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

T H E m a g a z i n e o f s a n t a f e a r t s a n d c r e a t i ve c u l t u r e FEATURES



stud i o v is it Earl McBride


are yo u l isten i n g ? by Diane Armitage


meet your makers : r oxan n e s w e n tz e l l by Jordan Eddy


calendar art openings, exhibitions, events, performances, calls for artists


p rev ie w s Something I Need You to Know, Santa Fe Community College Visual Arts Gallery Transforming Space – Transforming Fiber, Las Cruces Museum of Art, Las Cruces


spotlight Doug Aitken: Electric Earth, The Geffen Contemporary at MOCA, Los Angeles


re v i e w s Doug Glovaski, Verne Stanford, Ron Pokrasso, Mill Contemporary Fictitious Fiber, Tansey Contemporary Mabel Dodge Luhan & Company: American Moderns and the West, Harwood Museum of Art, Taos, and Albuquerque Museum, Albuquerque Santa Fe Art Project, David Richard Gallery Ted Larsen: to live, leave it all behind, Nüart Gallery







the library



¡Órale! Lowrider: Custom Made in New Mexico

After Hours by Ellen Jantzen

one bottle


t he pr i nted pag e

by Joshua Baer

by Jeffrey Schweitzer

dining guide


wr it i n gs

poem by Dick Altman

19 21 44 48



New Paintings

Mark White, Pecos River, September 21, 2016, oil on linen, 30” x 40”

Mark White Fine Art 414 Canyon Road, Santa Fe | Open 7 Days a Week! | 505.982.2073


T H E m a g a z i n e VOLUME XXV

Issue V

PUBLISHER | EDITOR Lauren Tresp ART DIRECTOR Chris Myers ASSOCIATE EDITOR Clayton Porter COPY EDITOR Tim Scott PROOFREADER Kenji Barrett PHOTOGRAPHERS Audrey Derell Clayton Porter CONTRIBUTORS Diane Armitage Joshua Baer Kathryn M Davis Jordan Eddy Marina La Palma Ann Landi Elaine Ritchel Susan Wider INTERN Mariah Romero

ARE YOU LISTENING? by Diane Armitage

page 38

Diane Armitage has a BFA and an MFA in Art Studio from the University of New Mexico. She is an artist working in digital video; a freelance writer and editor for art publications; and an adjunct lecturer in Art History and Film Studies at the Santa Fe Community College where she established the Art History program in 1999. She has also taught for the University of New Mexico and the Santa Fe University of Art and Design. Her work in digital video was included in a traveling exhibition— Water, Water Everywhere—that began in 2012 and will conclude in 2017.

WEBMEISTER Jason Rodriguez PUBLISHERS EMERITI Guy and Judith Cross COVER Earl McBride, ^, 2015, oil, wax crayon, graphite on panel, 48 x 36 in. CONTENTS PAGE 29. Doug Aitken, 99¢ dreams, 2007, neon, 35.25 x 54.1875 x .5 in. photo: John Berens. 14. Earl McBride, photo: Clayton Porter. 44. Ellen Jantzen, After Hours, 2016. ADVERTISING Gail Chablis, 805-453-8808 Laura Shields, 505-977-0094 DISTRIBUTION Jimmy Montoya 505-470-0258 CALENDAR EDITOR LETTERS TO THE EDITOR SUBSCRIPTIONS

THE magazine is published 10x a year by Tresp Magazine LLC, 320 Aztec St, Santa Fe, NM 87501. Phone: 505-424-7641. Email: editor@ Web address: All materials copyright 2016 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers or for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.




page 35

Jordan Eddy is an arts writer who lives in Santa Fe. His reviews and features appear in Art Ltd. and Visual Art Source, and he is a columnist for Santa Fe Reporter. Jordan is the co-director of Strangers Collective, a local group of emerging artists and writers that organizes pop-up exhibitions and other events in diverse venues around town. Strangers Collective's current show is at the Center for Contemporary Arts through January 15, 2017.

THE PRINTED PAGE by Jeffrey Schweitzer

page 51

Jeffrey Schweitzer is a writer and illustrator of limited edition children’s books. He has exhibited nationally and internationally including a large exhibition with Chambers Fine Art in Beijing, China in 2011. He often exhibits with Artbreak Gallery at the Carlton Arms Hotel in New York City. He keeps a studio in Santa Fe, New Mexico called Bindlestick Studio, which is open to visitors. Schweitzer received his BFA in painting and drawing from Columbia College Chicago in 2003 and his MFA in Sculpture from Cranbrook Academy of Art in 2006.

POEM by Dick Altman

page 52

Dick Altman ran a New York marketing agency before moving to New Mexico in 2007, when he crossed the street from prose to poetry. His work has been published in Santa Fe and elsewhere, and is forthcoming in riverSedge (University of Texas), The American Journal of Poetry, and Vine Leaves Literary Journal (Australia). He won first prize for poetry in the Santa Fe New Mexican’s 2015 writing competition. Studying for a Masters of Art in English at the University of Chicago, he says, “put me in poetry’s grip, and it never let go.” He credits poet and former editor of the Santa Fe Literary Review Sudasi Clement “for pushing me to plumb deeper and reach higher,” since first publishing his work in 2009.

THE magazine | 5




In the summers of 2013 and 2014, a group of ecologists from the Yale University School of Forestry & Environmental Studies and artists associated with Land Arts of the American West at the University of New Mexico met at the Ucross Foundation, a 22,000-acre working cattle and sheep ranch on the high plains of northeastern Wyoming. The encounter resulted in interdisciplinary collaborations that explore the environmental and social landscape of Ucross Ranch, and the art that makes up this special exhibition.

309 Read Street, Santa Fe, NM 87501 Tel. 505 954 5149 Gallery hours: Saturdays and Sundays noon to 5pm or by appointment Image: Erika Osborne, Split Estates, 2016, oil on linen, 32 x 48 inches. Collection of the artist.

RUTH PASTINE | MATTER OF LIGHT November 11 through December 31, 2016 Opening reception with the artist: Friday, November 11 from 5:00 - 7:00 PM

Ruth Pastine, Matter of Light 1 - S6060 (Red Green/Magenta Ochre) 2016, Oil on canvas, 60” x 60” x 3”

Susan Begy Derek Chan Andrew Cimelli Cheri Ibes Parker Jennings Jessamyn Lovell Ric Lum Kristen Roles SCUBA

David Richard Gallery Presents Part 3: Scott Anderson Erik Gellert Caity Kennedy Katherine Lee Daniel McCoy Jack Slentz Closing November 5th

Extended through November 19th


Partial funding was granted by the City of Santa Fe Lodgers Tax

Artist Discussions:

Erik Gellert, Katherine Lee, Daniel McCoy, Jr. and Jack Slentz Saturday, November 5, 3:00 - 4:30 PM Erik H Gellert, Square 10, 2016, Ceramic and mason stain, 13” x 13” x 4”

Guest Curators: Crockett Bodelson and Sandra Wang of SCUBA Present: 1570 Pacheco Street, A1, Santa Fe, NM 87505 505-983-9555 | DavidRichardSFe DavidRichardGallery

Hans Wegner Desk Chair, 1949

open Tues-Sat 11-5

An artist-centered showcase featuring new ideas and artists at all stages of their careers.

Jon Proudstar Tribal Force Pin Up

Alcoves 16/17 #5


Superheroes of past, present, & future Opening Friday, November 11, 5-7pm

form ď concept

October 14, through December 4, 2016

Mira Burack Kelly Eckel Shaun Gilmore Dara Mark Signe Stuart

Gallery Talk with the Artists

November 4, 5:30 pm The Alcove exhibitions, at the New Mexico Museum of Art, focus on current work by contemporary New Mexico artists. A cycle of exhibitions that feature five new artists every seven weeks from March of 2016 through March of 2017.

435 South Guadalupe Street ~ Santa Fe, NM 87501 505.982.8111 ~ 1 0 7 We s t Pa l a c e Av e n u e • 5 0 5 - 4 76 - 5 0 7 2 • w w w. n m a r t m u s e u m . o r g

Transforming S P A C E

John Garrett, Caravan

Transforming F I B E R New dimensions in contemporary fiber art Michelle COOKE






Katharine KREISHER



Susan A. CHRISTIE, Cu r a tor


LAS CRUCES MUSEUM OF ART November 4, 2016 - January 21, 2017

Las Cruces Museum of Art • 491 N Main St • Las Cruces, New Mexico 575.541.2137 • • Tue-Fri 10-4:30, Sat 9-4:30


Levin Eli


Mattison Abby

32 SouthweStern PrintmakerS October - November 2016 Tathagata Coffee

55 Canada del Rancho (at end of Rancho Viejo Blvd.) Santa Fe, NM • (505) 903-0607 Monday - Friday: 7 am - 2 pm Saturday: 8 am - 2 pm Sunday: Closed

Photographs by Tom Quinn Kumpf Abiquiu Inn Galeria Arriba Hwy 84 Abiquiu, NM November 3 - 30, 2016

Opening Reception November 5 5 - 7:30 pm


¡Órale! Lowrider: Custom Made in New Mexico by Don J Usner and Katherine Ware Museum of New Mexico Press

Meridel Rubinstein, The Medina Family, Bad Company, '68 Chevy Impala, Chimayó, 1980



Lowrider Summer brought an onslaught of exhibitions, parades, and events to Santa Fe in 2016, but don’t let lowrider burn-out set in just yet. The beloved cultural tradition lives and breathes on, ever evolving. Released in conjunction with the exhibitions Lowriders, Hoppers, and Hot Rods: Car Culture of Northern New Mexico at the New Mexico History Museum (on view through March 5, 2017), and Con Cariño: Artists Inspired by Lowriders at the New Mexico Museum of Art (May 20–October 10, 2016), ¡Órale! pays homage to four decades of lowriding and the photographers that have captured the tradtion: Alex Harris, Jack Parsons, Miguel Gandert, Don J. Usner, Siegfried Halus, as well as a number of emerging photographers new on the scene. Spanning the cars, artists, and the beautiful New Mexico landscapes that frame them, this book is a must-have compendium that includes an overview essay by photographer Don J. Usner and interview with Meridel Rubinstein by Katherine Ware, Curator of Photography at the New Mexico Museum of Art. A talk and book signing with Don J. Usner, Katherine Ware, and Daniel Kosharek, photo curator at the New Mexico History Museum, will take place at the National Hispanic Cultural Center History and Literary Arts Library in Albuquerque on Saturday, November 5, 2-4 pm.

THE magazine | 13


Earl McBride

interview by Clayton Porter and Lauren Tresp

works across a variety of moods, methods, and vibrations—predominantly in the realm of abstract painting. Throughout, his layered markmaking against clean white or softly patinaed panels creates compositions that buzz with tension. In more vigorous pieces, pigment and line are suspended, about to collide in a frenzy. More reserved are gestural vignettes in which a few colorful beats punctuate a spacious white backdrop. A third-year graduate student in Painting and Drawing at the University of New Mexico, Albuquerque, McBride is nearing graduation in May 2017. The body of work the artist has been cultivating over the last few years will be on view in a solo show opening April 22 at Richard Levy Gallery in Albuquerque. The artist chatted with us about the grad school experience and coming into one’s own as a painter: Clayton Porter: Why are you in New Mexico? Earl McBride: I started coming to New Mexico maybe twenty years ago to see my buddy who lived here, and I was living in L.A. When I came here, I could breathe, and I was energized. I would go back to L.A. and I would feel the compression of the city. So maybe thirteen years ago I moved here for my health. CP: What’s kept you here? EM: Maybe the main reason is the sky—and cheap studio space! The airport is easy, I can get to L.A. and New York from here. And it’s easy to live here. I’m energized by New Mexico. It’s big; I feel like I can be as big as I want to be here. It’s expansive, and it allows me to feel expansive. CP: What are your studio hours? EM: I don’t have a regular schedule, but I am here almost all the time. I sleep late, so I come in around ten or eleven. And then I’ll do other things—I’ll leave for a while, come back—and then I’ll leave maybe around midnight. I’m here a lot. This is my favorite place. Lauren Tresp: What was your decision in going to grad school? EM: I was working in a gallery in Santa Fe, for people I loved, and I enjoyed the work, but it was really hard to maintain a studio practice. I was working in my garage, and it was dark. I’d work at least twenty hours at the gallery and expend creative energy, then go into the studio. It was challenging. When I would get up and work in the studio and then have to go to work, it felt like fracturing. It was hard to rip myself out of the studio. I’d always wanted to go to grad school, so when I approached my fiftieth birthday, I made a decision to apply. I wanted three years to devote to my work and to try to get a gallery. Everything’s worked out, so it was a great decision, and I’ve grown a lot here in this studio. I needed this studio. I feel like recently I’ve gained access to all parts of myself, and I feel that the paintings are a way for me to actualize all of myself. I’m really excited about each painting, and I’m really excited about my next paintings.

CP: What’s going to happen to your studio situation after you graduate? EM: I’d like to do some residencies, and I’d like to do a body of work somewhere without the influences of my own studio. I would be somewhere quiet and make work that’s mindful and about that moment. So I’m looking forward to applying to some residencies. Getting a studio here in Albuquerque—I was going to work at my house, but I don’t want to move back into my garage. I think it’ll be really nice to go somewhere and work. I like the discipline of that: getting up and getting dressed and coming to work. Then hopefully, eventually, I’ll get a gallery in L.A. or New York and get into that conversation. But I just want to make as much work as I can, good work. LT: Do you sketch before painting? EM: No, I don’t like to plan; I don’t like to know what I’m doing. I want each piece to be its own thing and a completely new experience for me. It’s kind of a selfish act. I’m entertaining [myself], so I want to be surprised. This piece is called Chicken and Waffles, and there’s a whole chicken right here. And that was a surprise. [Laughs.] And this piece is simpler. I’m usually going for something like this, but I’m rarely able to achieve it. I tend to like something that is more poetry and less experiential. LT: How do you know when you’re done? EM: [Groans.] LT: Is that a stupid question? EM: I don’t know. CP: I don’t think it is, but it’s tough. EM: It’s really hard. Answering it makes you a better painter, if you answer with a painting. Like this piece: this is quick, without too many moves. It’s not done; it needs white here to even it out. There’s a balance I’m going for, believe it or not. It looks like chaos most of the time, but I’m really going for balance—something that is complete and lands in a

THE magazine | 15

I Used to Be A Rainbow

Losing My Religion

oil, graphite, spray paint, flash, wax crayon, enamel marker

oil, graphite, spray paint, flash, wax crayon, enamel marker

2016, 48 x 48 in.

2015, 48 x 48 in.

way that feels whole. When I’m looking at it, and it’s not finished, I feel anxious and upset, and so I do something to make that [feeling] go away. That makes it done. Every piece is okay on its own; it doesn’t need anything else. CP: Are you looking forward to graduating? EM: Yes and no. I’m enjoying this time—but I am ready. I thought I would want to stay. I thought I wouldn’t want to leave this studio, ever. But I’m very excited about leaving and finding another space and getting up every day and going to the studio, doing my thing. I’m enjoying my time here, but I’m ready. CP: Moving forward out of grad school, are you going to try to abstain from getting another part-time job? EM: Yes. I’m going to try. I hope I sell a couple things in the show in the spring, and then, whatever I make, I’d like to rent a studio and go for it, see what happens. I feel like I can do it. I really, really do. Before I came here, I didn’t think so. I thought I’d always have to work another job, but now I like to think that I don’t have to. I’m just gonna try it,

and we’ll see what happens. If I fail, I fail, and that’s what that is.

want to be in a conversation with them, so I’m using that way of communicating, so we can talk.

LT: Why paint? And have you worked in other media? EM: I have. I went to Otis, and when I was at Otis, I made a lot of video, a lot of installation, a lot of sculpture, and I painted in secret. Paint always did something that nothing else can do. It feels natural for me to express myself that way. I’ve been painting since I was little. I had an aunt that taught me to paint when I was tiny. She was a painter. When I was little I stuttered, so there was a period where I didn’t talk a lot. I wrote stories and I drew and painted. It became a language, an integral part of my language and how I communicate, so I need it. Words fail me. I try, but most of the time they fail me. But painting doesn’t. It holds something that words can’t contain. There’s a viscosity to paint; there’s a sexiness to paint; there’s an oiliness to paint. It’s kind of decadent. It’s expensive. I use it in an excessive way. There’s a riskiness sometimes to the way I combine things with paint that I enjoy. I enjoy the challenge of that. I’m also in a conversation with other painters. I

LT: What has been the biggest outcome from working with the professors or other students here? EM: I have a stellar committee, six people, and they each offer something. Scott Anderson is here, and he’s one of my favorite painters in the world. He’s one of the reasons I came here, and his paintings are inspirational. Our conversations about painting are inspirational. Bart Exposito is my chair, and he’s a man that I knew from L.A. and just a terrific person and a solid painter. Raychael Stine is on my committee, and her paintings are fantastic. And Patrick Manning: we have great conversations about art and literature. Everybody gives me something. Grad school has been. . . a time for me to step into myself. I feel like I was holding myself back for a lot of years, not allowing myself to live fully or for my work to be what it should be. It was all inside, and I wasn’t letting that come out. The other objective for coming to grad school was to become more me and let the paintings become what they needed to be—I feel like that has happened. ■


page 14: portrait of Earl McBride by Clayton Porter this page, top right: Earl McBride, Pink Rhino, 2016, oil, spray paint, graphite, and wax crayon on panel, 20 x 16 in. studio photos: Clayton Porter.



THE magazine | 17

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The 2014 Domaine Abbatucci Ajaccio Rouge, Cuvée Faustine by J oshua

B aer .

Before the votes are counted—before you tell us you lost because

If you’ve made it this far—if you don’t mind walking the line

democracy itself is rigged—I want to congratulate you. You did it,

between love and confusion—then you are in for a treat. This does

Donald. Plenty of us tried and failed but you succeeded. You held

not mean you’re enlightened, or even the good person you always

up a full-length mirror to the Republican Party and said, “Take

promised yourself you’d be. It just means you’re open to the idea of

a good look, bigots. This is who you are.” But you didn’t stop there.

a wine that will change and keep changing each time you taste it.

After you showed the Republicans who they were, you rubbed their

The finish expands—and simultaneously contracts—your sense of

Republican noses in it. You got fifteen million of them to vote for

who you are. Because, what is a good wine, anyway? A good wine is

you, and that was just in the primaries. In the general, you might get

a noble liquid that becomes you, as you drink it. How you react to it

forty million.

and how it reacts to you are not what’s at stake. As the wine enters

How did you get that many Republicans to vote for you? By

your body and your blood, you remain the same person you were

speaking their language: pure, spontaneous, unrehearsed hate. Like

before you drank it, except that you change. The 2014 Rouge’s finish

you, even though they can’t admit it, Republicans hate Mexicans,

puts an accent on that change. It opens the door to the rest of your

Muslims, gay people, women, the poor, the media, liberals,

life and invites you to pass through it. Who could say no?

science, common sense, evolution, the truth about global

So, Donald, we’ve come this far. You don’t know me. If

warming, and African-Americans—especially African-

you did, you’d hate me as much as you hate everyone else

Americans who excel at any activity other than sports.

who thinks you don’t matter quite as much as you think

Most of all, when the chips are down, Republicans hate

you do. That’s the difference between us. I know you

each other. And now they hate you, Donald. Now they

but I don’t hate you. If you want to know the truth—

hate you, too. Congratulations. You have arrived.

should I even be telling you this?—I believe you did our

Which brings us to the 2014 Domaine Abbatucci Ajaccio Rouge, Cuvée Faustine.

democracy an enormous favor by running for president. You showed us that we have a problem. We mistrust

In the glass, the 2014 Abbatucci Rouge looks

each other with such certainty—with such juvenile, self-

like trouble. The depth of its garnet color cannot be

righteous indignation—that if we keep up this nonsense,

fathomed. If your taste runs to Napa Valley Cabernets

by 2020 we’ll be massacring each other in the streets. If

or Super Tuscans, Abbatucci’s 2014 Rouge will shatter

for no other reason than the fact that you showed us how

your composure. It offers too much suggestion and not

bad things can get, we owe you a favor—at least I do.

enough statement. If it’s certainty you’re after, stop now.

Here’s the favor. Instead of spending the next four

Don’t read what I’m about to say about the 2014 Rouge’s

years enabling bigots, choose love over hate. Start

bouquet, attack, or finish. I’m not responsible for what

a foundation for middle school students, female and male,

this wine might do to your palate, your values, or the

who don’t have the advantages you had. Put the same

rest of your life.

wind at their backs your father put at yours. Help them

The bouquet is a lesson in the art of the shadow.

study. Help them graduate. Help them excel. The return

It’s more island than mainland, more pagan than

on your investment will astonish you. By 2020, you’ll be

religious, more Catholic than Protestant. The beauty of

remembered as the first rich guy who healed our wounds,

the 2014 Rouge’s bouquet is the way it tempts you to

as opposed to pouring salt on them. Men and women will

taste the wine, if for no other reason than to find out

love you for it, and not just in the United States.

if its flavors are as mercurial as its bouquet. Again, fair

Yes, you’ll have to put up a large sum of money, and

warning. If you feel your blood pressure rising—if your

you’ll have to let a committee decide which disadvantaged

temperament and what I’m telling you don’t agree—

students deserve your foundation’s support. No more

give up now. Don’t wait for the skies to clear. The skies

backstage surprises. No more self-dealing. At first, you’ll

will disappoint you.

hate it, the arm’s length part, especially. But after a year

All of Abbatucci’s wines are based on a simple

or two, you’ll learn to love it. Look at it this way, Donald.

premise: Simplicity does not exist. Complexity may not

There are worse things in life than doing what nobody

exist either. Without simplicity, how could it? The 2014

expects you to do. What have you got to lose?

Rouge offers no explanation for the protean aspects of its flavors. From the moment you taste it, you are not in control. There are Apollonian wines and there are Dionysian wines. NOVEMBER


One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All contents are ©2016 by Write to Joshua Baer at jb@onebottle.

THE magazine | 19

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cuisine: french-inspired cafe with crepes, sandwiches, and pastries atmosphere: welcoming and casual, delightful staff specialties: while each of the sweets looks irresistable (see chocolate creme concoction above right, chocolate-laced bread pudding, left) begin a light breakfast with a savory crepe such as the Benedict Crepe with ham, asparagus, and hollandaise (above). Also available are sweet crepes, sandwiches, breakfast pastries, and espresso drinks. THE magazine | 21



CANYON FINE ART 205 Canyon Rd. 505-955-1500. CANYON Fine Art proudly presents Jane Radstrom: contemporary figurative realism in pastel and mixed media. In Radstrom's paintings, the human form moves with layered poses, as if printed with lenticular lenses depending on how it is viewed. Her double-exposure figures showcase complexity and emotion, with a nod to classical figure painting in contemporary realization. November 23–December 17, 2016. Jane Radstrom, Sam Study, oil on canvas, 8 x 8 in.


FRANK MORGAN TAOS JAZZ FESTIVAL 1114A Hickox St. 505-954-1705. cityofmud. com. Back by popular demand: City of Mud's Table on Fire! Select artisan and vintage pieces enliven your holidays. Fussy, fragile, overly matched tableware is OUT! Earthy, eclectic combos are IN! Handmade plates and bowls, a lovely decanter, or sturdy 60's stemware mean pleasurable hosting and creative giftgiving. Featured, Greta Ruiz's wood-fired ceramics with vintage glassware and Mexican pottery. Enjoy amidst our Neo·Tribal show of African artifacts and modern art. From noon, November 19 through Thanksgiving Eve! 1114A Hickox, across from Tune-Up Cafe.


Alexandra Eldridge, photo: Jennifer Esperanza.

1050 Old Pecos Tr. 505-982-1338. Slang Aesthetics! is the first-ever solo exhibition in New Mexico of Albuquerque-born and raised artist Robert Williams (b. 1943) and features over 60 drawings and paintings from 1995-present, and highlights from his days at Zap Comix. In 1979, Williams was the artist who brought the term “lowbrow” into the fine arts lexicon Adobe’s Implications Beyond Just Mud, 2016, oil on canvas, 30 x 40 in. Image courtesy of the artist. with his ground-breaking publication, The Lowbrow Art of Robt. Williams, and later went on to establish Juxtapoz Magazine in 1994. Slang Aesthetics! is on view at CCA's Muñoz Waxman Gallery until November 27.

Venues vary, Taos. 575-758-3147. taosjazz. org. In celebration of legendary saxophonist Frank Morgan, Taos Jazz Bebop Society presents four nights of music and film in four Taos venues, November 16–19. Starring two jazz greats at opposite ends of the age spectrum: 24 yearold rising star, saxophonist Grace Kelly and jazz singer, songwriter, and pianist Bob Dorough, now in his ninth decade. Dorough appears with Al Schackman, Nina Simone's longtime guitarist and confidant. Also featured are pianist Reggie Austin with drummer Lorca Hart and the film What Happened Miss Simone?

SANTA FE COMMUNITY COLLEGE 428 Sandoval St. 505-983-0001. The One Who is All: special guest artist event featuring Alexandra Eldridge, courtesy of Nüart Gallery. The title is a reference to the transformation of the statue of the Virgin into symbols of the animal and plant kingdoms. By deconstructing this religious icon and adorning her with butterfly wings, the head of a stag, or Ganesh, she is given the possibility of infinite meaning. The work was done in the south of France on antique Chinese scrolls. Thursday, November 3, 5-7 pm.

6401 Richards Ave. 505-428-1501. SFCC’s Visual Arts Gallery presents Something I Need You to Know: because we all have a story. Exhibition curated by Niomi Fawn, Curate Inc. @curatesantafe. Featured artists: Razelle Benally, Maxine Chelini, Rose Driscoll, JC Gonzo, Israel Haros López, Lucy Madeline, Cyrus McCray, Elizabeth Mesh, Carmen Selam, Lillian Carmen Selam, Coachella Queen. Turner-Gracie, Edie Tsong, and Jared Weiss. Opening reception: Thursday, November 10, 5-7 pm. Artists’ and curator’s talk: Thursday, November 17, 1-2:30 pm.

THE Showcase Advertising: to list an opening, exhibition, or event, please contact 505-424-7641 or for rates.



JUX., 428 Sandoval St. 505-983-0001. The One Who is All: special guest artist event featuring Alexandra Eldridge. The artist deconstructs the image of the Virgin to give her infinite meanings. 5-7 pm. FRIDAY, NOVEMBER 4

ARTScrawl, various locations, ABQ. 505-2440362. Citywide ARTScrawl: self-guided gallery walking tours through The Heights, Old Town, Nob Hill, and Downtown Albuquerque. Details online. 5-8 pm. Beals & Co. Showroom, 830 Canyon Rd. Sketchbook: group exhibition featuring eight artists. Experience the artists’ creative processes through sketchbooks while seeing the finished product on the wall. 5-7 pm. Caldera Gallery, 411 W Water St. 201-7900389. corpus angore: solo exhibition of ceramic and fiber works by local emerging artist Ezri Horne. Through Nov 18. 5-7 pm. International Museum of Collage, Assemblage and Construction Archives, 1925 Rosina St, Ste C. 505-303-3034. DADA Centennial: Day of the Dead: works by artists from all over the world celebrating 100 years of DADA and a collage party. Through Jan 2017. 5-9 pm. Las Cruces Museum of Art, 491 N Main St, Las Cruces. 575-541-2154.

Transforming Space – Transforming Fiber: artists Michelle Cooke, John Garrett, Tim Harding, Katharine Kreisher, Mayumi Nishida, Gail Rieke, Signe Stuart, s.c. Thayer, and David Wagner stretch the boundaries of space and fiber. Through Jan 21, 2017. Sorrel Sky Gallery, 125 W Palace Ave. 866878-3555. 8th National Juried Members Show of the Plein Air Painters of New Mexico: various events will feature the work of artists dedicated to preserving and promoting painting en plein air. Through Nov, with special events Nov 4-6. 5-8 pm. ViVO Contemporary, 725 Canyon Rd. 505982-1320. Online/ Offline: Exploring the concepts of edges, lines and contrast, both real and virtual, through unique paintings, sculptures, assemblages, constructions and mono prints. Through Dec 31. 5-7 pm. SATURDAY, NOVEMBER 5

ART.i.factory, 930 Baca St, Ste C. 505-9825000. Resurrecting Isis: closing reception and fundraiser. Representatives from Creativity for Peace, a Santa Fe non-profit, and artists Patti Levey and Andrea Vargas will be in attendance. Art.i.fact will donate 20% of the day's sales to Creativity for Peace. Through Nov 12. 4-7 pm. New Mexico School for the Arts, Santa Fe University of Art and Design Fine Arts Gallery, 1600 St. Michael’s Dr. Birch: benefit exhibition featuring anonymous art for sale, created by both NMSA Visual


Art students and faculty and renowned New Mexico artists. All artworks are created on 10 x 10 in. birch panels and priced at $99. 5-8 pm. Santa Fe Book Arts Group/Palace Press, Palace of the Governors, Meem Room, 110 Washington Avenue. 505-660-9942. Annual Multi-Vendor Arts & Crafts Market: featuring supplies (for mixed media, assemblage, and collage), handmade books and journals, handmade and specialty papers, antique books and prints, ephemera, and gifts. 10 am-2 pm.

artists, and Zuni People students and teachers. The show is being held in conjunction with the world’s first Indigenous Comic Con, which launches Nov 18 at the National Hispanic Cultural Center in Albuquerque. Through Dec. 5-7 pm. Phil Space, 1410 Second St. 505-9837945. Aristocrats Among Industrial Ruins: paintings by Francisco Benitez, a recipient of the 2016 Mayor’s Award for Excellence in the Arts. Through Nov 26.



Santa Fe Community College Visual Arts Gallery, 6401 Richards Ave. 505-428-1000. Something I Need You to Know: group exhibition featuring Razelle Benally, Maxine Chelini, Rose Driscoll, JC Gonzo, Israel Haros López, Lucy Madeline, Cyrus McCray, Elizabeth Mesh, Carmen Selam, Lillian Turner-Gracie, Edie Tsong, and Jared Weiss. Through Feb 15, 2017. 5-7 pm.

SFUAD Fine Arts Gallery, 1600 St. Michael’s Dr. Syncopation, Studio Arts BFA Senior Thesis Exhibition-Part 1: Kemely Gomez will present an immersive installation that references her childhood experiences while exploring issues of education and poverty in Guatemala. Hannah Marcotte negotiates the seam between personal life practices and an art practice; her work translates the records of habitual behaviors into systematic patterns. David Jack will be displaying large-scale motorcycle racing paintings formed by surreal abstract shapes. Through Dec 16. 5-7 pm.


Exhibit 208, 208 Broadway SW, ABQ. 505450-6884. Elen Feinberg, Nightbound: images of the sublime wonder of night, offering a glimpse into the tension between beauty and the unknown. Through Dec 3. 5-8 pm. form & concept, 435 S Guadalupe St. 505982-8111. Native Realities: Superheroes of Past, Present, & Future: featuring professional Native comic


ART.i.factory, 930 Baca St, Ste C. 505-9825000. Big Ideas: small works by over 25 New Mexico artists. Through Jan 28, 2017. 4-7 pm. ARTScrawl, various locations, ABQ. 505244-0362 Citywide ARTScrawl: self-guided gallery walking tours through The Heights, Old Town, Nob Hill, and Downtown Albuquerque. 1-4 pm. City of Mud, 1114A Hickox St. 505-9541705. Table On Fire: the second annual sales event to spice up your holiday table. Vintage stemware, artisan ceramics, candles, serving accessories, and more. Through Nov 23. FRIDAY, NOVEMBER 25

form & concept, 435 S Guadalupe St. 505982-8111. Radical Jewelry Makeover Artist Project: challenging artists from across the country to implement tangled chains and unmatched earrings into new, wearable artworks. Through Feb 18. 5-7 pm. Manitou Galleries, 123 W Palace Ave. 505986-0440. Holiday Small Works Show and Black Friday Sale: including all Manitou Gallery artists exhibiting “miniature” pieces perfect for holiday gift giving. Through Dec 9. 5-7:30 pm.

Ezri Horne, Metamorphosis, 2015, nylons, birth control packets, plaster, cotton, doilies, nails, bandaids, hair, 48 x 36 in. Horne's solo exhibition corpus angore of ceramic and fiber works opens at Caldera Gallery on Fri, Nov 4, 5-7 pm. Through Nov 18.

continues on page 26 NOVEMBER


THE magazine | 23

send us your

out + about photos!

photos: Audrey Derell

ONGOING 516 Arts, 516 Central Ave SW, ABQ. 505242-1445. DECADE: 516 Arts celebrates its 10th anniversary with a group exhibition and several site-specific projects. Through Jan 7. 6-8 pm. April Price Projects Gallery, 201 Third St NW, Ste G, ABQ. 505-573-0895. Side by Side: new works by Lin Johnson and Phil Putnam. Through Nov 30. Canyon Fine Art, 505-955-1500. canyonfineart. com. Jane Radstrom: contemporary figurative realism in pastel and mixed media. Nov 23-Dec 17. CCA Cinematheque Lobby Gallery, 1050 Old Pecos Tr. 505-982-1338. Long Echo: Strangers Collective transforms the gallery into an echo chamber for contemporary voices in the local emerging arts collective's fall/winter exhibition. Through Jan 15. 5-8 pm. Canyon Road Art Brokerage, online. 505-9951111. Bronze sculpture. Through Nov 30. Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. New Imagists in the Southwest: work of thirteen artists residing in the Southwest who work in pop-surrealist, lowbrow, and street art styles. Robt. Williams: Slang Aesthetics!: solo exhibition featuring over 60 drawings and paintings from 1995-present, highlighting his days at Zap Comix. Both through Nov 27. David Richard Gallery, 1570 Pacheco St, A1. 505-983-9555. The Santa Fe Art Project III: group exhibition of contemporary work by local artists. Outer Local: contemporary work curated by guest curators Crockett Bodelson and Sandra Wang of SCUBA. Extended through Nov 19.

Edition One Gallery, 1036 Canyon Rd. 505570-5385. Transitions: contemporary photographic works interpreting the personal perspective of 25 local, national, and international photographers. Through Nov 18. Ellsworth Gallery, 215 E Palace Ave. 505989-7900. Artists’ Choice: a group exhibition of the gallery’s leading contemporary artists showing alongside one artist of their choice. Through Jan 21, 2017. Gerald Peters Gallery, 1005 Paseo de Peralta. 505-954-5700. Marjorie Eaton: paintings and works on paper from the estate of Marjorie Eaton (1901-1986). Through Nov 26. Small Works: winter exhibition of small-scale paintings and photographs. Features several gallery artists including Mike Glier and Theodore Waddell. Nov 18-Jan 16, 2017. IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl. 505-983-1666. Akunnittinni: A Kinngait Family Portrait: a visual dialogue between an Inuk grandmother, mother, and daughter. Forward: Eliza Naranjo Morse: contemporary work in drawing, clay, organic and recycled materials, and caricatures. Lloyd Kiva New: Art: celebrating the work of the Cherokee artist and educator. Rick Bartow: Things you Know but Cannot Explain: a retrospective exhibition of more than 66 works. All through Dec 31. Indian Pueblo Cultural Center, S Rotunda, 2401 12th St NW, ABQ. 37th Annual Native American Student Art Show: this year’s theme is “Gifts of the Creator,” a reminder of the importance in Pueblo culture of respect and thankfulness for one’s traditions, families, communities, and all living things. Through Dec 18. Jonathan Abrams MD Art Gallery, University of New Mexico Hospital, 2211 Lomas Blvd NE, ABQ. 505-272-9700. Exchange: Between You and Me An Invitational Art Show by Collective Perception: work inspired by poet Coleman

Barks’s take on Rumi. Through Nov 18. Lannan Foundation Gallery, 309 Read St. 505-954-5149. Ucross: A Portrait in Place: presenting interdisciplinary collaborations between ecologists and artists at the Ucross Foundation Ranch in Wyoming. Through Dec 11. New Mexico Art League, 3409 Juan Tabo Blvd NE, ABQ. 505-293-5034. newmexicoartleague. org. Between the Lines: mixed-media work incorporating the written word. Where I’ve Been, Landscapes by Mary Sweet: woodblock prints and paintings. Both through Nov 19. New Mexico History Museum, 113 Lincoln Ave, Santa Fe. 505-476-5200. Fractured Faiths: Spanish Judaism, The Inquisition, and New World Identities: this show tells the story of Spanish Jewry’s

1492 diaspora. Through Dec 31. Lowriders, Hoppers and Hot Rods: Car Culture of Northern New Mexico: meet the artists who craft these specialized vehicles. Through March 2017. New Mexico Museum of Art, 107 W Palace Ave. 505-476-5041. Alcoves 16/17 #5: Mira Burack, Kelly Eckel, Shaun Gilmore, Dara Mark, and Signe Stuart. Through Dec 4. Small Wonders: a surprising selection of small contemporary photographic work that invites visitors to revel in the pleasures of the miniscule. Through Mar 12, 2017. New Mexico State Capitol Rotunda Gallery, 411 State Capitol. 505-986-4614. The Alchemy of Decay: featuring five Santa Fe–based artists. Through Dec 9. Pastel Society of New Mexico, Hispanic Arts Center, EXPO New Mexico, 300 San Pedro NE, ABQ. National Pastel Painting Exhibition: the 25th annual exhibition of top pastel artists across the country. Through Nov 27. Richard Levy Gallery, 514 Central Ave SW, ABQ. 505-766-9888. Unstructured Merriment: exhibition and celebration in honor of the gallery’s 25th anniversary. The celebration will also feature a pop-up opportunity to participate in the We Are This City fundraiser. Through Nov 23. Sacred Arts Gallery, St. Mark’s Church, 431 Richmond Place NE, ABQ. 505-262-2484. Through the Eyes of Children: art inspired by children’s paintings and drawings. See side-by-

above: Albert Handell, On King Rock Face, mixedmedia pastel, 16 x 20 in. Sorrel Sky Gallery will host the 8th National Juried Members Show of the Plein Air Painters of New Mexico, with opening reception Fri, Nov 4, 5-8 pm. Plein air painting demonstrations will be held at various times Nov 5-6. Exhibition continues through November. left: Dion Valdez, FDC 1041, 2016, acrylic on panel. Long Echo, an exhibition of emerging artists and writers of local art collective Strangers Collective, is on view at the CCA Cinematheque Lobby Gallery through Jan 15, 2017.


side works by Rainbow Artists, an Albuquerquearea women’s art collective, and St. Mark’s children. Through Nov 30. Santa Fe Clay, 545 Camino de la Familia. 505984-1122. In House: group show including work from recent students, studio members, and instructors. Through Dec 3. Santa Fe Public Library, La Farge Branch Library, 1730 Llano St. Watercolors: work by Raph Thibodeau. Southside Branch Library, 6599 Jaguar Dr. Journeys: pen-and-ink works by Magdalena Karlick. Through Nov. Tansey Contemporary, 652 Canyon Rd. Fictitious Fiber: group exhibition curated by Jane Sauer, highlighting a new iteration of fiber arts. Through Nov 4. Taos Arts Council, Town Hall, 400 Camino de la Placita, Taos. Fabric Creations by the Taos High Country Quilting and Needlecraft Guild: group exhibition of small-scale works using modern and traditional techniques. Through Jan 13, 2017. Taos Center for the Arts Encore Gallery, 133 Paseo del Pueblo Norte, Taos. 575-7582052. Scenes from The Rosy Fingered Dawn: 30 acrylic paintings by Hank Brusselback depicting the artist’s response to his dreams. Through Jan 17, 2017.

SPECIAL EVENTS Center for Contemporary Arts, 1050 Old Pecos Tr. 505-982-1338. Farms, Films, Food: A Santa Fe Celebration: food demos, community presentations, free films, gallery tours and low-

cost meals provided by local vendors. Wed, Nov 2, various event times, 4-8:15 pm.


David Richard Gallery, 1570 Pacheco St, A1. 505-983-9555. Curator panel: discussion of exhibition Outer Local with guest curators SCUBA. Sat, Nov 5, 3-4:30 pm.

The Adobe Rose Theatre, 1213B Parkway Drive. Winning The Future: a playful, eclectic evening of original sketches and songs about America—where we are, and where we’re headed. Three performers examine the political, economic, and social circumstances of our times in a hilarious take on what it means to be American in 2016. Sun, Nov 6, 3 pm.

form & concept, 435 S Guadalupe St. 505982-8111. Toward Essentialism: workshop with John Sparano & Anne Mooney, hosted by Santa Fe’s chapter of the American Institute of Architects. 2-4 pm. Jonathan Abrams MD Art Gallery, University of New Mexico Hospital, 2211 Lomas Blvd NE, ABQ. 505-272-9700. Exchange: Between You and Me: artist talk hosted by Susan Dever. Tues, Nov 8, 4-5:30 pm. Las Cruces Museum of Art, 491 N Main St, Las Cruces. 575-541-2154. Gallery talk and tour with Katharine Kreisher, artist of Transforming Space – Transforming Fiber. Nov 9, 1 pm. Workshop with John Garrett: alternative basket making/working with wire. Nov 12, 10 am-4 pm. New Mexico Museum of Art, 107 W Palace Ave. 505-476-5041. Alcoves 16/17 #5: gallery conversation with the Alcoves artists Mira Burack, Kelly Eckel, Shaun Gilmore, Dara Mark, and Signe Stuart. Fri, Nov 4, 5:30-6:30 pm. Santa Fe Community College Visual Arts Gallery, 6401 Richards Ave. 505-428-1000. Something I Need You to Know: artists’ and curator’s talk in the gallery. Thurs, Nov 17, 1-2:30 pm.

the timeless comedy about love, loss, and mistaken identity. Detailed schedule and tickets online or the theatre box office. Nov 18-Dec 3. Nick Waterhouse, Skylight, 139 W San Francisco St. 505-886-1251. Waterhouse is a new-breed R&B fanatic whose muse is the over-modulated sound of vintage R&B, and his take on such a time-honored tradition evokes the back-alley thrill of New Orleans, Detroit and Memphis in their heyday. Wed, Nov 30.

Frank Morgan Taos Jazz Festival, various venues, Taos. 575-758-3147. In celebration of legendary saxophonist Frank Morgan, Taos Jazz Bebop Society presents four nights of music and film in four Taos venues. Details online. Nov 16-19.

Rufus Wainwright, KiMo Theatre, 423 Central Ave NE, ABQ. 505-768-3522. kimotickets. com. 516 Arts presents a special benefit concert with the renowned vocalist Rufus Wainwright in celebration of the nonprofit’s 10th anniversary. Fri, Nov 11, 8 pm.

The Colorado Springs Fine Arts Center Theatre Company, 30 W Dale St, Colorado Springs. Too Much Light Makes The Baby Go Blind: an amalgamation of Neo‐Futurist pieces. This witty collection of comic, tragic, political, personal, and abstract plays is directed by Scott RC Levy. 8:30 pm.

Santa Fe Performing Arts, Armory for the Arts Theater, 1050 Old Pecos Tr. 505-9827992. SFPA will hold a fundraiser with refreshments, performances, and a silent auction in support of their work in the community. Sat, Nov 5, 6-9 pm.

CONTRA-TIEMPO, National Hispanic Cultural Center, 1701 4th St SW, ABQ. 505724-4771. Agua Furiosa: loosely inspired by Shakespeare's The Tempest, as well as by Oya, the Afro-Cuban deity of the wind and storms. Developed by artistic director and choreographer Ana Maria Alvarez through a series of site-specific performances connected to distinct bodies of water. Fri, Nov 4, 7:30 pm. Greer Garson Theatre, Santa Fe University of Art and Design, William Shakespeare’s Twelfth Night: Brian Gillespie, guest director from New York City, will direct

CALLS FOR ARTISTS Corrales Bosque Gallery, 4685 Corrales Rd, Corrales. 505-898-7203. Call for artists: seeking young fine-art artists who are interested in being represented by the Corrales Bosque Gallery, an established artistowned gallery of 22 years. Applications are juried every month on the 2nd Tuesday. All fine arts styles and media will be considered. Further information and applications available online. Currents New Media Festival 2017, Call for artists in multiple new media categories. See categories and guidelines online. Deadline Nov 15. THE Magazine Photography Page, Call for submissions: the December theme is “the artful selfie.” Submit up to 3 high res photos (300 dpi and 8+ in. on one side) to editor@ for possible inclusion in the December issue. Selected photographer will receive a $50 gift card to a Santa Fe–area business. Deadline Nov 15.

CALENDAR LISTINGS THE Magazine, For free listing of December and January events in the December/January issue, email short, complete descriptions to pr@ The word “calendar” must be included in the subject line. For images to be considered for the calendar, they must be attached as high resolution jpegs or tiffs, accompanied by full captions. Deadline for listing in the December issue Nov 15. Alicia Piller, Birth Stage 5, real and faux leather, latex balloon, cellophane, wood, geo quartz, resin. Group exhibition of small-scale works, Big Ideas opens at the ART.i.factory on Sat, Nov 19, with a reception 4-7 pm. Over 25 New Mexico artists will have work on view through Jan 28, 2017.



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John Garrett, CARAVAN 2, 2016, mixed media, 72 x 144 x 5 in.

Something I Need You to Know Santa Fe Community College Visual Arts Gallery Santa Fe, NM November 10 – February 15, 2017 Opening: Thursday, November 10, 5 – 7 pm This fall, the Visual Arts Gallery at SFCC presents a group exhibition curated by Niomi Fawn. Participating artists include Razelle Benally, Maxine Chelini, Rose Driscoll, JC Gonzo, Israel Haros López, Lucy Madeline, Cyrus McCray, Elizabeth Mesh, Carmen Selam, Lillian Turner-Gracie, Edie Tsong, and Jared Weiss. Working across media, the works in this show contribute unique personal stories that address ideas of the complexities of interpersonal and intercultural relationships and the tension held between personal and collective histories in contemporary society. The artists and curator will hold a gallery talk on Thursday, November 17, 1-2:30 pm, and a panel discussion on Thursday, February 2, 2017, 1-2:30 pm. Jared Weiss, Everyone Gave Advice, But No One Helped, 2016, oil on canvas, 47 x 63 in.

Transforming Space – Transforming Fiber Las Cruces Museum of Art Las Cruces, NM November 4 – January 21, 2017 Opening: Friday, November 4, 5 – 7 pm Curated by artist and fiber arts aficionado Susan A Christie, Transforming Space – Transforming Fiber presents work by nine New Mexico–based and national artists whose work is informed by or engages with fiber as a medium and concept. John Garrett’s (Las Cruces) wall-mounted sculptures weave together mixed materials in a metal framework evocative of quilting. Katherine Kreisher (Oneonta, NY) presents a hand-crocheted and knitted installation of colorful, desert flora–inspired shapes. S. C. Thayer (Santa Fe) uses natural kozo and gampi fibers harvested from the inner bark of trees in Japan to create suspended sculptures that shift weightlessly in space. Also included in the exhibition are Michelle Cooke (Taos), Tim Harding (Minneapolis, MN), and Santa Fe artists Mayumi Nishida, Signe Stuart, Gail Rieke, and David Wagner, each with work contributing to a conversation around material and rhythm. The exhibition will be accompanied by a curator’s tour and artist talk with Katharine Kreisher on Wednesday, November 9, 12:30-2:15 pm. Gail Rieke will give a gallery presentation on Saturday, January 14, 2017, at 11 am.


Doug Aitken: Electric Earth The Geffen Contemporary at MOCA Los Angeles, CA September 10 – January 15, 2017

Doug Aitken, Black Mirror, 2011, installation view at Schirn Kunsthalle, Frankfurt, July 9-Sept 27, 2015. photo: Norbert Miguletz.



Throughout the sprawling, cavernous gallery spaces of downtown LA’s Geffen MOCA, the haunting doo-wop coos of “I Only Have Eyes for You” follow viewers everywhere. Even in soundproofed rooms, the song permeates the experience of Doug Aitken’s massive survey exhibition Electric Earth, the first major mid-career retrospective the artist has received in North America. The Depression-era song, made most famous by the Flamingos’ 1959 recording, and covered by countless artists ever since, is here covered again and again by various voices and in different renditions and settings in Song 1 (including an appearance by Tilda Swinton). The multi-channel video installation defies concepts of beginning and end, repeating its 35-minute loop as the viewers make their way around the periphery of the museum space, constantly returning to the song and Song 1’s imagery. The piece encompasses many of the motifs that recur through Aitken’s work: provocative urban environments, over-the-top presentations, disruption of linear narrative, aural and visual rhythmic patterns, juxtaposition of narrative cinema with non-narrative abstractions and voiceovers, and that certain California-bred preoccupation with celebrity (Chloë Sevigny, Beck, and Devendra Banhart all crop up here). Electric Earth contains seven of the artist’s large-scale video installations, each installed with impeccable finesse, attention to scale, and adamant disregard for expense or propriety (for Sonic Fountain II, the artist dug through the concrete floor of the Geffen to create a milky white pool surrounded by piles of rock and earth). Interspersed are textual wall sculptures—mirrored or neon-bedecked blocks reading “SUNSET” or “100YRS”—and various other examples of the artist’s prolific work in photography, sculpture, collage, and documentation of architectural projects (including his own Venice home). Throughout, Aitken works with familiar cultural fragments to create disjunctions: sometimes poetic, sometimes provocative, and sometimes florid.

THE magazine | 29


Are You Listening?

by Diane Armitage

“How come they never show an indigenous person using the Internet?” Tanya Tagaq remarked on a recent Sunday visit to the Museum of the American Indian … “We’re not only in the past. We’re here right now.” —John Seabrook, “The Musical Life,” The New Yorker, February 2, 2015

It in The New Yorker that introduced me to her

was John Seabrook’s profile of singer Tanya Tagaq work as a contemporary performer. Seabrook went on to write, “Tagaq is an Inuit throat singer, and she was in the city for a performance . . . a jaw-dropping forty-five minutes of guttural heaves, juddering howls, and murderous shrieks—Inuit folk meets Karen Finley.” Tagaq is known throughout Canada where she lives, and in 2014 she won the Polaris Prize for Canadian album of the year. Her performance at the award ceremony, where she sang from the winning album Animism, can be found online. After reading Seabrook’s article, I went in search of Tagaq’s voice, wanting to experience some of those “guttural heaves,” and once introduced to her singing and her full-bodied delivery of sound, it’s not easy to forget.

THE magazine | 31

To say that Tagaq is a force of nature is true enough, but nothing can prepare a listener for the depth of her involvement with the performance that she delivers. It’s more than a singing performance, however; it’s more like having the ghosts of land, water, and sky pass through her body and then exit through her mouth and her hands and her torso. It’s a case of being inhabited by spirits similar to someone who, in a frenzy of possession, begins to talk in tongues. Tagaq’s utterances—her songs, so to speak—while inspired by a certain kind of spontaneity, are drawn from a set of Alaskan Native traditions where two people engage in a call and response of melodic sighs, non-verbal chants, and sounds that arise from deep within the throat as if scraped away by a rasp. These songs are, at root level, about nature and the individual’s place within it. Watching and listening to the documentation of Tagaq’s performance at the Polaris concert, there is the sense you are following a course of turbulent weather, of animal migrations, countless births and deaths, mating rituals, and fiercely whispered growls of pleasure and pain. Often it felt as if Tagaq herself was in the act of giving birth on stage and dying at the same time—her body undulating, pushed and pulled by the forces of life and death. Hers was an inspired dance driven by the need of animistic cries to split apart the world and put it back together in a new way. When Tagaq performs she is an archipelago of self-enclosed islands defined by sound—non-verbal but linguistically inclined. And although her music comes out of the tradition of Inuit throat singing, Tagaq is unmistakably also inspired by contemporary experimental music. Tagaq has already become an international artist, working with people like Björk—who sought Tagaq out—and the Kronos Quartet. And her now legendary performances continue to evolve in strength and duration, as was seen when Tagaq was here in New Mexico last August. As part of SITE Santa Fe’s Biennial much wider than a line, which explores the art of the Americas with an emphasis on vernacular strategies, Tagaq did a concert at The Lensic that functioned as a soundtrack to Robert Flaherty’s famous documentary from 1922, Nanook of the North. For approximately one hour and fifteen

minutes, Tagaq and her stellar back-up musicians—Jean Martin on drums and Jesse Zubot on violin—put another kind of dynamic spin on Flaherty’s filmic rendering of the life and landscapes of the Inuit people and their harsh struggles against snow, ice, and the calls of the wild. In her introduction to the movie, Tagaq made a pointed comment about Flaherty’s project, saying, “so much is misinterpreted”—which is another way of saying that the filmmaker’s vision was, to a certain extent, based on a constructed view of Inuit life and traditions, and although a documentary, Flaherty’s movie involved deliberate re-enactments that often made the Inuit appear hopelessly backwards and buffoonish. That said, Tagaq’s personal soundtrack forced the movie away from a colonial perspective and into the haunted realm of life on a razor’s edge close to Magnetic North.

F E AT U R E During the movie, a viewer could hear Tagaq but not really watch her as she wrenched out of her body those inhalations and exhalations and seemed to embody extremely raw and often scary sounds, giving them a new dimension as they exited her mouth, animating the spaces of the moving images. Tagaq delivered an acoustic narrative of an almost unbearable intensity. It’s amazing to me that Tagaq doesn’t faint dead away at the end of a performance, so viscerally engaged is she in her range of extended vocal techniques. At the end of one of her pieces, where is there to go but into a swoon? There is a line at the end of the opera Tristan und Isolde where Isolde sings an aria in a transfigured state as she is about to die for love: “In the surging vastness of the world’s breath . . . I long for oblivion.” This same force seems to carry Tagaq

work with students—in this case from the Santa Fe Indian School—culminated in a concert at the Armory for the Arts that featured six chamber music compositions, played by the professional Albuquerque-based Huntress Quartet. Jessica Billey and Rosie Hutchinson were on violins, Heather Trost was on viola, and Ariel Muniz played cello. Chacon has been working with Native students in the Southwest for a dozen years, acting as mentor to budding musicians who had never composed music before, let alone chamber music. To tell you the truth, it isn’t clear to me how Chacon goes about teaching composition with individuals who, in some cases, don’t know how to read music, let alone write it. At the conclusion of two short weeks of working with Chacon, the students have each written original compositions

across time and the spaces of her own history and the cyclic events of her people: she becomes an aspect of the surging vastness of the world’s breath, ferocious, decimating, endlessly inventive, and forgiving, yet always hungry for more. As Tagaq said before her concert began, “We all eat life. . .” In counterpoint to the hounds of heaven unleashed in Tagaq’s songs, Navajo artist Raven Chacon’s work with young Native American musicians—teaching them the art of chamber music composition—seems dainty by comparison. But Chacon’s involvement with sound, experimental art, and postmodern strategies of identity politics, while decidedly more academic in some respects, is no less rigorous. In October, Chacon’s recent

using guitar, piano, violin, and their own auditory sensibilities. In previous concerts, like the annual series at the Grand Canyon, well-known groups such as Ethel have played these student works with titles like “Pink Thunder,” from 2009, by Celeste Lansing, who was only fifteen when she composed this piece. At SITE Santa Fe’s biennial exhibition, there are several listening stations with earphones to engage with work that Chacon has mentored from previous years, complete with the written scores so listeners can read them if they want. Lansing’s “Pink Thunder” is at SITE and was one of the pieces I avidly listened to over and over last summer, because it was one of the most



acoustically dynamic and challenging—plus the score looked like an Agnes Martin drawing on steroids. At the live concert in October, five new pieces were played: “The Festive Dance” by Larry Rosetta, “Lavender Willow Tree” by Isaiah Chinana, “Heart Strings” by Anthony Glascock, “Repercussions” by Addie Othole, and “Deep in Thought” by Dominick MorningDove. Finishing the concert was Lansing’s “Pink Thunder,” one of Chacon’s favorite student compositions from the past twelve years. Chacon doesn’t go into the history of the Western canon for chamber music. Instead, his goal is to give the students the tools they need to create sounds with a certain set of parameters to be played by instruments for string quartets. The students are not hampered by any inability to read music but are free to explore rhythm, lyrical and dissonant sounds, and unusual phrasing, albeit in a tight time frame— two to three minute pieces that wind up like miniature acoustical poems. And even if the pieces were more alike than wildly divergent from one another, each composition was an exploratory slice of a mood in a highly defined structure that also allowed for freedom of expression. In the last analysis, these students could be thought of as being part of a new Sonic Youth. An image came to mind at the end of the concert of pebbles thrown into a pond, hitting the surface with different velocities, every ripple adding to an overall unified texture without any ripple expressly duplicating any other. The pieces had elements that were jaunty and percussive, melancholy and sweet, with intermittent melodies that exploded with a sassy dissonance—each work leaning on the others as in the threads of a weaving. In this case the woven strands were musical themes that reverberated much wider than the lines of their musical scores. ■

page 30-31: Tanya Tagaq publicity still. photo: Nadya Kwandibens page 32, above: Dominik MorningDove, Isaiah Chinana, Anthony Glascock, Addie Othole, Raven Chacon, and Larry Rosetta at The Armory for the Arts, Santa Fe. photo: SITE Santa Fe page 32, below: The Huntress String Quartet, Raven Chacon, and Young Composers at The Armory for the Arts, Santa Fe. photo: Anne Wrinkle and SITE Santa Fe this page: Tanya Tagaq in performance at The Lensic. photo: SITE Santa Fe

Correction, November 3: A previous version of this article incorrectly suggested that the student composers' works were augmented by digital software. All compositions were solely composed by the students.

THE magazine | 33



National Pastel Painting Exhibition


Celebrating 25 Years

Free Admission Open to Public

October 29 thru November 27 Gala Opening Reception: Saturday, Oct. 29, 2pm Open Tuesday — Sunday, 10am - 5pm (Closed November 24 for Thanksgiving)

Unstructured Merriment

EXPO NM in Hispanic Arts Center

September 30 - November 23

300 San Pedro NE, Albuquerque For More Info go to: .

Richard Levy Gallery • Albuquerque • • 505.766.9888


roxanne swentzell maker of: the Pueblo Food Experience by Jordan Eddy

One day, when she was in her twenties, Roxanne Swentzell paced a barren corner of her grandmother’s land at Santa Clara Pueblo. She was a homeless, single mother of two, but this patch of earth with nothing but an unpaved road running through it would be hers. “I literally came out in my pajamas and drew foundation lines in the dirt,” she says. “I started building a house. Every brick.” More than three decades later, she sits at her dining room table, sipping lemon ginger tea. “It’s not a perfect square,” she says, surveying the earthen walls around her. “It’s rough, but it’s a good house.” She’s cultivated many things in this place: a family that can fill this long table, a body of artwork that adorns her walls and graces numerous museum collections, and a lush food forest that casts a green glow through every window. Today, Swentzell describes a treasure that she’s been nurturing just as long, but that has only recently revealed its true powers. Not far from the house, there’s a low adobe structure with a cool, dark room inside. Shelves holding hundreds of glass jars line the walls. It’s Swentzell’s seed bank, a vast library of traditional Pueblo crops that she’s cultivated for many seasons. These foods are no longer staples of the modern Pueblo diet, and a number of them are in danger of going extinct. Two years ago, Swentzell and a group of thirteen Pueblo people from around New Mexico



THE magazine | 35

drew upon her living archive. They radically altered their diets, only eating foods that their ancestors would have consumed before colonization. The experiment was called the Pueblo Food Experience, and it had a dramatic effect on the bodies—and minds—of its participants. This summer, Swentzell and her collaborator Patricia M. Perea published The Pueblo Food Experience Cookbook (Museum of New Mexico Press), a remarkable chronicle of their journey. “I’m into cultural preservation,” Swentzell says. “I’m interested in how indigenous cultures of the Southwest survived, whether it’s the crops we grew or how we made buildings, shoes, pottery, language. Every aspect of it is my interest.” She founded the Flowering Tree Permaculture Institute in 1987 with Joel Glanzburg, her husband at the time. For ten years, they worked to build a sustainable homestead, creating a balanced ecosystem of diverse flora in the harsh climate of the high desert. Flowering Tree, which operates as a nonprofit, has mounted numerous educational projects aimed at furthering Pueblo traditions and strengthening communities. Swentzell teaches a variety of skills at workshops and gatherings, including the art of pottery making. She descends from a long line of Santa Clara potters and used the medium to communicate as a child, when she struggled with a severe speech impediment. Now she owns the

Tower Gallery in Pojoaque, where she exhibits her bronze, clay, and glass sculptures, along with works by her daughter Rose B. Simpson and other artists in the family. The seed bank has become one of Flowering Tree’s most monumental undertakings. For a time, Swentzell struggled to find a contemporary purpose for the project. “I was growing out this food and saving it, but people were not eating it anymore. It was just this museum of seeds,” she says. “As everyone raced to McDonald’s and Walmart, I was preserving these old crops year after year. I would say, ‘How long can I do this? What’s the point?’” About four years ago, Swentzell’s son Porter came to her with an intriguing idea. He’s a lifelong scholar of Pueblo history and culture who is currently an assistant professor of Indigenous Liberal Studies at the Institute of American Indian Arts. In his research, he’d been piecing together the main components of the Pueblo diet before the arrival of European colonists. “At that point, Porter was having health issues,” Swentzell says. “The doctors were telling him, ‘You’re heading for a heart attack. You’re not doing well.’ We would say, ‘Well, how did they cook back then? What if we could eat that way now?’” They conducted the first manifestation of the Pueblo Food Experience over several weeks, with Swentzell as the cook and her son as the guinea

pig. “His health improved very, very quickly,” she recalls. They felt like they were on the edge of an epiphany, but they didn’t record any of the results, and Porter soon returned to his regular diet. Two years later, they engaged thirteen Pueblo people of all ages for a second phase of the project. This time they had funding from the Chamiza Foundation, the Santa Fe Community Foundation, and the Silicon Valley Institute. All of the participants received complete physical examinations before the experiment began. “The doctor did live blood tests for us,” Swentzell says. “You could see your blood moving and working in action. It was fascinating—and heartbreaking. I left crying after I saw my blood cells, because they were all clumped and clustered. They looked like they were struggling, and the doctor told me it’s because they weren’t able to properly digest the meat I was eating.” Some of the participants hadn’t seen a physician in years, and it was a reality check that launched them into the three-month diet. The Pueblo Food Experience Cookbook records the simple diet that the program’s participants vowed to follow. For grains, they ate three varieties of corn, along with amaranth, quinoa, Indian rice grass seed, and purslane seed. For protein, there was buffalo, elk, sheep, a variety of fowl and fish, beans, and fried grasshoppers for a crunchy snack. Squash gets its own section


of the book, but there’s also prickly pear pads, dandelion greens, Rocky Mountain bee weed, and other veggies. Most of the recipes in the cookbook feature just three or four of these ingredients. There are instructions for making tamales and tortillas, a butternut squash soup with turkey broth, an elk casserole, and a rabbit stew. The drinks section features sunflower coffee, squawbush lemonade, and a berry veggie smoothie. Desserts made with amaranth flower and grain-based snacks such as popcorn round out the diet. Over the first few weeks, the participants experienced simultaneous bouts of sickness. “It went in waves,” says Swentzell. “Each time we felt like, ‘Wow, I feel good! I’ve never felt this good.’ We were getting all of that poison out of our bodies. Layers and layers of it.” Together, they battled sugar cravings and swapped tips on crock pot cooking. The group met for potlucks every two weeks and watched each other with amazement as their bodies transformed. As the experiment continued, they challenged each other to follow traditional methods for gathering food. They went in on a local buffalo and harvested the meat, and Porter took them on an ancestral pilgrimage to Estancia Basin to gather salt. “It’s reconnecting to what you eat, so it’s not just this packaged object,” says Swentzell. “These crops belong to Pueblo people, and they’ve been NOVEMBER


here for thousands of years with us. They’re very adapted to our bodies. We’ve been eating foreign food, and if we continue eating foreign food, we will actually genetically change in maybe five more generations. We’ll literally be different things.” This was the breakthrough of the Pueblo Food Experience. Swentzell says it gave the participants an understanding of how their bodies fit into their ancestral environment—down to a molecular level. At the end of the experiment, they returned to the doctor and found that their health had drastically improved. Most of the participants lost between fifty and a hundred pounds, and a variety of conditions, such as diabetes, high cholesterol, heart disease, depression, and autoimmune disorders, were under control. “After those three months, my blood cells were spread out and moving around. They were happy,” says Swentzell. “We proved that our bodies fit our old food better. It becomes medicine.” It’s been two years since the first round of the project. Several of the original participants have continued to follow the diet, and other groups have taken the challenge. Swentzell estimates that she follows it “ninety percent” of the time, and she’s still experiencing the benefits of it. Now, with the cookbook in hand, she’s reaching out to her own tribe and other Indigenous communities to spread the word. “We’re still

suffering from colonization. There’s a lot of pain and trauma working its way through the tribes of this country,” she says. “Our bodies have been colonized in more ways than just the land. The food is an invasion. Let’s take ourselves back.” Swentzell has challenged friends from other tribes to identify their ancestral foods, and conduct their own experiments. “What’s your original diet?” she says. “Everybody has a genetic code to food. Do it and tell me how you feel.” I ask Swentzell if the Pueblo Food Experience fits into her art practice. Perhaps she sees herself as a sculptor of communities or the leader of a communal performance art piece. She laughs and turns to a small bronze sculpture that sits between us on the table. It’s a Native figure, cradling a tea candle in its arms and bearing a serene expression. “My art started as a way of communicating to people, so it’s a language,” she says, picking up the piece. “I need to communicate, so I make art. I need food, so I chose this diet. I need shelter, so I built this house. The culture is what puts it all together.” ■ page 35: Roxanne Swentzell irrigating field, 2014 Squash, original drawing by Roxanne Swentzell page 36: Harvest, Santa Clara Pueblo, New Mexico, ca. 1900, (NMHM/ DCA 004128) above right: trail mix above left: table of food, Flowering Tree potluck. all images courtesy Museum of New Mexico Press.

THE magazine | 37

Doug Glovaski, Verne Stanford, Ron Pokrasso Mill Contemporary 702½ Canyon Road

WHAT A FELICITOUS CURATORIAL IDEA, THE JUXTAPOSITION OF THIS TRIO OF artists. Pokrasso, Stanford, and Glovaski continue to explore new media, methods, and

works actually extend into the realm of construction, with collaged items such as keyboards

avenues of expression within the arc of their concerns. The works share an intense focus

extending out of the picture plane. Combined with drawing and collage, this makes for dense

that is clearly long term. These are artists who have been working for many years; every

visual surfaces. The viewing dynamic for me was one of agitation stimulated by such variety

element feels necessary and deliberate, even in works that are explorations or experiments.

and nudged toward seeking narrative structure by implied multiple panels or windows, by

Ron Pokrasso’s works on wood or paper have many concrete real-world representations

the associative power of graphic imagery, even by the titles of the works. My favorite pieces

or references (trees, human and animal figures, sheet music). But they inhabit or, more

were Late Summer Stroll and Tree View Palette Fig*, using acrylic, collage, drawing and intaglio.

precisely, generate their own world, usually tripartite. Most are roughly divided into three

Both have the three-part structure which has built-in contradictions; it suggests a yearning

image/concept/medium zones, giving them an implicitly narrative feel. This is reinforced by

for something that unites the three, while a pose of self-sufficiency by the segments tends

a couple of works that resemble the spine and covers of a book splayed open, face down.

toward an impulse to hide those connections. Pokrasso often uses monotype, which, strictly

Pokrasso combines drawing with other media, in this case printmaking techniques. Some

speaking, is a transfer technique rather than a maker of multiples, like etching and intaglio. This is part of what makes each piece idiosyncratically unique. Doug Glovaski’s arrangements of what appear to be bright colored rectangles of construction paper embed an ambiguity at the heart of their geometric rigor. With the exception of a beautiful painting called Holy Ghost, these acrylic-on-canvas works bear titles from one of two numbered series: Mechanism and Influenced by Invisible Forces. This points unambiguously to the concerns that underlie these works. The rectangles of color are connected by pulley-like images of circles, arcs, and lines indicating perhaps the intention to rearrange them but more broadly the vast realm of possibility in the relations among geometric forms. This charges the hyper-controlled rendering with the underlying threat/hint of change and instability. The universal struggle for balance between control and accident, between stasis and chaos, animates the surfaces of Glovaski’s paintings, just as it does our lives. Verne






commentaries on vision and perspective itself; each one enacts an instance of the way that how we see is constructed (and never more flamboyantly than when an artist is in charge). Stanford’s background in architecture is evident in works such as Blue Suspension and Taunt (Blau Tents), where a sense of contained space and of supporting structures is skillfully conjured through color and overlapping, fanned-out photographs. Many of the photos, all taken by the artist, are aerial shots. The bird’s-eye view is crucial to these works. Another prominent element in these works is the line: seen from above, land, buildings, roads, and natural features of landscape form a composition. Stanford tweaks this Cartesian tendency in the viewer by cutting up and rearranging views and adding multiple perspective lines that extend either some linear feature of the original photograph or the edge of another into the plentiful white space surrounding the images. It’s a sophisticated ploy that, while bridging drawing and photography, also reveals perspective to be a conceptual imposition. Extended Iris, referencing both the human eye and a camera aperture, clinches for me that this work is about how, with both our devices and our inherent perceptual apparatus, we formally (and quite contingently) organize the world. —Marina La Palma

Verne Stanford, Extended Iris, 2012, photo collage with drawing, 39 x 51.25 in. Ron Pokrasso, A Little Bit of This, and a Little Bit of That, 2009, acrylic, collage, and drawing on wood, 36 x 54 in.


Fictitious Fiber Tansey Contemporary 652 Canyon Road Fiber (noun) 1. a thread or filament from which a plant or animal tissue, mineral substance, or textile is formed.

FICTITIOUS FIBER. EXACTLY. THE CLOSEST THING TO A THREAD OR A FILAMENT IN this exhibition is likely the nylon fishing line

fabric. Red Alder is a luscious sea-green, opening-

used to weave elements in two of the works.

night boa that begs to be tossed teasingly around

And yet the look and feel of textiles, fabric, and

the neck—except that it is constructed from at

“cloth” abound throughout the twenty-seven

least two hundred individual life-sized glass red

pieces on display. Here are nine artists who

alder leaves, held together with stainless steel

offer us the drape and flow of fabric rendered

and aluminum wire that would likely throttle

in wood, glass, clay, oil paint, and seed pods.

a fashionista. Sunset is a glass tapestry from

Curator Jane Sauer’s selection of artworks and

Rhoads’s Soft Sculpture Series. Here, she has used

program coordinator Paige Diem’s layout offer

copper wire to weave together her meticulously

a corresponding visual flow.

crafted, hollow murrine blown-glass beads. Her

The gallery devotes three rooms to the

colors flow seamlessly, like a watercolor wash,

show, and the entryway holds three works

from a deep blue high in the sky through paler and

by three different artists that hint at the range

paler blues into sunset oranges on the horizon.

and scope of what is to come. Nesting Ovals by

Puffy white clouds are woven to bubble forward

Susanna Starr is a lace tablecloth in mahogany,

from the surface, casting perfect cloud shadows.

blending doily with tabletop. Starr hand cuts

Harue Shimomoto weaves her glass in an

the lacy texture into the wood veneer, and

entirely different way. She suspends by wire

the sheen from the darks and lights of the

small panels of fused, slumped glass in layers,

grain transforms the piece into grandmother’s

one in front of the other. The layers are a few

heirloom tablecloth just before it is smoothed

inches apart and overlap. This creates depth

into place for dinner. Starr’s two other

and a sense of woven cloth in motion. Color

contributions, Oak Round and Cherry Round,

variations in the glass rods and arcs—some with

share a wall in the next room. Her wood-

the delicacy of spun sugar—cause the pieces to

cutting technique and vision for the cherry

shimmer. In Crazy Moon four layers of curved

wood treatment blend her devised, cut-lace

glass threads, in every possible shade a winter

edges with the wood’s natural, lacy grain.

sky can offer, sweep around an opening that is

Tom Eckert’s Crushed greets us from a pedestal in the entryway, and along with his

the full moon peeking through clouds to cast light on a frozen landscape.

two other works nearby, Dryope and Seven, is

Shadow is an important theme woven

astonishing in its silky texture. How can these

throughout Fictitious Fiber. Glass rods and

sculptures be made of wood? Their surfaces

leaves, seedpods, and wooden lace are all lit

have the shimmer of satin, the stretch of

to cast fortuitous shadows behind, beneath,

linen, and the translucency of organza. Nancy

and within the art. The subtle ash and charcoal

Newman Rice greets us with Infinity II, one

grays become part of the overall images the

of her five oil paintings in the show that all

pieces present. Rather than group the artists’

present temporary structures like ladders and

works, Diem often places them nearby rather

scaffolding as though they were the interwoven

than next to. In this way there is interplay among

elements of tapestries rendered in iridescent

the artists, for example when the twelve birds

stained-glass colors.

in Ann B. Coddington’s Flock (ceramic slip-cast

Ran Adler’s weavings of hundreds of

glazed birds from woven originals) fly toward

mahogany pods result in sweeping cape-like

Shimomoto’s Crazy Moon. Curator Sauer’s

coverings. Adler cuts the pods into pointed

ability to challenge our concept of the fibrous

elliptical shapes so that we can see their golden-

invites us to see the tactile surfaces of textiles

red fibrous interior. He coats the pods with

and the motion of fabric in unexpected media

polyurethane, drills four holes in each, and

and through a wide range of artists’ visions.

weaves them together with heavy-gauge nylon

Folded-neck sgraffito stoneware by Melanie

fishing line, in the case of The Elder and Nature’s

Ferguson and earthenware basket constructions

Tapestry, and with wire for The Shaman III so that

by Jim Kraft complete the exhibition.

it can be deliberately folded and shaped.

—Susan Wider

In a manner similar to the way Tom Eckert gives us wooden cloth, Kait Rhoads offers glass



Ran Adler, The Elder, driftwood, mahogany pods, 84 x 24 in.

THE magazine | 39

Mabel Dodge Luhan & Company: American Moderns and the West Harwood Museum of Art, Taos Albuquerque Museum, Albuquerque

WHEN I THINK OF MABEL DODGE LUHAN AND HER COMPANY, CELESTIAL ANALOGIES spring to mind: a constellation of disparate personalities, a

venue to another. While the content remains essentially

husband, that had been in the basement of the Chicago

system of spinning bodies suspended and connected,

the same, each venue has a certain degree of creative

Art Institute for over seventy-five years. The bust depicts

held in balance by the gravitational force of a central

license in its installation.

Pablo Mirabal, grandfather of Taos pueblo artist Jonathan

figure whose brilliance is both perilous and life-giving.

Mabel Dodge Luhan & Company comprises over 170

Warm Day Coming, and is now part of the Harwood’s

Mabel Dodge Luhan, the arts patroness who made

items, including paintings, sculptures, and other ephemera

permanent collection. And Wilson-Powell happened

New Mexico her home from late 1917 until her death

to illustrate the breadth of Mabel’s circle. Along with

upon Feather Dance, a Dorothy Brett painting that had

in 1962, is noted for supporting some of the foremost

paintings by more well-known artists, such as O’Keeffe,

not been exhibited since 1965, while doing research at

creatives of the early twentieth century. Following

Dasburg, and Marsden Hartley, the comprehensive

the Harry Ransom Center in Austin.

successful salons in Florence and New York City, Mabel

selection of artwork includes several unexpected

One of the largest shows the Harwood has

planted herself in Taos and entertained many of the best

highlights: a scintillating abstraction in rainbow colors

organized, Mabel Dodge Luhan & Company spanned the

known figures of Modernism at her sprawling adobe

that prophesies Emil Bisttram’s Transcendental period;

entire museum. On the ground floor, the exhibition

estate, Los Gallos. Georgia O’Keeffe, Andrew Dasburg,

two skillful pastel drawings and a compelling painting by

was arranged chronologically, beginning with Mabel’s

Willa Cather, and D.H. Lawrence all came to New

Agnes Pelton; a vibrant watercolor of a herd of horses by

childhood in Buffalo and winding through her stints in

Mexico at her invitation.

Pop Chalee; a massive Death Cart by Patrociño Barela;

Paris and New York before introducing the artists and

Mabel Dodge Luhan & Company: American Moderns

and the only known extant painting by Frances Simpson

writers she brought to Taos. Upstairs, sections were

and the West, co-curated by Dr. Lois Rudnick and

Stevens, one of two American women to have exhibited

dedicated to Mabel’s collection of santos—and her

MaLin Wilson-Powell, comprises decades of research to

with the Futurists in Italy.

questionable attitude toward Hispano artists—Taos

present Mabel’s impact on Modernism and specifically

Preparation for the exhibition also led to some

Pueblo and her activism in support of the Pueblo, Pueblo

the development of Modernism in Taos. The exhibition,

exciting discoveries. Rudnick tracked down a belle

easel paintings, and finally a brief overview of Mabel’s

which was at the Harwood Museum of Art in Taos from

époque portrait by Jacques-Émile Blanche of Mabel

1947 publication Taos and Its Artists.

May 22 to September 11, will reopen at the Albuquerque

dressed in lavish robes, which had been sitting in

I’m a bit of an exhibition label nerd, so when I visit

Museum on October 29. For those of us fortunate enough

storage at the Albright-Knox Art Gallery since 1924.

an exhibition, I look not only at the art, but also at the

to visit both museums, this is an exciting opportunity to

It was restored specifically for this exhibition. She also

labels and at how well these two elements work together

see how a traveling exhibition is translated from one

located a bronze bust by Maurice Sterne, Mabel’s third

to tell a compelling story. Ideally, labels should illuminate


the artwork on view and reinforce one key concept

of Mabel Dodge, Mary Foote painted Mabel as a warm,

Curator of Art Titus O’Brien. While not part of the

that ties everything together. Label guru Beverly Serrell

lively, and receptive listener, posed as if she is forever

larger exhibition, these prints and drawings by artists

describes this as a “big idea” in her book Exhibit Labels: An

leaning forward to listen to the wild and diverse mélange

such as Cady Wells, Kenneth Adams, Earl Stroh, Thomas

Interpretive Approach. In an impactful exhibition, the big

that filled her living room.”

Benrimo, and William Rowe will provide an extended

idea guides all communication channels: design, layout,

I left the Harwood feeling delighted by the fascinating

the selection of objects, and their labels. In Mabel Dodge

array of artwork but without a clear takeaway. I also felt

Mabel Dodge Luhan & Company provides a long

Luhan & Company, most of the section labels (the larger

as if I’d been to a fabulous party and missed the guest of

overdue look at Mabel’s influence and accomplishments.

labels that introduce a sub-section within an exhibition)

honor. Or, in Mabel’s case, the hostess.

The selected artwork presents an impressive visual

view of Modernism in Taos.

featured a rundown of names and dates; many of the

At the Albuquerque Museum, the labels and much

labels for individual objects likewise hinged on dates and

of the artwork will reappear in the museum’s North

research, together with the organization of the exhibition

occurrences rather than on the objects they were meant

Gallery, but there will be some notable differences.

around Mabel’s impact on the Taos art scene planned

to elucidate.






At the time of this writing, the exhibition was still in

by the Albuquerque Museum will, I think, provide a


crates, but Curator of Art Andrew Connors thoroughly

clear sense of the creative and cultural exchange Mabel

information about Mabel’s life and interesting tidbits

“walked” me through the museum’s plans for it.

fostered in Taos.

about her influence and relationships. However, Mabel

Foremost among the changes is a reconfiguration of the

But, before you go (or even after), pick up one of the

herself––her thoughts, her intentions, her voice––was

exhibition layout to communicate key concepts. For

memoirs Mabel authored in New Mexico, Edge of Taos

relatively absent, and the information provided did

example, the exhibition will open with a comparison:

Desert or Winter in Taos. Get to know the force behind

not present a particularly nuanced view of her or her

relatively traditional paintings by the Taos Society of

it all from the land that changed her life. Her voice rings

appeal. Mabel had, and continues to have, a reputation

Artists, who were in Taos before Mabel arrived, will

clear, revealing a complex woman whose controversies

for being forward, meddling, overbearing, and man-

hang next to work by Mabel’s Modernists to illustrate

have overshadowed a remarkable sensitivity––a deeply

obsessed––I overheard comments from fellow visitors

her impact on the Taos art scene.

observant “creator of creators” who found value and





at the Harwood confirming as much––but she was also

Other sections will be installed around the central

charismatic and had a knack for making people feel

space of the gallery to highlight the cross-cultural

heard. Facilitation is an art in itself, and Mabel was, by

exchange that occurred in Taos during Mabel’s era.

several accounts, a master. Her ability to attract, gather,

Work by Hispano artists will be exhibited with that of

and encourage people was perhaps her most important

their Anglo contemporaries, and a glance across the

trait. Without it, there may have been no “company” to

gallery will remind viewers of work created by Taos

speak of. And yet, this skill is only mentioned in passing,

Pueblo artists and Mabel’s Modernists.

on a label with a reproduced image of a charming portrait

Beyond the North Gallery, the Angelique + Jim

of Mabel that presents her as poised, attentive, and

Lowry Gallery will feature work by Taos Moderns

approachable. As the label points out: “In her Portrait

selected from the museum’s collection by Assistant



potential even in the everyday. —Elaine Ritchel

Mabel Dodge Luhan & Company: American Moderns and the West, installation view, Harwood Museum of Art, Taos, 2016. Image courtesy of the Harwood Museum of Art. photo: Jim Cox Georgia O’Keeffe, Grey Cross with Blue, 1929, oil on canvas, 36 x 24 in. Albuquerque Museum of Art, Albuquerque, NM. Dorothy Brett, My Three Fates, 1958, oil on canvas. Albuquerque Museum, Gift of the Albuquerque Museum Foundation, from the Lucia V.B. Batten Estate.

THE magazine | 41

The Santa Fe Art Project David Richard Gallery 1570 Pacheco Street, A1





installing, and lighting work in his galleries, I’ve been

and demographics, is that these discussions are usually

Downtown, on Canyon Road, nor in the Railyard Arts

drawn to the guest curators’ visions, if only because

well-attended, and often the audience members’

District. David Richard Gallery made the move toward

of how they each have revealed something uniquely

average age is under 50.

lowering their rent by relocating, at the beginning of

suited to a place in the David Richard galleries—wholly

An exhibition that represents the all-round

2016, to Mid-Town, or the Pacheco Corridor, or St.

viable on a commercial and an experimental basis. Basins

fine quality of The Santa Fe Art Project, regardless

Michael’s Triangle, or whatever you want to call it (Mid-

(September 9-24) was curated by John McKissick of

of which curators we’re considering, was Women’s

Mike’s? PaTriCo? NoRad, for No Longer in the Railyard?

alternative art space Radical Abacus. Santa Fe Collective

Work. It featured the artists and aesthetics of Jennifer

Downton Warehouse?). Since then, co-owners David

partners Jennifer Joseph and Chris Collins curated

Joseph and Chris Collins’s former Santa Fe Collective,

Eichholtz and Richard Barger have been able to,

the five-woman show Women’s Work (September

which they closed recently when other opportunities

according to their website, “bring New Mexico’s

came up. A common theme in Women’s Work

homegrown, truly contemporary work into focus

was surface, especially as investigated by painters

on a larger scale . . . featuring some of Santa Fe’s

Joseph, Sydney Cooper, and Terri Rolland. Thais

best and brightest.” Why? Because now these

Mather and Lucrecia Troncoso showed drawings

gallerists can afford to, for one; and two, because

and mixed-media installations. All too infrequently a

they see what this town needs, has always needed,

presence in this community, it was refreshing to see

and will hopefully continue to need: cheap places

Troncoso’s postminimalist works in a show again.

for artists to live and work, and to show their stuff.

Her references to Eva Hesse are unmistakable,

Most importantly, David and Richard know how

yet the work is far from derivative. It is intelligent

to read “buzz,” and right now said buzz is being

without ever feeling show-offy. Mather’s pen-and-

generated from a hive of creatives in the not-

ink pointillist drawings are edgy and somehow

so-historic districts of Santa Fe. If it’s not loaded

unresolved, strangely satisfying in their tension

with tourists, it just might be close to affordable—

between content and concept. A delightful surprise

although the meaning of “affordable” in this town

by this artist lurked in a quiet hallway; Rolling, which

is quite laughable.

consisted of, from left to right in a small vitrine

The name of the program bringing work

hung on the wall, a diamond, a prehistoric spinning

by these best and brightest under the gallery

wheel, and six hits of LSD. The play of these objects

lights at David Richard is, aptly, The Santa Fe

on the exhibition title, Women’s Work, is just as

Art Project, and it consists of three rounds

drolly thoughtful as the artist herself. Finally, while

of paired exhibitions, curated by four teams. The

30-October 15). The final guest-curated exhibition is

it wasn’t discussed at the panel featuring the artists,

project took off in early September and runs for

titled Outer Local (October 21-November 6), and puts

a subtext of the show might well be overt beauty for

eight weeks; at press time two rotations had taken

SCUBA collective artists Crockett Bodelson and Sandra

beauty’s sake. That was my takeaway, as is usual when I

place. Each of the three parts includes an exhibition

Wang at the curating helm.

leave an exhibition at David Richard Gallery, as in “Boy,

curated by Eichholtz, with input from such sidekicks

The Project is accompanied by almost weekly artist

that was beautiful.”

and collaborators as New York’s Howard Rutkowski

talks and panel discussions, public dialogue being an

—Kathryn M Davis

and Peter Frank of Los Angeles, alongside a guest-

ongoing strong point at David Richard. (Full disclosure:

curated exhibition. While I am always a fan of

This writer has moderated a few discussions at DRG.)

Jennifer Joseph, Untitled (Shift), 2016, oil on panel, 24 x 24 in.

Eichholtz’s fabulous eye when it comes to choosing,

The amazing thing, for a town of Santa Fe’s population

Terri Rolland, Dark Red-Dark Red, 2011-2016, acrylic and clay paint on panel, 6 x 20 in.


Ted Larsen: to live, leave it all behind Nüart Gallery 670 Canyon Road

THE CLASSIC MODEL FOR THE EVOLUTION OF A SCULPTOR (OR OF ALMOST ANY ARTIST, for that matter) is a series of comprehensible and logical

different mediums in the same period of time, or to

Which brings us to Ted Larsen’s latest show at

steps leading to a fully realized “mature” style. So we

explore several different dialects within a given language.

Nüart (October 7-30). In just the last year Larsen has

have David Smith, for instance, progressing from the

Both courses of action make it harder for the critic: We

been traveling down about six or seven different roads,

airy openness of his drawings in space from the early

can’t go from A to B to C but instead have to go from A

proving himself adept at mastering different detours.

1950s through the Tanktotems and “Voltri” series

to L and possibly back to C and then over into left field to

Only two seem like dead ends, but even those have a

to the final heroic “Cubi” of his last years. Or Claes

see how the Cyrillic alphabet is doing. The absence of a

certain interest.

Oldenburg proceeding from his comically sloppy early

clear progression makes it harder for the chronicler who

Larsen’s basic materials for most of the sculptures

Pop pieces toward an ever slicker but still sharply satiric

wants to track some “growth” from show to show, but

at Nüart, which are generally on a small scale, include


it also poses a new challenge for ways to think and write

supports made of odd-sized marine-grade plywood to

about art, and it will be interesting to see how historians

which he affixes sections of metal culled from old cars

of the future sort it all out.

and trucks in salvage yards. If you have the pleasure of

But a number of contemporary artists are rejecting that longstanding paradigm, either to experiment in

visiting his studio, he can identify the sources of these different elements—a school bus here, an ice-cream truck there, and maybe a pick-up over there. He leaves the scruffy patina of the original as is, so that the scratches and nicks are part of the works’ surface allure (the slick finish of newer vehicles doesn’t interest him). His most basic formula takes elementary shapes, such as the triangular boxes in the trio called “Approach-Angles” (best seen as a group), and affixes them to each other in such a way that they echo each other without exactly duplicating the one-on-one recipe. In another mash-up of shapes, such as Loosely Sealed, Larsen stacks blocky units in a wonky grid, often studded with nails (the title Steampunk De Stijl gives a clue to the art-historical forebears here). More complicated are the rectangular and rhomboidal shapes of works like Terribly Good, Dry Creek, or Almost Totally (as should be clear by now, Larsen favors a certain oxymoronic wink in his titles); the same approach sometimes incorporates unexpected and seductive hues like baby blue and sherbet-like pinks and oranges. Another dialect within the Larsen lexicon is a curvy amalgam of off-white shapes that look like they could have originated in a pastry shop but maintain a stern Bauhaus austerity instead of party-cake gaiety. Still another situates linear frames on small bases. But the knockout in this show, for me, was Round Corner, a loopy exploding relief of cut out lozenge shapes that was like Jean Arp on acid. The only directions that seem blind alleys to this reviewer are Alone Together, a tree-like armature supporting rectangular wooden planks, and Good Grief, also made largely of wood and incised with “drawings” in metal that suggested an elementary geometry lesson from another planet. But who knows? These could lead into entirely new territory. It’s easy to see that the artist is riffing on any number of traditions—minimalism, geometric abstraction, even the auto-body aesthetics of John Chamberlain—but his beguiling and intimate approach embraces both cheeky homage and buoyantly original statements. ­— Ann Landi Ted Larsen, Round Corner, salvaged steel, marine-grade plywood, silicone, vulcanized rubber, hardware, 55 x 50 x 1 in.



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Ellen Jantzen After Hours submission theme: fall colors

Ellen Jantzen was born and raised in St. Louis, Missouri. In college she obtained a degree in graphic arts, later emphasizing fine art. Ellen spent two years at the Fashion Institute of Design and Merchandising in Los Angeles and obtained her advanced degree in 1992. After working in the industry, including several years at Mattel Toy Company as a senior project designer, she became disillusioned with the corporate world and longed for a more creative outlet. A confluence of technical advancements and creative desire culminated in Ellen’s current explorations in photo-inspired art using a camera to capture staged assemblages and a computer to alter and manipulate the pieces. Ellen has been creating works that bridge the world of prints, photography, and collage. @ ellenjantzen

44 | THE magazine




Jeffrey Schweitzer monotype painted with ink on birch panel for the book A High Desert Allegory, 10 x 10 in.


Cutting the Ornamental Grasses by Dick Altman

Santa Fe, NM Blades to cleave, cleanly, decisively, without apology. I wield a pair in kindness, to honor survivors of yet another high country winter, another summer on the desert plain. I bow to grasses maiden and sacaton, tresses courtly, golden. My gift: A Japanese edge, to sculpt a crown, secure a reign. In the polish gleam dynasties. Grasses crave the cut. Without it no light stirs the root. Slice neatly to earth, the blades say, courage more than I speak. Cut a season’s stand to ground? Who forgives that?

Dick Altman ran a New York marketing agency before moving to New Mexico in 2007, when he crossed the street from prose to poetry. His work has been published in Santa Fe and elsewhere, and is forthcoming in riverSedge (University of Texas), The American Journal of Poetry, and Vine Leaves Literary Journal (Australia). He won first prize for poetry in the Santa Fe New Mexican’s 2015 writing competition. Studying for a Masters of Art in English at the University of Chicago, he says, “put me in poetry’s grip, and it never let go.” He credits poet Sudasi Clement, editor for 10 years of the Santa Fe Literary Review, “for pushing me to plumb deeper and reach higher,” since first publishing his work in 2009.

46 | THE magazine




Our Lady of Perpetual Motion, oil on canvas, 60" h x 48" w, 62" h x 50" w (framed)

R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | D OW N TOW N | 130 Lincoln Avenue, Suite CSanta Fe, NM 87501

THE Magazine, November 2016