THE magazine September 2015

Page 1

Santa Fe’s Monthly









of and for the Arts • September 2015

Now Representing Legendary Haida Artist


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

CONTENTS 03 letters 14 universe of: fiber artist Kay Khan 18 art forum: Still from Paris, Texas by Wim Wenders 21 studio visits: Sadaf Rassoul Cameron and Ranier Amiel Wood 23 ancient city appetite: Oasis by Joshua Baer 25 one bottle: The 2007 Colin-Deléger Chassagne-Montrachet “En Remilly” by Joshua Baer 27 dining guide: Beestro and Plaza Cafe Southside 31 art openings 32 out & about 38 previews: Bellwether at Blue Rain Gallery, Dyeing the Grid at William Siegal Gallery, and Go West at Gerald Peters Gallery 40 flashback: John Waters, Delgado Street. Circa 1998 43 national spotlight: David Hockney: Painting and Photography at L.A. Louver, Venice, CA 45 feature: Troublemakers: The Story of Land Art by Diane Armitage 49 critical reflections: 20/20 SITE at SITE Santa Fe; Tony Abeyta at The Owings Gallery; Leonardo Drew at Peters Projects; Woody Gwyn at LewAllen Galleries; Tanaka Kyokusho at TAI Modern; Tradición, Devoción y Vida at the Spanish Colonial Arts Society; Peter Woytuk at Gerald Peters Gallery, and Un(Real) at David Richard Gallery 59 green planet: Geoffrey Gorman: Artist and Alchemist, photograph by Jennifer Esperanza 61 architectural details: Shadows on White Fence, photograph by Guy Cross 62 writings: “Examen” by Timothy P. McLaughlin

Although it may seem that everything that could be said or done in regard to the popular icon Frida Kahlo has been articulated, from biopics, refrigerator magnets, to museum exhibitions and numerous impersonations of her style, Frida Kahlo—Her Photographs (Editorial RM, $65) has much to reveal. Her personal collection of over six thousand photographs begins with images of her parents in their youth (those eyebrows and the Tehuana dress came from mom), her own childhood portraits, friends in her artistic circle, her pets, and Mexican folk objects, many of which were models in her paintings. Kahlo’s father was a commercial photographer who was particularly attracted to self-portraits. His favorite daughter acquired this self-fascination as well. Friducha, as he called her, helped him

in the darkroom, introducing her to the technical aspects of the medium. During her infamous marriage, she and Diego Rivera collected images of friends and made photographs in the pre-photocopy era from the pages of magazines and books of subjects that piqued their interest. Frida freely demonstrated her personal feelings for certain individuals by literally cutting out the faces of those she had disagreements with from a group photo, or by adding color or lipstick kisses to images demonstrating affection. Casa Azul, Frida’s home, studio, and world as she became progressively more bedridden due to her many health issues, figures prominently in the collection. When Rivera gave the vast archive to Dolores Olmedo, he requested that the images be given to the Mexican people

fifteen years after his death. Dolores held on to them for another fifty years, thinking that if Diego didn’t want to release them, why should she. Upon her demise, curators from the Diego Rivera Anahuacalli and Frida Kahlo Museums Trust Fund Technical Committee chose to publish selections from the collection. Pablo Ortiz Monasterio, a prominent Mexican photographer, editor, and curator, chose the fourhundred-and-one works presented in this book, with essays by various contributors accompanying the images. Monasterio comments, “The camera was always familiar to Frida Kahlo. She seems to have felt comfortable in front of it. She even learned to look into the lens to put across what she wanted and managed to reinvent her own image through photography.”


magazine VOLUME XXIV NUMBER III WINNER 1994 Best Consumer Tabloid

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

Jason Rodriguez SOCIAL MEDIA Laura Shields CONTRIBUTORS

Diane Armitage, Joshua Baer, Davis K. Brimberg, Jon Carver, Lynn Cline, Kathryn M Davis, Jennifer Esperanza, Marina La Palma, Coad Miller, Timothy P. McLaughlin, Richard Tobin, Lauren Tresp, and Susan Wider COVER

Angelika Platen, Walter De Maria, Hamburg, 1968 From James Crump’s latest film, Troublemakers: The Story of Land Art


THE magazine: 505-424-7641 Lindy Madley: 505-577-6310 DISTRIBUTION

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: Web address: All materials copyright 2015 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.



Flights of Fancy—high-fired stoneware and Raku vessels by Jim Cohen at Waxlander Gallery, 622 Canyon Road, Santa Fe. Opening reception: Saturday, September 5 from 5 to 7 pm. Proceeds of sales go to charity.

TO THE EDITOR: I have to admit that when I first read the review of my painting show Force of Nature in the July issue, I was perplexed. After spending some time thinking about it, I appreciate that the author could see my work as a call to action on behalf of the environment. It made sense that the passion in my work should also be the point of the commentary. Jon Carver asks us to be self-aware and take personal responsibility. I agree. But let me take his argument a bit further. Change relies on regaining confidence in our right to ask more profound, yet basic questions. Environmental destruction and poverty are the twin offsprings of a philosophy for progress embedded in an economic system that generates imbalance. Ecology and economy share a common origin in the Greek word oikos (ecos)—house. Ecology is our home. Economy is the housekeeping. Our entire economy is un-economic because resources use and production degrade the primary elements needed for survival, disregarding human equity and survivability. Nations have ceded much of their sovereignty to “stateless” corporations. Addressing single issues fails to challenge the complex web of economic and political, sometimes even spiritual, realities from which they grow. Trapped by false or limited choices, it tends to be short-term and reactive, never reaching beyond the agenda set by those in power. Unlimited growth and unfettered personal independence contradict the most basic, yet profound discipline of sustainable natural systems. It is freedom without responsibility. It wastes people’s time, energy, and creativity and is inefficient when measured by criteria other than immediate profits. We need a vision of sustainability that reaches into our connectedness and belonging in nature. One that celebrates diversity, interdependency, and reciprocity. But, most of all, environmentalism needs to challenge our economic system. No small task. —Jane Cook, Santa Fe, via email TO THE EDITOR: I cannot recall when or where I had the pleasure and honor of first meeting Jennifer Esperanza; I was aware of her work, and THE magazine, from the first day I moved to New Mexico. Esperanza’s work and reputation tend to precede her wherever she goes. Thus, a letter of gratitude supporting her work and THE’s special features such as Green Planet, seems long overdue. Last month’s Green Planet featuring Naomi Klein was the impetus to write such a letter. In an age of smartphones and Instagram—a snap-npost-before-you-look sort of era in which everyone

has become a photographer—Esperanza is among a rare and increasingly endangered breed. Not only does she look before she snaps, she devotes the time to truly see her subjects, to view their works, read their books, attend their performances, hear their calls for action, listen to their highest hopes, deepest fears, and reatest loves. And she has the rare gift as a photographer of giving more to her subjects than she takes. Kudos to THE for providing a forum for this jewel among us. I was moved to read Camilla Trujillo’s letter to the editor a couple months back and I agree with her assertion that, while (and because) THE is an important institution in New Mexico’s art scene, it could and should do more in terms of covering Contemporary Hispanic Arts and Traditional Spanish and Native Arts. It is within these categories that some of the most original and talented artists in the world are found. In my own travels, I have seen the world’s wonders, the masterpieces of modern and ancient civilizations, yet I always return to New Mexico, which inspires me more than any other place on Earth, the reason being its incomparable artists who are able to comment on sociopolitical issues. Thank you for all that you do: Kathryn M Davis’s excellent review of Katherine Lee; Diane Armitage’s feature on Leonard, Cross, Stout, and Pelton. What a treat! —Erin Currier, Santa Fe, via email TO THE EDITOR: I want to thank Susan Wider for her review of my show Tread Softly at the Wiford Gallery in July, although somehow a mere “thank you” does not seem to be enough. Wider’s review was impressive in its detail and demonstrated an understanding of how I work and how I use various materials to elicit in the viewer a sense of the work’s meaning. Equally impressive was her understanding at a deep and insightful level of the larger implications of the these paintings. And lastly I want to thank THE magazine for its decision to review the show and in that way to connect my work with the greater Santa Fe art community. —Scooter Morris, Santa Fe, via email FROM THE EDITOR: THE magazine apologizes to the Denver Art Museum and to Prestel Publishing (publisher of Super Indian Fritz Scholder: 1967-1980 for inadvertently omitting credit lines for the August 2015 article Fritz Scholder: Non-Indian Indian. —Guy Cross, THE magazine, Santa Fe

THE magazine | 5

One Night 70 Artists & Writers Over 100 Art Books

Every two years, non-profit publisher Radius Books invites every artist they Mark White, Evolutionary Ladder, stainless steel, limited ed., 72” x 12”

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414 Canyon Road, Santa Fe, NM

learn more at or by calling 505-982-2073

Open seven s days a week, from 9:30-5:30

have published to come to Santa Fe for a booksale and auction. Join us for this free public event that includes book-signings, food trucks, music, and over 70 internationally-known artists, writers & curators.

Saturday, September 19, 5–9 pm Under the Big Tent at 227 East Palace Avenue

RADIUS BOOKS T: 505 983 4068

CHARLES ARNOLDI Looking Back, Moving Forward

September 11 – October 10, 2015

Curated by David Chickey in preparation for “Charles Arnoldi: Paper“ to be published by Radius Books in 2016


554 South Guadalupe Street, Santa Fe, NM 87501 505.989.8688

brian o’connor

mystique with a message september 4-october 4.2015 artist recePtion: FriDay, sePtember 4, 5:00-7:00Pm

SA N TA F E C L AY C O N T E M P O R A R Y Gone Fishin’, oil on canvas, 46" x 32"




Peter bremers reFlections oF the west: canyons & Deserts

Petrified Forest, 2015, kiln-cast glass, 32"h x 37"w x 4.6"d

LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta (505) 988.3250

In the Railyard, 545 Camino de la Familia, Santa Fe 5 0 5 . 9 8 4 . 11 2 2 | w w w . s a n t a f e c l a y . c o m



Dyeing the Grid Featuring Lynne Golob Gelfman

August 28 – October 13, 2015

Opening Reception August 28, 2015 from 5–7pm


Sheila Mahoney Keefe A Certain Sweetness II, mixed media on wood, 8 x 10 inches, 2015

A Sense of Place Artist Reception:

Saturday, September 19 from 3 to 5 pm Show runs through October 25

Hand Artes Gallery • County Road 75, #137 • Truchas, New Mexico • 505-689-2443 •


VOELKEL D AY A N D N I G H T Works on Canvas and Paper NORBERT VOELKEL September 5 - October 5, 2015 OPENING Saturday, September 5, 2015 4:00-6:00 P.M.

THE BAREISS GALLERY 15 NM-150, Taos, New Mexico 575-776-2284

S H E L L E Y M U Z Y LO W S K I A L L E N Bellwether, September 18 – October 10, 2015 Artist Reception: Friday, September 18th from 5 – 7pm

Bellwether, Blown and hand sculpted glass, Olivine rock, and steel 25" h x 22" w x 9" d

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 |



OF QUILTED FABRIC, SHE CUTS THEM INTO PANELS AND ASSEMBLES THEM AS HEADDRESSES, FIGURES, VESSELS, OR WALL WORKS. KHAN’S DISTINCTIVE TECHNIQUE RESULTS IN BREATHTAKINGLY BEAUTIFUL PATTERNS IN WORKS THAT ARE REPLETE WITH PRESENCE AND CROSS THE BOUNDARIES OF FASHION, COSTUME, AND CRAFT. KHAN EXPLORES METHODS AND MATERIALS IN WAYS THAT STRETCH AND REDEFINE NOT ONLY HERSELF AS AN ARTIST, BUT ALSO THE FIBER ART MEDIUM AS WELL. KHAN’S WEARABLE WORKS ARE REPRESENTED BY PATINA GALLERY, AND HER SCULPTURES BY ELLSWORTH GALLERY. KAYKHANART.COM WORDPLAY Words communicate. Words evoke taste, color, pleasure, despair, breathing... thought. Even disorderly random words—think William S. Burroughs’s cut-up poetry—find structure within our minds. One word equals many connotations. Write a word next to any image and our mind will make a link. Say, for example, we put “wordplay” next to a picture of a dog. After a moment of confusion, we’ll naturally make a story out of it. And that story and our focus will vary depending on what is happening on a particular day. That’s the open-ended beauty of an incomplete narrative. Yes, I use text in my work; it’s fun.

A LIBRARY OF IMAGES AND INFLUENCES Over a lifetime, we collect and store a mental “library” of references. Everything we see—every little thing—from our shoe next to a crack in a sidewalk to the color of a flower; everything we hear and read and think is a potential reference in our mind. Inspiration grows from this. We add just one more element to the mix, and bam—an idea is born. And that idea is unique because it is born of this very personal coalescence. Sometimes people ask what influences my work and, frankly, I am dumbfounded as to how to answer. The true basis of each concept, created from such a jumble of references, is untraceable. The organization/categorization in this “library” of the mind is akin to the logic of a dream with its vague but profound associations.


aph by otogr





Dana W

THE magazine | 15

El Rito Studio Tour October 3rd & 4th 10 am – 5 pm

Between Abiquiu and Ojo Caliente on scenic Highway 554 (575) 581-4679 Distinctive Home and Business Cleaning Services The El Rito Studio Tour is funded in part by the County of Rio Arriba Lodgers’ Tax and is fiscally sponsored by Luciente, Inc., a 501c3.

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T H E M AG A Z I N E A S K E D A C L I N I C A L P S YC H O LO G I S T A N D T W O P E O P L E W H O LOV E A RT F O R T H E I R TA K E O N T H I S S T I L L F R O M W I M W E N D E R S ’ S 1 9 8 4 F I L M PA R I S , T E X A S . T H E Y W E R E S H O W N O N LY T H E I M AG E A N D W E R E G I V E N N O O T H E R I N F O R M AT I O N . We see a man on a mission, caught between states of

Searching across the shattered landscape looking for

A toxic, burned-out barrel,

motion. Alone, he steers his life journey. A fence cages

clues to inform him of the past. Trying to puzzle out how

the gnarled barbed wire fence that hems us in,

him, in acting like another character in the scene.

after all these years he had arrived back to where, for

the bleached bones of our desires...

It attempts to control the man’s need for exploration.

him, it had all begun. But, he wasn’t sure. He searched

Psychologically, the desert is a rich metaphor that

the property, hoping to find a few recognizable things or

And yet, the sky-so-blue above him remains silent, an

symbolizes a hero’s journey. Indeed, through the barren

clues among the debris now strewn across the almost

observer of all that has been and is to come. The harshness

landscape, this man must face a series of dangers:

familiar landscape. Upon closer inspection, he was

of this land is juxtaposed with the beauty of Earth’s lovely



quite sure he had grown up here but, oh, how it had

blue ceiling. Has this place ever been as pristine and spirit-

sandstorms, and flash floods. Additionally, the garbage

all changed. What the hell had happened here? This is

filled as the vast ocean above it? Will it ever be so again?

tossed aside signifies the man throwing away negative

not the home he remembered. Then he remembered

Hard to know either way, with the roughness of its brush,

characteristics of his personality. He is shedding these

Thomas Wolfe’s quote, “You can’t go home again.”

the faded dustiness of the soil, and the rusted-out tin cans

unwanted traits. His dress is also symbolic and shows

—Coad Miller, Santa Fe

scattered on the ground like so many spent explosives.




him amid stages of development. The suit represents

Here, he thinks, is the modern world’s legacy—our

an adult need to function professionally and responsibly,

Now, Voyager. He has slipped through time many times,

offerings to the planet. Why are there no people here?

while the baseball cap shows his youthful desire to enjoy

traveling the folds of space to arrive where he was

Have they journeyed to a less forlorn place and time, out

life. A bright sky sets an optimistic tone. Although he

before he left, or years beyond the now. But this time,

of mind? Maybe the sticks and stones, the rough piles

embarks on a difficult path, we sense he will achieve

he has simply traversed the tunnel of the present to a

of rock, and the ancient, undulating mountains hold the

his dreams. This man is navigating his destiny. He is in a

time he had hoped to leave for good. The detritus of

answers. If so, he can’t hear them. He can’t hear anything

process of becoming.

the here and now is strangely ugly, laid bare in this stark

at all here. It’s time to voyage on...

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

landscape, revealing a sordidness that society has long

—Lynn Cline, Author Santa Fe

18 | THE magazine

struggled to bury.


The Maverick Cookbook,



1601 Paseo de Peralta Santa Fe, NM 87501 505.984.1387

ERIK BENSON URBAN AMERICANA August 28 Artist’s Reception Friday, August 28, 5:00 – 7:00 pm

October 5 Artist’s Talk Saturday, August 29, 2:00 – 3:00 pm

MONROE GALLERY of photography

The Road to Civil Rights: From Selma To Ferguson

“Stop Police Killings”, Selma March, 1965 ©Steve Schapiro

Please join us for a special panel discussion on the role of photojournalism in the civil rights movement up to the present day. Freelance photojournalist Whitney Curtis, veteran LIFE magazine reporter Richard Stolley and interim director of the UNM Art Museum and co-curator of the exhibition “Necessary Force: Art of the Police State” Kymberly Pindar will share their experiences. Seating is limited and will be on a first come basis Friday, September 18 5-7 PM open daily 112 don gaspar santa fe nm 87501 992.0800 f: 992.0810 e:


The Encaustic Art Institute

7th Annual Afternoon Gala and Art Auction

Sunday, Sept. 13th from 2pm to 6pm

Contemporary Fine Art by New Mexico Artists

$15 per person, kids under 12 Free

• Purchase affordable encaustic/ wax art donated by EIA member artists nationwide. • Incredible Raffle Items Gift Certificates • Wonderful Eats • Silent and Live Auction: Paintings and exciting big ticket donations. • Hands-on Encaustic Demo

Body & Soul Jazz Trio performing

wax • resin • pigment ART Gallery represents over 200 works of Encaustic/Wax art in traditional and contemporary styles, including cross-over media.

EAI is a 501c3 non profit arts organization.

632 Agua Fria Street (Also access from Romero Street) Santa Fe NM 87501 • 505 989 3283

Featuring work by Nick Beason, Gerd Bianga, FORGE, & Lise Poulsen

On The Scenic ‘High Road To Taos’ 14148 State Road 75, PEÑASCO, NM 87553 May - Oct: Thur through Mon: 10.30am - 5pm Else by chance or appointment / 575-587-1076


DOES A RICH INNER LIFE MAKE FOR ART THAT SUGGESTS THE FREEDOM OF THE INTROSPECTIVE SELF? TWO ARTISTS RESPOND. The introspective self can work for or against personal freedom and how it is expressed. My “rich” inner life is a constellation made up of The Anarchist Cookbook, leaked CIA torture manuals, alchemical lab notes, and trashy romance novels. It is a world pre-meditated to blow shit up—consisting of real or imagined adversaries and lovers—haunted by the mistakes I’ve made and will eventually make, and the inevitable shame or catharsis they bear, riddled with paranoia and self-torment, instinctually superstitious, and disturbed by nostalgia and desire. I attempt to distract by convincing myself that the mundane is subversive and meaningful—an exercise of mockery at the artist-ego and her boring and predictable quest for validation of self-importance. I’m only as free as my ability to not take myself, or what I make, too seriously.

—Sadaf Rassoul Cameron In August 2015, Cameron’s installation Half-Timbered was on view in the summer of 2015 at Peters Projects. and Instagram handle: @sadafcamera

The fresh innocence and boundless possibilities inherent in a blank canvas sustain every artist as a means of pouring out what has no other possible worldly outlet. The richer the inner life, the more urgent the need for an outlet. My most recent project, Vulveré, a series of paintings on the intimate geographies of women from around the world, has broken me open and expanded me from the inside out. Every painting, each encounter of radical vulnerability with each woman, has further opened me to the depths and layers of my identity as person, woman, mother, artist, whore. My own depths are deepened as I explore and understand their depths. The result is cathartic and healing for us both, and the paintings have become something that I feel I have mercifully little control over, yet the results are invariably accurate to the subject’s inner worlds. It’s a wild sort of magic. That said, I’m not entirely sure introspection will lead to greater freedom (it makes life more interesting to be certain, but free, I’m not so sure). Regardless, I would argue that there is no real art without a rich inner life on which to reflect. Or at the very least, a deficiency in one invariably leads to a deficiency in the other. The greater the depths to which you are willing to plunge inside yourself, the more precious the jewels you will find in your hands.

—Ranier Amiel Wood For details on her fall exhibition in Santa Fe:

photographs by



Anne Staveley

THE magazine | 21


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Ancient City Appetite by Joshua


Oasis Café 7 Caliente Road, Santa Fe (at La Tienda in Eldorado) 11:00 am – 8:00 pm Tuesdays through Saturdays 505-467-8982

If I told you that two of the grilled sandwiches at Oasis Café were extraordinary—

Conlon, the art dealer and radiant enthusiast who became Santa Fe’s sweetheart

that the pleasure eating either or both of them was worth the fifteen-minute drive

during the late 1980s. Bunny died of Parkinson’s in 2014. After looking after his

from Santa Fe to Eldorado and that you should go eat there right now—I would

mother for eight years, John and his wife, Rebecca Silva, opened Oasis Café.

forgive you if you said, “Sure, that sounds interesting,” but waited a month before you took my advice. I can say this because that’s what I did when a friend told me that Oasis’s Cubano was the best he’d ever had, and that I should drive out to Eldorado and order one right away. The paradox is familiar to anyone who

“We’re here twelve hours a day,” John told me, “trying to make sure the quality is always good. The restaurant business is in my blood.” John makes Oasis’s grilled sandwiches on focaccia bread he bakes each morning. These are the two you don’t want to miss.

lives according to her or his appetite. Food tastes better when you’re hungry,

Cubano. $10. Pulled pork, ham, pickles, Swiss cheese, garlic-lemon aioli,

but when you’re hungry for something exceptional, and don’t want to cook

and mustard. John grills the sliced focaccia until it reaches a state of grace: not

it yourself, satisfying your hunger usually involves driving to a place that’s not

too crisp, not too soft, just the moment in time when the sandwich becomes

right around the corner, parking, going in, sitting down, ordering, and drinking

a delicacy.

an iced beverage while you wait for the food you can’t wait to eat. Was the food

Tuna Melt. $6.50. “A basic tuna salad with fresh herbs,” says John, “with a little

worth the wait? Like it or not, this is the standard by which cafés and restaurants

yogurt and some capers.” If Oasis’s Cubano is a concerto of flavors, their Tuna Melt

are judged.

is a sonata of textures. It would be sophistry to say the Tuna Melt is better than the

When it comes to the Cubano at Café Oasis, the answer is “Yes.” Not only is Oasis’s Cubano worth the wait, it’s prepared by John Conlon, a chef disguised as a grill man at a hole-in-the-wall café in Eldorado. John’s mother was Bunny SEPTEMBER


Cubano, or vice versa. Just order both, and get ready to be happy. Photograph by Guy Cross. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send your favorite places to

THE magazine 23

r o f g n Baki Fe Santa 83 19 e c n i S

Nearly a half a century of providing the ultimate Santa Fe dining experience...


Reservations: 505.982.4353 653 Canyon Road

photo: Kitty Leaken


O ne B ottle

The 2007 Colin-Deléger Chassagne-Montrachet “En Remilly” by J oshua

B aer .

He’s not sick but he’s not healthy. His wife, ex-wife, girlfriend,

packed with dignity, which is to say that it lacks the aggressive notes

ex-girlfriends, children, enemies, even his partners—anyone who’s

of beeswax and butterscotch that perform on the stage otherwise

gone down the river with him—will tell you as much. He’s not violent

known as “an ultra-premium California Chardonnay”. On the palate,

but he’s not peaceful. He’ll forgive but he can’t forget. He’d like to,

the En Remilly asks more questions than it answers. How does a white

but his mind won’t let him.

Burgundy with such a careful bouquet deliver all these layers of flavor?

He wins at poker but loses at bridge. He’s not stingy, but God

Where do the statements end and the suggestions begin? The finish

help you if you make the mistake of calling him generous. He likes to

is like the sound two crystal wine glasses make when they touch. The

be flattered but has what you might call an allergic reaction to pity.

more it fades into silence, the more you appreciate what it said when

He may be cagey but he can’t keep a secret. He’ll listen but he’ll be

you could still hear it.

the first to tell you he was not put on this earth to be influenced by

He mistrusts certainty but worships ambiguity. “If you think about

your best intentions. He accepts fatigue and insecurity as signs of

it,” he likes to say, “the modern world is obsessed with specifics.

trust but regards boundless optimism and unwavering confidence

From the day we’re born we’re trained to communicate, and

as sales techniques. He likes sex, and he’s crazy about love, but he has issues with intimacy. If you ask him what those issues are, he’ll tell you that intimacy is honesty, but that honesty is a performance. “Which puts me at a serious disadvantage,” he likes to say, “because

communication is all about the message. If you’re specific you make sense to people, even if your message makes no sense. But when they can’t understand what you’re saying, people assume you’re a deviant, or, worse, that you’re making fun of their ignorance. And then it’s game over, no questions asked, even if your

I have the worst case of performance anxiety in the history

message makes all the sense in the world. So I get the

of mankind. Don’t get me wrong. I can overcome it.

modern world’s obsession with quantification, especially

It’s not like I’m a victim of anything, including my own

when it comes to money. The better you are with the

anticipation. When it comes to realizing my fantasies, I’m

numbers, the more liquidity you create. Hats off to

right there in the front row. But what is a performance?

the quants! They spared us from illiquidity. But what

It’s an act, is what it is. An act you rehearse. It’s like

happens when you take your diligently accumulated,

the cellist who stops the lady on Broadway and says,

dollar-denominated liquidity and use it to buy your way

‘How do you get to Carnegie Hall?’ And the lady

into the world of beauty? Can you count on beauty

says, ‘Practice, practice, practice.’ Which works like

the way you counted the money you used to buy it?

a charm with music, or sports, or meditation, maybe

Plenty of swinging dicks have tried, but their success

even with buying and selling, but not so much with sex.

rate has been an embarrassment—to both sides of the

I mean, what am I supposed to do? Climb into bed with

coin. People say truth is beauty. The truth is, truth

a woman who’s more beautiful than the day is long

hides in beauty. You can look at a lovely work of art,

and use her body as my weight room? The last woman

a sunset over the water, or a beautiful woman’s face all

I was lucky enough to sleep with wanted performance,

you want. You can spend your whole life looking, but

and she wasn’t shy about asking for it, but what she

the truth is under no obligation to show its face, just

really wanted was for me to be real. ‘Being authentic,’

because you know how to pay attention. The numbers

as she put it. She wanted to have sex with a human

may not lie, but that doesn’t mean they tell the truth.

being, not with some calculating schmuck in training

Beauty is beautiful because you can’t put your finger

for the midnight Olympics. The more you practice,

on what makes it so beautiful. Beauty is beautiful

the less spontaneous you become. And if you can’t be

because it refuses to be measured. The only way to

spontaneous in bed, where can you be spontaneous?”

approach beauty is on your knees, with your head in

Which brings us to the 2007 Colin-Deléger

the clouds. That’s why I like things that make sense up

Chassagne-Montrachet “En Remilly.” In the glass, Colin-Deléger’s En Remilly does

to a point, but then turn the corner and keep going. Where are they going? Your guess is as good as mine.”

a flawless impersonation of the light at the end of the tunnel. Its pale-gold color acts both as an invitation and as a reward for accepting that invitation. The bouquet is



One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. You can write to Joshua Baer at

THE magazine | 25

Vincent 50th Anniversary Vincent Price Price Dinner Dinner & & 50th Anniversary Cookbook Cookbook Signing Signing w/ w/ Victoria Victoria Price Price Thursday, September 24thth, 2015 Thursday, September 24 , 2015

(Corresponding recipe page from the Cookbook listed in parentheses!) (Corresponding pagedenotes from theprice Cookbook listed in parentheses!) (Your choice recipe of Entrée of full 4-Course Dinner) (Your choice of Entrée denotes price of full 4-Course Dinner)

Amuse Bouche Amuse Bouche

Guacamole (213) w/ Rosemary Gaufrettes Guacamole (213) w/ Rosemary Gaufrettes

1st Course

1 Course Guests select one: Guests select one: Montezuma Pie (216) Montezuma Pie (216) Gazpacho Andaluz (194) w/ NM Goat Cheese Crostini Gazpacho Andaluz (194) w/ NM Goat Cheese Crostini st

2nd Course 2nd Course

Belgian Endive & Beet Salad (326)

& Beet-Salad (326) happyBelgian hourEndive special 50% off 3 Course 3 Course selectappetizers one: our famousGuests classic Guests select one: ½ Baby Chicken Sweet &egg Hot (411) calamari, dumplings, rolls ½ Baby ChickenBaby Sweet & Hot (411) w/ Braised Bok Choy w/ Braised60.00 Baby Bok“well” Choy selected wines by-the-glass, cocktails 60.00 Mussels in Cream (82) - $5.00 and our house margaritas in-Cream w/ Mussels Red Chile Dusted(82) Frites w/ Red Chile Dusted Frites 55.00 full bar with55.00 free wi-fi Risotto Milanese (103) monday thru friday from 4 to 6 pm Milanese (103) w/ Risotto Local Porcini Mushrooms rd rd

w/ Local Porcini 50.00Mushrooms 50.00 Grilled Bone-in New York Steak Grilled Bone-in NewMushrooms York Steak (406) w/ Mary Victoria Broiled MaryPotato Victoria Broiled Mushrooms (406) Sautéedw/ Baked (268) & Haricot Verts Lyonnaise (83) Sautéed Baked Potato (268) & Haricot Verts Lyonnaise (83) 75.00 75.00


Dessert Guests select one: Guests select one: Apricot Mousse (306) w/ Cookies Apricot Mousse (306) w/ Cookies Dark Mocha Cake (415) Dark Mocha (415) & Cajeta w/ Housemade VanillaCake Ice Cream w/ Housemade Vanilla Ice Cream & Cajeta House Coffees, Hot & Iced Teas House Coffees, Hot & Iced Teas Open seating from 5:30 Open seating from 5:30 To reserve: 505 984 1788 To reserve: 505 984 1788 Our “regular” menu will also be available…

“regular”•menu will also be available… brunch from $9.50 (11:30 - 2 pm) lunch & sunday Our dinner nightly • from $19.00 (open 5:30 pm)

restaurant bar 231 washington avenue - reservations 505 984 1788

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


Chef-made panini, sandwiches, salads, soups, espresso and more. Takeout or Dine-in.

THE BEESTRO 101 West Marcy Street Monday to Friday

$ K E Y



up to $14









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

$34 plus


G uy C ross

...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin are our choices. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. Comments: Attentive service. Arroyo Viono 218 Camino La Tierra. 983-2100. Dinner (Tuesday-Saturday) Full bar. Major credit cards. $$$$ Cuisine: Progressive American. Atmosphere: Warm and welcoming. House specialties: The Charcuterie Plate, the Grapefruit and Almond Salad, the Prosciutto Wrapped Norwegian Cod, and the N.M. Rack of Lamb. Comments:. Top-notch wines in the restaurant and wine shop. Bang Bite 502 Old Santa Fe Trail & Paseo de Peralta. 469-2345 Breakfast/Lunch Parking lot, take-out, and catering. Major credit cards Cuisine: American.Fresh, local & tasty. Atmosphere: Orange food truck in parking lot. House specialties: Burger and fries and daily specials. Lotta bang for the buck. Beestro 101 W. Marcy St. 629-7886 10am-4 pm. Cash/ Major credit cards. $$ Cuisine: Sandwiches, Salads, Soups. Atmosphere: Real Casual. House specialties: Chef-made Panini and Daily Specials. Comments:.Try the Cubano and the Tuna Melt. SEPTEMBER


Bouche 451 W. Alameda St 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Start with the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Chef Charles Dale is a pro.

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

Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner ( Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich.

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

Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill. Comments: Pastas are right on the mark. Chopstix 238 N. Guadalupe St.  982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and the Grilled Salmon. Comments: Terifficdinner menu. Good selection of beers and wine. Very casual and friendly, and good prices as well.

Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good. Downtown Subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food.

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

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

continued on page 29

THE magazine | 27




Friday, Sept. 25, 7:00pm


$85/ person

(505) 986-9190

All bottles on the wine list



Maryland Blue Crab Cake with Crushed Corn Sauce & Sorrel Salad 2013 Chardonnay-Carneros e



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

Crispy Duck Confit with Porcini Mushroom Gnocchi 2013 Pinot Noir-Carneros e




Black Pepper-Crusted Saddle of Beef with Sweet Potato Gratin & Beef Marrow Bordelaise Sauce 2010 Cabernet Sauvignon-Sonoma County e

Wheeler’s Gin, Colkegan Single Malt Whiskey, Expedition Vodka e NOW SERVING


Dulce Blonde Chocolate Torte with Brown Butter Crust & Macerated Wild Berries 2012 Late Harvest Reisling-Lake County

LOCALLY-GROWN SQUASH BLOSSOM BEIGNETS with goat cheese fondue & tomato coulis Sunday-Thursday, 5:00 - 9:00pm

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

315 Old Santa Fe Trail


Reservations: (505) 986.9190


start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list.




Masa Sushi 927 W. Alameda St. 982-3334. Lunch/Dinner Sake/Beer Major credit cards. $$ Cuisine: Japanese. Atmosphere: Low-key. House specialties: For lunch or dinner: Start with the Miso soup and/or the Seaweed Salad. The spicy Salmon Roll is marvelous, as are the Ojo Caliente and the Caterpiller rolls. The Tuna Sashimi is delicious. Comments: Highly recommended. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Nice desserts. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. New York Deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Nexus 4730 Pan American Fwy East. Ste. D. Alb. 505 242-4100 Breakfast/Lunch/Dinner Major credit cards. Patio. Cuisine: Southern-New Mexican. Atmosphere: Brew-pub dive. House specialties: Lots of suds and growlers, not to mention the amazing Southern Fried Chicken Recomendations: Collard Greens, Mac n’ Cheese with green chile, Gumbo and Southern Fried Fish n’ Chips. Comments: Fair prices. Oasis Cafeé 7 Caliente Rd.-A3. Eldorado. 467- 8982. Lunch/Dinner Major credit cards. $$ Cuisine: American and Greek. Atmosphere: Casual and friendly. House specialties: Gyros, Falafel, and the the best Cubano we’ve ever had. Comments: Friendly waitstaff. Plaza Café Southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: Breakfast:






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



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

The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233. Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Southwest and American. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: American Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch, the Prime Rib French Dip or the Lemon Salmon Beurre Blanc. Dinner: go for the Lavender HoneyGlazed Baby Back Rib, or the Prime Rib Enchilada Comments: Super bar. The Ranch House 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: Barbecue and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs.

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


Santa Fe

434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizers. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all of the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: Seating on the patio. When in Albuquerque, visit their sister restaurant: 1828 Central Ave., SW. Verde 851 W. San Mateo Rd.. 820-9205. Gourmet Cold-Pressed Juice blends Major credit cards. $$ Cuisine: Just Jjuices. Atmosphere: Light, bright, and cheerful. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with ginger and turmeric juice, spinach, kale, and parsley.

The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican.Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed.

Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure.

The Teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to table-to mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox or the Teahouse Oatmeal. All of the salads are marvelous.. Many, many sandwiches and Panini to choose from. A variety of teas from around the world available, or to take home make The Teahouse the best source

Zia Diner 326 S. Guadalupe St. 988-7008. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine American Atmosphere: Real casual. House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. Lunch: the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Comments: A variety of delightful pasteries and sweets are available for take-out.

THE magazine | 29

(Un)Real Featuring: Michele Bubacco, Angela Fraleigh, David Humphrey, Martin Mull and Claire Sherman Curatated by Mary Dinaburg and Howard Rutkowski

Angela Fraleigh, Watching the Moon Move, 2015, Oil on canvas, 66” x 90” Copyright © Angela Fraleigh, 2015. All rights reserved.

Through - September 26, 2015


Stephen Hayes, Levee, 2015, Oil on canvas over panel, 40” x 60” This exhibition has been partially funded by grants from the Oregon Arts Commission and the Ford Family Foundation

September 25 - November 7, 2015 Opening Reception: Friday, September 25th 5:00 — 7:00 PM The Railyard Arts District


544 South Guadalupe Street, Santa Fe, NM 87501


(505) 983-9555 |

Railyard Arts District Tours Saturdays 1:00 PM Starting Under Water Tower



Blue Rain Gallery, 130-C Lincoln Ave., Santa Fe. 954-9902. The Orchard Keepers: new works by Erin Currier. 5-7 pm. Jean Cocteau Cinema, 418 Montezuma Ave., Santa Fe. 466-5528. Navigating the Unknown: paintings by Catherine Molland portraying a female hero who overcomes obstacles. 5-7 pm. SFCC’s Visual Arts Gallery, 6401 Richards Ave., Santa Fe. 428-1501. Bill Georgenes: Unity & Multitude: sculptures and paintings by Georgenes. 5-7 pm. FRIDAY, SEPTEMBER 4

Beals & Co., Four Seasons Rancho Encantado, 198 State Rd. 592, Santa Fe. 577-5911. Wine, Bites, and Art: works by Robert Stivers. 5:307:30 pm. Factory on 5th St., 1715 5th St. NW, Alb. 505-463-5824. Geometric Abstracts: drawings and paintings by Eliza M. Schmid and Bobby Jones. 5-8 pm. gf contemporary, 707

Canyon Rd., Santa Fe. 983-3707. Eight Million Stories in the Naked City: city portraits by Katie Metz. 5-7 pm.

Lewallen Galleries, 1613 Paseo de Peralta, Santa Fe. 988-3250. Brian O’Connor: Mystique with a Message: realist paintings with a contemporized variation of the neo-Gothic. 5-7 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Just Folks: ceramic figures by Wesley Anderegg. Stories Told: prints of manipulated iconic paintings by Brenda Nelson. 5-8 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. The Modernist Impulse: over the course of two months the gallery’s walls will shift, displaying works from movements in New Mexican Modernism. 5-7 pm. New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Photographs—Almost Reality: photographs by Steven A. Jackson. 5-7 pm. Santa Fe Exports, Hyatt Tamaya Resort, 1300 Tuyuna Tr., Bernalillo. 610-417-2218. Evening with the Artist: paintings by Bruce King. 5-7 pm. Stranger Factory, 3411 Central Ave. NE, Alb. 505-508-3049. Consortium of Lost Souls: paintings, giclée prints on canvas, and sculptures by Craig LaRotonda. Peccadilloes: sculptures by Kevin Titzer. Through the Eye: paintings and drawings by Amy Earles. 6-9 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb.

505-883-7410. Bosque Notes: paper and foundobject vessels by Karen Simmons. 5-8:30 pm. SATURDAY, SEPTEMBER 5

203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Taos Moderns—Bridging the Gap: significant Abstract and American Modern painters that settled in Taos. 5-8 pm. Bareiss Gallery, 15 NM-150, Taos. 575-7762284. Day and Night: paintings by Norbert Voelkel. 4-6 pm. THURSDAY, SEPTEMBER 10

New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5702. Georgia O’Keeffe in Process: O’Keeffe’s preliminary sketches and photographs, alongside finished works. 5-7 pm. FRIDAY, SEPTEMBER 11

Joe Wade Fine Art, 102 E. Water St., Santa Fe. 988-2727. Roger Williams: solo exhibition of paintings by Williams. 4:30-7:30 pm. Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. From the Ground Up XXVII: regional juried ceramics exhibition. 4:30-6 pm.

Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Kindred Spirits: paintings of the Southwest by Ethelinda. Sculptures by Hib Sabin. 5-7:30 pm. Placitas Community Library, 453 Hwy. 165, Placitas. 505-867-8080. Los Jardineros de Placitas: photos and memorabilia of club activities dating back to 1965 as part of the group’s fiftieth anniversary celebration. 5-7 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Brett Freund, Kari Smith, and Holly Walker: complex clay vessels with a focus on melding form and surface. 5-7 pm. SATURDAY, SEPTEMBER 12

Art.i.factory, Art.i.fact Consignment Boutique, 930 Baca St., Santa Fe. 982-5000. Simply Santa Fe: Amy Tischler and Caitlin Jenkins host a juried photography show featuring images from their Simply Santa Fe Instagram feed. 4-7 pm. FRIDAY, SEPTEMBER 18

Art Gone Wild, 203-B Canyon Rd., Santa Fe. 820-1004. Sculpted Souls: sculptures in wood by Chad Awalt. 5-8 pm.

Blue Rain Gallery, 130 Lincoln Ave., Ste. C, Santa Fe. 954-9902. Bellwether: new glass sculptures by Shelley Muzylowski Allen. 5-7 pm. Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. Peter Burega and T Barney: oil paintings by Burega. Stone, bronze, and steel sculptures by Barney. 5-7 pm. Nisa Touchon Fine Art, 1925-C Rosina St., Santa Fe. 303-3034. David McCullough: mixedmedia collages by the artist. 5-7 pm. SATURDAY, SEPTEMBER 19

203 Fine Art, 203 Ledoux St., Taos. 575751-1262. Pressing Through Time: historic and contemporary print works by Fritz Scholder, Andrew Dasburg, Ann Saint John, Ted Egri, and others, in conjunction with Taos museums and galleries. 4-6 pm. FRIDAY, SEPTEMBER 25

Art Gone Wild, 203-B Canyon Rd., Santa Fe. 820-1004. A Divine Duet of Souls: paintings by Lisa Wilson. Pastels by D. Arthur Wilson. 5-8 pm. Blue Rain Gallery, 130 Lincoln Ave., Ste. C, Santa Fe. 954-9902. Dr. El Ocio’s Circo Curioso: new works by Jim Vogel. 5-7 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. New Paintings: landscapes of the Pacific Northwest by Stephen Hayes. 5-7 pm. Evoke Contemporary, 550 S. Guadalupe St., Santa Fe. 995-9902. Kent Williams: new drawings and paintings. 5-7 pm. Intrigue Gallery, 238 Delgado St., Santa Fe. 820-9265. A Mild Case of Madness: figurative oil paintings by Pamela Frankel Fiedler. 5-7 pm. Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Conversations on Abstraction: paintings by New Mexico artist Martha Rea Baker, Tennessee artist Mary Long, and California painter Daniel Phill. 5-7 pm. McLarry Fine Art, 225 Canyon Rd., Santa Fe. 988-1161. Animal House: oil paintings by Cheri Christensen. Sculptures by Tim Cherry. 5-7 pm. SUNDAY, SEPTEMBER 27

Placitas Community Library, 453 Hwy. 165, Placitas. 505-867-8080. Placitas Artists Series: oil paintings by Robert Benjamin. Works on

The Orchard Keepers—new works by Erin Currier at Blue Rain Gallery, 130 Lincoln Avenue, Suite C. Reception: Thursday, September 3 from 5 to 7 pm. Image: Parsnips, Carrots, and Beans.

continued on page 34 SEPTEMBER


THE magazine | 31

WHO WROTE THIS? “Don’t spend time beating on a wall, hoping to transform it into a door.” Jim Morrison or Coco Chanel or Oprah Winfrey or Jim Henson


For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000.

Reserve space for the October 2015 issue by Wednesday, September 16

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WHO WROTE THIS? “Don’t spend time beating on a wall, hoping to transform it into a door.”


Jim Morrison or Coco Chanel or Oprah Winfrey or Jim Henson

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Forspace artists gallery representation in NewSeptember Mexico. 16 Reserve forwithout the October 2015 issue by Wednesday, Full-page B&W ads for $750. Color $1,000. 505-424-7641 or email: Reserve space for the October 2015 issue by Wednesday, September 16

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with Honey Harris 505-424-7641 and THE magazine Thursday, September 10 10:30 am 98.1 FM KBAC

The Big Show with Honey Harris and THE magazine

Thursday, September 10 10:30 am 98.1 FM KBAC

or email:


paper and papier maché by Julianna Kirwin. Photographs by Harriet Neal. Mixed-media works by Rebecca Nolda. 2-3 pm.

Las Cruces Museum of Nature and Science, 411 N. Main St., Las Cruces. 575-522-3120. The Prehistoric World Around You: educational exhibition about petrified wood. Opening Fri., Sep. 4. Related programming:


516 ARTS, 516 Central Ave. SW, Alb. 505242-1445. HABITAT—Exploring Climate Change Through the Arts: collaborative, season-long series of public programming. Downtown block party: Sat., Sep. 12, 4-8 pm. Exhibition through Dec. Schedule:

Las Vegas Studio Tour, Las Vegas, NM. Over sixty local artists showing works in painting, sculpture, ceramics, traditional Spanish art, and more. Fri., Sep. 11 through Sun., Sep. 13.

Albuquerque Museum, 2000 Mountain Rd. NW, Alb. 505-242-4600. Under the Influence— Psychedelic Art: late ‘60s music posters and other works on paper. Through Sun., Oct. 11. Public Selects—A Celebration of Albuquerque Artists: works by twelve local artists selected by the public during On the Map: Unfolding Albuquerque Art + Design. Through Sun., Oct. 4. Art House, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux 2.0: technological artworks including computer, lightbased and electronic artworks from pioneering experimenters and contemporary innovators. Featuring a film quilt by Sabrina Gschwandtner, an Internet-based painting automation by Siebren Versteeg, and Leo Villareal’s animated LED sequence. Through Spring 2016. Thurs.Sat., 10 am-5 pm. Artisans, 2601 Cerrillos Rd., Santa Fe. 9544179. The Value of Values: how to strengthen your paintings with strong value structure with Cecilia Robertson. Sat., Sep. 5, 1:303:30 pm. Working with High Gloss Resins with Janet O’Neal. Sat., Sep. 12, 1:30-3:30 pm. The Alchemy of Mixed Media: use of materials from the ground up with Lauren Mantecon. Sat., Sep. 19, 1:30-3:30 pm. Call to register. ARTScrawl, Alb. Citywide, self-guided arts tour: Fri., Sep. 4, 5-8 pm. Route 66 Artful Saturday: Sat., Sep. 19, afternoon hours. Create your own tour:

Life Is Beautiful Festival, Las Vegas, NV. Music and art festival in downtown Las Vegas, featuring an interactive, immersive installation by New Mexico–based collective Meow Wolf. Fri., Sep. 25 through Sun., Sep. 27. Info: Millicent Rogers Museum, Sagebrush Inn, 1508 Paseo del Pueblo Sur, Taos. 575-7584316. On the Trail of the Traders: bus tour visiting many of the trading posts throughout the Navajo Nation. Sun., Sep. 13 through Sat., Sep. 19. Reservations:

Top: Conversations on Abstraction at Karan Ruhlen Gallery, 225 Canyon Road, Santa Fe. Artists include Martha Rea Baker, Mary Long, and Daniel Phill. Reception: Friday, September 25 from 5 to 7 pm. Image: Cliffhanger V & VI by Martha Rea Baker. Bottom: Day and Night: works on canvas and paper by Norbert Voelkel at Bareiss Gallery, 14 NM-150, Taos. Reception: Saturday, September 5 from 4 to 6 pm. Image: Reclining Mountain.

Santa Fe. 692-9249. Thurs.-Sat., 12-4 pm. Gallery 901, 708 Canyon Rd., Santa Fe. 7808390. Native Influence—Harriette Tsosie: acrylic and encaustic paintings by Tsosie. Through Tues., Sep. 22. Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. From New York to New Mexico—Masterworks of American Modernism from the Vilcek Foundation Collection: works

from the 1910s to the Post-War era. Opening Fri., Sep. 25. More events: Breakfast with O’Keeffe, Reader’s Club, Art & Leadership Programs for Adults, and Family Programs. Heart Gallery of New Mexico Foundation, Gertrude Zachary Castle, 400 2nd St. SW, Alb. Open Your Heart Gala: cocktail mixer with hors d’oeuvres, raffle, and live auction to benefit New Mexico’s foster youth. Sat., Sep. 19, 6-9 pm.

MoCNA, 108 Cathedral Pk., Santa Fe. 4242300. An Evening Redness in the West: group exhibition reimagining the Apocalypse. Meryl McMaster—Wanderings: photographs of McMaster’s personal journey through familial heritage and contempaorary indigenous identities. Both through Dec. 2015. More exhibitions: Museum of International Folk Art, 706 Camino Lejo, Santa Fe. 476-1200. The Red That Colored the World: more than one hundred and thirty objects that explore the history of cochineal and the seductive nature of red. Through Sun., Sep. 13. Museum of Spanish Colonial Art, 750 Camino Lejo, Santa Fe. 982-2226. Tradición, Devoción y Vida. Through Sat., Oct. 31.

Canyon Road Art Brokerage, Santa Fe. 9951111. Douglas Johnson—The Tessa Foundation Paintings: works by Johnson. Tues., Sep. 1 through Wed., Sep. 30. Corrales Society of Artists, La Entrada Park, Corrales. Art in the Park: children’s activities, music, art, and fine crafts. Sun., Sep. 6, 9:30 am3:30 pm. David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. (Un)Real: group show with Michele Bubacco, Angela Fraleigh, David Humphrey, Martin Mull, and Claire Sherman. Through Sat., Sep. 26. Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 989-3283. Afternoon Gala and Art Auction: Seventh Annual Fundraiser. Sun., Sep. 13, 2-6 pm. Freeform Artspace, 1619 Calle de Baca Ln., continued on page 36

34 | THE magazine




A Solo Exhibition of New Works

Chroma 13 #15, Giles Bettison, Murrini Glass , 3” x 9.5” x 9.5”

September 11 - October 3, 2015

Plus a concurrent exhibition of retrospective works Opening Reception: Friday September 11, 5-7pm 652 Canyon Road, Santa Fe, NM 87501 |


New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Performance, Politics, and Piety—Pageantry and Identity in Colonial Mexico City: Dr. Linda A. Curcio-Nagy speaks about how citizens participated in and defined their lives through rituals. Wed., Sep. 2, 6 pm. Islands in the Sky—Photographers View the Llano Estacado: Brainpower and Brownbags Lecture lunch series with Bill Tydeman. Wed., Sep. 9, 12-1 pm. nmhistorymuseum.or

The Owings Gallery, 120 E. Marcy St., Santa Fe. 982-6244. Ed Mell: new paintings by Mell. Through Sat., Sep. 12. The Paseo, Taos. Seventy artists will present thirty outdoor art installations at the Taos Fall Arts Festival. Fri., Sep. 25 and Sat., Sep. 26. Umbrella Week, Alb. Mini-festivals and events representing some of Albuquerque’s best art, technology, and culture. Sat., Sep. 12 through Sun., Sep. 20.

New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5702. Gustave Baumann and New Mexico: works on paper, paintings, and prints, as well as some of his beloved marionettes. Through Dec. New Mexico Women in the Arts, Four Seasons Rancho Encantado, 198 State Rd. 592, Santa Fe. 946-5700. Gala Fundraising Dinner honoring filmmaker Jill Scott Momaday, as well as poetry and performances. Thurs., Sep. 10, 6-9:30 pm. Tickets: Nisa Touchon Fine Art, 1925-C Rosina St., Santa Fe. 303-3034. Medium and Metaphor: lecture and demonstration with collage artist Jonathan Talbot. Sat., Sep. 19, 7 pm. Collage Workshop with Jonathan Talbot: Sun. and Mon., Sep. 20 and 21, 9:30 am-5:30 pm. nisatouchon. com NOW Santa Fe, Santa Fe. Understanding the Need for Reproductive Justice—An Evening with Katha Pollitt: lecture and book signing with Pollitt at the James A. Little Theater, 1060 Cerrillos Rd. Sat., Sep. 12, 7-9:30 pm. Author reception and buffet at the Santa Fe School of Cooking, 125 N. Guadalupe St., 4:30-6:30 pm. Tickets: Page Coleman Gallery, 6320-B Linn Ave. NE, Alb. 505-238-5071. Mostly Black: works by Albuquerque artists Rachel Zollinger, Scott Palsce, Leigh Anne Langwell, and Page Coleman. Through Sat., Sep. 5. photo-eye

Bookstore + Project Space, 376A Garcia St., Santa Fe. 988-5159. Baobab—Tree of Generations: exhibit accompanying a photobook of the same title by Elaine Ling. Through Sat., Nov. 7. Pressing through Time: 150 Years of Printmaking in Taos, Taos. Multi-venue set of exhibitions, workshops, and educational programs devoted to prints and printmaking. Sep. through Jan. 2016. Calendar and venues: Radius Books, 227 E. Palace Ave., Santa Fe. 983-4068. Artists Weekend: over fifty notable international and local artists, writers, and curators gather for a book sale and mass book signing. Sat., Sep. 19, 5-8 pm. Red Dot Gallery, 820 Canyon Rd., Santa Fe. 820-7338. Put a Feather on It!: works by eight contemporary Native American artists. Through Thurs., Sep. 24.

36 | THE magazine

Top: Navigating the Unknown, figurative paintings by Catherine Molland that portray a female hero who overcomes obstacles and triumphs in the end. At the Jean Cocteau Cinema, 418 Montezuma Avenue, Santa Fe. Reception: Thursday, September 3 from 5 to 7 pm. Image: Victory. Bottom: The PASEO brings light and sound installations to Taos on Friday and Saturday, September 25 and 26. Schedule and artist list: Image: Zero Part 2: Life by Sabrina Barrios.

Sandia Heights Art Studio Tour, 505-8560195. Nineteen artists show at the Twelfth Annual Tour. Sat., Sep. 12 and Sun., Sep. 13, 10 am-5 pm. Details: Santa Fe Collective, 1114-G Hickox St., Santa Fe. Edie Tsong—Unrelated Moments: works on paper, fabric, photographs, and ceramics by Tsong. Poetry reading: Wed., Sep. 9, 7-8 pm. Santa Fe Community Gallery, 201 W. Marcy St., Santa Fe. 955-6707. 30 Under 30: works in a variety of media by young artists from New Mexico. Through Thurs., Sep. 3. community_gallery_1 SFCC’s Visual Arts Gallery, 6401 Richards Ave., Santa Fe. 428-1501. Bill Georgenes: Unity & Multitude: artist talk on Thurs., Sept. 10, 1-2:30 pm. Tamarind Institute, University of New Mexico, 2500 Central Ave. SE, Alb. 277-3901. Apex of an Era Jubilee: four events to celebrate the 55th anniversary and honor three litho legends’ retiring from the Institute. Fri., Sep. 11 through Sun., Sep. 13. Schedule: tamarind. Tansey Contemporary, 652 Canyon Rd., Santa Fe. 995-8513. Giles Bettison: new

works in Murrine glass and a retrospective exhibition. Fri., Sep. 11 through Sat., Oct. 3.

William Siegal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. Dying the Grid: works by Lynne Gelfman, alongside a selection of Pre-Columbian textiles. Through Tues., Oct. 13. PERFORMANCE

Arte Flamenco de Santa Fe, Teatro Paraguas, 3205 Calle Marie, Santa Fe. Mina Fajardo Flamenco Dance Student Showcase: over twenty student dancers with choreography by Mina Fajardo, accompanied by flamenco singer Fernando Barros Lirola. Sun., Sep. 27, 7 pm. Tickets: minafajardostudentshowcase2015.

Taos Center for the Arts, 133 Paseo del Pueblo Norte, Taos. 575-613-2557. Beautiful Midden—Art and Artifact: photographs and multimedia documentation of site-specific sculptural installations, interventions, vigils, and student-driven civic engagements. Through Thurs., Sep. 24.

National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-724-4771. ¡Globalquerque!: New Mexico’s eleventh annual celebration of world music and culture. Fri., Sep. 25 and Sat., Sep. 26. Events and tickets:

Taos Fall Arts Festival, Historical District, Taos. Forty-first annual festival, showcasing over two hundred and fifty artists’ works, performances, and the Environmental Film Festival. Thurs., Sep. 24 through Sun., Oct. 4. and

Santa Fe Playhouse, 142 E. De Vargas St., Santa Fe. 988-4262. Fiesta Melodrama: murder mystery, Intrigue at the Palace, written by a group of anonymous locals. Through Sun., Sep. 13. Schedule and tickets:

Teacher Resource Fair, New Mexico History Museum and Palace of the Governors, 113 Lincoln Ave., Santa Fe. Thurs., Sep. 17. Free to teachers: 4-5 pm. Resource fair: 5-7 pm.

Taos Center for the Arts, Encore Gallery, 145 Paseo del Pueblo Norte, Taos. 575-7584677. Art as Community Discourse: Sat., Sep. 19, 3 pm.

TEDxABQ, Popejoy Hall, 203 Cornell Dr., Alb. 505-277-8010. On Your Mark: ideas from New Mexico’s most passionate scientists, artists, activists, educators, healthcare advocates, and community members. Sat., Sep. 12. Schedule and tickets:


New Mexico Artists: In June 2016, Axle Contemporary will host a new media project in conjunction with the CURRENTS 2016 Festival. Works can use the interior and/or exterior of the space around the Axle vehicle, as well as surrounding public space. Details: The Wonder Institute, 28 Arroyo Calabasas, Santa Fe. Awe and Wonder: first annual essay contest on the personal experience of awe and wonder. First prize is $750 and publication on The Wonder Institute website. Submit by Tues., Sep. 1. Guidelines:


for the September Thursday, October 15. email: or mail to 320 Aztec Street, Santa Fe, NM 87501 listings

issue are due by



Projected art on the Luna Chapel

The art of installation, performance, and projection comes to the streets of Taos.

September 17-24 STEMArts Lab@The PASEO workshops in Taos schools September 24 Artist Lecture, Harwood Museum, Sabrina Barrios, 1:00pm, free admission September 25-26 Fri -Sat, 1:00-10:00pm daily 30 installations by 70 artists on view throughout the historic district. 100% free


Sat, 9:00pm After Party at Taos Mesa Brewing, Filastine w/Nova, 4RRAY audio/video performance, ticketed event September 27 Pecha Kucha Night Taos, Volume 18 at Taos Center for the Arts, 7:00pm, ticketed event


41st Annual Taos Fall Arts Festival A celebration of new works by over 250 artists September 25-October 4, 2015 · Taos Environmental Film Festival · Theatre and Music Performance · Guided Tours of Public Art Collections · El Santo Niño and Low Riders Show

Sponsored in part by Town of Taos


Go West: Andrew John Cecil, Chuck Forsman, and Harold Gregor Gerald Peters Gallery 1011 Paseo de Peralta, Santa Fe. 954-5700 Friday, September 4 through Saturday, October 10, 2015 The West has held an allure for artists for centuries. Three artists, each with noteworthy careers, national recognition, and working in the Western vernacular, present a diverse selection of contemporary artworks from painting to sculptural objects. Andrew John Cecil combines aging tools, metal trucks, and remnants of other industrial or agricultural elements to create three-dimensional objects that bring the beauty of rusting, formerly functional materials to our attention as they are transformed into dynamic forms. Cecil has shown these works throughout the United States, as well as internationally at the Toyamura International Sculpture Biennale in Japan. Chuck Forsman hails from the West and was drawn to depicting the human impact and vast changes on the face of the landscape that he has witnessed over past decades. He presents canvases that distance the viewer from the immediate effects, opting instead to show the color and interaction of change with the daunting western terrain. Harold Gregor’s work introduced a photo-realist perspective to the tradition of American regionalist painting. He views the distinctive terrain through the multiple patterns of fields and farmland from a bird’ss-eye view. Of his work, Gregor says, “I remain a painter of the American Heartland. I love and find inspiration in the American Midwest. I see character and strength there.” Chuck Forsman, Smoke and Mirrors, oil on panel, 50” x 43”, 2015

Dyeing the Grid: Lynne Gelfman William Siegal Gallery 540 South Guadalupe Street, Santa Fe. 820-3300 Friday, August 28 through Tuesday, October 13, 2015 Reception: Friday, August 28 from 5 to 7 pm. Lynne Gelfman’s abstract paintings are grid-based compositions whose motifs derive from her source relationship with Latin American textile fragments and basketry. The William Siegal Gallery, known for its South American textile and pre-Columbian collections, offers a symbiotic viewing space for the works in the exhibition. The grid provides the structure for the repetitive yet slightly changing color arrangements in the paintings. The application of color is reminiscent of stain paintings in which color soaks into the support, softening the overall effect. The paintings are, in Gelfman’s words, “fields of movement.” The meditative quality of repetition in her mark making is both soothing and peacefully alive. Gelfman has been creating compositions that reflect her extensive interest in the Latin American objects she collects, which visually stimulate her and work harmoniously with the color optics, evolving from openness to chance. Gelfman is represented in numerous private and museum collections including the Smithsonian, the Detroit Institute of Art, and the Baltimore Museum of Art. Lynne Gelfman, Thru 5 (detail), acrylic on canvas, 54” x 108”, 2014

Bellwether: New Works by Shelley Muzylowski Allen Blue Rain Gallery, 130 Lincoln Avenue, Suite C, Santa Fe. 954-9902 Reception: Friday, September 18 from 5 to 7 pm. On view through Saturday, October 10, 2015 Glassblowing is an intricate and painstaking process that dates back to the time of the Roman Empire. Glass consists of sand and metallic oxides combined with extraordinary, blinding heat. When it’s hot, glass is alive. In speaking of glass art, Shelley Muzylowski Allen says, “The quality that first attracted me was the sensuality of the medium. It’s warm in color and temperature, and moves like liquid honey.” Formally trained as a painter, Allen now creates mystical menageries of elegant blown-glass sculptures of animals that one could associate with mythology, fables, and magic. Her highly detailed, three-dimensional forms are studies in color, form, contrast, and iridescence. They have the fluidity of brushwork, which echoes the fundamental nature of the animals portrayed. Allen’s sculptures celebrate wildlife, are meticulously crafted, and rise to a new level by her inclusion of horsehair, twine, leather, steel, and stone as additional elements. Allen’s technical proficiency makes for engaging sculptures that look as if the animals are frozen or suspended in time and space. They are not only beautiful in and of themselves but make everything around them more beautiful as well. Shelley Muzylowski Allen, Homage, blown, free-hand sculpted glass, mixed media, 13½”h x 23”w x 6”d, 2015

38 | THE magazine




John Waters, Delgado Street, Santa Fe. Circa 1998 40 | THE magazine



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


Maureen Corrigan

WEDNESDAY 30 SEPTEMBER AT 7PM LENSIC PERFORMING ARTS CENTER Elizabeth Alexander is a poet, essayist, playwright and author of the recent memoir, The Light of the World, a story of love and loss following the sudden death of her husband. Of the book, Joyce Carol Oates said, “Both a memoir and a portrait of marriage, The Light of the World, is as its title suggests, a bittersweet testament to love and the memory of love, one of the most compelling memoirs of loss that I have ever read.” Elizabeth Alexander composed and delivered the poem, “Praise Song for the Day,” at the inauguration of President Barack Obama in 2009. Alexander has been contributing to ongoing conversations about race, immigration, and social justice throughout her career. She once remarked, “Poetry is not meant to cheer; rather, poetry challenges, and moves us towards transformation.” Dr. Alexander is currently at work on an anthology of 300 years of African American poetry. TICKETS ON SALE NOW or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:

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707 Canyon Road, Santa Fe, NM 87501 • 505.983.3707


David Hockney Perspective Should be Reversed Photographic drawing printed on paper, mounted on Dibond David Hockney has been looking at photography from a painter’s perspective for a long time. His preoccupation with the difference in seeing through a camera lens and directly seeing with the eye has resulted in the creation of photo collages, paintings derived from photographs, and a seminal book. Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters addresses the use of the camera obscura by artists as notable as Vermeer and its influence on their seeing, drawing, and consequent paintings. In Hockney’s new work, made since his return to Los Angeles in 2013, he explores image making using what he terms “photographic drawings”—numerous digital images shot at close range and assembled SEPTEMBER


to construct compositions with multiple vanishing points. The ability to seamlessly combine and enhance many images into a singular composition is made possible by the evolution of digital photography. Hockney is intrigued by the effect of this multiple-perspective technique, combining portraits of friends, studio assistants, and studio interiors. He finds that it “gives them an almost 3-D effect without the glasses. I think this opens up photography into something new.” Paintings, which are directly derived from his photographic drawings, are included in the exhibition Painting and Photography, on view through Saturday, September 19 at L.A. Louver, 45 North Venice Boulevard, Venice, California. THE magazine | 43

Sabrina Gschwandtner, Camouflage II, 2015. Courtesy of Shoshana Wayne Gallery. Photographer: Tom Powel

Luminous Flux 2.0 features technological artworks from the Carl & Marilynn Thoma Art Foundation collection, spanning over fifty years of the digital art genre, including computer, light-based and electronic artworks from pioneering experimenters and contemporary innovators. The exhibition features works such as a film quilt by Sabrina Gschwandtner, an internetbased painting automaton by Siebren Versteeg and Leo Villareal’s animated LED sequence. JULY 24, 2015 – SPRING 2016

231 Delgado Street Santa Fe, NM 87501 505.995.0231 HOURS: Thursday – Saturday 10 a.m. – 5 p.m.


Troublemakers: The Story of Land Art A new film by James Crump featuring The Thieves of Deep Time by

D iane A rmitage

Robert Smithson, Spiral Jetty, 1970. From Troublemakers. Photograph © David Maisel. Art © Holt Smithson Foundation Licensed by VAGA, New York. Courtesy Institute, Venice, CA

continued on page 46 SEPTEMBER


THE magazine | 45

Some Facts, Notes, Data, Information, Statistics and Statements The Lightning Field is a permanent work. The land is not the setting for the work but a part of the work. The sum of the facts does not constitute the work or determine its esthetics. The invisible is real. Isolation is the essence of Land Art. —Walter De Maria, Artforum, April 1980

That said, Heizer did bring some of his massive undertakings into urban environments, sometimes with overwhelming success as in his Levitated Mass (1968-2012), a granite behemoth now regally presiding over the “backyard” of the Los Angeles County Museum of Art—a project already covered by this magazine earlier in 2015. I recently re-watched another wonderful and thought-provoking documentary by Crump, Black White + Gray (2007), about the iconoclastic curator and collector Sam Wagstaff. One section of this movie deals with a piece by Heizer that failed

Walter De Maria’s enigmatic statements about his large-scale

emptiness, and perhaps even entropy, as in Smithson’s

in its intentions, Dragged Mass Displacement (1971). A thirty-

land installation comprise one page of text that accompanies

case. He found his preferred site on Rozel Point, a remote

ton granite rock, dragged along the ground, was supposed

a seven-page spread of photographs of The Lightning Field

shoreline on the Great Salt Lake in Utah, whose crystal-

to remove some of the lawn of the Detroit Institute of Art,

(1977) out on the Plains of San Augustin in Southwestern

forming waters and red-pigmented algae would become his

where Wagstaff was the Curator of Contemporary Art, and

New Mexico. His words are meant to provide both a

partners in the creation of one of the most iconic artworks

then sink into the earth. Although three hundred tons of dirt

physical and a conceptual context to a work that, like all the

of all time, Spiral Jetty (1970 ).

were displaced, the boulder refused to sink because of the

Land Art projects of its era, is essentially inscrutable—it is beyond definition and easily sidesteps the parameters of its remote location. As charismatic and theatrical as Land Art can be—massively complicated projects out in the middle of an expansive and inspiring nowhere—was the rationale for its existence ever the physical specificity of, say, a rock spiral, a set of four hundred tall stainless steel poles, or a faux city of rammed earth and concrete beyond the reach of any urban planner? Or were the land artists seduced mostly by the allure of unbounded space—a sense of space that they felt was the only adequate mirror for their capacious, renegade minds? First came the ancient and dramatic geography, then came the idea to colonize it with metaphor and cryptic gestures. And so The Thieves of Deep Time—artists like Robert Smithson, Walter De Maria, Michael Heizer, Charles Ross, James Turrell, Nancy Holt, and Dennis Oppenheim— found their salt lakes, riverbanks, mesas, extinct volcanoes, empty stretches of baking sand, deserted mining sites waiting for reclamation, or fields of snow in which to construct the foundations for one of the most stimulating and extended conversations the art world has ever known. The movie Troublemakers: The Story of Land Art, written and directed by James Crump, casts an elegant net around the vast topic of Land Art without making the mistake that anyone can ever adequately plumb its depths. Only

Crump’s movie spends much of its one hour and eleven

dirt’s composition—too much compacted clay, not enough

the original visions of individuals like Smithson, Heizer, and

minutes focused primarily on Heizer and his projects, notably

loose soil—resulting in a landscape debacle that more or less

De Maria can really bridge the facts surrounding a work’s

his Double Negative (1969-70), located in Nevada. The two

cost Wagstaff his job. Heizer, though, has had major museum

creation to their shimmering fields of resonance within the

incisions of deep cuts into the edge of a mesa—measuring

and gallery shows that were extremely successful and also

artist’s mind. Crump’s fascinating documentary has its roots

fifteen hundred feet long by fifty feet deep by thirty feet

provided hints regarding the true scope of the artist’s nearly

in the New York art world of the 1960s, with its band of

wide—face one another but never meet, and are best seen

fifty-year preoccupation with mass, scale, light, and land.

outsider-insiders who began as more traditional painters and

from the air, or, as Dwan related, a person needed to be

No art historian understands the radical nature of

sculptors. But, as Virginia Dwan—the former gallery owner

down inside the cuts to really experience the excavations and

Land Art as well as Germano Celant, an internationally

plus friend and patron to many of the land artists—stated

what they exposed in terms of geologic time. Deep time can

known writer, curator, and expert on alternative practices

in the movie, artists who began to head into the western

be perceived in road cuts, for example, but in Double Negative

in contemporary art and the idea of “the artist as nomad.”

desert wanted a larger canvas on which to work. They

there is no traffic, no extraneous noise, and few if any other

Celant’s involvement with the Arte Povera movement,

went in search of a new matrix for their art and found both

people to project his or her interpretations onto the work.

originating in Italy in the 1960s, positioned him to be

inspiration and daunting prospects in the concept of distance,

As De Maria wrote, Isolation is the essence of Land Art.


particularly sensitive to artists working beyond the “isms” of

physicists of light, geomancers, and profound romantics who

power of the land that riveted their attention in the

the day—individuals drawn to sometimes eccentric gestures

struggled to reinvent our relationships to the sublime. Here

first place.

like writing on the land by using a motorcycle to inscribe an

is a famous passage from The Writings of Robert Smithson,

One of the best segments of Troublemakers is,

almost mystical set of geometric lines on the desert floor.

the artist’s hallucinatory response to revisiting Spiral Jetty in

surprisingly, the credits at the end—running slowly and

Or maybe the gesture was that of removing tons of earth

1972: “Slowly, we drew near to the lake… upon which

stately over magnificent aerial panning shots of a desert

or repositioning boulders far from their source in order to

the sun poured down its crushing light… Perception was

landscape in some remote location. It is a coda to the

jog the viewer’s perceptions about a mass at rest or as it

heaving, the stomach turning, I was on a geologic fault

movie that serves as its own forum for thought and is

precariously leans against another mass. It was as if these

that groaned within me. Between heat lightning and heat

nearly as interesting and powerful as anything that came

outlier artists wanted to steal thunder and lightning from the

exhaustion the spiral curled into vaporization… Surely the

before. Those final images and the text that plays over

gods and bend those forces to their own will. Like Wagstaff,

storm clouds massing would turn into a rain of blood.”

them are a deeply felt elegy to those Thieves of Deep

Celant was extremely supportive of the American land

For its relatively short duration (I certainly wished

Time, both present and absent, and to anyone who has

artists and he understood their grand gestures in vast empty

the movie had been longer), Troublemakers serves as an

cared passionately about the aesthetics of an alternative

expanses, knowing that America had the space to encompass

important art-historical overview of work that can’t really

dialogue that emerged when artists took to the skies in

these projects because Europe did not—at least on the scale

be categorized or readily summed up. An artist cuts into a

small planes searching for a site.

that Smithson, Heizer, De Maria, and Ross desired.

mesa and excavates two hundred and forty thousand tons Diane Armitage is an artist, writer, and Professor of Art History at the Santa Fe Community College.

Celant makes the point in Troublemakers that it was

of rock and sand—as Heizer did in Double Negative—adding

the aerial views of the planet provided by NASA that helped

his mark as a kind of memorial to an environment that is

to change the course of contemporary art, and space

itself beyond memory. Both the artist’s signature excavation

exploration itself proved to be an inspiration in the land

and the land around it continue to erode and shift and blow

artists’ thinking. It brought them ironically closer to an earth-

away as a symbol of dust to dust. Artists transcribe and

bound ground zero while rendering them as astronauts

translate their inspirations in ways that are seldom if ever

Troublemakers is an Official Selection of the 53rd New York Film Festival, September 25 to October 11.

of meaning for a new age driven by information theory,

easy to understand. Celant suggests that the more radical

This spread from left to right:

technology, and more profound insights into cosmology.

the thinking and the art that comes from that interior

These Thieves of Deep Time clutched at rocks and sand

process, the more complicated the mythologies that arise

and the surrounding mountains and mesas and saw the

from the work. Many of these pioneer artists are no longer

topography as new media for ancient ambitions—artists as

with us: Smithson is gone, his wife Nancy Holt, Dennis

star gazers, mound builders, constructors of metaphor for

Oppenheim, and Walter De Maria are now gone as well.

humanity’s place in the mysterious scheme of things; artists as

But their mortality is now part of the myth and the intense



SITE Santa Fe will present a screening of Troublemakers: The Story of Land Art on Thursday, October 1 at 6 pm at the Violet Crown Cinema, Santa Fe. James Crump will introduce his documentary. Tickets:

Michael Heizer, Double Negative, (detail), 1969-70. From Troublemakers. Photograph by Sam Wagstaff, 1970. The Getty Research Institute, Los Angeles (2005.M.46). © J. Paul Getty Trust Charles Ross, Solar Pyramid, detail of Star Axis, photographed in 2012. From Troublemakers. Nancy Holt, Sun Tunnels (detail), 1976. From Troublemakers. © Holt Smithson Foundation/Licensed by VAGA, New York

THE magazine | 47


SITE 20/20

SITE Santa Fe 1606 Paseo de Peralta, Santa Fe

THE WEE K E N D T HAT S I T E 2 0 /2 0 O P EN ED, A RT IST A N N H A M I LT ON participated in a conversation with Sylvia Wolf, the director of

in a gesture of surrender to the forces of extinction pressing

a pre-born is remarkably convincing and a visually seductive

the Henry Art Gallery at the University of Washington. It was

against the animal world.

work—an experience that brings the viewer into spiritual

at UW that Hamilton developed her installation the common

It’s been a while since I remember a series of installations

SENSE. the animals, and SITE Santa Fe is now presenting a

at SITE that felt as deeply human and affecting as the ones in

portion of that work as part of its twenty-year anniversary

20/20. There are five collaborative projects: Honey Baby by

Death and birth, absence and presence, wounding

series of exhibitions featuring artists who have been part of

Janine Antoni with choreographer Stephen Petronio; Angle of

and healing, physical struggle and metaphysical release—all

SITE’s history. While at UW doing research for the show she

Repose by Harmony Hammond with furniture maker Francis

these forces are made manifest in this literally and figuratively

would have there, Hamilton visited the Museum of History

Cape; unburdening by Amy Cutler with musician Emily Wells

haunting exhibition through coded languages that conceptually

and Culture Ornithology Collection at the university and

and hairdresser Adriana Papaleo; Goodbye, Babylon (Remix)

unwind like so much thread from a spool as the viewer

she was struck by the specimen of a marmoset—a type of

by Dario Robleto with sound historian Patrick Feaster

wanders from installation to installation. The Hammond and

New World monkey—noting with a sense of poignancy how

and Lance Ledbetter of Dust-to-Digital Records; and Ann

Cape work, Angle of Repose, in its spare modernist guise, is

much the hands of the marmoset resembled human hands.

Hamilton with Friday evening performances in her space by

perhaps the most haunted piece of all, with Cape’s furniture

contact with our sticky, humid, pre-natal life, and the struggle each one of us goes through in order to be born.

arranged so it appears on the verge of chaos—as if a ship full of beautifully made tables, chairs, chests, and beds had just barely survived a typhoon at sea. If a viewer walks into the space of this installation from the doorway to Cutler’s piece, Hammond’s large painting, Flesh Fold #1, seen across the

room, appears almost an extension of Cape’s furniture—the palette of the wood and Hammond’s paint are remarkably similar, and for a few moments Flesh Fold #1 could be a plank of wood leaning against the far wall. But Hammond’s painting soon takes on its own reality, evoking an absent protagonist from some conceptual dimension who presents herself as an expanse of torn skin, perhaps ripped in the metaphorical storm at sea. Now, however, a healing phase has begun in an Hamilton scanned the hands of the preserved animal, an

the Santa Fe Opera Apprentice Program for the duration

image that is now one of many depicting the remains of dead

of the summer opera season. These complex installations

The aforementioned themes of rearrangement and

birds, mammals, and amphibians. Once scanned, the images

provide a tremendous variety of sensory experiences and

reincarnation are also very much at play in the work of Cutler

were printed in multiples on newsprint and then made into

opportunities to investigate a range of ideas that provide

and Robleto as well, especially in the latter’s archive of lost-

thick pads, clamped at the top with metal bands, and each pad

much philosophical ground. For example, only a few feet

and-found sounds—heartbeats, anxious breathing, along

hung on the wall for viewers to tear away the sheets one by

of gallery space separates the threat of extinction from the

with some fabulous and visceral early blues music. I copied

one. From floor to ceiling, the digital remains of the animals,

simulation of life in utero. Honey Baby is a video of a dance

the following phrase from one of the installations—“the

sightless and silent, but sometimes inflected with flashes of

performance conceived by Antoni with choreography by

quest to find the materiality of consciousness”—and in fact

muted color, were hung salon-style. Sitting in that room was

Petronio and performed by Nick Scisione as if the dancer

it could be the underlying meaning for all the work in this

like sitting in a chamber of a haunted house—a room of the

was in a bottomless vessel filled with honey. It’s uncanny how

intensely rewarding exhibition.

spirits—where ghostly portraits of our ancestors reside. In

much Scisione was able to mimic a baby’s movements in

—Diane Armitage

front of me as I write is a newsprint sheet with the marmoset

the womb, defined by slow turnings, pushing, erratic kicks,

hands—as if they had just placed something against a wall, or

and the tensions expressed of being confined in a small,

Ann Hamilton, the common SENSE. the animals (detail), installation view, 2014

were holding that wall in place, or the hands were held up

albeit protective place. This exotic simulation of the life of

Janine Antoni and Stephen Petronio, Honey Baby, video still, 2013



endless task of art’s rearrangement and reincarnation.

THE magazine | 49


David Richard Gallery 544 South Guadalupe Street, Santa Fe

THE WAGES OF ZEN. AD REINHARDT’S LATE SERIES OF BLACK PAINTINGS from 1960 might serve as an apogee in modern art’s

Michele Bubacco’s oil-and-collage Addiction recalls Sigmar

paintings with new narratives, even if her occasional use

march towards pure abstraction. Reinhardt defined it

Polke’s inverted or upside-down images. The device is

of “real” models within the idealized figuration tends to

in the negative vein of Zen Buddhism. Each canvas was

used with equal effect in the overturned seated figure of

disrupt the composition and confuse the intent.

“timeless, spaceless, changeless” (1960) … “the most

Periodico and for Waiting Room’s rigid figure propped on

David Humphrey’s acrylic-on-canvas paintings fuse a

extreme, ultimate, climactic reaction to, and negation

a chair, and with wry nuance in the dormant form in Il

Pop style with Neo-Expressionist caricature to yield highly

of … abstract art” (1963) … “the logical development

Ballo whose knees jut out beneath a table. And the broad

effective visual capsules like Shutterbugs, which appears

of … Eastern and Western pure painting” (1966). As his

Neo-Expressionist handling and surface of Bubacco’s

to probe Gerhard Richter’s painterly rumination on the

biographer Michael Corris observed, Reinhardt saw any

painting reinforce this trope with art historical resonances.

Abstract Expressionist legacy, and Pink Couch, recalling

attempt to inject representation into abstract art as “not

Girotondo in tre quarti riffs the corrosive cabaret of George

the potent social commentary of a Robert Colescott.

only aesthetically incoherent but morally wrong.” Yet, in

Grosz, while Prove d’Orchestra conjures up Manet’s Music

Humphrey’s challenge is to push this postmodern graphic

hindsight, abstract art was not the achievement—or even

in the Tuileries Garden, and Il Ballo makes an odd yet fitting

syntax beyond the merely decorative or illustrational in a

the goal—of modern art in the last century. And if for

epilogue to The Absinthe Drinker by Degas. Bubacco’s

work such as Posing.

many avant-garde artists pure abstraction was indeed the

paintings not only restate the postmodern gloss on the

promised land of the modernist trajectory, even Cubism,

artifice of painting, they celebrate the artifice as well.







Sherman’s oil-on-canvas Dirt III and Dirt VII depict

the first abstract art movement, ended up as Picasso’s

Angela Fraleigh’s realist style takes a more explicit art-

urban landscape at a level just shy of a Clyfford Still

Mt. Pisgah—on the verge of pure abstraction, a vantage

about-art approach in which the sources remain visible,

abstraction. Their worm’s-eye views of a collapsed, post-quake highway overpass, reduced to the skeletal remnants of its massive steel spans, convey the look and feel of Piranesi etchings of imperial Roman ruins. Their visual power gives to Sherman’s landscapes, Pool and Hole III, the effect of toxic testaments to an industrial wasteland. If Martin Mull’s photo realism brings to mind the rise of British Pop Art in the mid-1950s, the imagery of paintings like Foreplay (2013), Happy Hour (2015), and The Inheritance (2014) are spot-on in capturing the postwar national ethos espoused at the time in magazines like Life and Reader’s Digest, with their Norman-Rockwellian illustrations of an idyllic nuclear family living the Mad Men surburbia dream of Father Knows Best, Leave It To Beaver, and Happy Days. The success of Mull’s paintings resides not simply with their capacity to invoke the period, but their ability to elicit our abiding nostalgia for its American dream, which has somehow survived and continues to shape the cultural landscape—if only at the level of personal myth so affectingly portrayed in Mull’s Fatherly Advice (2014). Like most postmodern art, the paintings in Un(Real) are far less about “real world” situations of daily life and far more about each artist’s dialogue with the art

point from which to view a host of later, figurative styles

without loss of authenticity. Her oil-on-canvas Through

of the past—a reflexive, art historical dialectic that

that would emerge in the Cubist wake and would survive

the Half Drowned Stars recalls (in reverse image) François

became transparent after Manet. The attendant risk by

the Minimalist tsunami. These styles range from realist to

Boucher’s 1742 painting Diana After the Bath; in both

now is that the art resulting from it can come across as

highly abstracted yet discernibly figurative.

paintings, a seated nude with one leg crossed assumes

contrived and self-conscious, falling short of the artist’s

a motif whose pedigree runs back through Raphael to

full appropriation of its sources. Un(Real) suggests that it

The five painters featured in (Un)Real, curated by Mary Dinaburg and Howard Rutkowski, draw upon such

Michelangelo’s torqued male ignudi on the Sistine Ceiling,

is a risk worth taking.

diverse figurative currents. What they share here—apart

and to its source in Greek sculpture. And the three

—Richard Tobin

from the very strong painting that pervades the show—is

diaphanously clad females in Fraleigh’s The Breezes at

a consciousness of the art historical tradition of painting

Dawn have Secrets reprise Raphael’s three graces from

within which each artist creates his or her work.

shis Psyche fresco cycle in the Villa Farnesina in Rome.

The tipping on its side of the crouching nude in

The transparency of sources allows Fraleigh to inform her

Martin Mull, The Inheritance, oil on linen, 36” x 60”, 2014


Tom Joyce: Aftershock

James Kelly Contemporary 1611 Paseo de Peralta, Santa Fe

GEOMETRY GONE RIGHT. TOM JOYCE’S CIRCLES, CYLINDERS, TUBES, and cubes invite viewers to contemplate

from the Reservoir series. All three

to near destruction. The resulting

resulting finished cubes have both



project from the wall and are bolted

surfaces resemble charred campfire

an exterior and an interior texture

and force. And then there are the

to it, even the one that weighs one

logs; the kind that you know will

and a compelling interior geometry

marshmallows, Swiss cheese, and ice

hundred and forty-two pounds. They

disintegrate if you pick them up. No

based on the prior cuts. It would be

cream cones. The thirty-one works in

are made of cast iron and Joyce has

danger of that here, but there is an

amazing to climb inside, but all we

Aftershock range from cast iron wall art

covered a few selected cones with

irresistible temptation to count their

can really do is peer in and marvel

to forged stainless steel sculpture to

gold or palladium leaf. Reservoir I and

growth rings.

at the complexity.

designs charred into wood fiber. Also

Reservoir II share a wall and share the

The ring theme continues in

Equally complex and internal is the

included are works of photography and

gold leaf treatment. Together they

a half-dozen framed pieces from

Corona series. Here Joyce uses CT scan

videography. Joyce blends his training as

weigh nearly two hundred pounds. The

Joyce’s Penumbra series, where he

slices of his mold-making process and

a blacksmith with his powerful creativity

well-licked ice cream surface is black



and his artistic imagination. Four



marshmallows—are displayed outside

has charred the wooden fiber surface

layers sequential views to create framed

and the textures are spiky and

of particleboard with hot metal rings

wall art—mounted on light boxes—to

drippy in one case and cratered and

of various sizes. The overlapping

reveal X-ray-like representations of the

dented in the other.

circles, in every possible shade of

inner intricacy of his cast sculptures. Joyce

the gallery. Bifid I is a nearly four-foot-

Perhaps the most breathtaking

burnt brown, create an impression

curated the show himself, and his decisions

tall object forged from high-carbon steel

works in the show are Aureole I and

of clockworks or industrial gears

lead us through his use of extreme force

that evokes the slightly open shell of an

Aureole II. They are displayed indoors


upended razor clam. The ruddy exterior

and it’s hard to imagine how they

The Pith series is an adventure in

is hammered into scale-like depressions;

got there. Weighing in at around six

negative space. Joyce packs cube-

the paler, curved interior has the texture

thousand pounds each, these tire-like


of a waterfall. Its companion, Berg XVII,

stainless steel circles are over six feet

medium, then cuts spaces into them

is made from the same material but

tall and six feet wide, and are forged

with an angle grinder. After casting

in this case Joyce used a solid ingot

from industrial remnants and heated

and liberation from the molds, the







to create surprising delicacy. —Susan Wider Tom Joyce, Penumbra XIV, charred wood fiber, 48 ½” x 48 ½’ x 3”, 2015. Fissure, forged stainless steel and concrete, 2015. Aureole I, forged stainless steel, 75” x 75” x 8”, 6492 lbs., 2015. Aureole II, forged stainless steel, 74” x 74” x 7”, 5660 lbs., 2015

cut with an oxyacetylene torch and squashed between hydraulic rams. It is oddly mind-bending to think about the extremes of heat and force that are required to shape such a graceful mass. The marshmallows are called Two to One III and Two to One V. Literally. For each sculpture, Joyce forged two iron blocks into one droopy, gooey structure. He blind-riveted each duo with a stainless steel pin and heated them until the top block began to slide, ooze, and drip along the bottom block, with only the pins and carefully monitored heating time stopping them short of disaster. Their placement—just outside the gallery’s front door on a cozy little plaza—invites passersby to use them as seats. Inside, we are greeted by Fissure, eighteen hundred pounds of forged stainless steel mounted on a concrete base. The work’s charcoal-grey sides are smooth and straight but its pale grey upper surface must be lava flowing backwards, draining into the fissure and down into the earth, as though returning to where it came from. The ice cream cone clusters are SEPTEMBER


THE magazine | 51

Tony Abeyta: A Continuing Journey

The Owings Gallery on Palace 100 East Palace Avenue, Santa Fe

THE TITLE OF TONY ABEYTA’S EXHIBITION OF RECENT WORKS AT THE OWINGS Gallery, A Continuing Journey, couldn’t be more apropos.

tender embrace, van Gogh’s idiosyncratic interaction,

the gourd in Native iconography. In the mixed-media-on-

The work shows an ongoing exploration with a sense

and the long line of American landscapists. Since it is a

paper work Horned Trio, the bodies of the three totemic

of internal development, the kind where you are not

modernist approach that rules Abeyta’s craft, Cezanne’s

spirit figures are similarly striated, elongated gourd shapes,

sure where you might end up, but you know you are

gift of breaking up the scene definitely provides an

transparent in places and overlaid with a multivalent shape

headed in the right direction. Abeyta, not one to be

undergirding for these landscapes. The skies of Grand

that appears in multiple works; sometimes it resembles a

pigeonholed into any single medium or style, also makes

Canyon and Gathering the Procession enact the shifting

body-builder’s upraised arms, sometimes a tool, sometimes

jewelry. I feel qualified only to discuss the paintings. Most

of tectonic masses, pushing, pouring, thrusting, moving,

something like an old-fashioned telephone receiver.

of the works are oil on canvas; there are also smaller

full of conflict and potential. In A Stormy Rivers Bend, the

In A Passionate Heart that same shape, transformed by its

watercolors and works on paper. We could make a

delicious colors of the water flow rich and heavy in their

context, reads as a wrench.

provisional, useful division of three categories into which

channel while an animated sky blusters above.

Come Closer, I Can Only Hear Your Echo has a

the paintings fall (not hard and fast by any means, since

Thirdly, there are works one could categorize as

mysterious depth, and an as-yet-untitled triptych—three

they push vigorously against boundaries, as all true art

biomorphic abstractions. Again, I emphasize that there is no

large panels using charcoal and ink on raw canvas—

will do). These different genres, styles, or themes might

rigid division among these threads, but a spillover in motifs,

seemed to have the most promise, probably because they

be called threads or streams in which the artist exercises

style, forms, and materials. The Corner of Pico and Pojoaque

were unfinished. I tried but didn’t succeed in getting back

his talents.

and A Passionate Heart fall into this category: their palette of

to the studio to see them again to confirm whether this

One centers on traditional Native themes in that

predominantly red and black gives them drama; little tooth-

was the case to my eyes or whether I had picked up the

the works usually include masks, feathers, totemic

shaped figures and dabs of gold animate the picture field. If

artist’s attitude, unspoken but palpable. There is a sense

figures such as in the stunning Canyon Guardian, or

they don’t quite achieve the dynamism or transcendence

of drive toward the next goal, insight or breakthrough

traditionally clad Indian figures as in Glittering Trail. In

that seems to be their thrust, they are fine works on

in Abeyta’s practice, so it makes sense that the current

this stream, works like Fractured Mask Composition or

their own terms. A Passionate Heart speaks of desire and

work seems to hold the most potential. My first glimpse

Welcoming the Eagles take such source material and push

holding, and has a claustrophobic quality in spite of the

at another unfinished piece, Village Shadows, immediately

it formally in interesting ways based on the modernist

animation of its branchings. One can trace continuity and

called to mind Paul Klee’s works from his first visit to

paradigms in which Abeyta, as a trained contemporary

a definite bridging between tropes of Native iconography

Morocco. Draped figures ascend a pueblo stacked on

artist, is steeped.

and post-cubist abstraction in the quadriptych Fractured

a hillside where the buildings dance and yet have mass.

Second are the landscapes; normally this would not

Mask Composition and in Modernist Mask Composition. The

Only a confident and striving artist can represent these

be as separate from “traditional” subject matter for a

most successful of these abstract works is Deer Rhythms,

contradictory qualities together so harmoniously.

Southwestern artist with Navajo ancestry, but Abeyta’s

with its black, browns, and ochers and repetition of the

—Marina La Palma

landscapes feel like expressions of an intensely personal

recognizable and potent deer-head image interwoven

vision. They belong in the lineage of artists who felt a

with flowing gourd-like shapes whose antecedents seem

powerful kinship with the land they painted—Bruegel’s

as rooted in Miró or Max Ernst as in the importance of

Tony Abeyta, A Stormy Rivers Bend, oil on canvas, 36” x 72”, 2015


Leonardo Drew: Paper

Peters Projects 1011 Paseo de Peralta, Santa Fe

WITHOUT KNOWING ANYTHING ABOUT BROOKLYN-BASED ARTIST LEONARDO DREW, I was drawn to the sensuality and pure handsomeness—despite their intimations of

I saw looked as if they had been run over by a gigantic truck, or washed up on a polluted

dirtiness, as in made of dirt—of his paper works. I’m a sucker for paper anyway. With

city beach. Furthermore, say his champions, Drew’s “massive sculptures … critique social

no glass in front of it (which Drew’s pieces at Peters Projects very wisely do not have),

injustices and [bring our attention to]… cycles in nature.” Chiefly, the name of that cycle

paper’s “hand” can be rich, deep, and drool-worthy. Of course, paper is fragile yet

might be “We’re born to die.” Sealing his qualifications as an artist is the fact that he has

begs to be touched, which is why we often see it framed archivally behind a protective

been featured on the popular and rigorous ART21 series. (In an ideal future, my clone

surface—usually inducing a kind of sterility that steals the soul of the art.

would be writing this while I luxuriated in a marathon binge-watch of ART21.) Drew grew up in a housing project in Connecticut, where he regularly played in the town dump, which left him with a deep familiarity with the detritus of everyday objects. The tricky thing about his work, however, is that he starts with new-ish found materials and processes them to look like junk—some of it quite foul in appearance, as if getting too close could result in the inhalation of a jarring stench of, say, dirty diapers and rotting food, with a little sour milk thrown in. The tactility inherent in Drew’s sculptures translates well into the toothiness of his handmade, embossed, and painted paper. It is that tactility, I would argue, that makes Drew such an enticing artist. Still, his work is hardly about process alone. An industrially inspired post-minimalism informs his work—I’m thinking here particularly of Eva Hesse if she had used trash as her source material. There is a frenetic energy to Drew’s art that’s nearly as unsettling as that of swarms of cockroaches, those horrible little bastards who will surely outlive us by a few million years, at least, after an apocalyptic catastrophe. A sense of rising, falling, splintering, death, decay, and dystopia are all there in Paper, which nonetheless remains ridiculously attractive, almost too formally pretty on first glance for its own good. In these handmade, editioned prints of cast paper made from cotton pulp with pigment at Pace Prints in New York, Drew gets us to look at urban garbage through a microscope and accept what is in front of us with a dispassionate and unbiased viewpoint. This close-up view of what you might find in a gutter in Manhattan reveals beauty, once we

One of the main reasons I continue to write about art is that I am constantly learning

get past our initial disgust. After all, the artwork comes from a man who as a boy made

from the process. Not only do I come across artists whose work I am not familiar with, I

garbage his friend. He calls detritus “God’s Mouth.” Out of it comes all that is and all that

get to dissect that body of work by deconstructing it critically. Finally, I seek to reconstruct

will be, in various stages of life and death. It’s an urban exploration of Nature, with all her

it in a way that I hope makes sense to readers, and, most especially, to me. Drew’s

gore and glory.

exhibition proved a perfect candidate for such an examination, and I am grateful for the opportunity to become more familiar with his work. It turns out that Drew is quite a well-known figure in the art world, respected for

Drew is currently showing a large wall sculpture in a sweet exhibition at SITE Santa Fe: Unsuspected Possibilities, with Marie Watt and Sarah Oppenheimer. —Kathryn M Davis

his sculptures made, according to the Internet, of “found natural objects and through processes of oxidation, burning, and decay….” Some of the paper pieces at the exhibition



Leonardo Drew, 39P, pigmented and cast handmade paper with additional handwork, 12 1/2” x 18 1/3”, 2014

THE magazine | 53

Woody Gwyn: Solitary Places

LewAllen Galleries 1613 Paseo de Peralta, Santa Fe

NOT ALL PAINTING SHOULD BE BEHOLDEN TO ENGAGE WITH CONTEMPORARY issues. Yet, to me, painting that glosses over reality, rather than

inconsistent sense of perspective, and the exhibition is well served

below. In this painting, all is made subservient to the detail of the

engages with it, falls flat. Both of these scenarios are found within

by the variety of viewpoints. His landscapes variously takes the

simple and typically unexamined rock. The image concentrates

Woody Gwyn’s latest body of work. The landscape paintings in the

positions of human travelers, bird’s-eye vistas, grand panoramas,

on a specific textural moment, and in drawing the viewer to

artist’s recent exhibition at LewAllen Galleries, Solitary Places, have

or awkward close-ups of textural details. Viewers are able to shift

meditate on an otherwise daily sight, also draws awareness to

varying strengths: some are traditional, realist landscapes rendered

between geographies, but also between vantage points, a game of

the effects of human intervention on nature.

in impeccable detail; some assimilate human activity into our vision

perspectival musical chairs in which every canvas asks us to reorient

There are no figures in these paintings, though the nearby

of the American West; some begin to subtly shift our consciousness

ourselves. In works like Undercurrent (2015), a grand, sweeping

presence of humans is hinted at in several images. There is a

to recall the environmental effects of industry, to remember what

landscape lays itself out for the viewer to gaze upon, shimmering

presence-through-absence motif at work, but it does not make a

has been lost.

with light, and dramatized by shadow. The mountainous shore

substantial statement. This motif is achieved mostly through the

Unfortunately for visitors to the exhibition who picked up

is cut off from the ocean by a highway, soaring into the distance

inclusion of paved roads that slice through these beautiful settings.

the gallery handout, LewAllen Galleries’ exhibition essay used a

on top of concrete viaducts. It is a beautifully painted and lovely

However, these intrusions by man are not treated as such. These

string of flattering adjectives (“riveting,” “masterful,” “virtuosic,”

composition. The viewer can comfortably draw his gaze across the

infrastructures are assimilated into the scenes; they are now

“arresting,” “profound,” “sumptuous,” “nearly spiritual,”

land and take in the easy splendor.

just another part of the western landscape, and echo our easy

“quintessentially full of life”) to describe the formal qualities of

However, the most interesting images are Gwyn’s textural

ownership of it. This approach is subtly subversive, and challenges

the painting style. I’m always suspicious when I encounter profuse

studies, which also highlight the artist’s impeccable rendering of

the viewer to question our relationship with these beautiful

praise from a gallery publication, as it suggests the artwork does

detailed minutiae. In Cambria (2015), a thirty-four-by-ninety-inch

places. For the gallery text to fall back on lurid descriptors

not stand on its own. In this case, the language effectively cut

panel forsakes land entirely for the sea. A tiny sliver of sky is visible

cheapens the viewers’ experience of Gwyn’s work. The close-

short any meaningful dialogue about the deeper concerns at

at the edge of the horizon; the rest of the canvas is ocean, which

ups and studies of the simple and wonderful details of the natural

work within these scenes. However, many of the adjectives

shows off Gwyn’s considerable realist skill. The composition

world—especially those details that confront and highlight the

are apt.

prizes lingering on a simple pleasure—water—more intimately

less-than-wonderful human world—approach a richer type of

than the larger scenes, and taps into a more focused meditative

engagement than technique alone, and make the experience of

quality. nature.

viewing the artist’s masterful hand more rewarding. rewarding.

Woody Gwyn is a masterful painter. His technical skill is certainly virtuosic. He paints photorealistic landscapes spanning the American West from California to New Mexico with detailed

In Junction (2015), the viewer is confronted with a cross-

precision. The artist conveys the landscape as he finds it, marred

section of rocky earth cut through by an asphalt highway. A

by the encroachment of human industry through the presence

stratified wall of rock accounts for ninety percent of the image,

of highways and guard rails. The artist also applies a somewhat

which is bordered by a sliver of sky above and a sliver of road

—Lauren Tresp Woody Gwyn, Junction, egg tempera on panel, 18 ½” x 29”, 2015


Tanaka Kyokusho

TAI Modern 1601 Paseo de Peralta, Santa Fe

Poem for Artist Tanaka Kyokusho, Composed of Ten Basket Titles In the season of the sound of wind, hearing the grass that shimmers crimson, a bamboo leaf boat draws an arrow pattern line through plaits of the four ocean waves. At dawn, in the shimmering air, footstep the floating bridge to your beloved, a lotus flower sees the secret of your embrace.

IS THE SOUND OF WIND A NIGHTTIME METAPHOR FOR CLIMATE INSTABILITY and the desolation of all human forms in the face of

Anywhere the wind blows doesn’t really matter to

seas that the piece is fraught with an almost cartoon pathos.

change? The Western existentialist view that the ground

me, or Freddy Mercury, or most Eastern cultural traditions.

The accomplishment of this absurdly impossible act via

of being is “void” harkens back to the preacher of

Shintoism, Buddhism, Taoism, etc. all retain “nature-cult”

a wondrous, vesica piscis–centered geometry makes this

Ecclesiastes for whom “all is vanity and chasing after

elements that accept the ever-changing nature of reality

humble piece incredibly rich. Dawn shines through similarly

wind,” all human effort “mere breath.” Deep fears of

instead of seeking absolutes. The Sound of Wind can be

as a horizontally divided, softly rounded, elongated platter.

unknowability haunt the corners of the Judeo-Christian

eerie and beautiful everywhere, as this basket rocking back

As seen from above, it pictures light moving across the

cultural aftermath, allowing sorrow and pain to pass for

and forth in the breeze of the mind’s eye on its curved

rounded surface of the planet, or a simple horizon line

wisdom, when the greatest wisdom is joy.

underpinning tolls like a bell. The asymmetric orange lines

between a darkened earth and golden sky, and/or vice versa.

on black provide motion in ways far more metaphysical

Shimmering Air is pure sunrise in a wide-mouthed

than any Barnett Newman “zip” ever did. The visual

vase that incorporates a beautiful gradation from orange to

literalization through abstraction of natural elements

rose and an open weave that sparkles with electricity. Like

is at the heart of the art of many peoples, including

Duchamp’s or Manzoni’s attempts to capture (Solomon’s?)

the first nations of the southwestern United States

“mere breath,” Tanaka takes on the challenge of depicting

and Mexico that surround Santa Fe, and in Tanaka

air, and like Monet, texturally and optically captures the


colors within the invisible element. In Floating Bridge, planks



tradition of basket weaving.

bound and set upon the bright surface of the water allow

Besides an elegant sense of timeless abstraction,

passage, intellectually and emotionally, across otherwise

Tanaka’s baskets possess perceptual hooks as appealing

unfathomable depths. Less dramatically than in Sound of

as any Bridget Riley. Optically active, each one responds

Wind, the fulcrum of the under plane provides the imagined

with unique moiré patterns to the slightest movement

sense of lapping waves and an assurance of connection,

of the viewer’s eye. This shimmering quality recalls the

however fragile or temporal. Tread lightly.

tilting of sparkly tessarae in Byzantine mosaics, but the

The secret of the Lotus Flower basket is exactly what

complexity of the illusionistic patterns, wherein straight

it isn’t. The first thing filling up every basket is emptiness.

lines curve and move in sculptural space, are more

The bud, the lotus flower, the shed petals, the seed and the

phenomenologically variable. The Grass That Shimmers

process of spiraling life are all implicit in this long-handled

Crimson is a firmly rooted example of this attenuated

vessel. What Western art practice undersells as “negative

opticality, as well as a lesson in how the flexibility of

space” is the underlying eternal perfection operative in all

the many gains strength in becoming one. Good things

of Tanaka’s work, in multiple ways: perceptually, abstractly,

come as small packages.

representationally, conceptually, and poetically. The false

There are two Bamboo Leaf Boats in the show.

dichotomies of something/nothing, living/dying, figure/

Peaceful, horizontal forms plying the waters of a

ground are transcended. “Negative space,” the color of

rippling moiré sea that merges with the blackened

the air, is the world and all potentiality—the everything else

bottom of the boat. In Arrow Pattern Line Construction

that makes everything else—the true socle du monde the

Tray the black woven grids produce an optical effect

originating oneness that makes possible two and the two

such that diagonals proceed away from a central line

that can be woven back into one, as in Tanaka’s Brancusi-

giving the sense of an arrow’s point or the wake of a

like Embrace. That his empty baskets grasp so much, in such

vessel. Each basket here establishes its own standards,

satisfying sublimity, is genius. One gains the world not so

charts its own course, and arrives at a uniquely crafted

much by going after it, but by brilliantly weaving baskets to

destination. The abstraction of capturing Four Ocean Waves

encompass it. —Jon Carver

through the nearly humorous imposition of grid forms and framing devices so epitomizes vain human

Tanaka Kyokusho, Shimmering Air, madake, rattan, 10” x 6½” x 6½”, 2015

attempts to assemble rafts of absolutism upon mutable SEPTEMBER


THE magazine | 55

Peter Woytuk: A Menagerie!

Gerald Peters Gallery 1005 Paseo de Peralta, Santa Fe

Taste is directed only to the external surface on which feelings play. So-called “good taste” takes fright at all the deeper effects of art and is silent when externalities and incidentals vanish. —Hegel, Aesthetics: Lectures on Fine Art

AN EXHIBITION OF PETER WOYTUK’S BRONZE ANIMAL SCULPTURES IS A RARE thing in Santa Fe, as the artist now resides in Thailand,

pieces of hardware. The smaller-scale pieces occupy a

hens in different sizes and colors sit on small bronze

and transporting his heavy and large-scale work is no

single gallery, creating a somewhat crowded menagerie

blocks, reduced to tiny heads and bulbous bodies. They

easy feat. Woytuk has made a career of sculpting animals

of animals at play.

communicate Hen-ness more than they look like hens.

for more than twenty years; they range in size from small

These creatures are rendered in distilled, massive

All of these animal figures are easy to love for their

tabletop figures to larger-than-life monuments. Woytuk’s

forms, with minimal detail. Rendered in bronze, some

smooth simplicity. The characters are imbued with the

recent exhibition at Gerald Peters is mostly comprised of

pieces are left raw, others colored in bright, solid hues.

same subtle personality, which is playful and fun, and

small and mid-sized sculptures, along with some larger

The mix of monochrome bronze and bright, primary

evokes a sense of romantic whimsy. A piece like Nok on

outdoor pieces and functional stone benches. Most

colors creates an otherworldliness, like we’ve stepped

Five Falling Apples (2014) is typical. The title captures the

of the works include ravens, roosters, and bulls, alone

into a cast of characters from a storybook. Small Hen

essence of the piece, in which a black raven is perched

or perched atop colorful pieces of fruit or super-sized

Group (2014) is one of the most endearing pieces. Three

on top of five apples that are frozen mid-fall. In Swing, two bronze ravens are perched on a swing. In Magpie on Acorn (2014), we see a magpie perched on a green acorn. In Magpies on Fruit Stack... you get the idea. This is the place I’d like to say something like, “we can imagine that, after the gallery staff has gone home for the night, after the lights go out and the security system is turned on, the gallery turns into a small zoo as the animals come to life. The suspended apples clatter to the floor, the ravens chatter, and the miniature bulls look on, bemused…” However, all I can imagine is an afterhours petrified bird forest. For all of their monumentality, this body of work is one-dimensional. Moving through the gallery, each sculpture employs the same motifs, uses the same techniques, and achieves the same effect. Beyond highlighting the entertainment value and visual joy, writing this review has stumped me for some time. In an effort to dig deeper, I did some research. I found articles about Woytuk’s work, and most were about his major public art installation in New York City in 2011-2012. It was a relief to find that other writers either ran into the same issue or did not even attempt to think about these sculptures critically: after fleshing out the details of what the work is comprised of formally, there is no dialogue around the question, “so what?” These objects consist primarily of externalities and incidentals. It is my belief that the highest calling of art is to give shape to truths about reality, so that we might see ourselves in that reality more clearly and consciously. Defining art as such, I see Woytuk’s sculptures as tasteful, visually pleasing, and wellcrafted decorative objects. There is nothing wrong with this use of art, as it is satisfying in its superficial delights. However, the audience for this artwork is not the art writer. —Lauren Tresp Peter Woytuk, Small Hen Group, bronze, 2¾” x 2” x 1½”, 2014


Tradición, Devoción y Vida

Spanish Colonial Arts Society 750 Camino Lejo, Santa Fe

WHEN SHOWN A COLLECTION OF BLACK-AND-WHITE PHOTOGRAPHS TAKEN in both Mexico and New Mexico, assembled by photography

Starting with Manuel Álvarez Bravo—-considered the

out of whatever he sees, including an abundance of images of

enthusiasts Anne and William Frej, David Setford, director

most important figure in twentieth-century Latin American

of the Museum of Spanish Colonial Art, saw the makings of



One or two black-and-whites by a handful of others round

an exhibition. Supplementing an array of those photographs

in his influential footsteps that Mexican photography

out the show. What they all have in common is that they

with additional prints from the Palace of the Governors,

has become known as a school of its own. Of the nine

document rural life and traditional Hispanic Catholic activities

the New Mexico Museum of Art, Setford’s own museum,

Mexican photographers included, it’s notable that a

to such a degree that the entire exhibition looks—other than

and some individual photographers, including William Frej,

handsome number of them are women. Lola Álvarez

the occasional appearance of a car or truck, or an incidental

Setford curated Tradición, Devoción y Vida, which continues its

Bravo, Manuel’s first wife, is represented, as are a group

watch—as if they had been shot in the nineteenth—or if

run through October 31 on Museum Hill. It’s an impressive

of more contemporary women—Flor Garduño, Graciela

the photo-technology had existed—even the eighteenth or

selection of artistically crafted modernist prints that

Iturbide, Mariana Yampolski, and Alicia Ahumada. All of these

seventeenth centuries.

collectively suggest a view of religion and tradition in both

photographers are known for the lush sensuality of their

A predictable critique of this exhibition might declare that

Old and New Mexico, and how those cultures intersect. The

prints (Ahumada made prints for all of them), and all often

it doesn’t offer realistic insight into either modern-day Mexico

exhibition includes prints by masters such as Adams, Weston,

focused their cameras on the indigenous people of Mexico. It

or New Mexico, and it presents an overly romantic view of

Strand, Gilpin, Van Dyke, and Porter, mostly on loan from the

is those women photographers who offer some of the most

life in Hispanic America. By portraying a near-idyllic religious

other institutions, but the Frejs’s collection itself is expansive

powerful work in the show.

and rural society, it might be said that the show represents

enough to carry the show.



The three Mexican males included in addition to Bravo

Mexican-American rituals.

a condescending, European perspective of an indigenous

As an avid amateur photographer and member of

offer three varying approaches to black-and-white

the diplomatic corps, William Frej developed a love of

photography. Antonio Turok is a photojournalist who has

The show never purports to be a thorough survey of Old

photographing indigenous life throughout his abundant

shot a personal examination of life in Chiapas, and many of

and New Mexico, or of Old and New Mexican photography.

travels. While in Mexico, he and his wife came upon a print

his images contain the urgency of journalism. Manuel Carrillo,

The very title tells us the show is about tradition and faith. It

by Flor Garduño and were so enamored they began a new

an avid mid-twentieth century amateur, offers iconic,

establishes how ingrained Catholic imagery is in Mexican and

avocation—collecting images by other photographers.

humanistic images of the peasantry. And Humberto Suaste, a

Mexican-American life, not just because of Spanish influence

While their collection currently includes the work of artists

heavily exhibited educator, shoots in a more naturalistic style.

on Mesoamerican culture, but also because Mesoamerican

worldwide, it was in Mexico that they found a treasure trove

Each displays a keen sense of light.

culture refashioned Spanish Catholicism. Of course the show

of talent.

The Frejs moved to Santa Fe in 2010, and William retired soon thereafter to concentrate on his own photography of

culture. This critic thinks that critique is inapplicable.

reflects Spanish colonial influence on the Americas—it’s mounted at the Museum of Spanish Colonial Art, after all.

regional religious rituals in both candids of worshippers

Despite having been collected and curated by gringos, it is

and landscapes that often include a church. As they

hardly a patronizing view of Hispanic life; the heavy majority of

learned of the work of other local photographers, the

photographers represented are, in fact, Hispanic themselves.

Frejs became aware of the similarities between the

Insofar as implications that the show conveys a colonial,

photography of rural life and religious rituals in Old

condescending perspective, Tradición, Devoción y Vida is innocent.

and New Mexico. They collected from the works

—Richard Baron

of Miguel Gandert of Albuquerque, who prolifically shoots Chicano life, and Norman Mauskopf of Santa Fe, who, best as I can tell, shoots whatever he wants


Flor Garduno, Agua, Valle Nacional, Oaxaca, Mexico, vintage silver gelatin print, 1983. Collection of William and Anne Frej. William Frej, El Santuario de Chimayó, Chimayó, archival ink jet print, 2014. Collection of the artist.

magazine ||57 57 THE THEmagazine

Jennifer Esperanza Photography ~ 505 204 5729

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6401 Richards Ave. Santa Fe, NM 87508

In my artwork,

I use what we refer to as trash, stuff that’s been discarded—and



I elevate that trash into something of worth. I take valueless materials and give them value. I’m not trying to trick anyone, I’m just saying that life is as transformational

as my materials.

Gorman’s work can be seen at Tom Ross Gallery, 409 Canyon Road, Santa Fe.




Gorman and his dog Milu in La Cienega, New Mexico by Jennifer Esperanza.



THE magazine | 59


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THE magazine | 61


ENP. McLaughlin M A EX thy by


If, ay, one d ppears irror a what morning m in the ehow is som e sum ces not th r experien u of yo d neatly eks lumpe xtured che e into t ised eyes, w and ct, ully a if, in f n’t even f o you d ize n g reco folds e all th mmers ss li and g d in the gla painte , u as yo error t what ght li or de seize you might g there s in s stand r nakedne u in yo okenness? r and b you Could s p ay perha ourself aw , m peel y hat lost for breath, t from s panicked t stop i ie let it d ere feet, h right t ed on tired propp nded by owels, t u surro ushes and rimy bulb— g r the b hted by a n io g spotli nd reflect er a th body out toge d e f snuf len lovers? l like fa t, And, dying, ing ou p t a p h e t t s in t fresh in tha you could ould you , lf and w bit yourse ing, h a y reinh ine ever t e g reima a new flam kindle r cells, in you ight rising fl feel a r breast, nce more u in yo your feet o irected, — know , steady, d if newborn e as sur ur eyes as o y see gazing, ce wide, ith presen rapt w onder and w pure fury? and a 62 | THE magazine

Timothy P. McLaughlin is a poet, spoken word artist, and teacher. He founded the Spoken Word Program at the Santa Fe Indian School and he and his students received numerous awards and were featured in many media publications and programs, among them The New York Times and The PBS New Hour. He is the editor of the award-winning book Walking on Earth and Touching the Sky: Poetry and Prose by Lakota Youth at Red Cloud Indian School and the producer of a poetry album and documentary film both titled Moccasins and Microphones: Modern Native Storytelling Through Performance Poetry. McLaughlin received a Lannan Writing Residency Fellowship in 2011 and his writing has appeared in a variety of journals. SEPTEMBER



A l be rt PA l eC HyU C K F O R S M A N H A RO L D G R E G O R

ツゥ 2 0 1 5 A l b e r t PA l e y, c o u r t e s y G e r A l d P e t e r s G A l l e r y

Andrew John Cecil, 49 Rivers, polychromed cast bronze, 16 x 24 x 24 inches

M ay 8 - J u n e 13 , 2 015 S E P T E M1B0E1R1 4p, a2s015 2 015 e o 窶電 O e CpTeOrBaEl R t a10 , s, a n t a f| e G , E nR eA wL D m ePxEiTcEoR S G A L L E R Y 10 0 5 PA S E O D E P E R A L TA , S A N TA F E , N E W M E X I C O presented by gerald peters gallery


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 R Y. C O M i n q u i r i e s : e va n f e l d m a n , d i r e c t o r ( 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 r y. c o m v i e w a d d i t i o n a l w o r k s at w w w. g p g a l l e r y. c o m Image ツゥ 2015 Andrew John Cecil, courtesy Gerald Peters Gallery

Leonardo Drew Trophies and Prey Jason Middlebrook


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