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55 artists worth watching

The Art Issue

June/July 2011 santafean.com


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DANIELLE PROCACCIO

Whisper

48 x 60, oil and resin

575-642-4981 | 123 Galisteo ST., Santa Fe, NM 87501 | www.drfa-sf.com


DAVID ROTHERMEL

Primary

72 x 60, acrylic on panel

575-642-4981 | 123 Galisteo ST., Santa Fe, NM 87501 | www.drfa-sf.com


Southern SouthernCalifornia CaliforniaPainting, Painting, Southern Southern California California Painting, Painting, Southern Southern California California Painting, Painting, the the 1970s: 1970s:Painting Painting Per Per Se Se the the 1970s: 1970s: Painting Painting Per Per SeSe curated curated by by Peter Peter Frank Frank and and David David eichholtz eichholtz the the1970s: 1970s: Painting Painting Per Per SeSe

curated curated by Peter Frank Frank and and David David eichholtz eichholtz July July 1 – 31, 1 –by 2011 31,Peter 2011 | Opening | Opening reception reception Friday, Friday, July July 8, 5:00 8, 5:00 - 8:00 - 8:00 PM PM curated curated by by Peter Peter Frank Frank and and David David eichholtz eichholtz July July 1 – 31, 1 –2011 31, 2011 | Opening | Opening reception reception Friday, Friday, July July 8, 5:00 8, 5:00 - 8:00 - 8:00 PM PM

Charles Charles Arnoldi Arnoldi KarlCharles Karl Benjamin Benjamin Charles Arnoldi Arnoldi Jerrold Jerrold Burchman Burchman Charles Charles Arnoldi Arnoldi Karl Benjamin Karl Benjamin Hans Hans Burkhardt Burkhardt KarlJerrold Karl Benjamin Benjamin Jerrold Burchman Burchman Karen Karen Carson Carson Jerrold Jerrold Burchman Burchman Hans Hans Burkhardt Burkhardt Hans Hans Burkhardt Burkhardt Karen Karen Carson Carson Karen Karen Carson Carson

Ed Moses Ed Moses Marvin Marvin Harden Harden Judy Judy Chicago Chicago Peter Peter Plagens Plagens Maxwell Maxwell Hendler Hendler Ed RonJudy Ron Davis Davis Moses Ed Moses Marvin Marvin Harden Harden Judy Chicago Chicago Tom Tom Wudl Wudl Matsumi Matsumi Kanemitsu KanemitsuPeter Tony Tony DeLap DeLap Ed Moses Ed Moses Marvin Marvin Harden Harden Judy Judy Chicago Chicago Peter Plagens Plagens Maxwell Maxwell Hendler Hendler Ron Davis Ron Davis Norman Norman Zammitt Zammitt Craig Craig Kauffman Kauffman Merion Merion Estes Estes Peter Peter Plagens Plagens Maxwell Maxwell Hendler Hendler RonTony Ron Davis Davis Tom Wudl Wudl Matsumi Matsumi Kanemitsu KanemitsuTom Tony DeLap DeLap and and others others Helen Helen Lundeberg Lundeberg Charles Charles Garabedian GarabedianCraig TomNorman Tom Wudl Wudl Matsumi Matsumi Kanemitsu KanemitsuNorman TonyMerion Tony DeLap DeLap Zammitt Zammitt Craig Kauffman Kauffman Merion Estes Estes Norman Norman Zammitt Zammitt Craig Craig Kauffman Kauffman Merion Merion Estes Estes others and others Helen Lundeberg Lundeberg and Charles Charles Garabedian GarabedianHelen others others Helen Lundeberg Lundeberg and and Charles Charles Garabedian Garabedian Helen

130 Lincoln 130 Lincoln Avenue, Avenue, Suite D, Suite Santa D, Santa Fe, NM Fe, 87501 NM 87501 | p (505) | p (505) 983-9555 983-9555 | f (505) | f (505) 983-1284 983-1284 www.DavidRichardContemporary.com www.DavidRichardContemporary.com | Fe, info@DavidRichardContemporary.com | info@DavidRichardContemporary.com 130 Lincoln 130 Lincoln Avenue, Avenue, Suite D,Suite Santa D, Fe, Santa NM 87501 NM 87501 | p (505) | p983-9555 (505) 983-9555 | f (505) | f983-1284 (505) 983-1284 www.DavidRichardContemporary.com www.DavidRichardContemporary.com info@DavidRichardContemporary.com | info@DavidRichardContemporary.com 130 Lincoln 130 Lincoln Avenue, Avenue, Suite D, Suite Santa D, Santa Fe, |NM Fe, 87501 NM 87501 | p (505) | p (505) 983-9555 983-9555 | f (505) | f (505) 983-1284 983-1284 www.DavidRichardContemporary.com www.DavidRichardContemporary.com | info@DavidRichardContemporary.com | info@DavidRichardContemporary.com

Maxwell Maxwell Hendler, Maxwell Hendler, Hendler, So Much So Much So forMuch Philosophy, for Philosophy, for Philosophy, 19761976 1976 Watercolor Watercolor Watercolor on paper on paper on , 10” paper , x10” 9”,x10” 9” x 9”

Maxwell Hendler, So Much for Philosophy, 1976 Maxwell Hendler, Maxwell Hendler, So Much So forMuch Philosophy, for Philosophy, 1976 1976 Watercolor on paper , 10” x 9” Watercolor Watercolor on paperon , 10” paper x 9”, 10” x 9”

Matsumi Matsumi Matsumi Kanemitsu, Kanemitsu, Kanemitsu, Gemini, Gemini, 1971 Gemini, 1971 1971 Acrylic Acrylic on Acrylic canvas, on canvas, on36” canvas, 36” x 24” x36” 24”x 24”

Matsumi Kanemitsu, Gemini, 1971 Matsumi Matsumi Kanemitsu, Kanemitsu, Gemini, 1971 Gemini, 1971 Acrylic on canvas, 36” x 24” Acrylic on Acrylic canvas, on36” canvas, x 24”36” x 24”

July July 1 – 31, 1 – 2011 31, 2011 | Opening | Opening reception reception Friday, Friday, July July 8, 5:00 8, 5:00 - 8:00 - 8:00 PM PM


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505.982.6207


Photo Eric Swanson

CAROL KUCERA

FLOATING BRANCHES

Acrylic on canvas, Lychee root, left 34" X 10", top 20" X 40", right 52" X 8"

CAROL KUCERA GALLERY New Art for a New Century WWW.CAROLKUCERA.COM 112 W. San Francisco St., Suite 107 Santa Fe, NM 87501 866 989-7523 kucera@carolkucera.com Open daily 10-5, Closed Tuesday


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This advertising material is not an offer to sell nor a solicitation of an offer to buy to residents of any state or jurisdiction in which registration requirements have not been fulfilled. All information is subject to change without notice and not guaranteed.


J I M VOG E L July 15–30, 2011 in Santa Fe

ARTIST RECEPTION

Friday, July 15th 5–7pm

Head in the Clouds, oil on canvas with handcarved frame, 78"h x 45.5"w

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary | 4164 N Marshall Way, Scottsdale, AZ 85251 | 480.874.8110


DECADENCE CURATED BY JOHN O’HERN

01 july 2011 5 – 7 pm | opening reception friday evening

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ecadence will encompass some of the most illustrious examples of artistic lavishness in the mediums of painting, drawing, photography + sculpture. Do not miss this spectacular group show that showcases an exhilarating + masterful group of 34 artists ~ many of whom are exhibiting for the first time in Santa Fe! Featuring Daniel Barkley, Luigi Benedicenti, Michael Bergt, David Michael Bowers, Braldt Bralds, Victoria Carlson, Sean Cheetham, Marc Dennis, Carl Dobsky, Phillip Dvorak, Teresa Elliott, Sergio Garval, Mikel Glass, Scott Goodwillie, Laurie Hogin, Cheryl Kelley, Heidi Loewen, Cheryl Anne Lorance, Catherine Lucas, Heather Neill, Yuriko Nishimura, Charles Pfahl, Clayton Porter, Lee Price, Christopher Pugliese, Jeffrey Ripple, Christopher Rote, Jorge Santos, Ian Troxell, Debb Vandelinder, Iris Vazquez, Eric Wert, Pamela Wilson and Irina Zaytceva

EvokeContemporary.com


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ASPEN SANTA FE BALLET

SEASON PRESENTING SPONSOR

Aspen Santa Fe Ballet

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July 8th 8pm

July 9th

Special Gala Evening with Silent Auction

8pm

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“Stark, sleek, and chock-full of moves that skirt the edges of contemporary movement” – Karen Campbell, The Boston Globe

ASFB Presents

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Alonzo King LINES Ballet ONE NIGHT ONLY August 5th 8pm

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“a vision that remains inscribed in memory.” – France’s Le Monde

Aspen Santa Fe Ballet ENCORE!

A repeat presentation of July’s performances

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September 3rd 8pm

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“Dynamic, virtuostic, endurance testing, fullthrottle dancing and up-to-the-minute ballet choreography.” – Michael Wade Simpson, The Santa Fe New Mexican

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All performances are held at The Lensic, Santa Fe’s Performing Arts Center.

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CORPORATE SPONSORS 

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Tickets: 505-988-1234 s

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GOVERNMENT / FOUNDATIONS 

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MEDIA SPONSORS 

OFFICIAL AND EXCLUSIVE AIRLINE OF ASPEN SANTA FE BALLET

Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. PHOTO: MARTY SOHL


Pa i n t i n g N e w M e x i c o

Albert Schmidt, Fruit Trees in Orchard, pastel on paper, 15 x 20 inches. © 2011 Albert Schmidt Estate, courtesy Gerald Peters Gallery.

Works by: Frank Applegate Andrew Dasburg

Jozef G. Bakos

B. J.O. Nordfeldt

Warren Rollins

Willard Nash

Albert H. Krehbiel

Albert Schmidt

Cyrus Baldridge

Margaret LeFranc

William H. Shuster

E. Boyd

Helmuth Naumer

Joseph Fleck and others

J u n e 2 0 - J u l y 3 0 , 2 011 1011 Paseo de Peralta, Santa Fe, NM 87501 | Tel (505) 954 - 5700


Enchanting sunsets included

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Momento: Deconstructed Still Lifes and Other Momentos

S A N T I AGO

July 29–August 13, 2011 Artist Reception: Friday, July 29th from 5–7pm in Santa Fe

Chance Meeting, oil on canvas, 47"h x 37"w

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary | 4164 N Marshall Way, Scottsdale, AZ 85251 | 480.874.8110


Helen Hardin (1943 - 1984)

Pablita Velarde (1918 - 2006)

Margarete Bagshaw

OF NEW ART

*Golden Dawn Gallery is the Exclusive Representative of the Estates of Helen Hardin and Pablita Velarde

201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com

...of not afraid to be dierent

OF CHANGE

3 Generations...

GOLDEN DAWN GALLERY

OF IMPORTANT STORIES

SMART PHONE

GALLERY LINK


FRANK BUFFALO HYDE & RYAN SINGER PARA-NATIVE ACTIVITY FRIDAY 03 JUNE 2011 5P TO 8P

NOCONA BURGESS & NICHOLAS HERRERA FRIDAY 01 JULY 2011 5P TO 8P

NOCONA BURGESS

SITTING BULL WITH PIPE BAG

ACRYLIC ON CANVAS

15” X 30”

125 LINCOLN AVENUE SANTA FE NM 87501 505 983 5639 LEGENDSSANTAFE.COM

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S U M M E R

S H O W

GROUP EXHIBITION / JULY 2011

CHARLOTTE JACKSON FINE ART In the Railyard Arts District / 554 South Guadalupe, Santa Fe, NM 87501 Tel 505.989.8688 / www.charlottejackson.com

Ed Moses, Flite, 2004, Acrylic on canvas, 60 x 60 inches

June/July

2011

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Roger Hayden Johnson

Jim Eppler

New Works: June 3, 2011 TOP: Roger Hayden Johnson, Tricolor Boat, oil, 28” x 60” BOTTOM: Jim Eppler, Coyote, bronze, 13” long, also available in 45” long version

MANITOUGALLERIES

123 W. Palace Ave. · 225 Canyon Rd. · Santa Fe, NM 87501 ManitouGalleries.com · 800.283.0440


Geoffrey Gorman June 17 - July 12, 2011

Opening Reception Friday, June 17, 5 - 7 pm The artist will be present

“THE COURTSHIP OF PURCIST AND OSMIA” ~ Wood, cloth, metal, found objects ~ 22" x 30" x 22"

Irina Zaytceva July 15 - August 9, 2011

Opening Reception Friday, July 15, 5 - 7 pm

JANE SAUER 652 Canyon Road Santa Fe, NM 87501 505 - 995 - 8513 Back view

“PAN” ~ Handbuilt porcelain, overglaze painting, 24k gold luster ~ 6 1/2" x 6" x 3"

j s a u e r g a l l e r y. c o m info@jsauergallery.com

GALLERY


Kevin Kevin Box Box

Paper Paper Navigator Navigator July 22 – August 11, 2011 July 22 – August 11, 2011

600 canyon road santa fe, nm 87501 800.992.6855 505.992.8877 selbyfleetwoodgallery.com 600 canyon road santa fe, nm 87501 800.992.6855 505.992.8877 selbyfleetwoodgallery.com White Bison Stainless Steel White Bison Stainless Steel

Edition of 1/3 Edition of 1/3

Kevin Box (pictured) in collaboration with Dr. Robert J. Lang Kevin Box (pictured) in collaboration with Dr. Robert J. Lang


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The Art Issue june / july 2011

features

53 Three of Note Profiles of artists Ramona Sakiestewa, Maggie Muchmore, and Ron Pokrasso

64 Life on the Assemblage Line Santa Fe’s found-object artists unearth simple treasures

67 Masters of Fine Arts Catch these artists at a gallery near you

80 Off the Grid

Celebrating the work of artists not in galleries—for the moment

departments

30 Publisher’s Note 35 City Different

41 Chasing Santa Fe Guest columnist Cynthia Whitney-Ward finds art in unexpected places 42 Santa Favorites Independent bookstores

44 Q+A Irene Hofmann, SITE Santa Fe’s Phillips director and chief curator

80

Colin Poole, Cerynitis, oil on wood, 20 x 13"

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46 A Day in the Life Musician Sean Healen makes a house call 49 Santa Fean Salutes Creativity for Peace helps girls find common ground through art

87 Art David Zimmerman, Leon Loughridge, the return of Art Santa Fe, plus SOFA + previews 109 Living Farm dining at Los Portales, chamber music on the Rio Chama, and Taos sweet spots 121 Dining Hot summer eats (and drinks) at spots old and new 130 Hot Tickets 133 Events 138 History Santa Fe’s Scottish Rite Center 144 Day Trip

89 121

JULIEN MCROBERTS, MUNSON HUNT, PABLO MASON, DOUGLAS MERRIAM

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David Solomon, In a Past Life My Father Was a Magician, oil on aluminum, 36 x 30"


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June/July 2011 santafean.com

The Art Issue ON THE COVER Bim Koehler, K–48.05, pigment on aluminum with lacquer, 19 x 15 x 1”

Koehler’s work can be seen July 8– August 3 at Gebert Contemporary Art. A German artist, Koehler achieves a textured feel to his work and brings out a palpable sense of warmth, even in the most diaphanous of his color-focused pieces, like this one. His work also exemplifies the contemporary direction the Santa Fe art world is fast moving toward—which is one of the many reasons why we chose him for the cover of our annual Art issue.

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WHILE LOCALS LOVE TO BUY ART, it’s the visitors who have helped put Santa Fe so high on the list of America’s top art markets. What’s interesting is that these visiting art buyers often have excellent artists and galleries right in their own hometowns, yet they make their significant purchases in Santa Fe. The acquisition of art is in itself an interesting phenomenon. While easily justified as a wise investment, it is usually inspired by something deep within the soul, that place where emotions reign supreme. For many, art purchases help satisfy emotional cravings. It can be challenging to get in touch with our souls when we’re locked in our day-to-day lives, juggling responsibilities and pressure-packed careers that can thwart the spirit. Sometimes we just need to get to another place to enjoy a carefree, timeless attitude. When you visit Santa Fe, you rediscover your human side. You make discoveries about yourself, and often your companions, as you walk our winding roads, hike our picturesque trails, learn about our history, and enjoy our varied cuisines. Santa Fe affords us an intimacy with our souls, and it often unleashes some possibly dormant romance as well. It is one very romantic city. Perhaps when people visit Santa Fe, they are inspired to find a piece of art that captures the city—or the place where their hearts are as they experience it. It’s a city, after all, where we are governed by our spirits and not by our investment portfolios. Even if you are not physically here in Santa Fe, I hope reading this issue brings your heart here and allows it to be moved by the power of a gentle paint stroke. As you ponder the images and stories that follow, may the art you discover move you and help you find your own special place.

BRUCE ADAMS

Publisher

MISSY WOLF

40 artists worth watching

PUBLISHER’S NOTE

In this issue, we are featuring Vueteligent. By scanning this symbol with your smartphone, you will immediately be connected to Santa Fe’s best calendar and our website.

|C O N T R I B U T O R S | Q: Who is your favorite local artist and why? “As an art reviewer, locally and nationally, going on record is sort of iffy,” says art historian and former museum director Jan E. Adlmann. “But in the spirit of sharing, and some mischievousness, I split my decision between two artists who are poles apart, each boasting fervent fans for far differing reasons. Bruce Nauman is, like the great Joe Orton, an artistic ‘ruffian on the stairs’ whose work (video, performance, neon) is simultaneously playful and nerve-racking. Painter Carol Anthony, a master of sotto voce, echoes the ‘cosmos and the comfort’ of Chardin, as I wrote some years ago. As I say, poles apart.”

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For writer, critic, and wannabe polymath Craig Smith—who is also the associate director of the Santa Fe Concert Association—picking a favorite local living artist is like choosing one superb Santa Fe sunset over another. Still, his definite winner is life-drawing master Michael Bergt. “Michael’s ability to send what his eyes see directly to his pencil comes from his perfect mix of technique, intent, and affection for the human figure,” says Smith. “He seeks and shows perfection in the curves and angles of real people, with perhaps a hint of Olympian idealization to remind us of the spirit striving within the body.”

“Living in Santa Fe, you can’t help but have some sort of interest in the West, as well as the Native American culture,” says photographer Julien McRoberts. “My favorite living local artist would have to be Nacona Burgess, who beautifully combines both of those elements but with a contemporary sensibility. I love his Native American portraits. To me, they feel as if his subjects are from centuries past but brought to life on the canvas in today’s pop world. They are so bold, vibrant, and almost have a bit of a photographic element to them—which I love.”


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We salute John Vazquez named to Barron’s Top 1,000 Advisors for the second consecutive year For leading in a world that has changed. For perfecting the art of listening. For proactively responding to clients’ needs. For building strong relationships. We applaud John Vazquez and the entire Vazquez Portfolio Group for their most significant accomplishment— winning clients’ trust.

Advice you can trust starts with a conversation. Vazquez Portfolio Group John Vazquez Senior Vice President–Investments Senior Portfolio Manager 141 East Palace Avenue, Coronado Building Santa Fe, NM 87501 505-989-5112 800-450-2843 john.vazquez@ubs.com

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gearheads “The current state of gear reviews is a joke,” declares an online manifesto at Blister Gear Review (blistergearreview.com). So the new Santa Fe–based website offers an alternative paradigm. With a focus on skis, snowboards, and—just in time for summer in the Sangre de Cristos—mountain bikes, the site promises unbiased analyses of high-end products from biggies like Burton and Giant as well as indie manufacturers such as Venture and Moment. To maintain objectivity, 37-year-old founder Jonathan Ellsworth refuses to accept advertising dollars from gear companies. Instead, Blister gets its backing from ski resorts, with a sponsor list that so far includes the Taos Ski Valley, Colorado’s Arapahoe Basin, and Utah’s Alta Ski Area. “Too many review sites and publications read like ad copy produced by the manufacturers themselves,” says the veteran skier, who dropped his pursuit of a Ph.D. in philosophy to become a personal trainer. Blister’s contributors are seasoned, competitive athletes who test products over multiple days and in various weather conditions and terrains. Aimed at hardcore riders and weekend warriors alike (and already making its mark as the go-to place for the underrepresented women’s-specific gear market), Blister’s goal is to help readers make informed decisions—decisions unmuddied and uncompromised by any potential influence from the people making the products. “With its trifecta of great writing, great photography, and a great website,” says Ellsworth, “our crew is putting out the smartest stuff going.” —Elizabeth Lake OUTDOORS

the buzz around town

Faraway flames BOOKS Considered one of modern art’s most prominent couples, Georgia O’Keeffe and Alfred Stieglitz exchanged more than 5,000 letters until Stieglitz’s death in 1946, spanning a period of over 30 years. My Faraway One is the first volume in this much-anticipated series, covering the years 1915–1933. Noted photography scholar Sarah Greenough has curated and annotated some 650 letters between the pair, and this compilation provides intriguing insight into their passionate and volatile yet ultimately enduring relationship. Couched in the larger historic events of the first decades of the 20th century, O’Keeffe and Stieglitz’s epistolary dialogue lends perspective on the tenor of their times, but their descriptions of other artists—from Ansel Adams to D. H. Lawrence—are especially acute. On Marcel Duchamp and his visit to Stieglitz’s gallery 291, the latter wrote: “a very fine simple fellow . . . gentle as a woman–still masculine–And then he pointed to your drawings . . . and said: ‘That’s very fine.’ It was a very great moment for me. I can’t tell you how great!” In contrast to Stieglitz’s ardent prose, O’Keeffe’s expressions and observations betray a more elegant simplicity: “I’d like to paint the world with a broom,” she wrote at one point. “I just want to splash.” Surprisingly entertaining, due to Greenough’s smart editing and annotations as well as the subjects’ articulate insights and strong personalities, My Faraway One’s major frustration is that it abruptly ends in December 1933 (with O’Keeffe struggling with the state of her marriage, a public career blunder, and her resulting inability to paint). One will have to wait for Volume II of the series to satisfy his of her curiosity over the latter chapters in the couple’s intriguing relationship.—EL june/july 2011

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Local musicians perform for music-loving crowds on a warm Wednesday summer evening at Music on the Hill.

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the hills are alive with the sound of . . . There are few things as wonderful as summer in Santa Fe, with its world-class opera, farmers market, outdoor adventure, theater, art, and live music and dancing. Among the seaons’s best offerings, for families in particular, is Music on the Hill, a free concert series featuring primarily jazz but also other musical styles—from blues to world music to contemporary folk—set outdoors on the lawn at St. John’s College. Though it was once considered a hidden gem, the secret is certainly out on this popular event. Now in its sixth year, Music on the Hill began with a crowd of roughly 300 people and today draws up to 2,000 every Wednesday evening beginning in June. The crowds fill the field in an atmosphere reminiscent of festival nights in a much larger city: Picnic blankets cover the grass, children run free, couples swing and twirl on a makeshift dance space, while the more contemplative sit back and enjoy New Mexico’s beautiful sunsets. For those arriving with no food and an empty stomach, Walter Burke Catering is there to fill the void, offering pastas, salads, baked goods, and other delights. And then there’s the music. This year’s lineup begins on June 8 with tenor saxophonist Doug Lawrence, who has played with Benny Goodman, Aretha Franklin, and the Count Basie Orchestra, among others. International jazz flutist Ali Ryerson, jazz vocalists Annie Sellick and the John Proulx Trio, and jazz pianist Andy Kingston will perform on the following Wednesdays, until the series wraps up on July 20 with local favorite Nacha Mendez and her soulful and danceable Latin tunes. Music on the Hill began in 2004, the inspiration of Les Samuel, a so-called Friend of the College who wanted to draw people Trojanhorse-style to St. John’s. He also wanted to re-create free community events organized around music that he had seen in cities such as Boston, New York, and Los Angeles. Classical music may have been a better match, given the college’s classics curriculum, thought Samuel, but jazz is a more popular brand in Santa Fe. Also, he says,“Jazz musicians study their instruments relentlessly. They know their instruments as well as St. John’s knows the Great Books.” (The Great Books being those written by Plato, Aristotle, Galileo, Dostoevsky, Hobbes, and Darwin, among others.)

Music on the Hill is an all-ages event; above right: strings and things

In the past, specifics of the college didn’t have a presence at the concerts, but spokesperson Anna Sochocky says that this year there will be a booth to promote the school’s many offerings, from seminars on such works as Kafka’s The Metamorphosis to graduate programs in Eastern classics. Also new is a partnership with the Ponce de León retirement home, whereby Santa Fe elders can join in on the festivities. “Music on the Hill is a great community event,” says Linda Highhill, general manager of KSFR radio, which has been a sponsor of the event since it began. “We like to team together with St. John’s, which has programs that we feel our listeners are interested in.” Other sponsors include Los Alamos National Bank, the Santa Fean, and Verve Gallery, along with Santa Fe Photographic Workshop and Peck Dentistry. The value of sponsorship only grows as the crowds increase. Due to the Music on the Hill’s popularity, organizers have had to expand parking options, and Santa Fe Rapid Transit now shuttles people to and from nearby parking sites. Organizers say they plan for a growth of 400 people with each performance during the summer, culminating in throngs of revelers during the summer’s final event. As to whether the event may eventually outgrow its boundaries, Sochocky would rather not contemplate that. For now, organizers will continue to make what they have run as smoothly as possible. For Santa Feans and its visitors, the pleasure is all ours. —Zelie ´ Pollon june/july 2011

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NNIUQ SIRHC

CHRIS QUINN

MUSIC


Soak yourself in our

historic

Hot Springs

Truth or Consequences • Sierra County, New Mexico Paid for by Truth or Consequences Lodgers Tax

Hot springs, lakes, waterways, art, history, shops, galleriesand Spaceport America await you await you along the Geronimo Trails Scenic Byway ... an oasis in the desert!

Find out more at www.torcchamber.org


A free and family-friendly summer concert series at St. John’s College

June 8

Doug Lawrence JAZZ SAXOPHONIST

15

Andy Kingston JAZZ PIANIST

22

Annie Sellick JAZZ VOCALIST

July 6

Ali Ryerson JAZZ FLUTIST

13

John Proulx Trio JAZZ VOCALIST

20

Nacha Mendez QUARTET

Enjoy great music in the open air. Wednesday evenings 6 - 8 p.m. on the athletic field. Your own picnic and adult beverages are welcome. Food and drinks will be available for purchase. Catering by Walter Burke. No pets.


Only in New Mexico. Only at The Santa Fe Opera.

FAUST

L A B OHÈME

GRISELDA

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PUCCINI

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2011 Festival Season: July 1 - August 27. Enjoy video and audio highlights online. Learn more about the season at www.SantaFeOpera.org • 800-280-4654

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CYNTHIA WHITNEY-WARD

´ Andale

´

straight with chaser Santa Fe is filled to the brim with art, but not every visual treat is in a museum or gallery. Sometimes you find art where it’s least expected: a painted dragon mural sweeping down the side of a curvaceous adobe wall, a delicately carved pale turquoise bench, a gaggle of beets displayed at the Farmers Market. And then there are the many irresistible faces all around town. A stroll through the Plaza can turn up a mountain man, a Native American sporting eagle feathers, or a cowboy with a grin and a perfect tilt to his hat. One of my favorite haunts is the local flea market, where the vendors are as artful and colorful as their wares. No matter where I am, I always take my camera with me. As everyone should! There’s endless delight here. Doors and numbers have a special appeal; and mailboxes, too. Houses, walls—carved or painted, their stories waiting to be told, if only even photographically. And cowboy boots. And all those shades of turquoise (a color that seems completely in sync with adobe). And silver jewelry–wide, carved cuffs sporting nuggets of turquoise; handsome belt buckles the size of dinner plates. All of it—the boots, the silver, the faces, everything—art. All of it fodder for my waiting camera. And my photo collages, as seen here and also on my blog.—Cynthia Whitney-Ward GOINGS-ON

To see more of Whitney-Ward’s images and impressions, visit santafean.com/chasingsantafe june/july 2011

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| S A N TA FA V O R I T E S |

declarations of independents Sa n t a Fe ’s communit y bo okstore s

by El i z a b e t h L ak e

photo graph y by G abri ella Ma r k s

THE FUTURE OF PRINT MEDIA is a popular topic to chew on these days. In the age of Amazon, corporate chain bookstores, and the growing popularity of e-books, what does the crystal ball show for our independent corner bookstore? In Santa Fe, the independents are a beloved and vital part of the community fabric, perhaps in part because the City Different has the largest percentage of writers and authors per capita of any metropolitan area in the country. Our local bookstores provide a culture and venue for neighborhood dialogue, and oases of quiet for the more solitary patrons. Be it for the eclectic, regional, or niche selections, the atmosphere, public events, or coffee, Santa Fe’s brick-and-mortars have a loyal following and are here to stay. If you’re looking for Santa Fe author Hampton Sides’s latest work in paperback and want a satisfying Aromas coffee accompaniment, pop into Collected Works Bookstore & Coffeehouse at 202 Galisteo Street. Open since 1978, Collected Works is Santa Fe’s oldest independent bookstore and is going and growing strong. As Dr. Seuss so musically put it, “The more that you read, the more things you’ll know. The more that you learn, the more places you’ll go.”

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Stop in and you’ll find a recipe that has just the right ratios of intimacy to space, vibrancy to volume, and work conductivity to perusal, purchase, and play. Settle into a fireside couch, book-inhand, or type away at a café table overlooking Water Street through floor-to-ceiling arched windows. Owned by Dorothy Massey and daughter Mary Wolf since 1996, this mother-daughter team has cultivated an impressive 30,000-plus inventory. Previously located on West San Francisco Street, the new, since 2009, locale is still a stone’s throw from the Plaza but now has ample space for its broad selection and popular community events. The decision to move and expand into their current 4,000-square-foot space was based on the owners’ faith in the community’s support. “In the teeth of the recession, we realized that selling books at full retail was no longer a viable project,” recalls Massey. “We needed to find a way to relate to the community in a deeper fashion.” Since moving 19 months ago, Collected Works has dramatically enlarged its author and poetry presentations, with more than 250 events already under its belt and more to come—including readings by Santa Fe’s Poet Laureate Joan Logghe and Pulitzer Prize–winning novelist Oscar Hijuelos. Massey and Wolf have also donated their venue to more than 100 nonprofit and outside organizations at no charge, because, as Massey puts it, “If you are a community bookstore, you have to be in the community as much as you can. Because we are local, we can better react to the needs of our community.” Sales and shared readings of self-published and small-press titles provide a platform for local authors otherwise not adequately represented. If you hope to catch Shirley MacLaine talking about her latest release, then don’t miss out on Garcia Street Books, which recently launched its Meet the Authors series, in conjunction with the Inn and Spa at Loretto. By Downtown Subscription at 376 Garcia Street, this shop has hosted critically acclaimed authors such as Maureen Dowd, Eve Ensler, Jane Fonda, and Nobel Laureate Seamus Heaney. Under the new ownership of Françoise Paheau and husband Zaire Benhadje, the store continues to be a community favorite. Paheau, a retired French and comparative literature professor, along with her husband, a former professional soccer player, are recent transplants from Colorado but “already feel great support from the community.” Previous owners Edward and Eva Borins guided the business to its current stature over the past 11 years. The store’s emphasis will


continue to be on art, photography, lifestyle, literature, poetry, and the Southwest but with new emphasis on local authors, independent booksellers, French translations, and Latin American writers. To date, the selection of books is evidence of editing and taste. Garcia Street’s collection is akin to a coveted DJ’s playlist, boasting works from Rainer Maria Rilke to Gerhard Richter. If one is going to judge a book by its cover, then most here should be considered works of art in their own right. Thumbing through the store’s vast contemporary art selection is akin to browsing the inventory of a museum shop. The impressive range of contemporary fine art hardbacks and limited editions (through Ursus Books and Prints of New York) is a rarity in most stores, and Garcia Street’s discounted prices and annual summer exhibition and sale is even more of an anomaly. The array of high-end coffee-table books makes for wonderful gifts, or for filling that bare spot in your own library. If you don’t need a coffee-table book but crave a page-turning mystery instead, head to Taos’s Moby Dickens Bookshop, at 124a Bent, which claims the best selection in the Southwest. Kill two birds with one stone if you’re also looking for an esoteric out-of-print title, as Moby Dickens has a significant out-of-print section with international resources. When back in Santa Fe from your jaunt to Taos, swing by 211 East Palace Avenue to Nicholas Potter, an antiquarian bookseller specializing in Southwestern history, modern first editions, and photography; a worthwhile stop for unique finds. However, if you are in the market for a book on shamanism, divination, or Jungian psychology, then The Ark, 133 Romero, is the place for you. Founded in 1982 by owner Joan Aon, The Ark specializes in transformational and conscious-living literature. Tucked into a charming house adjacent to the Railyard at 133 Romero Street, The Ark welcomes you with the primary colors of Tibetan prayer flags waving through its courtyard. There is a menagerie aboard The Ark, so whether you want to attend author and spiritual teacher Sharon Salzberg’s talk, buy a yoga mat, or schedule a spiritual intuition reading, this is the destination. Aon and her business partner Jamil Kilbride have more recently interspersed the reading selection with myriad objects and gifts to increase sales. As a steady trickle of multigenerational customers comb through everything from incense to singing bowls, Balinese knits and prayer beads to local artisan jewelry, Aon candidly remarks: “We will always be a bookstore and maintain the classics and quality new releases in our area, but in this age of Amazon, providing fun New Age gifts is a way to survive.” For any small business like The Ark, surviving for almost 30 years is no small feat, and as echoed time and again by Aon and Santa Fe’s other independent bookstores, “it’s all due to the loyalty of our customers.” As said by Paheau of Garcia Street Books, Santa Fe’s bookstores are a microcosm of the city, “reflecting the community and the expressed vibrancy of its artistic and intellectual scene.” Long a destination for its creative milieu, the city of Santa Fe is in many ways like the independent bookstore among the larger metropolises. The City Different’s independent culture and strong community create customers for life.

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| Q + A |

SITE manager

Irene Hofmann looks to the future i nte r vi e w by De von Jacks on

If SITE Santa Fe, the 10-year-old not-for-profit contemporary arts organization that lies at the heart of the Railyard District, seems to have lacked the buzz it gave off up until a couple of years ago, it’s not so much the fault of its outgoing director Laura Steward (2005–2010) as it is due to the muted mood of the country and the art world in particular. Irene Hofmann, SITE’s new (as of last October) Phillips director and chief curator, comes to her position after having served in a similar capacity (as executive director) at Baltimore’s Contemporary Museum. Smart and gung ho if a tad too prudent in the rhetoric of her responses, Hofmann’s looking forward to furthering SITE’s mission and its reputation, and to solidifying its presence in the community. Why leave Baltimore for this? Why ever leave Baltimore at all? SITE is an institution that has a mission and an approach to working with artists that’s very similar to the way I’ve been working for the last 10 years. It’s an experimental kind of place for artists to create new work, a generative site where new ideas can be explored. That’s very rare in contemporary art. Also, if SITE were in a bigger city with more going on, there would not be as much possible. There’s much more potential to have an impact here. How so? SITE has a freedom of space to accommodate an artist’s idea even when it’s crazy and different. We have to be willing to go out on a limb and fail with the artist. Because who knows? Failure could be what launches an artist into an all-new direction. But they need the bigger platform to do that kind of work.

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In a town as ethnically and socioeconomically diverse as Santa Fe, what’s SITE’s responsibility to the community? Should it even have one?

JULIEN MCROBERTS

What’s needed to take SITE to that next level? We need to figure out how to raise the profile of the institution, to raise artists’ exposure. One way is by partnering with other institutions.


There can be a role for art institutions to address cultural misunderstandings, stereotypes, and poverty in ways that don’t threaten viewers but instead start conversations. It’s not about politics. I did this in Baltimore, and we can do it here, too. So what’s missing lately? The Biennial exhibitions haven’t exactly rocked, buzzwise. The audience isn’t missing here; they’re very sophisticated. What’s maybe missing are more connections to other museums and curators. Sharing authorship is about having a much

riCK StevenS P Ot e N t i a l i t y JUne 24 – JUly 10, 2011 Opening Reception:  Friday, JUne 24, 5 – 7pm

bigger goal for the artist and the institution. What about the relationship between SITE and the rest of the art market here? We want the galleries here to do well, to thrive and succeed. So we can riff off of each other. But the bigger point is to keep the talent here. They provide careers. SPREAD [a community dinner that funds artistic projects] is our networking support, but there are other ways to be supportive and to bring artwork here and make more opportunities possible. What do you yourself respond to? It takes a lot, actually. Whether it’s a disturbing or funny image, it has to be work I just can’t stop thinking about, work that reveals itself in many layers over time. It could be that it seduces. What would you be doing if you weren’t directing SITE? I’d be breeding Burmese mountain dogs. How do you unwind? I watch lowbrow TV, a lot of reality TV. Anything on Bravo. You’ve got to be reminded of what’s out there. So much of what happens in this town happens in people’s homes. It’s very personal. So you like it here—for now? There’s an incredible hospitality and warmth. So many extraordinary people live here. It’s not just the landscape but the community of people who’ve had such amazing experiences, or two or three careers. That’s why SITE’s so important.

From the Matrix, 2010, Oil on canvas, 40 × 36 inches

Hunter Kirkland Contemporary 200  – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111  fax 505.984.8111

How so? It’s an incredible responsibility to bring this high level of work and discourse to this region.

www.hunterkirklandcontemporary.com

june/july 2011

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| D AY I N T H E L I F E |

the Healen power of music t hr owing a hou s e pa r t y wit h sing e r-s ong writ e r Se a n He ale n

PART OF SEAN HEALEN’S CHARM—the part that doesn’t entirely come through on his CDs—is his selfdeprecating neuroticism. And just so Healen doesn’t interpret this in the wrong way, I’m going to quote from Patti Smith’s recent memoir, Just Kids, where she describes seeing Jim Morrison for the first time. “I could feel his self-consciousness as well as his supreme confidence. He exuded a mixture of beauty and self-loathing, and mystic pain, like a West Coast Saint Sebastian.” Not that Healen’s the second coming of Morrison; but more to the impression that most anyone brave enough to get up in front of a crowd of people alone and do what Healen does possesses both laudable chutzpah and extreme self-consciousness. A tremendously gifted songwriter with a throaty twang of a voice (whiskier than Bob Dylan’s though notably less bourbony than Steve Earle’s), Healen’s here in the home of his friend Ron Whitmore, the sometime musician and part-owner of Artisans art-supply store. Whitmore plays keyboards in the band High Altitude, and his wife, Karen, in addition to having cooked up the night’s trays of chicken enchiladas, paints. The Whitmores’ house is a spacious adobe out in La Tierra, near Las Campanas. It has gorgeous views, art aplenty, and a living room that’s big enough for one of Healen’s house concerts. Tonight’s gig is a kind of sneak preview and private party for the pre-release of the 42-year-old Montana native’s latest CD, Crown of Coal (which was officially released on May 28). Known as much for his songwriting as he is for his bands and performances (he has a catalogue of more than 800 songs—and probably has at least that many rumbling around in that noggin’ he keeps covered in public by his now-famous full-taco hat, of which more will be said later), Healen has taken to playing these house concerts of late because the income is well worth the outlay, he gets to show people he doesn’t just play in a band but also plays solo, and, as he says, “I get to connect with people on a different and more intimate level. There’s great food, great drinks, and great people that I love introducing to each other.” Collaboration is the hot new thing in Healen’s world. As it should be for most creative types. And there are plenty of gifted folks here tonight: actor Wes Studi is plopped on one of the front couches, artist Lynden St. Victor is perched on one of the kitchen counters, and various couples, with and without their kids, wait patiently as Healen takes a seat and opens up with “Angel Meat,” one of the songs off Crown of Coal. Healen’s lived in New Mexico since he was 14, when his dad relocated the family to Las Vegas, and he’s been playing music since almost that age, too. Part of his newfound “success” has been his newfound devotion to marketing,

Clockwise from bottom: Sean Healen performing at Ron and Karen Whitmore’s home; Healen close-up; Healen posing full-taco.

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TERESA HALL

by De von Jack s on


Z AN E B E N N E TT C O N TE M PO R AR Y AR T I S PL E AS E D TO ANNO U NCE THE E XC LU S I V E U. S. R E PR E S E N TATI O N O F

M IM M O PA LA D I NO Sculptures, Paintings, and Prints July 29 through August 19

Shield 3, 1999 Etching and serigraph, 48 x 48 inches

and to playing more quality venues. In between his songs he alludes to this. He also gushes about how lucky he is to have hooked up with producers like Manfred Mann (whom he met at a music convention), Grammy Awardwinner Malcolm Burn, and Creed and Puddle of Mudd producer John Kurzweg. Healen relays all of this with the utmost gratefulness and humility—and humor. Humor that no doubt allays his nerves, nerves that disappear whenever he breaks into a song—songs that mostly betray a twisted if poetically melancholy view of this world, but songs that also sometimes allude to Healen’s goofier side. A side obsessed with, as he puts it time and again throughout the evening, “that whole creepy, dark ’50s, sci-fi movie kinda thing. And David Lynch!” But back to the hat. It’s now Healen’s signature visual, and he first wore it at a show at the Cowgirl Hall of Fame club four years ago, realizing that he needed something recognizable, something memorable when onstage. “Joe Ely has a good hat, too,” Healen told me right before he went on at the Whitmores’, “but he doesn’t have the nerve to go full-taco like I do.” (Healen recently struck a deal with Scott O’Farrell of O’Farrell Hats: they made him his own customized hat and Healen became an official endorser of their hatwear.) After a short break, Healen reels off a few more songs from his CD but finishes up with a real showstopper, an unrecorded song inspired by the name of Studi’s hometown in Oklahoma: “No Fire Hollow.” It’s a rousing, crowd-pleasing number that gets everybody riled up, especially Studi, who gives Healen a standing ovation and a bow of thanks. Healen, in return, acknowledges his friend, clapping his hands together and bowing as if to his Buddhist master. It’s a sweet moment, and true. And it points to the possibility of Healen being able to achieve all he wants despite being so far away from New York, Nashville, and L.A. “The music industry and technology have changed so much,” Healen later tells me, “that I can access the world from little old Santa Fe.”

Steve Joy New Paintings Jonathan Blaustein Photographs May 27 – June 17 Colette Hosmer Sculptures Holly Roberts Photo Collage June 24 – July 22 Mimmo Paladino Sculptures, Paintings, and Prints Donald Woodman Photographs July 29 – August 19

ZANEBENNETT CONTEMPORARY

ART

435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com Mon–Sat 10 am – 5 pm, Sun 12 noon – 4 pm or by appointment

ZB.SantaFeanPaladino11.indd 1

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History’s Other Half This summer, celebrate the unsung heroes of the American West:

June 19 – september 11

Also on exhibit:

Ranch Women of neW mexico

Photographs of ranching legends

aPRil 15 – octobeR 30

neW mexico’s afRican ameRican legacy: visible, vital, valuable establishing roots in a new land

may 15 – octobeR 9

heaRt of the home

Kitchen curiosities from the collection

may 27 – novembeR 20 Free lectures and workshops. Details: nmhistorymuseum.org

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| S A N TA F E A N S A L U T E S |

art be upon us . . . and upon us peace c r e ating a pe ac e able king dom wit h Cre at ivit y f or Pe ace by De von Jack s on

IT’S CALLED CREATIVITY FOR PEACE, and it’s a camp that’s all about creating female leaders and empowering them in ways that—inshallah, God willing—will one day allow Jews and Muslims, Israelis and Palestinians to peacefully coexist. At times, though, it seems as if even the campers and the organizers of this unique and uniquely inspiring enterprise forget that it’s the facilitative and transformative power of art as much as anything else that gives it such force. Meaning: it’s Creativity for Peace. Not Business Solutions for Peace. Not Leaders for Peace. Not even Peaceniks for Peace. It is through art and creativity—creating ways of communicating with and listening to one another, creatively thinking outside the box—that these young women grow and change and touch and inspire the adults around them as much as they touch and inspire each other. 2010 Campers Noam Ganelevin (Jewish Israeli) and Aseel Adel Alan (Palestinian)

Cofounded in 2003 by psychotherapist and peace activist Rachel Kaufman and artist Debra Sugerman, C4P brings 30 to 40 young women each summer to Kaufman’s 40 acres of paradise in Glorieta. Half of the girls, who range from 14 to 22 years old, are Jewish, half Arab. They all travel the 7,000 miles from Israel, the West Bank, Gaza; they all must speak English; and they’ve all applied to get into the three-week camp, which starts in late July. In the eight years since it began, C4P has brought in 162 girls (the cost of each attendee being about $5,500; C4P has an annual budget of approximately $550,000 and is entirely funded by private foundations and individuals). Of those, at least a fifth return to the camp as young leaders; like college-dorm RAs, these experienced young women help campers negotiate what is often their first extended, intimate encounter with someone they’ve long regarded—or been taught to regard—as their enemy. Over the 21 days the girls spend at Kaufman’s retreat, they engage in dialogues, participate in art-therapy projects and team-building activities, go to the mall, hang out, cry it out, hug it out, and generally try to enjoy their time away from a home life that’s in a constant state of tension if not outright military conflict. “Every one of these girls knows someone who’s been killed,” says Dottie Indyke, the nonprofit’s energetic executive director who took over in 2007 after Kaufman suffered a brain hemorrhage. “They’re traumatized from the violence. It’s hard. But a lot of bonding happens in nonstructured time. When they realize they have more in common than not, that’s the beginning of our work.” “Before coming to Creativity for Peace, I’d created this wall around me, but after many dialogs I was able to open up and bring out the pain inside me,” emails Nahida Tannous, 18, a camper in 2008 and a young leader last summer who’s now studying media and communication. She is Muslim and lives in Ramallah. “I learned to listen more to all points of view and to search for what unites us, not for what separates us.” Maya Hochstadter, 20, lives in Hila in northern Israel and just finished her mandatory army service. Hoping to get into design school in Tel Aviv, she was a camper in 2006 and 2008, then served as a young leader in 2010. That first time, she had no idea what she’d gotten into. “A girl I was a little scared of, and whom I’d hated for things she’d said in the dialogue room, she cried for me when I told my story,” says Hochstadter through email. “We became good friends and went shopping at Ross.” Most of the young women have similar experiences. However, none of what they go through is easy, which is perhaps why june/july 2011

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2010 Young Leader Mai Shbeta (Palestinian Jewish Israeli) and Camper Daniel Tiano (Jewish Israeli)

breather from the often-intense group dialogue sessions. It can also just be a way to have uninhibited fun. “When we’re trying to understand deep and complex parts of ourselves, it can be easier to access those parts through a less-structured form of perception and expression than words,” explains Jesse Cross, 33, who’s been the group’s art therapist for the past three years. “Art and other imaginative processes offer other routes into and out of the vast inner worlds of the human.” Cross, who specializes in treating war trauma, points out that C4P is different from every other organization of its kind in that it is almost 100 percent group work and that “any trauma resolution happens within the group context and not

individually—so it feels more proactive. It’s also the only peace camp of its kind in the U.S. that utilizes the arts in the peacebuilding and conflict-resolution process.” An important aspect of the work C4P does is that it’s preventative as well as healing. “Even if there’s peace tomorrow,” says Indyke, “it doesn’t change the work we’re doing.” Cross agrees, predicting, “The work they do here may very well prevent future devastation.” This is an idea echoed by almost every young woman who’s been through the program. “I hope one day I’ll be able to spread the message of C4P and its work all over the world,” says Tannous. “I’m just glad that I changed in such a good way and for such a great reason—peace.”

CATHY MAIER CALLANAN

it’s so rewarding. “Peace work needs lots of courage, faith, love, and compassion,” emails Silvia Margia, 40, the group’s Palestinian, Nazareth-based Young Leaders coordinator. “It’s ongoing, internal work.” Indeed, as Indyke points out, many of the young women have a delayed reaction to what they’ve been through. “The change in three weeks isn’t always so immediately obvious,” she says. “Besides, we’re not just a camp. We’re a year-round program. This is just the beginning of a continuum that can go on for years.” As trying as C4P can be, though, it’s a respite, a semblance of normal. “For once I could act as a normal teenage girl who wants to live normally, and just have a break from this heavy duty (the situation back home) that I have been holding on to all my life,” says Tannous. “We’re not only living the change we wish to see,” says Margia. “We’re also creating a common history, after living a whole life of separation and boundaries.” “Being in New Mexico made the experience a lot more effective because we were in a new place, far from home and far from all our problems, news, and other friends,” says Mai Shbeta, 20, who lives in Wahat al-Salam (“the oasis of peace”) in Israel, a small village where Jews and Arabs choose to live together. Shbeta first attended C4P in 2007 as a camper, then returned in 2010 as a young leader; she also participated at last year’s Davos Forum and plans to work for human rights and peace. “We had time and a place to concentrate on the process, and we had to help each other because we couldn’t call home.” But as important as it is to dialogue with each other, expressing themselves in other ways, particularly visually, through art, is just as crucial. The art-therapy sessions—where the young women make masks together, construct body outlines of one another, and develop a multimedia truth mandala dealing with anger, grief, fear, and hope, among other activities— challenge them to continue their process in a nonverbal way and offers them a


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It’s super-subjective, it’s up for debate, it’s our annual take on artists in and around Santa Fe

the

art

issue Clockwise from top: Karina Noel Hean, Landform IV, mixed media cutout drawing, 72 x 52"; Bates Wilson, Missing Piece, reclaimed materials, 3' x 3 ' ; Ruth Tatter, Marsh Hawk, watercolor on paper, 18 x 24"; Norman Mauskopf, Española, New Mexico, gelatin silver, 12 x 18"; Victoria Carlson, What Is Within Is So Great, watercolor, 60 x 41"; center: Michael Bergt, Navigating Influence, color pencil and gouache on paper, 18 x 15"

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warp and heft

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amona Sakiestewa is about as clear and forthright and sweet as any person could hope to meet or be. Which explains in part why her woven abstract paintings, often devoid of anything figurative, narrative, or perceptible, have appealed to so many people: as nonrepresentational as they are, they’re beautiful but full of sinew and depth, elegant, straightforward but inherently, deceptively complex. And in a way—much like Sakiestewa herself— almost defiant and reluctant at being put into a box. (How, after all, can anyone delimit the range of someone who, after teaching herself how to weave based on the writings of anthropologists, went on to create her own versions of Navajo textiles, who abstracted katsina motifs, and who had the intuitive genius to make pieces based on designs by Frank Lloyd Wright and paintings by Kenneth Noland?) “When I was a teenager, I had a very bad experience with my mom’s second husband when we spent one year living in Daytona Beach, Florida,” recalls Sakiestewa, seated in the cozy A-V kitchenette of the large studio she shares with her husband, Andrew Merriell (who designed their spacious atelier, across from their house, and whose company plans and designs museums and exhibits). “It was a household of No. So when people say No it’s pretty much not relevant when I really want to do something.” So never mind her Native roots. Never mind her gender. Never mind the traditional assumptions about what weaving is or where it belongs or who should or shouldn’t be doing it. Sakiestewa, without ever making an issue out of her Hopi background, her femaleness, her medium, simply put forward herself and her art, clearly, candidly, confidently. Which is how she’s approaching her latest incarnation—having given up weaving for the worlds of printmaking and architectural design. But

renowned weaver Ramona Sakiestewa leaves behind her loom for other media by Devon Jackson

Opposite: one of the elevator cab interiors designed by Sakiestewa for the National Museum of the American Indian; above: Equinox 4, clay print—one of the new media directions Sakiestewa has gone in.

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Ramona Sakiestewa

Far left: Sakiestewa’s woven tapestry-painting, Nebula 13; one of her monoprints, Cumulus Cloud Katsina.

given the fact that her weavings practically demanded they be viewed on much the same terms as any fine art, most of her prints and designs will no doubt center on the same concerns her tapestry-paintings did: color, texture, and composition. “I knew as soon as elementary school that I’d be an artist,” says Sakiestewa. “Why? I just liked making things.” She started off at four when she was given an electric Singer sewing machine. By second grade she was making most of her own clothes. Born in Albuquerque’s old Indian Hospital in 1948, she spent most of her childhood there (excepting that one dismal stretch in Daytona Beach) before moving to Sedona, Arizona, where she spent her first three years of high school until she was kicked out for having a bottle of scotch in her bedroom. “It was traumatic,” she remembers, “but it was also the best thing that ever happened.” Ever precocious (true to her only-child status), she returned not to Albuquerque but to Santa Fe, where she talked the headmaster of Santa Fe Prep into letting her finish out her senior year there, and stay at his place in exchange for taking care of his kids. “I grew up at a time and place where women were doctors, lawyers, administrators, they could do anything they wanted, it wasn’t an issue,” says Sakiestewa, whose mother worked as a nurse. “So I believed women ran the show. It wasn’t until I went to the East Coast for school that I realized women didn’t run everything.” School was New York City’s School of Visual Arts, where she studied textiles at night after a day of fulltime administrative work at Columbia University’s engineering department. After three years at SVA, she moved to Mexico City for one year. There, she saw her first Josef Albers show and, although she didn’t 56

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fully appreciate it at the time, absorbed the country’s ever-present murals and indigenously influenced architecture. “Later, I realized that I draw on all that in my work—the murals, the architecture, the landscape,” says Sakiestewa. “In a way, I was a visitor of life back then.” She returned to New York, but only briefly. In time, she moved back to Santa Fe. She worked as a waitress, she worked retail, then she got a job with the state arts commission, funding Native American and Hispanic arts projects. As satisfying as the job was, though, she wasn’t making her own art. So she got back on the loom, then started weaving with a group in Española, then began to show her work at Indian Market. In 1981, she opened her own studio. “I did Indian Market for many years, from when my son was 5 until he left for college at 18,” says Sakiestewa, who at the time was married to the poet Arthur Sze. “Indian Market’s a great springboard, but it’s not completely who I am.” So, even while she was showing her textiles at Market, she also made a point of selling her work to galleries. Art galleries. “I have not shown my work at a crafts-based gallery—ever,” she says. “But I was also very lucky—I got into Lewallen early on.” Lucky, but determined (or so it seems in hindsight) to make her own luck. Knowing that she’d never be able to make a living selling her work only at Indian Market, only at local galleries, or only to local collectors, Sakiestewa’s openmindedness—artistically and businesswise—opened up her opportunities. “Most of my collectors are on the coasts, and they’re well-educated and well-traveled,” she says. “But you have to work as though you’re in a universal artistic community. I really had a much broader experience than had I lived just on the reservation. So I had a broader idea of who Indians were.” And could be. Still, as extraordinary as her work was, it initially ran into criticism. For one, in Hopi tradition, weaving was men’s work; it’s also very traditional and very specific as to designs and colors. But Sakiestewa, a freak for color, loved blending colors together. And she favored abstract designs, or she’d take a section of something she liked and blow it up. “I have a real respect for people weaving in the 19th-century Southwest,” she says. “But my work has always been full of color. It comes to me really easily. It’s part of growing up out here.”


Her proclivity for color, and her equally strong shop-by-touch tactile fascination with texture, has taken her all over. On a weaving expedition to Peru, for example, she was given a recipe for dyeing cochineal, which she blended into her own work with great success. Likewise, a trip to Japan yielded a newfound love for green, which she later paid homage to in some of her pieces. “Tapestry is really just an exploration of texture and the layering of color,” she explains. (On an extrapolated level, too, her artistic tastes and talents led to her helping to establish ATLATL, a national Native American arts and cultural services organization, and to her serving as the first Native American director of the Southwestern Association for Indian Arts, the group behind Indian Market.) “Leaving weaving behind is a terrible risk,” says Sakiestewa, who’s been taking printmaking classes with Ron Pokrasso. (“He’s been great,” she says. “He’s so open, and he doesn’t guide you.”) “But I’d worked as a weaver for 30 years and felt like the last show I did was perfect. That was kind of it. I wanted to do different things. Besides, there’s a lot of layering of color in printing. With weaving, it was the visceral experience of color. With printing, too, you can assemble images and concepts and color that you can’t do in weaving. You have a lot more tools available. Plus, I’ve never done literal work like this with figures.” Also, after working on the National Museum of the American Indian (1994–2005), work she calls “the project of a lifetime” and where she met Merriell, Sakiestewa got into the collaborative aspects of printmaking and design. “I don’t worship my work, so it’s been easy for me to work in a team environment,” she says. It’s something, too, that taps into her nature, into being able to be who she is—and accepted as that. “I just want to be seen at face value,” she adds. “As just another artist.” Info: 8 Modern/eightmodern.net

Below: detail and overview of the carpet Sakiestewa designed for the Tempe Center for the Arts in Arizona.

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politically collaged the artistic lives of Maggie Muchmore

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MAGGIE MUCHMORE

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er art may not appear as allout political as Sue Coe’s agribusiness exposés, or Picasso’s Guernica, or Fernando Botero’s recent Abu Ghraib paintings, but the work (and life) of Maggie Muchmore—an inviting, inventive, intrepid, intuitive wife, mother, grandmother, and teacher—can be as radical and rousing as anything by Banksy or Shepard Fairey. Whether it’s in her stageset dioramas, her portraits of herself as an older woman (in her Grow Old series), or even in her David Hockney–like pastel landscapes—of the Bosque del Apache wildlife refuge or the garden in her backyard—Muchmore’s work exerts a very subtle tug, if not on one’s beliefs and values then at least on how and what people see. The choices people make when taking in a landscape, when looking—or not looking—at an older woman. Muchmore’s work, pardon the pun, is about much, much more than old ladies, gardens, and bosques. It’s about choices. And how those choices—artistic, personal, imperceptibly small but ultimately very significant choices—affect who and how people are in the world. Muchmore, here in her airy, well-lighted studio that’s part of her adobe Santa Fe home, points to one of the quotes she’s tacked to her wall. “The unseen informs, it does not reveal.” It’s from American psychologist Julian Jaynes, author of The Origin of Consciousness in the Breakdown of the Bicameral Mind. “My work’s very non-Zen,” says Muchmore, 65,

by Devon Jackson

Maggie Muchmore, Michaelmas Day (detail of triptych), pastel, 32 x 76"


Muchmore, Ghost Ranch–Patterns, pastel, 40 x 100"

MAGGIE MUCHMORE

who practices meditation every day, especially before beginning her work. “It’s not like drawing and meditation are incompatible, but they are. That’s that fantasy: that you’ll be an integrated whole. That’s what my paintings are saying: this is not an integrated whole.” Muchmore’s also toying with what people think they see or think they already know.“I want people to say, ‘OK. I know what that is— Oh, wait.’ I’m playing,” she says. “I’m playing with that expectation.” Muchmore grew up in northern New Jersey—overly dramatic and always the artist in her class. “I was very curious,” she recalls. “My mom would take me and my two sisters to Broadway plays and musicals, and I was hungry for all that. I would go to the Frick and the Met. I didn’t feel like I belonged in New Jersey.” She can still be dramatic, and still feel the urge to flee, too. When she was recently asked by the producers of Breaking Bad to come up with a sketch of Heisenberg as drawn by a Mexican overlord, she got to spend time on-set down at Albuquerque’s Studio Q. “I wanted to run away on the prop truck,” she confesses with a laugh. A pastel aficionado since she was nine (“Pastels used to be wildly original,” she says, “now it’s more similar”), Muchmore was taught by a talented pastel artist in New Jersey. “If you want to have a family, he told me, paint pastels are a good medium, because of all the stopping and starting,” she remembers. “But it also matches northern New Mexico. It’s so dry and intense here. Now I’ve kind of carved out a pastel niche for myself.”

She studied stage and costume design in college, and she points to a small diorama on a table in her studio that looks like a model for a scene from a Santa Fe Opera production. It’s a study for a larger piece where people will be able to enter and wander around. “It’ll be a place where something can happen,” she says. In 1967, she and her husband John, a mid-century abstract ’60s painter, were on their way from Carnegie Mellon University, where they’d met, to Mexico for their honeymoon. They were at Ghost Ranch, then ended up living in El Rito for three years. Once they saw northern New Mexico, that was it. She worked as a bank teller and a dental secretary. One day she looked at a pastel on the wall and thought, What am I doing? I can do this. So she began painting. “I painted half-time and worked halftime,” says Muchmore, who for a while worked as the state’s deputy director of archives and record center. “Whoever was painting got the kids. We had twins, though, so they’d play together.” As soon as she began showing her work, it sold. “It was,” she says of those first sales, “like winning the lottery.” Muchmore began her series of large charcoal drawings about herself—about aging and the feminine—10 years ago, at 55. Jackie M, the education coordinator at the Georgia O’Keeffe Museum, where Muchmore had been teaching for years, had asked her to create a workshop for the museum’s Art and Leadership Program for Girls, which is designed specifically for preteen girls to strengthen them for their teenage years. What she came up with led to her Grow Old series. “They loved their crabby old-lady grannies,” smiles Muchmore. “I’d been planning my old-lady life for over 60 years, and doing these drawings of my older self for years, too. And I’d tell these kids at the O’Keeffe, If there’s no one to talk to, to ask their old self.” A couple years ago, she did a piece that came out of spending 18 days at Ghost Ranch while working on the O’Keeffe movie. “My big change came when I realized, This place is mine, too,” she says. In that Ghost Ranch—Patterns painting, she realized she couldn’t go under O’Keeffe, or less than O’Keeffe. “How can I go less than?” she asks rhetorically. “I mean, my name is Muchmore.” june/july 2011

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Maggie Muchmore Nevertheless, while she is present in all her paintings, even in the landscapes—”I always have a hidden agenda in them,” she confesses— “It’s not so easy to be so revealing of yourself. What it comes down to are preferences, choices, and what you leave out.” Which is where she found her kindred spirit in Hockney. “When I saw Hockney—I love, love, love him,” gushes Muchmore. “It’s obviously a patchwork of photographs, because that’s how we see now. You watch CNN and they have all these screens.” Working off of photographs she takes of a place, Muchmore then lays down a grid—what she calls her Mondrian lines—over the collage. “It’s like a crossword puzzle. I love crossword puzzles. I’m always looking for the place. But

there is no the place at the bosque: everything’s moving all the time. The birds, the light. The next one I’m going to do is my garden. Because there’s no the garden either. This is the no-art art. To be working with images as an artist and as a mediator. This is as close as I can get to the noncontinuous way vision works. We see what we think we see. So I’m playing with that. I’ve always played with time and chopping it up.” “The biggest obstacle at 65 is knowing what you’re doing,” she continues. “So being able to turn what I know over to my hands and get my brain out of the way is key. I do word puzzles before I work to get that chatter out of the way and let my hands take over. I also sit. I meditate. I get into beginner’s mind. Meditation’s like my eraser. You draw just as much by getting rid of things.” Lately, she’s been laying out a collaged version of the Bosque del Apache, which she’s never been able to fully capture. “But this has night and morning in it,” she says. “It’s thrown out the middleman. It’s how I see. This is an emotional collage of how I see that place.” It’s how most of us see. And process. And make choices. Even if we don’t realize how driven our choices are by our emotions. It’s that emotional area of the brain that Muchmore taps into, and what she wants her art to be seen as. “I want to fight for what art should be,” she says. “Which is that violative part.” Info: maggiemuchmore.com

Muchmore, Evening Walk, pastel, 32 x 40" 60

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mano a mono pressing the issue with master printmaker Ron Pokrasso by Devon Jackson

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aybe it’s because the ideas—images, intentions, memories—have been in there, in his heart, for so long, that his monotype paintings ripple with alternating currents of joy and melancholy. The joy of creating, the melancholy of loss; the pleasure of the process, the sadness of what cannot be expressed as fully as it was felt. But overall, in Ron Pokrasso’s wonderfully planked, paneled, tiered, and layered constructions, there’s honor: honor to art, honor to the act of creation, honor of others. “I want people to get a sense of the passion of creating,” says Pokrasso from inside his Arroyo Hondo printmaking workshop, which sits across the driveway from his home. “If I can get

that across: I had the time of my life making it. Something about the pure joy has to come through.” Indeed it does. About to turn 60 this year, Pokrasso was born in Brooklyn and grew up on Long Island with very liberal but not so culturally minded parents. Even though his mom dallied as a Sunday artist and his father worked as a child psychologist who sometimes built models with his young clients, Pokrasso didn’t make it to the Museum of Modern Art until he’d left for SUNY–Brockport. “But I grew up in a very healthy, very loving, very encouraging family,” says Pokrasso. All qualities that ooze out of him, too, and that he passes on to others in his workshops, in his art. It’s also what informs his art: not pain based on past trauma but pain based on a loss of love and loved ones. And not a treacly, nostalgic loss but a truly felt, truly deep sense of someone’s or some thing’s presence that’s gone forever; and one of the few ways of relaying their love and the love he feels for whomjune/july 2011

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ever or whatever—his mother, his dog, baseball, music—is missed is through art. “I’ve never considered my art as outrageous or out there,” says Pokrasso. “It’s pretty accessible. It’s personal and universal.” He started college with an interest in his dad’s field, but after his drawing teacher suggested a printmaking class, Pokrasso had found his true calling. “I fell in love with the process and the teacher, Robert Marx, immediately,” he recalls. After graduating from Brockport, and then getting his MFA from Pratt in 1975, all the while thinking he’d move into Manhattan, teach, and make art, Pokrasso received a letter from his college lithography teacher, Deli Sacilotto. It turned out Sacilotto had moved to Santa Fe to help print some of Edward Curtis’s photogravures. Having visited Santa Fe twice before (in 1965 with his family, again in 1976 with a friend), Pokrasso knew the town well enough to want to move. “Santa Fe and serendipity should always be mentioned in the same sentence,” he says with a smile. “It was already a desirable place for me.” And because it was— and still is—passive as compared to New York, it forced him to self-motivate. Which, after spending three years pulling over 30,000 Curtis prints—as the Curtis project’s master printer and production supervisor—he regrouped and in 1982 opened his own business, the Graphics Workshop. By 1985, he’d become known as the print tsar. It’s a title that extends well beyond Santa Fe, but it didn’t come overnight. “I had a hard time separating myself from my mentor, Robert Marx,” says Pokrasso. “That was a problem. Until I broke away and started using different sources: Francis Bacon, Jim Dine, Robert Rauschenberg.” Still, Pokrasso’s the first to admit to his limitations. “I know lithography, and I’m the go-to guy for monotype, but my expertise in printmaking is pretty limited,” he 62

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says. Limited or not, one of his bigger challenges has been reining in his tendency to get in too much—artistically, managerially. “I suffer from overstimulation,” he admits. “Even when I submitted my portfolio to Marx years after I’d graduated, he said, Too many choices. So I’ve had to learn to choose, and deal with the consequences.” Even so, it’s a struggle. Between 2007 and 2010, he took a break from making much of anything. “I became overstimulated by materials and resources,” says Pokrasso, who filled that time with teaching gigs at

Opposite: Ron Pokrasso, Coloring the Relationship, monotype, collage, intaglio, drawing on paper, 16 x 12"; Above: Rockette Before I Knew Her, digital ink jet, intaglio on paper, edition of 20, 10 x 8"


Ron Pokrasso

Below: Pokrasso, Fence Sitter, monotype, drawing, collage on paper mounted to wood, acrylic, 26 x 36"

museums, elementary schools, and lots of workshops—abroad and at his Arroyo Hondo space, which can accommodate nearly a dozen people. “I had to say something about my mom dying [in 2009], my oldest son getting married, a friend who died, my new dog. My work tends to be very close to my day-to-day activities. I’m not trying to do any great philosophical work. Just work that’s close to me.” Close to him and up to his requisite three Cs: craft, content, and composition. “Composition starts it,” he says. “Because I don’t try to make pictures about things. The content-based elements are always, always, always chosen to fit the composition.” As dominant as composition is, though, and as adamant as Pokrasso is in giving it overall precedence, there’s the impression that his process is as intuitive as it is cerebral. That as much as he struggles over what should go, what should stay in each work (he is, as he points out, a Libra, “So I’m doing this all the time,” he says, holding his hands out palms up and moving them up and down, “going back and forth, weighing everything”), he feels his way through a piece as much as he thinks it through. “Art shouldn’t look so well thought out, nor should its completion be more important than the joy of making it,” says Pokrasso, who has the distinct advantage—in the world of reverse images—of being able to write upside-down and backwards with no trouble at all. “The whole idea is to stay in the process. When I finish it’s a bummer. Anticipation of the next line, the next mark is the passion.” He pauses and looks around his studio. At the works that have been described by some New York dealers as “urban” and “edgy.” Words whose irony isn’t lost on this onetime throughand-through New Yorker who loves Santa Fe and is here to stay but who knows that as culturally exciting as it is here, “it ain’t the city.” But Pokrasso’s come to terms with all that. “I’m just following what works for me and that’s what I do,” he says. “I rarely say, I’m an artist. I say, I make art. It’s about the verb, not the noun.” Info: Zane Bennett Contemporary Art/zanebennettgallery.com

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life on the assemblage line

summoning up Santa Fe’s found-object artists by Jan Ernst Adlmann

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tymologically, assemblage first appeared in the 1950s after the title of one of Jean Dubuffet’s series of collages he’d assembled out of butterfly wings (assemblages d’empreintes), but the practice of making three-dimensional works out of this and that dates back to Picasso and Duchamp in the early 1900s, and to Louise Nevelson in the 1930s. For a while regarded as the red-haired stepchild of the art world, there are still those who’d venture that Picasso and Duchamp, sacred progenitors of modern art, have much to answer for in having, some 100 years ago, picked up various materials at random—from the street, in the rubbish, wherever—and, with practically no alterations at all to these objects, claimed they had as much validity as the sculpted or paint-and-canvas stuff of fine art. In addition to pointing out my own assemblagist métier here, the Santa Fe art scene has dozens of other practitioners of this quirky medium who, as the great American artist Robert Rauschenberg famously said, seek “to abolish the separation between art and life.” Along with myself, three of the found-art artists here—Gail Rieke, John Fincher, and Rita Bard, though there are plenty more talented assemblagists—fabricate works from materials found in the most far-flung places. And all of us have workspaces chockablock full of treasures we’ve unearthed not only daily, in our quotidian comings and

goings, but over many years, in our travels. Several of us have even encountered one another at, say, Goodwill or at The Flea, rummaging for something that spurs that creative spark. As assemblagists and collagists, we’re all seeking out and restitching together what the poet Charles Simic spoke of in his book about the art of assemblagist extraordinaire Joseph Cornell: we make our art because we know “the world is beautiful, but not sayable.” What we strive to say must be assembled from the detritus of the universe. To enter the studio of Gail Rieke is rather like plunging through the looking glass. In her private, opulent, objèt-crammed world, one feels as though one has stepped into an amazing miniature theater. With her artist husband, Zachariah Rieke, she has built a bottomlessly rich and redolent environment (the ultimate “cabinet of curiosities”), which has grown, seemingly organically, like a gorgeous coral reef. Rieke, then, has to be acknowledged as the undoubted doyenne of assemblage and collage hereabouts. Indeed, her work is avidly collected far beyond Santa Fe. Evening in Paris, one of her novel, tabletop tableaux, shimmers mysteriously, somewhere between art and life, between flea-market finds and sheer alchemy. The title is a giveaway, but for too young to know it, for a couple of generations of American women in the Art Deco era (the 20s and 30s), Evening in Paris was the modern woman’s scent of

Opposite: Gail Rieke, Evening in Paris, mixed-media assemblage, 3 x 13 x 12"; right: Rieke, Suitcase Wall, suitcases and containers, many containing travel journals, 97 x 137"—part of Rieke’s equally assemblaged studio itself.

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choice—and one readily found at Woolworth’s. In this ineffably subtle piece, Rieke evokes the sophistication and élan of all things Art Deco; the piece is simply suffused with desire. What is more “beautiful, but not sayable” than this? John Fincher, best known for his bravado painting, has long been fabricating terrifically suave, or dreamy, or downright strange assemblages, all of them promptly snapped up whenever one of his rare such exhibitions occurs. Totally in the manner of the great man Cornell, creator of some of the most evanescent assemblage works of all time, Fincher unabashedly riffs on some of the themes Cornell famously pursued. In many of his pristine creations, which are most often encased, like jewels, in chilly “vitrines,” Fincher takes his keynote from a reproduction of some famous work from art history. A number of his pieces have involved images drawn from the 16th-century Florentine Mannerist par excellence, Agnolo Bronzino. Cornell, an odd loner of an artist whose assemblage boxes were embraced by everyone from Duchamp to Warhol, also favored reproductions of the Old Masters in his work, and it’s as though he—and Fincher—make that one first critical choice, and then all the other elements and decisions surface (after long deliberation). These enigmatic but riveting works are, as has been said, rather like choosing to watch a movie from the middle onwards. Much will always remain unknowable, surprises unfold. Rita Bard’s quixotic sculptures often seem to hover somewhere between the droll and the frightful. Very often, Bard appropriates dime-store figurines, which she then bonds with disparate elements that result in a, how’s that again? moment: Sometimes funny, sometimes not-so-much. In her sprightly assemblage Song Bird, the artist marvelously combines a perky little pot-metal

bird within a spiraling skein of wire which rises and encircles the songbird. With the most limited materials, Bard suggests, beautifully, the lilting line of the bird’s joyful trills. For this viewer, the modest Song Bird has much of the impact of the famous painting of Paul Klee, entitled The Twittering Machine. As we know, heard melodies are sweet, but those unheard are sweeter. For myself, for some unfathomable reason (or, a reason I hope remains unfathomable), I often find that my combinations involve elements diametrically opposed in life and art. In a piece like Accoutrement: For Marlene, I bring together suggestions of opulent, jeweled bibelots (think Fabergé) with something troubling, from the dark side. The gleaming, steel syringe, reposing on a velvet pillow, on a marble plinth, is inexplicably encrusted with “diamonds,” suggesting a very eccentric (and puzzling) add-on fashioned for Marlene Dietrich’s dressing table. Assemblage is really no different from any other art genre, permitting the artist to reconcile the hand, the eye, and the tongue; each alone, though, isn’t quite enough to express the artist’s concept, so what results is some third image that emanates from the mind’s eye. The beauty of such a line of pursuit is that this third image—and the mind’s eye—depends as much on the creative abilities of the viewer as it does on the object itself and the artist’s intentions. Editor’s note: In addition to being a writer, Adlmann is also a working artist. To see his work and that of the other assemblagists: Adlmann: 8 Modern/eightmodern.net Rieke: riekestudios.com Fincher: LewAllen Contemporary/ lewallencontemporary.com Bard: launchprojects.com

Left: Rita Bard, Song Bird, mixed media, 16 x 12 x 14" 66

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masters

Art in Santa Fe continues to change. In the ’80s, when the City Different morphed from longtime artists’ haven to all-around arts mecca, there was hardly a contemporary gallery to be found. Now there’s an entire section (the Railyard) devoted to all things mod, postmod, and post-postmod. Which doesn’t mean Canyon Road has fallen off the map, or that it offers only landscapes and Western themes, or that there aren’t quality galleries all over town or galleries to be found in Taos and elsewhere; it just means the town is that much richer artistically. Herein, a roundup of artists doing some of the more interesting work out there—no matter what the genre.

of fine

arts

Pascal Pierme, Les Sages 4, mahogany, 34 x 42 x 12"

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Jennifer Joseph

Jennifer Joseph, Born Under a Solar Storm (detail), acupuncture needles and mixed media, 9 x 10 x 10"

Susan York, Corner Column (in corner) solid graphite, 72 x 10 x 10", Tilted Wedge (wall piece), solid graphite 18 x 48 x 94" 68

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Jennifer Joseph’s paintings and installations embody a contemplative, idiosyncratic methodology. Her intricate, site-specific assemblages mimic natural systems, exploring the dichotomy of structure and chaos. “By integrating elements of chance and systems of divination, interesting visual situations are created,” says Joseph, 45, who moved to Santa Fe in 1991 after earning a BFA in painting and arts administration from Philadelphia’s Moore College of Art and Design. Whether it’s intricate webs of wire and crystals or an edition of 1,000 sterling-silver-faceted spheres, Joseph’s environments are inviting in their complexity and availability. The conceptual component to her work, then, is often as interesting as the work itself. “Art has to feed me in some way,” says Joseph, who provides the viewer an entry point through which the work can be enjoyed on an aesthetic, conceptual, and meditative level. “It has to be accessible. I want to give people somewhere to rest.”—Elizabeth Lake Info: LAUNCHPROJECTS/launchprojects.com


Pascal Pierme

Pascal Pierme, Evolutive 2, wood and mixed media, 36 x 36"

Susan York

Graphite, the stuff of pencils, cousin to the diamond, is painstakingly mined and polished in Susan York’s objects, installations, and drawings. “The medium is so primal,” says the 46-year-old Albuquerque native. “It’s pure carbon. It’s so palpable.” York, who ventured out to Michigan’s Cranbrook Academy of Art for her MFA before returning to New Mexico to teach (at Santa Fe’s University of Art & Design, where she’s taught since 1998), speculates that her upbringing in the open expanse of the West is why she’s so attracted to her pared-down aesthetic. “The landscape just hits me,” she says. “So I put it into my work. It’s dynamic, the tension created between infinite and finite space.” While her finely silvered solid-cast graphite forms can be easily tied to the “post-minimalism” continuum, what distinguishes York is the dynamism of her objects. And the feeling that “what you expect,” she says, “is not what it is.” Never inert, her work emits a subtle tension, an almost animate vibrancy. Her careful consideration of placement and scale, based on her own body measurements, conveys a palpable intimacy. Intriguing in their ability to both absorb and reflect light, “like looking into a pond,” she says, the initial gravity and density of York’s graphite objects give way to an arrested, contemplative exchange, blurring subject and object. Currently planning an installation of two monumental monoliths, York intends that the work be pawed, palpated, and pored over. “People want to touch the work, and I want to work with that desire,” says York. Again, the dualities of “tension and tranquility” play heavily. These dualities are felt rather than seen, “creating a compelling phenomenology that bypasses thinking,” says York. “I want the objects to hit you viscerally.”—EL James Kelly Contemporary/jameskelly.com

Having worked in various media over the years (from concrete and bronze to steel and stone), wood now resonates the most in Pascal Pierme’s hands. “It is much more than one medium, from oak to mahogany to ash—each smells and acts differently,” he says. “Wood is alive.” Born in 1962 in San Raphael, France, where he studied art history and technique from 1975–80, Pierme moved to Santa Fe in 1997 after visiting friends in Eldorado. His sculptures—clean, sensuous forms—reflect his interest in Japanese and Zen aesthetics. “My work wants to be figurative but is only abstract,” says Pierme. Studies in duality in both form and material, his pieces tend to express a dynamic interplay between the inherent weight and solidity of wood and the forms’ supple, feminine contours. Often composed of interacting parts shaped from the same piece of wood, his organic geometric abstractions are compositionally balanced to create a harmonious whole. “There is a dedication to try and express in the simplest way,” adds Pierme. “You can’t control it very well. It’s a reductive process: You are walking on a path but can’t go back, win or lose, no matter what. So it’s about taking risk—and I like to be surprised.” More concerned with the meditative process of discovery than in working toward an answer, “I am proud if you see my work more as a sweet interrogation,” smiles Pierme, “than as an affirmative message.”—EL Zane Bennett Contemporary Art/zanebennettgallery.com

Heather Foster

Heather Foster, Larger than the Arena, oil on canvas, 36 x 60"

As straightforward and unpretentious as her keenly observed and precisely rendered paintings, Heather Foster captures the motion and energy of the rodeo while also reveling in its animal participants: horses, dogs, but especially cows. “Cattle are so quirky,” muses Foster, 42. “When you get up close and meet them, you just have to know what they are thinking.” For the last decade, Foster has chronicled this fascination, often favoring longhorns, though she only recently started attending rodeos. “The bulls are athletes,” she says, obviously impressed. “Sometimes I want them to win.” A quiet, self-assured Philadelphia native, Foster has lived in Santa Fe off and on for 20 years: “You go off looking for jobs,” says Foster, whose other occupations have included stints in conservation and restoration, “and Santa Fe keeps calling you back.” In addition to her full-time career as a painter, she also cares for her four-yearold daughter. Might she ever shift her focus away from her bovine subjects? “In my mind I keep thinking I should move on to something else,” admits Foster. “But as many cattle as there are, that’s as many portraits as you can do.”—Eve Tolpa The Peterson-Cody Gallery/petersoncodygallery.com june/july 2011

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IMAGE COURTESY MATTEUCCI GALLERIES

Beth Rekow

Douglas Johnson, Sacred Places (After Couse), gouache on board, 6 x 4”

Douglas Johnson

Douglas Johnson began painting when he was a child, but the major interests that would one day grab hold of him for life, n ― ature and Native American culture, d ― idn’t come into relief until his college years, when, as a member of the Volunteers in Service to America (VISTA) program, he was assigned to live and work on the Navajo Reservation in Chinle, Arizona. “When I came to the Southwest, in 1965, there were no environmentalists like there are today,” says Johnson, 64. “So all of a sudden I was launched into a culture where people have sacred spaces. That was hard to understand at first. And then that all of nature was animate and alive, including rocks. That was also a whole new concept to me, but it eventually became my way of seeing the world.” Those two years among the Navajo changed Johnson forever. He no longer felt a connection to the culture he’d grown up with, nor with the hippie culture dominant at that time. In 1969 he returned to Chinle from San Francisco. He painted, he learned to make pottery, and over the years, Johnson has became renowned for his small-scale, intricately detailed gouache paintings, which are often described as jewel- or gem-like due to their vibrant colors. He’s also celebrated for a stone dwelling he’s lived in since the early ’70s, which he built himself into the side of a cliff near Coyote. It has no plumbing and no electricity, but suits Johnson’s desire to live and work closely with nature―, something that was inspired by his experience with Navajo culture. “The word harmony has been overused, but the whole Navajo religion is about maintaining harmony not only with nature but with all people in the world, with the weather, with everything,” says Johnson. “I try to show balance in my work, but, really, creating art is about attaining balance within myself.”—AH Nedra Matteucci Galleries/matteucci.com 70

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After working in architectural interior design for 10 years, Beth Rekow, who moved to Albuquerque from San Francisco in 2004 to get her master’s in architecture, ―decided to return to the art world. “I believe that art offers the opportunity to make a statement about where we’ve come from culturally, environmentally, and creatively so that we can form a clear perspective about where we need to go in the future,” says Rekow, 44. That perspective, she adds, is enhanced through collaboration. “In order to communicate or have any kind of progress in this world, we have to be cross-cultural. We have to cross over from our own experience and community and work with others, so that we can become better educated, more aware of what’s happening with humanity, and think beyond our own present.” This latter point―—thinking beyond our own present—is suggested by Rekow’s use of one medium in particular: recycled plastic. “We are tremendous consumers of plastic,” she says. “We’re drawn to it and seduced by it, by its artificial constructive qualities. We have such an intimacy with plastic shopping bags—they transport our food, clothing, tools. But then these bags get tossed, their three-millimeter skin breaks down very quickly, and are ultimately cycled back into our food chain. We’re literally consuming them.” Rekow has also worked with glass (“Its elegance and fragility are a paradox of its strength.”) and, more recently, wood. (“I’m making a lot of one-ofa-kind, sculptural furniture.”) Whatever medium she’s working in, though, Rekow maintains one important criteria for her art. “I’ve always wanted people to interact with my work,” she says. “I’ve never wanted people to stand in front of it while it’s hanging on a wall. I’m not capable of doing work that causes people to just stand there.”—Amy Hegarty Eileen Braziel Fine Arts/eileenbrazielfinearts.com Beth Rekow, Consumption, recycled plastic bags and rope, 7' diameter


like butter

Rebecca Bluestone, Color Study Diptych #1, silk, dyes, cotton warp 50 x 37"

Rebecca Bluestone

Although Rebecca Bluestone knew since age five that she wanted to be an artist, it wasn’t until she discovered weaving in her early 30s that she’d unlocked her ability for creative expression. Bluestone, who studied with Ramona Sakiestewa and who often collaborates with her classical guitarist husband Robert on Woven Harmony, a multimedia presentation touting the power of creativity, was drawn to fiber because of its interaction with color and light. “It’s pointillism,” says Bluestone, 57. “A weaving is literally made up of dots of color that the eye then pulls together.” Though it comes from a deeply contemplative, intuitive place, Bluestone’s work is grounded in her relationship to the natural world. She is fascinated with the Fibonacci sequence (the so-called golden ratio of 3:2), and her weavings are so highly integrated in terms of vision, materials, and technique that there’s little temptation on the part of viewers to examine any one aspect. Each of her pieces functions as a harmonious whole. “You want your technique to be so good that people don’t notice your technique,” she says, citing a favorite Zen maxim: “It takes a great deal of complexity to be truly simple.”—ET Chiaroscuro Contemporary Art/chiaroscurosantafe.com

“Small grants for big ideas.” It’s a simple slogan borne out of a rather straightforward idea: host recurring public dinners (spreads—get it?) to raise money that will fund in-state artists’ projected and creative initiatives. Its founder, SITE Santa Fe, the contemporary not-for-profit, launched the program, known as SPREAD, this past March. Every several months or so, the contemporary art space will host public dinners to raise money to “fund artists’ projects and creative initiatives.” Tipping its hat to similar drives like Brooklyn’s FEAST and Chicago’s inCUBATE, SPREAD is a grassroots project aimed at promoting local support for the arts, be it installation, performance, film, or publications. With a sliding ticket scale (ranging from $15 to $50), community members are given a catered meal and a ballot. Eight predetermined artists present abstracts on unrealized projects. Over coffee and dessert, diners then cast their votes; the winning proposal takes home the lump sum of the entry fees to realize his or her project. SPREAD’s inaugural feast concluded with the art collective Meow Wolf taking home the $8,000 kitty. The Due Return, their ambitious multimedia installation piece, is a gigantic ship created with the help of over 100 artists and will be on view through July 10 at The Center for Contemporary Arts. SPREAD’s next soiree is slated for a Halloweenthemed dinner on October 28 at the Santa Fe Farmer’s Market. SPREAD, FEAST, INDULGE, SNARF—whatever turns starving artists into wellfed artists—and an artistically engaged community—we’re all for it.—EL

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Jono Tew

Jono Tew, Night Lights, oil on canvas, 26 x 36"

“I love it,” says Tew, “that 10 minutes out of Santa Fe you can be in the middle of nowhere.”

Jim Vogel

“I am a very jealous son of New Mexico,” says Jim Vogel. “This is such a special place, even at its worst. There is a sense of wonder still.” With his Dixon studio looking out on the majestic cliffs of Barranco Blanco and a vineyard in his front yard, Vogel and his family of five live in situ with inspiration. A husband and wife team, Vogel and his partner Christen often work in tandem, she making fine reclaimed tin frames for his paintings. The novel display of Vogel’s images adds to the form and content of the work, be it an old radio box or an oil canvas vignetted in a vintage car door. New Mexico’s landscape, along with its people and his own family history (he grew up in Roswell), inform Vogel’s subject matter. With a style and content redolent of Thomas Hart Benton and American Regionalism, it was New Mexican painters Peter Hurd, Howard Cook, and Luis Jimenez who most influenced Vogel early in his artistic life. Known for his rich depictions of raw rural life and its people in the throes of work, Vogel’s stylized figures—with their larger-than-life hands—tell an open-ended tale. Standing before one of the pieces he’s working on for an upcoming show, Vogel explains that, like many of his oil works, this one, of a shepherd and his flock of sheep, is allegorical. “It’s about the idea of tending your flock and the sometimes overwhelming task of taking care of a family,” says Vogel, who worked as a graphic designer in Boulder for 15 years (after studying graphic design at Denver’s Art Instititute of Colorado) before giving that up to paint full-time in Dixon. “I like it when the viewer makes up his own story. Even though I paint representationally, I don’t paint literally.”—EL Blue Rain Gallery/blueraingallery.com Jim Vogel, Long Gone, oil on canvas on panel and Model T High Boy door, 51 x 24 x 5" 72

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The swirling, colorful landscapes of Jono Tew could be companion pieces to Van Gogh’s Starry Night, though not as disorienting. In fact, the colors and movement of Tew’s work make one want to jump into the painting itself, hitch a ride in a beat-up pick-up truck, and head into the endless landscape of New Mexico. It was this broad expanse that inspired the 42-year-old artist when he arrived from Massachusetts six years ago. “I was dumbstruck by the vastness of space,” says Tew, who now lives in Rowe. “I love it that 10 minutes out of Santa Fe you can be in the middle of nowhere. The solitude and uninterrupted line of sight really allow me to imagine the sweeping movement of the landscape.” The new vastness of space also motivated Tew to switch from layers of acrylics—heavily textured, and “grid-based,” inspired by cubism and the works of Paul Cézanne—back to oil, “in order,” says Tew, “to reflect flow of movement in the land.” In his work, Tew depicts people living a rural, agrarian lifestyle (even though his canvases rarely have any people in them). “Quite often you can imagine that a particular scene hasn’t changed in generations,” says Tew, who’s eager to expand the format of his pieces and tackle larger paintings. “Giving time itself something of a magical quality.”—Zélie Pollon Waxlander Gallery & Sculpture Garden/waxlander.com


DANIEL BARSOTTI, IMAGE COURTESY BOX GALLERY

Gendron Jensen + Christine Taylor Patten

Gendron Jensen and Christine Taylor Patten met through drawing. “A gallery director in Albuquerque put us together,” says Patten, who, at the time (1986) was living in Santa Fe. “She handed me this envelope with his handwriting on it and said we should know each other because we both did large drawings.” A correspondence ensued between New Mexico and Minnesota, with marriage resulting a year later. “We fell in love before we saw each other in person.” The strength of their love—both for their art and for each other—is a defining force in the couple’s lives. And their approach to their work is as deep and heartfelt as their commitment to each other. “My favorite definition of drawing,” says Patten, “is from Webster’s: to extract the contents of.” She makes it clear that even though she and Jensen work in two dimensions, their art does not deal just with surfaces: it’s about delving into essence. In his idiosyncratically poetic way, Jensen explains the primacy of his relationship to the “bony relics of wild creatures” that populate his work. “They choose me,” he says, describing the process of wandering through the mountains beyond the back door of his and Patten’s shared home in Vadito, on the High Road to Taos. “It’s in the nape of my neck where I feel it. Forty percent of my time is spent hefting and musing the bones.” The resulting pieces are exquisite: delicate and meticulous expressions of Jensen’s uniquely tuned sensibility. It’s evident that he feels a strong kinship with his subjects. “Classically, they represent sterility and death. To me, they are filled with glorious life, vibrant life.” Patten’s drawings call to mind the mind-bending Charles and Ray Eames film Powers of Ten. What are these things she is depicting, and where are we in space as we view them? Are they waves, particles, planets, nuclei? Her work is heavily informed by the sciences, but in a roundabout way, as if she backed into it. “Artists do look at the same things scientists do, but we find them in much different ways,” she explains, noting her ongoing interest in advances in astronomy, biology, and physics. “But the art came first and has never been intended to reflect the sciences. My cousin’s husband is a nuclear mathematician and he shows me passages in the sequence of micros [a series of small, interconnected pieces] where the drawings suggest mathematical processes.” To try to define her work as abstract or representational is almost beside the point. “I don’t draw traditionally,” stresses Patten. “It’s not meant to be a static thing. I’m not trying to make anything look like anything.” Instead her pieces build on one another, track an evolution. “I’m always very curious about the next step in the work. For me, drawing opens up the mystery of what life can mean. I used to be in awe of this movement through drawing. Now I just smile.”—ET Box Gallery/boxgallerysf.com

Gendron Jensen, Bidden V (raven skull, turtle scapulae), graphite on paper, 40 x 30"

Christine Taylor Patten, 535–AD T–2 (tangent), crow quill pen and ink on paper, 10 x 11"

David Solomon                

In his evocative abstracts, David Solomon brings forward his personal synesthetic metaphors—making, as he puts it, “the invisible visible.” Of this perceptual interaction, the results of which are often reminiscent of a petri dish specimen magnified, “I start out intuitive and start to pull images out,” says the New York–born, South Florida–raised 35-year-old who moved out West (first to Arizona, then to Santa Fe) out of a fantasy-based love of the Southwest. A self-described materials geek who “loves painting and all the things you can do with it,” Solomon delights in the exploration of color, surface, and light—and the ways they interact. His latest fascination: aluminum. “I’ve always mixed my surfaces, flat and glossy areas of paint,” he notes. “Flat aluminum highlights the differences in the media because of its glass-like surface.” He takes a similarly loose approach to the Santa Fe art scene. Since 2005, he has curated approximately 50 shows, gratis, a process he characterizes as “having fun showing work and helping people progress in their careers. And,” he adds, in typically expansive fashion, “art increases cultural health.”—ET David Richard Contemporary/davidrichardcontemporary.com David Solomon, Never Yours, oil on aluminum, 30 x 36"

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Karina Noel Hean

Karina Noel Hean committed herself to art by second grade; by ninth, she’d put together a portfolio, and around that same time finagled for herself her own studio at her high school in Maryland, where she was born and raised. A graduate of Annapolis’s St. John’s College (her mom worked there as an admissions officer, her father worked as a cabinetmaker), Hean, 33, had a particularly visual way of interpreting math and science, experiences that eventually found their way into her gorgeous abstract landscapes. Steeped in a marine—and ultramarine—translucence, Hean’s colors move in and out of each other with an almost biological elementariness. Which makes sense, given the sensitive Chesapeake Bay ecosystem in which Hean grew up and lobbied to protect. “I’m investigating the frailty of the support of the land,” says Hean, who’ll be teaching at the University of Art & Design and the Santa Fe Community College, after a year-long teaching stint in Montana. “It’s a psychological investigation, and I’m conveying a valuation of the landscape, too. Every place I go to adds another layer to the possibilities of color and form in my work.” After some post-baccalaureate work at Baltimore’s Maryland Institute College of Art, where her encounters with Jim Dine’s collages encouraged her to play with space in similar ways, Hean eventually came out to Santa Fe. “This town is so sweetly small,” she says. “Artists here are open and receptive to others.” In addition to teaching and painting, Hean also works part-time at Canyon Road’s Selby Fleetwood Gallery. “I see all my work as a scholastic endeavor and as visual communication,” says Hean. “It’s all about attention and care, really, and I want to promote that love and dedication to the world at large—whether it’s through the work I do at the gallery, through teaching, or through my landscape paintings.”—Devon Jackson Zane Bennett Contemporary Art/zanebennettgallery.com

Ruth Tatter

Known for her warm and arresting watercolor paintings of animals, Ruth Tatter’s love for her subjects can be traced back to her years growing up in rural Wisconsin. “My contact with domestic animals led me to develop a fascination with their wilder versions,” says Tatter, 64. “Although we coexist, there is something like an invisible curtain between wildlife and ourselves. For me, the painting surface is like that curtain. The images look out from a distant world and hopefully draw the viewer to have their own contemplative interest in them. And maybe even create enough of an interest in animals that leads to thoughtful conservation.” It’s a macrocosmic intent complemented by her almost microcosmic attention to detail. “Eyes are the most important part of my animal paintings,” she say. “If I can get them right, the rest falls into place.” Her attentiveness to these little things has also played a role in keeping the Midwest native in the Santa Fe area since 1972. “If you become familiar with even a part of a place, you have in some way touched it all, and the whole is an expansion of its smallest components,” she says. “If you can see the beauty of a single creature, you can appreciate wildlife’s integral part in the entire web of life.”—―AH Marigold Arts/marigoldarts.com

Ruth Tatter, Steller’s Jay, watercolor on paper, 14 x 20"

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Karina Noel Hean, Landscaped II, graphite on paper, 33 x 19"


Lynden St. Victor

It was a 2002 New Year’s resolution that propelled Lynden St. Victor into painting. “Then we got a new sofa set,” deadpans the 52-year-old son of actors and onetime all-American soccer player, “so we needed something to go with that . . .” The self-taught artist, who spent 15 years in San Diego before moving to Santa Fe with his wife Lisa six years ago, experienced some trial and error regarding technique, but as he continued to gain mastery, he began challenging himself to bring forward increasingly complex stories. With a background in cartooning—he draws the syndicated strip Pardon My Planet (under his pen name, Vic Lee)—St. Victor comes naturally to storytelling, and it is absolutely integral to his work, which chronicles the chaos and change he sees in the world via an appealing, highly stylized aesthetic. It’s an aesthetic similar to that of Mark Ryden’s anime-inspired bug-eyed waifs and Takashi Murakami’s superflat otaku-influenced world of anime and manga. Through addressing subjects like faith and love (both titles of paintings), he aims to give viewers a sense of catharsis, and of hope. Driving the process is his engagement with theology, world religion, and what he terms astro-mysticism, a cosmological notion that deities originally arose from observed astronomical phenomena. His pointed focus on deconstructing theological dogma could easily steer him into some heavy territory, but St. Victor dodges excess gravitas with his humor and offbeat sensibility. Describing the creation of work as a “labor of a zillion sketches,” St. Victor develops multiple iterations of a drawing, making changes as he progresses. “By the time I start the painting,” says St. Victor, who has also run a dog-rescue sanctuary with his wife, “I know exactly where I am going.” The symbols embedded in his pieces arise from “the still, small voice,” inside him, or what St. Victor calls his “intwits,” a pun on intuits. “We are all messengers in search of a delivery system,” he says. “Painting is my delivery system.”—ET POP Gallery/popsantafe.com

Lynden St. Victor, Lady Gaia, mixed media on canvas, 32 x 54" Victoria Carlson, Gentleman Rancher, watercolor and mixed media, 56 x 41"

Victoria Carlson

There are three things Victoria Carlson grew up with and has never abandoned: a sense of humor, telling a good story, and hard work. They’re qualities easily recognizable in her slightly surreal tableaux, and in her muscular, fleshy figures—as if the giants of 16th-century Italy (Botticelli, Raphael, Vasari) were dropped into Truth or Consequences or the nearest Wal-Mart. Carlson was born and raised in coastal Oregon (in the Leave It to Beaver era); her dad was a butcher and her mom painted wildlife scenes. She started out at the University of Oregon wanting to make costumes, got into ceramics, then transferred to painting at the San Francisco Art Institute, where “it was one drunk Beat painter after another,” she recalls, “with total freedom—but you had to do the work, too.” After various art-related jobs (curator, preparator), she worked for years as a standby painter in film, earning enough money on 1998’s What Dreams May Come to buy 12 acres in Lone Butte in 2001. Now working out of a home/studio on the south side, Carlson reads, teaches, and paints, working hard at all three. “I’m interested in what’s behind stuff,” she says of her predilection, and for what she likes to show in her paintings. “What you don’t want to tell me about. What we don’t put out there. That’s really what happens in life. The front is what we put forward.”—DJ Parks Gallery/parksgallery.com june/july 2011

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Michael Bergt

Michelle Cooke

Michelle Cooke’s not a per se glass artist in the vein of Dale Chihuly or Lino Tagliapietra, she’s more a conceptual artist who uses the medium of glass to explore themes of fragility, transparency, balance, weight (and weightlessness), and gravity. “I’m trying to transcend all that, whether in my drawings or in my materials,” says Cooke, a tall, slim, and erudite woman who shuttled back and forth as a kid between Connecticut and California, and Washington D.C. and, again, California, and who moved to Santa Fe in 1992. “What’s interesting to me is to shift the nature of the material. Sometimes it’s heavy, sometimes it’s weightless.” A gifted drawer (she’s recently been working on large, ethereal, graphite representations of birds’ nests and birds’ flight patterns), as well as a talented sculptor (she got her MFA in sculpture in 1983 from California’s Claremont Graduate University), Cooke has a fascination with many materials but especially with glass. “I focus on its transparency as a light medium, its aggressiveness,” she says, pausing to lift her labradoodle onto the kitchen counter in her home in Arroyo Seco, where she’s lived the past several years. “It’s light but it’s also dangerous. And when it’s on the wall it’s almost not there.” Such was the stunning effect of her Chiasm piece in the New Mexico Museum of Art’s 2008 Flux—Reflections on Contemporary Glass show, in which her stack of clear glass microscope-slide-like rectangles mediated light and shadow—and expectations—in the most elegant way imaginable. “People’s eyes light up, like, Wow, what is that?” marvels Cooke, who’s a fan of conceptual-art giants like Joseph Beuys, Ana Mendieta, and Sophie Calle. “They recognize it but they don’t. It looks familiar, but it does things so simple and unexpected. It’s this material thing creating this immaterial response.” Which goes to the heart of her true disposition. “I was schooled in conceptual and minimalist art,” she says. “So even though my work is much more tangible, that’s still where my mind goes.”—DJ Box Gallery/boxgallerysf.com 76

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“What’s interesting to me,” says Cooke, “is to shift the nature of the material.”

LISE BAKER

Michael Bergt, Gathering Thoughts, color pencil and gouache on paper, 16 x 15"

A common thread in Michael Bergt’s work is conflict—conflict between the literal and symbolic, between the conscious and unconscious. “We imagine that we are rationally moving through the world, defining things as they are, and responding to them authentically, yet there is also this whole other world—an emotional, unconscious space—coloring our perceptions that we are affected by whether we realize it or not,” says Bergt, 54, whose work spans painting and drawing, gold-leaf and color-pencil drawings. “We need to become more conscious of those other influences, too, because they can actually help us create a better sense of wholeness.” Born in a small farming community in Nebraska, Bergt knew at five that he wanted to be an artist. In his early 20s he made his way to San Francisco, where he met John Pence, who gave him his first one-man show (in 1980). In 1985 he moved to Spain and began corresponding with Paul Cadmus, who was muchadmired for his nude male figures and magic-realism style. When he returned to the United States in 1988, Bergt chose Santa Fe because the city “felt like the closest thing to being out of the country and still living in the U.S.,” he says. Renowned for his figures painted with egg tempura, Bergt hopes that his Renaissance-like portraits bridge the gap between our conscious and unconscious worlds. “We tend to compartmentalize things and separate them and say one perception is real and one is magical and irrelevant, but I think they’re so intertwined and that that’s where the deeper meaning lies,” he says. “The juiciness in life happens when those two spheres are integrated.”—AH Jane Sauer Gallery/jsauergallery.com

Michelle Cooke: Tilted Square, glass, 16 x 16"


Norman Mauskopf, above: Chimayo, New Mexico, gelatin silver, 12 x 18"; right, Near Tierra Amarilla, New Mexico, gelatin silver, 7 x 18"

JULIEN MCROBERTS

Norman Mauskopf

From racetracks and rodeos to lowriders and abuelitas, Norman Mauskopf’s work creates an open narrative with the viewer, inviting us into moments, teasing us with freeze frames of insight while simultaneously urging us to create our own internal dialogue with his images. There is a pragmatic romanticism to his photographs, which are as real and gorgeous as those of W. Eugene Smith, Walker Evans, Robert Frank, or any of his other idols. “My work tends to be in focus, and you see what was in front of the camera,” says Mauskopf, who favors a Leica 35mm rangefinder. “But I like to think I photograph with an element of mystery or ambiguity that somewhat defines a moment, but doesn’t really explain it. My goal, my desire is to capture the moments that go beyond a moment, to what might have led up to it, and what might have happened after.” Born in Brooklyn, New York, and raised in Washington D.C., Mauskopf, 62, studied photography at Pasadena’s Art Center College of Design before relocating to Santa Fe “on a whim,” he says, “in 1991.” Having published four books (all with Jack Woody’s Twin Palms/Twelvetrees Press), Mauskopf boasts an extensive photo-book library that he constantly refers to and uses as a creative wellspring. His own most recent tome, Descendants, the gracious and glorious result of a 10-year project, takes readers into the world of Northern New Mexico, one that’s often, as Jimmy Santiago Baca writes in his poem for the book, “lost in fiesta crowds or alone on a porch.” And Mauskopf’s quintessential, magical, Northern New Mexico moment while working on Descendants? The white horse and the barn, photographed in a valley near La Puente. “It was so still I could hear the gravel crunching under my shoes,” said Mauskopf as he relived the moment recently. “The light was beautiful. The horse came up to me, snickered, threw its head, cantered away, and stopped in front of the barn. Yeah, that was pretty cool. The air, the light, the beauty. That moment, for me, embodied New Mexico.”—Carrie McCarthy Verve Gallery of Photography/vervegallery.com

relaunch

Although Cyndi Conn had carved her own space in the contemporary art world, she’s chosen to reside in the margins. An independent curator and consultant, founder of LAUNCHPROJECTS (a private exhibition space dedicated to emerging artists), and former visual arts director and curator of The Center for Contemporary Arts, Conn is an ardent promoter of the unconventional. “There is a profound need to make art—especially unproven, unmarked forms—accessible and intelligible to a broader audience and market,” says Conn, 43. With an investigative eye, Conn mines “the nerve endings of contemporary art” in search of outliers working independently of mainstream taste. Her curatorial, arts administration, and marketing background uniquely enable her to navigate both sides of the art market’s proverbial coin. As a liaison among artists, collectors, and the greater art community, she provides a receptive home to emerging contemporary work. She is, in this regard, the future of where art and its entrepreneurs are headed. The physical manifestation of this goal was LAUNCHPROJECTS, whose physical presence on East Palace lasted three years (2008– 2011), but the existence of which will probably live on in some other incarnation (another future manifestation of the art market). Considered a great success in the community as well as nationally, LAUNCHPROJECTS recently closed its doors. Conn, though, will sally forth with the same paradigm-shifting philosophy, the same trend-bucking practice—only minus the confines of a white-cube space. Still based here and committed to Santa Fe’s stature as a heavy hitter in the art world, Conn will continue to curate, lecture, and advise clients and artists internationally. Like the theme of her lecture series titled “Women Artists as RiskTakers: Georgia O’Keeffe, Louise Bourgeois, and Yayoi Kusama,” Conn embraces risk and innovation. A bit coy about what her next move will be, she aims to stay in the art world, only on her terms. “I like to take on new and challenging projects because once something works it’s not as exciting,” says Conn, perhaps hinting at her most recent project. “I feel lucky, I live my passion, and that’s what I’ll do for the rest of my life.”—EL


Bates Wilson

“The closest description I have for what I do is steampunk,” explains Bates Wilson of his junkyard-metal assemblages. “It looks old, its technology is beyond ours, it’s sort of apocalyptic and meant to be repaired. In that way, it represents America: it’s repulsive and cool at the same time. It’s grotesque and beautiful. It’s a muscle car with headers.” It is, in a word, captivating. As appealing to construction workers as it is to CEOs. Wilson, who recently turned 50, moved to Santa Fe about two years ago by way of New York, where he’d pursued an acting career and earned a degree in psychotherapy. He already had a degree from Middle Tennessee State University, which he’d attended, after finishing 238th out of 250 in his New Jersey high school, on a tennis scholarship. (MTSU had also offered him an escape; as a teen, he couldn’t wait to get away from the tension that existed between his librarian mother and research psychologist father.) For a while, he even practiced psychotherapy in Española. But he quickly realized that he would rather spend his time creating things—a pastime he’d discovered back east, where he would haul things he found in Dumpsters back to his 380-square-foot West Village apartment and turn it all into odd pieces of furniture. “There was an unlimited supply of resources in New York,” recalls Wilson, whose inventor grandfather in Louisiana used to make go-carts and cane chairs. “I always liked the wear on things, their patina. And I like dealing with these themes of time and aging and permanency.” Considering himself lucky not to have gone to art school (“It fucks you up”), Wilson much prefers the isolation and open spaces of New Mexico. “Being out here is awesome,” says Wilson. “My growth has been exponential. There are no distractions.” The stark environment has also meshed perfectly with his philosophy of self-reliance. “It’s not about how good you are,” he says. “It’s whether you can do truthful and unique work.”—DJ Boma Studio/bateswilson.com Bates Wilson in his studio-gallery

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Above: Bates Wilson, Stud, reclaimed metal, 7' long, 6' wingspan; opposite page: Rachel Rivera, Branch Series 4, mixed media, 28 x 38 x 12"

Rachel Rivera

Rachel Rivera has an intense bird phobia (she’s particularly fearful of pigeons). Rachel Rivera also has an intense fascination with and appreciation for the female figure (she’s particularly drawn to female genitalia). “I’ve always been very interested in the concept of sexuality and the dynamic of how it fits into your life and the lives of others,” says Rivera, who volunteers that she was never sexually abused. “As a kid, I was fascinated with Playboy. Part of why I make what I make is to point out that people are weirded out by it. They shouldn’t be, but that they are is interesting to me.” Born in Silver City, Rivera, 27, grew up in Cedar Crest (after her mom and dad divorced), where she doodled, snowboarded, and roamed the nearby woods. After graduating from UNM in 2006 with a degree in printmaking, she relocated to Waikiki, Hawaii—“because,” she shrugs, “it was the most culturally different.” Similar to Las Vegas in what it offered tourists, Waikiki had plenty of prostitutes, many of whom trolled the streets near the surf shop where Rivera worked. They also put out their own pamphlets and mini-magazines, which Rivera collected and refashioned into stickers and collages. Too poor to last more than six months there, she returned to New Mexico, to Santa Fe, where she promptly fell in love, got pregnant, married, divorced, and is now raising her daughter. Hawaii, though, served another artistic purpose: it was where Rivera began incorporating Waikiki’s ever-present pigeons into her work. “My ideas around sexuality, and incorporating my fear into expressing myself sexually, is like giving my statement,” says Rivera, who works part-time at Artwork International and considers fellow Santa Fe artists Ronald Ostheim and Yozo Suzuki her mentors. “It’s more a self-exploration of, Why am I so scared?” But her real goal is to make beautiful things, which she most certainly does. “You’re drawn to something that is pretty but the more you look at it,” she says, reflecting on her uniquely sexualized birds, “the more you think about it.”—DJ GF Contemporary/gfcontemporary.com


Matthew Chase-Daniel, Jerry Wellman, and gallery

art traffickers

It seems so simple, so obvious now, nearly one year later, but when photographer Matthew Chase-Daniel, 45, and his buddy, video artist Jerry Wellman, decided to convert an abandoned truck into an art gallery, most people probably thought it hopelessly counterintuitive. Maybe even harebrained. No longer.The Axle Contemporary art truck—a mobile gallery housed inside a 1970 Grumman-Oelsen Chevy that started out as a Denver-based Hostess delivery truck—operates as both a commercial gallery and as a work of art. “All of a sudden, it’s a hot-shit thing,” says ChaseDaniel, an affable New Yorker who moved to Santa Fe in 1989 and met the equally affable if somewhat circumspect Wellman, a Wisconsin native and Cal Arts postgrad alum, in 2000. Not everyone gets it; most do, but some try to order up a taco. “To me, this is an extension of my art form,” says Wellman. “I ascribe to the notion that taking a creative and artistic approach to whatever you do is a core value.” “There’s a performance aspect to it, too,” says Chase-Daniel. “It’s in the guise of a commercial art gallery, but it’s also an art piece.” “A lot of the galleries have been very supportive,” says Wellman, who cites Ernesto Mayans and his Canyon Road gallery as particularly generous (he lets them park in his driveway once a week). “It’s a creative beacon. It supports Santa Fe as a center of creativity.” Besides, a 6-by-10-foot space that shows mainly in the summer and fall (when it’s warm enough to actually open Axle’s back door) is hardly competitive. “It’s fun, it’s flexible, and I’m able to share it with other artists,” says Chase-Daniel, who likes to park it wherever there’s space (Harry’s Roadhouse, the Solana Center parking lot), and just listen to people try to figure it out. “It’s a wonderful gift.”—DJ Starting June 3, Axle will present Borderlines: Non-Rational Narrative, with work by Wellman, Zoe Blackwell, and Thelma Mathias. For more info, go to axleart.com. june/july 2011

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off the grid

As galleries continue to come and go, artists sometimes get left out in the cold. Although, if they’re as talented as these eight here, they won’t go unrepresented for long.

Colin Poole

Right: Colin Poole, Qilin, terra-cotta, 24 x 20 x 16"; below: Poole, Tears of Aphrodite, oil on wood, 12 x 18"

“My art is not defined by a singular subject matter or style,” says Colin Poole. “Diversity and artistic exploration are its distinguishing characteristics.” Having grown up in awe of his grandmother, the renowned sculptor Una Hanbury, Poole, 46, who earned a bachelor’s degree in studio art from Connecticut College and had his first show (at the Shidoni gallery) when he was still a student, followed in her footsteps and relocated to Santa Fe from his native Virginia in the mid-1990s. He now lives and works in Hanbury’s former home with his wife, Kristine, a sculptor. With regard to the striking diversity of his art, Poole says, “I cherish the freedom to explore varied themes through to their creative conclusion and often find myself working in different mediums and directions simultaneously.” Both Poole’s playfulness and seriousness, as well as his wanderlust, are seen in his lush, painterly landscapes, which cover a broad swathe of scenery from New Mexico and California to Italy and Spain. His sculptures and still lifes, while elegantly cool, maintain the sumptuous intensity of his various other works, including his nudes and plein airs. Since marrying Kristine in 2009, Poole has entered into a new phase of his 25-year career: the two artists have been collaborating on projects like sculptures based on some of Poole’s past paintings, as well as chimerical creatures inspired by world mythology, such as the Chinese figure of Qilin, whose appearance, which is usually accompanied by a sage, “is considered,” Poole says, “to be a good omen.” Poole is also at work on a series featuring contemporary interpretations of ancient mythological tales. One of his hopes for those works is that “the gods may become more recognizable as we glimpse aspects of ourselves,” he says. “I want people to have the potential to see the gods within themselves.”—Amy Hegarty

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Yozo Suzuki

For Yozo Suzuki, art transcends the visual and packs the greatest punch on a deeper, introspective level. “The art that moves me tends to have an intangible energetic resonance,” he says. “If I can feel it, then the genre and context of the work becomes somewhat circumstantial.” Since his arrival in the City Different in 1993 to study art at the College of Santa Fe, the Kansas City–born Suzuki, 38, has gone on to create works in various mediums that are reflections on modern-day concerns. “I like to work with media that is relevant to and consistent with the concept of the work,” he says. A case in point is an ongoing, largescale, mixed-media project (formerly at Linda Durham Contemporary Art) called Personal Identification Artifact. Begun in 2006 (with no firm end-date in mind), it’s an exploration of identity—a contemporary take on the classical portrait. What defines today’s portrait, however, are DNA samples, fingerprints, X-ray images, bank statements. “Although most of us are aware of this on some level,” says Suzuki, “I don’t think we would generally think of ourselves as a database.” The imagery in this project, he adds, is taken from publically available sources. “I superimpose the data over the image of a person. It’s a collection of information that’s used to identify each of us, but it’s also a picture of all of us. The interesting part is the way our humanity peeks through the analytical soup of data we use to identify each other.” —AH

Yozo Suzuki, installation view of Gambit: An Opening Move mixed media, 12 x 10 x 4'

Gena Fowler

Gena Fowler is the Jenny Holzer of clay. Known to visitors of Purple Sage for her witty dog bowls and at Santa Fe Clay for her equally poetic coffee cups, Fowler, 39, imprints all her clay creations—brightly glazed, brightly colored, seemingly happy—with aphorisms, puns, and twists galore. Born in Denver but raised since age seven in Santa Fe, when her CPA parents relocated, Fowler has also made life-size figures—George Segal people as imagined by Alice Neel (one of Fowler’s inspirations). But her true genius comes through in what she calls her “products,” Wacky Pack-like pieces such as Social Skills, Oil of Okay, and Comment Cleanser. As gifted and uninhibited as Red Grooms, Fowler likes the malleability of clay, the fact that she can erase and change things with it quickly. Working with clay—creating her so-called products especially—that’s her therapy. “If I have a bad feeling, I make Gena Fowler, Social Skills, porcelain, 6 x 7 x 4" these things in order to crawl out of it and to laugh at it,” says Fowler, who has self-therapized her way through the death of one brother and a falling out with the other. “I really like it when somebody sees one of my products and says, I need that, too.”—Devon Jackson june/july 2011

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Yuriko Nishimura

Yuriko Nishimura, Lady Cundiyo, Colorado alabaster, coral, onyx, and leather, 10 x 8 x 4"

“Human beings are inherently sexual,” says Yuriko Nishimura, 35, whose provocative stone sculptures are striking and perhaps intentionally disarming in their unabashed depictions of human genitalia, particularly the phallus. Although phallic images aren’t her sole concern, “They stand out more than others given the nature of the form, which is very yang,” says Nishimura. “My focus is to integrate female and male forms along with an exploration of the ambiguity in between. Nothing is completely male or female.” Born in Nagasaki, Japan, Nishimura fell in love with Santa Fe at the age of 18 while visiting a family friend. Three years later she moved to the City Different from London, where she was enrolled in art school, to earn a BFA from the College of Santa Fe. Although her career path was taking shape around that time, her artistic interests had come into focus while her parents raised her as a Christian. “Sexuality and eroticism have fascinated me since long before puberty,” she says. “My sole motivation as an artist is to create beauty and truth in and around sexuality. And I believe that spirituality and sexuality can go hand in hand. So much of Christianity throughout the ages has separated our bodies and souls, making us feel sinful to have sexual feelings. I’m convinced that it doesn’t have to be that way. My artwork is a way of protesting, if you can call it that.” While Nishimura also makes cast objects and drawings, her true medium is stone. “Its undeniable beauty is timeless,” she says, “and people respond to the sculptures whether they’re comfortable with my subject matter or not.” And while her subject matter might not, in fact, be for everyone, Nishimura, who’ll be showing a bronze piece at a group show at EVOKE Contemporary in July, believes in the broader importance of her work. “My sculptures often initiate conversations about societies, history, human sexuality, and psychology,” she says. “I wish to express a healthy and wholesome expression of sexuality. I believe that the beauty of my artwork transcends pornography and communicates if not educates people that there is absolutely no need for violence, abuse, and exploitation. I am all for sexual exploration, and I truly hope my artwork can be an inspiration to others in different ways.”—AH

Munson Hunt

“I’m seduced by how wood breathes, expands, and changes,” says Munson Hunt, 49. “I love the softness of it, its imperfection— even its scent.” Working primarily in wood for the last 30 years, Hunt is known for her minimalist chainsaw-carved sculptures. Robert Morris meets Ursula von Rydingsvard, Hunt’s monumental, totemic pieces are shaped from locally reclaimed fallen cottonwood. After reducing the form, she burns, chars, tars, or paints her pieces, creating a polished gestalt. Most recently, Hunt has been exploring cast aluminum and glass. Her aluminum casts of wood wall hangings are like organic, scarred versions of a Donald Judd stack of boxes. And in conjunction with Portland, Oregon’s Bullseye Glass Co., Hunt created three eight-foot-tall, two-inch-thick glass monoliths cast from wood. These giant slabs are new interpretations of the raw, primal forms and textures she has explored over the years in wood. But the opaque, statuesque qualities of the glass evoke, in Hunt’s words, “clouds passing over the moon.” Hunt plans to lean these imposing yet quiet, fragile giants against the gallery wall—paired with their all-wooden kin. “I always start with wood and find a way to translate its language to another material,” she says, entranced, as ever, by the material’s permeable, mutable nature, one she’s able to fix in a moment in time. “I’m able to preserve that moment like a fossil,” she says. “I show the journey, not the end.”—Elizabeth Lake Munson Hunt, Burned Wedges, charred pine, 96 x 23 x 7" each 82

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Lyndall Bass

Lyndall Bass, 58, moved to Santa Fe in 1991, carrying a suitcase packed with artistic inspiration, including the still life and portrait work of Dutch and French painters, as well as a strong interest in surrealism and symbolism. Since unpacking here all those years ago, her work hasn’t veered from what she initially brought with her. “I don’t identify with a lot of the art currently in Santa Fe,” says Bass, who’s married to fellow painter Geoffrey Laurence and whose gallery, Linda Chmar, recently relocated to Atlanta. “Gallery fare has changed, and overall I worry that our true art colony is becoming trivialized and vulnerable to profiteers who do not dwell in the deeper understandings of the meaning and traditions of valuable art.” Bass began her art studies at 11, taking lessons with private teachers before going on to the Pennsylvania Academy of Fine Arts, among other institutions. Working in oil as well as drawing in charcoal, chalk, and graphite, her figures, mostly women, are often immersed in natural settings. In her series of paintings The Four Seasons, for instance, she muses on “the identification of the feminine with nature,” she says, “and the use of female figures as metaphorical extensions of each season.” To her point, the lone woman in Fall, falling into a spray of leaves—“letting go”—feels oddly uncomfortable; while in Summer, a beautiful auburn-haired woman reclining on a crescent moon reinforces the abundance of that season. Her still lifes, too, with their muted hues and exquisite detail, show the ongoing influence of those old Dutch masters. Having received a United Nations International Women’s Year Award, and having designed the reverse side of the 2010 Lincoln penny, Bass is currently representing herself here in Santa Fe but hopes to land a national gallery soon.—Zélie Pollon

Above: Lyndall Bass, Magic, oil on canvas, 20 x 28" Below: Eddie Soloway, Last Light, Winter Aspens, color photograph, 20 x 30"

Eddie Soloway “My path,” says photographer Eddie Soloway, “has always been about the natural world.” Indeed, often painterly and ethereal in their soft focus and long exposures, Soloway’s impressionistic, colorist abstractions—of landscape and flora—emanate the subtlest of nature’s moods. Be it a bright quilt of fallen leaves in a sugar maple forest in Maine, or the atmospheric composition of day ebbing into night at the ocean’s edge, Soloway grasps the fleeting play of light and color and distills these moments into an essence at times more reminiscent of painting than photography. A natural teacher and wordsmith, Soloway moved to Santa Fe from San Francisco in 1996 as an instructor at the Santa Fe Photo Workshops. His reoccurring class “A Natural Eye” stresses the development first of a way of seeing before focusing on technical ability. “I help people see nature with different eyes, be it through reflection, movement, light, or emotion,” says Soloway, 44. “Everyone sees a different interpretation.” The emphasis on being present and taking the time to stop and truly “see” is a philosophy that permeates Soloway’s work and writing. Although perpetually in motion, from National Geographic Traveler seminars to photographing in the Argentine Patagonia, Soloway’s ability to filter out the noise and live in the moment is evidenced in his quiet stills.—EL june/july 2011

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art

ope n i n g s | r e v i e w s | p e o p l e Although this super-striking image of one of the resident-workers affected by the 2010 BP oil spill isn’t officially part of New York and Taos-based photographer David Zimmerman’s Desert show at Taos’s Hulse/ Warman Gallery (on view through the end of July at 222 Paseo del Pueblo Norte, hulsewarmangallery.com, 575-751-7721), it meshes perfectly with his work on endangered landscapes. Zimmerman, 56, has shot for Mercedes-Benz and American Express, and in 2009 Sony named him the world’s best landscape photographer. His shots of the Southwest desert prove it: they’re moodier than Edward Weston’s. And his photos of the Gulf Coasters out-Avedon Richard Avedon.—Devon Jackson David Zimmerman, Freddie, oil spill laborer Venice, Louisiana 2010, pigment print on Hahnemuhle rag paper, 71 x 56"

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art

SHOW

art from all over Ar t Sa n t a Fe 2011 hit s ple nt y of bull’s-e ye s by Eve Tolpa SOMETIMES, THINGS just come together. Art Santa

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Clockwise from above: attendees at last year’s Art Santa Fe; Regine Schumann, Dreamteam, fluorescent Plexiglas and black-light installation; Jessica Loughlin, Through Distance #2, cast, kiln-formed, and cold-worked glass, 15 x 27 x 2"; Hiroshi Nomoto, Image of Exhibit, brass, copper, and acrylic.

ing and furniture. “It will be unique,” says Park. This year will also see the return of Portland, Oregon’s Bullseye Gallery with a demo on the exquisite kiln-formed glass that is its forte. Four of the five artists showing at the gallery’s booth will be participating, so attendees will be exposed to a variety of processes and aesthetics. Bullseye has cultivated a connection to the City Different that has transcended its origins. In May of last year, the gallery, which showed at the 2009 fair, opened Resource Center Santa Fe to give local artists more access to glass materials and techniques. According to Ted Sawyer, Bullseye’s director of research and education, Santa Fe is especially well suited to a project like this due to its high concentration of artists who work across a wide range of media. “Because they don’t know the ‘rules,’ they try things that people from within the field of glass may not, and in so doing open up new territory for exploration,” explains Sawyer. “We intend for it to be a permanent operation.” Jackson herself is thrilled with the ongoing relationship. “We have sent artists to the Resource Center, and they do wonderful things, with the most gorgeous, beautiful surfaces,” she says. “It’s been a real plus to have Bullseye in the community.”

G. HANCOCK

Fe Director Charlotte Jackson considers herself fortunate to be experiencing one of those times, as she watches pieces fall into place for this year’s fair, the eleventh so far. Scheduled for July 4–10, Art Santa Fe typically draws some 1,000 artists, and Jackson is expecting participation of 40 to 50 galleries from around the world. “Some years are more international than others,” Jackson notes. “This year, we have two exhibitions coming in from Japan. I was so touched by that. The events there were so overwhelming,” she says, referring to the series of disasters that have been devastating the country since March, “and they are still planning on coming. We see that as kind of special.” Jackson is also particularly excited about two installations that Munich gallerist Renate Bender is bringing to the fair. The first is a “cool, fabulous installation” by Regine Schumann involving colored Plexiglas balls, a darkened room, and black lights. (Need we say more?) The second is by Peter Weber, whose ingenious pieces are created with the participation of viewers—their feet, to be specific. Weber folds canvas and encourages people to walk on it; when he eventually unfolds it, the elegant geometric designs that emerge are the result of dirt transferred by thousands of shoes. As part of the enlightening “How Things are Made” series,YoungSook Park, owner of Park Fine Art in Albuquerque, is hosting artist Yu-Ra Lee, who, using organic dak tree fibers, will demonstrate the making of Korean traditional paper. Lee will also show how the paper can be used to create everything from dolls and jewelry boxes to cloth-


SOFA, so good t h e s c ulptura l objec ts a nd f unct ional a r t show he ads we st f or t he t hir d ye a r by Amy He ga r ty

PABLO MASON

Two of last year’s SOFA WEST attendees appreciate the show’s functionality.

FOLLOWING THE SUCCESS of its first two years of laying down roots in New Mexico, SOFA WEST returns to the Santa Fe Convention Center for a third time this August, displaying topnotch works from the design, decorative, and fine arts worlds just as the City Different’s summer high season swings into full gear. Building on the momentum created by SOFA Chicago (founded in 1994) and SOFA New York (founded in 1998), SOFA WEST, the third branch of the international exhibition of sculpture objects and functional art, was launched to great acclaim in June 2009, playing host to approximately 10,000 guests. The following year, attendance grew to 12,000, and this year organizers are expecting an even greater turnout, thanks to the positive reception (and strong sales) the fair has generated from its wide-reaching audience. One of the most notable, and valued, differences between SOFA WEST and the SOFAs in Chicago and New York is that the Santa Fe event “is a smaller, more intimate fair with dealers

art

SHOW

who are very open to talking about the art they represent,” says Mark Lyman, SOFA’s founding director. But just because the forces may be smaller here doesn’t mean that quality is any less than what you would find elsewhere. “SOFA, in general, has a reputation for being a very high-end art fair, and the dealers who attend it know that they will have to meet the highest standards of excellence in order to be noticed,” says Jane Sauer, owner of Jane Sauer Gallery on Canyon Road and a participant in SOFA WEST from the beginning. Given the strength of Santa Fe’s reputation as a thriving arts community—as well as all the area has to offer in terms of dining and lodging options and, of course, natural beauty—SOFA is able to lure art lovers and dealers from well beyond the city limits. “The work shown at SOFA WEST represents the finest of many cultures,” says Lyman. “The galleries that display here come from around the country and around the world.” Indeed, this year’s exhibitors range from the Bullseye Gallery in Portland, Oregon, and the Darrell Bell Gallery in Saskatoon, Canada, to the Flow Gallery in London, England, and the Maria Elena Kravetz Gallery in Cordoba, Argentina. Kate Elliott, of Elliott Arts West (and who helmed the Elliott Brown Gallery in Seattle for 17 years), says that her experience exhibiting at SOFA WEST in 2009 affected her life both personally and professionally. “At the first SOFA WEST I observed an audience that was engaging and inspired,” she says. “I also found New Mexico to be so abundant with art, artists, and enthusiasts that I’ve since relocated here. At this year’s event I’ll be representing artists from Tesuque, Seattle, New York, and Venice.” SOFA’s five-day-long festivities kick off at the convention center with an Opening Night Preview for VIP cardholders on August 3. (The VIP program also includes a trip to the Pueblo of Acoma, tours of private collections and artists’ studios, and participation in curator-led discussions.) General admission begins the following day and runs through Sunday. A twist on the proceedings this year is that alongside SOFA WEST will be the Intuit Show of Folk and Outsider Art, which first partnered with SOFA Chicago in 2010. A general admission ticket provides access to both fairs, as well as entry to their lecture series and events. The inclusion of folk and outsider art fits with SOFA WEST’s goal of what the organization describes as “bridging different segments of the market”—from formally trained to self-taught artists, and from “traditional to highly interpretive” works, adds Lyman. In addition to the quality of products on view, this diversity—of styles, mediums, and histories—is a key factor in luring international audiences to SOFA. “Even though I have a gallery less than a mile from the convention center, I want to be a partner in this gem of an art fair,” says Sauer. “For the exhibitor, collector, and casual fairgoer, SOFA WEST guarantees the experience will be a rich one.” june/july 2011

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thoughtful spontaneity

PROFILE

Leon Loughrid g e ’s impre s sioni st ic wo odblo ck by De von Jack s on

THERE’S THE IMPRESSIONISM as practiced by the French plein-air painters of the late 1800s (who gave the movement its name), and then there’s the impressionism as more literally but just as artistically—and impressionistically—practiced by gifted artists like Leon Loughridge. An expert in the ever-rarer field of the reduction woodblock printing technique, Loughridge produces “paintings” as gorgeous, moody, involving, and evocative as those of Van Gogh or Cézanne. “These are painting with woodblocks, as opposed to woodblock prints,” says Loughridge, 59, who was born in Denver but spent a good part of his childhood on his father’s Charlie Horse Ranch outside Peñna Blanca (near Pojoaque) until his dad moved the family to Aspen in 1968. “My carving tools are my brushes. When you’re working with multiple layers, you don’t have to carve ultrafine details. Each layer refines the detail.” Working off of 4 x 6-inch watercolors he whips off on location (for this Three Perspectives show, he went to Colorado’s Loveland Pass, San Luis Valley, and southeast Utah’s Table View), Loughridge strives for a balance between maintaining the immediacy of those moody, everevolving, evanescent outdoor moments and the slow, thoughtful, methodical indoor work with his carving tools, blocks of wood, rollers, and printers. “In the studio, you have so much time to complicate everything—so the challenge is to simplify everything,” says Loughridge. An expert in his field who first came across it while working as a graphic artist for the U.S. Army in Germany in the early ’70s, Loughridge later stumbled across an old letterpress in Colorado (where he still lives, and runs his Dry Creek Art Press, in Denver) and set to studying the works of master printers like Arthur Wesley Dow and Ernest Watson. The reduction method presents the additional challenge of using but one block at each stage of printing. Loughridge just cuts, or reduces, the block again to print a second color over the first—and so on. “Prints are similar, and there’s a continuity in color arrangement, but if you lay them out altogether, they’re different,” explains Loughridge, who uses three old presses simultaneously and tends to favor cherry wood (because it holds the detail). “Basically, there are multiple color runs on one block, so it’s not one color I’m printing.” It’s why his gorgeous prints have cross-hatchings as expressive as Cézanne’s. (Loughridge, though, calls his fullreduction woodblocks pointillistic, which they are as well.) “I always want something interesting going on without noodling in the detail,” he says. “Everything is very suggestive. It’d be presumptuous of me to tell the viewer everything.” Intent, always, on a print’s composition, Loughridge is constantly looking to arrange a painting according to how the eye moves, even if that means rearranging how a place actually appeared. “If I see something dramatic, I’ll distort it to make it more truthful,” admits Loughridge, who’ll shift the focal point the way George Inness would, or pull something from Seurat or Velázquez in order to lighten or deepen the mood. “The distortions highlight the story and add drama.” A passionate sharer of what he sees whose great pleasure in creating what he does is conveying that sense of discovery of a place to others, Loughridge mostly hopes to get across the joy of what he’s experienced. “If a place can spark memories and emotions in me and I can download that to other people through my woodblock paintings, that’s great,” he says. “That’s all I’m after: the joy in what I see.” Three Perspectives, July 3–30, reception July 3, 5–7 pm, Gerald Peters Gallery, 1011 Paseo de Peralta, 505-954-5700, gpgallery.com 90

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Top: Canyon Precipice, woodblock print, 12 x 9"; above: Pass Lake Road, woodblock print, 14 x 11"


art

Bim Koehler: Paintings PREVIEWS Gebert Contemporary Art Gallery, 558 Canyon 505-992-1100, gebertcontemporary.com July 8–August 3, reception July 8, 5–7 pm In multiple layers of pigment and wax, Koehler creates sensual color fields. Through an extensive, laborious process, often involving 50 to 80 layers, the support is built up by intermittent sheets of color and wax drawn with a blade to create translucent depths of saturated hues. Using his own pigments, Koehler specifically creates his own paints for each layer or stroke. The German artist’s latest explorations of color and process transition from landscape-like monochromes to constructed imagery composed of broad streaks and gestures in vertical, horizontal, and biased geometric sequences. As in his A–40.06, Koehler’s pigmentand-wax construction on aluminum, the 16 x 14-inch object is a series of blue-hued organic tentacles cultivated through many layers of thin transparent sheets of color. The complexity and optical interest created through color and the alternating use of matte and glass-like textures yields engaging surfaces for the viewer to penetrate and contemplate.—EL

Bim Koehler, AL–100.02, pigment, varnish on aluminum on wood, 39 x 29 x 1"

Gregory Smith, Poppies Sun oil on canvas, 36 x 36"

Debra Corbett + Gregory Smith: Classical Meets Contemporary Ventana Fine Art, 400 Canyon, 505-983-8815, ventanafineart.com June 17–29, reception June 17, 5–7 pm Corbett, who has lived in New England for more than three decades, favors abstract works in mixed media that she says are inspired by her emotional response to nature, as well as by her travels. Smith, another enthusiast of the natural world, left a brief career as a graphic designer to devote himself completely to fine art. His active pursuit of classical studies— including a rigorous two-year stint at the Florence Academy of Art—is evidenced in his oil paintings, which display a devotion to nature, beauty, and timelessness.—AH

Yoshitaka Hasu, Wood-Fired Ceramic Vase, 12 x 5 x 6"

Yoshitaka Hasu: Eminence, Touching Stone Gallery, 539 Old Santa Fe Trail, 505-988-8072, touchingstone.com. July 1–August 3, reception July 1, 5–7 pm In this encore follow-up to his 2007 American debut, also at Touching Stone, Hasu returns from Japan for only his second U.S. show. Born in 1949, Hasu works out of the ancient Japanese Iga ceramic tradition, which dates back 1,200 years. Unique in his origins and in his contemporary interpretations of utilitarian forms, Hasu’s aesthetic, in the traditional Iga style, is of rough marred clay bodies covered in high-gloss natural ash and iron glazes with pronounced fire marks. More a sculptor than a potter, Hasu mines his own clay and constructs solid bodies, which he then hollows out, creating dynamic, bold, and clean forms. Renowned for his toubakos (ceramic boxes), these pieces epitomize Hasu’s mastery of form and function, utility and beauty.—EL june/july 2011

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PREVIEWS

Andrée Hudson: Color in Motion Waxlander Art Gallery & Sculpture Garden 622 Canyon, 505-984-2202 waxlander.com, July 19–August 1 reception July 22, 5–7 pm live painting by Hudson July 23 12–4 pm These new paintings by Hudson, who has a BFA in illustration and also studied at the San Francisco Art Institute and the Art Student’s League of Denver, show her personal take on traditional Southwestern subjects. Whether depicting animals, people, or landscapes, Hudson’s oil works deliver an enveloping sense of intimacy and sensuality with their blurred images, large brushstrokes, and warm palette. —AH

Andrée Hudson, Lazy Day, acrylic on canvas, 36 x 24"

Marie Sena, Rite of the Corporeal, watercolor  original on board, 20 x 24" 

Holly Roberts + Colette Hosmer: Paintings/Sculpture, Zane Bennett Contemporary 435 S Guadalupe, 505-982-8111 zanebennettgallery.com June 24–July 22, reception June 24, 5–7 pm Hosmer, whose skein of rainbow trout grace the outside of the Santa Fe Convention Center, returns to her more earthy, more corporeal milieu here, presenting medieval tableaux of hogs’ heads and racks of ribs (done up complete with shelves and tables, fruits and breads—the meatier animal parts fashioned out of gypsum and cast iron). That’s the side obsessed with death and decay. The other pieces are the slightly more whimsical cast-bronze Minnow Sphere and porcelain Canned Duck. Equally obsessed with loss and decay (of innocence, of nature), Roberts moves deeper into that realm with her painted photographs. They have a disturbing Children of the Corn quality to them, an unshakable sadness—as if these were the abandoned mementos of some Dust Bowl family that never made it out of the hole they were born into.—DJ

Curiosities 2011 group show POP Gallery, 133 W Water, 505-820-0788, popsantafe.com July 22–August 31, reception July 30, 6–8 pm Defined as a group show of “Pop Surrealist” artists, Curiosities 2011 is the second UN–Spanish Market Group Show whose works cross cultural and historic boundaries. The exhibit includes works by Arizona artist Daniel Martin Diaz and his interpretation of gothic religious iconography, Chris Peters’s skeleton figures in barren landscapes, and Marie Sena’s intricate works, which she has described as a “melding of pin-up girls, carnival, animals, religious motif, and Hispanic culture.” The show benefits Bienvenidos Outreach LLC, a nonprofit devoted to Santa Fe’s hungry and homeless.—EL

Holly Roberts, Doll with Red, photo collage, 8 x 10"

Bart Johnson: The Truth Hurts 8 Modern, 231 Delgado, 505-995-0231 eightmodern.net, June 17–31, reception June 17, 5–7 pm Weirdness for weirdness’s sake? Weird to shock? Or organically weird, sprouting unmediatedly from Johnson’s noggin? Hard to tell where his Outsider Art–like drawings—which might also be the Bosch-like scribblings of a teen-angsty comic strip artist run amok—come from. Given the technical prowess of his paintings and ceramics pieces, it taints these inky scenes of disconnected mayhem with the wink of intellectual knowingness. Even so, they are accomplishedly weird—and if weird’s your thing, Johnson’s your guy.—DJ Bart Johnson, Winding Down, ink, gouache, and watercolor on paper, 22 x 30" 92

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GREENBERG FINE ART

FEATURING THE FINEST IN REPRESENTATIONAL ART

Wendy Chidester, Kodascope Model D side-view oil on canvas, 36 x 32"

Wendy Chidester: New Works Giacobbe Fritz Fine Art, 702 Canyon 505-986-1156, giacobbefritz.com July 22–August 3, reception July 22, 5–7 pm What’s great about Chidester’s realist renditions of antiquey contraptions (old movie projectors, adding machines, typewriters) is that the moods run from fetishistic to nostalgic, elegiac to musty, turpentine to rust. Clearly, these are odes to disappearing devices, and Chidester’s as loving and respectful of her subjects as the old Dutch masters were of theirs. She’s just as Calvinistic as they were, too, as her adulation rarely spills over into romanticism.—DJ

Greenberg Fine Art is proud to be representing the paintings of Karol Mack 205 CANYON ROAD, S A N TA F E , N M 8 7 5 0 1 505.955.1500 greenbergfineart.com

Winter Majesty by Karol Mack, 30” x 24”, Oil on Board june/july 2011

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PREVIEWS

Anatoly Kostovsky: Siberia The Russian Art Gallery, 225 Galisteo, 505-989-0223 ,russianart.us.com June 6–July 30, reception June 10, 5–8 pm After years of toiling at a local factory to support his family following the death of his father in World War II, the Siberian-born Kostovsky was finally able to study painting with the renowned artist Dmitri Barkalov and eventually went on to become an Honored Artist of the Russian Federation—the highest honor the government bestows upon an artist. Kostovsky’s works reveal the beauty of the Siberian landscape, as well as the quiet dignity of the people who inhabit it. His oil paintings draw viewers in with their warmth, achieved by the artist’s large brushstrokes, striking use of light and shadow, and rich, vibrant colors.—AH

Anatoly Kostovsky, Evening Walk, oil on panel, 23 x 27" Geoffrey Gorman, Dryomis and

Geoffrey Gorman: Second Nature Perigyps, wood, cloth, metal, and Jane Sauer Gallery, 652 Canyon, 505-995-8513, jsauergallery.com found objects, 39 x 30 x 30" June 17–July 12, reception June 17, 5–7 pm Gorman’s menagerie of otherworldly animalistic creations has the whiff of Dr. Frankenstein and Tim Burton about it (though never as outright creepy as either). These are critters who’ve been stitched back together with whatever’s handy—sticks, paper, rubber, discarded bits of metal and twine—by someone who can’t quite recall exactly what a bird, a dog, a rabbit looked like, before whatever apocalypse arrived and blew everything apart. It’s hard to say, from an artistic perspective, if all the extra bits—the amulets, the trinkets, the buttons—are too much and therefore unnecessary or not enough and somehow tentative. Or if the entire Art Brutish quality is a put-on or genuine, and what either might mean, if anything. It’s as if Gorman still isn’t as sure (or surehanded) about whether he’s going for maximalism or minimalism with these creaturely assemblages. Which may be his point.—DJ


Gerald Nailor Helen Cordero

19th c. Zia Olla

221 Canyon Road Santa Fe 505.955.0550 www.adobegallery.com adobe-gallery-half-horiz-Jun-Jul-2011.indd 1

A MERICAN INDIAN ART

4/22/2011 2:44:13 PM

Now Accepting Consignments for Our Next American Indian Art Auction Free catalog and The Collector's Handbook ($65 value) for new clients. Please submit auction invoices of $1,000+ in this category, from any source. Include your contact information and mail to Heritage, fax 214-409-1425, email catalogorders@ HA.com, or call 866-835-3243. For more details, go to HA.com/FCO. A Late Classic Navajo Child’s Wearing Blanket Sold For: $32,500 June 2010 HA.com/6040-50002 Delia E. Sullivan Senior Specialist 214.409.1343 DeliaS@HA.com

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DALLAS | NEW YORK | BEVERLY HILLS | PARIS | GENEVA TX Auctioneer licenses: Robert Korver 13754; Mike Sadler 16129; Andrea Voss 16406. This auction subject to a 15% buyer's premium. 21119

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John Kingerlee: The Whole Planet Is a Garden Alan Barnes Fine Art, 402 Old Santa Fe Trail 505-989-3599, alanbarnesfineart.com July 1–August 1, reception July 1, 5:30–8:30 pm Born in Birmingham, England, in 1936, for the last 20 years the influential Irish painter John Kingerlee has lived, along with his wife, Mo, a solitary and self-sufficient existence on the Beara Peninsula in West Cork, Ireland, where he creates dramatic, abstract images inspired by the wild, untamed landscapes as seen from his home looking out across Kenmare Bay. In the book The Whole Planet Is a Garden—from which the exhibition takes its name—the late Dr. Edmund P. Pillsbury examines Kingerlee’s unconventional life and work. The month-long show, which is the country’s largest Kingerlee exhibition to date, kicks off with a reception and book event, which will feature speakers as well as copies of The Whole Planet Is a Garden signed by Pillsbury. —AH

John Kingerlee What Lies Beneath oil on panel, 9 x 6"

Bullseye at art santa fe July 7 - 10 sOfa West August 3 - 7

Silvia Levenson Strange Little Girl, 2011 kilncast glass, fabric, fiberglass

805 Early Street, Bldg. E, Santa Fe, New Mexico 87505 9:00 am – 5:00 pm Tuesday – Saturday www.bullseyeglass.com/santafe SANTA FE

bullseye gallery

300 NW 13th Avenue, Portland, Oregon 97209 10:00 am – 5:00 pm Tuesday – Saturday and by appointment www.bullseyegallery.com photo: M. DeL CoMune

Kevin Box: Paper Navigator Selby Fleetwood Gallery, 600 Canyon 505-992-8877, selbyfleetwoodgallery.com July 22–August 11 From origami to paper planes to abstractions, Kevin Box creates works that honor the delicate nature of paper (as well as its pure, “tabla rasa” quality) while also using heavyweight materials like bronze and steel. Centerpieces of the Paper Navigator exhibition include Rock Paper Scissors 4 (part of a celebrated series) and White Bison, a collaboration with physicist turned origami master Dr. Robert J. Lang. In both of these works we see the moving combination of the fragile with the forceful, of the vulnerable with the strong, which speaks to something Box has said in the past— that his compositions are born from his “desire to describe the nature of creativity and . . . the architecture of the soul.”—AH Kevin Box, Rock Paper Scissors 4, stainless steel and bronze on granite 72 x 30 x 18"


Shared Intelligence: AMERICAN PAINTING AND THE PHOTOGRAPH 2 O

S E P T E M B E R

1 1 ,

2 O 1 1

C H U CK CL O S E is here. A N DY WAR H O L is here. MA N R AY is here. NORMAN ROCKWELL is here. Andy Warhol, Jackie, 1964. Acr ylic and silkscreen ink on linen, 20 x 16 in. The Andy Warhol Museum, Pittsburgh. Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. ©2010 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York. Georgia O’Keeffe, Blue Flower, 1918. Pastel on paper, 20 x 16 in. Georgia O’Keeffe Museum. Gift of The Burnett Foundation (2007.01.011) ©1987, Private Collection. Chuck Close, Phil/Fingerprint, 2009. Screenprint in 25 colors, Paper Size: 56 x 44 in; image size 46 x 34 in. Edition of 80. Photograph courtesy Pace Prints, New York. ©Chuck Close, courtesy The Pace Gallery.

OP E N D A ILY 217 J O H NSON STRE E T, SA NTA FE 505.946.1000

OKEEFFEMUSEUM.ORG

36th Annual Benefit Auction August 18-19, 2011 Thursday, August 18, 2011 Silent Auction & Live Auction Preview, 4:00 – 6:00 PM

Friday, August 19, 2011 The Collector’s Table 9:00 – 10:30 AM Art for Wear, 10:30 AM – 12:30 PM Live Auction Preview, 10:30 AM - 12:30 PM Live Auction Starts at 1:00 PM

Photo: Addison Doty

M A Y

GE O R G I A O ’ KEEF F E is here.

OF THE AMERICAN INDIAN 704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 505-982-4636 www.wheelwright.org Catered lunch available. Offsite parking and free shuttle from St. John’s United Methodist Church at Old Pecos Trail and Cordova Road.

Funded in part by a gift from

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AN INTERNATIONAL CONTEMPORARY

ART FAIR

ART SANTA FE .2011

JULY 7-10, 2011 www.artsantafe.com / tel 505.988.8883 S A N TA F E C O N V E N T I O N C E N T E R , S A N TA F E , N E W M E X I C O OPENING NIGHT GALA THURS, JULY 7, 5-8 PM; FRI, JULY 8, 11- 7 PM; SAT, JULY 9 & SUN, JULY 10, 11- 6 PM

ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234


SPECIAL ADVERTISING SECTION

the

gallery ART SHOWCASE

POP Gallery

Chris Peters, Unexpected News, oil on linen over panel, 23 x 20"

Curiosities, featuring Daniel Martin Diaz, Chris Peters, and Marie Sena, among others, runs July 22–August 31, with an reception for the artists July 30, 6–9 pm. The exhibition showcases prolific New Brow artists whose work transcends boundaries while preserving multicultural arts and history and embraces contemporary motifs and techniques (often seen in Pop Surrealism, but outside the traditions of Santa Fe’s historic Spanish Market).

New Media Arts

133 W Water, 505-820-0788, popsantafe.com

Krasnoff Studios

Kevan Krasnoff, In Contrast, acrylic on canvas with forged steel belt, 24 x 36"

Krasnoff Studios is home to ceramic-amor wall sculptures and vessels, fabricated and forgedsteel totems and sculpture, and the multidirectional abstract paintings of Kevan Krasnoff. Situated at the base of Boulder’s Flatirons, the Marine Street Sculpture Garden is an oasis featuring Krasnoff’s work as well as work by select artists. By appointment.

One Artist Road Fine Art

PO Box 932, Boulder, CO, 80306 303-444-0693, krasnoff.com

Inger Jirby, Sophyn’s Peach Orchard in Bloom II, oil on linen, 36 x 48"

One block north of the Plaza in the GALA Arts District, One Artist Road Fine Art exhibits emerging and established artists, and offers paintings and sculpture ranging from realism to abstract expressionism. 142 Lincoln, Suite 102, 505-988-5866, oneartistroad.com

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SPECIAL ADVERTISING SECTION

Carol Kucera Gallery: New Art for a New Century

Dierk Van Keppel, Silver Sea, glass overlay in turquoise and yellow iris 13 x 17 x 8"

Justin Robert Galleries LLC

Tomáš Hrivnác, ˇ ˇ Stací ˇ /Enough, 2003, dry point, 295mm x 460mm

Justin Robert Galleries showcases drypoint engravings by Czech master artist Tomáš Hrivnác ˇ ˇ and two-dimensional and three-dimensional works by colleagues. The gallery is devoted to the feminine, as ˇ ˇ et al., images, manifest in the nude, figurative, female form. Hrivnác, at once an obvious pleasure, are simultaneously haunting, as they often beg the question of time, space, and movement therein.

Dierk Van Keppel is one of 12 gallery artists, whose works include ceramics, glass, neon and steel wall sculptures, contemporary Native American pottery, hand-turned wood bowls, and oil and acrylic paintings. These works derive their inspiration from nature, many emphasizing the wonders of scientific exploration and discovery. Daily 10 am–5 pm, closed Tuesday. 112 W San Francisco, Suite 107, 866-989-7523, kucera@carolkucera.com carolkucera.com

307b Johnson, 505-982-5000, robert@justinrobertgalleries.com

Winterowd Fine Art

Jamie Kirkland, Blaze, oil on canvas, 48 x 60"

Jamie Kirkland’s landscapes burst forth with all of the surprise, beauty, and inspiration of the seasons. Atmospheric skies, ponds, trees, and rivers sound the notes of spring and summer, perfectly evoking each season’s new beginning. Delight in nature abounds. We are open Monday–Saturday 10 AM–5 PM and Sunday noon–5 PM. 701 Canyon, 505-992-8878, info@fineartsantafe.com, fineartsantafe.com 100

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GVG Contemporary

The handcrafted fine-art furniture created by Ernst Gruler is not only beautiful but ergonomic, impeccably crafted, durable, and a delight to live with. This unique six-top dining set features six three-legged chairs. 202 Canyon, 505-982-1494, gvgcontemporary.com


SPECIAL ADVERTISING SECTION

VERVE Gallery of Photography

Cy DeCosse, Asparagus, platinum print, edition of 50, 19 x 15"

Cy DeCosse: A Retrospective will be on view at VERVE Gallery of Photography June 24–September 3, with an opening reception for the artist on July 8 from 5–7 PM. 219 E Marcy, 505-982-5009, vervegallery.com

Frank Howell Gallery Thom Wheeler, Peace Doves mixed media, 32"

Popular Taos artist Thom Wheeler describes his mixed-media artwork as “wall jewelry.” Drop by and see his new work. 103 Washington, 505-984-1074 frankhowellgallery.com

Hunter Kirkland Contemporary

Brad Bealmear

The Last of My Secret Springs without Knowing, acrylic on paper, cotton threads, collage, 48 x 41"

Jason Appleton

Jason Appleton, Miranda, fire-glazed ceramic, 24 x 7" Contemporary artist Jason Appleton is showing new ceramics and paintings of all sizes. 347-281-1332, appletongallery.com

Michael Madzo’s artwork speaks for itself in luminous hues and vivid, often whimsical subjects. His trademark technique of sewing bits of his paintings together attracts attention both for its symbolism and for the rich texture it adds to the works. Madzo will be featured in a two-person exhibition, along with Ted Gall, July 22–August 7. 200b Canyon, 505-984-2111 hunterkirkland@earthlink.net hunterkirklandcontemporary.com

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The William & Joseph Gallery

Stephanie Shank, Saffron Dawn, acrylic on panel, 48 x 48"

“My intent is to sustain an authentic vision and identity . . . Through the language of color, non-referential mark-making, and gestural paint handling, my work is a culmination of an emotional experience relating to a balance between lightness and darkness, agitation and bliss.” —Stephanie Shank 727 Canyon, 505-982-9404, thewillliamandjosephgallery.com

Liquid Light Glass Elodie Holmes, Aurora Sculptures, blown glass and metal, tallest 28"

Elodie’s Aurora Sculptures are hollow, organically shaped sculptures held by black forged-steel bases. Her studio/gallery, Liquid Light Glass, is located in the Baca Street Art District. Come and watch Elodie make world-class glass art that's represented in national and international galleries and museum shops.

julienmcroberts.com

926 Baca #3, 505-820-2222, liquidlightglass.com

Eileen Braziel Fine Art

Beth Rekow, Consumption, recycled plastic bags and rope 7' diameter

Taos Fall Arts Festival

Lenny Foster, Spirit of Bandelier, 33 x 25"

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Celebrating 37 years of Taos County arts and culture, the highly anticipated Taos Fall Arts Festival opens on September 23 and runs through October 2. The festival features two major exhibitions: a prestigious juried show, and the popular Taos Open. 120 Civic Plaza Drive, Taos, taosfallarts.com

Art advisor and unique art installation showcase. Come see our new location! Grand Opening: Friday, June 3, 5–8 PM 54 E San Francisco, Suite 7, 505-699-4914 eileenbrazielfinearts.com


SPECIAL ADVERTISING SECTION

Wheelwright Museum of the American Indian

Necklace from Santo Domingo Pueblo, circa 1935, turquoise gypsum, and plastic

The Wheelwright Museum celebrates a popular New Mexican folk art tradition with Thunderbird Jewelry of Santo Domingo Pueblo, through April 15, 2012. Featuring more than 300 whimsical, innovative creations made from found materials, dating circa 1920s–1950s. Museum Hill, 704 Camino Lejo, 505-982-4636, wheelwright.org

Brad Smith Gallery

See the Morning Sun, oil on canvas, 48 x 48”

Blending classic Santa Fe with his cutting-edge style, Brad Smith illuminates the canvas and Canyon Road with his vibrant works in oil and bronze. Brad Smith Gallery is the heart of the artistic world of Canyon Road, located next to Geronimo and open until dark seven days a week. 714 Canyon, 505-983-1133, bradsmithgallery.com

Mark White Fine Art

Join us here in Mark’s calming, meditative kinetic garden to experience bliss. These wind-driven sculptures welcome you through to his gallery. Inside, you will find his exquisite patinaed and engraved metal canvases and bronzes. Join us for Mark’s annual one-man show, “Ocean’s Twenty 11,” July 8–August 8. 414 Canyon, 505-982-2073, markwhitefineart.com

The Great Southwest

Located in the Old Depot Square just west of the Antlers Hilton in Downtown Colorado Springs, The Great Southwest lives up to its name by providing a great selection of both traditional and contemporary Southwest jewelry, arts, and furniture. Representing well-known regional artists including David Caricato, Richard Lindsay, Leon Loughridge, Peter Ortega, and many others. Appraisal services. Lawrence Baca and Peter Ortega Show, June 18, 10 AM–4 PM. 76 S Sierra Madre, #C, Colorado Springs, CO, 80903, 719-471-7772 greatsouthwestart.com 103


International Contemporary Art Fair – 4th Edition

60 Galleries – Special Projects

July 8-10 • Bridgehampton, NY Thursday, July 7 – Opening Preview Benefiting LongHouse Reserve

800-211-0640

www.ArtHamptons.com

From the Producers of:

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SPECIAL ADVERTISING SECTION

enchanted treasures

Packard’s on the Plaza Long Nacozari turquoise necklace with handmade signature sterling clasp Sassy and sophisticated stones, beads, pearls, and gems in every color of the spectrum. Drape, string, coil, or snake on one of Pam Springall’s necklaces in your favorite hue to wear to lunch or to the opera, only at Packard’s on the Plaza. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241, shoppackards.com

Heidi Loewen Porcelain Gallery Spiral of Life, smoked porcelain, oil, 28" Heidi creates smoked, gold-leafed, and oil-painted vessels. Watch her demonstrate in her gallery. Commission her to create a platter or sculpture. Heidi teaches private wheel-throwing to all ages, any time, as she has on TV with Giada DeLaurentiis. Opening receptions for shows featuring new smoked vessels by Heidi Loewen and glazed work by Sara Kathryn. ”Smoked Porcelain with Gold Dust” on June 3 and a group show with Sara Kathryn on July 1, 5–8 pm. 315 Johnson, 505-988-2225, heidiloewen.com

Norma Sharon Enchanting hand-molded cowhide purses in the shape of a human face are surefire conversation starters. Wearable art that evokes the artist within will have your friends and family asking, "Where did you get that purse?" Plaza Mercado 137 W Water 505-984-3005 normasharon.com

James Kallas Jewelers Carved Lotus Flower: 22k gold granulation with pink coral, diamond, and turquoise. 22k gold granulation with opal, diamond, and green tourmaline. South Sea: 22k gold granulation with golden pearl, diamond, and red coral. Specializing in one-of-a-kind handmade pieces. We are an eclectic all-in-one shop featuring fine jewelry, jewelry repairs, and jewelry restoration. We can make and fix just about anything. Well worth the 10-minute drive from the Plaza. 2801 Rodeo Rd. Suite B8, 505-986-1955, jameskallasjewelersinc.com


SPECIAL ADVERTISING SECTION

The Golden Eye Ear-rangements: Consider the possibilities . . . Available only at The Golden Eye, where creativity reigns and the possibilities are endless. Design your own unique statement from our collection of jewels set in 18k gold. One or many, mix and match. 115 Don Gaspar, 505-984-0040, 800-784-0038, goldeneyesantafe.com

Laura Sheppherd Laura Sheppherd has new collections of daytime jackets and jewelry that are artful and easy to add to your wardrobe. We are a full-service clothing salon that offers a great selection of elegant clothing for day or evening. 65 W. Marcy 505-986-1444 laurasheppherd.com 106

Sarape Girl Cowgirl duster made of hand-loomed, cotton saltillo sarape. Ankle-length, lined, pockets, and silver conch button. Sarape Girl designs are all made of handmade traditional saltillo sarapes loomed in cotton by our weaver in mainland Mexico. They are sewn in our factory in Baja California, Mexico. Each is unique, with woven diamond pattern on back and various linings. Christina Duwell, Box 1255, Florence, OR, 97439 541-997-5127, sarapegirlstore.com

Charlotte Santa Fe Interchangeable jewelry This uniquely designed jewelry system from Germany can be interchanged by the customer based on her mood and budget. It can be worn as a ring or on a bracelet or pendant, with matching earrings. Ring with stainless-steel ball and diamonds, $850. On the Plaza, 66 E San Francisco, 505-660-8614, charlotteshop.com


SPECIAL ADVERTISING SECTION

enchanted treasures Desert Son of Santa Fe Feeling blue? You won’t feel that way for long when shopping at Desert Son of Santa Fe for your summer accessories. Henry Beguelin Bags & Footwear, vintage shades, cashmeres, and Sammy of Ethiopia clutches are just a few of the fabulous items to liven up your summer wardrobe. 725 Canyon, 505-982-9499, desertsonofsantafe.com

Tom Taylor Company Tom Taylor Company is excited to welcome our newest artist, local Santa Fe silversmith Walt Doran, to our store. Walt’s distinctive designs are oneof-a-kind works of art. Each piece is handcrafted at his studio at a beautiful Galisteo Basin ranch in the heart of New Mexico. Visit our store in La Fonda on the Plaza or view our website to see Walt’s beautiful work. 108 E San Francisco, 505-984-2232, 800-303-9733 tomtaylorbuckles.com

Packard’s on the Plaza Cashmere blanket, cotton quilt, and pillows Classic Navajo designs reinterpreted in luxurious cashmere blankets, cotton quilts, and pillows. Inspired by the simple, elegant lines of 19th-century chief’s blankets, High Desert Concepts brings beautiful Old West style to Packard’s on the Plaza and your home. 61 Old Santa Fe Trail 800-648-7358, 505-983-9241 shoppackards.com

Boots and Boogie Boogie Knows Boots Santa Fe’s premier gallery of fine handcrafted boots. Elegant while still being comfortable. Owner Roy Flynn will personally and expertly size you in the finest and most beautiful alligator boots—both belly and hornback, in myriad colors and at the most competitive prices in the industry. Boots and Boogie utilizies five bootmakers and is committed to style, elegance, customer comfort, and satisfaction. Whether it’s the classic alligator or any of the hundreds of other designs available, Boots and Boogie outfits you with style. 227 Don Gaspar, 505-983-0777

PianoWerkes of Albuquerque Visit PianoWerkes to discover New Mexico’s largest and most diverse selection of pianos, including Schimmel, Germany’s most highly awarded and best-selling piano. Choose pianos from Yamaha, Clavinova, Yamaha Disklavier, Petrof, Bosendorfer, and Vintage Steinway. Grand piano floor patterns available. Delivery and service to Northern New Mexico. 4640 Menaul NE, Albuquerque, 505-338-0028, pianowerkes.com june/july 2011

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Held in co-operation with

August 6-8 • Aspen, CO Thursday, August 6 – Opening Preview Benefiting the Aspen Art Museum

800-211-0640

www.Art-Aspen.com

From the Producers of:

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living

CYNTHIA WHITNEY-WARD

lifestyle | design | people

Los Portales, a bucolic, 10-acre, organic farm in Nambe, New Mexico, looked like a stage set for The Martha Stewart Show. Everything was green and sprouting and luscious. Fat, happy pigs were basking in the sun, haughty chickens were strutting their stuff, and the lovely L-shaped portal sported rustic farm tables with all the trappings for a charming lunch. Erin Wade, owner of Los Portales and Santa Fe’s Vinaigrette restaurant, had invited members of Slow Food (an organization dedicated to preserving traditional cuisine) for a farm tour and luncheon that was memorable and delicious. It took a few years for Wade to restore the farmhouse and clear, nourish, and plant the land, but the metamorphosis is stunning. What a treat to know that just about everything on our plates was plucked from the garden that morning. And the perfect ending for a perfect afternoon? Wade’s grandmother’s apple crisp with homemade ice cream. —Cynthia Whitney-Ward

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living

the sacred and the profane

getting spiritual and spirited at two of Taos’s sweeter spots

box sofa

AVAILABLE IN NEW MEXICO exclusively at Molecule, the Box Sofa was created by Istanbulbased design studio Autoban and made by award-winning manufacturer De La Espada. “The sense of quality that a company like De La Espada offers is almost not seen these days,” says Adriana Siso, the owner of Molecule. “The woods used—walnut and oak—are sustainably harvested in the United States, and the inspiration comes from 1950s modernism. Any piece from the De La Espada/ Autoban collections would be an excellent addition for anyone who is interested in serious, good, long-lasting design.”

A guest enjoys an outdoor massage at El Monte Sagrado Living Resort and Spa.

continued on page 114

BOTTOM: DE LA ESPADA; TOP: EL MONTE SAGRADO

Box sofa in oak with leather upholstery, $6,445,available at Molecule, moleculedesign.net

TWO OF THE SWEETER little sanctuaries to be found in Taos this summer, especially as it heats up, are the outdoor spot at El Monte Sagrado Living Resort and Spa and the indoor delights of the Taos Inn. The former’s new, the latter’s an age-old institution. The former’s of the area but out of this world, the latter’s a favorite with locals and also a historic property. At El Monte, built in 2003, the inside features plenty of art (and not a little of it from local artists such as Ed Sandoval, Greg Moon, and Elias Rivera), a swanky bar and restaurant, and rooms themed like something you’d find in Vegas or the Madonna Inn of San Luis Obispo. It’s their Sacred Circle, though, that’s truly special, and worth a visit. Located at the heart of this retreat, which was named one of Condé Nast Traveler’s top resorts in 2010, is this wonderful mini-valley. Surrounded by centuries-old cottonwood trees, and rumored to have been a spot sacred to local Native Americans before the area was settled by non-Natives, this is an ideal site for a special occasion or just for taking a moment of rest and relaxation. It does indeed feel sacred. Meanwhile, at the Taos Inn, which is celebrating its 75th anniversary this summer, they’ll be partying through most of the summer, especially at the legendary Adobe Bar (where there’s never a cover). There will be a week’s worth of festivities from June 14–19 (with bands galore, a special talk by Taos historian Larry Torres, and a complimentary concert by Grammy Award–winning Taos flutist Robert Mirabal), along with special discounts and reduced prices on rooms, food, and drinks.

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photos: Kate Russell

V I S I O N S D E S I G N G R O U P

www.visionsdesigngroup.com • 505.988.3170 111 N St Francis Dr Santa Fe NM 87501 David Naylor • Betsy Bauer • Kristin Urbanik June/July

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house music two local residents host a music festival in their home by Amy Hega r ty very little electricity. There’s also radiant heat throughout, but in the winters we mostly rely on our highly efficient Danish woodstove.” Part of the success of the festival ―in addition to the top-notch talent it presents― has been due to the fact that the venue underscores one of the main reasons audiences and musicians are drawn to chamber music in general: intimacy. In Abiquiú, the scaled-down level of musical forces is matched by Williamson and Ginge’s scaled-down lifestyle. “Our only criteria when talking with Mark and Peter Anderson, our architects, were: no inner walls, no closets, and as few doors as possible,” Williamson says. “We have a front door to the house and pocket doors on the lavatories, but everything else is open. With regard to the furniture, neither Birgitte nor I have ever owned a couch. We have a philosophy that everything must be portable, which means that what we have in the house is easily rearranged for concert needs.” The festival’s concerts are held on the home’s main floor, a loft-like space with 14-foot ceilings. Most of the guests are seated outdoors, on the steel decks that flank the north and south side of the home. “Our intention was that this would be an outdoor festival, in order to take advantage of the river location and natural surroundings,” Williamson says. “The south deck is covered and seats 20 people. The north deck is uncovered (although we do have umbrellas) and can hold up to 50. If someone has special needs, they can let us know and we will seat them indoors.”

© ANDERSON ANDERSON ARCHITECTURE

FROM THE MOMENT THEY FIRST ENVISIONED their trilevel Abiquiú House, as their home overlooking the Rio Chama has come to be known, pianist Madeline Williamson and Birgitte Ginge knew that it would be inexorably linked with an event like the Abiquiú Chamber Music Festival, which the two cofounded in 2008. “The house was designed for performance,” says Williamson, who taught for 30 years at Arizona State University before relocating to Abiquiú in 2004. “The main space was built to accommodate a small ensemble. I’ve always told people it was the Field of Dreams approach: if you build it, they will come.” And come they did. “For the festival’s first concert, in the summer of 2008, we expected maybe 30 people to show up. But we had 65 people right away, and that was with hardly any publicity,” Williamson recalls. “Clearly, this festival has made an impact and fills a real need for world-class artists to be available in rural areas like Abiquiú.” Given that their home is, indeed, in a rural area, during the construction phase Williamson and Ginge were especially committed to making as small an imprint on their surroundings as possible. “This is a very, very green house,” Williamson says. “It was created out of SIPs [structural insulated panels] and has ash-concrete passive solar floors. It’s been plumbed and wired for both solar and photovoltaic systems, but we haven’t added those because, due to the design of the house, we use

This page: Abiquiú House, which overlooks the Rio Chama; opposite: Madeline Williamson (at piano) and guests applaud a performance by soprano Pam Unger at the Abiquiú Chamber Music Festival.

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BIRGITTE GINGE

Williamson notes that one of the risks inherent in hosting an outdoor festival is, of course, the possibility of bad weather. “In Abiquiú, storms occur in the late afternoon in the summertime, which is why we start our concerts at 2 pm. We’ve had rain in the past, but we’ve never been rained out, since the storms don’t last long. People can move indoors, but sometimes they choose to stay outside and get drenched. They say that’s precisely what they love about the festival—it’s so natural!” The concerts run each year from mid-June to mid-August and feature repertoire that ranges from classic to contemporary. This season’s artist lineup includes cellist Sally Guenther; pianists Robert McDonald, Hamilton Tescarollo, Shields-Collins Bray, and Jacquelyn Helin; classical guitarist David Leisner; mezzosoprano Virginia Dupuy; and violist John Graham, who will perform new works for viola and electronics in addition to pieces for viola and piano with Williamson. New works are a key part of the festival’s agenda. Last season Native American flutist R. Carlos Nakai gave the world premiere of the organization’s first commission, Ruth Lomon’s ReWeaving(s). That piece inspired two companion commissions of sorts: Abiquiú Blanket, by multimedia artist Mary Hamill, and Abiquiú Carpet, an outdoor sculpture by Hamill’s son, Andrew. “Mary came to New Mexico and did all of the weaving here in town,” says Williamson. “When she finished, the blanket was hung on the right wall of the entryway so that guests of the festival could see it when they walked in. It really created an environment for the music. The blanket seemed to envelop you in a different kind of space.” After seeing the work his mother had done, Andrew Hamill told Williamson that he also wanted to contribute to the festival. As a result, he created Abiquiú Carpet, a woven-steel sculpture with four mirrors on it. The views from the mirrors—the sky, the river, the greenery—change depending on where the sculpture is displayed. Williamson notes that Abiquiú Blanket and Carpet are good examples of how projects develop

at the festival. “They evolve out of one idea and then become something else. I think because it’s only two of us (Birgitte and me) working on the festival, the artistic direction can really flow. Being interdisciplinary and having connections with people and other artists is very important.”

“Our intention,” says Madeline Williamson, “was that this would be an outdoor festival, in order to take advantage of the river location and natural surroundings.” With regard to the future of the Abiquiú Chamber Music Festival, two pivotal events occurred in recent months. “Last summer we finished a process with the Rio Arriba County Commissioners that allowed the festival to become an official arts entity of the county, which is very significant. It enables us to continue to provide a real service to our community,” Williamson says. “Another thing that happened is that we became an affiliate of the local nonprofit Luciente Inc., which means that we can now start to work on the education-outreach part of our mission.” While these recent developments will lead to new adventures down the road, Williamson maintains that certain things will always stay the same. “We don’t plan to ever have more than six concerts, and we don’t plan to ever have non-summer concerts. The festival’s been designed to take advantage of our beautiful surroundings, with people sitting on decks overhanging the Rio Chama,” she says. “The whole experience is enchanting. Both the audience and the musicians want to come back each year because they feel that this is the way chamber music is meant to be performed and experienced.”

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living continued from page 110

Affectionately known as “the living room of Taos,” the Adobe sports a diverse clientele (a reflection of the town’s makeup of artists, cowboys, Native peoples, oddballs, and out-o’-towners), a musical medley every night (from flamenco to Celtic), and the famous Cowboy Buddha margarita. It’s as intimate and sacred in its own way as the Sacred Circle at El Monte. And the two spots together offer further evidence of why the town continues to exert its pull on people.

The Bali Suite at El Monte Sagrado

The Aqua Center at El Monte Sagrado

TAOS INN; EL MONTE SAGRADO

Above: the trellace garden behind Doc Martin’s Restaurant at the Taos Inn; the Taos Inn

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Sculpture Objects & Functional Art Fair + NEW! The Intuit Show of Folk and Outsider Art SantaFean030111_GlassFocus012405 3/10/11 2:22 PM Page 1

Sculpture Objects & Functional Art Fair + NEW! The Intuit Show of Folk and Outsider Art

August 4-7, 2011 Santa Fe Convention Center Opening Night Wednesday, August 3

Jimin Kim, represented by Charon Kransen Arts

August 4-7, 2011 Santa Fe Convention Center

Opening Night Wednesday, August 3

Produced by The Art Fair Company, Inc.

Jimin Kim, represented by Charon Kransen Arts

Produced by The Art Fair Company, Inc.


Creative Landscaping

northern exposure st unning s ce ne r y a nd conve ni e nt liv ing nor t hw e s t of town Santa Feans in search of seemingly endless open spaces, a variety of home styles and communities, and proximity to outdoor and in-town amenities should take in the view from the city’s Northwest Quadrant. The Setting: With its rolling hills and spectacular views of the Sangre de Cristo and Jemez mountains, the Northwest Quadrant feels far from the city, yet the area is actually only a short drive from Santa Fe’s historic downtown Plaza. The Community: A range of options exists

McCumber FINE GARDENS

LANDSCAPE DESIGN | INSTALLATION | MAINTENANCE

DANIEL NADELBACH, CHRIS CORRIE

505.660.9599 www.mccumberfinegardens.com

Est. 1927

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riverfront estate

19 Calle De Montanas

“Casa de Suenos” means House of Dreams, and this house is certainly that! From the 13-foot ceilings through to the exquisitely finished kitchen and on to the huge, end-of-the-road lot with panoramic views, this home is truly magnificent. 2,842 sq ft with a spacious master suite featuring double closets, sitting area, and 5-piece bath; 2 guest bedrooms on their own wing off a gallery-style hall with custom lighting and nichos; a great room styled floor plan grande foyer leading to the main living area; multiple doors to a sweeping portal; front courtyard with adobe accent wall; and fully landscaped with mature, healthy plants, trees, and shrubs. This home will take your breath away! MLS # 201101012. Offered at $784,500. Coleen Dearing Susan Bell

Summer time in Tesuque... the living is easy

MLS #201101865

(505) 930-9102 (505) 470-2809 coleen@coleendearing.com musetta287@aol.com Coldwell Banker Trails West Realty, Ltd (505) 988-7285

260 Tano Road

Unique two-bedroom, two-bath, main house and guest house. Moroccan oasis amid lush gardens on 5 acres with a 4-stall barn, only ten minutes from the Plaza, and ready for a deserving buyer.

t e l : 5 0 5 . 9 8 9. 7 74 1

w w w. d r e s f. c o m

A Full Service Real Estate Brokerage

conceive construct nurture

MLS#201004958 Offered at $997,000 Vivian Nelson (505) 470-6953, vivianre@earthlink.net Santa Fe Properties (505) 982-4466 Our expert team with a combined experience of over 100 years brings value to the creation of your garden with solutions that are about creativity not excess. We offer construction that goes in right the first time and garden care service that protects your investment with customized attention. What’s your definition of value? Your project, your budget. Call us to begin the dialogue.

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in this quasi-neighborhood― from the Monte Sereno community, where homes are positioned for exceptional privacy, to individual residences tucked off Tano Road, to village-style living at Aldea de Santa Fe, where houses are arranged around a central plaza. A variety of home styles and amenities are found at Las Campanas, while Zocalo offers contemporary condominium living just minutes from the city. The Homes: Here you’ll find earth-toned, Pueblo-style houses that complement and respect the high-desert landscape, Northern New Mexico–style dwellings, and more rustic designs, as well as the bold modernism of Mexican architect Ricardo Legorreta in Zocalo. Depending on your choice of where to reside, you can have a home created for close-knit community living, or you can enjoy quiet seclusion in a residence situated on a larger piece of land.

The Amenities: From the Northwest Quadrant, you’re a short drive to the Santa Fe Opera, Ski Santa Fe, and the goings-on in the downtown area. The gorgeous natural surroundings of the Northwest Quadrant lend themselves to outdoor pursuits such as hiking, biking, and horseback riding.

Items featured : Scoop Ser ver & Swoop B owl

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104 West San Francisco Street , 505.98 8.3574 Monday - Saturday 9am - 5pm, Sunday 11am - 5pm 924 Paseo de Peralta (free parking) , 505.98 8. 5528 Monday - Saturday 9am - 5pm, Sunday 11am - 4pm In New Mexico over 60 ye ars. N ambé is locally owned and oper ated with f ive ret ail stores, administr ative of f ices and global distribution, all within the st ate of New Mexico.

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DANIEL NADELBACH

The Price Points: There is a range of high-end homes in the Northwest Quadrant, with prices generally starting around $500,000.


AllBright&LockWood

Tile Lighting Hardware BathAccessories Fans

621 Old Santa Fe Trail Santa Fe, NM 87505 Tel: 505.986.1715 Fax: 505.986.1518 Monday - Friday • 9 a m - 5 p m TRADE DISCOUN TS

Photo: Wendy McEahern

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g i f t c e r t i f i c at e s ava i l a b l e

Introducing the Nidah Spa Gold Card Club. Leave your worries far behind – without going far away. We’ve made getting away from it all easier than ever with our $50 annual gold membership card for local guests. You’ll receive: · 15% off treatments · 25% off treatments during your birthday week · A $50 credit toward a treatment after 10 visits · Use of steam, sauna, fitness center, hot tub and pool with each scheduled visit · Other gift items and discounts, including monthly health and beauty tips Call 505.995.4535 for appointments.

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309 W. San Francisco Street | EldoradoHotel.com

Where Santa Fe begins.


DOUGLAS MERRIAM

haute d’Azur No region of the world captures the relaxed tranquil splendor of summer better than the sunny Mediterranean. And just in time for Santa Fe’s dog days (and nights), the wonderful cuisine of that idyllic land comes alive at the spanking new and stylish Azur, in the space formerly inhabited by A La Mesa. Created by restaurateur Eric Lamalle and chef Xavier Grenet, who have proven their adeptness with French cookery at their popular Ristra restaurant right down the block, these clever Francophiles are now expanding their palates and their menu with this second venture, one that incorporates the countries and cuisines that circumvent the Big Med. Think Moroccan tagines, saffron-scented dishes, and touches of preserved lemon, Iranian dried lime, honey, salty feta, tart pomegranate, fragrant rose water, zahtar, sumac, sardines, and (pictured) seared mahimahi with green olive, golden raisin, caper, and celery salsa on herbed couscous. Prices are wallet-friendly, and there are small-plate tapas (to encourage sharing) and a wine list that focuses on vino from Italy, Spain, and France. Azur like it!—John Vollertsen june/july 2011 santa fean Azur Mediterranean Kitchen, 428 Agua Fria

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REVIEW

hot time in the old town by John Vollertsen

This page: Paddy Rawal’s zaffrani-macchi-marinated mahimahi; top: Rawal’s tandoori shrimp; opposite, top: Max’s smoked sturgeon salad; bottom: Café Vingt Cinq’s raspberry tartlette 122

Get your chutney on: The most intriguing new restaurant to open this spring is Paddy Rawal’s Raaga Fine Indian Dining, in the Guadalupe district, taking up the space that formerly housed Mauka. The name is a mouthful, as is the burst of flavors that accompany each dish from a menu that at first looks like your typical Indian fare yet is anything but. Forget everything you think you knew or liked about this popular ethnic cuisine. At Paddy’s, the exotic ingredients that magically come together to create the curries, tandooris, biryanis, vindaloos, and naan also stand out individually, a boon that is often lost when the cookery is handled by less-talented chefs. There is often heat in a dish, but not always—your palate will be extremely excited regardless. Chef Rawal treats each spice as a star in its own right; no muddled sauces with muted tastes. He sneaks in clever touches of Southwestern ingredients here and there. Chipotle chiles, for instance, give a kick to the grilled shrimp dish, while a zippy pico de gallo creates a tasty bed for crisp-fried okra. The menu is as big as the tastes, with a huge selection of vegetarian options and homemade chutneys and pickles. Don’t miss the six-alarm mesa chicken “65”; zaffrani-macchimarinated mahimahi with yoghurt, lime leaf, and green chile; everything from the tandoori clay oven; the stuffed poblano pepper with sassy pomegranate onion salsa; and for dessert a honeysoaked milk puff in warm syrup that’s as decadent as a warm, tiny Krispy Kreme doughnut. Prepare your taste buds to be surprised, slapped, and delighted. 544 Agua Fría, 505-820-6440, raagacuisine.com, lunch, dinner, and delivery daily

DOUGLAS MERRIAM

In a city that recently celebrated its 400th anniversary, it’s good to know that new things are happening here to ensure we remain the vibrant, provocative destination we have been for centuries. As the birthplace of Southwest Cooking, a culinary movement coined in the 1980s, it’s interesting to note that three decades later Santa Fe remains atop the foodies’ list of favorite places to visit. No wonder. We have more than 200 restaurants in a town of barely 80,000 inhabitants. Our love of chiles is heralded the world over, while our talent pool of local chefs is regularly mentioned in national media along with other gastronomic greats. When asked to choose which restaurant I would recommend—if I had only one meal in Santa Fe to enjoy—I often reply with the Coyote Café. Chef/owner Eric DiStefano’s enticing and ever-creative menu features the latest trends while tipping its toque to a celebration of indigenous ingredients and food styles first identified more than 20 years ago by Coyote founder Mark Miller. But with so many fantastic dining destinations to choose from, and with so many imaginative culinarians at work to keep our food scene fresh, my answer frequently changes depending on the occasion, palate, and purse of the person posing the question. So with summer in full swing and a host of edible options at your lips, here are a few delicious spots to check out. There’ll be a hot (and delicious) time in the (400-year) old town tonight.


REVIEW

Café society: There’s a saying in the restaurant business that applies to just about everything: location, location, location. Although the casual bakery Café Vingt Cinq is tucked away in the boondocks of the fashion outlets of Santa Fe, a minute away from an exit off its namesake highway, the goodies dispensed here are happily worth the drive. In another time and economy the 20-something stores there might be bringing customers to the café, but I think it might just be the other way around. Ignore the 75-percent-off sign swinging in the Van Heusen, Polo Ralph Lauren, and Coach stores and save your pennies instead for the lightest, laciest crepes in town (the green-chile chicken one packs a punch), classic French soups and salads, quiches, panini, and a pastry case filled with the most beautiful renditions of all the usual suspects. Skylights and a charming street mural of Paris help you forget you’re in an outlet mall. The sweet-and-sour cider-vinegarbased vinaigrette is my favorite in town and really takes the salade niçoise to another level. Delicate fruit tarts compete with creamy rum babas and flakey Napoleons for don’t-pass-up pastries. If you believe that bread is the staff of life, the pull-apart and perfect Epi loaves will confirm your faith. This is truly the little café that could. 8380 Cerrillos, #414, 505-474-7300, 7 am–4 pm daily

At Café Vingt Cinq, delicate fruit tarts compete with creamy rum babas and flaky Napoleons for don’t-pass-up pastries.

Mighty Max: The buzz around Max’s is so palpable, the diminutive dining room is fairly bursting at its seams as Chef Mark Connell’s culinary star continues to rise. Luckily for diners who want to see what all the delicious fuss is about, the patio is open, with added seats and a new summer menu in place. Connell, whose mentors include gourmet gods such as Thomas Keller of The French Laundry and Alinea’s Grant Achatz, really knows how to gussy up ingredients just enough to provoke the palate while leaving the integrity of the flavors intact. Blushingly fresh oysters come with a sake granite pool to swim across before heading down the hatch, and the slow-poached two-hour egg is an opaque wonder that barely coagulates and deliciously spills its runny yolk over whatever dish it is served on (last winter it was wild-mushroom polenta). Gently smoked sturgeon gets a touch of citrus to create a salad dolloped with tiny pearls of tart balsamic vinegar “caviar” (a witty joke on Connell’s part, given that caviar comes from sturgeon). Perhaps the most scrumptious bite of food to cross my tongue this year so far was a flat disc of crisp-fried chicken skin that garnished a roulade of chicken and piquillo peppers—so perfect in its salty, crunchy, fatty equation it bordered on brilliance. It is the revelation in cookery I have come to expect here, and so should you. 403 ½ S Guadalupe, 505-984-9104, maxssantafe.com, Tuesday– Saturday 5:30–9:30 pm june/july 2011

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Presto al fresco: Sun-filled days and starry nights are what summer dining in Santa Fe is all about, and no location celebrates it better than the patio at Luminaria at the Inn and Spa at Loretto. Dining on a menu as imagined by new chef Matt Ostrander, in the shadow of the spires of the Loretto Chapel, is an added windfall. Though he has worked in the sous chef position at many of Santa Fe’s stellar restaurants, this is Ostrander’s first time in the director’s chair, and he is up to the task. Ostrander’s training has been primarily in French and Italian cookery, but he uses that knowledge mainly for technique. Since his restaurant is smack dab in the center of town, it is with New Mexico flavors that he shows off his ingenuity. A plump pirogue is dressed with an Anaheim butter sauce and made with pasta dough rich in ancho chile, while a seared duck breast sits atop a creamy polenta fired with chipotle chile. Dramatically colored and tasty purple Thai rice creates a raft for seared organic salmon topped with zesty micro-greens and nasturtia, and, like the Den, which revamped the caprese salad as a cocktail, here the classic becomes a sundae with basil ice cream (lending it an herbaceous element), while the 18-year-old balsamic sits in for chocolate syrup. The fact that Luminaria is located in an elegant hotel with a classy swimming pool is an added lure. What a great idea for an intown stay-cation! Summertime, and the eating, drinking, and livin’ is easy. 211 Old Santa Fe Trail, 505-984-7915, innatloretto.com, breakfast, lunch, and dinner daily

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This page, right: caprese sundae from Luminaria; bottom: the Den, decor and martini; opposite page: drinks from the Den


REVIEW

digestifs

Coyote Den: Bar none—Santa Fe has plenty of watering holes, running the gamut from dives to dens of iniquity, but this new stylish den, at street level under the world-famous Coyote Café, smacks of the same talent and sophistication as the joint above. The Den is part of the same management group responsible for the Coyote, Cantina, and Geronimo, and it shows. The decor is cool blues, blacks, and whites, with a wavy wall behind the bar to keep patrons feeling liquidy and a faux roaring fire above the bar to remind you you’re in one of Santa Fe’s hot spots. More lounge than bar, the comfy couches promote sprawling and canoodling. There is a definite, delicious wickedness in the baker’s-dozen drink list that is state-of-the-art in its flavors and ingredients (beers in bottle and on tap). Displayed in a nifty Star Trek-esque, LED-lighted menu, the Den’s take on classic cock-

tails show off partner/mixologist Quinn Stephenson’s love of flavors and tastes with a twist. A manhattan called Gentleman’s Vice boasts cherry bitters and is smoked before being poured over a slow-melting giant ice cube. The Den of Iniquity is a gin or vodka martini as if served by Morticia Addams, smoking as it’s dispensed from its dry ice–filled shaker. As a celebration of the summer favorite caprese salad, the capri martini sports a fresh basil–scented gimlet served in a balsamic vinegar syrup–rimmed glass and garnished with a tomato/mozzarella flower—pure inspiration. Martinis are served with a variety of olives. The music is at a level that promotes conversation, and there is a private lounge (cubbyhole-sized) to retire to when your friends start yelling, “Get a room.” 132 W Water, 505-983-1615, daily from 5:30 pm–late

I’m so excited. My palate is moist with anticipation for this summer season. There are new restaurants opening, new menus springing forth from the palettes of our plethora of talented chefs, and nifty food carts popping up here and there; the Farmers Market is chock full of glorious New Mexico produce (though chiles need another month), and locals and visitors alike are ready to celebrate that great American pastime—eating! The Santa Fe dining scene is experiencing a growth spurt of sorts with the arrival of Azur, Paddy Rawal’s Raaga Fine Indian Dining, and Café Vingt Cinq. Local chefs seem to enjoy kitchen hopscotch. The most exciting jump is Joseph Wrede, of Taos’s Joseph’s Table, taking over the revamp of the historic Palace Restaurant. Tom Kerpon, who received a glowing review in these very pages just months ago, is no longer at Rio Chama, having been replaced by Rio’s original chef Russell Thornton. Christopher McLean, who’d been doing Mark Miller’s culinary bidding at Buffalo Thunder’s Red Sage, is now at Bishop’s Lodge, while his kitchen mate, Michael Meisel, has assumed Sage’s chef de cuisine role. And round and round they go! Santa Feans are such a creative bunch. Real estate developer and property manager David Oberstein, for one, recently helped renovate and re-imagine Albuquerque’s Memorial Hospital, now known as the Hotel Parq Central. With interiors designed by Santa Fean Heather Van Luchene, and located smack dab along Central Avenue’s downtown area (the old Route 66), the Parq has retained many of its historic features but indeed feels like the “modern urban oasis” it touts itself as being. The stylish and trendy Apothecary Lounge on the rooftop includes stunning views of the skyline and an outdoor area perfect for warm-weather clubbing. A must for a stay-over prior to those early morning flights from the Sunport. A visit here, with libations and tapas topside, sounds like just what the doctor ordered. Check it out at hotelparqcentral.com. Back at home, hungry diners are seeking out restaurants and cafes with outdoor seating so they can

soak up the gorgeous weather while noshing and imbibing their way through town. Whether you are people-watching from the ledge of the Coyote Cantina, mountain-viewing from the Bell Tower at La Fonda, feeling rich and famous on the terrace of Encantado Resort & Spa, steak-savoring at The Bull Ring, brunching and munching at La Casa Sena, noodle slurping at Mu Du Noodles, gourmet gorging at Santacafé, or watching the sunset in the shadow of the spires of the Loretto Chapel at Luminaria, to mention just a few delicious dining scenarios, Santa Fe boasts something for every budget, taste, appetite, and culinary persuasion. Summer is here . . . dig in! –JV june/july 2011

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taste of the town

NORTHERN NEW MEXICO’S FINEST DINING EXPERIENCES The Bull Ring 150 Washington, 505-983-3328 santafebullring.com Serving Santa Fe since 1971, the legendary Bull Ring is “the prime” steakhouse in Santa Fe. Voted “Best of Santa Fe” year after year, it also offers fresh seafood, chicken, chops, an extensive wine list, a saloon menu, and patio dining. If there’s one thing New Mexico’s politicians can agree on, it’s where to eat in Santa Fe. Conveniently located one block north of the Plaza in the courtyard of the New Mexico Bank & Trust building. For a quick bite after a stroll at the nearby Plaza—or for a late-night snack—the lounge’s bar menu is sure to satisfy. Lunch 11:30 am–2:30 pm, Monday–Friday; dinner nightly starting at 5 pm. Underground parking available on Washington. Chocolate Maven Bakery 821 W San Mateo, Suite C 505-982-4400, chocolatemaven.com A long-standing local favorite, Chocolate Maven does it all: breakfast, lunch, dinner, high tea, brunch, and every type of pastry, cookie, and cake imaginable! We create delicious, eclectic menus using local, organic produce, meats, and cheeses, helping to support local farmers while bringing you the freshest, most flavorful food possible. Don’t miss this hidden gem on your next visit to Santa Fe. Open seven days a week. Dinner Tuesday– Saturday 5–8:30 pm; breakfast and lunch Monday–Friday 7 am–3 pm; high tea Monday–Saturday 3–5 pm; brunch Saturday and Sunday 9–3 pm. The Compound Restaurant 653 Canyon, 505-982-4353 compoundrestaurant.com Recognized by Gourmet magazine’s Guide to America’s Best Restaurants and the New York Times as a destination not to be missed. Chef/owner Mark Kiffin, the James Beard Foundation’s “Best Chef of the Southwest,” pairs seasonal contemporary American cuisine with professional service in a timeless, elegant adobe building designed by famed architect Alexander Girard. Extensive wine list, full bar, picturesque garden patios, a variety of beautiful settings for wedding receptions, social affairs, or corporate events for 12 to 250 guests. Private parking. Seasonal specialty: tuna tartare topped with Osetra caviar and preserved lemon. Lunch 12–2 pm, Monday–Saturday; bar nightly 5 pm–close; dinner nightly from 6 pm; full lunch and dinner menu available in the bar. Doc Martin’s at the Historic Taos Inn 125 Paseo del Pueblo Norte, Taos 575-758-1977, taosinn.com Doc Martin’s restaurant is an acclaimed fine-dining establishment located in a registered historic landmark. Doc’s is a true Taos tradition, earning multiple awards. Executive chef Zippy White specializes in organic foods, with chile rellenos being his signature dish. With more

than 400 wine selections, our world-class wine list has earned Wine Spectator’s “Best of” award of excellence for 21 consecutive years. The Adobe Bar features complimentary live entertainment nightly. Patio dining as weather permits. Featured dessert: the chocolate-lover’s pie—a rich, silky chocolate mousse, whipped cream, sweet cookie crust. Breakfast is served daily 7:30–11 am; lunch 11:30 am–2:30 pm; dinner 5:30–9 pm; Saturday and Sunday brunch 7:30 am–2:30 pm. El Mesón 213 Washington, 505-983-6756 elmeson-santafe.com A native of Madrid, Spain, chef/owner David Huertas has been delighting customers since 1997 with family recipes and specialties of his homeland. The paella is classic and legendary—served straight from the flame to your table in black iron pans; the saffron-infused rice is perfectly cooked and heaped with chicken, chorizo, seafood, and more. The house-made sangria is from a generations-old recipe with a splash of brandy. The ¡Chispa! tapas bar offers a fine array of tapas. The full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Occasional musical entertainment and dancing. Dinner is served 5–11 pm, Tuesday–Saturday.

Galisteo Bistro

227 Galisteo, 505-982-3700 galisteobistro.com

Chef-owned and “made by hand,” featuring eclectic, innovative international cuisine known for its open kitchen, quality menu offerings, and attentive service in a casual, comfortable downtown setting. Just a short walk to the historic Santa Fe Plaza, the Lensic Performing Arts Center, hotels, and museums. “I admire a restaurateur who says, Hey, I want to cook the foods I love, like a musician who says, I want to play the music I enjoy. He would have made a great conductor; his orchestra of a staff is playing lovely food in perfect harmony. If music be the food of love—long may the Galisteo Bistro play on.”—John Vollertsen, Santa Fean. Wednesday–Sunday 5–9 pm.

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Il Piatto 95 W Marcy, 505-984-1091 ilpiattosantafe.com Locally owned Italian trattoria located one block north of the Plaza. Nationally acclaimed and affordable, Il Piatto features local organic produce and house-made pastas. Prix fixe three-course lunch, $14.95. Dinner, three courses $29.50, or four courses $37.50 (anything on the menu, including specials). No restrictions. Lunch Monday–Friday 11:30 am–2 pm; dinner seven nights a week at 5 pm. “Everything is right at Il Piatto, including the price.”—Albuquerque Journal India Palace 227 Don Gaspar, 505-986-5859 indiapalace.com Voted “Best Ethnic Restaurant” in Santa Fe. Located in downtown Santa Fe, just one block from the Plaza, India Palace specializes in the dynamic, complex cuisine of northern India and uses ayurvedic (the science of longevity) cooking principles. Homemade cheese, yogurt, ghee, and kulfi (pistachio ice cream), and tandoori-fired traditional breads complement the extensive menu, which includes chicken, lamb, seafood, and vegetarian dishes. Entrées may be ordered mild, medium, or hot. No artificial flavors or MSG. Vegan and gluten-free meals also available. Entrance located in the Water Street parking lot. Open seven days a week. Lunch 11:30 am–2:30 pm; dinner 5–10 pm. Inn of the Anasazi 113 Washington, 505-988-3030 innoftheanasazi.com New Mexico’s only Mobil Four Star, AAA Four Diamond hotel is also home to Santa Fe’s most highly acclaimed culinary destination. The Anasazi

featured listing Coyote Cafe 132 W Water 505-983-1615 coyotecafe.com

Coyote Cafe continues to be Santa Fe’s most famous and celebrated restaurant, feted by critics and return visitors alike. Executive chef/owner is world-renowned Eric DiStefano, who brings with him his contemporary global style of cooking that has French-Asian influences accompanied with Coyote Cafe’s known Southwestern style.

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Geronimo 724 Canyon, 505-982-1500 geronimorestaurant.com Señor Geronimo Lopes would be pleased if he knew how famous his 250-year-old hacienda on Canyon Road has become. The landmark adobe is now home to a cutting-edge restaurant—elegant, contemporary—serving the highest-quality, creative food. Award-winning executive chef Eric DiStefano serves up a creative mix of French sauces and technique with culinary influences of Asia, the Southwest, and his own roots in Italy, blended to bring taste to new levels. Geronimo is New Mexico’s only restaurant with both Mobil Four Star and AAA Four Diamond awards. Dinner seven days a week, beginning at 5:45 pm.


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Restaurant features a welcoming and rustic Southwestern atmosphere. Chef Oliver Ridgeway offers seasonal menus, with fresh local ingredients, to celebrate creative American cuisine. Open seven days a week—serving breakfast, lunch, dinner, brunch on weekends, and bar menu. Breakfast Monday–Friday 7–10:30 am, Saturday 7–11 am; lunch Monday– Saturday 11 am–2:30 pm; dinner daily 5:30–10 pm; Sunday brunch 11 am–2:30 pm. Josh’s Barbecue 3486 Zafarano, 505-474-6466 joshsbbq.com Voted Top 3 Caterer of 2010! Savor the flavor of classic American barbecue created with a special New Mexican twist. Chef/owner Josh Baum, with his manager Rodney Estrada, dishes up a huge fresh daily selection of slow-smoked, mouth-watering meat choices, including tender brisket and succulent natural ribs, served with a choice of sides, sauces, and desserts, all house-made. Special regional dishes like smoked chicken taquitos and green-chile brisket burritos have made this eatery a local favorite, with additional chef’s specials offered daily. Also available: beer and wine, dine in or take out, full-service catering for all occasions, and a small private dining room for special events. Located next to Lowes and Regal 14 cinemas off Cerillos at Zafarano. Open for lunch and dinner. Winter hours: 11:30 am–8 pm, Tuesday–Thursday and Sunday; 11:30 am–9 pm Friday and Saturday; closed Mondays. (Beginning May 1, summer hours: 11:30 am–9 pm Tuesday–Saturday and 11:30 am–8 pm on Sundays; closed Mondays.) La Casa Sena 125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in downtown Santa Fe, in historic Sena Plaza. We feature modern, sustainable cuisine; an award-winning wine list; and a spectacular patio, and we are committed to using fresh, local, and seasonal ingredients whenever possbile. La Casa Sena has been one of Santa Fe’s finest and most popular restaurants for over 27 years. For a more casual dining experience, visit La Cantina and be entertained by our singing waitstaff performing the best of Broadway, jazz, and much more nightly. Lunch is served 11 am–3 pm Monday–Saturday; dinner 5:30–10 pm nightly. Sunday brunch in a beautiful patio setting is available 11 am–3 pm. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open 11 am–8 pm Monday–Saturday; noon–6 pm Sunday. La Plazuela at La Fonda on the Plaza 100 E San Francisco, 505-995-2334 lafondasantafe.com La Plazuela at La Fonda on the Plaza is a feast for the senses. The room is stunning and the menu sophisticated, showcasing old favorites with New World twists and truly authetic northern New Mexican cuisine. Come make memories with us! La Plazuela hours: breakfast 7–11:30 am daily; lunch 11:30 am–2 pm Monday–Friday, 11:30 am–3 pm Saturday and Sunday; dinner 5:30–10 pm daily.

featured listing Terra Restaurant at Encantado Resort 198 State Road 592 505-946-5700, encantadoresort.com

Terra, the signature restaurant for Encantado, an Auberge Resort, features majestic views of the surrounding mountains and offers an inventive interpretation of American cuisine. Having achieved Wine Spectator’s coveted “Best of” excellence award, Chef Charles Dale’s modern rustic cuisine exemplifies a passion for simple yet refined menus that maintain a connection to regional influences, which is evident in all of his dishes, such as his signature boneless beef short ribs with poblano-mushroom mac-n-cheese. Terra is open seven days a week, 365 days a year. Breakfast 7–11 am; brunch/lunch 11:30 am–2 pm; dinner 5:30–9 pm. Luminaria Restaurant and Patio at the Inn and Spa at Loretto 211 Old Santa Fe Trail 800-727-5531, 505-984-7962 innatloretto.com The Patio is open! Luminaria introduces Matt Ostrander as executive chef. Chef Ostrander is no stranger to local Santa Fe foodies. A quintessential City Different chef, Ostrander is self trained, gaining his experience as a true Santa Fe chef in some of the great culinary establishments in the area. Luminaria menus focus on Chef Ostrander’s sustainable approach to his cuisine and feature an abundance of fresh, locally grown ingredients with the perfect Southwestern twist. Breakfast 7–11 am; lunch 11:30 am–2 pm; dinner 5–9 pm. Early-evening dinner at Cena Pronto, 5–6:30 pm; Sunday brunch 11 am–2 pm.

Rancho de Chimayó Santa Fe County Road 98 on the scenic “High Road to Taos” 505-984-2100, ranchodechimayo.com The restaurante is now open! Serving worldrenowned traditional and contemporary native New Mexican cuisine in an exceptional setting since 1965. Enjoy outdoor dining or soak up the culture and ambience indoors at this century-old adobe home. Try the Rancho de Chimayó’s specialty: carne adovada— marinated pork simmered in a spicy, red-chile-caribe sauce. Come cherish the memories and make new ones. Rancho de Chimayó is a treasured part of New Mexico’s history and heritage. A timeless tradition. Open seven days a week, May to October 11:30 am–9 pm. Online store is open now!

Maria’s New Mexican Kitchen 555 W Cordova, 505-983-7929 marias-santafe.com We wrote the book on margaritas! The Great Margarita Book, published by Random House. Maria’s features more than 160 margaritas, chosen “Best Margarita” in Santa Fe 14 years in a row. Each is hand poured and hand shaken, using only premium tequila, triple-sec, and pure, fresh-squeezed lemon juice (no mixes, no sugar). A Santa Fe tradition since 1950, specializing in old Santa Fe home-style cooking, with steaks, burgers, and fajitas. You can even watch tortillas being made by hand! Lunch and dinner 11 am–10 pm Monday–Friday; noon–10 pm Saturday and Sunday. Reservations are suggested.

Rio Chama 414 Old Santa Fe Trail, 505-955-0765 riochamasteakhouse.com Located just south of the Plaza next to the State Capitol building, Rio Chama has been a favorite for locals and visitors for more than 10 years. Chef Russell Thornton focuses on contemporary American cuisine with Southwestern influences, featuring the finest dry and wet aged steaks, prime rib, wild game, and fresh seafood. Our wine list features over 900 labels and 28 wines by the glass, earning us the “Best of Award of Excellence” from Wine Spectator. It is sure to excite the oenophile in anyone. Rio Chama offers a mix of intimate dining spaces, two beautiful patios, and a bustling bar. Open daily from 11 am to close.

Ore House at Milagro 139 W San Francisco, 505-995-0139 orehouseatmilagro.com The Ore House tradition continues its 35 years of history at its new Milagro location (where Galisteo meets San Francisco), under its skylight roof and on its outdoor entry patio. The Ore House at Milagro is Santa Fe’s live music, chile, and margarita headquarters. The restaurant serves great New Mexico cuisine in an exquisite setting, with chile prepared in many traditional and new ways. Specialties include the savory, signature Red Chile Relleno and Milagro’s wonderful Chiles en Nogado. Open seven days a week. Lunch 11:30 am–2:30 pm; cantina menu 2:30 pm–close; dinner 5:30 pm–close.

Santacafé 231 Washington, 505-984-1788 santacafe.com Centrally located in Santa Fe’s distinguished downtown district, this charming Southwestern bistro, situated in the historic Padre Gallegos House, offers our guests the classic Santa Fe backdrop. Step into the pristine experience Santacafé has been consistently providing for more than 25 years. New American cuisine is tweaked in a Southwestern context, and the food is simply and elegantly presented. Frequented by the famous and infamous, the Santacafé patio offers some of the best people watching in Santa Fe! During high season, our courtyard, protected by a sun canopy, becomes one of the most coveted locales in Santa Fe. Open daily for lunch and dinner.

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Now in its 39th summer season, the Santa Fe Chamber Music Festival is a six-week celebration packed with more than 80 performances and events in Santa Fe and Albuquerque. Opening night this year is July 27, when distinguished musicians present Zelenka’s Trio Sonata No. 1; Penderecki’s String Quartet No. 3, Leaves from an Unwritten Diary; and Dvorak’s Piano Quintet, Op. 81. The music starts at 6 pm at St. Francis Auditorium at the Museum of Fine Arts. Tickets: $49–$65; 505-982-1890; sfcmf.org.

INSIGHT FOTO INC.

MUSIC

o female pioneers! Celebrate the yin that balanced the pioneer yang—the female forces too often forgotten in the male-dominated narrative of the settling of our region—in Home Lands: How Women Made the West, a new exhibit at the New Mexico History Museum. Opening June 19 and running through September 11, it features art, photographs, and artifacts that bring the accomplishments and contributions of women in northern New Mexico, Colorado’s Front Range, and Washington’s Puget Sound to life. nmhistorymuseum.org.

wild and woolly F E S T I V A L S Kids (and their families) can watch sheep being sheared, see villagers in period costume demonstrate traditional weaving techniques, and try their hands at making friendship bracelets. It’s all part of the Santa Fe Fiber Arts Festival, June 25 and 26 from 10 am to 4 pm at El Rancho de las Golondrinas, the 200-acre Spanish Colonial ranch and living-history museum. Also on deck: educational talks on the history of textiles in New Mexico and an arts and crafts market featuring goods made with all-natural fibers. Tickets: $8, teens $5, kids under 13 free; golondrinas.org. 130

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CENTER FOR SOUTHWEST RESEARCH, UNIVERSITY OF NEW MEXICO; RIGHT: COURTESY RANCHO DE LAS GOLONDRINAS

HISTORY


MUSEUM OF SPANISH COLONIAL ART COLLECTION

¡viva las tradiciones! F E S T I V A L S The 60th annual Spanish Market—with more than 200 regional artists practicing traditional Spanish Colonial art forms—comes to Santa Fe’s Plaza on July 30 and 31. Along with santos, retablos, tinwork, and other favorites, this year a new market category titled “Innovation within Tradition” welcomes artists who combine centuries-old techniques with present-day themes and inspirations. Saturday 8 am–5 pm; Sunday 9:30 am–4 pm; 505-982-2226; spanishcolonial.org

SITE Santa Fe Upcoming this summer

Suzanne Bocanegra: I Write the Songs Pae White: Material Mutters June 18–September 18, 2011

SITE Santa Fe 1606 Paseo de Peralta Santa Fe, NM 87501 505.989.1199 www.sitesantafe.org Support for SITE’s exhibitions and programs is generously provided by the Board of Directors, many individuals, and the following major contributors: The Brown Foundation, Inc., Houston; The Burnett Foundation; and New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts. The Art & Culture series is made possible in part by a generous endowment from the Marlene Nathan Meyerson Family Foundation. This announcement is made possible in part by The City of Santa Fe Arts Commission and the 1% Lodgers’ Tax. Photo by Louis Leray

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international intrigue The plaza at Museum Hill will be brimming with treasures—hand-crafted in materials from clay and precious metal to recycled oil drums and telephone wire—when the Santa Fe International Folk Art Market makes its colorful return, July 8–10. Featuring more than 120 artists from 50 countries (like Maasai bead artist Agnes Papatiti, left, of Kenya), it’s the largest event of its kind in the world—and a standout in a city that’s no slouch when it comes to great summertime festivals. Tickets: $5–$20, free for children under 16, market open 9 am– 5 pm Saturday and Sunday; gala opening party Friday evening, $125; early-bird Saturday morning market preview, $50; folkartmarket.org.

Judith C. Haden

FESTIVALS

C U L T U R E The world-renowned Santa Fe Opera opens its 2011 festival season at 9 pm on July 1 with a performance of Gounod’s Faust, with Ailyn Perez starring as Marguerite, Bryan Hymel in the title role, and Frédéric Chaslin conducting. Faust kicks off a season that will also include Puccini’s La Bohème, Vivaldi’s Griselda, Menotti’s The Last Savage, and Berg’s Wozzeck. Tickets: $27–$183; santafeopera.org.

Robert godwin

flirting with the devil


For the most complete, up-to-date calendar of events in Santa Fe and Northern New Mexico, visit santafean.com

CICADA COLLECTION S anta F e

Dal l as

June 4 2011 Eldorado Area Gardening Tour. Gardeners, master gardeners, and homeowners lead tours of private residential gardens as well as the community garden at the Eldorado School. Free, 10 am–4 pm, leave from La Tienda center, just off Hwy 285 on Avenida Vista Grande. Tour map available. June 5 Spring Festival and Children’s Fair. Costumed villagers bake bread, shear sheep, and more, including hands-on activities for kids. 10 am–4 pm, 505-471-2261, Las Golondrinas, 334 Los Pinos, golondrinas.org

www. ci cad aco l l ect i o n . co m

221 Galisteo Street ● Santa Fe

Grundahl

June 2 The Importance of Being Earnest in High-Definition. See the Roundabout Theatre Company’s production of this classic Oscar Wilde comedy broadcast live from the Broadway stage. $22, 7 pm, The Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com

Model wears Lilith dress and footwear

June 1 Bill Hearne. A prolific, local jazz musician performs. Free, La Fonda Hotel, La Fiesta Lounge, 100 E San Francisco, 505-982-5511, lafondasantafe.com

505.982.6260

221 Galisteo Street • Santa Fe • 505.982.6250

June 6 Noah and the Whale with Bahamas. Check out a performance by the indie English folk band. $16, 7:30 pm, The Santa Fe Brewing Company Bar & Grill, 27 Fire Place, 505-4249637, tickets at ticketssantafe.com June 9 Meat Puppets. This well-known American rock/punk/country band performs. $13, 7:30 pm, The Santa Fe Brewing Company Bar & Grill, 27 Fire Place, 505-424-9637, tickets at ticketssantafe.com June 10 In the Light of Reverence: Hopi Land and A Voice in the Desert. Part of the Friday Film Series, shown in conjunction with the exhibition Earth Now. Free, 6:30 pm, St. Francis Auditorium, New Mexico Museum of Art, 107 W Palace, 505-476-5072, nmartmuseum.org June 11 Case Trading Post Saturday Lecture. This talk explores various aspects of Native American art. Refreshments will be served. Free, 10:15 am, Wheelwright Museum, 704 Camino Lejo, Museum Hill, 505-982-4636, ext. 110, wheelwright.org june/july 2011

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Buying or Selling Indian Art? Know the Law TC Cannon, Caddo/Kiowa, The Collector, 1971 Under the Indian Arts and Crafts Act all American Indian and Alaska Native art and craft products must be marketed truthfully regarding the Native American heritage and tribal affiliation of the artist or craftsperson. For a free brochure on the Indian Arts and Crafts Act, including how to file a complaint, contact:

U.S. Department of the Interior Indian Arts and Crafts Board 1849 C Street, NW, MS 2528-MIB Washington DC 20240 Toll Free: 1-888-ART-FAKE or 1-888- 278-3253 Email: iacb@ios.doi.gov Website: www.iacb.doi.gov U.S. Department of the Interior/ Indian Arts and Crafts Board

June 15 William deBuys: Climate Change and the Southwest. Noted environmental author William deBuys speaks about the effect of climate change on the region. Free, noon, New Mexico History Museum, in the John Gaw Meem Room, 105 Washington, museumofnewmexico.org June 17 Yo La Tengo. Catch a performance by this critically acclaimed American alternative rock band. $29, 7:30 pm, The Santa Fe Brewing Company Bar & Grill, 27 Fire Place, 505-424-9637, tickets at ticketssantafe.com June 18 Music Makers of Santa Fe. In honor of photographer Coad Miller’s book Music Makers of Santa Fe (Caught in the Act), Kiva Fine Arts features 25 of Miller’s blackand-white photographs of Santa Fe musicians while also hosting a book release and signing party. Free, live music Saturday 5–8 pm, Kiva Fine Arts, 102 E Water, 505-820-7413, kivaindianart.com June 22 62nd Annual Rodeo de Santa Fe. The six-decades-old rodeo gets underway. Includes events for families and children. $7–$35, Santa Fe Rodeo Grounds, tickets at ticketssantafe.com June 24 Jeri Ledbetter and Trina Badarak. These two artists will be feted at the opening reception for a three-week exhibition showcasing their work. Free, reception 5–7 pm, Darnell Fine Art, 640 Canyon, 505-984-0840, darnellfineart.com

300 Years of Romance, Intrigue & History. Your stay becomes extraordinary at the Hilton Santa Fe Historic Plaza. Originally the hacienda of the influential Ortiz Family who settled in Santa Fe in 1694, we offer luxury guestrooms, private casitas and thoughtful touches for the leisure and business traveler alike. For the start of the day, lunch, or a lite dinner El Cañon offers fabulous fare morning, noon & night. Just steps from Santa Fe’s Historic Plaza with fine art galleries, museums and shopping—a unique experience in a unique destination.

open nightly for lite dining and spirits

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June 29 Juan Siddi Flamenco Theatre Company. This talented group of dancers, singers, and musicians from Spain and the U.S. give lively flamenco performances. $25–$55, 8:30 pm, Maria Benitez Cabaret inside the Lodge at Santa Fe, 750 North St. Francis, tickets at ticketssantafe.com JULY July 1 Glimpses of Solitude: Eric G. Thompson Solo Exhibition. An opening night reception (the exhibition runs through July 14) celebrates the work of contemporary realist painter Eric G. Thompson, who shows off new pieces featuring interior and exterior scenes as well as figurative works. Free, reception 5–7 pm, Matthews Gallery, 669 Canyon, 505992-2882, thematthewsgallery.com


July 1 Palace Avenue Art Openings. Receptions honor several artists, including Annie Dover and Desmond O’Hagan at The Peterson-Cody Gallery, 130 West Palace; Kim Wiggins and Liz Wolf at Manitou, 123 West Palace; and Oskar Fischinger at Peyton Wright Gallery, 237 East Palace. Free, 5–7 pm July 2 Guided Bird Walk at the Audubon Center. Bring your binoculars or borrow a pair from the center for an easy walk led by an experienced birder. Meet in the parking lot. No reservations required, 8:30 am, Randall Davey Audubon Center & Sanctuary, 505-983-4609 July 2–3 Santa Fe Wine Festival. New Mexico’s great wines are available to sip, buy, and enjoy with food, music, and more. noon–6 pm, Las Golondrinas, 334 Los Pinos, 505-471-2261, santafewinefestival.com July 6 Blue Alchemy: Stories of Indigo. This documentary, filmed in countries including India, Nigeria, Japan, and the U.S., explores the historical and cultural roots of indigo. $15–$75, The Lensic, 211 W San Francisco, tickets at ticketssantafe.com July 13 Artist of the Week Docent Talks: Eliot Porter. A docent leads a gallery talk discussing the work of artists featured in the exhibition Earth Now. Free, 12:15 pm, The New Mexico Museum of Art, 107 W Palace

SucceSS BreedS SucceSS

July 16–17 ¡Viva Mexico! Celebration. Enjoy the food, music, art, and more of Mexico. 10 am–5 pm, Las Golondrinas, 334 Los Pinos, 505-471-2261, golondrinas.org July 22 Dangerous Playground. Opening night reception for an exhibition celebrating the work of painter Blair Vaughn-Gruler. Free, 5–7 pm, GVG Contemporary, 202 Canyon, 505-982-1494, gvgcontemporary.com July 22 Last Friday Art Walk. Visit the Delgado Street galleries (starting at Delgado and Canyon), as well as the Railyard Arts District, which includes 10 galleries and SITE Santa Fe. 5–8 pm, railyardsantafe.com July 23 Young Natives Arts & Crafts Sale. Children and grandchildren of the Portal Artisans sell their own works. Free, 9 am–4 pm, Palace of the Governors Courtyard.

Due West Gallery

santa Fe art ColleCtor

The two Galleries displayed are located in the Prestigious Lensic Commercial Building a majestic landmark and Icon in the heart of Santa Fe, just one block from the Historic Santa Fe Plaza. The Lensic Commercial and Lensic Theatre building has been home for several successful businesses for many decades.

Yours should be next. For leasing information please call 983-6504 x-111 june/july 2011

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Celebrating 10 Years Santa Fe’s Nonprofit Performing Arts Center

SAntA Fe COmmunitY COLLeGe SCHOOL

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Summer ArtS in SAntA Fe Santa Fe, New Mexico August 1-12, 2011 A Safer, Greener, Etching Method with Alan May Carving Techniques for Wood Sculpture with Mark Gardner Marquetry with Craig Vandall Stevens Drawing by Seeing with John Torreano Intensive Monotype with Alan May Action Theatre Training with Ruth Zaporah

www.sfcc.edu/summer_arts (505) 428 -1741

Home to more than 200 extraordinary performances a year. The Lensic—where Santa Fe comes together.

Join today! www.lensic.org

Jonas Povilas Skardis

Mac (and PC) Consulting Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding

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phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996

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| H I S TO R Y |

the rite stuff inside the Freemasons’ Scottish Rite Center by Craig Smit h

CARRIE MCCARTHY

SOMETIMES THE BEST-KEPT secrets are right out in plain sight—because unlike Poe’s purloined letter, they are immense as well as unnoticed. Take one of Santa Fe’s most imposing edifices. Thousands of people pass by its sunrise-sunset hues every day and never really take heed of it. But once you’ve beheld its interior, you’ll never see the building casually again. The Scottish Rite Center, at the northwest corner of Paseo de Peralta and Washington, was cornerstoned in 1911 and dedicated as a Masonic Cathedral on November 17, 1912 (the year New Mexico became a state). Designed in a style that imitates and interprets the Alhambra in Granada, Spain, its red-tile roof and pink stucco walls have benignly dominated local consciousness for a century. Affectionately known as “the Pepto-Bismol building” or “the pink Moorish palace” (or the Santa Fe Lodge of Perfection) among other names, this 43,000-square-foot complex has been the meeting place for decades of Southwestern Scottish Rite Masons. Currently, two Masonic-degree-conferring Reunions and two other special meetings take place there each year. At other times, the center is a welcoming community venue that straddles past and present, offering tours and use of the space. From performances to scientific lectures, fund-raising dinners to memorial services, the center is used by a rainbow of local groups. Santa Fe keyboardist Bert Dalton, himself a Mason, gave a fascinating concert there of works by another Mason, Duke Ellington. The local chapter of the American Guild of Organists inspected the center’s historic 1918 Murray Harris pipe organ during a recent “organ crawl,” and Polish politician Lech Walesa once spoke there. The center has been used in films, too, including the recently completed Passion Play, starring Mickey Rourke, Megan Fox, and Kelly Lynch. Plans for the building began well before New Mexico achieved statehood. In 1909, The Daily New Mexican noted that local architect Isaac H. Rapp had been awarded the contract for a “Scottish Rite Cathedral” on the northern edge of town. (Historic photographs, before and during construction and at the dedication, show how the center dominated the city then; only the Federal Courthouse kept it company at the time.) Rapp, however, was later refused the commission—perhaps because his initial design seemed overly neoclassic to the review committee. Instead, the gig went to the Los Angeles firm of Hunt and Burns. Their conception mixed California mission style with a mix of New Mexico and Moorish architecture; the result: a massiveness unspoiled by excess exterior ornamentation but with a wealth of detail and fine interior work. The center was added to the National Register of Historic Places in 1987.

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PALACE OF THE GOVERNORS

Backstage there are even more wonders. The 69 backdrops Incidentally, it’s no surprise that a town as seemingly isolated as Santa Fe could serve as the home of a major Masonic gathering used for the degrees are still controlled by the original rope-andcounterweight system. (Sixty nine being Masonic for, well, for place. Masonry, like so many other fraternal and sororal organisomething.) From a medieval palace to a colonial wood, from a zations in the nineteenth and early-to-mid-twentieth centuries, desert to an ancient Egyptian hall, the backdrops are meticulously was a strong source of social, educational, ceremonial, and comhand-sewn and painted with uncanny craftsmanship that comes munity activities. Freemasonry’s growth was marked by towerto life even in daylight; when theatrically lit, their illusion is masing structures and notable architectural landmarks all over the country. Some survive today as cultural centers, museums, or still- terful. The drops, which predate the building, were originally functioning Masonic centers; many others, though, have perished. ordered from Chicago by a lodge in Tucson; when it couldn’t pay for them, the company sold them to their Santa Fe brethren. The Pink Temple has been lucky, and with it, Santa Fe, despite a They look as pristine as they do because of Santa Fe’s dry air, gradual downturn in Masonic membership. (The Valley of Santa a dearth of use over the past century, and intensive restoration Fe, as this area is known, now serves 1,200 members, compared work between 1999 and 2005. to 547 in 1912 and nearly 6,000 in the mid-1960s.) Behind the stage front is the well-maintained theatrical lighting There are two public entrances to the building. The main entry system, circa 1930. Leading off the stage are the makeup area and is an imposing staircase that ascends from street level to the seca huge, beautifully ond-floor lobby and built, glass-fronted office area, from which wooden wardrobe people can enter the room that houses theater’s balcony or scores of impeccably move down, via curvtailored, wonderfully ing staircases, to the maintained costumes ballroom on one side and outfits for the or the first-floor center’s mystery plays. auditorium theater. There’s everything The lower entrance is from priests’ copes used for access to the and noblemen’s auditorium main floor doublets to guards’ and a meeting room. uniforms and royal But as normal as all robes. A furnace and this is, it wouldn’t be boiler room, a game complete without a room, and storage little Masonic oddity: areas are also located just beneath the front in the back premises, stairs (which have 33 with meeting and steps—33 being the The Scottish Rite Center being erected—no doubt according to very carefully study rooms tucked in highest of the so-called selected and meaningful Masonic specifications—in 1912. at different levels here “master numbers”) are and there, accessed by the especially steep and particularly narrow the bodies of the center’s founder and his wife. stairways of the period. There’s also another dormitory area (for The tower also contains a third-floor dormitory (which can those putting on the degrees), arranged in collegiate style with sleep 50), where candidates for degrees, and sometimes youth two or three beds per room and a common bath area. groups on tour, often bunk. The top floor, once an open-air garThe rest of the complex is equally fascinating. The high-ceilden, is now storage space—due to both water shortages and aerial inged, long, stately dining room, with its Tiffany chandeliers, can depredations by pigeons. seat at least 350 people and has dance and buffet space as well. The building’s core and jewel, however, is its auditorium. Able This room connects to a huge kitchen (with gleaming stoves, to seat more than 350 people, it was designed for performance ovens, serving tables, and huge coffee urns), which has served of the Scottish Rite degrees, or mystery plays, performed during more than 500 meals at a time to Masonic gatherings or groups the Reunions. Two and a half stories high, it boasts a night-sky using the facility. blue ceiling with 32 “star lights” forming symbolic constellations. In keeping with both the Moorish and New Mexican styles, (Thirty two is the number of Masonic degrees through which a the ballroom, kitchen, theater, and dormitory wing frame a small member can advance.) Richly painted gold wooden latticework but charming outdoor garden area. Statuary and paintings of and heavy draperies round out the imposing effect. Two towers loom beside the proscenium; one houses the organ. historical Masons abound, as do photographs, memorabilia, and furniture detailing the center’s long history. Interior decoration A mural floating above the proscenium depicts Ferdinand and and practical objects also bristle with Masonic imagery: doubleIsabella accepting the keys of Granada from the vanquished Moorish king Abu Abdallah, and the name of the sieging Spanish headed eagles with swords in their feet are everywhere, from the doorknob plates to the theater’s filigree. tent city that sprung up around Abu was reputedly called Santa Nourished by the past but looking forward to another century, Fe. From the front of the house, looking back and up, you can see the Scottish Rite Center is a secret well worth discovering. the electric signs used to urge degree participants to speak and move faster or slower during their enactments. For information or tours: 505-982-4414 or nmscottishrite.org. june/july 2011

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Santa Fe - Los Angeles Santa Fe - Los Angeles

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Muchmore Garden June 32 x 40, Pastel

Maggie Muchmore

Image of Southern Ute Tribal Member Randy Doyebi Jr. courtesy of Jeremy Wade Shockley/The Southern Ute Drum

Santa Fe Studio tour, June 17-19

Live Our Story... ...now at the new

SO UTH ERN UTE

C U LT U R A L C E N T E R & M U S E U M

7 7 c o u n t y r d . 517, i g n a c i o , c o 81137

www.southernutemuseum.org

2113 ConeJo dr.


santa fe wine festival santa fe wine festival at El Rancho de las Golondrinas July 2 and 3, 2011, noon to 6 pm at El Rancho de las Golondrinas

“Las Golondrinas Harvest Vineyards” “Las Golondrinas Harvest Vineyards”

July 2 and 3, 2011, noon to 6 pm

Nancy Dean Kreger Nancy Dean Kreger

Fine New Mexico Wines • Live Music • Great Food • Arts & Crafts Fine Live Music • Great Food • Arts & Crafts All atNew an Mexico historic Wines Spanish• Colonial ranch and living history museum! All at an historic Spanish Colonial ranch and living history museum! $13 Adult (includes souvenir wine glass) • $5 Youth 13-21 (under 13 free) $13 Adult (includes souvenir wine glass) • $5 Youth 13-21 (under 13 free) I-25 Exit 276; follow signs • 505-471-2261 • santafewinefestival.com • No Pets! I-25 Exit 276; follow signs • 505-471-2261 • santafewinefestival.com • No Pets! Support provided by Santa Fean Magazine, New Mexico Tourism Department, Santa Fe Arts Commission and Santa Fe County Lodgers Tax Advisory Board Support provided by Santa Fean Magazine, New Mexico Tourism Department, Santa Fe Arts Commission and Santa Fe County Lodgers Tax Advisory Board


MIChaEl DEYoung

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• 5 heritage, culture and art museums – $25 admission to all. www.TaosMuseums.org • Spectacular outdoor adventures, creative experiences, and relaxation.

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• In 2012 Taos celebrates “The Remarkable Women of Taos” launching March 22. Check back for event & exhibit details. Plan your trip and enter to win an EcoTour Vacation

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SKIRTS ARE BACK!

Proud supporter of the Buckaroo Ball at the Santa Fe Railyard june/july 2011

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| D AY T R I P |

Randall Davey Audubon Center & Sanctuary photo by by Ca Carrri riee McCa McCarrtthhyy photo

Directions: Take East Alameda to Upper Canyon and follow it as it bobs, weaves, and ultimately dead-ends in the Audubon Center parking lot. Hours: Daily 8 am until dusk. Randall Davey House and Studio tours: Fridays at 2 pm, or by appointment, $5 per person. Guided bird walks: Saturdays at 8:30 am, free. Details: Abundant wildlife, sloping lawns, and lustfully illustrated dressing rooms on 135 acres replete with art, history, nature, and intrigue. Grist for the mill: Built in 1847 by the U.S. Army as a gristmill, the Randall Davey House became the home of Davey and his wife, Isabel, in 1920. At some point Isabel, before departing on a trip, asked Davey to “do something� with her dressing room. She returned to lounging nudes and whimsical birds and was, as stories go, not amused. Studio karma: Considered one of the vanguards of modern art, Davey sported a goose-bumpy marvel of a studio, and his paint tubes, brushes, and ground-down pastel stubs are pretty much right where he left them the day he made a hurried departure to join his mistress, only to meet his death in a car accident instead. Vista roost: For a low-impact rendezvous with nature, follow the El Temporal trail to The Perch, where you can enjoy shaded seating and wide-open views. Info: Randall Davey Audubon Center & Sanctuary, part of Audubon New Mexico, 505-983-4609, nmaudubon.org/center. Trail fee: adults $2, children $1. 144

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DAVID FOLEY

Iteration Detail #22

acrylic

the peterson-cody gallery, llc

40x52

Contemporary Artists Legendary Art ©

130 West Palace Avenue • Santa Fe, New Mexico 87501 • 505-820-0010 PetersonCodyGallery.com • info@petersoncodygallery.com

SMARTPHONE SCAN


Oskar Fischinger (1900-1967)

Exhibition: July 1st to August 3rd

Opening Reception: July 1st, 5 to 8pm

Peyton Wright Gallery is the exclusive representative of paintings from the Oskar Fischinger Estate

PEYTON WRIGHT 237 East Palace Avenue 505 989-9888

Santa Fe, New Mexico 87501

www.peytonwright.com

800 879-8898

fineart@peytonwright.com

Atom, 1963, oil on canvas board, 30 inches by 24 inches

Santa Fean June July 2011 Digital Edition  

Santa Fean June July 2011 Digital Edition

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