliance and Environment New Mexico. Wed. May 20, 2015. 6PM to 7:30PM


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To order your copy Lindy Madley: 505.577.6310 visit 491 North Main Street • PO Box 20000 • Las Cruces, NM 88004 • 575.541.2137 or call 800.258.0929 • Gallery hours: Tues-Sat, 9am-4:30pm THE magazine: 505.424.7641





THE magazine |41


CONTOUR AND FORM Indiana Limestone 18” x 15” x 5” Arlo Namingha © 2014


RIDE Archival Pigment Print on Paper Edition of 2 30” x 44” Michael Namingha © 2015

Celebrating 25 Years on Lincoln Avenue

Dan, Arlo and Michael Namingha Artist Reception • Friday, May 22, 2015 • 5:30-7:30pm

125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • •


Envisioning Ecstasy: Works by Cira Crowell and Christopher Michel Ferris Wheel of Time To see deeply is to see in one’s own way, one’s own truth. The documentary

eye that sees both enduring and ephemeral moments. Their black-and-white images

photography and conceptual imagery in the exhibition Envisioning Ecstasy captures

offer gracious and complementary responses that are reflective of a harmony present

the artists’ relationships with place, ceremony, and light. Ladakh, India, a timeless and

in the place, and of their serendipitous meeting on the pilgrimage. Crowell also offers

remote site on the globe, provides the visual setting of profound mountainscapes and

distinctive, finely detailed evocations of inner light that she refers to as minimalist

Tibetan Buddhist stupas that hosted the Thirty-Third Kalachakra Initiation, teachings

“lumenography,” the photography of pure light and inner mind. These undulating

on the “Wheel of Time” conveyed through ritual to over one hundred and fifty

designs are composed of marks she describes as a universal non-language in accord

thousand pilgrims by the Dalai Lama in July 2014. The works in the show move the

with the fractal scalability of the universe—a scientific notation that offers unique

viewer from the outer experience of the event to the inner workings that transport

“glyphs representing filaments of the quantum particles of string theory, photons of

both the artists and participants to a space that is transcendent. Portraying the mystical

light, molecules of water in clouds, refractions in shallow water, glimmers on ocean

and communicating it has a long history in the culture of artmaking. Here, too,

waves, white birds in flight, stars in the heavens.” The exhibition takes place at

documentary photographer Christopher Michel and visual artist Cira Crowell connect

Tibet House, 22 West 15th Street, New York City, and runs from May 20 through

with the people, place, and collective spirituality of the occasion, each employing an

June 26, 2015.



THE magazine | 43

Steve Elmore, Spirit Bird, oil on canvas, 25“ x 29”, 2015

Charles C. Gurd, Shimmering Hope,oil on canvas, 64” x 66”, 2015

839 Paseo de Peralta, Suite N • Santa Fe, NM 87501 • 505-995-9677 •


“All the world’s a stage, And all the men and women merely players. They have their exits and entrances, And one man in his time plays many parts.” —William Shakespeare


Max Ernst, a Surrealist friend of Man






Ray, called his attention to the strange

Ray juxtaposed forms that had no

mathematical objects languishing in the

mathematical relationship by turning the

dusty cases of the Institut Henri Poincaré

structural supports on their sides and

in Paris. The museum contained three

photographing them beside unrelated

collections of mathematical models

models. For this reason, and because

that had been an important means for


visualizing the abstract concepts of

theories, mathematicians today would

Euclidean and non-Euclidean geometry

be hard-pressed to decipher many

in the nineteenth and early twentieth

of these hybrid forms. In Man Ray’s

centuries. According to Man Ray, “Dust

arrangements, the models might evoke

was capable of transforming these dead

a human face, a mask, or genitalia. The

objects, of giving them life.” Thus he

illogical relationship between dust and

undertook a photographic project in

mathematical forms, the humanizing

1934-35, capturing many of these objects

of the object and objectification of the

in a series of black-and-white prints.

human figure were venerable tenets of

The Poincarémodels, originally created

the Dada dialogue. Man Ray had come to

as physical enactments of abstract

view all of life through his own creative

formulas, took on anthropomorphic

lens, stating that he had but to look at

associations when seen through Man

something and it instantly gave him an

Ray’s eyes. He didn’t understand the

idea, transforming and redefining the

mathematics, but found their shapes

object, and so these photographs took

unusual and as revolutionary as anything

on new meanings. As Hans Richter

being done in the painting and sculpture

commented in his 1966 Private Notes For

of the day.

and On Man Ray, “It is as if he discovers



As You Like It




continued on page 46

THE magazine | 45

the soul of each conventional object by liberating it from its practical function.”

The German occupation of France forced Man Ray’s

at the time was the famed chemist Linus Pauling, which may

move to America in 1940. He left behind many of his works,

have also drawn him back to working with the models, further

Julien Levy, who brought the Surrealists to the attention

including a few canvases that were created by combining

liberating them in figurative and metaphorical ways, freely

of Americans, wrote in 1936 that Man Ray transformed

several of his mathematical forms in compositions he called

adding color and transforming them into surreal representations

photography, stating it was difficult to imagine that the

Human Equations. He moved to Hollywood in 1941 and lived

of the characters or scenes in Shakespeare’s plays.

perfect machine for the reproduction of reality should ever

there for a decade. By 1947, he was able to return briefly

Reconciling mathematics and art was a difficult

become an instrument for surreality. Man Ray’s approach

to Paris and rescue his early mathematical paintings. Back in

concept, even for some of the Surrealists. André Breton

to image-making challenged the popular understanding of

California, he began a new series of twenty-three paintings

had cautioned Man Ray that mathematics could not be

photography’s role to bear witness to the truth. Although

called the Shakespearean Equations. In 1948, Man Ray made

art, but suggested that if he re-titled the forms he might

he had begun photographing because he was disappointed

an album for Max Ernst of nineteen contact prints from the

transform them into poetic representations. Breton

by commercial reproductions of his paintings, he soon

mathematical model series. He also developed a relationship

offered a list of possible titles: “Pursued by Her Hoop,”

discovered the creative potential of the medium, moving

with Walter Arensberg, a Shakespearean scholar who hosted

“The Rose Penitents,” and “The Abandoned Novel.”

far away from “straight” photography and using the camera

a double wedding for Max Ernst and Dorothea Tanning and

A Man Ray notebook from 1947-48 includes an entry with

to create avant-garde works of art. Duchamp said that Man

Man Ray and Juliet Browner. It is possible that Man Ray’s

“Titles by Breton” at the top of the page, followed by the list

Ray “took up photography and it was his achievement to

desire to ridicule Arensberg’s obsessive attempts to prove that

provided by the writer and a sketch of the related model.

treat the camera as he treated the paint brush, a mere

Francis Bacon had written the plays attributed to Shakespeare

On the verso, he wrote, “Equations for Shakespeare”

instrument at the service of the mind.”

prompted his Shakespearean Equations. Man Ray’s neighbor

with his own renaming of the corresponding objects. For



Man Ray, the mathematical models had become specific

Man Ray photographed his Shakespearean Equation

personalities from the plays, which he hoped would be

paintings, producing an album titled, Mathematics=Equations

well received and commercially appealing. The premiere

Shakespeariennes. He would playfully quiz people when

of the film Hamlet, starring Laurence Olivier, was a great

they were looking at the paintings, asking them to guess

success in Hollywood in the late fall of 1948. Six weeks

the title to see if they could recognize the association. Many

later, The Copley Galleries in Beverly Hills opened an

did answer correctly, but in typical Man Ray style, he was

exhibition of the complete Shakespearean Equations. The

equally interested in what they saw when they didn’t.

invitation’s cover contained the words, “To Be or Not to

There are those who question how a stage play can

Be,” opening to “Continued Unnoticed” on the inside flap,

become a two-dimensional image, and others who say the

expressing the artist’s frustration at the lack of adequate

inner geometry of the works mirrors the mechanics, plot

recognition for his work. The reference to the popular line

turns, and emotional depth of the plays and makes the series

from Hamlet and the interior anagram was consistent with

intellectually comprehensible. Were the titles randomly

the word play that had fascinated Man Ray throughout

assigned or thoughtfully attributed? Each work invites myriad

his career. The opening night party was modeled on a

interpretations. A white, convex polygon is tipped on its side

Parisian soirée and attended by artists, composers, and

and painted against a dark background. A blush of pink is painted

filmmakers, from Stravinsky to Jean Renoir, and Harpo

on one of the tips of the titled form. The piece is called Hamlet.

Marx to Aldous Huxley.

The shape has been transformed into the disembodied breast

The creative act rests in the coupling of two different factors in order to produce something new, which might be called a plastic poem of Ophelia, symbolizing the objectified but silenced female characters in the play, which Hamlet insists are weak and led by passion rather than reason. Man Ray also saw the painted object as Ophelia’s skull, turning her into a blank canvas onto which others project their anxieties and desires. Romeo and Juliet depicts the bodies of the lovers as two intertwined forms that reveal themselves as mirror images, and one contemporary interpretation saw the painting as the passionate embrace at the moment when Juliet kisses Romeo’s poisoned lips, before proceeding to kill herself, falling dead on his body. In the painting King Lear, the famous tear speech is alluded to through paint dripping down the canvas. In The Taming of the Shrew, Petruchio and Katherine are represented by forms that become masks—a dramatic element often used in Shakespeare’s time. Through lighting and the strategic positioning of the complex geometric and algebraic shapes, Man Ray achieves the illusion of a human face in each. And so he continues through the twenty-three canvases, offering us Julius Caesar with the equation 2+2=22 written on a blackboard behind the figure. What appears to be Man Ray’s wit is actually the literal translation of the mathematical theory of concatenation, the linking of things together in a chain. Man Ray wrote, “When I finished the last series I called my last painting All’s Well that Ends Well, of course.” That final piece is a figure composed of twenty hexagons and twelve pentagons (called a truncated icosahedron). Italian Renaissance artists from Piero della Francesca to Leonardo da Vinci found geometry fascinating and made it the basis of many of their compositions, as did Man Ray in Hollywood. Viewing this longforgotten series today is no less compelling than it was the evening that Harpo Marx and Aldous Huxley first saw them in 1948. Shakespearean Equations is on view through May 10 at the Phillips Collection, 1600 21st Street, Washington, D.C.

Julius Caesar M AY


Jackie M is an arts consultant in education and museum programming. She was the founding Director of Education for the Georgia O’Keeffe Museum and SITE Santa Fe.

THE magazine | 47


“The Alchemy of Memory ” A Selective Retrospective


Friday, May 22, 5-8 pm. 1410 Second Street, Santa Fe -

“The Alchemy of Memory” Book-Launch & Booksigning. Sunday, May 17, 2 to 4 pm, St. Francis Auditorium. Sponsored by Museum of New Mexico Press. Gallery Talk at Phil Space onThursday, June 4, 5 to 7 pm.

John Barker paintings


725 Canyon Road, Santa Fe, NM 87501 505.986.9800


Inventory of Light: The Art of Systems Biology and Nanoscience 1011 Paseo


Peters Projects Peralta, Santa Fe

To see the world in a grain of sand… –William Blake, from the set of poems Auguries of Innocence

T H I S E X H I B I T I O N I S PA RT O F T H E 6 T H A N N UA L A RT O F S Y S T E M S Biology and Nanoscience. And what is a little different

landscapes of cell life on an atomic scale. This is an over

microscopic images, slowly zooming out, would finally

about this year’s gathering of “stunning scientific images

simplification to be sure, but besides the obvious appeal

cohere and become a finished sand mandala based on

that reveal the hidden beauty of living cells” is that artists

of color-enhanced allergens, for instance, what is a viewer

the Chakrasamvara. This project is inspiring both for its

whose work involves a focus on light were invited to

supposed to take away from an image that aestheticizes

organizing principle that showcases the magic and mystery

expand the scope of things seen or barely seen—unless you

cancerous growth and wants that photograph to stand on

of scaling and for taking the viewer deep inside what we

happen to have an electron microscope, a laser, or a good

its own as a “work of art”? Perhaps that isn’t even the point

could metaphorically speak of as the molecular structure

imagination. Sponsored by the University of New Mexico

with these photographs from the world of nanobiology, but

of a Buddhist cosmology. Vesna’s highly refractive work

Health Science and Cancer Centers and the Los Alamos

given the context of a gallery space, it would seem that these

of art is open-ended and resonant and it is this resonance

National Laboratory, this ambitious blend of art, science,

images want to be given another lease on life and be judged

that meaningful art is capable of generating—the artistic

and technology featured the work of many professional

for their variants on line, form, color, and composition.

process being more than just good technique with fancy equipment.

researchers and a group of artists that viewers in Santa

That said, Inventory of Light is, by and large, a

Fe might be familiar with. There are, for example, the

showcase for some truly adventurous artwork exemplified

William Blake’s line, quoted at the beginning of this

masterful holograms of August Muth, the luminous mixed-

by Ashcraft, Auger, Buelteman, and Muth. And perhaps

review, is a conceptual thread that winds through Inventory

media paintings of Stephen Auger, the unique investigations

the piece that visually, and also spiritually, bridged the

of Light. Perhaps this idea is what lingers the longest after

of Thomas Ashcraft, and the radiant plant forms in the

gap between nanotechnology and visionary thinking was

seeing this show of disparate work conceptually yoked

chromogenic prints of Robert Buelteman.

Victoria Vesna’s video projection, Nanomandala. Watching

together by references to light. In the final analysis,

Although there is a large gallery with gorgeous

her video on a large, round screen a couple of feet off

each piece is left to radiate on its own terms where the

photographs of cells and molecular structures photographed

the floor, it wasn’t immediately clear how the rocky gray

nanosphere can sometimes open up to conceptual ideas

at extreme microscopic levels—representing data from

landscape that first appeared would relate to the image

revealing the vastness and complexity of both inner and

many rigorous levels of scientific research—this work,

of a Buddhist sand mandala. Vesna’s camera moved with

outer space. Part of Ashcraft’s work in this exhibition

although fascinating, seems overly familiar, as if this world

aching slowness over what appeared to be huge boulders

comprised photographs of “sprites”—atmospheric light

of the nano had become its own kind of cliché. Haven’t

on a coastline and only gradually did hints of color emerge.

phenomena that shoot into space as a byproduct of

we seen these images before at previous systems biology

Large blue rocks, followed by magenta ones, came into

storms—recorded by the artist with high-speed cameras

and nanoscience gatherings and in a plethora of books and

focus and then eventually became a distinct form. It was a

and radio telescopes. The shapes of these bursts of light

magazines? It’s as if one segment of big science was trying

blue Tibetan dorje, one of a pair on a bed of magenta sand,

were described as being like “red glowing jellyfish, carrots,

to impress a naïve public that all it was interested in was

an image that constituted the center of the mandala.

angels, broccoli, or mandrake roots with blue dangly

the production of alluring and beautiful images from the

I will cut to the chase here and reveal that the

tendrils….” And in his grid of thirty sprites I saw one that

micro-biosphere—ravishing pathogens and otherworldly

gray rocks were individual grains of sand and Vesna’s

looked like Shiva, the Hindu patron god of the arts, dancing the world into existence—a world in the process of yet another cosmic transformation as it balances itself on the head of a nano-pin.

—Diane Armitage

Victoria Vesna, Nanomandala, (composite image of details), video projection, 2004 Victoria Vesna, Nanomandala, video projection, 2004



THE magazine | 49

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Elliot Norquist: Gratitude

Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe

ENTERING THE GALLERY WHERE ELLIOT NORQUIST RECENTLY EXHIBITED his brightly colored, wall-mounted steel sculptures at

but he said that although he “did take painting classes, the

Norquist transitioned from a minimalist sculptor inspired

Charlotte Jackson Fine Art was like riding a multi-dimensional

painters thought I was terrible.” Speaking to his use of steel,

by form alone by making “a series of shapes that were not

Ken Kesey bus on a time-traveling adventure back to some

he remembers that “at first you’re just enamored with raw

similar to each other, and letting them work in a kind of

psychedelic version of Ancient Egypt, or far ahead into some

steel, the pure surface with all that relational, muscular power.

dialogue.” He states that he has “always been interested in

unfathomable future. Fat cuneiform symbols popped from

Color gets you into a whole other world.” It’s that color

making my shapes simpler; I got down to squares years ago.

the walls, nearly vibrating in their joy at the potential for

and those surfaces that take Norquist’s work into another

You start to put them next to each other… and they start

communication with the viewer. “Wow!” is the closest direct

dimension, as it were. His shapes look like painted canvases,

to talk.” Triangles, he finds, are the toughest of shapes: “To

translation I can imagine when it comes to what Norquist’s

but their exaggerated edges shift the two-dimensionality of

hang it on the wall and have it work is the thing. It has to

generous forms were dialoguing about—a “wow” about the

painting into something exciting and otherworldly.

somehow align or work with the horizon.” Hanging things

I tend to think of Minimalism as not being, at least

in reference to each other is what this exhibition is about;

universally, about anything in particular, particularly not

Norquist “loves this language idea, creating a hieroglyphic

“Gratitude,” says the artist, “is a collection of steel

language itself. Dialogue, sure. But the shape of language—

where the forms speak to one another. Charlotte’s space is

shapes using color, spacing, and composition to describe

the written word and the marble-feel of words in the

perfect for this.”

recent aspects of a personal journey filled with reasons

mouth—that’s usually not a concern for an art derived out

As a viewer, I found myself feeling grateful for

to celebrate.” Norquist is now cancer-free after “finishing

of pure formalism and as a reaction against expression.

an art exhibition that hovered in that tension-filled

heavy-duty cancer treatment,” and he feels “not just lucky,

In fact, as the artist put it, “Being a minimalist is the closest

space between beauty and form, interiority and edge,

but [aware that] a lot of people and forces came together to

thing to disaster that you can possibly approach, because

language and meaning—in short, in that sublime interval

take care of me. This is a show about giving thanks.”

you’ve only created one option [the object itself], and if that

between love and fear. That is the space we call art.

doesn’t work, it’s a terrible failure.”

—Kathryn M Davis

state of life itself, that momentary, mind-blowing moment when we humans realize how lucky we are to inhabit the cosmos.

His steel shapes are hung on the high side of the gallery walls, and lit beautifully (kudos to Elizabeth Dunham). The

For Norquist, “Nobody’s really a Minimalist any more.

viewer gazes slightly upward, as if seeking signage to her next

I’m an advocate of saying less. It’s a language; it’s poetry.”

flight at a spaceport in another galaxy. Because Norquist is such

Language is inherently flawed, ever pointing to what it is not

a masterful colorist, I suspected he had majored in painting,

and cannot ever be; therein lies the delicate heft of its soul.



Elliot Norquist, drawing for a Save-the-Date exhibition postcard, colored pencil on sketch vellum, 11” x 17”, 2015

THE magazine | 51


Bebe Krimmer: The Santa Fe Years

Chiaroscuro 558 Canyon Road, Santa Fe

I N A M I D N I G H T F L I G H T, T H E M O T H B E G I N S T O W I N G I T S T R AC E RY of arcs and arabesques, a life spun in circles only slightly

The quantum collapse of empiricism on the atomic

Spatial Pattern 108-1 beautifully exemplifies the best

more obviously than the rest of ours. You never asked to

level, the lack of a unifying theory of the universe, the fact

qualities of Krimmer’s mature work. Her approach to the

come here, you just arrived, and if asked, you’ll say you have

that science can’t convincingly explain the force of gravity, or

merger of figurative elements and abstraction is sophisticated

no idea when you’ll be leaving. The days are the same, but

say what exactly time is (if time even exists), set us on course

and original. Impossible to photograph, this dark, textured

one day all that will end very differently. The only equally

for a mystic revival in the face of multiple scientific sources

object is both map and territory, both experiment and

rare day is the one of your birth, and chances are, when it is

for awe. A neo-nature cult is highly proscribed, a creed of

evidence. There are at least three representational fields

all said and done, you don’t remember either one.

clean earth, clean water, and clean air. Let the planet, the

layered here—the inky darkness of the night sky, full of

Or maybe you do. Maybe your non-empirical

only steward humankind’s ever had, heal us. How did you

celestial life, the serial mounting of the butterfly-calendar-

apparatus simply exits the temporal-spatial to exist as an

get here, and where are you going? The answer, all swooping

grid, and finally, Deleuzian “lines of flight” etching the

energetic in a stasis of perfect peace, until you decide to

and spirals aside, is Earth. Abandon your atavistic religions of

surface, echoing the play of light across lepidopterous

come back for another go-round. Maybe you come back as

intolerance and honor the one real and living source of your

wings. This complex space, hard-gained through careful

a butterfly, maybe you come back as a million butterflies, all


collage application, has the depth and vivacity of the infinite

transformed in order to transform. Maybe no one knows

Bebe Krimmer’s work comes from a place of

spaces Pollock achieved quasi-aleatorically. The complex

at all where the last midnight dive into the light ends up,

empirically based faith, of a joy found in foregrounding

relationship between order and chaos, between complexity

really, or if the flame itself ever sputters. And those of

the unfathomable. Absent infinity, there is nothing finite.

and oneness, are themes both artists engage equally well,

faith, who tell you that they know, have forgotten this: by

Or to reconfigure it, the finite is infinite to the core. Over

but from opposite directions. Krimmer’s shimmering

definition faith’s only foundation is knowledge’s absence.

her twenty years in Santa Fe, Krimmer produced a unique

techniques resemble those of Fred Tomaselli, or Sol Lewitt in

This is what excites the existentialists and artists, the poets

body of work exploring ideas of order and chaos, or the

his early wall drawings. Or befitting the trans-avant-gardism

and priestesses. They realize that the meta-physical and

differences between randomness and the best laid plans.

of her time, she could also be compared to the Byzantine

the imaginary share the same boundaries, or lack thereof;

Along the way she created universes all her own. Her most

mosaic worker, or the masters of Islamic tile, stone, and

that every day is just a new chance to wake up and propose

profound investigations arose after the passing of a son and

stucco patterning. See the muqarnas dome in the Hall of

another (essentially improvable) version of the real. Once

husband within a two-year span. Her cosmic and quantum

the Abencerrajes in the Alhambra. Krimmer’s work holds

you accept the stoppages, they aren’t stoppages at all. Like

imagery of star clusters and butterflies are actively aflutter

an Apollonian element of daily faith in awe that projects in a

everything else, this information can be used for good and ill.

with questions the human heart can never answer.

Pollock piece as Dionysian rapture. While my taste runs to black, the white collages laminated following similar principles have a nice breathing space, a sense of relief and openness, and the abstract







electricity neurons



of concepts and constructs taking to the air. Patterns here, Krimmer’s obsession, assume a diagrammatic stance, or rather diagrammatic elements take off to create crafted surfaces of incredible, seemingly momentary




whether you tune your perception to the spaces or the surfaces of these elegiac image-objects. In the summer of 2014 that rare day finally came for her, too. The incredible duality-erasing balancing act that Bebe Krimmer achieved in her work will allow it to last beyond her empirical apparatus; that too is rare. Her soul lives in her work. She strove and succeeded in eliciting the tensions and bonds between motion and stasis, lightness and dark, order and chaos, life and death—no less.

—Jon Carver

Bebe Krimmer, Spatial Pattern 108-1, acrylic, collage, nails, 18” x 24”, nd M AY


THE magazine | 53

Aisthesis: The Origin of Sensations

Villa Panza Piazza Litta 2, Varese, Italy

I N T H E F O O T H I L L S O F T H E A L P S , T H I RT Y M I N U T E S F R O M M I L A N , the sprawling provincial town called Varese is somewhat

Aisthesis: The Origin of Sensations. Taking its title from the

more than a county seat. For example, from the tiny town

ancient Greek word that means, well, the opposite of

where I was born, about five miles away, you must venture

anesthesia, the exhibition celebrated the renewed sense of

to Varese to renew your national identity card or apply for

the world around us that the Light and Space artists seek

Italian residence. In a hilly section of Varese called Biumo,

to engender. Organized by Michael Govan, director of the

a capacious three-story mansion, in the typically Baroque

Los Angeles County Museum of Art, and Anna Bernardini,

U-shape, overlooks formal gardens that contain outdoor

director of Villa e Collezione Panza, the exhibition includes

artworks made using only materials found on the site.

nineteen works created from 1963 to 2013. Among them

Villa Panza and its former stables and outbuildings hold a

are two pieces the artists returned to the villa to create:

tremendous repository of an important aspect of the culture

Robert Irwin’s Varese Scrim 2013, and James Turrell’s 2013

of the second half of the twentieth century, artworks that in

Sight Unseen, one of what he calls his “ganzfeld” or “total

many ways still feel fresh, dynamic and challenging.

field” environments. The works occupy nineteenth-century

Giuseppe Panza di Biumo, the son of a wealthy

outbuildings and former stables; an upstairs hallway is

Milanese businessman whose father acquired this country

lined with galleries containing works such as Turrell’s 1967

house in a run-down state in the 1930s, when Giuseppe

piece, Shanta (Blue), which seems to be a glowing, three-

was still a child, amassed the collection. Panza’s life passion

dimensional blue box suspended in a corner of a darkened

became collecting modern art. Over four decades he filled

room, but is actually an immaterial projection of blue light.

the villa with artworks he acquired throughout Europe and

Skyspace I, one of the three works Turrell created for the

in particular in the USA, which he first visited in 1954. In the

villa in 1974, is unsettlingly intimate and aggressive at the

1960s, Panza encountered the work of Robert Irwin and

same time, consisting of a small blindingly white room

James Turrell, pioneers of Southern California’s Light and

saturated with natural and fluorescent light. Turrell has

Space movement, some of whose ideas grew out of work

created more than seventy of what he calls “skyspaces.”

in sensory deprivation. Panza was utterly taken with their

At the villa Turrell’s immersive Sight Unseen can only be

vision and their interest in the limits of perception. Unlike

viewed by small groups for a limited period, after signing a

many patrons and collectors at the time, Panza immediately

release. Like the flavors of a complex culinary delicacy that

grasped the importance of their refusal of the historical

can only be described in metaphors, it unfolds in intimate

concept of art as a discrete object. He was exhilarated by

stages for each individual. This is in stark contrast to the

their practices, articulating space using light, crafting an

well-known Aten Reign that occupied the rotunda of the

experience rather than a thing. He began commissioning

Guggenheim Museum in New York City in 2013, which was

site-specific works by Irwin, Turrell, Dan Flavin, and others.

an awe inspiring and spacious skyspace.

Panza was a quiet but determined collector who knew

Robert Irwin’s original Varese Scrim, created in 1973,

what he liked and bought it, no matter what was being

transforms a windowless room by dividing it lengthwise

touted or ignored by critics and the public. I remember

with a white nylon panel that is all but indistinguishable

him haunting the 1980s art scene in Los Angeles trailed

from the walls. What appears to be a solid surface is in

by the implicit question of why a museum might acquire

fact a screen that masks a void, creating a sort of phantom

these problematic works, which are immaterial enough to

room; experienced slowly, it allows for a certain awareness

be called conceptual, yet material enough to require large

to subtly blossom in the viewer. Varese Scrim 2013 is a

dedicated exhibition spaces.

maze of white nylon panels that, in a kind of inversion

How wonderful that in 1996 he donated both the villa

of the process of its forty-year-old predecessor upstairs,

and the bulk of his collection, especially the site-specific

captures and channels sunlight streaming in through tall

works, to Italy’s National Trust, the Fondo Ambiente

windows, destabilizing one’s sense of space, place, density,

Italiano—known as FAI—which in Italian has a certain

and form.

verve, given that fai is the second person imperative

How ironic that it is in northern Italy that one can best

of the verb to do, giving something of the feel of Just Do

experience the full impact of the lasting legacy of uniquely

It, a slogan much needed in Italian public life. Portions

American art of the late twentieth century. Anyone visiting

of Panza’s collection ended up, after 1999, with the

the area should make a pilgrimage to Varese to experience

Guggenheim and the Museum of Contemporary Art in

Villa Panza’s quirky intersection of the genteel past and the

Los Angeles. The villa opened to the public in 2000 and

insistently modern.

Giuseppe Panza died in 2010, though his family continues

—Marina La Palma

to be integrally involved with the project. Photographs and videos add to the understanding of the place of this

Top: Robert Irwin, Untitled (Column), 2011. Photo: Phillip Scholz Ritteermann

work and the foresight of Panza in buying it.

Bottom: James Turrell, Shanta (Blue), 1967. Photo: Florian Holzherr

In the fall of 2014, the villa hosted a show called



Evoke Contemporary 550 South Guadalupe Street, Santa Fe

NEW TECHNOLOGY IN ART HAS SO OFTEN BEEN MET WITH RESISTANCE, medium in unexpected ways. Ultimately, that is the exhibition

especially when it comes to photography. Photography itself

Finally, both Adria Ellis and Kimberly Post present still life

had to struggle to obtain its place as a fine-art medium,

images. Ellis’s flourishing lilies and decomposing fruit uphold

I would like to see.

then digital photography, then Photoshopped photography,

the romantic, highly stylized feel that pervades the exhibition.

—Lauren Tresp

and now iPhoneography, which uses the Apple iPhone,

Post’s still lifes feature simple subjects and stark compositions,

iPad, or other mobile device to both capture and process

highlighting the natural intrigue of organic objects. Perhaps using

photographs. Indeed, these struggles are still contentious,

post-production apps with greater reserve, her editing provides

but ultimately art is the product of imagination, skill, and

a subtle effect that serves the subjects of her still lifes rather than

tools, whether oil paints or a cell phone.

subverting them to a hyper-processed effect.

As one of these tools, the mobile device has a number

Though all of the works are lovely to look at, the hyper-

of impressive qualities: it is discreet, immediate, always

processed, romantic feel is overwhelming. Additionally, the

present, images can be shared across social networks

works mostly imitate painting, if not intentionally, certainly

instantly, and the phones and photo-processing apps

aesthetically. They look and feel like paintings, regardless of

are widely available. The nature of this particular tool is

how they were created. For this reviewer, the choice to feature

wonderfully democratizing, yet it also means that “fine-art

distinctly painterly photographs in a show organized around

iPhoneography” must find a way to establish itself above the

the new media of the mobile device draws attention to that

constant stream of images we experience daily—and begs

medium’s specific qualities: what can and should this tool be

the question whether that is even a relevant goal. After all,

used to create that other tools cannot?

what one person may see on their Instagram feed may be

The ubiquity and instantaneity of the iPhone lends

the finest art of all, yet never end up on a gallery wall or

itself so perfectly to capturing the most candid of moments,

fetch a price.

to delineating whole timelines, or to acting as an archiving

Setting these questions aside for the moment, a recent

device. In these ways, it has incredible documentary or

exhibition at Evoke Contemporary featured a group of artists

narrative potential. Another unique aspect of the device

working within the framework of mobile photography.

is the limitless reach of sharing images across social media

Curated by photographer Adria Ellis, Decomposition included

and Internet platforms. There is an inherently social and

work by Ellis, Caroline MacMoran, Christian Margarita, José

interactive feature of iPhoneography that sets the medium

Luis López Moral, and Kimberly Post. With each of these

apart from every other. While Decomposition is strong in

photographers, the viewer glimpses examples of landscape,

many ways, there is so much room to explore these new

still life, portraiture, and photographic collage, each

possibilities, to delve into the unexpected, to utilize this new

Top: Kimberly Post, Perfect Specimen, printed on Canson Rag Photographique 310, 16” x 12”, nd Bottom: José Luis López Moral, Ofelia, printed on Ilford Smooth Gloss, 24” x 36”, nd

characterized by an overriding early-photography aesthetic: scratched, stained, and processed in acidic or sepia tones. Interestingly, each of these bodies of work evokes or mimics pre-digital media. José Luis López Moral’s landscape photography brings to mind the romantic oil paintings of John Constable and J.M.W. Turner. Moral’s pastoral scenes are painterly, inviting compositions, filtered and affected beyond the point of looking like photographs. Like most of the artists’ work in the exhibition, the work is so processed that we begin to see into other worlds, or other times, the products of new media interventions. MacMoran, a practicing psychotherapist, captures dreamlike portraits, often of women and girls in fluid dresses and fabrics. These ghostly figures, sometimes subtly turning within whirls of diffused light and color, are unidentifiable, yet exude a romantic-bordering-on-eerie whimsy. Margarita’s photographic composites combine distinct visual elements into works that look like collages comprised of found memorabilia. A restorer of antiques and contemporary art, the artist’s interest in vintage and antique images is reflected in his aesthetic choices: one piece contains handwritten text and feels like a handwritten letter, the other has a border to look like a printed card. Alone within the show in not imitating painting, Margarita’s work imitates other paper-based media.



THE magazine | 55

The Human Drift

SCA Contemporary Art 524 Haines Avenue NW, Albuquerque

ALBUQUERQUE IS WELL INTO ITS SIX-MONTH-LONG CITYWIDE ART collaboration called On the Map: Unfolding Albuquerque

terracing of the Fitzallan sculpture Drift #1, which

Petroglyph National Monument 2004 (with Justin Lane and

Art + Design. The project brings together over one

takes up an entire corner of the gallery, is a lovely

Tom Richardson) captures a sculpture of twelve shield-

hundred exhibition spaces; visual art, performing art,

surprise. The beautifully balanced use of space ties

bearing individuals snaking over and between large

and cinematic venues; public art works; and roaming

these works together. Fitzallan is a moniker for the

petroglyph-covered rocks. In P.O.D. White Sands National

arts presenters to celebrate Albuquerque’s artistic

collaborative work of Nina Dubois and Sheri Crider.

Monument 2005 (also with Justin Lane), similar shield-

history and cultural legacy. SCA Contemporary Art

Their motivation is all about resourcefulness and

carrying people create a mushroom cloud rising from the

contributes The Human Drift, which combines the

respect for landscape. To construct Drift #1, the artists

too-white sand and the too-blue sky.

work of Bart Prince, Steve Barry, and T. Fitzallan. “The

retrieved one hundred twenty-five landfill-destined

CSA’s gallery and ArtLab studios occupy a former

exhibition’s title,” explains gallery director and curator

hollow-core doors. They then fused them together

National Auto Parts building, which still boasts its antique

Sheri Crider, “is a riff on King Camp Gillette’s 1894 book

in clusters, cut them, and shaped them into the

metal, sideways-rolling garage doors, orange hollow

by the same name.” Gillette’s work was an early foray

sculpture’s component parts. These were assembled

prison-brick walls, and exposed ceilings. These elements

into social planning that offered late-nineteenth-century

into a mountain—evoking the Sandias—to fit the

create the perfect setting for an exhibition about human

alternatives for community design, power generation,

available space. The exposed interiors of the doors

interaction with space and environment.

and social advancement in an effort to alleviate the chaos

resemble landscape features like boulders, caves, and

—Susan Wider

of the times. This CSA exhibition takes Gillette’s lead and

ledges. There’s even a capstone section in the upper

presents artists who explore physical space as a means

corner that exceeds the gallery wall by seven or eight

of understanding how humans interact with materials,

inches and turns out to be the prototype piece for the

space, and light.

entire work. It sits on the highest peak like a crown.

Architect Bart Prince has contributed nearly twenty

Steve Barry’s work takes us in another direction.

architectural models for residences he has designed in

His contribution to the show is called P.O.D. (Practicing

New Mexico, Utah, Colorado, and California. Each piece

Our Democracy), from 2004. At first glance it looks like

includes a representation of the surrounding terrain so

a large lotus flower sculpture measuring approximately

that we can see exactly how the structure folds into the

twenty feet in diameter and forty-eight inches in height.

landscape. This is the largest show of Prince’s work to

Then you realize that each flower petal is a riot shield

date in New Mexico, and also includes working drawings,

made of polycarbonate plastic. Barry hopes to imbue

blueprints, and photos. An aerial photo of the Price Residence

public demonstration and dissent with art and creativity.

in California—whose model stands nearby—demonstrates

In his mission statement for P.O.D. he writes, “To reclaim

how part of the house morphs into a sculpted hill. And the

the public space and ensure that dissent is not relegated

photo for the Gradow/Benton Residence shows the tiered

to the margins, we feel that the public protest needs

design, with its fanlike, copper-colored roofs climbing up

to be reimagined. We need to reinvent protest in a

the snowy hillside. What fantastic dollhouses these models

way that enables everyone to see how important it is,

would have made for my tiniest families.

and how creative it can be.” To that end, the shields in

The view from across the roofline of Prince’s

the lotus flower detach and become dragon scales or

terraced Digregory Residence model to the large-scale

cloud shapes for kinetic sculptures. Barry’s photo P.O.D.

Top: Bart Prince, Gradow/Benton Residence, 36” x 79”, 1989-1993. Architectural model for residence in Aspen, Colorado Bottom: Steve Barry, P.O.D. (Practicing Our Democracy) Petroglyph National Monument, 20” x 32”, 2004. Photo: Justin Lane, Tom Richardson, and Steve Barry


Keeping Things Whole

Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe

ALMOST ONE-THIRD OF THE ARTISTS ARE DRAWN FROM ONLY FIVE GALLERIES for solo exhibitions by museums nationally—higher for MOCA Los Angeles (40%), MoMA (45%), and especially the Guggenheim (55%). According to the recent study by The Art Newpaper of sixty-eight museums for the period 2007-2013, these solo artists are represented by Gagosian Gallery (New York), Marian Goodman (New York), Pace (New York), David Zwirner (New York, London), and Hauser & Wirth (Zurich, New York, London, Somerset, Los Angeles). I thought of the high rate of elitism at the Guggenheim as I went to see a recent group show at Zane Bennett Contemporary Art featuring strong sculpture by three artists represented by Zane Bennett. Sic transit: the Guggenheim was a major force in advancing postwar modern sculpture in the 1950s and 1960s, by which time Clement Greenberg had secured for painting its place as the pre-eminent medium and dominant art form of modernist art. In an irony of art history, Greenberg’s positivist attempts to revive “that long eclipsed art,” as he described the medium in “The New Sculpture” (1948, 1958), and restore its parity with painting, relied on a modernist “reduction” that he had advanced to justify the dominance of painting—in particular, Abstract Expressionism and its aftermath. For Greenberg, the “new sculpture” would move in tandem with modernist painting toward a reductive purity of medium, a literal and immediate expression, freed of illusionistic and narrative devices and, thus, richer in allusive potential. All three sculptors in Zane Bennett’s Keeping Things Whole are heirs of that modernist legacy, and their work reflects, to good effect, those heady days for modern sculpture captured in 1962 by the Guggenheim’s exhibition of four hundred and forty-four works of modern sculpture from the Hirshhorn Collection. Yet each artist here—Guy Dill, Dunham Aurelius, and Rachel Stevens— embraces that tradition on his or her own terms; each makes a strong case for its currency in contemporary art. Guy Dill’s arcing bands of bronze twist and cavort in space like truant Möbius strips. The clipped arabesque of the bronze Boon (2008) invites a playful dialogue with the mute stance of his lacquered aluminum Signal (2008) whose paired vertical legs rise upward in opposing arcs to knot in a taut and twisted defensive posture, stolid and wary. The caught-in-mid flight form of File Angel (2006) could serve as damning reprise of Ernst Barlach’s floating war monument. The attractive lithographs featuring Dill’s calligraphic forms, rendered in black or red against a yellow ochre ground, work as studies for new pieces or reflections on past projects. With a nod to Juan Gris, a slanted flat hat atop the plate silhouette profile and cylinder torso of the bronze Trunk (2009) recalls the Cubist sculpture of Jacques Lipchitz and Julio González, while the sweeping strokes of Alphabet City (2007), Kharfi, and Boon preserve the expressive gesture and personal myth of Action Painting. The polymorphic approach of Dunham Aurelius has its source in his attraction to the tribal arts of Africa, Oceania, and the Pacific Northwest. It builds upon the early modern harnessing of Cubist syntax to capture the expressive force of indigenous cultures. The roughly modeled, carved, and cast pieces, such as Poncho (2009), Hephaestus Small (2010), and Café Racer (2013), have the feel and figuration of early modern sculptors like César and Giacometti. His series of polychrome carved wood pieces—perhaps his strongest work—manage to combine Picasso’s late Cubist carving style with hatched surfaces of primary red, blue, and yellow striations redolent of the neo-expressionist 1980s. The installations of Rachel Stevens would seem to belie any manifest ties to modernist sculpture and can be directly linked to the emergence of conceptual art and installation as art forms after 1970. Certainly Stevens’s almost willful lack of concession to modernist notions of structure, craft, and formal appeal would place the large steel and clay armature of Testimony (2015) or the scattering of ceramic letters and electric wire of Love’s Story (2015) in a persuasively postmodern mode. But even here the modernist legacy endures, if we go back to Greenberg’s initial premise for the “new sculpture” involving a positivist reduction to its most literal, immediate expression as physical object—artifact, even—in aid of a far richer allusive potential. Hence Stevens’s Logos (2015) and Love’s Story can speak to the unspeakable experience of the Holocaust with deep insight and profound effect, in which ceramic letters, oddments of unformed words, are strewn on the ground in Love’s Story, or cling like lichen to the charred log curtain of forest in Logos—mute witness to a waning past, a cairn to its victims, a memorial to memory itself. —Richard Tobin Rachel Stevens, Logos, wood, clay, steel, 111” x 36” x 15”, 2015



THE magazine | 57

jennifer esperanza photography introducing

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THE magazine | 59

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THE magazine |61



Arthur Sze

Each evening you gaze in the southwest sky as a crescent extends in argentine light. When the moon was new, your mind was desireless, but now both wax to the world. While your neighbor’s field is cleared, your corner plot is strewn with desiccated sunflower stalks. You scrutinize the bare apricot limbs that have never set fruit, the wisteria that has never blossomed; and wince, hearing how, at New Year’s, teens bashed in a door and clubbed strangers. Near a pond, someone kicks a dog out of a pickup. Each second, a river edged with ice shifts course. Last summer’s exposed tractor tire is nearly buried under silt. An owl lifts from a poplar, while the moon, no, the human mind moves from brightest bright to darkest dark. Arthur Sze’s ninth book of poetry, Compass Rose, was published by Copper Canyon Press in 2014. A recipient of the 2013 Jackson Poetry Prize, and a former Poet Laureate of Santa Fe, he is currently a chancellor of the Academy of American Poets.

62 | THE magazine



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THE magazine May 2015  

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

THE magazine May 2015  

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


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