PAGE 41 >>>
Photo Credit: Wendy McEahern Photography
53 Old Santa Fe Trail | Upstairs on the Plaza | Santa Fe, NM | 505.982.8478 | shiprocksantafe.com
C
O
N
T
E
N
T
S
31 art openings
03 letters
36 previews: Antoine Predock: Strata at Richard Levy Gallery, Albuquerque and From the Ground Up: Design Here + Now at 516 Arts, Albuquerque
12 flashback: Entering Santa Fe, 1992
39 national spotlight: For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979 at the Museum of Fine Arts, Houston
14 universe of: artist James Koskinas
41 feature: Then|Now—”Now” photographs and photo-diptychs by Alex Traube
18 art forum: Untitled photograph by Teun Hocks
49 critical reflections: After the History—167 Years of Dysfunction at the Santa Fe Univertsity of Art & Design’s Fine Arts Gallery; Art Basel Miami
21 studio visits: Debbiec and Sasha Raphael vom Dorp
Beach; Luz Restrada and The Gift at the University of New Mexico Art Museum; Mitch Dowbrowner at photo-eye Gallery; Morang and Friends at
23 ancient city appetite: Cheese Mongers of Santa Fe,
Matthews Gallery; Setting the Standard: The Fred Harvey Company at the New Mexico History Museum; Six Under Thirty-Six at Santa Fe Clay; and Zoe
by Joshua Baer
Zimmerman at the Taos Center for the Arts Encore Gallery
25 one bottle: The 2013 Domaine du Gros Œ Noré Bandol
59 green planet: Anne Staveley and Jill Sutherland—aka LivinLargePhoto, photograph by Jennifer Esperanza
Rosé, by Joshua Baer
61 architectural details: Old and New, Galisteo, photograph by Guy Cross
27 dining guide: Second Street Brewery and Verde
62 writings: “The Pushing” by Thomas Reidy. Painting by Noël Hudson.
It is commonly assumed that photography is about making pictures with a camera (or other digital device) and that the photographer’s practice revolves around this action. In the Photographers’ Sketchbooks (Thames and Hudson $60) authors and fellow photographers Stephen McLaren and Bryan Formhals introduce the reader to the processes employed by forty-nine contemporary photographers in conceptualizing their work. Through thematic essays and preliminary remarks by the authors the reader enters the realm of each artist’s intimate, creative journey. Personal statements by the artists and
numerous examples of the visual research, sketches, drawings, and minutiae that fill their sketchbooks follow these texts. The practice of using a sketchbook to record ideas is de rigueur for most artists. The difference here is that the products of the process will be presented as some form of photographic project, altered significantly from the preparatory materials. Whether looking at Susan Meisel’s documentary approach, or the late Saul Leiter’s paintings or cut-up photos, these sketchbook entries are fascinating snapshots of the artists’ approaches to their work, whether the material is used to
create a particular series or represents an ongoing method. Stephen McLaren writes in his introduction to the book, “Each presentation is unique and derives from an intimate and personal body of work that has not been prepared for a commercial client. Individually, they celebrate the personal interests, artistic sensibilities, and aesthetic styles that define each contributor as a photographer. Collectively, they provide an invaluable resource for anyone who has ever wondered how a photographer realizes a personal vision, finding that seed of inspiration and then discovering how to engage with an audience.”
READINGS & CONVERSATIONS
In Pursuit of Cultural Freedom
brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction and poetry to read from and discuss their work.
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
THE FIRE THIS TIME: A TRIBUTE TO JAMES BALDWIN
NOAM CHOMSKY
with AMY BLOOM, NIKKY FINNEY, RANDALL KENAN and KEVIN YOUNG WEDNESDAY 11 FEBRUARY AT 7PM (tickets on sale now)
Not everything that is faced can be changed, but nothing can be changed until it is faced. — James Baldwin
James Baldwin (1924-1987) the great American novelist, poet, essayist, playwright and social critic, whose works include Go Tell It on the Mountain and Notes from a Native Son, is celebrated in an evening of reading and discussion by poets and writers Amy Bloom, Nikky Finney, Randall Kenan and Kevin Young.
with DAVID BARSAMIAN WEDNESDAY 18 MARCH AT 7PM (tickets on sale Saturday 7 February)
There is no living political writer who has more radically changed how more people think in more parts of the world about political issues. — Glenn Greenwald
Noam Chomsky is a renowned linguist and one of America’s foremost social critics. He taught at Massachusetts Institute of Technology for 50 years and is now Institute Professor (Emeritus) in the Department of Linguistics and Philosophy. He is the author of numerous best-selling political works, most notably among them Hopes and Prospects, The Essential Chomsky, Hegemony or Survival, For Reasons of State, Occupy and Fateful Triangle (new edition forthcoming from Haymarket Books). He is a recipient of a Lannan Literary Award for Nonfiction.
KEVIN BARRY with ETHAN NOSOWKY WEDNESDAY 4 MARCH AT 7PM (tickets on sale Saturday 7 February) Kevin Barry’s recent story collection, Dark Lies the Island, includes tales of unreformed criminals, awkward youth in love, and middle-aged women on a road trip making plans for a kidnapping. Of his original and fresh writing, The Paris Review writes, “Barry’s language drags you into a strange, darkly lyrical world, enacting his own definition of literature as a mode of transport.” Barry’s first novel, City of Bohane, was described by The New Yorker as, “A grizzled piece of futuristic Irish noir with strong ties to the classic gang epics of yore.”
ALL EVENTS AT THE LENSIC PERFORMING ARTS CENTER ticketssantafe.org or call 505.988.1234 $6 general / $3 students / seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org
LETTERS
magazine VOLUME XXII NUMBER VII WINNER 1994 Best Consumer Tabloid
SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R Guy Cross PUBLISHER/FOOD EDITOR Judith Cross ART DIRECTOR Chris Myers COPY EDITOR Edgar Scully PROOFREADERS Kenji Barrett James Rodewald S TA F F P H O T O G R A P H E R S Dana Waldon Anne Staveley Audrey Derell CALENDAR EDITOR B Milder WEBMEISTER
Jason Rodriguez SOCIAL MEDIA Laura Shields
CONTRIBUTORS Diane Armitage, Joshua Baer, Davis K. Brimberg, Jon Carver, Julie Chase-Daniel, Kathryn M Davis, Audrey Derell, Jennifer Esperanza, Hannah Hoel, Noël Hudson, Marina La Palma,Thomas Reidy, Julie Schumer, Richard Tobin, Alex Traube, Lauren Tresp & Susan Wider COVER High School Graduation photograph of Joel-Peter Witkin
ADVERTISING SALES
THE magazine: 505-424-7641 Lindy Madley: 505-577-6310 DISTRIBUTION
Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2015 by THE magazine. All rights reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. THE magazine is not responsible for the loss of any unsolicited material, liable, for any misspellings, incorrect information in its captions, calendar, or other listings. Opinions expressed do not necessarily represent the views or policies of THE magazine, its owners, or any of its employees, members, interns, volunteers, agents, or distribution venues. Bylined articles represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel. All letters are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the authenticity of objects and/or services advertised. THE magazine is not responsible for any claims made by its advertisers for copyright infringement by its advertisers and is not responsible or liable for errors in any advertisement.
FEBRUARY/MARCH
2015
Curator, gallerist, and artist Bunny Conlon died peacefully at her Santa Fe home in December, 2014, after a twenty-year-long battle with Parkinson’s disease. Bunny moved to Santa Fe from Truchas in 1975 and quickly became one of the most important figures in Santa Fe’s rapidly growing contemporary art scene. She lived for art and more importantly for the artists who created it. Her exquisite beauty was only outmatched by her elegance, kindness, and complete devotion to her artists. She was deeply loved by all of her clients, artists, and friends, who understood that what she wanted above all was for her artists to prosper. Bunny will always remain an example of strength, humility, and love to all that have known her. Two of Bunny’s favorite sayings were: “There is no such thing as bad art; the question is, is it art?” and “The world belongs to the bold.” A few comments by artists and friends: Polly Valenzuela: RIP Bunny, my sweet redheaded friend...love you. Florence Sohn: So sad, she was so lovely... peace to her soul. George Mandel: May she soar with the angels. Norma Cross: Nobody lit up a room quite like Bunny, especially when she smiled. She was as kind and generous as they come; her heart was always brimming over with love. Bunny loved her son, John, more than anyone, and the exquisite care that he and Rebecca Silva gave to her these last years is a tribute to her life and to theirs. I miss my friend. Linda Durham: For more than four decades Bunny Conlon has been my most special art and soul sister... I miss her. Jeanne Simonoff: May her name be for a blessing. Arlene Ladell Hayes: Always heartbreaking when someone we love goes into the great mystery. Stacey Kay Neff: I’m so sorry to hear this about beautiful, gracious Bunny—the first and best art dealer I ever had. Chandrika River: Oh dear... such sad news... sending much love. Betsy Blankett Milicevic: I will remember Bunny as a beautiful, warm, and funny woman. Aile Shebar:Oh, may she be at peace, at last. Such fond memories of Bunny. Mary-Frank Sanborn: I remember Bunny as a beautiful and elegant woman.Daya Ward: In celebration of you, Bunny. Judith Cross: Bunny, you were one of the most generous and loving persons I have ever known—a light in my life... I will never forget you, and will see you in my dreams. Rebecca Silva: Bunny’s beauty came from within. The grace and elegance that she exhibited in the midst of her disease puts us all to shame with our little aches and pains.Bunny’s smile shone in her last days and reflected the quietness of her pure heart. Tom Waldron: When it came to art, Bunny was all-in. She was endlessly curious about the artists she showed—where they were going, what made them tick, and what she could do to help. THE magazine: Bunny was wildly passionate about art and artists, and without Bunny’s early support and encouragement, THE magazine most likely would not have happened. TO THE EDITOR: I want to say what a wonderful job Lauren Tresp did of reviewing my show, Doña Inés Lost Her Slipper, at the Santa Fe Community College Art Gallery. It was an incredibly sensitive and well-written article, and she really understood all the layers and meaning of the project. I was delighted it was a thumbs-up, and it has given me new insight into how to articulate the show’s meaning to others, and to see it from a new perspective. I hope the article will inspire people to make the trek out to the Santa Fe Community College, which has a first-class alternative public art venue in this city. It has been a privilege to be able to show at the college, and Ms. Tresp’s article will definitely help pique the public’s curiosity. —Francisco Benitez, Santa Fe, via email
TO THE EDITOR: I want you to know how much I appreciaed the choice of my poem “Inviting the Elephant into the Room” in the November 2014 issue. The accompanying illustration was just right, Thank you for the great selection. And, being Española aficionados— and my mom running a beauty salon—we loved the Teresa’s Beauty Shop photograph on the Architectural Details page. —Joan Logghe, via email TO THE EDITOR: I got a lot of pleasure reading your “Best Books” article. I bought several of the books. The one that I particuarly enjoyed was The Duchamp Dictionary. Thank you, THE. —Alice Brentoff, Los Angeles, via email
THE magazine | 5
Jeff Laird | PERFORATED PENTAGONS RIGHT BRAIN GALLERY • February 6, 2015 ARTSCrawl 5 - 8 Artist talk and catalog signing at 6 • February 21, Artful Saturday 3 - 6 3100 Menaul NE, Albuquerque, NM 87107 | Tue - Sat 11-5 505-816-0214 Info@SE-OC-RightBrainGallery.com In Santa Fe and Taos, view by appointment 505-384-5290 | JeffLaird.net Silver Squash, 2015, powder coated, perforated aluminum, 38” X 26”
DAVID SIMPSON CHARLOTTE JACKSON FINE ART 505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com The Latest Alchemy, 1989, acrylic on canvas, 72 inches in diameter
Mark White Fine Art 414 Canyon Road
Santa Fe, New Mexico 505.982.2073
www.markwhitefineart.com
Mark White, Evolve II from the We The People Series; 72 x 2 x 2 inches, patinated stainless steel.
UNDER 35: PART III
OPENING RECEPTION FRIDAY, JANUARY 30, 5-7 PM THROUGH FEBRUARY 20, 2015 WORKS BY NICOLA LÓPEZ, NOUEL RIEL AND JACK WARREN
ZANE BENNETT CONTEMPORARY ART 435 S GUADALUPE ST, SANTA FE, NM 87501 T: 505-982-8111 ZANEBENNETTGALLERY.COM NICOLA LÓPEZ, THE SPACE BETWEEN, 2009, INK, WATERCOLOR, GESSO, MOLDING PASTE ON PAPER, 55.5 X 55.5 IN.
IAIA
Museum of Contemporary Native Arts
FLASHBACK 1992
E ntering S anta F e : 1992
APRIL
2015
THE magazine | 13
James Koskinas’s amazing film
VIETNAM—MY MUSE A muse doesn’t have to be a person; it is anything that inspires us to creativity. Vietnam certainly shows up in my art. It inspired my oneman play Even if the Mountains Burn, the film The Twilight Angel, as well as the paintings made for the film. Vietnam was such an immediate
The Twilight Angel is a journey
experience—the light and the beauty of the countryside exploding on my senses, the smells, the colors rushing into me, friendships formed immediately and then lost. Everything was greater than I ever experienced before: prayers fulfilled and then abandoned, flying above it all in a helicopter, my hand lying on top of the rice paddies. Discovering light and dark in the same place. Vietnam was my first muse.
of self-discovery, the story of
PRAYERS TO THE DEAD: I’VE DONE THEIR BIDDING. YOU THINK THAT’S EASY? The Angel paintings from The Twilight Angel just showed up in my studio one day. Before they were recognizable as forms, I spent
a pilgrimage by an anguished
weeks writing prayers to the dead on my canvases. Writing twelve prayers, painting over them, and then writing more prayers. I’m impatient. I wanted to be done with this, but I was lingering. None of the prayers would ever be seen, and I realized at some point that I was in the process of something larger than myself, something with no discernable outcome, with no end in sight. Just the physicality of it
artist who confronts his self
wore me out—they were big paintings. When I was finally done with the prayers, I still had to paint the angels.
THE MARK IS MINE AND MINE ALONE— THE ABSOLUTE PURITY OF IT
and his past (the angels) in
This took years of painting to accept. When I first started painting I was horrified because the paintings didn’t look like I thought they should look. It took a long time before I started accepting them as an expression of myself. They were primitive, raw—even crude—but at some point I saw they were powerful and I reacted to them. That became more important than any technique. The paintings taught me
search of his authentic artistic
to trust what was coming out of me as unique, and I discovered the joy and power of ripping open the center of my universe with my own mark making. The more I did it, the more I learned to trust my hand. I learned that I did not need a concept or a construct to paint. I just need to rip that mark. And then another mark, and another.
voice. As Koskinas states in
Everything follows.
I’M A PHONY—I HAVE NOTHING TO SAY This is a quote from my movie and my homage to Jackson Pollock. No artist gets away from Pollock—his myth and legend are huge. He is arguably the most important twentieth-century artist. He’s the guy
the film, “If I’m not a painter,
who took all the endless possibilities modern art had to offer and made something entirely new. Then he went off the rails. There’s a scene in the movie Pollock where Ed Harris as Pollock is being filmed from beneath a piece of glass he’s painting on. He was sober at the time, but the very act of being seen unnerved him. He tells the filmmaker, “You’re the phony, not me,” and then he starts drinking
what am I?”
again. I put this phrase in my film to show how insecure art making can make one feel.
UNIVERSE OF
photograph :
FEBRUARY/MARCH
2015
D ana W aldon THE magazine | 15
BRIAN McPARTLON ROOFING BRIAN McPARTLON ROOFING Safe • Clean • Honest brianmcpartlonroofing.com 982-6256
Distinctive Home and Business Cleaning Services
Galleries, Professional Offices, Beautiful Homes Santa fe, Taos
505.414.9743
clusiau designs
Your source for interior and exterior custom sewing Specializing in slipcovers, cushions, pillows, bancos, curtains, and bedding We carry stock fabrics, custom fabrics, and a large collection of fabric sample books 901 west san mateo suite w • 505.466.2712 • www.clusiaudesigns.com
REDUCE FRIZZY VOLUME BY 50% AFTER ONE USE
New smooth infusion TM smoothing masque keeps hair smooth, even in intense humidity. Certified organic oupuaçu and shea butters help deep condition and smooth each strand. Try it to believe it!
The Lofts at 1012 Marquez Place Building 1, Suite 107A
505.995.9800
IN
ART FORUM
THE magazine asked a clinical psychologist and two people who love art for their take on this untitled 1999 oil on toned gelatin silver print by photographer Teun Hocks. They were shown only the image and were given no other information.
the symbolism of the Wizard of Oz, the yellow brick road
lone pillar. By this, we know he can keep moving only if
is paved with gold and leads to power. He seems to know
he never looks back. His pace will release the story here
precisely where he is going, stepping confidently, and has
and its timing, twin songs held in place, in memory, by
changed worlds without trepidation, moving seamlessly
the path coming into view and dropping out of it. With
between them. The cane balances him, helping him find
so little work, Mnemosyne falls to murmuring amongst
his way. The sky is ambiguous. Are these storm clouds
the grasses. Fortuna alone lights such a track, with her
lifting or gathering?
titillating promises. History, we know, some of us more
—Julie Schumer, Artist The Twilight Angels, Santa Fe
and
producer
of
acutely than others, is colored by those who record it. Indeed, here he is bearing forward with his offering under that one star. How easy to imagine his canvas a
As he strides ahead in an indeterminate light that is
portrait, a remembrance of things now gone, and him
neither dawn nor dusk, this figure with his cane points
painted virtuously somehows into it. I do not presume
toward the twilight years. In the manner of Zhuangzi,
the claims he makes. Instead, with him, I am a butterfly
he makes his path with each step, festina lente, while the
dreaming myself a man. Ever onward in many such a
earth collapses behind him. His heel lifts from the cliff,
mise-en-abyme, we walk into being the unfolding way,
nonchalantly, sans souci, even as the past pebbles into an
our presence and passage paced out en plein air.
abyss. The landscape makes of him its only outcrop, a
—Julie Chase-Daniel, Writer, Santa Fe
I am reminded of Carl Jung’s theories on creativity. According to Jung, all artists confront their shadow during the creative process. The shadow is the “reservoir for human darkness.” It is a part of the unconscious that holds the unpleasant and unwanted aspects of our personalities. Jung considered the shadow to be “the seat of creativity.” Although his theory plays a key role here, the work’s emotional tone is optimistic. I imagine this man encountered his darkness in the canyon, a setting that represents the general unconscious. After climbing up, the man is now ready to create. He is following the “yellow brick road” toward success. Yet, this man is also quite close to the cliff’s edge. His tenuous position is an important symbol. He must be careful as he moves along. The shadow that energized and propelled him creatively also has the power to destroy him. Further, in this piece we see the isolation that many artists face. We see how art is truly a personal journey. Artists bravely venture into the unknown every day. Their drive and talent serve as loyal companions.
—Davis K. Brimberg, Ph.D., Clinical Psychologist, Santa Fe “Ask yourself whether the work has enabled you to walk into a hitherto unknown world.” (Kandinsky). This painting asks us in what world do artists create? It does not provide a definitive answer. Here, our artist seems to be walking back from an unseen world onto an earthly, grounded path, away from the edge of the cliff. The paradox here is that the artist is coming out of the analytical side of the world into the creative side (left brain to right brain). Yet we are unsure what he is bringing back from this unseen world. Has he already painted the canvas or has he yet to do so? Likely not, since the face side is against his back, problematic if the painting is wet. He is saddled up with all of his supplies at hand, and has moved from a world where nothing is visible, striding in a barren landscape onto a path which is defined yet meandering, sort of a yellow brick road. In
18 | THE magazine
FEBRUARY/MARCH
2015
Experience the Elemental
Painting: Gary Larson
Art • Pottery • Statuary • Jewelry • Fountains • Gourds • Soaps & Lotions
10 am to 5 pm • Sunday 10 am to 4 pm • Closed Wednesday 86-B Old Las Vegas Highway • Santa Fe • 505.982.9944 www.santafehillside.com
Santa Fe Scout Collection available at
1219 Cerrillos Road (next to House of Ancestors)
Dana Waldon 505.660.6442 • santafescoutcollection.com
SAS COLBY
SA N TA F E C L AY C O N T E M P O R A R Y
C E R A M I C S
In the Railyard, 545 Camino de la Familia, Santa Fe 5 0 5 . 9 8 4 . 11 2 2 | w w w . s a n t a f e c l a y . c o m GALLERY•STUDIO•CLASSES•SUPPLIES
Programs in Calistoga, CA • Taos, NM • Mallorca, Spain
www.sascolby.com
PAUL SHAPIRO
Never Before Seen Watercolors (1991-2014)
707 Canyon Road, Santa Fe, NM 87501 gfcontemporary.com 505.983.3707
STUDIO VISITS
“DON’T TELL ME THE MOON IS SHINING; SHOW ME THE GLINT OF LIGHT ON BROKEN GLASS.” —ANTON CHEKHOV I work with light and sound, vibration on both ends of our perceptible energy spectrum. I am interested in the complex interplay between the two. I make this work in order to expand my own perception in an attempt to better know the world. This quote seems to say, don’t tell me about something known. Show me a secret. Show me something unknown and magical so that I may bring it into my consciousness and grow. Help me to see our world in a new way. This is what inspires me. Alchemy through observation.
—Sasha Raphael vom Dorp Vom Dorp is currently working on the creation of an immersive integrated system, which applies light and sound to matter in a way that forces the observer to experience a fusion of their senses. He works in two studios, Los Angeles, CA, and Taos, NM. Upcoming exhibits 2015: Spring 2015 DAFA, Taos, New Mexico, April 24 to June 6, 2015; Central Features, Visible Sound, Albuquerque, May 3 to May 31, 2015; LA ART CORE, Los Angeles, CA, September 12 to October 9, 2015; Solo Show LAAA Gallery 825, Los Angeles, CA. sashavomdorp.com
Chekhov is saying “show, don’t tell” and that reminds me what Dave Hickey wrote about the difficulty writers face in using words to describe color: “...The names we put on colors do little more to describe the living, felt experience of color than the names Smith or Rodriguez describe the complex people they represent.” One of my great loves is to traffic in the language outside the language of words. In my work I set up situations where light, color, and space can be experienced with the body. We intercept the world through eyes, ears, and skin. This sensory language is full of wildness and life.
—Debbie Long
FEBRUARY/MARCH
2015
THE magazine | 21
Michael Motley DIVIRGENT DESIGN FOR THE CRE ATIVE COMMUNITY IDENTIT Y | PROPAGANDA | BOOK DESIGN | WEB
505 982 0355 | MICHAELMOTLEY.COM
ANCIENT CITY APPETITE
Ancient City Appetite by Joshua
Baer
Cheesemongers of Santa Fe 130 East Marcy Street Tuesdays through Sundays, 11 am to 7 pm Major credit cards 505-795-7878 The people who work at Cheesemongers are the best thing about the store.
Green Peppercorn Pâté. Maybe the best item in the store. Ideal for long drives,
The antipasti, charcuterie, cheeses, honeys, mustards, and olives are special. You
movie theaters, or self-catered in-flight snacks. $17.95 a pound. Try it with a drop
can’t walk into Cheesemongers and leave without a bag full of anticipated pleasures.
of the Moutarde Royale, from Pommery. $15.50 a jar.
But it’s the people that make the place. John Gutierrez, the owner, along with
Beurre de Baratte. Hand-churned, cultured butter from Latiere Fromagerie
Chelsea, Gaston, Lily, Nicolas, Pam, and Zia know the secret of contagious energy.
du Val d’Ay in Lessay, Normandy. Habit forming. $17.95 a pound.
Instead of making you feel like you know little or nothing about Fiore di Bufala,
Parmigiano-Reggiano. The king of cheeses. $18.95 a pound.
Raclette de Savoie, or pork rillettes, they make you feel like you’ve been eating
Boquerones. Marinated whole anchovies. Imagine what kind of tapenade you’ll
globally sourced delicacies all your life. Here are the items you don’t want to miss. If the prices seem scary, order a quarter pound. No one will give you a dirty look. Instead, they’ll offer you a taste, to make sure you like what you’re buying.
get if you make it with the Taggiasca olives and these anchovies. $9.95 a package. Fra’ Mani Salame Gentile. All of Cheesemonger’s salamis are worth tasting. The Gentile has that ineffable combination of punch and restraint. $30 a pound. Salami Nola. A pleasant surprise. $9.95, for a 4.5 ounce salami.
Taggiasca Ligurian Olives. $12 a pound.
Marcona Almonds. Salted. $25.95 a pound.
Pomodoraccio. Roasted tomatoes in olive oil. If you crave the flavor of a ripe
Vila Vella Eucaliptus Honey. From Catalonia, where they spell “Eucalyptus” with
tomato, these will help. $12 a pound. Brie de Nangis. $21.95 a pound.
an “i” and drizzle honey over their Manchego. $12.95 for a 17.8 ounce jar. French Broad Chocolate. 80% cacao, from San Andrés, Costa Rica. Produced at
Raclette de Savoie. $16.95 a pound.
Jael and Dan Rattigan’s bean-to-bar chocolate factory, in Asheville, North Carolina.
Fontina d’Alpeggio. $26.95 a pound.
$7 a bar.
1655 Gruyere. From Fromagerie Le Cret in Switzerland. The key ingredient for the ultimate grilled ham and Swiss. $28.50 a pound.
FEBRUARY/MARCH
2015
Photograph by Guy Cross. Ancient City Appetite recommends places to eat, in and out of Santa Fe. Send a list of your favorites to places@ancientcityappetite.com.
THE magazine | 23
a luxury you can afford
Bring Your Sweetheart in from the Cold!
happy hour special at the bar after work / apres ski 50% off our ‘classic’ appetizers calamari, dumplings & spring rolls selected wines by the glass, ‘well’ cocktails & our house margarita! $5.00 each
Lunch • Dinner • Bar
monday thru friday from 4:00 - 6:00pm full bar with free wi-fi & hdtv
restaurant
bar
231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
Reservations 505.982.4353 653 Canyon Road compoundrestaurant.com
ONE BOTTLE
O ne B ottle :
The 2013 Domaine
du G ros ’ N oré by J oshua B aer .
Baseball’s Hall of Fame is in Cooperstown. The NFL’s is in Canton.
Bandol Rosé
“Acronym” derives from the Greek akros, “height,” or “tip,” as in the
The Rock and Roll Hall of Fame is in Cleveland. TAHOF, The Acronym
tip of a spear; and onuma, “name.” In ancient Athens, the acropolis was
Hall of Fame, has no fixed location. TAHOF’s lack of a bricks-and-mortar
a neighborhood of temples built for the gods on the highest point of the city.
edifice leads people to believe that TAHOF does not exist. Nothing
“Acrid,” “acrophobia,” and “acrostic” are also descended from akros.
could be further from the truth. Not only does TAHOF exist, TAHOF is everywhere. Admission is free, and TAHOF is always open.
The Free Dictionary defines an acronym as “A word made from the initial letters or parts of other words, such as SONAR, from so[und] na[vigation and]
Of the all-world acronyms enshrined in TAHOF, these are my favorites.
r[anging]. The distinguishing feature of an acronym is that it is pronounced as
ART. “Approaching room temperature.” A medical acronym, used
if it were a single word, in the manner of NATO and NASA. Acronyms are
in emergency rooms and intensive care units, in reference to a patient
often distinguished from initialisms like FBI and NIH, whose individual letters
with minutes to live. “Get that lady a pine box. She’s ART.”
are pronounced as separate syllables.”
BOBO. “Burnt out but opulent.” Used by Millennial salespeople in reference to rich, over-the-hill Boomers. “I could sell that BOBO an A7 if he had an attention span.” BRAT. “Born, raised, and transferred.” A military acronym for the children of soldiers. “I was an Army BRAT. Grew up all over. Never had a best friend.” CITTOJ. “Comparison is the thief of joy.” Teddy Roosevelt’s version of “Comparisons are odious.” LITROD. “Luck is the residue of design.” Branch Rickey’s version of “You make your own luck.” MOAB. “Massive ordinance air blast.” A military euphemism for a detonated mid-air explosion. “Mother of all bombs” is a variation. SPAM. “Stupid, pathetic, annoying messages.” A first-
The military likes acronyms because acronyms contract time. In battle, speed is a weapon, both on offense and defense. The four seconds saved by contracting “What’s on your radio detecting and ranging equipment?” into “What’s on your radar?” could make the difference between defeat and victory. In the LOW, or Land of Wine, time passes more slowly than it does on the battlefield. This has left us with a shortage of acronyms. With that shortage in mind, I nominate the following acronyms for TAHOF’s consideration. GROAT. “Greatest rosé of all time.” WINE. “Wine is not easy,” “Wine is never easy,” or, “Wine is nervous energy.” Which brings us to the 2013 Domaine du Gros’ Noré Bandol Rosé.
ballot inductee, and one of a handful of acronyms with multiple
In the glass, the 2013 Gros’ Noré Rosé is as much a vision
meanings. In 1937, the Broadway actor Kenneth Daigneau
of depth as an expression of clarity. What you see is what you
entered a naming contest for one of Hormel & Company’s
get, but what you get ends up being so much more engaging
new canned meat products. Daigneau won the $100 prize
than what you see. The bouquet is a hidden persuasion. On the
for contracting “spiced ham” into “Spam.” During the 1940s,
palate, the Gros’ Noré searches for your raw emotions, locates
Spam went to war. Hormel sold one hundred and fifty
them, and captures them. If you laugh or cry easily, you may
million cans to the Allies. Margaret Thatcher remembered
do both when you taste this rosé. The finish takes your breath
Spam as a “wartime delicacy.” GIs de-contracted it into
away, gives it back, and then takes it again.
“Special Army meat.” Spam’s metamorphosis from canned
But is the 2013 Gros’ Noré Rosé the GROAT? If it is, it shares
snack to cyber parasite is a prime example of how this
that honor with the 2004 Domaine Tempier Bandol Rosé, the
versatile acronym adapted to the electronic age.
2009 Domaine Abbatucci Rosé “Cuvée Faustine,” and the 2012
SNAFU. “Situation normal, all f****d-up.” The fog of
Clos Canarelli Corse Figari Rosé. For now, I’m calling all four the
war in five letters, like its cousin FUBAR—“F****d-up
GROATs. None of them are losers. All four are drinking beautifully.
beyond all recognition”—the acronym that went on to
Why does one have to be declared the winner? CITTOJ.
star in Saving Private Ryan.
When I was young, and enjoyed a good argument, I used to
TIARA. “Tiara is a recursive acronym.” A recursive
insist that the word “palindrome” should be a palindrome and
acronym refers to itself, usually by the word that starts with
that “acronym” should be an acronym. Palindrome refused to
the acronym’s first letter.
cooperate, but “acronym,” as it turns out, really is an acronym:
WASP. “White Anglo-Saxon Protestant.” One of the original ethnic acronyms. “Women are superior people” gave it a shot as a latter-day variation during the 1970s but never caught on, probably due to its accuracy. YAHOO. “You always have other options.” Especially when you think you don’t. Or if you’re Marissa Mayer. FEBRUARY/MARCH
2015
“Abbreviated coded rendition of names yielding meaning.” See you at TAHOF. I’ll be in the main hall, contemplating the bust of KOALA, and doing my best to yield meaning. One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2015 by onebottle.com. Send email to jb@onebottle.com.
THE magazine | 25
DINING GUIDE
Always “down Home” at
SECOND STREET BREWERY 1814 Second Street - 982-3030
Lunch and Dinner Great selection of Beers
$ K E Y
INEXPENSIVE
$
up to $14
MODERATE
$$
EXPENSIVE
$15—$23
$$$
$24—$33
VERY EXPENSIVE
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours. photographs by
$34 plus
EAT OUT OFTEN PHOTOGRAPHS: GUY CROSS
G uy C ross
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 Restaurant & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American. Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the Achiote Grilled Atlantic Salmon. Comments: Attentive service. Bouche 451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Start with the Charcuterie Plank. The Bistro Steak and the organic Roast Chicken are winners. Comments: Must go! Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch/Dinner (Fri.to Sun.) Wine/Beer soon in 2015 Cash/major credit cards. $$ Cuisine: We call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omelette are winners. For lunch, we love the One for David Fried Fish Sandwich. Comments: Chris Galvin will be cooking dinners on Friday, Saturday, and Sunday evenings from 5:30 to 8:30 pm. Café Pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian posters. House specialties: Hotcakes got a nod from Gourmet
The Huevos Motuleños is a Yucatán breakfast—one you’ll never forget. Chez Mamou 217 E. Palace Ave. 216-1845. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Artisanal French Bakery & Café. Atmosphere: Casual. House specialties: Start with the Prosciutto Melon Salad or the Green Apple Salad. For your main, try the Paillard de Poulet: lightly breaded chicken with lemon and garlic sauce, or the Roasted Salmon with white dill sauce. Comments: Pastas are on the mark. Chopstix 238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $ Atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. House specialties: Lemon Chicken, Korean barbequed beef, and Kung Pau Chicken. Comments: Friendly owners. Counter Culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$ Cuisine: All-American. Atmosphere: Informal. House specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine. Cowgirl Hall of Fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: Good old American. fare. Atmosphere: Patio shaded by big cottonwoods. Great bar. House specialties: The smoked brisket and ribs are the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.
Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. El Faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas. Comments: Murals by Alfred Morang. El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated olive oil. Hillside 86-B Old Las Vegas Highway. 982-9944 Lunch: 11-2:30. Closed Wednesday. Major credit cards. $$$ Cuisine: Inspired New World cuisine. Atmosphere: Spacious and bright. House specialties: Botanas: meat and seafood that you cook at your table on hot rocks. They are accompanied by corn tortillas, moles, and oils. Fernando Olea’s black pepper Angus beef tenderloin is perfection. Comments: innovative cuisine. epazote on the
Fire & Hops 222 S. Guadalupe St. 954-1635 Dinner - 7 days. Lunch: Sat. and Sun. Beer/Wine. Patio. Visa & Mastercard. $$$ Cuisine: Susatainable local food. Atmosphere: Casual and friendly. House specialties: Small plates we love: the Green Papaya Salad and the Braised Pork Belly. Fave large plates: the Cubano Sandwich and the Crispy Duck Confit. Comments: Nice selection of beers on tap or bottles.
Dr. Field Goods Kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Faves: the Charred Caesar Salad, Carne Adovada Egg Roll, Fish Tostada,, and Steak Frite. Comments: You leave feeling good.
Georgia 225 Johnson St. 989-4367. Patio. Aprés Lunch and Dinner - Full bar. Major credit cards. $$$ Cuisine: Clean and contemporary. Atmosphere: Friendly and casual. House specialties: Start with the Charcuterie Plate or the Texas Quail. Entrée: The Pan-Roasted Salmon absolutely deliscipus. Good wine list and a bar youwill love. Comments: Sharp wait staff
Downtown Subscription 376 Garcia St. 983-3085.
Geronimo 724 Canyon Rd. 982-1500.
Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: We call it French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass and the classic peppery Elk tenderloin. Comments: Wonderful desserts. Harry’s Roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese. Lunch: the Buffalo Burger. Dinner: the Hanger Steak. Comments: Friendly. Il Piatto Italian Farmhouse Kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: Italian. Atmosphere: Bustling. House specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: Farm to Table, all the way. Izanami 3451Hyde Park Rd. 428-6390. Lunch/Dinner Sake/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quietude. House specialties:. We loved the Nasu Dengaku, eggplant and miso sauce, and the Pork Belly with Ginger BBQ Glaze. Comments: Super selection of Sake. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers. Comments: Fabulous soups. Joseph’s Culinary Pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ Cuisine: Innovative. Atmosphere: Intimate. House specialties: Start with the Butter Lettuce Wrapped Pulled Pork Cheeks or the Scottish Fatty Salmon Sashimi. For your main, try the Crispy Duck, Comments: Bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts, an excellent wine selection, and great service.
Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: Love the Sake. La Plancha de Eldorado 7 Caliente Rd., La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: An Authentic Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian Tamales. Comments: Sunday brunch. Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere: Casual. House specialties: The Vegetarian Pumpkin Soup is amazing. Fave entree is the BoTai Dam: Beef tenderloin w/ garlic, shallots, and lemongrass. Comments: Friendly. La Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining. M.A.M.A.’S World Take-Out 3134 Rufina St. 424-1116/ 989-8028. Breakfast/Lunch: 9am-3 pm. $$ Cuisine: Middle Eastern, American, Mexican, Asian, and Salvadoran. House specialties: Pad Thai, Falafels, Burritos, Pupusas, and the world-famous Hiram’s Hot Dog. Comments: Grab, go,and enjoy. Midtown Bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Beautiful open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Real sweet dessert selections. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch
continued on page 29 FEBRUARY/MARCH
2015
THE magazine | 27
WHAT THEY’RE SAYING...
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
“The setting is as inviting as the food. The food presentation is mouth watering. Beautiful plates, exceptional flavors, and uniqueness. Some of the most amazing moles you’ll get anywhere.”
Lunch: 11:30 to 2:30 • Closed Wednesday 86 Old Las Vegas Highway • Santa Fe 505.982.9944 • www.santafehillside.com
Celebrating 20 Years! $20 anniversary Menu
anniversary weekly specials
Month of February (except Friday & Saturday, Feb. 14-15) choice of Appetizer & entree, or entree & dessert Reservations: (505) 986-9190
1/2 pRice wine by The bOTTle
tuesdays
All bottles on the wine list
appetizer
e
Tossed Garden Salad
thursdays
hubbard Squash Soup with pumpkin Oil
shaved vegetables & champagne tarragon vinaigrette or
1/2 pRice pReMiUM SpiRiTS
e
Grey Goose, Don Julio, Bombay Sapphire, Maker’s Mark Bourbon
entree
e
braised local lamb Shank
sundays
mustard sauce & mashed potatoes or
All “SAnTA Fe SpiRiTS” dRinkS $5 Wheeler’s Gin, Colkegan Single Malt Whiskey, Expedition Vodka
Grilled Mediterranean Sea bass herb butter & wild rice blend
e
e
always
dessert creme brûlée or chocolate pots de crème Sunday-Thursday, 5:00 - 9:00pm
u
Fri day- Saturday, 5:00 - 9:30pm
$8 bAR MenU or 5 plATeS FOR $35 u
315 Old Santa Fe Trail
u
www.315santafe.com
u
Reservations: (505) 986.9190
DINING GUIDE
Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: Breakfast: Blue Corn Blueberry Pancakes. Dinner: the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the Double Cut Pork Chop. Comments: Chef Andrew Cooper brings seasonal ingredients to the table. Excellent wine list.
VERDE | Cold Pressed Juice Blends | 851 West San Mateo Rd. | 505.819.9712 Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. N ew Y ork D eli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. P laza C afé S outhside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. R io C hama S teakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule. Recommendations: An well balanced wine list. R istra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice selection of wines. S an Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ Cuisine: Japanese Sushi and Tapas. Atmosphere: Large room with a Sushi bar. House specialties: Sushi, Vegetable Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef. S an F rancisco S t . B ar & G rill
50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: Lunch: the San Francisco St. hamburger on a sourdough bun or the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll. Dinner:, the flavorful twelve-ounce New York Strip steak, with chipotle
FEBRUARY/MARCH
2015
herb butter, or the Idaho Ruby Red Trouta. Comments: Sister restaurant at Devargas Center. S antacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Great deals: Half-price appetizers. “Well” cocktails only $5. S anta F e B ar & G rill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: We love the Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. S anta F e B ite 311 Old Santa Fe Trail. 982-0544 Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Lunch: the juicy 10 oz. chuck and sirloin Hamburger or the Patty Melt. At dinner) the Ribeye Steak is a winner. The Fish and Chips rivals all others in Santa Fe. Comments: Their motto” “Love Life. Eat good.” We agree. S anta F e C apitol G rill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, Ceviche, and the New York Strip with a Mushroom-Peppercorn Sauce. Desserts are on the mark. Comments: A great selection of wines. Happy hours 3-6 pm and after 9 pm. S aveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Do not pass on the delicious Baby-Back Ribs when they are available, which is usually on Wednesday. Call to be sure.
S econd S treet B rewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Pub grub. Atmosphere: Real casual. House specialties: We enjoy the Beer-steamed Mussels, the Calamari, and the Fish and Chips. Comments: Good selection of beers S hake F oundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries. Comments: Sirloin and brisket blend for the burgers. Take-out or eat at a picnic table. S hohko C afé 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. at E l G ancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.
S teaksmith
S weetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the morning, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Our lunch favorite is the truly delicious Indonesian Vegetable Curry on Rice; Comments: For your dinner, we suggest the Prix Fixe Small Plate: soup, salad, and an entrée for $19. Wines and Craft beers on tap. T eahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. T erra at F our S easons E ncantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner
T hai V egan 1710 Cerrillos Rd. 954-1780 Lunch/Dinner Major credit cards. $$ Cuisine: Vegan all the way. Atmosphere: Easygoing. House specialties: Start with the Spring Rolls or the Tofu Satay skewers. For your main, we suggest the Stir-Fried Vegetables or the Spicy Eggplant, both served with Steamed Brown Rice. Comments: Try the Papaya Salad and any of the Wraps. T he A rtesian R estaurant at O jo C aliente R esort & S pa 50 Los Baños Drive. 505-5832233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, and foillow with the Trout with a Toa ste Piñon Glaze. Comments: Nice wine bar. T he C ompound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef and owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. T he P alace R estaurant & S aloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: WEe call it Modern Italian. Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Salmon poached in white wine, or the Steak au Poivre. Comments: Super bar. T he P ink A dobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club Sandwich. Dinner: Go for the classic Steak Dunigan or the Fried Shrimp Louisianne Comments: A very lively crowd. T he S hed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: Casual A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you will never be disappointed. T he R anch H ouse 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties:
Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. T ia S ophia ’ s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: Tia Sophia’s is the real deal. T une -U p C afé 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Easy on your wallet. A local hangout. V anessie
of
S anta F e
434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizersgenerous drinks. V erde 851 W. San Mateo Rd. 780-5151. Gourmet cold-pressed juice blends. Major credit cards. $$ Cuisine: Just Juices. Atmosphere: Clean, light and bright. House specialties: Eastern Roots: a blend of fresh carrot and apple juice with superfood ingredients ginger and turmeric juice, spinach, kale and parsley. Comments: Eleven fantastic juice blends. Using only organic fruits and vegeatables. V inaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. When in Albuquerque, visit their sister restaurant at 1828 Central Ave., SW. Z acatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Pork Ribs. 65 brands of Tequila for your drinking pleasure. Z ia D iner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Real casual. House specialties: The perfect Chile Rellenos and Eggs is our favorite breakfast choice. At luch, we love the Southwestern Chicken Salad, the Fish and Chips, and any of the Burgers Comments: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour. Why? Generous pours and interesting people, that’s why!
THE magazine | 29
STEPHEN DAVIS DOMESTIC INTERIORS Through February 21, 2015 Artist Reception: Friday January 30, 5:00-7:00 PM Gallery Talk with Stephen Davis, moderated by Kathryn M Davis of ArtBeat, an Art Matters | Collections event Saturday, February 7, 2:00 - 3:00 PM
Stephen Davis, Chair 9, 2014, Gesso, acrylic, charcoal and oil on canvas, 56.25” x 75”
MARGARET FITZGERALD WATER’S EDGE Through February 21, 2015 Artist Reception: Friday January 30, 5:00-7:00 PM Gallery Talk with Margaret Fitzgerald, moderated by Kathryn M Davis of ArtBeat, an Art Matters | Collections event Saturday, February 7, 2:00 - 3:00 PM Margaret Fitzgerald, Timber, 2014, Oil on canvas, 60” x 60”
POST-OP: ‘THE RESPONSIVE EYE’ FIFTY YEARS AFTER CURATED BY DAVID EICHHOLTZ AND PETER FRANK Featuring: Richard Anuszkiewicz Karl Benjamin Hannes Beckmann Thomas Downing Lorser Feitelson John Goodyear
Francis Hewitt Leroy Lamis Alexander Liberman Oli Sihvonen Julian Stanczak Tadasky among others
February 25 - April 4, 2015 Opening Reception: Friday, February 27, 5:00-7:00 PM
Oli Sihvonen, Elegy (017), 1988, Oil and acrylic on canvas, 60” x 68”
DavidrichardGALLEry.com The Railyard Arts District
DAVID RICHARD
544 South Guadalupe Street, Santa Fe, NM 87501
GALLERY
(505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
FEB/MARCHARTOPENINGS FRIDAY, JANUARY 30
LewAllen Galleries, 1613 Paseo de Peralta, Santa Fe. 988-3250. Steven Williams— Legacy of Landscape: photographs from the artist’s travels. 5-7 pm. photo-eye Gallery, 541 S. Guadalupe St., Santa Fe. 988-5159. Group Show: gallery artists. 5-7 pm.
Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. Under 35—Part III: works by Nicola López, Nouel Rielm, and Jack Warren. 5-7 pm. SUNDAY, FEBRUARY 1
Contemporary Tapestry Gallery, 835 W. San Mateo Rd., Santa Fe. 231-5904. Tapestry, Off the Wall: woven buildings (three-dimensional sculptures from tapestries) by Kristin Rowley. 3-5 pm.
Las Cruces Museum of Art, 491 N. Main St., Las Cruces. 575-541-2137. Las Cruces Collects: works from the collections of Billy and Cynthia Garrett, Lynn Wiley and John Purcell, and the NMSU Art Gallery. 5-7 pm. Manitou Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Wine, Chocolate, & Jewelry: Native, vintage, and contemporary jewelry by Roger Wilbur, Supersmith, Walt Doran, Danny Stewart, Kathy Adams, Carolyn Morris Bach, Vernon Haskie, Charles Loloma, Stefani Courtois, and others. 5-7:30 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Distracted Happiness: collaborative exhibition of works by women artists of the Luna Project. Different Ways: watercolors and acrylics on wood by Francoise Barnes. 5-8 pm.
Verve Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. An Exhibition with Three Santa Fe Legendaries: photographs by Norman Mauskopf, Tony O’Brien, and David Scheinbaum. 5-7 pm.
SATURDAY, FEBRUARY 14
Weyrich Gallery, 2935-D Louisiana Blvd., Alb. 505-883-7410. The Landscape of Meditation: mandala-inspired tapestries by Donna Loraine Contractor. Fused glass by Jerry Barnett. Reception and discussion: 5-8:30 pm.
Rio Bravo Fine Art, 110 N. Broadway Ave., Truth or Consequences. 575-8940572. Ornamental Abstraction—Patterns on Paper: collage, works in ink, and paintings by Noël Hudson. 6-9 pm.
SATURDAY, FEBRUARY 7
SUNDAY FEBRUARY 15
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Domestic Interiors and Water’s Edge: works by Stephen Davis and Margaret Fitzgerald. Through Sat., Feb. 21. Artist reception with Davis and Fitzgerald, moderated by Kathryn M Davis of ArtBeat: Sat., Feb. 7, 2-3 pm. davidrichardgallery.com
Museum of Indian Arts and Culture, 710 Camino Lejo, Santa Fe. 4761269. Indian Country—The Art of David Bradley: depictions of Native American experiences by the Minnesota Chippewa artist. 1-4 pm.
by over 100 artists who have exhibited at Axle Contemporary in the past five years. 5-7 pm.
THURSDAY, FEBRUARY 19
FRIDAY, FEBRUARY 6
Sorrel Sky Gallery, 125 W. Palace Ave., Santa Fe. 501-6555. Solo Show: contemporary Native American jewelry by Ray Tracey. 5-7:30 pm.
Ellsworth Gallery, 215 E. Palace Ave., Santa Fe. 989-7900. On the Brink: Invitational exhibition with works by gallery artists. Art Matters Artist Talk: 3:30 pm. Reception: 5-7 pm.
University Art Gallery, New Mexico State University, D.W. Williams Hall, 1390 E. University Ave., Las Cruces. 575-6462545. Las Cruces Creates: works by twentyone local artists. 5-8 pm.
Verve Gallery of Photography, 219 E. Marcy St., Santa Fe. 982-5009. An Exhibition with Three Santa Fe Legendaries: gallery talk with Norman Mauskopf, Tony O’Brien, and David Scheinbaum. 2-3 pm.
Jean Cocteau Cinema, 418 Montezuma Ave., Santa Fe. Freeze Frame: sketches and faux B-movie poster paintings by Jamie Chase. 5-7 pm.
FRIDAY, FEBRUARY 13
FRIDAY, FEBRUARY 27
Peters Projects, 1011 Paseo de Peralta, Santa Fe. 954-5800. Axle Indoors: works
David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Post-Op—The
Axle Indoors: over 100 artists from the past five years of exhibitions at Axle Contemporary on view at Peters Projects, 1011 Paseo de Peralta, Santa Fe. Reception: Friday, February 13, from 5 to 7 pm. Through Saturday, March 21.
continued on page 34 FEBRUARY/MARCH
2015
THE magazine | 31
WHO WROTE THIS? “Art washes away from the soul the dust of everyday life.” Francis Bacon or Marc Chagall Stella Adler or Pablo Picasso
THE DEAL
For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000.
Reserve space for the April 2015 issue by Wednesday, March 11
505-424-7641 or email: themagazinesf@gmail.com
Honey Harris Show with THE magazine Thursday, February 12 10:30 am
98.1 FM KBAC
from the soul
ryday life.�
c Chagall Stella o Picasso
n in New Mexico.
OUT AND s for $750. Color $1,000. ABOUT
dnesday, March 11
photographs by Mr. Clix and Audrey Derell
hemagazinesf@gmail.com
Jonas Povilas Skardis
Mac (and PC) Consulting ÂŽ
Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding
phone: (505) 577-2151 email: Pov@Skardis.com Serving Northern NM since 1996
Responsive Eye Fifty Years After: mid1960s and contemporary artworks by a select group of artists whose work was presented at the seminal Op-Art exhibition The Responsive Eye. 5-7 pm. Santa Fe Clay, 545 Camino de la Familia, Santa Fe. 984-1122. Group Show: functional ceramic works by Sunshine Cobb, Tom Jaszczak, and Doug Peltzman. 5-7 pm. SUNDAY, MARCH 1
Act I Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. The Spirit of the Land: oil paintings by Kent Hick. 1-3 pm. SATURDAY, MARCH 21
Pippin Contemporary, 200 Canyon Rd., Santa Fe. 795-7476. Steeped In Art: pairing of gourmet teas from the Tea House with works by gallery artists. 2-4 pm. FRIDAY, MARCH 27
Encaustic Art Institute, 632 Agua Fria St., Santa Fe. 424-6487. Grand Opening Celebration: Fri., Mar. 27 (semi-formal). Live music, food, wine, and fine-art raffle. Over one hundred encaustic artists represented. 6-9 pm. $75 per person. Tickets: eainm.com Gallery 901, 632 Agua Fria St., Santa Fe. 780-8390. Grand Opening Celebration: Meet the artists on Fri., Mar. 27, 6-9 pm. (semi-formal) $75 per person. Or Sat., Mar. 28, 5-8 pm (no charge). Runs through Wed., April 29. Tickets: eainm.com Gallery 901, 632 Agua Fria St., Santa Fe. 780-8390. Group Show: work by Karen Frey, Niki Sherey, Gina Erlichman, Paul Steiner, and Robert Gigliotti. P eters P rojects, 1011 Paseo de Peralta, Santa Fe. 954-5800. Inventory of Light: works created by artists who are known for the integration of science in their practice. Presented in collaboration with The New Mexico Spatiotemporal Modeling Center. 5-7 pm. Top: On the Brink—an invitational exhibition with works by gallery artists at Ellsworth Gallery, 215 East Palace Avenue, Santa Fe. Art Matters Artist Talk: 3:30 pm. Reception: Friday, February 6 from 5 to 7 pm. Image: Icarus’ Encounter with the Floating World by Kathryn Stedham. Bottom: Indian Country: The Art of David Bradley opens at the Museum of Indian Arts and Culture on Sunday, February 15. On view will be thirtytwo works by Bradley including paintings, mixedmedia works, and bronze sculptures.
OPENINGS
SATURDAY, MARCH 28
Gallery 901, 632 Agua Fria, Santa Fe. 7808390. Group Show: work by Karen Frey, Niki Sherey, Gina Erlichman, Paul Steiner, and Robert Gigliotti. Meet the artists: 5-8 pm. SPECIAL INTEREST
Act I Gallery, 218 Paseo del Pueblo Norte, Taos. 575-758-7831. The Language of Humanity: expressive, figural paintings by Jeri Moore. Sun., Feb. 1 through Sat., Feb. 31. actonegallery.com Art House, Thoma Foundation, 231 Delgado St., Santa Fe. 995-0231. Luminous Flux: innovative computer, digital, interactive, video, and electroluminescent art. Ongoing. thomafoundation.org ARTScrawl, Alb. City-wide, self-guided arts tour, Fri., Feb. 5, 5-8 pm. Artful Saturday in the Heights, Sat., Feb. 21, 3-6 pm. Create your tour: artscrawlabq.org CCA, 1050 Old Pecos Tr., Santa Fe. 982-1338. Object Image: two series of photographic works by Andy Mattern. Through Sun., Feb. 22. ccasantafe.org
MoCNA, 108 Cathedral Park, Santa Fe. 4242300. Chris Pappan—Account Past Due, Ledger Art and Beyond. Dark Light—The Ceramics of Christine Nofchissey McHorse. and other ongoing exhibitions. Details: iaia.edu/museum New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Caves, Cribs and Cathouses—How Frontier Prostitution Helped Build the West: free lecture on prostitution in and around Fort Union—a military garrison in New Mexico. Presented by Laura GonzalesMeredith. Wed., Jan. 28, 6 pm.
juice tasting by Verde Juice. The sale resumes Sat., Feb. 7 and 8 from 10 am to 6 pm. Sorrel Sky Gallery, 125 W. Palace Ave., Santa Fe. 501-6555. 3rd Annual Workshop Series: classes offered with gallery artists. Details: sorrelsky.com UNM: Los Alamos Library, 4000 University Dr., Los Alamos. (505) 662-8250. Physical: scrolls of life drawings by Kathamann. Ongoing. PERFORMANCE
On the Map—Unfolding Albuquerque Art + Design, Multiple venues in Albuquerque. An expansive collaboration celebrating Albuquerque art. Through June, 2015. abqonthemap.com
New Mexico School for the Arts, 275 E. Alameda, Santa Fe. 982-6124. Radium Girls, by D. W. Gregory. An encore performance of The Shakespeare Project. Schedule and tickets: nmschoolforthearts.org/tickets
Pop-up for Pantry Sale of the Century, St. John’s United Methodist Church, 1200 Old Pecos Tr., Santa Fe. Sale opens Fri., Feb. 6, 6-9 pm for the “First Choice” party. $25 ticket offers early access to the incredible selection of beautiful clothes and accessories, as well as light hors d’oeuvres, sweets, and a
Santa Fe Playhouse, 142 E. DeVargas St., Santa Fe. 988-4262. Kimberly Akimbo: play by David Lindsay-Abaire about a lonely teenage girl who suffers from a disease that causes her to age four and a half times as fast as normal. Thurs., Feb. 12 through Sun., Mar. 1. Tickets: santafeplayhouse.org
Skylight, 139 W. San Francisco St., Santa Fe. The Lulz: a stand-up comedy from Curt Fletcher, Genevieve Mueller, Zach Reinerm, and Ariel Holmes. Sat., Jan. 31, 8 pm. $10 at the door. skylightsantafe.com CALL FOR ARTISTS
Las Cruces Museum of Art and the Stanlee & Gerald Rubin Center for the Visual Arts. Here and Now: open call for submissions for a regional exhibition to be displayed at both venues May though July, 2015. Submission due by Fri., Feb. 27. w http://tinyurl.com/Here-Now2015 Santa Fe Plein Air Festival, Santa Fe. Registration available to all plein air artists, although PAPNM membership will be required for artists juried into the paint-out and exhibition. Cash and prizes awarded. Apply by Sun., Mar. 1. callforentry.org Under 35: Part III: works by Nicola López, Nouel Riel, and Jack Warren. On view at Zane Bennett Contemporary Art, 1613 Paseo Peralta, Santa Fe. Reception: Friday, January 30 from 5 to 7 pm. Exhibition runs to Saturday, February 21. Image: Nicola López.
CCA Cinematheque, 1050 Old Pecos Tr., Santa Fe. 982-1338. Dorothea Lange— Grab a Hunk of Lightning: documentary screening and talk with biographers. Sun., Feb. 1, 2 pm. Tickets: ccasantafe.org Chiaroscuro Contemporary Art, 702½ Canyon Rd., Santa Fe. 992-0711. Winter Group Show: recent works by gallery artists. Through Sat., March. 21. chiaroscurosantafe.com David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Domestic Interiors and Water’s Edge: works by Stephen Davis and Margaret Fitzgerald. Through Sat., Feb. 21. Artist reception with Davis and Fitzgerald, moderated by Kathryn M Davis of ArtBeat, Sat., Feb. 7, 2-3 pm. davidrichardgallery.com Lannan Foundation, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. The Fire This Time: tribute to James Baldwin, Wed., Feb. 11, 7 pm. Kevin Barry with Ethan Nosowsky, Wed., Mar. 4, 7 pm. In Pursuit of Cultural Freedom Lecture Series: Noam Chomsky with David Barsamian, Wed., Mar. 18, 7 pm. Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Placitas Artists Series: photography, painting, fiber arts, and music events in Feb. and March. Details: placitasartistsseries.org FEBRUARY/MARCH
2015
THE magazine | 35
PREVIEWS
C
Donavan Boone + Parker Sprague, Agoojiganan, interactive string room installation, 8’ x 12’, 2014
M
From the Ground Up: Design Here + Now 516 ARTS 516 Central Avenue SW, Albuquerque. 505-242-1445
Strata: Antoine Predock Richard Levy Gallery 514 Central Avenue SW, Albuquerque. 505-766-9888
Saturday, January 31 through Saturday, April 11, 2015 Reception: Saturday, January 31, 6 to 8 pm.
Tuesday, February 3 through Friday, March 13, 2015 Reception: Saturday, January 31, 6 to 8 pm.
Design is a very broad term encompassing many genres. From the Ground Up focuses on
The Albuquerque- and LA-based architect Antoine Predock is internationally recognized
architecture as well as functional and ornamental design. Over eighty artists are participating
for his work. His design is influenced by place, but more specifically qualities of the desert.
in the multiple aspects of the exhibition. Emphasizing architecture as an art, the exhibition
Strata presents a glimpse into Predock’s design process by introducing viewers to his
features conceptual projects and selected built works through an array of presentation media
collages, works on paper, and hand-built clay and architectural models. The collages expose
including immersive environments, cartographies, and interactive installations, along with two-
his conceptual progression, which begins with site-specific visual references accompanied
dimensional imagery rendered in charcoal and mixed media. To accommodate the range of
by thoughtful text from writers and artists arranged in abstract and layered compositions
ideas being realized or proposed by a number of architects and their teams, the curators have
resembling the stratified rock formations of the New Mexico landscape. He follows these
devised a suspended installation using white cubes to support projections of built structures
works on paper with handmade clay models that reinterpret the two-dimensional collages
or conceptual pieces. Emerging designers from the University of New Mexico’s School of
as three-dimensional objects. They read as elegant abstract sculptures and serve as the initial
Architecture and Planning offer an installation using 3-D modeling to create cartographies on
models for the buildings he designs. The exhibition places works on paper alongside the
sixteen pedestals arranged in a grid mimicking modern urban environments. Equally vibrant
process models for several projects including the Tacoma Art Museum and United Blood
objects on view from the arenas of functional to ornamental design showcase the diversity of
Services in Albuquerque. With a Lifetime Achievement Award from the Smithsonian’s
traditions, materials, and methods while maintaining a respect for craftsmanship. A gift shop
Cooper-Hewitt National Design Museum, a Gold Medal from the American Institute of
presents a selection of functional design pieces for sale. From the Ground Up is presented in
Architects, and the position of Senior Fellow of the Design Futures Council, it is very fitting
conjunction with On the Map: Unfolding Albuquerque Art s+ Design, a cultural collaboration
to have Predock’s work exhibited during the citywide On the Map: Unfolding Albuquerque Art
of more than twenty partners whose aim is to demonstrate the vitality of the art-and-design
+ Design initiative celebrating the creativity of designers working in central New Mexico.
Y
CM
MY
CY
community of central New Mexico through exhibitions, lectures, and educational programming taking place throughout Albuquerque and surrounding communities in the first half of 2015.
36 | THE magazine
Below: Antoine Predock, Tacoma Art Museum Process Pieces, clay model, early study, and fabricated model of atrium
FEBRUARY/MARCH
2015
CMY
K
TANSEY CONTEMPORARY AARON KARP See Aaron’s work on view in the Albuquerque Museum “Visualizing Albuquerque: The Art of Central New Mexico” ~ January 31 - May 3, 2015
“INDRA’S PEARLS #20” ~ Acrylic on canvas ~ 34" x 30"
A L L E X HIBITIO N S O N VIE W FEBRUA RY 21 — M AY 23, 2015
■ UNM ART MUSEUM
this art is not mine THE JONATHAN ABRAMS AND FAY PFAELZER ABRAMS ART COLLECTION
aCe in the hole THE LEGACY OF PETER WALCH
PURE FEELING: R AYMOND JONSON IN ALBUQUERQUE 1934 – 1978
The
CHANGING FACE of PORTRAITURE Connectivity
The 21st Annual Juried Graduate Exhibition Jonathan Abrams and Peter Walch, Portland, Maine, circa 2005 Photograph courtesy of Nancy Whalen
MUSEUM HOURS : Tuesday–Saturday: 10 – 4
Closed on Sundays, Mondays, and major holidays ADMISSION: FREE and open to the public. A $5 donation is suggested to help support exhibitions. FOR MORE INFO Please visit: www.unmartmuseum.org or call 505.277.4001.
Raymond Jonson, (American,1891–1982) ; Spiral Trilogy III, 1936 (Detail); Oil on canvas; 31 27 inches; Bequest of Raymond Jonson, Raymond Jonson Collection, University of New Mexico Art Museum, Albuquerque; 82.221.029
×
This event is part of the citywide collaboration On the Map: Unfolding Albuquerque Art + Design
Sir William Nicholson, (English,1872–1949) ; Sarah Bernhardt from Twelve Portraits (First Series), 1899; Woodcut, State II, 17/30; 9 1/4 8 7/8 inches image; 14 7/8 14 inches sheet; Museum purchase, University of New Mexico Art Museum, Albuquerque; 68.120
×
×
N AT I O N A L S P O T L I G H T
F or
a
N ew W orld
to
C ome : E xperiments
in J apanese
A rt
and
P hotography , 1968-1979
Nobuo Yamanaka, Pinhole Room Revolution 1, gelatin silver print, 1974. Courtesy National Museum of Modern Art, Tokyo. Post–World War II Japan was a place in great transition. The United States
prefiguring aspects of postmodern preferences for thematic books of found photos
occupation, rebuilding from the devastation of bombings, and redefining itself as a
and the use of that genre of imagery in installations. A section on Konpora (translated
society and on the world stage all contributed to this upheaval. The radical changes
as “derived from contemporary photography”) features subjective snapshot works
that were taking place forced artists to respond in new directions. Their embrace
by Shigeo Gocho, Kenshichi Heshiki, and Kiyoshi Suzuki, and color shots by Daidoō
of the camera and photo-mechanical processes changed the face of traditional
Moriyama, whose work stood in sharp contrast to the highly polished documentary
artistic output, capturing new ideas, sentiments, and the exploratory nature of
style that had previously dominated Japanese photography. Painters also began
the time. For a New World to Come: Experiments in Japanese Art and Photography,
working conceptually, tackling notions of time in their photography. Keiji Uematsu,
1968-1979 introduces American audiences to twenty-nine artists who produced a
a sculptor and performance artist, was interested in the camera’s ability to make
range of conceptual and experimental work that would shape a new vocabulary as
a structure visible (or invisible) through performance, while Tatsuo Kawaguchi’s
the Japanese nation emerged from the wreckage of defeat to forge a new identity.
installation, Land and Sea (1970) documents four wooden planks placed on the beach
Toshio Matsumoto’s For the Damaged Right Eye (1968) is one of several works in
over three days. These pieces and more are pictured in an exhibition catalogue
the show that deals with student protests and the underground subcultures of
and are on view at the Museum of Fine Arts, Houston, 1001 Bissonnet Street from
Tokyo, in this case through a triple-projection film and sound installation. In addition,
February 1 through April 26 before traveling to the Grey Art Gallery and the Japan
there were artists who used photocopiers and projections in their image making,
Society in New York City.
FEBRUARY/MARCH
2015
THE magazine | 39
Picture Frame Specialist since 1971
Randolph Laub studio 2906 San Isidro Court
3
Santa Fe, NM 87507
www.laubworkshop.com
3
505 473-3585
F E AT U R E
THEN | NOW
“Now” photogrpaphs and photo-dyptychs by ALEX TRAUBE
Joel Peter Witkin | PHOTOGRAPHER Born:1939 | Landed in New Mexico: 1972 | Inset: Witkin’s high school graduation photograph continued on page 42 FEBRUARY/MARCH
2015
THE magazine | 41
Erika Wanenmacher | ARTIST
Born:1955 | Landed in Santa Fe: 1975 | erikawanenmacher.com
Peter Sarkisian| NEW MEDIA ARTIST Born:1965 | Landed in Cerrillos 1971 | Represented by James Kelly Contemporary | petersarkisian.com
F E AT U R E
Michael Scott | ARTIST
Born:1952 | Landed in Santa Fe: 1994 | Represented by David Richard Gallery | michaelscott.net
Carol Anthony | ARTIST Born:1943 | Landed in Santa Fe: 1991 | Represented by McLarry Fine Art | mclarryfineart.com
continued on page 44 FEBRUARY/MARCH
2015
THE magazine | 43
Rose B. Simpson | ARTIST
Born: 1983 in Santa Fe | Represented by Chiaroscuro Contemporary Art | rosebsimpson.com
Carol Mothner | ARTIST Born:1943 | Landed in Santa Fe: 1971 | Represented b y N端Art Gallery | carolmothner.com
F E AT U R E
Sam Scott | ARTIST
Born:1940 | Landed in Santa Fe: 1969 | Represented by Yares Art Projects | samscottart.com
Gail Gash-Taylor | ARTIST Born:1951 | Landed in New Mexico: 1978 | Represented by Manitou Galleries |manitougalleries.com
continued on page 46 FFEBRUARY/MARCH
2015
THE magazine | 45
Paul Shapiro| ARTIST
Born:1939 | Landed in Santa Fe: 1982 | Represented by GF Contemporary| gfcontemporary.com | paulshapirostudio.com
Roxanne Swentzell | CERAMIC SCULPTOR Born:1962 | Landed in New Mexico: 1962 | Represented by Tower Gallery | roxanneswentzell.net
F E AT U R E
Joan Logghe | POET | born:1947 | Landed in New Mexico: 1973 | joanlogghe.com Jerry West | ARTIST Born:1933 | Landed in Santa Fe: 1934 | Represented by Phil Space | philspacesantafe.com
FFEBRUARY/MARCH
2015
THE magazine | 47
CRITICAL REFLECTION
Art Basel Miami Beach
Various Venues Miami Beach, Florida
ONE OF MY FAVORITE ART BASEL MIAMI BEACH PHOTOS IS OF THREE MANNEQUINS with their heads cropped off wearing offensively cheap
The Peter Marino show at the Bass Museum was full
Art Basel, she sighed, “Well I guess I could go.” With
dresses, their armless, pasty bodies sporting visibly hard
of his signature black leather even lining the walls, upon
bikinis under our daywear (just in case), we headed to
nipples beneath the thin polyester. The caption reads:
which paraded Robert Mapplethorpe penises, Farhad
the Design District to see the de la Cruz Collection and
“Beautiful stars [and] Kim Kardashian at the Paper Magazine
Moshiri butter knives and switchblades, monumental
learned that Tracy Emin is a total bitch—like she’d be
party at ABMB.” In case you’re clueless, ABMB means Art
Anselm Kiefers, and the sound of ambient opera music.
anything else. RoRo naturally wanted to tell Emin how
Basel Miami Beach and Kim Kardashian is the magazine’s
Marino’s aesthetic is stellar and his dark and visceral
inspiring her used condoms were, but after apologizing
December cover girl, flaunting a rear end that looks like an
juxtapositions were a refreshing dungeon amid the
for interrupting Emin’s table—Emin agreed that RoRo
enormous, shiny, waxed peach. So of course she went to
Florida peaches and beach balls.
should indeed be very sorry—and RoRo had to leave it at that.
Paper Magazine’s “Break the Internet” party (which by the
By Saturday afternoon I still hadn’t been to a single
way artnet.com lists as one of the ABMB parties you’ll never
art fair. If I made it to one, I knew I would be proud. By
Smell the Magic at Spinello Projects smelled like
get into).
Friday evening, my accomplice (whom I’ll call RoRo) sent
Constant Comment tea and was made possible by
That photo, however, was taken in New York City
over fifty invites for us for the next two days. When I
Gucci, whose creative director decided to use the artist
and posted to Instagram by the one and only person not
asked if she was planning to go to the fairs and, ahem,
Kris Knight’s work as inspiration for Gucci’s 2014 Fall/
at ABMB this year: Jerry Saltz, who instead
Winter Collection. The marriage of art
decided to post an ongoing mockery of real-
and fashion was never more obvious than
life attendees like Marina Abramovic, Klaus
at ABMB, where every major event is
Biesenbach, Miley Cyrus, David Zwirner,
sponsored by at least one couture house’s
Larry Gagosian, Kim Kardashian, and Hans-
generous donation. Not to mention, no
Ulrich Obrist, among others. His flippant,
ABMB publicity photo is complete without
disclosing commentary is some of the
its sartorial commentary. At “Playing with
best coverage of ABMB and reveals a big
Shapes,” Louis Vuitton’s release of Pierre
whopping truth: it’s predictable. Art Basel,
Paulin’s foldable furniture capsule collection,
Art Miami, and Miami Projects are one-stop
no shoes were allowed. Also in the Design
shops to see Damien Hirst’s pills and Richard
District, the Hermès window displayed
Prince’s newest appropriations. There are a
artist Frédérique Morrel’s plethora of richly
dozen art fairs in Miami simultaneously, with
patterned
over two hundred and fifty galleries just at
depicting temptation, original sin, the fall
Art Basel, and you will be one of seventy-five
of man, paradise lost, and seemingly every
thousand scenesters, of whom (trust me) you
other human demise. Eden never looked
know a surprising amount. Each fair has its
so abundantly carnal in this threaded land
own nuances but the most striking difference
of vanities, veneration, and luxury; the
is the lighting and floor choice (cement,
glass window harboring a magical zoo
wood, carpet), which affects the noise level
of oversized apples, horses with antlers,
and general ambience, and constitutes the
serpents, circus hoops, fawns in half fur, half
difference between shopping at Neiman
needlepoint, and other enchanted artifacts.
three-dimensional
tapestries
ABMB is an opportunity for “the art
Marcus, J. Crew, or TJ Maxx. Needless to say, the fairs are full of
tribe to have a giant sleepover, stay up late
decorative, rightfully saleable objects. In
together, and ... touch antennae” (Saltz).
curator Hikari Yokoyama’s British Vogue
I’m sure that’s not all that gets touched,
ABMB diary, it’s clear that we all saw the
and there’s a familiar feeling that what
same works of art but the most unexpectedly
happens in Miami stays in Miami. I did go
inspiring thing she says she saw that week? A
to at least four fairs, and by Saturday night
black-and-white carton of water that says,
at the Soho Club had made it through
“Boxed Water is Better.” It’s by a company
about five doormen, the last of whom
that
and
led our small posse through a snaking
philanthropy (surprised?)—a solution to the
labyrinth that spit us out at a very small
rampant bottled water consumption guzzled
techno African dance party on the beach.
between running on the beach and looking
It was still going strong at four a.m. when
at art all day (ABMB problems). It’s frankly
we walked home along the ocean and
depressing that Yokoyama was most inspired
RoRo cautioned, “Don’t feed the animals.”
by a box of water, but perhaps we should just
—Hannah Hoel
combines
sustainability,
art,
be happy that someone around there has a conscience.
FEBRUARY/MARCH
Text Message, 2014
2015
THE magazine | 49
CRITICAL REFLECTION
After the History: 167 Years of Dysfunction
Santa Fe University
of
Art and Design’s Fine Arts Gallery 1600 St. Michael’s Drive, Santa Fe
THE BIPOLAR STATE OF THE ART. WHAT’S TRANSPARENT AND REFRESHING here is its truth. I mean that for visitors to After the History:
Photography Auction”; “Old Masters Break a Hundred Million
Miley Cyrus (dressed as deranged vagabonds) at Art Basel
167 Years of Dysfunction, the work is manifestly apparent as
in London”; “Sotheby Sets World Record for Photography
in Miami cause a stir, one wonders what remains of the art
authentic. And the work is authentic because it clearly attests
Auction”; “Top 100 Most Collectible Artists”; “Who are the 50
world. Indeed it is tempting to think that the art world has
to a highly personal source for its creation. Six of them, actually.
Top Selling Female Artists at Auction?”; “What Artworks do 24
been swallowed by the combined marketing and publicity
Celebrities want for Christmas?”
machines of Hollywood and the fashion and music industries.”
Six graduating seniors were featured in the Fall 2014 BFA
Do you think?
Thesis Exhibition on view in December at the Fine Arts Gallery
December’s newsletters were rich in stories surrounding
of the Santa Fe University of Art and Design (the students
the annual Art Basel: “Art Basel in Miami Beach Opens with
That’s one pole of the art world. The BFA exhibition is
mercifully abbreviate that to SFUAD—pronounced “Suh-Foo-
Frenzy of Sales, Big Crowds, Dizzying Prices”; “Miley Cyrus
at the other. These visual arts students are trying to do what
Add”, like an Arab or Hebrew word in which a placating vowel
Rocks Miami. Jeffrey Deitch Compares Her to Mike Kelley.”
all creative students are trying to do. Poetry students aspire to
sound is bridged between two abutting consonants). The
The report goes on to observe that Deitch (art dealer and
be poets, as BFA students aspire to be artists. Poetry students
works by the six graduates spanned the range and diversity of
curator, formerly director of MOCA, Los Angeles) “was
have it easier, though. In June, the Library of Congress
art forms that have marked contemporary art since the late
handing out wristbands for the hot invitation-only event at
announced its Poet Laureate for 2015. I had to look that up
1960s: Diana E. Padilla’s monochrome mixed-media installation
the Raleigh Hotel (see “Inside Miley Cyrus’s Exclusive ABMB
(Charles Wright).
(My Little Criminal); Jackie Navielle’s The Girl in the Pink Beret:
Concert”). And while he did so, he was talking up the 22-year-
The added challenge for the art students is not simply to
Who Sits Alone and Thinks in Silence, an illustrated book and
old pop star’s art, assuring collectors that “she’s the real
survive as artists. It’s to survive success. To survive celebrity.
drawings exploring race, class, and background; large-scale
deal”; “Jim Carrey Is A Painter”; “Art World Sexy, Powerful,
We wish them well.
figurative oils on canvas by Randy Ortiz Martinez; Brandon
and Intimidating List: People You Need to Network With
—Richard Tobin
Birkey’s theme of global conflicts explored through collage and
in Miami.” Even artnet News felt obliged to offer a brief reflection
wall sculpture; Nouel Riel’s mimetic recreation of a painter’s
amidst its revelry: “When sightings of Leonardo DiCaprio and
Katherine Rita, Ritual, beeswax, honey, pollen, milk, 2014
studio (Ashim); video and found objects by Talisa Zayas dealing with self-identity vis-à-vis feminist stereotypes; and Katherine Rita’s meditations in video, installation, and wall painting. I took the exhibition title 167 Years of Dysfunction to be a postmodern epitaph to the long history of Modern Art that can be dated, say, from Courbet’s 1847 Portrait of Baudelaire, the French poet and apostle of modernism. Not quite: the title denotes the total of the ages of the six students. Full disclosure: I teach the occasional freshman or sophomore seminar at SFUAD. A major theme in my courses is that of art as experience, whether we come to it through John Dewey’s Art as Experience or through José Ortega y Gasset’s lectures in Some Lessons in Metaphysics asserting that philosophy is nothing more—or less—than the art of interacting with the world around us. Despite their very different points of departure, the two texts converge on common, fundamental insights about art and life. For Ortega y Gasset, thought about our role in the universe begins with the realization that “I am myself and my circumstances”—in other words, it begins with experience. And for Dewey, an experience of thinking “has its own esthetic quality. It differs from those experiences that are acknowledged to be esthetic [art], but only in its materials.” Art, then, is or should be an intensified form of experience. For Dewey, often it is not: “When an art product once attains classic status, it somehow becomes isolated from the human conditions under which it was brought into being … in actual life-experience. … Art is remitted to a separate realm, where it is cut off from … every other form of human effort, undergoing, and achievement.” Fast forward to the contemporary art scene, to the art world that these BFA art students aspire to enter. Here’s a sampling from that world, drawn from recent reports in artnet News and in The Art Newspaper: “Sotheby Sets World Record for FEBRUARY/MARCH
2015
THE magazine | 51
Zoe Zimmerman
Taos Center for the Arts Encore Gallery 133 Paseo del Pueblo Norte, Taos
WE ALL FALL DOWN. WE ALL GET HURT. OTHER PEOPLE HURT US. WE HURT ourselves. We are collateral damage. We are all victims of
back into photography’s original truth-telling mission.
The play of expressions on the faces and bodies is time
racism and poverty. We are the children maimed by drones,
This is how it works. In Carry in Arms, against a plain black
and again incredibly, quietly revealing, even discomfiting.
or in utero by depleted uranium cluster bombing. We are the
ground a man in horn-rimmed glasses, a suit vest, dress shirt,
The timeless play of light and dark, Zimmerman’s perfect
falsely accused force-fed tortured terror suspect who will never
and slacks holds in his arms a second man also in dress shirt and
chiaroscuro, a staple of black-and-white work, now performs
stand trial, the jailed and decapitated journalist, the crippled
slacks. The man with glasses stands firmly planted. He holds the
a third function. It stabilizes the free-fall of emotion. The
politician, the kidnapped girls, the dying village, and the soldier
other man just above and below the pelvis at the height of his
act of seeing, of bearing witness also offers healing. There
permanently brain-damaged by endless corporate warfare. We
own vest-clad belly. He averts his gaze diagonally upward toward
is a comfort in the richness of these prints that stands in
are a planet of fracked-up fissures and deepwater abscesses.
the distance over the head of the viewer. His pose is stoically
for the palpable loss and restriction they expose. The loving
We dress up in the morning to go to work in our raw wounds,
heroic, and his face, mouth set, initially seems determined. He
care that Zimmerman brings to this work is evident, and
wearing our scars, visible and invisible, inside and out. Numb
demonstrates some expression of humble satisfaction with his
ultimately provides a safe haven within which the truth and
pain becomes the inner lining of your jacket, or you wear it
role as “rescuer” but there is also a subtle unease permeating
difficulties of her subject can reside and be revealed. In this
like a bracelet on your bloodstained sleeve. How do we dress
both men’s faces and bodies that can only be explained by the
sense, in this highly original body of work, Zimmerman’s
our wounds? How do we redress them? The manuals make
unusual proximity of their bodies to one another. The “injured”
gaze caresses what heretofore remained untouched, in
recommendations: elevate the wound to the level of the heart,
drapes his arm across the back of his hero, simply laying it with
order to heal us all.
call for help, continue to breathe.
no more grip than necessary, atop that region of the shoulder
—Jon Carver
While examining our current world of hurt, photographer Zoe Zimmerman focused on the subject of support systems for the mass of walking wounded. She examined where and how the people around her found comfort. Who answers the call for help? How do we heal? Where do we feel safe? She noticed that images of people giving and receiving comfort were images of holding or hugging, images of touch, of tactile human contact between bodies—a reassuring hand, a pull to stay, a push in the right direction. Healing is haptic. It happens on the level of the body. It is not an intellectual process. Zimmerman saw how this worked in her own life. She saw the easy acceptance of feminine touch in media imagery and among her friends and family, and at the same time got interested in how it worked for the opposite sex. So that’s the place she trained her gaze. Initially she needed a format, a way to photograph straight American guys in the act of touching that was formalized, ritualized, a quasi-objective touch template that could be imposed upon her models, some kind of required bodily contact in order to explore their first responses and record some vital signs. Vintage First Aid manuals came to her rescue. She would pose men in the instructional poses suggested by the old hand-drawn diagrams in books on emergency preparedness. She would make photos of men saving and helping and healing each other by actualizing the images in the manuals with models. In doing so she would disclose intriguing, sometimes disturbing ambivalences. Zimmerman is a perfectionist. Images from her Care series succeed in no small part due to this consummate approach, but as with all good art, it is the revelatory spirit infusing the technique that matters. The drama of black-and-white is not just an art-photography convention here. It perfectly signifies the gravity of Zimmerman’s subject matter and simultaneously mocks the presumed objectivity of both the source drawings and our socio-aesthetic core concepts of photographic objectivity. She beautifully flips the function of the black-andwhite convention from authoritative to subversive by using it so well in concert with the posed, “objective,” and idealized nature of her subject that the black-and-white convention seems new and necessary in her hands, while at the same time it collapses
where businessmen traditionally have been allowed to touch one another, if only briefly.
Zoe Zimmerman, Carry in Arms, archival pigment print, 20” x 16”, 2014
CRITICAL REFLECTION
Alfred Morang: Morang and Friends
Matthews Gallery 669 Canyon Road, Santa Fe
PEOPLE HAVE BEEN CREATING THINGS ON THE HIGH DESERTS OF THE SOUTHWEST mesas for at least fourteen thousand years. But we like to
the pure arbitrariness of marks on a surface, Morang
how much he loved simply looking. A gemlike drypoint,
look at art in our own particular ways, focused paradoxically
continued to subscribe to this quest for transcendence
Santa Fe Street, from 1946, shows how insightfully he could
both on what is exotic and on who or what we feel affinity
via the image; he operated (one could almost say danced)
capture the ordinary.
with. So scenes and legends arise. For at least a century, Santa
playfully and confidently, on the cusp of abstraction, like so
Fe has attracted to itself creative modern people who have
many painters in the middle of the twentieth century.
A different side of this multi-faceted artist is revealed in his handling of paint, the intensity of color and texture
often stayed and participated in a shifting array of scenes,
Along with a good deal of his work and that of
suggesting an intense desire for experience. Many of his
wheels within a larger wheeled universe, some overlapping
some associates and students, the Matthews Gallery
heavily worked oil paintings, usually on board or panel,
in time, others in similar spaces at widely different times,
retrospective Morang and Friends includes artifacts from his
evoke a drink- and smoke-laden Toulouse-Lautrec sort
or with persons traversing several scenes over time. Some
life—ordinary empty glass bottles made extraordinary by
of nightlife, whether that lifestyle is hyperbolized or not.
artists need solitude while some need other people in order
his vivid energetic hand-painting of them, the wooden sign
Morang liked to smoke and drink and stay up talking art
to keep their creative juices flowing. Alfred Morang (1901-
for Maude’s Bar, his hangout, his violin and various other
late into the night. And if there were a few painted ladies
1958) was clearly the latter type, taking an active role in
things found after the fire that killed him and destroyed
about, they certainly appear in his paintings, such as The
a lively scene that, at the distance of over half a century,
much of the studio he had lived and worked in, which
Women at Claude’s and Tuxedo, or Dancers at Midnight.
still intrigues us. On the one hand, the world has changed
happened to be behind Maude’s Bar. Both bar and studio
There is a quality of cultivation in Morang’s self-image, his
tremendously since then; on the other, some of these works
(buildings now vanished) were on the same block of
particular brand of eccentricity or bohemianism. Morang
have the freshness of something painted yesterday.
Canyon Road as the gallery, which adds a poignancy and
was a trained and talented violinist as well as a published
In the 1920s, Morang worked in Boston as an artist,
immediacy to this revisiting of a local legend. Drawing
writer of poetry and fiction. He seemed to need many
illustrator, music teacher, and fiction writer, later marrying
upon several collections, this exhibit shows us a painter’s
outlets to convey the strength of his perceptions and
musician and artist Dorothy Clark and moving to Portland,
painter. Particularly lovely are the small ink and watercolor
yearning, as if he knew that his life would not be a long
Maine. He relocated to Santa Fe in 1938 after contracting
landscapes, such as Adobe and Poplars, where Morang’s
one. His ashes were spread along Canyon Road.
tuberculosis, at first to the Sunmount Sanitarium, and
light touch echoes the ephemerality of life in the vastness
—Marina La Palma
in the same year he joined other artists in founding the
of northern New Mexico. The Morangs loved cats and
Transcendental Painting Group, a collective influenced by
there are portraits of some of his cats, of which he always
Alfred Morang, Red Roof, ink and watercolor, 161/2” x 13”, snd
Kandinsky and other abstract expressionists, who sought
had several, as well as landscapes and portraits of people
Alfred Morang, Untitled (Lady of the Night), oil on panel, 32” x 25”, nd
spirituality through non-objective painting. While realizing
in various media. The watercolors show with a light touch
FEBRUARY/MARCH
2015
THE magazine | 53
Setting the Standard: The Fred Harvey Company and Its Legacy
New Mexico History Museum 113 Lincoln Avenue, Santa Fe
SOMETIMES I NEED TO BE REMINDED WHY I CONTINUE TO CHOOSE TO LIVE in northern New Mexico—Santa Fe in particular—with its
the Fred Harvey system introduced America to Americans.”
family business allowed women to work without risking
high cost of living and low wages making real quality of life
Harvey was the Colonel Sanders of early restaurant
their reputations. These women lived in dorms and were
a stretch for those of us who weren’t born with silver and
branding. In 1879, the Atchison, Topeka & Santa Fe Railway
strictly chaperoned and monitored—they were expected
turquoise spoons in our mouths or adobes on the Eastside
finally made it to New Mexico, and, on a handshake, agreed
to appear on duty sans makeup or nail polish in perfectly
to inherit. Usually, a hearty dose of mountain and sky ups
that Harvey would provide a decent dining experience for
starched and pressed uniforms. Service was consistently
inspiration enough to get me through another twenty-
Westward-bound, would-be tourists. Before Harvey, riding
as good as the food itself, and the Harvey Girls were some
four hours, but there are times when I crave something
the train was a commitment to hardship. Filthy conditions
of the only decent women the habitués of such isolated
more substantial. I got it recently in the form of a tour
were the rule, and dining accommodations, when they
places as Raton (where the first Harvey Girls were hired)
through Setting the Standard: The Fred Harvey Company
existed at all, were no exception—on top of which,
and Deming had ever seen, aside from Mom. Many women
and Its Legacy, the latest component of the New Mexico
customers were cheated out of way too much money for
saw becoming a Harvey Girl as their only opportunity to
Museum’s permanent exhibition, Telling New Mexico:
their barely edible food. Keeping the train on schedule took
leave home, gain some independence, and even send money
Stories from Then and Now. With its expanse of information
priority over the health, safety, and comfort of its ticketed
to their families. While I toured the exhibition, the most
presented in a fascinating little exhibition put together by
passengers. With a foresightedness we can only envy today,
popular section seemed to be video excerpts from Katrina
Meredith Davidson, the museum’s curator of nineteenth-
the AT&SF and the Fred Harvey Company envisioned
Parks’ documentary, The Harvey Girls: Opportunity Bound, of
and twentieth-century Southwest collections, Setting the
tourist dollars flowing in once their customers realized they
now-elderly women proudly recounting their experiences
Standard sets a high bar for history as storytelling that speaks
weren’t taking their very lives into their hands by purchasing
as intrepid Harvey Girls.
to both the personal and the collective. Although Davidson’s
a railroad ticket to anywhere west of the Mississippi. The
By the time Fred Harvey died—of “American-itis,”
show is situated downstairs in the less-than-ideal Harvey
Harvey House became an established brand that signified
according to his British physician, in 1901—his sons and
Mezzanine space, with its low ceilings and square footage,
fine dining and all that entailed: an acceptable, even luxurious
daughters had taken over. In order to boost sales, the
it certainly belongs upstairs with the rest of Telling New
experience, with well-trained staff in attendance.
Harvey Company came up with a concept that would evolve
Mexico. To the best of my knowledge, Setting the Standard is
As to those attendants: We’ve probably all heard of
into what we now call cultural tourism, with an emphasis
the only cohesive exhibition in town that imparts the story
the Harvey Girls, if only from the 1946 film starring Judy
on traditional Native and Hispanic arts. Architect and
of Fred Harvey and how the Englishman helped shape the
Garland. Over one hundred thousand young women took
designer Mary Colter was hired to set up an “Indian Building
West, and specifically New Mexico, as a destination for
advantage of the opportunity afforded by the company to
and Museum” at the Alvarado House in Albuquerque.
cultural tourism. As the American Southwest author Frank
go to work in New Mexico. At the turn of the century,
According to the Internet, “The Indian Building exhibited
Waters wrote, “Perhaps more than any single organization,
waiting tables was hardly respectable, but the Harvey
Native American arts, crafts, cultures, and people.” The Alvarado was, sadly, torn down in 1970. These days, some former Harvey Houses are being reclaimed and renovated. Most recently, Allan Affeldt bought the Castaneda Hotel in Las Vegas; he also owns Winslow, Arizona’s La Posada. Both of Affeldt’s properties were Harvey Houses. It’s all part of what Davidson calls today’s “Fredaissance.” Indian Detours, though it officially existed for only about five years beginning in 1926, was a significant offshoot of the Harvey’s “Indian Department” venture. Based out of La Fonda in Santa Fe, the Detours offered trips into Indian Country in the comfort of “Harveycars,” Packards and Cadillacs driven by “dudes,” handsome mechanics dressed à la Tom Mix. Their female counterparts, “couriers” or tour guides, were educated and attractive young women dressed in “Navajo-style” costumes that featured velveteen skirts, concha belts, and squash blossom necklaces. Both dudes and couriers wore the Detours trademark, silver thunderbird pins with turquoise nuggets for eyes. The Harvey Company was sold in 1968, but the original Indian Detours sign still hangs in La Fonda, the inn at the end of the Santa Fe Trail. Ah, the romance of it all!
—Kathryn M Davis Harvey Car silhouetted against a snowy New Mexico range, ca. 1926-1930, by Edward Kemp.
CRITICAL REFLECTION
Luz Restirada: from the UNM Art Museum and The Gift University of New Mexico Art Museum 1 University of New Mexico, Albuquerque
THE UNM ART MUSEUM’S LUZ RESTIRADA (LENGTHENED LIGHT) EXHIBITION does a number of things very well. It showcases the
also photos that tell big stories, like Graciela Iturbide’s
woman in a black shroud with a skirt that could have
museum’s extensive collection of photographic images,
Mujer Ángel, Sonora Desert, Mexico (1979). Here is a
come from a wedding gown, except that she’s hiking
it utilizes the Van Deren Coke Gallery beautifully,
down a rocky embankment with a boom box in her
and it gives the public an opportunity to experience
right hand and what looks like a rope lead for an
the curatorial skill of UNM Art Museum graduate
animal in her left. Whatever creature she is leading
intern Christian Waguespack. The show explores
is out of the frame to our left. There’s nothing
not only photography’s social and cultural roles
ahead of her but a vast sun-soaked desert leading
in South and Central America, but also looks at
to arid mountains in the distance.
the ways in which photographers working in Latin
John Tatschl was on the UNM faculty of Art and
America incorporate technology, art, and history.
Art History, where he taught sculpture and drawing
When making his selections, Waguespack chose to
for twenty-five years to students like architect
consider images by local or foreign photographers
Antoine Predock and weaver Nancy Kozikowski.
taken within Central and South America and also
His sculptures, retablos, stained glass, and murals
works by photographers from these areas living
grace the UNM campus from Zimmerman Library
abroad.
to the Alumni Chapel. The exhibition entitled The
Expeditionary photographers are represented
Gift, curated by Sara Otto-Diniz, pays tribute not
by François Aubert, Aztec Calendar, Mexico (c.
only to Tatschl the artist, but also to the meaning of
1870); by William Henry Jackson, Side Entrance,
gifts at many levels. These ten woodcuts, created
Cathedral at Chihuahua, Mexico (c. 1870-1875);
from Tatschl’s inner gifts of artistry and creativity
and by Claude-Joseph Désiré Charnay, Bas-Relief
in 1955, were originally a gift to UNM’s Aquinas
Colossal à Palenqué (c. 1857-1859). They each
Newman Community and Dominicans. In 2014 the
document the region’s pre-Columbian and colonial
center gifted them to the UNM Art Museum. Each
roots. Agustín Victor Casasola takes us inside the
woodcut evokes a tombstone shape and relates
physical and cultural world of revolution and war
stories from the life of Christ. The lines are big and
with his Soldaderas (women soldiers) (c. 1979). This
bold, from the muscles in Christ’s back in Christ
image of barefoot women carrying guns is raw and
before Pilate to the large hands of the people in
visually wrenching. Equally heartbreaking is Mark
the crowd, with their threatening, pointing fingers.
Ferrez’s Untitled (Woman from Bahia) (c. 1888).
In Christ Washes Peter’s Feet, Tatschl gives
The subject’s large white turban hints at Afro-
us extreme emotional depth within an economy
Islamic slave roots, but her jewelry, handbag, and
of lines. Peter’s face is turned away in shame
patterned shawl and skirt suggest baroque Europe.
or agony as he shields his face with his big
These details make her forlorn gaze that much
hands, while Christ’s face is upturned in pure
sadder.
understanding. Tatschl often presents oversized
Flor Garduño, Graciela Iturbide, and Martín
hands and feet as if grounding his figures’ stances
Chambi are three of the exhibition’s photographers
and gestures. He is also able to convey fluid
who represent indigenous individuals as both subject
motion in his woodcuts. In Peter’s Denial, Peter
and photographer. Chambi is a Quechua Indian, and
rocks backward with his right wrist cocked in
his photography offered him better opportunities
alarm, while the rooster rocks forward from
to move up in society. Waguespack also helps us
his perch, menacing Peter with his open beak.
see Latin America from outside by including images
Throughout the series, fabric flows and folds
of the region by Paul Strand, Edward Weston,
around the figures, reflecting light and creating
Tina Modotti, and others. In typical—and much-
movement. There is even humor. In The Last
appreciated—UNM style there is an ever-present
Supper, side conversations are apparent, as is
educational thread in the exhibition. There are the
some daydreaming, and even a bit of nodding off.
obligatory family portraits, but we also learn about
—Susan Wider
photos that were used as calling cards. And an enchanting 1940s image of a bashful, curly-haired child by an unknown photographer was crudely
Top: Marc Ferrez, Untitled (Woman from Bahia), from the album South American Views, albumen silver print, 7” x 4¼”, c. 1888. Gift of Eleanor and Van Deren Coke, UNM Art Museum.
mounted onto a carved wooden frame sometime in the past. This small, anonymous, historical object manages to evoke huge sadness and loss. There are
FEBRUARY/MARCH
2015
Bottom: John Tatschl, Untitled (Christ before Pilate), woodcut, 25” x 9”, 1955. Gift of Aquinas Newman Community and Dominicans. Photo: Margo Geist/UNM Art Museum.
THE magazine | 55
Six Under Thirty-Six 545 Camino
de la
Santa Fe Clay Familia, Santa Fe
DON’T LET THE RUGGED WAREHOUSE EXTERIOR FOOL YOU. SOPHISTICATION prevails at Santa Fe Clay. In Six Under Thirty-Six,
the language of mundane structures, yet emerge
co-curated by H.P. Bloomer and Natasha Ribeiro,
with a visual quality that strikes a balance somewhere
the six emerging ceramic artists in question present
between beauty and indifference.
compelling bodies of work in a wide variety of
Similar in content, Emily Duke’s sculptural
styles and techniques. The array results in a fresh
objects borrow an industrial vocabulary. Though
and enticing aesthetic tableau with a playful mix
their purposes remain cryptic, her objects, such as
of textures, treatments, and conceptual concerns.
Modified Wrench I and II, are governed by a unified
The six bodies of work also range from functional
system of order that is at once identifiable and
vessels to non-functional sculptures, and despite
indecipherable. Other objects seem tangentially
the seeming disparities, all partake of a clean and
related to architecture, such as Sling, in which
intelligible lexicon. These bodies of work are unified
earthenware pieces are strapped to the wall and
by ongoing concerns with functionality and utility,
hang gracefully, perhaps waiting for future use.
whether in form or content.
Viewing Duke’s works is akin to peering into a
Two artists work primarily with functional objects: Peter Pincus and Brooks Oliver. Pincus
dystopian toolbox where scale is disproportionate if not alien, and all these objects await activation.
creates graceful vessels, here including a vase,
This sense of potential energy is also felt in the
decanter, and cups. Soft geometric forms toe the
sculptures of Linda López. López’s ceramics could
line between organic and graphic and feel evocative
have been plucked from some alternate universe.
of mid-century modern design. Brightly colored
These whimsical objects look like organic bodies: sea
stripes are accented with metallic gold edging,
anemones and caterpillars both come to mind. Their
and every finish is applied with irreproachable
glossy, detailed bodies are imbued with emotive
finesse. The polish of the surface texture has all the
presence, as though they might come alive, grow,
delicacy of porcelain, while the structural simplicity
or flutter as soon as the viewer looks away. Some
communicates stability. His fresh, contemporary
of these pieces evoke coral reefs or tree branches
aesthetic colludes with his immaculate craftsmanship
and capture the fluidity, spontaneity, and strength of
to transcend utility in favor of the language of design.
these organic structures.
Oliver’s work carries on a similar conversation
Lastly, Adam Shiverdecker’s ceramics are
according to a different set of overriding concerns.
fractured vessels that defy function via degeneration.
Minimalist forms are characterized by more strict
These vessels take the shape of ancient Greek
geometries, often recalling industrial or manufactured
pottery and refer not only to the timeless history
objects, as in Gear Vase. While the overt simplicity of
of clay pottery, but also to the timelessness of
these structural forms is accessible and legible, subtle
human conflict, so often memorialized in motifs
asymmetries invite closer viewing. Most of Oliver’s
of warfare on ancient amphorae. Shiverdecker’s
vessels are functional vases; however, the practical
vessels carry this torch as well, but with updated
use of some pieces—such as Puff Bowl, which has an
images of modern machines, such as military aircraft.
opening to the support below—remains ambiguous
Meaty clay is applied to a skeletal structure of wire
and engages the viewer’s imagination. Other pieces,
and then allowed to crack and fracture arbitrarily.
like Clamp Vase, reference alternate uses they cannot
Rather than falling into pieces, the wire structure
actually perform.
preserves each vessel in a continual state of decay
Matt Ziemke’s sculptures speak of issues
and disintegration. His work references the dual
of land use, industrial forms, and constructions.
utility of these traditional forms as both vessels and
His hand-built objects speak to contemporary
lasting monuments of culture.
concerns such as environmental resources and
Taken together, these six artists under thirty-six
the recurring visual motifs of manufacture that
present sophisticated and complex bodies of work,
now proliferate across the modern landscape.
each governed by unique aesthetic, structural, and
The artist approaches these topics with curiosity
thematic concerns. While tackling each could be the
for the aesthetic qualities of the nexus of industry
work of many solo exhibitions, these curated selections
and the natural world and adds his own penchant
are so charming and visually fascinating that viewing
for clean lines and neat, glossy finishes. In Dual
them together does not feel like work in the least.
Cistern Vessel, the cistern structure is appropriated
—Lauren Tresp
in form, modified with mildly rugged modeling, and modernized—perhaps even glamorized—with a metallic-graphite glaze. Ziemke’s unique approach results in abstracted, referential objects that borrow
Adam Shiverdecker, Dystopian Series: Amphora, earthenware, mixed media, 22” x 19” x 15½”, 2014 Linda López, Untitled, earthenware, 14” x 7” x 7”, 2014
CRITICAL REFLECTION
Mitch Dobrowner: Still Earth/Storms
photo - eye G allery 541 South Guadalupe Street, Santa Fe
One of the purposes of abstraction is not to confuse us, but to make clear the underlying principles of how we organize the world. —William L. Fox, from Mapping the Empty
BETWEEN THE IMAGE OF A LANDSCAPE AND THE EYES THAT BEHOLD IT IS often a hypothetical, competing terrain that the poet and
desert emptiness and desolation that the artist so carefully
they become immortalized in patinas of entropic banality;
writer William L. Fox refers to as “the shifting, elusive, and
frames and shoots with an emphasis on depth of field and
however, there is no place for banality in Dobrowner’s
sometimes barren topographies of human meaning.” In
exquisite detail. It is as if the artist both intensely loved and
lexicon of visual transcendence.
Mitch Dobrowner’s exhibition of black-and-white images
feared his subject matter—as if he was compressing his
The power of this work is a counterpoint to our
of desert landscapes in the West, and Mid-Western stormy
darks, lights, and the textures of the landforms for signs
own, often ineffectual striving for self-importance in an
skies, we have a body of rigorous work that attempts
of our collective fate; or maybe it’s only clues to his own
increasingly narcissistic social world. We can vicariously visit
to wrest new meaning from a time-honored genre of
destiny that he is avidly seeking.
sites like Superstition Mountain and El Capitan in Arizona, or
photographic practice. Some of the earliest American
There is still a great attraction to photographing
Hellas Basin and Devil’s Kitchen in Utah, but Dobrowner’s
landscape photographs were based on magnificent vistas
in black and white, and why is this? Does anyone go to
portraits of the terrifyingly sublime bring us face to face with
of Western mountains and desert geography—think of
the Grand Canyon in hopes of taking home an image
something that in fact is out of reach—something that only
Carleton Watkins, Timothy O’Sullivan, and William Henry
that does not capture the color schemes there? Indeed,
suggests what Willem de Kooning referred to as “slipping
Jackson. Landscape photography is a venerable tradition,
black-and-white photographs have their own center of
glimpses” of a possible convergence of objective experience
and in the present, the more we seem to be in danger of
gravity that pushes against the obvious allure of color, and
with the artist’s translation of this experience by way of his
catastrophic changes to the earth’s various eco-systems, the
they seem to address the mind in a different way—they
artistic vocabulary and his tools of the trade.
more space seems to open up in our collective imaginations
render the immensity of space and the magnetic nature
for the search for meaning in our experiences of the physical
of profoundly rugged views as information that, although
world. For some individuals, it isn’t enough to just be on the
based on reality, is inherently abstract—as if the limited
outside of a particular landscape looking in—some people
palette of tones acted as a subjective scrim through which
seem to lose every cell in their witnessing body to the rock
other levels of meaning could be established. And it is this
faces, the parched desert floors, the crevices, cliffs, and sink
subtly toned gateway through the visible world and onto
holes, and majestically supernatural formations.
an invisible spiritual plateau that is part of the appeal of
Dobrowner, however, doesn’t only train his camera on
Dobrowner’s photographs. There is another set of artistic
the geographical phenomena he investigates, he also studies
intentions residing in his work that exists parallel to the
the sky for signs of turbulence and apocalyptic qualities of
visual record; he makes isolation resonate with another
light, electrical discharges, and dark, moisture-laden clouds.
point of view. The quest for the picturesque is constantly
His images of storms lead one to think that he was offering
with us now as our ubiquitous devices, always at our
us end-of-the-world scenarios to go along with the scenes of
fingertips, slowly erode our relationship to images as As vast and remote as these landscapes are, they are spiritually loaded with hints that these places and spaces are part of our first body-mind integration— they represent a primal house one step away from our mother’s womb. Fox wrote in the introduction to his book Mapping the Empty, “The perceptions we hold the longest become the defining stories, or myths, of our culture. The value of this apparently endless loop is that we’re conscious of the loop itself, which means we have awareness sufficient to change our relationship to the land and not just our mentally and physically constructed landscape.” Dobrowner’s photographs are not just a theoretical exercise in representing the mythic and the monumental, but a series of maps that, however briefly, align us more fully with deep time, and they gesture, however obliquely, to the future—one image at a time, with its palpable aura intact.
—Diane Armitage Mitch Dobrowner, Superstition Mountain, Arizona, archival pigment print, 34” x 40”, 2013 Mitch Dobrowner, Landspout, Kansas, archival pigment print, 14” x 20”, 2014
FEBRUARY/MARCH
2015
THE magazine | 57
THE PREMIER COMPANION FOR YOUR ART JOURNEY
Jennifer Esperanza Photography www.jenniferesperanza.com ~ 505 204 5729
Who Reads THE magazine?
An
ANNUAL GUIDE ART LOVERS featuring galleries and artists across New Mexico Available FREE at art venues throughout the state
To order your copy visit www.NorthLightShop.com or call 800.258.0929
Photo: Jennifer Esperanza
for
Reporter & Weekend Morning Anchor Natalie Swaby of KOAT-TV reads THE magazine, that’s who! SUBSCRIBE: One Year - $40 • Two Years - $75 Check to: THE magazine 1208-A Mercantile Rd. Santa Fe, NM 87507, or call us at: 505-424-7641. Master/Visa /Amex
GREEN PLANET
Anne Staveley & Jill Sutherland aka LivinLargePhoto Artists • Photographers • Collaborators • Friends “Trust the Journey” - 0 - Fool Card – WheelofFortune-Tarot.com Photographed in Santa Fe, New Mexico by Jennifer Esperanza Photo Assistants: Gabriel Kessler and Richard Kurtz
FEBRUARY/MARCH
2015
THE magazine | 59
photo: Celia Luz santos
eco-friendly printmaking santa fe
In our April Issue:
fine art silk screen studio 505-316-0237 serigrafix.com
SERIGRAFIX
Person of Interest: Adria Ellis
MARK Z. MIGDALSKI, D.D.S. GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”
The Universe of Artist Juan Kelly SPACE RESERVATIONS DUE: MONDAY, MARCH 16 CALENDAR LISTINGS DUE: MONDAY, MARCH 16 CAMERA-READY ART DUE: MONDAY, MONDAY 23 ON THE STREETS: THURSDAY, APRIL 2
TO ADVERTISE: THE magazine • 505-424-7641 Lindy Madley • 505-577-6310
A R C H I T E C T U R A L D E TA I L S
O ld
and
N ew , G alisteo
photograph by
FEBRUARY/MARCH
2015
Guy Cross THE magazine | 61
WRITINGS
Veil of Mystery: collage/acrylic on paper by Noël Hudson
The Pushing by Thomas Reidy So long I have heard this voice of my ancient sorrow So long has my discontent drowned me, Why then this suffering— This struggle to master my turmoil And live for the day to unravel itself? Why can I not understand its cause? Is my illusion my sorrow? Is my ignorance the root of my sadness? And why then so much self-concern?
Thomas Reidy, a carpenter and architect of fifty years, lives with his artist wife, Noël Hudson, in Northern New Mexico. He is the author of Poems from the Fields of Dharma, writings that are enriched by Hudson’s art. www.bluesprucebooks.com.
62 | THE magazine
FEBRUARY/MARCH
2015
Axle Indoors At Peters Projects
o v e r 1 4 0 a r t i s t s f r o m t h e pa s t 5 y e a r s o f e x h i b i t i o n s at a x l e C o n t e m p o r a ry
V. Amoré • Craig Anderson • Philip Augustin • Jamison Chas. Banks • Nova Cynthia Barker • Brad Bealmear • Ernest Bell • Jeff Benham Bobbe Besold • Michael Bisbee • Jonathan Blaustein • Burning Books • Susanna Carlisle and Bruce Hamilton • Charlie Carrillo • Susan Case • Paula Castillo • Matthew Chase-Daniel • Dana Chodzko • Chris Collins • Sydney Cooper • Glenn Craley • Guy Cross • Luke Dorman • Nina Elder • Alexandra Eldridge • Betsy Emil • Jay Etkin • Robert Gaylor • Abraham Gelbart • Shaun Gilmore • Kirk Gittings Michelle Goodman • Meggan Gould • Charles Greeley • Danny Green • Jamie Hamilton • Fran Hardy • James Hart • Karina Noel Hean Christy Hengst • Helmut Hillenkamp • Elodie Holmes • Cheri Ibes • Bart Johnson • Jennifer Joseph • Peter Joseph • Kathamann • Don Kennell • Shirley Klinghoffer • Ai Krasner • Leigh Anne Langwell • Eve Andree Laramee • Katherine Lee • Willis Lee • Joanne Lefrak David Leigh • Patti Levey • Tamara Lichtenstein • Emilee Lord • Richard Lowenberg • Cannupa Hanska Luger • Jacqueline Mallegni Dara Mark • Nina Mastrangelo • Thelma Mathias • Dominique Mazeaud • Kathleen McCloud • Diane McGregor Nick Merrick • Lia Moldovan • Duane Monczewski • Eliza Naranjo Morse • Jonathan Morse • Michael Motley • August Muth • Patrick Nagatani • David Nakabayashi • Stacey Neff • Timothy Nero • Eugene Newmann • Lara Nickel • Mayumi Nishida • Nancy Ziegler Nodelman • Gabriel Luis Perez • Larry Bob Phillips • Prakash • Gail Rieke • Zachariah Rieke Carolyn Riman • Janet Stein Romero • Meridel Rubenstein • David Rudolph • Donna Ruff Janet Russek • Kate Russell • Tara Raye Russo • Key Sanders • Celia Luz Santos • Mark Saxe • Suzanne Sbarge • David Schienbaum • Michael Schippling • Sam Scott • Danielle Shelley • Rose Simpson • David Sloan • Steve Smith • Gerry Snyder • Brandon Soder Mark Spencer • Lisa de St. Croix • Steina • Dianne Stromberg • Signe Stuart • Nancy Sutor Linda Swanson • Carrie Tafoya • Gina Telcocci • Victor Teng • Bunny Tobias • Lisa Tyrell Woody Vasulka • Janice Wall • Erika Wanenmacher • Marion Wasserman • DeeAnne Wagner • Jerry Wellman • Kappy Wells • Jerry West • Melanie West • Betsy Williams Robin D. Williams • Cedra Wood • Francesca Yorke • Greta Young • Joan Zalenski
February 13, 2015 – March 21, 2015
Opening receptiOn: Friday, February 13th, 5pM – 7pM perFOrMance and pOetry reading: Saturday, March 14th, 1pM – 4pM 1011 paseo de peralta, santa Fe nM 505.954.5800 | petersprojects.coM
Inventory of lIght tHe art oF sYsteMs BIoloGY & nanoscIence MarcH 27, 2015 – aprIl 25, 2015
partiCipatinG artists: lita albuquerque • thomas ashcraft • stephen auger • Kelsey Brooks robert Buelteman • will clift • Brian Knep • august Muth • Victoria Vesna jonathan wells • ryan wolfe • Microscopy Images By UnM & lanl scientists friDay, marCh 27th: 5:30 - 7:00 pM openInG receptIon & GallerY VIewInG 6:00 - 7:00 pM pUBlIc lectUre “dance of allergens,” dr. Bridget wilson, UnM satUrDay, marCh 28th: 10:00 aM - 7:00 pM GallerY VIewInG 10:00 aM - 3:00 pM cHIldren’s actIVItIes 5:00 - 5:30 pM FeatUred artIst talK Victoria Vesna, Ucla 5:30 pM receptIon 6:00 - 7:00 pM pUBlIc lectUre “Forming cellular and tissue patterns through cellular Mechanics,” dr. Michael sheetz, columbia University
•
1011 paseo de peralta, santa Fe new MexIco 505.954.5800 | petersprojects.coM
Winter Group Show Holiday February 6E -xhibition M arch 14 December 2014
Ned Grant, Wati Kutjara , 2013, synthetic polymer paint on canvas, 54 x 77 inches
Renate Aller Australian Artists
John Garrett Walter W. Nelson
Daniel Brice
Rose B. Simpson
Gayle Crites
Jay Tracy
Lawrence Fodor
Emmi Whitehorse
c h i achiaroscurosantafe r o s c u r o www.RD AT GYPSY ALLEY, SANTA FE, NM 702 1/2 & 708 CANYON
.com
www. chiaroscurosantafe .com
505-992-0711