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MAHNAZ COLLECTION OPENING Thursday, July 21, 5pm – 7pm
SHIPROCK SANTA FE LECTURE – Mahnaz Bartos Saturday, July 23, 1 pm – RSVP
53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
Photo Credit: Wendy McEahern Photography
FOLK ART MARKET OPENING Thursday, July 7th, 5pm – 7pm
THE M AG A ZINE OF A RTS A ND CR E ATI V E CULTU R E
C ON T E N T S
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FEATURES 16
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stud i o v is it Andrew Cimelli t he p eri p hery by Elaine Ritchel c reati ve c o m mu n iti es : a p ri mer o n t he c u ltura l c reati v es m ove men t by Jackie M
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art openings Art openings, exhibitions, events, performances, calls for artists
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p re v i e w s Much Wider Than a Line, SITE Santa Fe Artspace Magazine, Exhibit 208, ABQ
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national spotlight Women of Abstract E xpressionism, Denver Museum of Art c r i t i c a l ref l e c t i o n s Camera-less, Richard Levy Gallery, ABQ Currents: Santa Fe International New Media Festival, El Museo Cultural Lowrider Day, New Mexico Museum of Art, New Mexico History Museum Made in the Desert, form & concept The Narrative Figure, David Richard Gallery Strangers Collective: Narrows, Santa Fe Community Gallery Serena Stevens: Bed and Butter, Small Engine Gallery, ABQ Terri Rolland, Santa Fe Collective
DE PARTME NT S letters the library
Alexander Girard: A Designer’s Universe
59
t he pr i nted pag e
61
photography
by Luke Dorman
by Joshua Baer
Looking Glass by Steve Hamblin
dining guide
62
wr it i n gs
one bottle
out
&
about
The Writing on the Wall by Roger Salloch
(INFRA) STRUCTURE complex, below and further on 16 July — 29 August 2016 Siah Armajani › Olivo Barbieri › John Cliett › Christine Corday › Michael Heizer › Joanne Lefrak › Laura Letinsky Pard Morrison › Trevor Paglen › Victoria Sambunaris › Fred Sandback › Josef Schulz › Christina Seely › Guy Tillim A selection of work from the Lannan Collection examining the notion of structure: real, perceived, or imagined
OPENING RECEPTION
Saturday 16 July from 5 to 7pm GALLERY HOURS
Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM 87501 Tel. 505 954 5149
IMAGE: Olivo Barbieri, The Waterfall Project, Niagara Falls, Canada/USA, 2007,
inkjet print on archival paper, 14 x 17 inches. Collection Lannan Foundation.
www.lannan.org
CONTRIBUTORS
maga zine VOLUME XXV
Issue 1
PUBLISHER | EDITOR Lauren Tresp ART DIRECTOR Chris Myers ASSOCIATE EDITOR Clayton Porter COPY EDITOR Tim Scott PROOFREADER Kenji Barrett PHOTOGRAPHERS Audrey Derell Clayton Porter CONTRIBUTORS Diane Armitage Joshua Baer Nicole Brouillette Jon Carver Kathryn M Davis Jordan Eddy Alicia Inez Guzman David Leigh Jackie M Elaine Ritchel Richard Tobin Susan Wider INTERNS Mariah Romero Charlotte Smart
Luke Dorman Luke Dorman is an artist, designer, educator, father, list maker, late-night doodler, and potential speed-eating champ of the Southwest. He currently works both as a freelance designer and graphic design instructor at Santa Fe University of Art and Design. lukedorman.com Jackie M Jackie M. served as the Board Chair of Creative Santa Fe, and on the planning committee for the city of Santa Fe’s UNESCO Creative Cities conference on Creative Tourism. She received the Mayor ’s Award for Excellence in the Arts in 2006; in 2012, the New Mexico Committee for Women in the Arts presented her with a creativity award, and in 2014 she served on a national advisory committee for the President’s Committee on the Arts and the Humanities. Jackie was the founding director of education for the Georgia O’Keeffe Museum and SITE Santa Fe. She is currently consulting with arts organizations and foundations, while developing and administering the Santa Fe Opera’s Young Technicians Program. Jackie M. is also known for her work as a performance artist and participated in New Mexico Arts Artist-inResidence program.
Letters to the Editor: editor@themagsantafe.com
Elaine Ritchel Elaine Ritchel is an independent museum educator and arts writer. She has a BA in Art History from the University of New Mexico and an MA in Art History from the University of Texas at Austin. Elaine has worked as a gallery teacher and language services specialist with arts institutions in the US and abroad, including the Blanton Museum of Art, the Museum of Contemporary Art Zagreb, and the Croatian Association of Artists. After a three-year stint in Croatia, she is now based in Santa Fe, where she recently launched Santa Fe Art Tours. santafearttours.com
Roger Salloch Roger Salloch is American. He lives in Paris and is a writer and photographer. His stories and articles have been published in The Paris Review, Fiction, Ploughshares, the North Atlantic Review, Rolling Stone and The New York Times, among other publications. Stories have been published in Paris in R, Noise, and L’Atelier du roman (Flammarion). A novel, Along the Railroad Tracks, has been translated into Italian, and will be published this month by Miraggi edizioni in Turin. Salloch has had photography exhibitions in New York, Paris, Hamburg, Turin, Vologda (Russia), and New Delhi.
LETTERS
WEBMEISTER Jason Rodriguez PUBLISHERS EMERITI Guy and Judith Cross COVER Original design by Luke Dorman CONTENTS PAGE Photo of Lowrider Day courtesy Corey Ringo, Double Barrel Photography, Albuquerque, 2016. Jaque Fragua, Sold Out, 2016, neon, 29 x 48.25 x 3 in. courtesy of form & concept. ADVERTISING Laura Shields 505-977-0094 laura@themagsantafe.com sales@themagsantafe.com DISTRIBUTION Jimmy Montoya 505-470-0258 CALENDAR EDITOR pr@themagsantafe.com LETTERS editor@themagsantafe.com SUBSCRIPTIONS sales@themagsantafe.com
THE magazine is published 10x a year by Tresp Magazine LLC, 320 Aztec St, Santa Fe, NM 87501. Phone: 505-424-7641. Email: editor@ themagsantafe.com. Web address: themagsantafe.com. All materials copyright 2016 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 or for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
J U LY
2016
Kathryn Davis, You nailed your review of the current O’Keeffe show, and linking to Dove and Japanese woodblock prints is spot on. I am—and have always been—particularly drawn to her watercolors. What a treat to read that piece. Thanks always for your brilliance! Steve Cantrell
To the Editor, In [Richard Tobin’s] interpretation of Walter Robinson’s piece, Toll, I think he missed a key aspect of the play of the Native American pot and the Liberty Bell… the inscription on the Liberty Bell reads “Proclaim LIBERTY Throughout all the Land unto all the Inhabitants Thereof.” Well, maybe not ALL the inhabitants! Cheers, Bruce Velick
To the Editor, In response to Viviette Hunt’s Letter to the Editor critiquing my critique of Matt Magee’s underwhelming paintings at Richard Levy Gallery, allow me to clarify a few points. First, a dialogue prompted by constructive art criticism, rather than personal attacks is the difference between a legitimately creative art scene versus a vapid commercial art market. Contrary to Ms. Hunt’s erroneous claim, I saw the show. My lovely wife and I spent many minutes in front of each painting, reading each accompanying text. Just because I didn’t introduce myself, doesn’t mean I wasn’t there. Not surprisingly, for introverted writers averse to sales pitches, it is often easier to do the job by practicing a little bit of what Carlos Castañeda refers to as “shamanic invisibility” for the sake of tranquility. Ms. Hunt libelously called me “uneducated.” I have an MFA in painting and art history from the Tyler School of Art in Philadelphia and Rome, one of the most reputable art schools in the world. The only aesthetic defense given for the artist is that he can paint hard edges. Every day, sign painters, carpenters, and parking lot stripers paint hard edges. Art is never primarily about technique. An artist can fail easily while succeeding technically in every mode mentionable. You can fail to ever paint a straight line, you can fail to paint your way out of a box, or you can paint yourself into the tightest corner, and you can still succeed. Art, like everything worthwhile in this life, is primarily about spirit, soul, and stardust. It was claimed that I didn’t contextualize the artist in the history of hard-edged abstraction. I did. I compared him to Alan McCollum, another postmodern hard-edged abstractionist. Comparisons to Piet Mondrian, Frederick Hammersley, or Bridget Riley would not have been flattering for anyone, believe me. I chose the context of McCollum’s work to allow the readers the interpretive space to argue that Magee’s superficial work is actually an advance upon McCollum’s simulacras, and regrounds them in a simulated authorship that is even more archly and darkly satirical than McCollum’s. But that’s not the conceptual framework I saw. What I saw and voiced in the review was a kind of high-end insouciance and multiple core misunderstandings about how significant meanings are made. My review was grounded in ideas about art history and painting theory, written to provoke aesthetic discussion. In that sense, it is a “good” review, quite possibly one of my best! Better luck next time, Jon Carver, MFA
THE magazine | 5
JEREMY THOMAS | GROWN COLD
JULY 1 - AUGUST 1, 2016 |
CHARLOTTE JACKSON FINE ART
505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com Chevy Red, 5.2016, Forged mild steel and powder coat, 30.62 x 26 x 27 inches
[ H O R I Z O N ] LAST KISS / SUSAN WEINREICH
Crosshatching 2 / Rumi Vesselinova
Master Blue Gold / Gary Oakley
Portrait Series / Terri Hallman
Dreams, Desires, and Destinies / Katie O'Sullivan
Stripes / P.T. Tiersky
Explore an amazing array of contemporary and modern art this July 7–10 at Art Santa Fe, taking place at the gorgeous Santa Fe Community Convention Center. Celebrating 16 years this summer, Art Santa Fe features extraordinary artwork from local, national, and international artists and galleries, as well as specially curated show programming, live entertainment, and other exclusive events. It marks the beginning of the acclaimed Santa Fe Art Trifecta, which runs from July 7–17 and includes Art Santa Fe, the International Folk Art Market | Santa Fe, and SITE Santa Fe. O P E N I N G N I G H T P R E V I E W PA R T Y | T H U R S D AY, J U LY 7, 5 – 9 P M Preview stunning artwork from top galleries while indulging in hors d'oeuvres and drinks, exploring innovative Art Labs, and mingling with artists and other attendees. Join us and be the first to see what’s on the [HORIZON] at Art Santa Fe.
Ruby Red Perforated Triangle / Jeff Laird
O P E N I N G N I G H T PA R T Y T H U R S D A Y, J U L Y 7 / 5 P M – 9 P M SHOW HOURS F R I D A Y, J U L Y 8 / 1 1 A M – 8 P M S A T U R D A Y, J U L Y 9 / 1 1 A M – 8 P M S U N D A Y, J U L Y 1 0 / 1 1 A M – 5 P M L O C AT I O N S A N TA F E C O M M U N I T Y CONVENTION CENTER 2 0 1 W M A R C Y S T. S A N TA F E , N M 8 7 5 0 1 C O M P L I M E N TA R Y T I C K E T R E G I S T R AT I O N FOR THE READERS USE THIS LINK TO GET YOUR TICKETS http://bit.ly/ASF16-THEMagazine
SPONSORED BY F R I D AY & S A T U R D AY N I G H T A T A R T S A N T A F E | J U LY 8 & 9 , 5 – 8 P M Start each weekend night off right! Enjoy a glass of wine in the Art & Antiques Collectors' Lounge before taking in the sights of the show. Trifecta is an extraordinary alliance between three highly original arts organizations: Art Santa Fe, a Spectrum contemporary art show; the International Folk Art Market | Santa Fe, an annual event by the International Folk Art Alliance; and SITE Santa Fe, a contemporary art center designed for the production and presentation of artistic and curatorial innovation.
W W W . A R T S A N T A F E . C O M
CHERYL ANN THOMAS
June 24 – July 26, 2016
Perchance
Opening Reception June 24 5 –7pm
RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM
POLLY BARTON
June 24 – July 26, 2016
Gardens
Opening Reception June 24 5 –7pm
RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 875 01 505.820.3300 | WILLIAMSIEGAL.COM
“An artist, art historian, and dealer chronicles his discovery of the first drawing by Leonardo da Vinci to be uncovered in over a century-as well as other adventures from this ‘art explorer’...That coup is enough to make a great story for any mystery or art history lover...Kline can proudly point to a long list of fantastic finds... ...further triumphs included ‘La Virgencita del Nuevo Mundo’, a 16th c. stone statue from Mexico that proved to be ‘a first Virgin Mary of the Americas’...The author narrates these and other adventures in art with aplomb...Kline has a sharp eye, excellent memory, and top-notch research skills, creating a book that any art lover will love.” —Kirkus Reviews “In this intriguing book...equal parts autobiography and art history... Kline’s personal narrative provides a look into the world of lost art and those who search for it.” —Publishers Weekly “Kline describes his work as ‘a true labor of love’, and it shows in his careful research and lively prose. Even the most casual museumgoer will find something to appreciate in this fascinating account.” —Booklist
Copies of Fred R. Kline’s Santa Fe-based memoir are available at Collected Works and all major online booksellers.
THE LIBRARY
Alexander Girard: A Designer’s Universe Eds. Mateo Kries and Jochen Eisenbrand Vitra Design Museum
A hero of modern design, Alexander Girard’s singular aesthetic vision—though lesser known than his contemporaries, including his friends Charles and Ray Eames—has continued to have a wide influence on visual culture. Alexander Girard: A Designer ’s Universe is an exhaustive and beautiful catalogue that accompanies a major traveling retrospective exhibition currently in its debut presentation at the Vitra Design Museum in Weil am Rhein, Germany (through January 29, 2017). The book also serves as the comprehensive evaluation of Girard’s estate, entrusted to the museum since 1996. Girard, a trained architect, was a prolific designer from the 1930s through the 1970s, and set new standards in textile design and interior design. At a time when International Style utilitarianism and rectilinear forms were en vogue, Girard was uniquely able to bring vibrant color into modern design, and to bring pop art together with folk art. In doing so, he injected humanity and joy into the cool, minimalist trends of the time. As director of Herman Miller ’s textile design department—a new department for which Charles Eames hired him—he produced hundreds of designs for wallpapers, prints, and furniture from 1952 to 1975. His design work became inseparable from his constant collecting and exhibiting of folk art, which he acquired through extensive travel. Recognizing Santa Fe as a supreme location for indulging in his passion for folk art, he moved to Santa Fe in 1953. The catalogue offers several comprehensive essays covering his biography, his significant contributions to textile and interior design, and key projects, including his 1966 design of Santa Fe’s own The Compound restaurant. The Compound, the least known of Girard’s three major restaurant designs is the only one that survived the 1970s, and has changed minimally over the last fifty years. Santa Fe can also fortunately lay claim to the Girard Wing at the Museum of International Folk Art. With the permanent exhibition Multiple Visions: A Common Bond designed by Girard himself, the museum holds the archive of over 100,000 folk art objects he collected during his travels. —THE Magazine Staff
J U LY
2016
THE magazine | 13
aaron payne FINE ART An artist-centered showcase featuring new ideas and artists at all stages of their careers.
Alcoves 16/17 #3
June 24 through August 14, 2016
Christina Dallas Tom Joyce Eliza Naranjo Morse Heidi Pollard Cecilia Portal
SUMMER SELECT: SELECTIONS OF MODERN & CONTEMPORARY ART
In gallery conversation with the artists July 8, 2016, 5:30 pm
The Alcove exhibitions, at the New Mexico Museum of Art, focus on current work by contemporary New Mexico artists. A cycle of exhibitions that feature five new artists every seven weeks from March of 2016 through March of 2017.
Summer hours: Monday – Sunday 10 am – 5 pm Free Friday Evenings 5 – 8 pm
PHIL BINACO, Untitled, 2016, Encaustic, 30 x 30 inches
1 0 7 We s t Pa l a c e Av e n u e • 5 0 5 - 4 76 - 5 0 7 2 • w w w. n m a r t m u s e u m . o r g
EDWARD CORBETT, Untitled #7, 1948, Casein & crayon on board, 22 x 27 inches
5 JULY - SEPTEMBER 10, 2016 Featuring works by Romare Bearden, Larry Bell, Edward Corbett, Andrew Dasburg, Stuart Davis, Arthur Dove, Sam Francis, Ed Garman, Joe Goode, William Penhallow Henderson, Raymond Jonson, Agnes Martin, Lee Mullican, Ken Price, Kiki Smith, Earl Stroh, Stuart Walker and many others.
Aaron Payne Fine Art is pleased to announce it’s representation of Phil Binaco. Please visit and enjoy a selection of recent works in our current exhibition.
213 East Marcy Street • Santa Fe NM 87501 For additional information, please contact the gallery at info@apfineart.com • apfineart.com • 505 995-9779
Taos Clay Studio
Creations far away from the every day.
JULY
SEPT
OCT
Taos Pueblo Pow Wow
Big Barn Dance Music Festival
Taos Wool Festival
Las Fiestas de Taos
Glam Trash Fashion Show
Taos Storytelling Festival
Taos Fall Arts Festival
Taos Mountain Balloon Rally
AUG
The Paseo: UnHangable Art Fest
Taos Pride in the Park
Old Taos Trade Fair
Latin Music Festival
San Geronimo Day
STUDIO VISIT
andrew cimelli
interview by Clayton Porter and Lauren Tresp
returned to his hometown Santa Fe from New York about a year ago to do what many seek in coming here: slow down, reconnect, reassess. His paintings, vibrant and eclectic, are visual mazes filled with numerous aesthetic and formal referents that suggest free associations without guiding them. We sat down with Andrew at his home studio to talk about life back in Santa Fe, his influences, and where his work is going: You grew up here in Santa Fe?
As a viewer and artist alike, I’m trying to create work that fills the cracks,
More or less, yeah, and on the east coast: Connecticut. I was born in South
something I would want to see. I don’t know as far as a plan, though. I’m trying
Korea, then adopted. My family was American and Italian, and then I was
to figure out my place within these structures. How far away can I get from
raised out here. I definitely feel like my work has a lot to do with that. Being
the “art world” and still feel like I can get paid to do something I find fulfilling?
able to identify with the ideas around nature versus nurture. I look Asian, but I
What’s hard is showing work. I’d ideally wait and have a big body of work
identify more with how I was raised, the Italian side of my family. Then, being
ready and be able to curate a show, rather than just throw up everything I have
raised in New Mexico, I feel more like part of the culture out here, Hispanic
continuously. I find getting on that cycle to be mechanical. I can’t work like that.
culture. I went to RMCAD, the Rocky Mountain College of Art and Design in Denver, for about a year, then switched to the Kansas City Art Institute and finished there.
Then you moved to New York? Yeah, I was in New York for four years, and I moved back to Santa Fe about a year ago. Living out in New York, I felt a big separation, in a good way. And I felt fulfilled every time I’d get to paint, amidst trying to just pay rent. I felt like I was isolating myself, locking myself away, in a sense. But I also felt a big separation between my practice and process and my day-to-day life. So moving back here was about trying to create a platform to merge the two. I equate living out in New York at times to picking a flower day to day, rather than planting a flower and letting it grow. Getting used to the rhythm and geography of the city was nice, but it felt like the pacing was just always going and going. And out here, I feel this is my home. That alone, the change in mental landscape, has freed up a lot for me.
Have you ever had a studio outside your living space? Since being out of school, no. I pick places in areas I want to work, but I guess I’m pretty used to tight quarters. It works both ways: some people like to leave the house and have that separation, but I’m not too particular. To me it’s just being able to work anywhere.
What do you feel your goal is? You’re working a lot right now: is that the goal? That’s an interesting question, because I’ve always had a resistance. I’ve noticed
I’ve been doing things for a long time, like creating album cover designs
a trend, a lot more with musicians, but with any artists there is an inclusive
for musician friends or flyers. I was doing a lot of sign painting for this place
nature to things now; it’s not just what kind of work you create. It’s also who
I worked at in New York, and then I got really interested in script. I’ve been
you are outside of that and how you interact with people. I don’t know if I feel
doing a series of greeting cards that started out as just making cards for my
comfortable with the façade that interconnectedness creates. I’ve seen a lot of
grandma. With things like that, I’m still getting that outlet and relief, but it’s
my younger friends in New York being represented by galleries and whatnot,
not a personal attachment. I view it as if I had a moniker. As far as taking the
and in some ways it has ended up making individual artists become their own
idea of being a brand, I’d rather have my design work be the brand and keep
brand. I don’t really feel comfortable with that.
my personal work distinct.
J U LY
2016
THE magazine | 17
You said once you wanted to make a piece that would be, like, six air conditioners, and they would all point toward a pentagram. I thought that was the best idea of hell. Creating installation work, was that ever part of your practice?
If I had an intern, I’d probably make them
Frequencies, and they have all of these songs from
write an artist statement for me. It’s something
around that era, when rock ’n’ roll was introduced
I’m working on continually. I feel very comfortable
to Turkey and then spread across Asia and just
talking to people about philosophical ideas and
took off. It has this really interesting sound across
existential things. I love that the most, almost.
the board. I guess that just stems from researching
With installations it’s more like a mental exercise.
But when it’s all on me, it’s definitely more of an
and being interested in a lot of things.
I’m interested in it, but that’s where something
introverted thing to talk about my process.
I think a cool part of being adopted is that I’m colorblind, this hereditary thing. I don’t know
like a residency or a bigger studio space would really benefit me, because then I could play
What is your typical studio practice?
what my birth parents had going on, so I don’t
around. When I was in school, I did a piece—and
The pace I found I like is working two days a
know what I’m disposed to. In a way, I can create
I’m surprised my art teacher let me do this: I
week, and I prefer to work in natural light. I
my own history forward and backwards with that.
made these big, sculptural paper bricks. They
generally work on those two days, when I’m really
Even with what I don’t know about this culture, I
were like big cereal boxes, or tombstones almost,
feeling it, sunup to sundown. The other day I
feel that some parts of it are in my blood. I feel an
and I put my drawings on every side. I made this
have off, I need to gather a lot of different things,
inexplicable gravity; I’m drawn toward something
big pyramid in a park near the school, and I set
all of my references. I get completely obsessed
and just start doing research. I’ve been to different
the whole thing on fire as a
parts of Asia. I was born in
cremation ceremony. I had
Seoul, but in Japan everyone I
a lot of different parts of
met was saying, “I doubt both
my work that I was really
your parents were Korean.”
attached to; I felt like I was
But because of the war,
falling into a formula and
Koreans and Japanese didn’t
felt really stagnant. I wanted
like each other. I’ve always
to let go of some of these
had this weird daydream that
geometric shapes, things I
my birth parents had this
felt were falling into trends of
Romeo and Juliet relationship.
aesthetics at the time, and I
Do you think that plays into your work more as you progress? Or do you think that’s just part of your life?
wanted to just purge all that. I’m interested in work like that, happenings.
Do you feel with your current work that you’ve actually accomplished that? That you let go of some of the aesthetic trends?
Yeah, no more or less than anyone else. It is just something that defines me and has made me who I am. I don’t think that’s distinct
Yeah, but, like with anything, I’ve just freed up
with things, so a lot of my other day is devoted
from anyone else and the specific experience that
space for something else. I’m not shut off to that.
to research. It’s a lot of just collecting all these
made them special.
There are certain cycles, whether you’re an artist
different things. Figuring it out. Learning. When I
or not, you’re going to go through in life.
get really indecisive about something, I’ll listen to Thai music from the seventies and watch seventies
So you’re colorblind? How are you colorblind and these are so colorful?
So, going back to the paintings, we touched on that you don’t necessarily identify culturally with your ethnicity. How do you find you’re addressing that?
Thai movies. When I’m working, I’ll have that
It’s like a synaesthetic thing, a word- and
stuff playing, and I feel my paintings are meeting
image-based color response. My dad got me
grounds for a lot of different things. I’ll take one
these glasses that correct your vision. But, for
I guess it starts with that feeling and then it moves
little part of something and I’ll put it on this never-
instance, if you come to a stoplight, and people
on to representing it. A lot of my paintings are
ending list I have and I’ll find a way to piece all of
are stopped, it’s a cultural response. People
really zoomed out, so it starts inward, then moves
those things together. If I don’t have a lot of those
with brown hair, in certain lights, will look forest
outward. I feel like I’m touching on ideas of inner
references, I’ll just work on doing research.
green, but I know it’s brown. It’s seeing enough colors and having enough interactions where
power, in a way, and how your inner power affects your surroundings, not the other way around.
—musical interlude, Thai music from the ’70s—
I see it as I see it, but I know what it is. In art school, I’d be like, “I’ll add the black here,” but it
Not letting your environment make you a product
wasn’t black, and it freed up my palette for me. I
There are clues that are there that you can put
How did you find seventies Thai music? Where did that come from?
together with the elements that are reminding you
I don’t remember how I got into it, but there’s
occur within those colors is where it gets really
of something that occurs in the real world.
this record I found. I think it’s called Subliminal
tricky. It looks like a gray. T
of it. Some of them have a puzzle-like tendency.
can see chroma and value, but where tonal shifts
STUDIO VISIT
How far away can I get from the “art world� and still feel like I can get paid to do something I find fulfilling?
photos by Clayton Porter J U LY
2016
THE magazine | 19
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ONE BOTTLE ONE BOTTLE
O nE B OTTlE
THE 2005 Rinaldi BaROlO “BRunaTE lE COsTE” by J oshua
The Rubicon is a shallow river in northeastern Italy. It runs for fifty miles from the Apennine Mountains through southern Emilia-Romagna Adriatic Sea.Sea. “Rubicon” comes from from the Latin until itit empties emptiesinto intothethe Adriatic “Rubicon” comes the rubico,rubico, or “red.” The The riverriver getsget itsitscolor Latin or “red.” colorfrom fromthe the iron-rich iron-rich mud along its banks. During the Roman Republic, the Rubicon marked the boundary between the Roman province of Cisalpine Gaul to the north and Italia proper to the south. Each Roman province was governed by a promagistrate. After the Roman senate granted a promagistrate imperium, or the right to command, the promagistrate became general of the Roman legions garrisoned in his province. According to Roman law, only an elected magistrate could hold imperium within Italia proper. If a promagistrate entered Italia at the head of his troops, he forfeited his imperium. Exercising imperium when forbidden by law was a capital offense. For a Roman soldier, obeying a general who did not possess imperium was a capital offense. By these laws, the moment a general entered Italia in command of an army, both the general and his soldiers were condemned to death. Gaius Julius Caesar was born in the city of Rome on July 12, 100 BC. Caesar was born under Cancer, the sign of acquisitions, commandments, and sentiments. “Gaius” comes from the Latin verb gaudere, “to rejoice” or “to be glad.” Gaius may also derive from the Greek Latin, gaîa, gaîa, or or “earth.” “earth.” At At a traditional noun γαiα— γαῖα—inin Latin, Roman wedding, the bride would vow, “Ubi tu Gaius et ego Gaia”—“Where you will be Gaius, I will be Gaia.” Given that archaic Roman ceremonies celebrated the cycle of fertility, germination, ripening, and harvest, the idiomatic meanings of Gaia and Gaius may have been along the lines of “a woman of the Earth” and “a man of the soil.” Caesar’s patrician family, the gens Julia, or Julians, claimed to be the descendants of the Trojan prince Aeneas. According to Roman legends, Aeneas was the son of Aphrodite, the Greek goddess of beauty, known among the Romans as Venus. Aeneas’s son, Ascanius, the king of Alba Longa, was also called Iulus or Julus. The Julians believed “Iulus” was the elided version of Latin, iobolos, iobolos, or or “the good the Greek ἰοβόλος—in ἰοβόλος—in Latin, archer.” Caes is the past participle of the Latin verb caedere, to cut. “Caesura,” “concise,” “decision,” “homicide,” “incision,” “indecision,” and “scissors” all derive from Elder, the name “Caesar” caes. According to Pliny the Edler, came from a Julian ancestor who had been born by Caesarian section. The Historia Augusta, an anthology of biographies of the Roman emperors, offers two alternative origins for the name. Caesar had oculis casaeiis—Latin for “cat’s eyes,” “cutting eyes,” or “sharp eyes.” As a young man, Caesar killed a caesai—Latin
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b aer . for “elephant”—in battle. Caesar favored the latter interpretation. As emperor, he issued coins with his face on the obverse and an elephant on the reverse. Caesar is famous for his role in Rome’s transition from a democratic imperialdictatorship. dictatorship. In In 50 50 BC, BC, after after achieving decisive republic to an a imperial military victories in Spain and Gaul, Caesar was ordered by the Roman senate to disband his army and return to Rome. In January of 49 BC, when he crossed the Rubicon at the head of his army, Caesar invaded his own country and became an outlaw. Before the crossing, when asked if he understood the gravity of his intentions, Caesar replied, “Iacta alea est,” or “the die is cast.” After two years of civil war, Caesar defeated his enemies in and out of the Roman senate and declared himself dictator for life. In 44 BC, Caesar was assassinated by the senator Marcus Brutus. In 42 BC, Caesar was consecrated by the Roman senate and given the posthumous title, I mperator G aIus I ulIus C aesar D Ivus —“Commander and God, Gaius Julius Caesar.” Which brings us to the 2005 Rinaldi Barolo “Brunate Le Coste.” In the glass, Rinaldi’s Barolo is a noble red, the red equivalent of a royal purple. The bouquet is gentle at first but becomes aggressive during the second glass. On the palate, each sip is a story, each story is a history, and each history is a legend. If you like to keep things simple, this is not a good wine for you. This is a wine for people who like to keep things complicated. The finish is the Barolo’s best feature. It lifts your hopes and leaves you with the sense that the best is yet to come. Over the course of human history, there have been times when events took place so slowly, people assumed things would never change. At other times, events happened so quickly, people assumed that change was inevitable and that things would never stop changing. These days, as we make our own transition from republic to empire, we honor Caesar through the names that live in popular culture. Where would we be without Romeo and Juliet, Giulietta Masina, Jules and Jim, Orange Julius, Julie Christie, Maria and Julian, Julia Childs, Julius Irving, Raoul Julia, Julian Lennon, Julia Louis-Dreyfus, Julianne Moore, Julius Peppers, Julio Jones, Julia Issleib, or the Fourth of July? Eighty years after Caesar’s death, the Roman Empire needed money, so it levied a tax on the citizens of Palestine. When a Jewish messiah in Palestine was asked by his followers if they should pay the tax, the messiah said, “Render unto Caesar the things that are Caesar’s and render unto God the things that are God’s.” One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All contents are ©2016 by onebottle.com. Write to Joshua Baer at jb@onebottle.com.
THE magazine | 23 25
SUBSCRIBE Green Night: Palm Tree with Streetlights 2016 oil on canvas
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2016
lunch / dinner $$$
cuisine: Japanese, sushi bar atmosphere: upscale casual specialties: sushi bar favorites with a selection of rolls and special fresh fish options (Rainbow Roll pictured). Start with a classic seaweed salad (pictured), edamame, or vegetable tempura. Cooked entrees are also available, including noodle bowls. Lunch menu includes variety of bento box combinations.
THE magazine | 25
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DINING GUIDE
TALIN MARKET 505 Cerrillos Rd 505-780-5073 talinmarket.com
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2016
lunch / dinner: monday, friday–saturday $
cuisine: mondays: dumplings and noodles, friday–saturdays: ramen and springrolls atmosphere: counter service, comfortable market setting specialties: handmade dumplings—with selection of fillings, including traditional pork, vegetable, lamb, and more—come with choice of dipping sauce and soup (Egg Drop and Hot and Sour pictured). Also try the tender Peking Duckwich (above left), and Chinese noodle bowls (Dan Dan Noodles above right). On Fridays and Saturdays, try the Japanese Ramen with choice of broth, noodles, and toppings. THE magazine | 27
Michael Falco, Gaine’s Mill: Gun Smoke on the Meadow, 2012, Pinhole photograph, giclee print on double weight fiber paper, 16” x 20”
Luther Gerlach, With a Gentle Touch, 2015, Tintype, 14” x 17” Kathleen Bishop, Lone Tree, 2014, Cyanotype print, ed. 5, 24” x 24”
Past Is Present: Alternative Processes In Contemporary Photography Featuring: Kathleen Bishop, Luther Gerlach, Jackie Mathey, Jennifer Schlesinger and Sam Tischler Echoes Of The Civil War: The Civil War Pinhole Project by Michael Falco Michael Falco talk: Saturday, July 9, 1:00 - 2:00 PM Sam Tischler, Vessel #9, 2016, Van Dyke print, ed. 3, 30” x 22”
Tintype Portraits by Bryan Whitney July 8 - September 3, 2016
Jennifer Schlesinger, Object Diaspora 18, 2009, Toned gelatin silver print, ed. 12, 8.25” x 6.25”
Opening reception: Friday, July 8th 5:00 - 8:00 PM Luther Gerlach Demonstration in his traveling dark room Saturday, July 9, 3:00 - 5:00 PM Bryan Whitney, Gaze, Tintype grid pigment print, ed. 7, 32” x 62”
Jackie Mathey, Sabino Canyon, Archival ink jet print, 15” x 20”
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OPENINGS
JULY ARTS C A L E N D A R FRIDAY, JULY 1
Axle Contemporary, location varies. axleart.com. Accidental Photography: group exhibition of unintentional photographs. Through July 24. 5-8 pm. Canyon Road Art Brokerage, online. canyonroadartbrokerage.com. 505-9951111. Contemporary Works: art by Joe Novak, Stephen Auger, Michael Kessler. Through July 31. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe. org. Everything Anywhere: exhibition by Cannupa Hanska Luger exploring the mixture of sculpture and sound. C to See: exhibition by Ellen Babcock, new sculpture with accompanying text. Both through Sept 11. 6-8 pm. Charlotte Jackson Fine Art, 554 South Guadalupe St. 505-989-8688. charlottejackson.com. Grown Cold: Jeremy Thomas’s steel and copper sculptures. Through Aug 1. 5-7 pm. City of Mud, 1114A Hickox St. 505-9541705. cityofmud.com. Black & White: summer group show of fine art, artifacts, décor, jewelry and more in black and white. 5-8 pm. Gallery 901, 708 Canyon Rd. 505-780-8390. gallery901.org. Adelita: Women Soldiers of the Mexican Revolution: wax painted photographs. Through July 26. 5-7 pm. Gerald Peters Gallery, 1005 Paseo de Peralta. 505-954-5700. gpgallery.com. Jun Kaneko: Scaled: large-scale ceramics. Through July 30. 5-7 pm. Giacobbe Fritz Fine Art, 702 Canyon Rd. 505-986-1156. giaccobefritz.com. On the Loose: new paintings by Melinda K. Hall. 5-7 pm. Mariposa Gallery, 3500 Central Ave SE, ABQ. 505-268-6828. Sandbox Life: exhibition of work by Vanessa Valore. 5-8 pm. McLarry Modern, 225 Canyon Rd. 505983-8589. mclarrymodern.com. Santa Fe Day Trip: new oil paintings by David Jonason. Through July 15. 5-7 pm. New Concept Gallery, 610 Canyon Rd. 505-795-7570. newconceptgallery.com. Variations in Abstraction: abstract art by Kathleen Doyle Cook, Ann Hosfeld, and Reg Loving. Through Aug 1. 5-7 pm. Peters Projects, 1011 Paseo de Peralta. 505-954-5800. petersprojects.com. Ligia Bouton: The Cage Went In Search of a Bird: an art exhibit that explores the cultural, physical, and mental impact the spread of tuberculosis had on 19th century America. Eric Garduño: What’s Here: sculptures that explore the effects of gravity. Both through Aug 6. 5-7 pm.
Peyton Wright Gallery, 247 East Palace Ave. 505-989-9888. peytonwright.com. The Maya: photographs by William Frej alongside ancient Mayan artifacts. Through Aug 31. 5-7 pm. Phil Space, 1410 Second St. 505-9837945. philspacesantafe.com. Shop Drop: new sculptural work by James Holmes. Scheinbaum & Russek, 812 Camino Acoma. 505-988-5116. photographydealers.com. Black Mountain College: An Experiment in Liberal ARTS: group exhibition featuring photography of the school and its renowned teachers and students. Through Sept 3. 4-6 pm. Sorrel Sky Gallery, 125 W Palace Ave. 505-501-6555. sorrelsky.com. Mysteries from Lost Worlds and Forgotten Dreams: bronze sculptures by Star Liana Work. Through July 31. 5-7:30 pm. Stranger Factory, 3411 Central Ave NE. 505-508-3049. Greetings From the Other Side: 13 artists whose work explores the unexplained, divination, and spiritualism. Through July 31. 6-9 pm. TAI Modern, 1601 Paseo de Peralta. 505984-1387. taimodern.com. Lance Letscher: Secret File: new collage work. Through July 2. Finissage with the artist 5-7 pm. Tansey Contemporary, tanseycontemporary. com. At 652 Canyon Rd, The Sound Between Line and Color: new abstract work by Krista Harris. Through July 10. At 619 Canyon Rd, Joe Spear: solo exhibition of abstract metal sculpture. Through July 29. Both 5-7 pm.
Weyrich Gallery, 2935 D Louisiana Blvd, ABQ. 505-883-7410. weyrichgallery. com. Lost and Found in Translation: new calligraphy by Meredith McPherson and mixed-media paintings by Harriette Tsosie. Through July 30. 5-8:30 pm. SATURDAY, JULY 2
Janine Contemporary Industri, 328 S Guadalupe St, Ste 1. 505-989-9330. janinecontemporary.com. New Identity Group Exhibition: group show in gallery’s new Railyard location. Through Aug 20. 5-7 pm. King Galleries and Virgil Ortiz, 150 W. Marcy St, Ste 103. 424-259-1685. kinggalleries.com. virgilortiz.com. Art by Nathan Youngblood, Virgil Ortiz, Les Namingha, and Tammy Garcia. Through Oct 1. Open house 10 am-5 pm. New Grounds Print Workshop & Gallery, 3812 Central Ave SE, ABQ. Desert Triangle Print Carpeta: 30 printmakers from Tucson, Albuquerque, El Paso, Las Cruces, and Juarez. FRIDAY, JULY 8
Catenary Art Gallery, 616 ½ Canyon Rd. 505-982-2700. catenaryartgallery.com. Rumi Vesselinova: Overwrite: portfolio about storytelling, technology, and humanity. Through Sept 8. 5-7 pm. David Richard Gallery, 1570 Pacheco St, A1. 505-983-9555. davidrichardgallery. com. Past is Present: Alternative Processes in Contemporary Photography: group exhibition. Echoes of the Civil War: The
Civil War Pinhole Project: by Michael Falco. Tintype Portraits: by Bryan Whitney. All through Sept 3. 5-8 pm. David Rothermel Contemporary, 142 Lincoln Ave, #102. 575-642-4981. drcontemporary.com. New Works by Stan Berning: watercolors and oils. Through July 21. 5-7 pm. El Museo Cultural, 555 Camino de la Familia. 505-992-0591. Daughter of Rooms: exhibition by Catherine Ferguson exploring the life of her artist mother, Susan Ferguson. Through July 31. 1 pm. Exhibit 208, 208 Broadway SE, ABQ. 505450-6884. exhibit208.com. ARTSPACE Magazine 40th Anniversary: exhibit honoring 40 years of ARTSPACE Magazine. Through July 30. Opening gala 5-8 pm. GF Contemporary, 707 Canyon Rd. 505-983-3707. gfcontemporary.com. The Surrender: new work by Gigi Mills. Through July 22. 5-7 pm. Mark White Fine Art, 414 Canyon Rd. 505-982-2073. markwhitefineart.com. My World and Welcome To It: new paintings by Mark White. Through Aug 31. 5-8 pm. Page Coleman Gallery, 6320 Linn Ave NE, ABQ. 505-238-5071. pagecoleman. com. Nonsense Abstractions: two-person show with painters J.L. Johnson and Dave Ortiz. Through Sept 3. 5:30-7:30 pm. Radical Abacus, 1226d Calle de Comercio. radicalabacus.com. Fathoms: group exhibition. Through Aug 14. 6-9 pm. Santa Fe Clay, 545 Camino de la Familia. 505-984-1122. santafeclay.com. Chris Gustin, Tony Marsh, Sunkoo Yuh: new work in ceramic. Through Aug 27. 5-7 pm. Sorrel Sky Gallery, 125 W Palace Ave. 505-501-6555. sorrelsky.com. Stretching the Boundaries: contemporary paintings and jewelry by Carrie Fell, Cody Sanderson, and Maura Ellen. Through July 31. 5-7:30 pm. TAI Modern, 1601 Paseo de Peralta. 505-984-1387. taimodern.com. Nagakura Kenichi: solo exhibition of organic, contemporary Japanese bamboo sculptures. Through July 24. 5-7 pm. SATURDAY, JULY 9
The Fence, Santa Fe Railyard Park. thefencenm.org. This summer, Santa Fe will join Brooklyn, New York, Boston, Atlanta, and Houston as a host for the large outdoor photography exhibit featuring 56 photographers. Grand opening. Mark White, Spring Bloom, oil on canvas, 24 x 24 in. Solo show My World and Welcome to It will be on view at Mark White Fine Art July 8-Aug 31, with an opening reception Fri, July 8, 5-7 pm. continues on page 31
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JULY 2016 AT TANSEY CONTEMPORARY
What Do You Have To Say For Yourself?, Krista Harris, Acrylic & mixed media on canvas, 36” x 36”
THREE SPECTACULAR SOLO EXHIBITIONS JULY 1 - JULY 10: “The Sound Between Line and Color” by Krista Harris JULY 1 - JULY 29: “Metal Origami” by Joe Spear at 619 Canyon Road JULY 15 - AUGUST 5: A Solo Exhibition by Lino Tagliapietra 652 Canyon Road, Santa Fe, NM 87501 | 505-995-8513 | www.tanseycontemporary.com
OPENINGS
FRIDAY, JULY 15
Patina Gallery, 131 W Palace Ave. 505986-3432. patina-gallery.com. Touches of Grace: Gretchen Ewert’s multimedia work in clay and ink on paper. Through Aug 14. 5-7:30 pm. Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. Lino Tagliapietra: new works by Italian glass artist. Through Aug 5. 5-7 pm. Verve Gallery of Photography, 219 E Marcy St. 505-982-5009. vervegallery. com. Kurt Markus: the Fashion Years, 1987-2014: fashion photography by Kurt Markus. Through Aug 27. 5-7 pm. SATURDAY, JULY 16
Beals and Co. Showroom, 830 Canyon Rd. 505-357-0441. santafeexports.com. Crown & Corn: Indigenous Dancers of the American Southwest in Sculpture: solo exhibition by Upton Greyshoes Ethelbah. 5-7 pm. Encaustic Art Institute, 632 Agua Fria St. 505-989-3283. eainm.com. Exhibition and book signing for Encaustic Art in the 21st Century, a newly released book featuring nationwide artists. Through Aug 7. 2-5 pm. Free Form Art Space, 1619 C de Baca Ln. 847-219-5323. freeform.com. Cavern of Curiosities: digital prints on formed acetate by Lea Anderson. Through Aug 14. 5-8 pm. Lannan Foundation Gallery, 319 Read St. 505-954-5149. lannan.org. (Infra) Structure: complex, below and further on: selections from the Lannan Collection examining the notion of structures. Through Aug 29. 5-7 pm. Offroad Productions, 2891-B Trades West Rd. 505-670-9276. Drawn That Way: group exhibition of drawings by local artists. Through July 23. 6-8 pm. SUNDAY, JULY 17
Museum of Indian Arts & Culture, 708 Camino Lejo. 505-476-1269. miaclab. org. Into the Future: Culture Power in Native American Art: pop culture with a Native American perspective. Through Oct 22 2017. 1-4 pm.
Hunter Kirkland Contemporary, 200 Canyon Rd. 505-984-2111. h u n t e r k i r k l a n d c o n t e m p o r a r y. c o m . Michael Madzo and Ted Gall: paintings and sculptures. Through Aug 7. 5-7 pm. Turner Carroll, 725 Canyon Rd. 505-9869800. turnercarroll.com. Circumspect: sculpture by Karen Yank and photography by Drew Tal. Through Aug 9. 5-7 pm. Nüart Gallery, 670 Canyon Rd. 505-9883888. nuartgallery.com. Blackbird Singing: work by Hyunmee Lee. Through Aug 7. 5-7 pm. SATURDAY, JULY 23
ART.i.factory, 930 Baca St, Ste C, 505982-5000. artifactsantafe.com. DISPATCH: group show featuring a collaboration between the Strangers and SCUBA art collectives. Through Sept 10. 5-9 pm. Gray Matter, 926 Baca Street #6. 505-3101079. graymattersantafe.com. Skullpture Series: Beauchene & Exploded Skulls: solo show of dis/reassembled skull sculptures by Jay Tincher. Through Aug 13. 5-9 pm. THURSDAY, JULY 28
Sunflower Nursery at Blossom, 118 State Hwy 240, Ranchos de Taos. 575-7587916. Sacred Sun Paintings: by Fredrick Dega. Plants from other Planets and Other Sculptures: by Barry Coffin. 6-9 pm. FRIDAY, JULY 29
Blue Rain Gallery, 130 Lincoln Ave, Ste C. 505-954-9902. blueraingallery.com. Spanish Market Group Show: featuring El Moises, Leroy Garcia, and Larry D. Blissett. July 22-31. 5-7 pm. ONGOING
333 Montezuma Arts, 333 Montezuma Ave. 333montezumaarts.com. In Color: group exhibition of prints curated by master printer Marina Ancona from the archive of 10 Grand Press. Through Aug 7. 516 Arts, 516 Central Ave SW, ABQ. 505242-1445. 516arts.org. Three concurrent
exhibitions for PhotoSummer 2016: As We See It: Contemporary Native American Photographers: group exhibition exploring perspectives on identity and place. Future Tense: highlights select CENTER alumni photographers, and Starn Brothers: Absorption of Light: large elemental photographs. All through Sept 16. Aaron Payne Fine Art, 213 East Marcy St. 505-995-9779. apfineart.com. Summer Select: Selections of Modern and Contemporary Art: modern and contemporary works of art by various significant artists. July 5-Sept 10. Adobe Gallery, 221 Canyon Rd. 505629-4051. adobegallery.com. Navajo Rug Exhibit: rugs from Crystal Trading Post in northern New Mexico that date from the 1920s-1940s. Through Aug 6. April Price Projects Gallery, 201 Third St NW, ABQ. 505-573-0895. aprilpriceprojectsgallery.blogspot.com. Embedded Landscape: Cindy Dominguez, Elaine Roy, Mary Ann Strandell, Susan Zimmerman. Through Aug 26. Art House, 231 Delgado St. 505-9950231. thomafoundation.org. Mouse in the Machine: Nature in the Age of Digital Art: contemporary digital artworks from the Thoma collection that examine how software can simulate, generate, and recreate natural processes. Ongoing.
#2, ABQ. 505-252-9983. centralfeatures. com. Transformers Transformed: Lee Montgomery’s abstracted digital video. Sogno (Dream): mixed-media sculptures made by Carmelo Midili. Through July 16. Corrales Bosque Gallery, 4685 Corrales Rd, Corrales. 505-898-7203. corralesbosquegallery.com. Bosque Bouquet: show of gallery artists. Through Aug 16. David Anthony Fine Art, 132 Kit Carson Rd, Taos. 575-758-7113. davidanthonyfineart.com. With Wilder Nightingale Fine Art, 119-A Kit Carson Rd, Taos. 575-758-3255. wnightingale. com. Eye of the Photographer: Four Guys, Two Galleries: a collaborative photography exhibition featuring New Mexico photographers William Davis, Steven Immel, Chris Pulos, and Terry Thompson. Through July 4. David Richard Gallery, 1570 Pacheco St, Ste A1. 505-983-9555. davidrichardgallery. com. The Narrative Figure: figurative work by six young artists from Santa Fe and New York. Plugged In: artists influenced by 1960s abstraction and modern technology. Through July 4. David Rothermel Contemporary, 142 Lincoln Ave, #102. 575-642-4981. drcontemporary.com. Encaustics by Ellen Koment: debut solo show with the gallery. Through July 7.
Bellas Artes Gallery, 653 Canyon Rd. 505-983-2745. bellasartesgallery.com. 35 Years of Beauty Without Regret: group exhibition celebrating the gallery’s 35th anniversary. Through July 9.
Ellsworth Gallery, 215 E Palace Ave. 505989-7900. ellsworthgallery.com. Form and Fruition: three American abstract artists, Jeff Juhlin, Karolina Maszkiewicz, and Kim Piotrowski. Through Aug 12.
Canyon Fine Art, 205 Canyon Rd. 505955-1500. canyonfineart.com. Group Show: New Contemporary: featuring painters James Hoyle, Margaret Carde and Fannie Brito. Through July 8.
Encaustic Art Institute, 632 Agua Fria St. 505-989-3283. eainm.com. Over 200 pieces of encaustic and wax art from artists nationwide, for sale and permanent collection. Ongoing.
Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe. org. In Conversation: Works on Paper: drawings by Victor Teng. Through Aug 7.
form & concept, 435 Guadalupe St. 505982-8111. formandconcept.center. Virtual Object: a show of 3D printed works. La Cocina: multimedia installation by Priscilla Dobler. Both through Aug 11. Made in the Desert: the gallery’s inaugural exhibition of contemporary craft from New Mexico and Arizona. Through Aug 22.
Central Features, 514 Central Ave SW,
Ciel Bergman Studio, 3202 Calle Marie. braveartconsulting.com. Antidotes: three-day pop-up exhibition. Through July 24. 6-8 pm.
Georgia O’Keeffe Museum, 217 Johnson St. 505-946-1000. okeeffemuseum. org. Georgia O’Keeffe’s Far Wide Texas: a selection of rarely seen watercolors, painted by Georgia O’Keeffe during the years she lived in Canyon, Texas (19161918). Through Oct 30.
David Rothermel Contemporary, 142 Lincoln Ave, #102. 575-642-4981. drcontemporary.com. Black and White: The Works of Loren Yagoda: sculptural abstractions by the Arizona artist. Through Aug 4. 5-7 pm.
Gerald Peters Gallery, 1005 Paseo de Peralta. 505-954-5700. gpgallery.com. The Art of Chris Maynard; Gwynn Murrill: Nearing Nature; and Two Works: Tony Angell, Ron Kingswood, Jim Morgan, John T. Sharp: all through July 23.
Giacobbe Fritz Fine Art, 702 Canyon Rd. 505-986-1156. giaccobefritz.com. Treasures and Junk: new paintings by Bradford J. Salamon. 5-7 pm.
William Frej, Palenque, 2015, archival chromogenic silver halide print. Peyton Wright Gallery presents Frej’s photography alongside Mayan artifacts. The Maya opens July 1, 5-7 pm. On view through Aug 31.
FRIDAY, JULY 22
continues on page 35 J U LY
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THE magazine | 31
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OPENINGS
GVG Contemporary, 241 Delgado St. 505-982-1494. gvgcontemporary.com. Uncommon Ground: new paintings by Leigh Anne Chambers and Kathleen Hope. Through July 15. Harwood Museum of Art, 238 Ledoux St. 575-758-9826. harwoodmuseum.org. Mabel Dodge Luhan & Company: featuring the life and times of one of the early 20th century’s most significant cultural figures, Mabel Dodge Luhan. Through Sept 11. Heidi Loewen Fine Art, 315 Johnson St. 505988-2225. heidiloewen.com. New smokefired and gold-leafed platters and sculptures by Heidi Loewen. Through July 10. Hunter Kirkland Contemporary, 200-B Canyon Rd. 505-984-2111. h u n t e r k i r k l a n d c o n t e m p o r a r y. c o m . Tranquility in Motion: new paintings by Rick Stevens. Through July 10. IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 888-922-4242. iaia.edu. Lloyd Kiva New: Art, Design, and Influence: work of Lloyd Henri “Kiva” New (1916-2002). Akunnittinni: A Kinngait Family Portrait: visual dialogue between an Inuk grandmother, mother, and daughter. Forward: Eliza Naranjo Morse: drawing, clay, organic, and recycled materials create a connection between the artist’s Pueblo roots and her contemporary art practice. All through July 31. Institute of American Indian Arts, Lloyd Kiva New Welcome Center, 83 Avan Nu Po Rd. iaia.edu. Lloyd “Kiva” New: Touching Native Inspiration: reproductions of some of early textiles, paintings, and watercolors. Through 2016. James Kelly Contemporary, 1611 Paseo de Peralta. 505-989-1601. jameskelly. com. Susan York: Lithographs, Sculptures, Drawings: solo exhibition featuring three different mediums of art. Through July 23. LewAllen Galleries, 1613 Paseo de Peralta. 505-988-3250. lewallengalleries. com. Michael Roque Collins: Works on Paper: large-scale impressionist canvases. Through July 10. Emily Mason: Ripple Effect: colorful, abstract oil paintings. Through July 17. Loma Colorado Library, 755 Loma Colorado Dr NE, Rio Rancho. 505-8915013. The Spirit of Route 66: photographs of New Mexico landscapes along Route 66. Through July 29. Magpie, 1405 Paseo del Pueblo Norte, El Prado. 781-248-0166. magpietaos.com. Noel Anderson: Through the Looking Glass: new sculptures. Through July 18. Manitou Galleries, 123 W Palace Ave. 505-986-0440. manitougalleries.com. Visions of the West: William Haskell and Jerry Jordan. Through July 15. Mayeur Projects, 200-202 Plaza Park, Las Vegas. mayeurprojects.com. Zoe Crosher: The New LA-LIKE: solo exhibition of the Los
Angeles–based artist’s conceptual mapping of LA. Through Aug 27. Museum of Indian Arts & Culture, 708 Camino Lejo. 505-476-1269. miaclab. org. Landscape of an Artist: Living Treasure Dan Namingha: Dan Namingha is honored as the MIAC Living Treasure. Through Sept 11. Museum of International Folk Art, 706 Camino Lejo. 505-476-1200. internationalfolkart.org. Morris Miniature Circus: Return of the Little Big Top: built by W.J. “Windy” Morris of Amarillo, TX, the Morris Miniature Circus is modeled after a 1930s “railroad circus.” Through 2016. National Hispanic Cultural Center, 1701 4th St SW, ABQ. 505-724-4771. nhccnm. org. Moving Forward, Looking Back: Journeys Across the Old Spanish Trail: artistic and genealogical project by artist and curator Janire Nájera. Through Sept 30. House on Mango Street: Artists Interpret Community: works highlight issues facing adolescents in urban areas. Through Sept 25. New Mexico History Museum, 113 Lincoln Ave, Santa Fe. 505-476-5200. nmhistorymuseum.org. Fractured Faiths: Spanish Judaism, The Inquisition, and New World Identities: this show tells the story of Spanish Jewry’s 1492 diaspora. Through Dec 31. Lowriders, Hoppers and Hot Rods:
Car Culture of Northern New Mexico: meet the artists who craft these specialized vehicles. Through March 2017. Santa Fe Faces: Portraits by Alan Pearlman: ninety portraits created between 2009 and 2013. Through Sept 18.
Gallery, 1390 E University Ave, Las Cruces. 575-646-2545. uag.nmsu.edu. An Ocean Trapped Behind a Wall: group exhibition examining the instability of representation in an age of unprecedented proliferation of images. Through July 23.
New Mexico Museum of Art, 107 W Palace Ave. 505-476-5072. nmartmuseum. org. Alcoves 16/17 #3: art by Christine Dallas, Tom Joyce, Eliza Naranjo Morse, Heidi Pollard and Cecilia Portal. Through Aug 14. Assumed Identities: Photographs by Anne Noggle: New Mexico artist Anne Noggle (1922-2005) was a woman of multiple talents: pilot, curator, professor, and photographer. Self-Regard: Artist SelfPortraits from the Collection: selection of self-portraits. Both through Sept 11. Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA: work from the New Mexico Museum of Art’s collection by IAIA faculty and alumni from the 1960s to the present. Con Cariño: Artists Inspired by Lowriders: exploring these sculptures on wheels. Both through Oct 10.
Nüart Gallery, 670 Canyon Rd. 505988-3888. nuartgallery.com. Ever Since Happiness Heard Your Name: work by Nina Tichava. Through July 10.
New Mexico State Capitol Rotunda Gallery, 411 State Capitol. 505-9864614. The Ecozoic Era: Plant|Seed|Soil: group exhibition of contemporary art that illuminates our connection to the Earth as living beings. Through Aug 5. New Mexico State University Art
Peters Projects, 1011 Paseo de Peralta. 505-954-5800. petersprojects.com. Kiki Smith: Woven Tales: eleven ten-foot-tall tapestries created on Magnolia Editions’ jacquard loom. Through July 30. Magnolia Editions: Innovation & Collaboration: group exhibition of work made by Magnolia Editions. Through Aug 27. Photo-eye Gallery, 541 S Guadalupe St. 505-988-5159. photoeye.com. Inherit the Dust: photographs by Nick Brandt. Through July 23. Richard Levy Gallery, 514 Central Ave SW, ABQ. 505-766-9888. levygallery. com. Camera-less: group exhibition on unique approaches to photographic image making. Through July 29. Rio Bravo Fine Art Gallery, 110 N Broadway Ave, T or C. 575-894-0572. Underneath the Western Skies: new paintings by Dave Barnett. Through July 10. Selby Fleetwood Gallery, 600 Canyon Rd. 505-992-8877. selbyfleetwood.com. Kevin Box: In the Garden: new sculptures celebrating the intricacies of origami. Through Sept 1. Small Print Editions, 124 W Palace Ave. 505-670-1495. smallprinteditions.com. 20 New Mexico Photographers: a portfolio by twenty New Mexico photographers. Through July 20. Tamarind Institute, 2500 Central Ave SE, ABQ. tamarind.unm.edu. Color Coded: prints by Matt Magee, David X Levine, Susan York and Jonathan Seliger. Through Sept 2. Tansey Contemporary, 652 Canyon Rd. tanseycontemporary.com. Nature Through Glass: work by five internationally recognized glass artists. Through July 25. Taos Arts Council, Taos Town Hall, 400 Camino de la Placita, Taos. taosartscouncil. org. The Presence of Light: work of 13 Taos photographers. Through Aug 5. Turner Carroll, 725 Canyon Rd. 505986-9800. turnercarroll.com. ROY G BIV: three-person show with Jamie Brunson, Fausto Fernandez, and Robert Townsend. Through July 10.
Jay Tincher, Green Monkey, 2016, African vervet skull, brass, wood, bell jar. Gray Matter Art and Artifacts presents solo exhibition Jay Tincher: Skullpture Series July 23-Aug 13, with an opening reception Fri, July 23, 5-9 pm in conjunction with Baca Street Bash. continues on page 37
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Encaustic Art In The 21st Century Discover the Art of WAX
Lynda Lowe (WA) Title: Bower Wax, water color, and oil
Artist Showing & Book Signing Running July 15th through August 7th OPENING Saturday, July 16th 2-5 pm This beautiful book was published in March 2016, and is created by Ann Lee and Ashley Rooney. From beehive to hotplate to the artist’s hand, encaustic has evolved as a versatile medium applied to almost every artistic style. This book is a long-overdue look at a newly popular art form, representing old style, new style, with photography, paper, mixed media work and more. SHOWING are 46 of the 79 artists featured in this book - including New Mexico artists. These artists have graciously agreed to share their work with the Encaustic Art Institute - taking advantage of it’s local gallery in Santa Fe. This is a unique and diverse gathering of encaustic/wax artwork that is the best-of-the-best. wax • resin • pigment ART EAI Gallery open Wednesday - Sunday • 11am - 5 pm Contact: Douglas Mehrens/Founder 505-989-3283
Encaustic wax classes at the Institute in July, call Douglas Mehrens.
www.eainm.com EAI is a 501C3 non profit arts organization.
632 Agua Fria Street Santa Fe NM 87501 • 505 989 3283
OPENINGS
Van Loon Gallery, 612 Agua Fria St. 505670-6234. rolandvanloon.net. THRICE: paintings by Thomas Christopher Haag, Jodie Herrera, and Roland Van Loon. Through July 29. William Siegal Gallery, 540 S Guadalupe St. 505-820-3300. williamsiegal.com. Perchance: ceramic sculpture by Cheryl Ann Thomas. Gardens: silk ikat weavings by Polly Barton. Both through July 26. SPECIAL INTEREST
516 Arts, 516 Central Ave SW, ABQ. 505-242-1445. 516arts.org. Summer photography workshops for teens and adults. July 16-Aug 6. Art Santa Fe, Santa Fe Convention Center, 201 W Marcy St. artsantafe.com. Art fair featuring work from around the world. Opening party, July 7, 5-9 pm. Fair, July 8-10. Artisan, 2601 Cerrillos Rd. 505-9544179. artisan-santafe.com. The Big Picture with Karen Bomm: social media business skills for artists. July 10 & 24, 1-4 pm. ARTScrawl Albuquerque, various locations. artscrawlabq.org. Citywide first Friday arts tour. Fri, July 1, 5-8 pm. The Route 66 ARTful Saturday, Sat July 16, 1-4 pm. Baca Street Bash, merchants in the Baca Street Arts District. Live music, DJs, demonstrations, art exhibitions, a fashion show, and special sales. Sat, July 23. 5-9 pm. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe. org. Gallery walk-through of exhibition C to See with artist Ellen Babcock. Sat, July 2, 3-4 pm. Remix Culture (Revisited): A Summer Series on Appropriation, Art and the Law: “Part I: Appropriation and Copyright, Current Legal Controversies”: a lecture on the most interesting recent legal cases involving visual artists, filmmakers, and musicians. Wed, July 13, 6-8 pm. “Part II: Right to Remix? A Panel Conversation”: panel discussion on legal issues in art appropriation, ownership, and fair use.
Wed, July 27, 6-8 pm. David Richard Gallery, 1570 Pacheco St, A1. 505-983-9555. davidrichardgallery. com. Demonstration by Luther Gerlach in his traveling dark room. Sat, July 9, 3-5 pm. Artist talks and demonstrations with Sam Tischler and Jackie Mathey, Sat, July 23, 10:30 am-12 pm. Encaustic Art Institute, 632 Agua Fria St. 505-989-3283. eainm.com. Beginning– Advanced Beginning Encaustic/Wax Classes: taught by Douglas Mehrens, all materials provided and no experience necessary. July 2, July 30, both 10 am-2 pm. Book Signing for Encaustic Art in the 21st Century, Sat, July 16, 2-5 pm. New Mexico Museum of Art, 107 W Palace Ave. 505-476-5072. nmartmuseum. org. Artist talk with sculptor and Santero Luis Tapia. Fri, July 1, 5:30-6:30 pm. Artist talk: artists of Alcoves 16/17 #3. Fri, July 8, 5:307:30 pm. Workshops and talks: artist Justin Favela will create a piñata-style lowrider. July 8-10, times vary. Community Fun Day: free family activities, Sun, July 10, 1-4 pm. Ice Cream Social: enjoy free ice cream, Fri, July 22, 5-7 pm. New Mexico Performing Arts Society, Allan Houser Sculpture Gardens, 505474-4513. nmperformingartssociety.org. Gala Reception and Tour: benefitting the New Mexico Performing Arts Society. Sun, July 3, 1-3 pm. Santa Fe Clay, 545 Camino de la Familia. 505-984-1122. santafeclay.com. Summer Workshop Lecture Series: free lectures by guest artists on Wednesday evenings. Lindsay Pichaske, July 6. David Eichelberger, July 13. Andréa Keys Connell, July 20. Adam Field, July 27. All at 7 pm. Santa Fe Opera, 301 Opera Dr. 505986-5900. santafeopera.org. Patricia Racette: Conversation with a 21st Century Diva: interview by the opera’s director of artistic administration, Brad Woolbright. Reception to follow. July 17, 4:00 pm.
Shiprock Santa Fe, 53 Old Santa Fe Tr. 505-982-8478. shiprocksantafe.com. Folk Art Market opening event. Thurs, July 7, 5-7 pm. Lecture with Mahnaz Bartos, Sat, July 23, 1 pm. Lecture with Ishi Glinsky, Fri, Aug 12, 1 pm. Taos Arts Council, Taos Public Library, 402 Camino de la Placita, Taos. 575-7798579. taosartscouncil.org. Taos Arts Council Symposium: symposium in partnership with Friends of Taos Public Library and Taos County Historical Society. July 15. Verve Gallery of Photography, 219 E Marcy St. 505-982-5009. vervegallery.com. Kurt Markus: the Fashion Years: 1987-2014: gallery talk with Kurt Markus. July 16, 2 pm. Silver City Clay Festival, various locations, Silver City. clayfestival.com. Workshops, lectures, tours for exploring clay in its many forms. July 23-31. PERFORMING ARTS
Aspen Santa Fe Ballet, The Lensic Performing Arts Center, 211 W San Francisco St. 505-988-1234. aspensantafeballet. com. Featuring the company premiere of Alejandro Cerrudo’s Little Mortal Jump and returning pieces Re:play by Fernando Melo and Nicolo Fonte’s The Heart(s)pace. July 15-16, 8 pm. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. ccasantafe. org. Dancing in a Hard Place: dance performance by local dance collective Ground Series symbolizing methods of communication and dialogue. July 8-10, times vary. Uroborus vs Corn Man 3.0: performance by La Pocha Nostra. July 2, 6:30-8:00 pm. CCA Cinematheque, 1050 Old Pecos Tr. 505-982-1338. ccasantafe.org. Auteurs: series of films by renowned directors. Ossessione, presented by Kirk Ellis, July 2, 7 pm. Thirst, presented by James Robinson, July 9, 7 pm. Band of Outsiders, July 15-22, 7:30 pm, July 16 screening presented by Tim Hunter.
Edition One Gallery, 1036 Canyon Rd. 505-570-5385. editionone.gallery. Faith in New Mexico: group show of contemporary photography. Through Aug 12. 5-8 pm. EmiArteFlamenco, Skylight, 139 W San Francisco St. skylightsantafe.com. Flamenco performances featuring acclaimed dancers. All ages. July 1-2, 8 pm. Free Railyard Park Movie Series. 740 Cerrillos Rd. ampconcerts.org. Butch Cassidy and the Sundance Kid, July 1. Because of Winn-Dixie, July 15. West Side Story, July 30. All 8 pm. Jean Cocteau Cinema, 418 Montezuma Ave. jeancocteaucinema.com. YARN: documentary about contemporary knit and crochet art and graffiti by Icelandic filmmaker Una Lorenzen. Limited run, July 8-14. Juan Siddi Flamenco Santa Fe, The Lensic Performing Arts Center, 211 W San Francisco St. 505-988-1234. aspensantafeballet.com. An ensemble of 14 dancers and musicians. July 10, 19, 23, 8 pm. Santa Fe Bandstand, Santa Fe Plaza. santafebandstand.org. Free live music on the plaza. Dates and times vary. July 5-Aug 26. Santa Fe Chamber Music Festival, various locations in Santa Fe and ABQ. 42 concerts performed by nearly 70 musicians, including pianist Peter Serkin. July 17-Aug 22. Simply Social Media and Santa Fe Opera. simplysocialmedianm.com. Instameet at the Santa Fe Opera: Roméo et Juliette: special social media preview, open to anyone with a public and active Instagram account. Thurs, July 14, 5:30 pm. CALLS FOR ARTISTS
Denver Arts + Technology Advancement. denverartstech.org. Call for entry for digital dome art: MORPHOS 2016: International Digital Dome Art Show. The show will take place Oct 7 and 9. Submissions are free. Deadline July 30. THE Magazine Photography Page. 505424-7641. themagsantafe.com. Call for submissions for THE Photography Page. The August theme is “macro.” Submit up to 3 high res photos (300dpi and 10 in on one side) to editor@themagsantafe. com for the August issue. Selected photographer will receive a $50 gift card to a Santa Fe–area business. Deadline July 15. THE Magazine Calendar Listings. themagsantafe.com. For free listing, email short descriptions to pr@themagsantafe. com. For images to be considered for the calendar, they must be attached as high resolution jpegs or tiffs, and accompanied by full captions. Deadline for listing in August issue: July 15. Daniel Phill, Colocate, 2016, acrylic on canvas, 37 x 73 in. Ruhlen-Owen Contemporary presents two-person show, Flowers and Fields, including encaustic artist Mary Long and mixedmedia acrylic painter Daniel Phill. July 1-14 with opening reception Fri, July 1, 5-7 pm.
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Nancy Newhall, Buckminster Fuller, 1948 Nancy Newhall, Buckminster Fuller, 1948
Black Mountain College: An Experiment in Liberal ARTS July 1 st - September 3 rd, 2016 Opening reception July 1st, 4-6 pm
Josef Albers
Nancy Newhall
Harry Callahan
Aaron Siskind
Barbara Morgan
Arthur Siegel
Beaumont Newhall
Dody Weston Thompson
Robert Rauschenberg
www.photographydealers.com srltd@photographydealers.com 812 Camino Acoma 505-988-5116
PREVIEWS
The ARTSPACE Magazine 40th Anniversary Exhibition July 8 – 30, 2016 Exhibit 208 208 Broadway SE, Albuquerque Opening Gala: July 8, 5 – 8 pm
Forty years ago, Artspace Magazine was launched by founders William Peterson, Bob Tomlinson, Abby Eden, and Michael Reed, and with it New Mexico’s contemporary art scene took off as well. Published from 1976 until 1993, Artspace spent its first ten years focusing on the work of New Mexico-, Colorado-, and Arizona-based artists, bringing much needed attention and recognition to the region. Artspace acted as a critical journal and a space to document the unique artistic activity of the area. In celebration of the magazine’s fortieth anniversary and the vibrant work of our creative community, Artspace, in collaboration with, will be exhibiting works covered in the first ten years (1976-1986) of the publication’s run. Curated by former editor and publisher William Peterson, the exhibition will feature the works of Jaune Quick-to See Smith, Emmi Whitehorse, Constance DeJong, Allan and Gloria Graham, and Luis Jiménez, among many others. —Nicole Brouillette ARTSPACE Magazine, Fall 1986. Courtesy of Exhibit 208.
much wider than a line
July 16, 2016 – January 8, 2017 SITE Santa Fe 1606 Paseo de Peralta Preview Events: July 14 – 15 Public Opening: July 16
Brad Overton, Obsidian Butterfly, oil on canvas, 80 x 52 in.
SITE Santa Fe’s biennial series, SITElines, returns this summer with its second iteration, much wider than a line. Named from a line in Leanne Simpson’s book, Dancing on Our Turtle’s Back (2011), this year’s biennial focuses on the Americas and our “various shared experiences, such as the recognition of colonial legacies, expressions of the vernacular, the influence of indigenous understandings, and our relationship to the land.” much wider than a line aims to explore these experiences, concentrating on three key themes: vernacular strategies, indigenous understandings, and shared territories. With work from more than thirty-five artists from eleven different countries, including six new commissions, the exhibition was realized by a group of five curators: Rocío Aranda-Alvarado, Kathleen AshMilby, Pip Day, Pablo León de la Barra, and Kiki Mazzucchelli. The team took as a point of departure the Paolo Soleri Amphitheater, built on the campus of the Santa Fe Indian School in 1970, a now defunct structure that stands in as a focal point for discussions about cross-cultural collaboration and geopolitical tensions. —Nicole Brouillette Xenobia Bailey, Sistah Paradise’s Great Wall of Fire Revival Tent, 1993-ongoing, cotton and acrylic yarn, metal frame, electrical tape, shells, dimensions variable. Courtesy of the artist. photo: Jeffrey Machtig.
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MELINDA K. HALL On the Loose July 1 - July 15, 2016
SOME DOGS WON’T FETCH 42x42” oil
Artist Reception July 1, 5-7pm
702 CANYON RD, SANTA FE giacobbefritz.com • 505.986.1156
July 8 – July 22, 2016 Artist Reception July 8, 5-7pm
JOHN’S DAYBED 18x24 oil on panel framed
G I GI MILLS The Surrender
707 Canyon Road, Santa Fe, NM 87501 gfcontemporary.com 505.983.3707
N AT I O N A L S P O T L I G H T
Women of Abstract Expressionism June 12 – September 25, 2016 Denver Museum of Art 100 W 14th Ave Pkwy, Denver, CO denverartmuseum.org
Deborah Remington, Apropos or Untitled, 1953, oil on canvas, 39 x 51 in. Denver Art Museum: Vance H. Kirkland Acquisition Fund. 2015.225. Courtesy of the Deborah Remington Charitable Trust for the Visual Arts.
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Women have been artists since art came into existence. Yet much of the art historical narrative is dominated by men, and few women have been given attention and recognition in equal step with male artists. This bias has started to shift since the 20th century, and continues to shift, due in part to exhibitions like Women of Abstract E xpressionsim, which is currently on view at the Denver Art Museum. Assembled by the museum’s Curator of Modern Art, Gwen Chanzit, the installation includes fifty-one paintings by twelve artists, including Mary Abbott, Jay DeFeo, Perle Fine, Helen Frankenthaler, Sonia Gechtoff, Judith Godwin, Grace Hartigan, Elaine de Kooning, Lee Krasner, Joan Mitchell, Deborah Remington and Ethel Schwabacher. In the cantilevered exhibition rooms of the DAM, the core of abstract expressionism—expressive, gestural, painterly—is realized uniquely and masterfully by each artist. While biographical information and candid photos are available and help situate these women and their work within the cultural milieu of the mid-20th century, the exhibition is focused foremost on the paintings and allows viewers to absorb their impact unencumbered by text or collateral gallery materials. —THE Magazine Staff THE magazine | 41
American artist Walter De Maria searched the Southwest for five years before finding the plot of land in western New Mexico that would become The Lightning Field. It possessed three critical characteristics: flatness, high lightning activity, and isolation. De Maria’s chosen land falls somewhere between the towns of Quemado and Pie Town, combined population 394. The Lightning Field was commissioned by Dia Art Foundation, an organization dedicated to supporting artists whose projects exceed the limitations of museums and galleries. Stretching one mile by one kilometer, The Lightning Field exemplifies this mission. It is comprised of 400 polished stainless steel poles with pointed tips, arranged in a grid and spaced 220 feet apart. The poles are two inches in diameter and range in height from 15 feet to 26 feet 9 inches to accommodate variances in terrain so that their tips create a horizontal plane.
It was probably in college, probably in an art history class during a unit on Land Art, and probably years after I moved to New Mexico. I do know that, from the beginning, the idea of it fascinated me. I liked the idea of vertical poles joining earth with sky and of lightning touching down all around me. I liked the idea of the journey, of spending the night way out there, of being isolated with(in) a work of art. It all seemed to exemplify the sublimity that my favorite art history professor had spoken of so captivatingly in the hushed glow of an old slide projector while tracing the vertical “zip” of a Barnett Newman painting with a crisp wave of his arm. Dia Art Foundation occupies a nondescript white building on Quemado’s main street. From there, visitors are driven about forty-five minutes to The Lightning Field.
De Maria designed the installation to be explored and experienced over time. Day visits are not permitted; visitors must stay overnight in a refurbished cabin that was there, abandoned, when De Maria found the land. The cabin offers a panorama of the Field and is perfectly positioned for viewing before venturing in. It is as if it was waiting patiently there for something more.
Sometime after our reservations at the cabin were confirmed, I became curious about who, exactly, would be driving us to the site. I performed a cursory Google search that produced references to a “cowboy” or a “rancher,” but when a large SUV pulled up in front of the office, out hopped not a cowboy but a jean-clad woman named Kim. We packed up, climbed in, and Kim guided the vehicle out of town.
I was unable to answer precisely, when a friend asked how I learned about The Lightning Field as we hurtled down Route 117 on our way to Quemado last September.
As Kim navigated a network of dirt roads, she openly answered our questions about the Field, her work with it, and life in Quemado. She spoke of her family and told us stories about her homesteading grandmother who loved the land and her home.
photo this page: Clayton Porter. opposite: Emily Hill
The Periphery by Elaine Ritchel
F E AT U R E
She also mentioned Robert, the caretaker of the property, who lives somewhere on its periphery and was to be our contact should we need assistance. That night, we lost running water. (This, apparently, doesn’t happen often—a poor mouse, it turned out, had somehow squeezed its way into the wiring and been electrocuted.) After debating whether or not it was too late to call Robert, one of us finally picked up the telephone and dialed his number. No answer. We waited until a reasonable hour the following morning and tried again. This time, Robert answered and said he’d be over shortly. A bit uncomfortable and rather thirsty, I crawled back into bed to wait it out. Hoping to meet Robert, I left the door to my room cracked so I would hear him pull up on the gravel drive. About forty-five minutes later I climbed out of bed. I walked into the kitchen and tested the faucet: water came gushing out. No one else was awake. Robert had come and gone, his existence confirmed by the only one of us who had seen him.
The pre-visit information provided by Dia Art Foundation informs guests that they will be provided a “simple supper.” Those with dietary restrictions are encouraged to bring their own meals. We packed accordingly, filling totes with supplementary wine and snacks and chocolate. Upon arrival at the cabin, we discovered that the simple supper is in fact a casserole dish brimming with green chile chicken enchiladas. In a small crock pot on the counter, pinto beans simmered. In the refrigerator, homemade flan chilled. The housekeeper lives in the area. I don’t know her name; I have no idea what she looks like. Every day for six months, she prepares the same meal and tidies up while guests are driven to and from the cabin. It is beautifully appointed and impeccable. There’s not a trace of another living soul. J U LY
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What happened for me there, out in the Field, was beautiful and meaningful, and that I expected. What I didn’t expect was how deeply those interactions, even if indirect, with the people who facilitate this experience on a day-to-day basis would hit me. Going into The Lightning Field, I was already writing articles in my head about my experience of the Field itself. But coming out of it, I wanted to write about the people who make it happen instead. (De Maria, I imagine, would rather visitors keep their personal experiences of the work to themselves, so I suppose this worked out well.) After our visit, I sent a message to the general email address for The Lightning Field, explaining that I’d like to get in touch with Kim and Robert. Kathleen Shields, the administrator at the time, responded. She suggested that I try to call the office in Quemado. She also said something else that struck me: “Part of their jobs which they do so well is respecting the artist’s wishes for not personalizing The Lightning Field or visitors’ experiences of it so I’m sure they will answer your questions appropriately but also with their characteristic charm and humor.” I asked her to say a bit more about this, if she didn’t mind, because it seemed like a very fine line to navigate. She replied: “De Maria intended that visitors arrive at the site as much like ‘blank slates’ as possible so each may have his/her own personal experience. Robert and Kim are both integral to a visitor’s experience of The Lightning Field but are also very good at answering questions and sharing their experiences of living in the area and their histories with The Lightning Field without interpreting or explaining the work or making themselves the focus of the visitor’s experience. In fact, De Maria himself in general provided only factual statements about all his work and removed his own persona from experiences of it by declining to give interviews or speak publicly about it.” I chew on this for a while and realize it’s true. My experience of The Lightning Field feels very much my own. But those shared moments on the journey in and out constitute a stretch of time and space that frames the Field in a way that is supportive, integral, but separate. THE magazine | 43
photo: Elaine Ritchel
“Anyway, I’m glad I did. Been caretaker about 38 years.” It takes me a few days to call the Quemado office. I’m a bit nervous. I leave a voicemail, and a few days later, Robert calls back. After a brief game of phone tag we finally pin down a tentative time to talk. When I ring Robert at home, a storm has blown in. His voice is warm but distant, deliberate but barely decipherable. I strain to hear; our conversation is mottled.
Imagining daily revelations during strolls through the Field, I ask what it’s like to live with a famous work of art. “It’s a lot of work,” replies Robert. “But I enjoy it. It’s satisfying.” “And you don’t have to stay in town,” he adds.
Robert seems to be, as they say, a man of few words. Throughout the course of our conversation, his appreciation for The Lightning Field is tempered by solid pragmatism that continuously checks my own (art history induced?) reverence. For instance, I begin by asking how he landed a position on the installation team. This, as I understand it, is how Robert began working with The Lightning Field.
“What do you find satisfying about it?” I probe.
“Well, they were hiring, and the job I had at the time I didn’t like very well,” he replies. “It was just a job, and they paid better wages than most jobs. Something to do.” Robert was about 23 or 24 years old at the time, living in Pie Town, and didn’t have any idea then what the artwork would become or that he would spend his life maintaining it. “They finished and said, ‘Do you want to stay and take care of it, Robert?’ and I said, ‘Sure.’ That’s about the way it went,” he laughs.
The connection worsens; I strain to hear.
“Being able to bring people out here and take them away. . . That they enjoy it and that they have a good experience is satisfying for me.” He pauses. The line crackles. “And my favorite part,” he says, “is driving in and out.”
“We got storming going on here. You still there? We have lightning pretty close,” Robert explains. Of course, there was no lightning when I was actually there. I tell Robert so, a bit irked that it’s now impacting our conversation. “Well, personally, I like it better without the lightning,” he says. “When you have the lightning, you don’t get the
photo left: Yael Eban. right: Clayton Porter
F E AT U R E
sunset. . . Does that make sense? The clouds are covering it.” It makes a lot of sense. I remember the moment when the poles materialized against the blue mountains on the horizon, when the sun started to sink and its light touched each tapered tip. (As De Maria himself put it, “The light is as important as the lightning.”)
After our conversation, I feel unsettled. Every time Robert started to say a bit more, it seemed, his words came out garbled. I wonder if I should call back another day and ask some follow-up questions. Robert had invited me to do so.
I ask Robert how often he walks in the Field.
Instead, I sit with our conversation for a while, wondering if the interference and our simple exchanges were, in fact, perfectly appropriate. Sometimes, it takes a while until a conversation takes shape.
He chuckles. “Ah, just when I do the inspection. Or when I’m getting things prepared or something like that. . . I think I’ve had enough of walking in there for a while. It takes a while to get through it.”
Robert’s favorite part of the job is driving in and out. When this resurfaces, my mind settles. I find solace in it.
When he’s not maintaining The Lightning Field, Robert cares for his ranch. He tends his cattle, windmills, and fences. Sometimes, he says, he thinks about leaving, about going elsewhere, but he doubts he’ll ever leave this part of the country. In agreement, I gush about how much I love the desert. “It’s got its moments,” replies Robert. We attempt to chat a bit more, but the connection continues to deteriorate. I ask Robert if there’s anything else he would like to share. “Well, I’m not too good at expressing things,” he begins. “I’m just thankful that I got the opportunity to take care of it. It gave me a different perspective on. . .” And his voice fades away. “On what?” I coax. “On a lot of things,” he laughs, leaving me to wonder about the details.
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It had surprised me at first. Surely, I had thought, just being near the Field would be the best part of the job—and then I realize, wasn’t driving in and out significant for me, too? There is value in the transition, in that liminal space between the artwork and the world around it. There is weight in the relationship between the journey and the being there. There’s something that happens, driving through the periphery, when airy concepts of pilgrimage and sublimity and art yield to being and to connecting on a very basic level. “I love The Lightning Field,” said Kim, on a nameless dirt road, on our way in. It solidified in my mind, this phrase, not because of its contents, but because of the form her voice took as she spoke. Weighted with warmth and sincerity, raw, it coupled seamlessly with the dust kicked up by the wheels churning beneath us and the horizon slipping by. T
THE magazine | 45
Meow Wolf’s House of Eternal Return is an interactive art experience featuring a wild new form of non-linear storytelling that invites each visitor to choose their own path through an imaginative world of over 100 unique spaces created by more artists. than 500 a The experience is appropriate for all ages, providing children with a fantastic space to play within and giving adults a sophisticated artistic experience with narrative depth.
1352 RuďŹ na Circle, Santa Fe NM www.meowwolf.com
F E AT U R E
Creative Communities: A PRIMER ON THE CULTURAL CREATIVES MOVEMENT In the advanced world, the only source of economic growth is human creativity. When credit’s hard to get, when people can’t move billions around easily, there’s only one source of capital left, the kind that comes in human beings, in real people, in our communities. —Richard Florida Creative Communities Santa Fe has long been recognized as one of America’s Creative Communities. Most recently, Southern Methodist University’s National Center for Arts Research (NCAR) ranked the city third in the country with populations under one million on its Arts Vibrancy Index, which considers three areas: demand, supply,
conditions that make a place ripe for creative activity, and who actually participates in the arts. Vibrancy also occurs in entrepreneurial clusters, as economist Richard Florida has noted in his books. He championed the concept of creative economies as important business sectors that were formerly overlooked but rose to prominence at the approach of the 21st century. Arts and cultural production alone
by Jackie M
contribution to a city’s economy, or is it also the climate and creative activity and opportunities that make a creative community? Florida argued against the prevailing argument that new stadiums, large-scale symphonies, and ballets attract the creative class. Instead, he found that there appears to be a profile for what he termed “the entrepreneurial personality of place.” Using Department of Labor data that tracks where people cluster based on occupation, Florida was able to map the entrepreneurial personalities of creative cities. Common factors include high levels of openness and extroversion, with a drive toward self-reliance that supports overcoming obstacles, openness to new ideas, connecting with people, building teams, and getting things done. These cities are also places where tolerance toward ethnic and racial diversity and sexual preference is common. Talent and knowledge, interacting with local human capital and resources, can fuel innovation and lead residents (particularly between the ages of twenty-five and forty-four) to seize entrepreneurial opportunities. This creative class is a highly skilled workforce with higher incomes and technological ability, which also includes a higher percentage of women. Some creative cities have seen fifty percent growth among those who work in the arts. Creative economies are often informal and differ from other economic clusters as the key drivers of the industry produce benefits beyond the economic. Culture is the way people see their world, their place in it, and recognize productive relationships. A culture-driven economy enriches the local community, enables imagined futures, and contributes to its understanding of what it means to flourish, while cultural exchanges and innovation contribute to the overall quality of life. C r e a t i ve E c o n o my
Graphic courtesy Americans for the Arts.
and public support for arts and culture on a per capita basis. Demand was calculated by total nonprofit arts dollars in the community; supply as total arts providers; and public support as state and federal arts funding. Recognizing that vibrancy takes many forms, the researchers used multiple measures while deferring from judging artistic quality, evaluating the community
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currently make up 4.3% of the US economy ($698.7 billion), and generate over 4.7 million jobs. In studying why people gravitate to areas where curiosity and creativity cluster, he found that the West Coast and Rocky Mountain regions dominate this sector. Is it the sheer number of inhabitants that claim to be artists, the actual figures that gauge the arts’
But what is the Creative Economy? No single definition seems accurate, and there are varying criteria used to identify creative industries. The state of Vermont formed the Office of the Creative Economy (OCE) in 2011 in recognition of the growing role of the creative sector in the state’s economy.The office works with creatives, businesses, and other partners to identify specific needs and prioritize initiatives for economic growth in areas of film, new media, marketing, graphic design, advertising, software, and game
THE magazine | 47
development. It fosters networking opportunities and provides guidance on funding and permitting for creative enterprises. The OCE believes that the “creative economy” describes the generation of new economic and cultural value through the production and distribution of intellectual property—the transformation of great ideas into great products. Vermont’s Center for Cartoon Studies (CCS), contributing in excess of $10 million to the local economy, is an example of entrepreneurial artists working with governmental funding agencies that recognize the potential of their work as an economic driver. CCS and the town of Hartford received a $255,000 Federal Block Grant to launch the Inky Solomon Center, a state-of-theart industry center designed to help CCS alumni launch projects, incubate start-up companies, and create jobs that are of interest to animation studios, computer gaming companies, traditional publishers, e-publishers, manufacturers of digital entertainment devices, and educational organizations. Creative Cities The UNESCO Creative Cities Network (UCCN) was created in 2004 to promote cooperation among
A.I.R Studio artist residency located in the Lower Town Arts District of Paducah, Kentucky. airstudiopaducah.com Image courtesy A.I.R Studio Paducah.
cities that have identified creativity as a strategic factor for sustainable economic, social, cultural, and environmental development. Santa Fe was the first US city to participate in this program, with ten others from around the world. The 116 cities that currently form this network work together towards a common objective: placing creativity and cultural industries at the heart of their development plans locally and actively cooperating internationally. The Mission of the Creative Cities program is to encourage creativity and innovation in the pursuit
of inclusive, equitable, and sustainable growth and development. Culture is recognized as a driver and sustainer of human development, led by a creative economy and creative/cultural industries. The initiative is people-centered and place-based in its approach to adding economic value and new creative technologies. The core group of cultural creatives is composed of artists, managers, entrepreneurs, producers, all of whom work with core cultural and creative expression. UNESCO sees creative economies as a means to assist the developing world with cultural exchanges
Graphic courtesy Americans for the Arts.
Beginning in 2000, in Paducah, Kentucky, the Artist Relocation Program advertised affordable live/work space in the historic district... creatives from around the country arrived to make the city their home.
F E AT U R E
Work by two Asheville River Arts District artists: Akira Satake (ceramic, akirasatake.com) and Barbara Zaretsky (textile, bzdesign.biz). Image courtesy Akira Satake.
encouraged among participating cities. The program uses creativity to address the problems and issues cities face, and to this end, many of the participating cities host conferences to discuss shared concerns and issues. Here in the US, what can we learn from looking at other cities that share this designation? Detroit, the former Motor City, joined the network after having suffered a severe economic downturn and bankruptcy. The city hosted a “Creative Cities 2.0” meeting, focusing on fostering a sense of place, attracting and retaining skilled people, and developing effective economic and social development policies. Ed Bailey, vice president for brand development for Austin City Limits, noted that Austin was always a music town, but the stellar festivals and artist-friendly atmosphere make the city a haven that supports musicians year-round. “Part of this has to be about nurturing the artists in your own midst,” he said. All the panelists agreed that Detroit has the talent, the music, and the festivals—but the city must find ways to support their own. Artists have been able to take over vacant or abandoned buildings and start businesses, galleries, design centers, and comedy clubs. Meeting organizers recognized 2015 as a pivotal year for the Detroit arts scene. “It was a post-industrial cultural wasteland, and now the art world is coming to us,” said one. J U LY
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Asheville’s Handmade in America program has received national attention for its support of the Appalachian Mountain region’s craft industry, while revitalizing tourism has helped to transform a once-tired and depressed city.
Affordable housing and studio/work space are critical issues, and many creative cities are addressing this issue either by reclaiming abandoned buildings or constructing energy efficient spaces with support from government funding and generous financing from local financial institutions. Beginning in 2000, in Paducah, Kentucky, the Artist Relocation Program advertised affordable live/work space in the historic district for artists who were willing to move there, and creatives from around the country arrived to make the city their home. UNESCO named Paducah a Creative City of Crafts & Folk Art, and they are now sharing culture and craft with visitors from around the world. The town became world renowned for its quilts, fiber artists, and the National Quilt Museum, the largest art museum of its kind in the world, offering workshops, speakers, online learning, youth education programs, and cultural exchanges. The vitality that drives these success stories exemplifies what a cluster of entrepreneurs and creatives can bring to a community. Local and regional gatherings address issues and opportunities for the creative sector to advance the goals of their cities. In April, Asheville, North Carolina, presented the Creative Sector Summit, whose theme, “The Importance of Arts Education to Workforce Development and the Economy,” offered talks and activities for artists and
creative entrepreneurs, including awareness sessions on the city’s one percent for the arts programs and individual mentoring sessions to support the growth of artists’ businesses. Asheville’s Handmade in America program has received national attention for its support of the Appalachian Mountain region’s craft industry, while revitalizing tourism has helped to transform a once-tired and depressed city. Recognizing the value of these vital connections, the Americans for the Arts’ New Community Visions Artists & Communities conversation series was initiated to pair veteran arts leaders with emerging local talent to share their visions for, experiences with, and challenges to making healthy, equitable, vibrant communities through arts and culture. Americans for the Arts’ “Transforming America’s Communities Through the Arts” initiative hopes to generate dialogue on national, state, and local levels around the creation of sustainable and healthy communities and to activate diverse programming and partnerships among public, private, and nonprofit sectors, while laying the groundwork for a collective movement forward over the next decade and beyond. They will help leaders and the public better understand and celebrate arts and culture as mechanisms for building and sustaining more vibrant and equitable communities. T
THE magazine | 49
Michael Bergt Richard Campiglio John Fincher David Forlano Michael Freed Caity Kennedy Katherine Lee Thais Mather Timothy Nero Adam Rosen Nico Salazar John Vokoun Todd Ryan White Gretchen Yatsevitch
Drawn That Way July 16, 2016 6-8pm Offroad Productions July 16 - July 23, 2016 2891-B Trades West Road 505-670-9276
SH OP DROP NEW WORK BY JA M E S H O L M E S July 1–30, 2016
· · · opening reception
Friday, July 1, 5–8 p.m.
CHRIS GUSTIN TONY MARSH SUNKOO YUH JULY 8 - AUGUST 27 2016
Music by the Alpha Cats
P HI L SPAC E 1410 Second Street, Santa Fe, NM 87505 505-983-7945 | philspacesantafe.com Hours: Monday–Saturday 12–5 p.m. James Holmes, Trout Shadow (detail), 2014; wood, lead, linoleum, copper, antler. photo by james hart
SunKoo Yuh
SANTA FE CLAY C O N T E M P O R A R Y
C E R A M I C S
In the Railyard, 545 Camino de la Familia, Santa Fe 505.984.1122 www.santafeclay.com
CRITICAL REFLECTION
Made in the Desert
form & concept 435 South Guadalupe Street
WHITE NOISE APPEARS TO PULSE FROM MELISSA CODY’S TEXTILE, NAVAJO TRANSCENDENT. Surrounded
by
neon-colored
stepped
patterns,
Lara, whose marionettes hang from the ceilings
individual artists reflect on the nature of art and craft in
reminiscent of the traditional Navajo “Germantown
throughout the gallery, lacking the animating force of a
the Southwest. For some, art and craft have only to do
dazzler,” blocks of black and white pixels vibrate with
puppeteer. In their stillness, his As Billy the Kid and As
with aesthetics; for others, they are a means of cultural
visual intensity. Cody, who pivots between weaving,
Frida are nonetheless uncanny, a closer look revealing
expression, and for others still, they are deeply bound to
hip hop, and graphic art, is among twelve artists who
their faces to be masks covering impish tricksters that
touristic commodification.
are redefining “craft” in form & concept’s inaugural
take the appearance of Navajo clowns. It is the clowns,
It would be unfair to say that all culture is
exhibition, Made in the Desert (through August 22). Like
in these examples, who pull the strings. Arthur Lopez’
commodified, but the Southwest is no stranger to
Cody, who remixes long-established motifs and media
carvings of cholos and cholas, replete with big hair,
façades. Indeed, the artists who broach this mixed
with contemporary pigments and compositions, other
tattoos, bandanas, and flames, retool the figure of the
history, in which an imagined Southwest meets a lived
artists in Made in the Desert nod to the past, present, and
carved santo, renowned in northern New Mexico. In
reality, offer a more critical message of what it means
future in their offerings.
these brightly carved busts, Anima Chola and Anima Cholo,
to create and view art and visual culture within the arid
Jaque Fragua’s neon sign, created in the image of
the artist exchanges patron saints for gangsters, vatos,
lands of New Mexico and Arizona. In some cases, this
an eagle, announces the words “SOLD OUT” in bold,
and chingonas. Alternately, Janet Abrams’s aerial views
message issues almost too obviously, as in Cannupa
yellow letters. Using the familiar desert road sign to
of airport terminals rendered in clay decontextualize
Hanska Luger’s Installation in White, featuring a floating
new ends, Fragua imparts a sense of dark humor in his
spaces of travel. Terminal layouts in In the Unlikely Event
and whitewashed Indian surrounded by wares with
illuminated beacons. His critiques against the exploitation
are so far removed from their original orientations that
price tags proclaiming, “Batteries not included.” Still, it
of Native culture in the Southwest are similarly spelled
viewers might confuse them with organic matter.
is compelling as a viewer to consider how certain artists
out in his Ceci N’est Pas Une Pipe (This is Not a Pipe), a
As the director of form & concept, Frank Rose,
in Made in the Desert are redefining artistic production
riff on the Belgian artist René Magritte’s tongue-in-cheek
observes, Made in the Desert evinces the profound
by pushing the already-indefinite boundaries of craft. It is
painting of the same name. Yet, in Fragua’s version, the
variety of art and craft produced between New Mexico
perhaps more significant that certain works beg viewers
neon limns an image of a pipe broken in half. Here, the
and Arizona. Yet neither geography nor the nebulous
to redefine how to look at art from multiple, complex
title gestures toward the capacity for words to mislead
term “craft” are enough to produce a strong connective
perspectives. This is especially true in a place where
(an image of a pipe is not a real pipe), while the image of
tissue between the artworks at hand, given the survey’s
multiple Southwests appear to coexist.
a smashed pipe intimates a broader political history of
open-ended inclusivity. While Made in the Desert shows
—Alicia Inez Guzman
broken treaties between tribes and white colonists.
viewers a transcultural spectrum of art, the exhibition
Other artists in Made in the Desert include Armand
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feels uneven at times. I suspect this has to do with how
Made in the Desert, installation view. Image courtesy of form & concept.
THE magazine | 51
The Narrative Figure
David Richard Gallery 1570 Pacheco Street, A1
FIVE ARTISTS, FIVE TAKES ON NARRATIVE FIGURATION EMERGE FROM EACH ARTIST’S ABILITY and willingness to share culture and ethnicity. The
shades of peach, mauve, and rose.
Daisy Quezada’s sculptures look at figuration
Narrative Figure (through July 4) showcases the work
Lips also figure prominently in Jeffrey Hargrave’s
and narrative from the perspective of fragility and
of Esteban Cabeza de Baca, Michael Dixon, Jeffrey
acrylics, but as racially charged caricature. Hargrave’s
aggression. Quezada applies a thin porcelain slip
Hargrave, Daisy Quezada, and Justice Whitaker.
work confronts viewers with portrayals or stereotypical
to items of clothing, which burn off in the firing
A blend of his Mexican and Native American
images of African Americans. The combination of
process and leave behind delicate, gentle fabric
ancestry informs Esteban Cabeza de Baca’s oil
palette and caricature forces us to register Hargrave’s
impressions in each piece. In Sostener o Refrenar
paintings. The large canvases are full of light, and
message, even for viewers who may wish to look away.
a porcelain bra hangs from the handle of a shovel.
the colors surprise. These are
The
not the earth tones of traditional
causes bits to fall off and shatter
Southwestern art. Instead, we
on the floor, taking with them
have eye-popping candy colors:
shards of the wearer’s story.
a fuchsia weaving, bright orange
“Having grown up between two
adobe walls, and Wedgwood-
cultures,” writes Quezada, “I
blue mountains. Cabeza de Baca
have witnessed an abundance of
describes living in a no-man’s land
machismo that isn’t questioned
between cultures. “My skin is pale
after it has become a part
but my heart is red,” he writes. In
of everyday life.” Quezada’s
Illusion of Oasis Making You Look
sculpted garments, paired with
Twice he gives us a very pink figure
items of aggression, invite us to
with black hair and red face paint.
confront issues of gender and
The arm and torso resemble an
violence. But her message is
art student’s wooden drawing
also one of healing, where the
mannequin, and they float above the
wearer’s identity can “come to
detached legs with a blue horizon
life to tell its story where it can
peeking through the waistline. The
be heard and seen.”
weight
of
the
“fabric”
notion of illusion appears in other
The mixed-media collages
Cabeza de Baca paintings. There
of filmmaker and photographer
is a series of white longhorn steer
Justice Whitaker blend his own
skulls drifting through the clouds
hand-cut
in one of the untitled works, and
materials. Often varnished with
a disembodied gray arm reaches
resin, the pieces take on a rich,
out toward the ceremonial dancer
clear luster that collides with the
through a dripping, trompe-l’oeil
subject matter of race, class, and
hole in Dance.
other social issues. In Procession
photos
with
found
Michael Dixon uses his own
of the Undead: Guardian Angel,
blended identities throughout his
we see Whitaker’s photo of a
work. “I have experienced fluidity
young black boy with a wary,
in the perception of my race and
untrusting face. Through collage,
ethnicity as a light-skinned, bi-racial
the boy sports a jacket, a crown,
Black man,” he writes. His large
and a magnificent pair of wings.
portraits in oil—often conceived
The piece is mounted on a found
as self-portraits—are painted with
armoire door, with the lock intact
pale, sky-blue backgrounds. He
and level with the boy’s core.
sometimes places his figures off-center in the canvas
Yet somehow, they are fun at the same time. The eyes
and with some feature missing, like a shoulder or a
and lips are oversized and often the paint is applied
figuration are culturally rooted and deeply internal.
temple, which might be wrapped around the corner of
most thickly in those areas. Eyes bug out like they might
Beautifully presented in David Richard Gallery ’s
the canvas and painted on the side. He uses so many
in cartoons. Kinky braids, a proliferation of polka dots,
new, more intimate space, the work invites viewers
colors to achieve skin tones that it blurs concepts of
exaggerated Aunt Jemima head scarves, and giant buck
to examine and question their own biases.
ethnicity. In those paintings where hands are visible,
teeth all contribute to the playfulness that is and isn’t.
—Susan Wider
they are powerful, especially where fingertips touch.
Hargrave’s titles are provocative, too, like Too Black for
Lips are poignantly expressive, painted in multiple
Words or Loose Lips Sink Ships.
These
artists’
approaches
to
narrative
Michael Dixon, The Fourth of July is Yours Not Mine, 2015, oil on canvas, 48 x 36 in.
CRITICAL REFLECTION
Currents: Santa Fe International New Media Festival
El Museo Cultural 555 Camino de la Familia
FORGET THE INFORMATION PAMPHLET FOR THE CURRENTS: SANTA FE INTERNATIONAL New Media Festival (June 10-26); “The Garden of
whispered about between Currents staff members,
their hands and electrodes strapped to their arms. The
Forking Paths” by Jorge Luis Borges is a suitable
everything hums reliably.
artist makes a brief announcement and then vanishes
guide to the exhibition. In the 1941 short story, the
On opening night, Marcus Zuniga sits at a picnic
behind her collaborators to fiddle with a laptop. The
Argentine magical realist explores the concept of
table outside of SITE Santa Fe, with a video projection
bell choir springs to life as electric pulses force the
a world where all potential outcomes of an event
titled Space cast above him on the building’s facade.
volunteers to jerk their arms into the air. The crowd
play out in tandem. Webs of bifurcating possibilities
Visitors stop by and peer up at pinpricks of light
laughs at first but sobers up as the song approaches its
diverge and intersect, forming an infinite labyrinth.
that swirl like a shattered moon. The artist spliced
tenth minute, and the participants start to grimace from
Among the rumbling machines and flickering
together codes from the internet (digital found
the constant stimulation. The experiment takes on
specters of Currents, a similarly staggering array
objects, if you will) to create the animation. There’s a
the tone of an Orwellian nightmare as one performer
of scenarios unfolds at once. Films play at varying
quiet melancholia to this cosmic ballet.
visibly shakes, his teeth bared in an uncanny grin,
intervals, installations spring to life in reaction to
Near El Museo Cultural’s main entrance, a
veins popping from his arms. A glance behind the
the movements of the crowd, and virtual reality
white tent shelters a nine-foot-tall, translucent cube
choir reveals that the artist has abandoned her laptop, and a computer program is conducting the performance. It’s chilling to realize that no one is behind the curtain with a finger on the kill switch. The ringers play on. Gentler interactions play out through the rest of the show. There’s Reilly Donovan’s Brane-Xels, a platform covered in pixels that rearranges itself into ghostly, threedimensional figures when viewed through a smartphone app. In Susanna Carlisle and Bruce Hamilton’s Debris, a field of fractured glass orbs distorts a video projection of garbage dumps. Visitors reach up to spin and swing the globes, watching their silhouettes eclipse images of plastic bottles and splintered wooden boards. The virtual reality experiences at Currents are the show’s biggest revelations. Virtual
reality
headset
technology
has
advanced in leaps and bounds over the course of the festival’s existence, and this is its long-awaited moment. Visitors can don an Oculus Rift to soar through fleshy, glowing caverns in Graham Wakefield and universes offer endless adventures for the small price
that periodically fills to the brim with pulsating light.
Haru Ji’s Endless Current and explore a remarkable
of donning a silly headset. There’s so much content to
Artist Devin Fleenor packed S.E.E.D. (Stellar Emissions
choose-your-own-adventure music video by Nicholas
experience in this neon jungle that two people could
Encapsulation Device) with lasers, mirrors, and LED
Dimichele, titled Rust Golem.
visit all the same corners of El Museo Cultural and
screens that visitors can play like an instrument by
In one corner of the show, an installation called
emerge from the darkness with completely different
moving throughout the tent. Most of the artifice is
Syncdon II, by Issey Takashi and Akihito Ito, records
tales to tell.
hidden in thin beams that make up the cube’s skeleton.
a visitor’s heartbeat and displays it as a series of
The nonprofit new media festival, now in its
It’s an artwork that almost vanishes from existence
glowing circles on a large screen. After two minutes
sixth year, has grown up alongside the technologies
when dormant but seduces viewers like moths to a
of listening, the machine displays the closest rhythmic
that it showcases. For an exhibition that’s known for
giant light bulb from its first flare.
match with another heartbeat in its ever-growing
its interactivity, this is by the far its most experiential
Through a spindly archway by local sculptor and
database. It’s a reminder that despite the dizzying
entry. It’s like going to a show of wet clay sculptures
aerialist Jamie Hamilton, the main exhibition bustles
possibilities at Currents, our experiences inevitably—
and gleefully leaving your fingerprints everywhere.
with activity. The crowd has been chattering about a
and viscerally—intersect.
There’s something irresistible about an exhibition
performance piece by Australian artist Michaela Davies,
— Jordan Eddy
that ripples with the slightest wave of your hand.
and she’s busy preparing several volunteers to execute
But for a few glitchy artworks hidden from view and
it. In Duty, seven people stand in a semicircle with bells in
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2016
Susanna Carlisle and Bruce Hamilton, Debris, 2016, installation view.
THE magazine | 53
Lowrider Day on the Plaza
New Mexico History Museum 113 Lincoln Street
New Mexico Museum of Art 107 West Palace Avenue
PROUD, UNHURRIED, AND VICTORIOUS AS A LIBERATING ARMY, THE LOWRIDERS CAME rumbling into Santa Fe’s Plaza one Sunday in late May,
is a family activity, reflective of the deep, centuries-old
it felt good to relinquish the lah-dee-dah affectations of
and the town shook itself awake from a fevered dream
faith of Northern New Mexicans. It is elegiac, in fact, not
our state’s best-known tourist trap to family, faith, and
of tourism, mangled sociocultural norms, and big
merely of the narrative of a people, but literally: the back
fantasy. Pretty girls with enviably on-fleek eyebrows and
money. For one day at least, Northern New Mexicans
windows of many cars bear witness to the passing of a
shining hair, car club boys in baggy jeans and tees, and
took back La Villa Real in a way that it probably hasn’t
loved one with his or her name, dates, and appropriate
little children and their grandparents played together
witnessed since 1692, when Don Diego de Vargas
religious imagery etched onto the glass and painted
with other locals and tourists alike, all of us proud to
reclaimed Santa Fe for the Spanish after the Pueblo
onto the trunk. In this, says Kosharek, the lowriders of
be nuevoméxicanos. That pride is revealed in every
Revolt some twelve years earlier. It was Lowrider Day
this state tend to differ from the Hollywood-flashy, and
detail of the cars that have been customized, detailed,
on the Plaza, and everyone, by dint of simply being
fleshy, imagery of cars in Southern California, where car
painted, and upholstered over a lifetime. The sheer
present, was granted norteño citizenship.
culture arguably began.
delight of the day was in the people themselves as they
On May 22 , the two downtown Museums of
Ware’s Con Cariño is equally substantive, having
spilled through the whole “historic district” of Santa Fe,
New Mexico presented locals with the incredible gift
pulled out of the stacks works by several photographers,
bringing it to life for a day in a way that no museum
of a procession of glorious rides, rolling low and slow
sculptors, and painters that explore issues of being
exhibition could ever dream of.
into the Plaza from Fort Marcy, bouncing and blasting
Hispanic in Northern New Mexico. Artists include
In September, Museum of New Mexico Press
through the streets to cheers and applause. It was just
Luís Tapia, Arthur Lopez, Miguel Gandert, Nicholas
publishes a beautiful book of photographs taken during
one event—arguably the main event—in the summer
Herrera, Parsons, Rubenstein, Usner, and others.
the past 40 years, selected by Kosharek (Photo Curator
series organized by curator Daniel Kosharek at the
Especially notable are Tapia’s three-dimensional, carved
of the New Mexico History Museum/Palace of the
New Mexico History Museum/Palace of the Governors,
and painted—bulto style—dashboard scenes, which
Governors) and Ware (Curator of Photography, New
alongside Katherine Ware, who curated Con Cariño:
contribute a liveliness that indicates that this culture is
Mexico Museum of Art). The publication includes
Artists Inspired by Lowriders at the New Mexico Museum
hardly receding into a rosy past, even while it joyously
photos and an essay by Don J. Usner titled “Cruising
of Art. Kosharek’s Lowriders, Hoppers, and Hot Rods had
renews that past.
in the Heart of the Lowrider World” and an interview
nd
opened earlier in the month and features a rotating
People showed up that Sunday on the Plaza in
with Meridel Rubenstein by Katherine Ware. The title
schedule of cherry cars and an extensive collection of
the thousands to celebrate hundreds of cars, each as
of the book is ¡Órale! Lowrider: Custom Made in New
photographs by such iconic shooters (and residents)
gleaming and perfect as any artwork in any museum.
Mexico, and it is bound to be a collector’s item. In the
as Don Usner, Jack Parsons, Meridel Rubinstein, and
The mayor proclaimed it official Lowrider Day and
meantime, ask Mayor Gonzales when to mark on our
others. These photographers know their subject and
dared suggest that opening downtown to the time-
calendars next year’s Lowrider Day.
Hispano culture, so a respectful sense of tradition was
honored tradition of cruising the Alameda might
—Kathryn M Davis
inseparable from the History Museum’s exhibition. The
be considered again. Española, the self-proclaimed
curator successfully makes the case that lowriding here
lowrider capital of the world, was out in full force, and
Bounce competition, Lowrider Day, 2016. photo courtesy Corey Ringo, Double Barrel Photography, Albuquerque.
CRITICAL REFLECTION
Serena Stevens: Bed and Butter
Small Engine Gallery 1413 4th Street SW, Albuquerque
THE USE OF NOSTALGIA—LONGING, HOMESICKNESS, SENTIMENTALITY, WHATEVER— has long been on the outs in contemporary art, deemed
baby—and the collaged-in butter functions as an emblem
without buying the peaches. In another collage, a woman
an improbable platform from which to draw new ideas.
of individualized security (blankie, teddy bear, etc.). The
takes a Benetton ad full of children skipping across the
Serious artists forever ago rid themselves of a young adult
placement of the butter delicately conforms to the space
beach. In yet another, a happy couple has sex inside a
currency that seemed too personal and self-indulgent, or
of each bed. It’s there as you fall asleep. It’s there when
mid-century tableau of deviled-egged cocktail parties
even necrophilic. You can’t look forward if you’re always
you wake up.
and kitchen dinettes. Bed and Butter probes whether
looking back, they’ll say. This last point is especially true
On the back of this butter-bed wall is a collection
for artists interested in contemporary issues or new
of colorless images that shows the ease of being young
technology and media; to them, nostalgia is like a Bettie
and dreamy. Two girls on a catamaran, couples dancing,
Without a doubt, the strength of Stevens’s work is
Page wagon stuck in hardened, historical mud. It looks
raising a kitten and bird, pillow fights. Things exist in a
in her collages. The paintings are super-competent and
cool and makes us feel good, but it isn’t going anywhere.
funereal vacuum on this wall, and it’s hard to care about
bring so many other qualities—mark, gesture, surface—
existence becomes staid once childhood and young adulthood fade, and what does that even look like?
In Bed and Butter, at Albuquerque’s Small Engine
the loss of privilege and youth in the universe Stevens has
to the conversation, but unlike the collages, they can’t
Gallery, Serena Stevens attempts to rehabilitate nostalgia
depicted. There’s a hollow-looking homesickness for
transcend the trappings of nostalgia. They are way too
in her complex and clever photomontages. To her,
someone else’s home. These images rub elbows with
reminiscent of other painters’ works, and with the way
the work can live and function in the present, without
transgression without being emotionally manipulative
they are stylistically modeled on Stevens’s other collages,
celebrating the past. She effectively transforms hyper-
or reminiscent. Her high level of craft and shrewd
I can’t see what new space they carve out for the artist
mundane, insensate imagery—beds, butter, fruit, mac &
art choices resound in this recontextualized, highly
in this show.
cheese—into something fearful and unsettling. A playful
varied imagery.
Nostalgia is a duplicitous collaborator. While often
twist on the bread and butter idiom, Bed and Butter is a
The rest of the show is punctuated with discrete sets
it implies walking backwards into the future, Serena
puzzling out of adulthood, a restless collection of paste-
of collages and paintings. Each set of images looks like a
Stevens has used it as a forward-looking dress rehearsal
ups for how to exist in an already-made world.
meta-montage that further examines the corroborative
of instability and fear, without being romantically
In the first works encountered at Small Engine,
and contradictory elements of domesticity, class, and
celebratory or fatalistic. She just wants to know if you
Bed and Butter Showcard Collages, Stevens offers up 32
sexual bliss. The family unit is intact, the canned peaches
can have your deviled eggs and eat them too.
explorations of the shifting comforts of adulthood. The
are ripe, and mom is wearing a kick-ass bikini on the
—David Leigh
bed in each of these images is posited as the signifier of
jungle gym. The photomontage process Stevens employs
life change—sharing your bed, sleeping alone, making a
allows her to role-play and peek into those realms
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2016
Serena Stevens, Bed and Butter, installation view, 2016, collage. Courtesy of Small Engine Gallery.
THE magazine | 55
Strangers Collective: Narrows
Santa Fe Community Gallery 201 West Marcy Street
HIERARCHY’S DEFUNCT. THE ARBORESCENT HEGEMONY IS DEAD WOOD. TIME FOR THIS TREE to come down. The paradox of a collective of strangers
and writers, co-founded in 2014 by artists Erikka James
scale appear monumental is one of her super powers,
broadcasts a feeling of ambivalence, a timely tension
and Kyle Farrell, and arts writer Jordan Eddy (THE and
and here an outside-the-box Joseph Cornell aesthetic is
between detachment and empathy, harmonized to the
other fine publications) flooded the City of Santa Fe Arts
accomplished through sculptural space, flat image, and
sound of the axe falling, a slow march of time emanating
Commission’s Community Gallery with an intriguingly
text. Where Joseph Cornell gets wistful, Lee establishes
from Oak Tree, a simple, Naumanesque video from artist
ambiguous exhibition.
a darker (even sinister?) emotion, strung sublimely ’twixt
David O’Brien, chopping away, one smooth whack at a
Narrows refers to the small apartments and studios
time. My reading is purely Deleuzian. I see the tree as the
where the artists create their work and gather for
Our corporatocracy, founded on terrorizing slaves
status quo, the representation of a hierarchical, multi-
impromptu openings or casual critiques. The word evokes
and perpetuating genocide, currently cages more citizens
branched entity grown primarily to oppress, and I see
a romantic image of them at dawn, all boarding lil’ boats
than any regime ever. Not being a capitalist makes you a
O’Brien as the artist/activist persevering to bring about
full of artworks and ’zines, ferrying them through dire
wage slave for Wall Street, in for-profit prison, or if you’re
the great leveling that may well be right around the bend.
straits to get to the gallery space like (the record skips)
really lucky, a successful part of the new mercantilism.
What happens to the little rich boomers with (not-
refugees. Or it means younger creatives trying to make
Pluralism abounds. Drew Mc’s neo-spiritualist imagism
so-green) green invested in Wall Street, who can’t unclaw
the best of a ridiculous America that is “great again” (#1
is worth tuning into. Julia Haywood’s travel landscapes
even as negative interest rates exclude them? Playing the
worldwide) at not funding the Arts. Thank Goddess for
will carry you away, and Ben Putnam carves stone. The
casino (less than half of us even have IRAs) condones
Santa Fe. Whichever view you take, the kind, clever,
paintings by Sarah Palmeri are decent de Koonings. Of
Wall Street’s wasting of lives. Shareholders would love
careful, crafty ’zine table rewards.
special interest is an anemic (in the Duchampian sense) new
dream and dystopia.
to discuss but have to hurry to a Goldman Sachs benefit
The levels of nuance established by Minimalism and
media installation composed of three pieces by Marcus
for Israeli Apartheid, because $8.5 million a day of U.S.
the import of Conceptualist practice are now generational
Zuniga. Casual assemblages of monitors, prints, LEDs, and
taxpayer money isn’t enough.
givens. Ambiguity rises, as it did for the Symbolists, the
a projection of processing code, titled Gravedad, evidence
Yet young artists in Santa Fe are leading the escape
major modernist example, along with Dada-Surrealists,
an idiosyncratic attitude toward technology, exploring it
from the gravity of the corporate-imperialist oligarchy
of artists and writers united against the status quo.
phenomenologically to build new experiential languages
by empowering themselves and their friends. Meow
Like Mallarmé, millennial art seeks greater intimacy in
(and to leave cool trace residues on the retinas). Zuniga’s
Wolf is rumored to have stashed enough cash in three
relationship to the viewer-reader, a scale change on the
been swept into the Currents new media exhibition this
months to cover the bills through 2017. Scuba, too,
level of what matters.
summer. It’s all coming together. Don’t stop chopping. Get
(still drawingwhiledriving.com) is back in town,
The hum of comfort with unknowability is strongest in
after a stint in Brooklyn. Santa Fe Collective (across
Katherine Lee’s Shelf pieces. Lee has previously produced
from Tune-Up Cafe) foregrounds community. And in
intricate paintings of architectural spaces that exude a
June, the Strangers Collective, a diverse group of artists
similarly difficult to describe quality. Making maquette
56 | THE magazine
with friends. Build a boat.
—Jon Carver David O’Brien, Oak Tree, still, digital video, 16 minutes.
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2016
CRITICAL REFLECTION
Camera-less
Richard Levy Gallery 514 Central SW, Albuquerque
ANNA ATKINS (1799-1871), A NATURALIST AND EARLY PHOTOGRAPHER FROM ENGLAND, was introduced to a cameraless method for making
followed by a pouring of hot wax on the surface with
into an artifact of culture. The smallest photograph
photographs by the British mathematician and
its small forms that looked like miniature bowling
in the show, less than three inches square, is one
scientist, Sir John Herschel. Herschel—a friend of
pins or fragments of silver jewelry laid out in a
of the most intriguing: Glenn Kawabata’s Pyrogram,
William Henry Fox Talbot, who was also one of
cryptic formation.
made by lit matches dropped on photosensitive
the pioneers of photography—
paper and capitalizing on the
discovered cyanotypes in 1842
chemical reactions between flame
and sent an offprint of his paper
and paper emulsion. The resulting
documenting the process to Atkins
image could represent a fragment
and her scientist father. Almost
of biological tissue or a supernova
immediately,
in deep space.
Atkins
began
to
employ cyanotypes to create an
of
the
series
of
Camera-less—part
inventory of her specimens of sea
“PhotoSummer”
plants, and became, as Weston Naef
exhibitions
wrote in Photographers of Genius
and
at the Getty, “the first person
provocative range of processes
in the history of photography to
that might, for example, involve
use light-sensitive materials to
a complex and labor-intensive
catalogue a collection of objects
use of a digital scanner as in
and gather that information into
Zahr’s stunning Blackspace 4;
book form.”
or software manipulations in the
Santa
in
Albuquerque
Fe—represents
a
The work of Atkins came
work of Thomas Ruff; or an X-ray
to mind viewing Camera-less,
machine used for Dr. Dain Tasker’s
a thoroughly fascinating group
delicate study of tulips; or glass
exhibition of artists who work
sculptures fabricated by Leigh
with
Anne Langwell for her photograms
alternative
photographic
methods for making light-based
that suggest microorganisms or
images that rely often, but not
jellyfish floating in the void.
always, on photosensitive paper
Suffice it to say that the
for making photograms. Most of
images that result from this host
the work in Camera-less both
of alternative nit-picky processes
subtly acknowledges the early
are much more than the sum
roots of photography’s trial-and-
of their light-based parts. The
error techniques while pushing
work in Camera-less—including
away from the medium as merely
that done by other artists not
a tool for recording aspects of the
mentioned in this review—carries
“real” world.
multiple levels of meaning at right
Artists like Doug Fogelson
angles to its various methods of
and Pablo Zuleta Zahr aren’t alone
production. Some images are head-
in their contemporary pursuit
scratchingly complicated in their
of
light-based
making and others a little more
that
enhance
manipulations the
history
of
straightforward, like Fogelson’s use
the
of paper with colored emulsions
Alison
for his vivid photograms of fish or
Rossiter pours liquid developer on
pieces of coral, the latter looking
old pieces of gelatin silver paper
for all the world as if it could have
photography discourse
and
around
expand it.
come from the studio of Anna Atkins.
and her bold diptych, Dupont Defender Velour Black,
There is an image of thousands of raindrops, Rain
is like an Ellsworth Kelly hard-edged abstraction in
Study (Kona) #16, by Klea McKenna, with its pattern
black and white. Artifact #87 by Caleb Charland
of tiny drops of water that hit silver gelatin paper in
is visually enigmatic and supremely elegant in its
an exposure captured at night. This black, white, and
Doug Fogelson, Fish, 2015, photogram, 20 x 24 in.
mysteriousness; it was made by matches that had
gray photo is a study of texture and an unlikely image
Pablo Zuleta Zahr, Blackspace 4, 2015, framed Duratrans print on light
been struck and dropped on photosensitive paper
of an artist’s transformation of an aspect of nature
box, 25 x 36 in.
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2016
—Diane Armitage
THE magazine | 57
CRITICAL REFLECTION
Terri Rolland
Santa Fe Collective 1114 Hickox Street
“POETRY CAN REPAIR NO LOSS, BUT IT DEFIES THE SPACE WHICH SEPARATES . . . BY ITS continual labor of reassembling what has been scattered.”
a ground more naturally and solidly than paint. I work with
For Rolland, where her process leading to the painted
Terri Rolland concludes her artist statement with this
elemental and honed images: drawn outlines of squares
panels is, to use her words, reductive and subliminal, with
quote from John Berger, the now octogenarian English art
and blocks sink into the clay and call for more layers until
the 10 x 8 inch works on paper—acrylic paint on cut-up
critic, author, painter, and poet famous for his 1972 BBC
the right final drawing is accepted.”
paper—the approach is “quick and certain . . . direct.” The
series and companion text, Ways of Seeing, a semiotic
Some of these square or block outlines are willfully
effect is twofold: “These little paintings enable me to work
peek into the hidden assumptions underlying Western
childlike, doodles you might find in a Pogo comic strip or
out ideas of color and composition for larger works, but
culture and many of its visual images—in particular those
taped to the door of Winnie the Pooh’s fridge. They are
they are most useful to me in their allowance for chance
depicting women. Here the reference is an overarching
indeed elemental, Pythagorean post-its whose import is
and play—two elements that are imperative in my work.”
notion that poetic expression tends to make whole what
alive but elusive. And for all their lightness and whimsy,
These outline acrylic squares on paper and panel are
is dispersed and fragmented.
they are essential: “They have a right to be there, things
mute testament to latent meaning. Like the wedge shapes
The Santa Fe–based artist’s small solo and stacked
are fair. What I am looking for is not refinement, but a
of cuneiform, they shift at will from play to portent. The
squares of clay-painted panels and works on paper are
felt sense of rawness and informality—and sometimes
columns of squares that march up the page can evoke
graphic haiku poems that do just that: give meaning and
mischief. I want to represent things barely visible or
the terracotta armies of Qin Shi Huang or the single-cell
mischief and visual delight to the inert surface of single or
valued, but completely present and essential.”
horde of yellow Minions in search of a despicable master.
multiple panels, combined into arrangements of two to
Rolland’s own statements are spot on and create an
Stacked squares that span the width of the page like a
eight individual paintings. In her artist statement Rolland
almost vicarious experience of the work itself. And that
group portrait are Rembrandt’s Syndics of the Drapers
writes: “This format enables me to add, remove, change,
adds a level of nuance to the notion of conceptual art
Guild, or the faded lid of a Dutch Masters cigar box.
and turn the panels as I build the painting, literally and
as all about concept over form, idea over image. In this
Rolland’s wiry squares—floating, overlapping,
figuratively. . . I work with clay paint because it is a natural
instance, the panels of acrylic square outlines are as visually
or cropped—are spare, engaging forms in search of
and non-toxic product, has a matte buttery finish, and
appealing as they are crude, artful as much as awkward.
antic content.
is affordable. It has a subtle luminous quality even in its
At the same time, they are “humble monuments to
—Richard Tobin
dense earthiness. I trust it and understand its functional
continuity,” a practice that explores and discovers through
physicality—it hides and resists, and layers and accepts, as
reiterative mark making.
58 | THE magazine
Terri Rolland, installation view, 2016, works on paper.
J U LY
2016
original design by Luke Dorman. lukedorman.com
PHOTOGRAPHY
Steve Hamblin Looking Glass, 2015 submission theme: "reflections"
J U LY
2016
Born in Klamath Falls, Oregon, Steve Hamblin has been working in photography since 1972 when he was a journalism student at the University of Wyoming. He then attended the Brooks Institute of Photography in Santa Barbara California where he received his BFA in commercial and illustrative photography. In Dallas, Texas, Hamblin owned and operated a commercial photography studio, serving such clients as Johnson & Johnson, Electronic Data Systems (EDS), Boeing Corporation and NASA. Many of his creative personal images have been selected for book covers and magazines such as National Geographic, Travel and Leisure, and Time magazine. Hamblin moved to Santa Fe in 2006 and now works in fine art photography. THE magazine | 61
WRITINGS
The Writing on the Wall by Roger Salloch Words made the painter anxious. When he read them anyway, the words would become images. Unlike acrylics and watercolors and pastels and oils, the pictorial substance implicit in words was constantly changing. One day the image for “words” might be a table, the next a chair. And for “images” a sleeping body, and then a drunkard’s nose. So meanings changed and time opened its hands. Which turned out to be filled with clusters of blue stars. He tried everything to regain control of his senses. He drank. He went for walks. He smoked again. And stopped smoking again. Finally, he decided to do this, turn his painting into a form of calligraphy, handwriting the words himself instead of reading what others suggested. Vowels first, he thought, pencil poised, sharpeners ready, paper carefully selected, desk clear, window with a view. Sure enough, they came readily enough, a e o and u, aureoles that he would dot with punctuation points, only to discover their resemblance to breasts. Then consonants all of which had a razor edge and so frightened him he was led to handwrite life-size, letters so large they became statues with lives of their own, lives that fled from his imagination. The pace slowed, but his heartbeat accelerated, and the meanings still left him far behind, took off through the window, on their own. In his own hand, the word for “star” left him with nothing but a vanishing point in the middle of the paper, a vanishing point that had no end. And a word for something concrete, and real, like “wheelbarrow,” when deprived of anything
except its own letters and transformed into a large fresco on the wall, became a dance of all the pains he had ever known, the ‘ees’ like a skin disease, attached to the ‘rrs’ that he heard crack like bones. Perhaps another language, it was suggested, so he tried Hebrew and Arabic which went backwards, and from right to left, but once he had mastered the intricate curves leading into the narrow and charged space of those tongues and their written equivalent, the same thing happened: not only did he not know how to pronounce the combinations of strange letters, but he had to duck and step out of their way when the scribbled forms came flying back at him with their oriental curves like scimitars and their stranger serifs like rakes. Or birds’ beaks. About to give up, he decided he would write so small, nothing but his own sense of things would survive in the circumscribed space described by his hand. A for apple it said under the white magnifying glass, b for baby, c for caress, d for Daddy, e for elegy. But there too, it was pointless. When he set the work aside and came back to it, he couldn’t find the magnifying glass anymore, his handwriting had been reduced to what looked like dust and meaning was lost in the very effort to provide some. Finally one night he fell deeply asleep. In his dream he was blind. An old woman came to read to him. She was equally at ease reading from the book she had brought or from his face. She read from his face by touching his cheeks which were, she said, “hands,” and his knees, which were, she said, “trumpets.” In the book she also discovered
“a rich man’s cane,” a “vintner’s press,” and the “mane of a horse.” He asked her to describe the rich man’s cane. It was topped with a silver knob, itself gnarled like the burl of a tree and apparently extremely heavy for there was no place on the cane where one could balance it on a finger, without the cane tilting toward the ornate bulb. This excited him and he asked her to describe the other words. The “vintner’s press” was heavy, about three feet high and two feet broad, softly shaped by the resistance of a century of grapes and the ceaseless clockwise and counter-clockwise twisting of its ancient purpose. The “mane of a horse” was white, thick and wild, inseparable at first from a winter storm that blew about it as the rider of the horse plunged along the crest of a low ridge, and then, when viewed from afar, the woman said, reading out loud, though the storm had not subsided, the same flakes were silent and hung on the night like flakes that had already fallen in a storm from another season. The man woke. He lay in bed for a long time. He stared at his hands but only saw them as “hands.” He tried to read a book from a friend (who had signed it, “To C, from R, forever”) but though he got through the first page, could see nothing in it. He wondered if he was not perhaps really blind at last. Then, instead, it occurred to him that “death” was the one word that had never had an image before and as he stared at the “black blank page,” slowly, very slowly, he turned it over, and over, and, after all, so to speak, in spite of himself, came to the conclusion that there was nothing to be frightened of anymore.
Roger Salloch is American. He lives in Paris and is a writer and photographer. His stories and articles have been published in The Paris Review, Fiction, Ploughshares, the North Atlantic Review, Rolling Stone and The New York Times, among other publications. Stories have been published in Paris in R, Noise, and L’Atelier du roman (Flammarion). A novel, Along the Railroad Tracks has been translated into Italian, and will be published this month by Miraggi edizioni in Turin. Salloch has had photography exhibitions in New York, Paris, Hamburg, Turin, Vologda (Russia), and New Delhi.
62 | THE magazine
J U LY
2016
GERALD PETERS GALLERY PRESENTS
JUN KANEKO
J U LY 1 – J U LY 31, 2 016 O P E N I N G R E C E P T I O N : F R I D AY, J U LY 1 S T, 5 - 7 P M 1011 PA S E O D E P E R A LTA , S A N TA F E
F O R I N F O R M AT I O N C O N TA C T E VA N F E L D M A N , ( 5 0 5 ) 9 5 4 - 5 7 3 8 O R E F E L D M A N @ G P G A L L E RY. C O M V I E W A D D I T I O N A L W O R K S BY T H I S A R T I S T A N D O T H E R S AT W W W. G P G A L L E RY. C O M
© 2 016 J U N KA N E KO , CO U R T E SY GE RA L D PE T E R S GA L L E RY
S PA N I S H M A R K E T G RO U P S H OW July 22 – 31, 2016, in our Downtown location Artist Reception: Friday, July 29th from 5 – 7 pm
Featuring El Moises, Leroy Garcia, and Larry D. Blisse
Larry D. Blisse , Big Willie Axton, oil on canvas, 54" h x 52" w El Moises, Padre Wachanos, acrylic and gli er on canvas, 48" h x 36" w
D OW N TOW N | 130 Lincoln Avenue, Suite C Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501