Santa Fe’s Monthly
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of and for the Arts • May 2014
KERI ATAUMBI & GLENDA LORETTO
SANTA FE
53 OLD SANTA FE TRAIL | UPSTAIRS ON THE PLAZA | SANTA FE, NM | 505.982.8478 | SHIPROCKSANTASFE.COM
PHOTO © WENDY MCEAHERN
METAL DESIGNS BY
CONTENTS Seeing someone’s living and working space provides one with a sizable insight into his or her life, work, and process. Art Studio America (Thames & Hudson, $95) offers readers a look inside the studios of America’s contemporary artists—established and new. Filled with insightful interviews by editor Hossein Amirsadeghi
5 14 18 21 23 25 27 31 32 38
and rich interiors shot by Robin Friend, the book explores the environments of heavy-hitter artists such as Ed Moses, Nancy Holt, Richard Phillips, Brice Marden, Rashid Johnson, David Salle, Harmony Hammond (below), and many more. Amirsadeghi and Friend spent a year traveling the country, mapping the artists’
letters universe of:
artist Madelin Coit art forum: Hunters: oil-and-acrylic painting by Jorge Santos studio visits: James Dean Faks and Lisa de St. Croix ancient city appetite: Joseph’s Culinary Pub one bottle: The 2010 Comte Abbatucci Ajaccio Rouge “Cuvée Faustine” by Joshua Baer dining guide: Il Piatto Italian Farmhouse Kitchen and Cowgirl Hall of Fame art openings out
&
about
previews:
Panorama at 333 Montezuma and Ramona Sakiestewa at TAI Modern 41 national spotlight: Sigmar Polke at the Museum of Modern Art
studios. They visited painter Dana Schutz’s Brooklyn studio to discuss how she started painting and her process. Schutz moves around a lot while painting, comparing it to dancing while listening to books on tape or music. The interview does not focus much on her workspace, which is spacious and a little messy, but Schutz mentions that she often paints with a mirror to “see when something is off.” While in Rackstraw Downes’ Presidio, Texas, studio, Amirsadeghi asks the artist questions about leaving England, travel, and the “Zen-like deliberation’” of his art. Many of the interviews are about the lives of the artist rather than the spaces themselves, which are used more as a backdrop. At just shy of six-hundred pages, Art Studio America is a veritable encyclopedia of major artists working in America today.
artist sketchbook:
Larry Rivers by Patrick McFarlin The Artist is Still Present by Kathryn M Davis critical reflections: Gray, Matters at the Santa Fe Community College; Hannah Hughes at Phil Space; Paul Pascarella at David Richard Gallery; Ken Price at the Harwood Museum (Taos); Michael Scott at David Richard Gallery; Spring Thaw at Chiaroscuro; The Armory Show at the Center for Contemporary Arts; Timothy Nero at Ellsworth Contemporary; Wooden Menagerie at the Museum of International Folk Art; and Yoko Ono at the Venice Biennale 59 green planet: Carole Aine Langrall aka The Flower Spy, photograph by Jennifer Esperanza 61 architectural details: Road to Nowhere by Justin Sachs 62 writings: “Black Mesa” by Mary Helen Klare 42 45 47
feature:
In Pursuit of Cultural Freedom
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.
SANDRA STEINGRABER with LAURA FLANDERS
WEDNESDAY 7 MAY AT 7PM LENSIC PERFORMING ARTS CENTER From the right to know and the duty to inquire flows the obligation to act. — from Living Downstream © 2010
Sandra Steingraber, Ph.D., is an ecologist, author, cancer survivor and an internationally recognized authority on the environmental links to cancer and human health. Her acclaimed book Living Downstream: An Ecologist’s Personal Investigation of Cancer and the Environment presents her research on, and personal experience with, environmental pollution and cancer. She has also written Having Faith: An Ecologist’s Journey to Motherhood and Raising Elijah: Protecting Our Children in an Age of Environmental Crisis. Heralded as “the new Rachel Carson,” she speaks extensively and is a columnist for Orion Magazine.
TICKETS ON SALE NOW
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 XXI, NUMBER IX
WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 and 2006 Top-5 Best Consumer Tabloids P U B L I S H E R / C R E AT I V E D I R E C T O R GUY CROSS PUBLISHER/FOOD EDITOR JUDITH CROSS ART DIRECTOR CHRIS MYERS COPY EDITOR EDGAR SCULLY PROOFREADERS JAMES RODEWALD KENJI BARRETT S TA F F P H O T O G R A P H E R S DANA WALDON ANNE STAVELEY CALENDAR EDITOR B MILDER WEBMEISTER
JASON RODRIGUEZ SOCIAL MEDIA LAURA SHIELDS
CONTRIBUTORS DIANE ARMITAGE, JOSHUA BAER, DAVIS BRIMBERG, NICOLE BROUILLETTE, JON CARVER, KATHRYN M DAVIS, JENNIFER ESPERANZA, DEBORAH GAVEL, HANNAH HOEL, MARY HELEN KLARE, RINCHEN LHAMO, NATASHA RIBEIRO, JUSTIN SACHS, RICHARD TOBIN, LAUREN TRESP, AND SUSAN WIDER COVER
PHOTOGRAPH OF YOKO ONO COURTESY YOKO ONO SEE PAGE 51.
The Eldorado Studio Tour takes place from 10 am to 5 pm on Saturday, May 17 and Sunday, May 18. Artists will be showcasing work in a variety of media and genres including painting, ceramics, drawing, glass, jewelry, oil, photography, printmaking, sculpture, wood, digital, fiber, wearable, and recycled art. Artist reception: Friday, May 16, from 5 to 7 pm at the Preview Gallery Exhibit Space, La Tienda at Eldorado, 7 Caliente Road, Suite A-6. www.eldoradoarts.org
TO THE EDITOR:
Thanks for the photograph of Walter Chappell photographs on your Flashback page in the April issue. Now there’s someone I really miss. —MICHAEL FREEMAN, VIA EMAIL TO THE EDITOR:
Well, I certainly got Mindy McGovern’s goat with my Bodies in Spades article in your February/March issue. Not quite sure that I understood why, but she obviously had a good time insulting me. So be it. She’s certainly right about Damien Hirst. I should have said more about women. Anyway, funny that it should be a woman who praised the piece in a letter to you in your April issue. —ROGER SALLOCH, PARIS, FRANCE, VIA EMAIL TO THE EDITOR:
I was very impressed with Jon Carver’s review of my and Deborah Klezmer’s show at Rio Bravo Fine Art. Over the years, Jon has been the writer I always read; because he says just what is on his mind; his insights are even more compelling. Jon Carver, as usual, is a poet on paper. Nothing is weaker than water, But when it attacks something hard Or resistant, then nothing withstands it, And nothing will alter its way. —Lao Tzu —SUSAN CHRISTIE, TRUTH OR CONSEQUENCES ADVERTISING SALES
THE MAGAZINE: 505-424-7641 LINDY MADLEY: 505-577-4471 JULEE CLEAR: 505-920-5535 DISTRIBUTION
JIMMY MONTOYA: 470-0258 (MOBILE) THE magazine is published 11x 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 2014 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.
M AY
2014
TO THE EDITOR:
I must applaud Christopher Benson for his review of the Contemporary Masters exhibition at Zane Bennett. I say applaud because I do appreciate the “leap” he took as a reviewer to also write in the same review about a show across the street at David Richard. Benson wrote the truth as he saw it: “the crucial difference between the two exhibitions is that one contains minor works by major (or more successfully commoditized) artists, while the other offers major works by artists who are comparatively minor.” I saw this not as a negative review of the Contemporary Masters exhibition, but instead as a valid comparison in the philosophical context of art versus market. Good work, Mr. Benson. —ABBY THORSEN, VIA EMAIL
TO THE EDITOR:
Bravo, Kathryn Davis for posting a sign in “O’Keeffeville” stating, Sunday painters, beware, she can’t paint! What? Did I read that right? How dare she. Many will remark that her review was zealous—even a bit testy. People will say Davis is just a critic, what does she know anyway? Well, I found the review to be brave, refreshing, and spot-on. I have always found O’Keeffe’s studies, especially her watercolors, to be very fluid; she seemed to allow the medium to flow through her instead of putting an oil-on-panel stranglehold on it, as evident in the painting Black Lava Bridge, which is completely stylized. There is no risk taken in its composition and no apparent struggle with the paint to grab and embrace the moving target (water) before her. Look at Winslow Homer or George Bellows and you will know the difference about what water can say. O’Keeffe’s ability to depict crashing water against the rocks has been reduced to a third grade idea about what water and waves should look like. That is why if you stand far enough back and squint, they seem to work. Ideas are one thing, but to stand on the rocks and express with paint the dance of that day and that particular place is quite another. I think that even with another dance partner it still would not help. —J ACKSON C OHEN , VIA EMAIL TO THE EDITOR:
I sure love the Green Planet page because it gives me hope. I don’t know why, but that little kid running through the grass on last month’s Green Planet (Lysander Christo) made me all like, “Wow, that kid sure gives me hope for the future of our planet.” I wanted to share that with you all because it was a profound feeling, ya’ know? I don’t know what his parents do, or if they care about the planet, or what have you, but I sure hope they do because if anybody could help, it probably would be a Photographer/Filmmaker/Architect and a Photographer/Filmmaker/Poet. Good on ye’ is what I say to all ye’ multi-hypanate-individuals and let’s keep this here planet green! —TED WILLINS, PHILOSOPHER/GRUMP, VIA EMAIL
the magazine |5
Michael Motley DIVIRGENT DESIGN FOR THE CRE ATIVE COMMUNITY IDENTIT Y | PROPAGANDA | BOOK DESIGN | WEB
505 982 0355 | MICHAELMOTLEY.COM
ONE
May 23 - July 16, 2014, Opening Reception May 23, 5-7pm
ONE Elise Ansel, Ilan Ashkenazi, Wesley Carr, Maritza Wild Chateau, Arin Dineen, J.F. Hyde Jeff Juhlin, Carlos Motta, Timothy Nero, Fanny Sanín, Kathryn Stedham, Tamango
215 East Palace Avenue, Santa Fe, NM | www.ellsworthgallery.com | 505.989.7900
J O A N WAT T S | B O U N D L E S S
M AY 1 6 - J U N E 2 1 , 2 0 1 4 R e c e p t i o n f o r t h e A r t i s t F r i d a y, M a y 1 6 t h , 5 - 7 P. M .
C H A R L O T T E
J A C K S O N
F I N E
A R T
In the Railyard Arts District / 554 South Guadalupe Street, Santa Fe, NM 87501 T e l 5 0 5 . 9 8 9 . 8 6 8 8 / w w w . c h a r l o t t e j a c k s o n . c o m Joan Watts, Untitled 32, 2013, oil on canvas, 36 x 36 inches
Emilymason
ARGENTINA BRAZIL
Opened Jars april 25-June 1, 2014
COLOMBIA MEXICO NAVAJO NATION PERU USA
Well Watered, 2013, oil on canvas, 60¼" x 50"
Javier Villegas, Herbaceous
SYMPOSIUM
EXHIBITION
June 7 & 8
June 7 – August 30
Register today at:
516 ARTS UNM Art Museum Albuquerque Museum
regonline.com/DLA Artists/Speakers: Pablo Helguera Nahum Mantra Amor Muñoz Alex Rivera & more
Downsized, 2013, oil on canvas, 40" x 42"
Produced by 516 ARTS at the Albuquerque Museum
Opening & Block Party: Saturday, June 7, 5-9pm 516 ARTS, 516 Central SW Downtown Albuquerque Catalog by Radius Books
LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com
This project is supported in part by an award from The National Endowment for the Arts. Funded in part by the NM Humanities Council, an affiliate of the National Endowment for the Humanities.
WAREHOUSE 1-10
ERNEST CHIRIACKA
110 NORTH MAIN STREET MAGDALENA, NM 87825 TEL: 1 + 575-854-3253 www.warehouse110.com
ONE MAN GROUP SHOW
PAINTINGS - SCULPTURE - SKETCHES - DOODLES
GERALDO MCINTYRE - KIRWIN JERRY (GERALDO) KIRWIN GERALDO (JERRY) KIRWIN “JEREMIAH” MAY 3 - MAY 21, 2014
OPENING RECEPTION SATURDAY MAY 3, 11 AM TO 4 PM
201 SOUTH MAIN STREET MAGDALENA, NM 87825 TEL: 1 + 575-854-3253 www.warehouse110.com
SIGRID McCABE IS AN ANIMAL
SCULPTURE & PAINTINGS
MAY 3 - MAY 21, 2014
OPENING RECEPTION SATURDAY MAY 3, 1 PM TO 6 PM warehouse 1-10 and warehouse 1-10 annex tuesday through saturday - by appointment only cdmaria@warehouse110.com
Photography: Craig Clark
WAREHOUSE 1-10 ANNEX
“Newborn” • 34”x24” (Detail) • Oil on Board
Happy Mother’s Day! – Now Showing – Ernest Chiriacka • Chuck Volz Robbi Firestone • Robin Rotenier Brant Kingman • Terrance Guardipee Alice Bailey • Ronald Kil
fine western & contemporary art 203 West Water St. • Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966
IAN RATOWSKY DUAL REALITIES APRIL 25 - MAY 24 2014
RECEPTION FRIDAY APRIL 25 5 - 7 PM
zane bennett contemporary art 435 S GuADALuPE ST, SANTA FE, NM 87501 T: 505-982-8111 F: 505-982-8160 zANEbENNETTGALLERY.COM ABOVE: Study Of A NOmAd, mixEd mEdiA ON StrEtchEd muSliN, 79 x 73.5 iN, 2011
BILL HECKEL Wilderness Untamed Monochrome Images Bronze Sculptures
New Concept Gallery,
610 Canyon Road, Santa Fe Recption: Friday, May 16 from 5 to 7pm.
G.Wahl/mixed media on canvas
Faux burl,quarter white oak on convex panel,antique silver ripple
Picture Frame Specialist since 1971
Randolph Laub studio 2906 San Isidro Court
3
Santa Fe, NM 87507
www.laubworkshop.com
3
505 473-3585
MADELIN COIT’S art is an investigation into various forms of perception. Media include painting, drawing, words, found objects, and conceptual pieces that involve the use of light and shadow. Much of her art is centered on “variations on themes.” Coit’s work is clean, precise, and eshews frills. Coit is basically an art explorer. Her work has been shown at LewAllen Contemporary, Evo Gallery, the Center for Contemporary Arts, and the Art Santa Fe Project Space. An exhibition at Wade Wilson Art is planned for November 2014. www.madelincoit.com
UNIVERSE OF
WORDS AND LETTERS
MINIMALISM
NEW WORK
For me, a mark, a gesture, (alphabet) can express a
One of my beloved teachers told me to learn when to
I am talking to you about pneuma—life’s breath—
variety of information. The same format with food gets
stop, when to leave it alone, when to take a walk, to let
which makes insidious demands. It seems to be
entirely different meals. This format is the basis for my
it sit, to let the work be uncooperative, to cherish the
like that crazy, loco thing that makes us lust/love
work, which includes neon, steel, gobo and video,
little shit. Was that what it was like to make breakfast for
for one person over another. It makes a person
shadow, performance, text works, and paintings. Mix
Gummo, Harpo, Zeppo, Chico, and Groucho? Cheerios ?
spend a lot of time marking and shaping, and
and match.
feeling resolved and complete when done.
SOLITUDE LIGHT AND SHADOW Ephemeral
and
Depending on the medium it can be quiet, or grinding
mesmerizing when watching a piece transform with
with mechanical noise—like life. These series are large
Earth’s rotation. This is entertaining and creates a
and lanky and seem to go on and on and then they rest.
huge variety of possibilities—it is a luxurious part of
One will get my attention again and we amble off to the
the process of creating a work. No cleanup.
next destination for that work, like friendship.
M AY
2014
media.
Fixed
I am alone in the studio much of the time. It is a habit. when
artificial
PHOTOGRAPH BY
D ANA W ALDON
the magazine |15
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ART FORUM
THE MAGAZINE ASKED A CLINICAL PSYCHOLOGIST AND TWO PEOPLE WHO LOVE ART TO SHARE THEIR TAKE ON THIS OIL-AND-ACRYLIC PAINTING ON CANVAS BY JORGE SANTOS ENTITLED HUNTERS, (COURTESY EVOKE CONTEMPORARY, SANTA FE). THEY WERE SHOWN ONLY THE IMAGE AND WERE GIVEN NO OTHER INFORMATION. Emotional conflict is embedded in this work. At first glance,
The last person is off to the side of the frame with a solemn
by a woman who is almost hidden from sight. Her face,
the scene appears bright and lively but close inspection
expression. She is surrounded by rope that is attached to
shadowed and distorted, is the most sinister aspect of the
shows the painting is actually somber in tone. No one,
nothing or no one. Maybe she also tried for the woman
painting, despite the woman’s smile. They attempt to lure a
human or animal, makes eye contact with each other or
whom everyone desires and failed? Next to her is a dog
seemingly sleeping girl and the squirrel on her back with an
with the viewer. Psychologically, such detachment suggests
staring at you, the viewer, with a look of confusion. I find this
acorn. Bondage plays a role; the same rope is used to bind
depression. Another example of contrast appears in the
piece to be cheeky and humorous with its ambiguities and
the kneeling girl on the right. Her clothes look like they were
use of motion. While the river is flowing and the fire is
peculiarities, regardless of its potentially sinister undertones.
once a sail, as if she was washed ashore, while everyone else
blazing, the people and animals are frozen. Likewise, the
—NATASHA RIBEIRO, GALLERY COORDINATOR, SANTA FE CLAY
seems to be in somewhat modern garb. The tree also plays a
characters’ clothing is restrictive (i.e., helmets, a leather
large role; it gives the girl on the right shade, the mischievous
corset, a coiled rope around the right seated woman).
This riparian scene is a modern allegory, reminiscent of
couple with the rope cover, while providing comfort to the
Stillness and constriction symbolize repression and add
Botticelli’s Primavera, but steeped in trickery and mischief.
sleeping girl. The bound girl and her dog are almost removed
to the work’s dark emotional tone. On the left, a red-
Upon first glance everything seems rather idyllic, but given
from whatever trickery is happening to her right. Her dog
skirted woman tugs at a rope. She pulls the man on the
a closer look the image gains a more sinister feel. Is there
looks directly at the viewer as if to the only person aware of
tree like a puppet, controlling his fate and desires. Like
some strange game of sexual deviancy afoot? On the left
the entire scene, almost appealing for intervention.
the restraining leather corset he wears, she dominates
side a young man in armor is hoisted up a tree with a rope
—NICOLE BROUILLETTE, WRITER, ART LOVER
him. Which girl will he pursue? Will he fall down? Only she decides. Perhaps the artist is suggesting that while men may be the center of attention, women are really in charge. Lastly, the clothing is a mixture of medieval garb with motorcycle boots. Oh, the timeless power struggles between the sexes. —DAVIS BRIMBERG, PH.D., CLINICAL PSYCHOLOGIST This surreal, highly stylized, allegorical scene entails a lush green forest with a sparkling, pristine body of water. There are four people, all of whom are slightly genderneutral. One woman has a look of postorgasmic awe. She tenderly caresses a tree while a squirrel stands calmly on her back. The tree is clearly symbolic of life, strength, and redemption. Her eyes are closed. In fact, all four people in the scene seem to have their eyes closed softly. One person is in the tree looking down on the woman. This person is reaching, reminiscent of Michelangelo’s The Creation of Adam, practically touching the woman while wearing a fetishized corset. Attached to the corset is a rope. Another person, who is also reaching for the woman showing reverence to the tree, is at the other end of the rope.
18 | the magazine
M AY
2014
333 montezuma ave. santa fe, nm 87501 / (505) 988-9564 / www.333montezumaarts.com
STUDIO VISITS
JOHN UPDIKE WROTE, “WHAT ART OFFERS IS SPACE—A CERTAIN BREATHING ROOM FOR THE SPIRIT.” TWO ARTISTS RESPOND. During the five years it took to paint Tarot de St. Croix, I experienced many amazing synchronicities. Every one of the seventy-eight paintings had a profound message to teach me. I felt guided and was literally living the tarot. Through this offering, the spirit has a chance to speak as an oracle.
—LISA DE ST. CROIX St. Croix will be exhibiting her tarot paintings and doing tarot readings with Axle Contemporary the weekend of June 6th as part of Axle’s performance series. Several paintings and art journals will be in the Community Gallery show Engage, on view from May 9 to June 13. As well, St. Croix will be doing a presentation called Tarot de St. Croix at Op-City bookstore in Santa Fe on May 10 at 3 pm. www.lisadestcroix.com and http://lisadestcroix.blogspot.com/
The Spirit of Art chooses us as its conduits, leading us on a path with the Divine. In that journey we are allowed to accompany the Spirit of Art as Life unfolds in Creativity. As artists we have no choice but to follow and allow the Spirit of Art to live through us.
—JAMES DEAN FAKS Faks participated in the Native Treasures Show and the History Museum Show in 2013, and will do so again this year. He will be having an opening at The Flying Fish Gallery on Canyon Road on May 30. His work can be seen in Santa Fe at the History Museum, the Wheelwright Museum, Museum of Indian Arts and Culture, and the Contemporary Museum of Indian Art. His work is also shown at the Heard Museum, Phoenix, the Autry Museum in Los Angeles, and tshe Museum of Arts and Design in New York City. www.facebook/TheSpiderandTheFox.
M AY
2014
the magazine |23
ART Celebrate Mom! Join us for our Traditional Mother’s Day Grand Buffet Sunday, May 11 • 10 am to 5 pm A delightful feast for Mom, designed by Executive Chef Christopher McLean and his culinary team. From a Seafood Extravaganza featuring Snow Crab Legs to Chef Carved Roast Turkey and Prime Rib of Beef plus an Array of Brunch Entrées. Adults $52, Seniors $44 Children under 12 $21, Under 5 Free
Join us for a Complimentary Mother’s Day Sunrise Yoga Experience at 8:30 am with
505.819.4035 • 1297 Bishop’s Lodge Rd.
bishopslodge.com Join Us Sundays for Santa Fe’s Award-winning Champagne Brunch Buffet.
WALTER W. NELSON • THE BLACK PLACE: EARTH PAINTINGS • May 3 – June 30, 2014 You are cordially invited to the Opening Reception SATURDAY MAY 3, 2014 from 1 to 4 pm Works on canvas, paper and wood inspired by Georgia O’Keeffe’s austere and remote “Black Place”. This show coincides with the release of Walter W. Nelson’s photography book
THE BLACK PLACE: Two Seasons with an Essay by Douglas Preston and forward by Katherine Ware, Curator of Photography, New Mexico Museum of Art ***Walter W. Nelson, Douglas Preston and Katherine Ware will be Present at the opening reception to sign Copies of the Book***
Cafe Pasqual’s Gallery 103 East Water Street, 2nd floor
•
East of the Cafe - take the elevator
•
505.983.9340 www.pasquals.com
Image: “Homage To Diego Rivera” • Mix Media: Oil on cut layered canvas, wood, terracotta • 40” x 103” © Walter W. Nelson
ANCIENT CITY APPETITE
ancient city appetite BY JOSHUA
BAER
Joseph’s culinary pub 428 Agua Fria Street, Santa Fe, New Mexico Sundays through Thursdays: 5:30-10:00 pm. Fridays and Saturdays: 5:30-11:00 pm. 505-428-6390 Do not miss these dishes:
meet but will never know, and then there are the people you meet and feel like
Pressed pork belly with apple demi glace (with preserved lemon, pickled
you’ve known all your life. Joseph Wrede, the Joseph behind Joseph’s, falls into
ginger, and Brussels sprout slaw). $16. Addictive, sensual, and possibly sinful.
the third category. His cooking is an extension of his good nature. Each dish is
Duck fat fries (from the Bar Menu, with homemade ketchup). $9. Tied
an old friend, but an old friend with a stranger’s sense of adventure. Jordi Savall
with the steak au poivre for the best dish on the menu.
playing “A Love Supreme” on a seventeenth century viola, if you will.
Crispy duck, salt-cured confit style (with a sweet potato caramel glaze,
Drinking at Joseph’s can be as much fun as eating there. At $15 a glass
French lentils, warm radicchio, and pancetta salad). $28. A little more duck
or $45 a bottle, the Berlucchi “Cuvée-61” Rosé sparkling wine works with
meat and a little less duck fat than you find in your garden-variety, Balthazar-
everything. At $110 a bottle, the 2009 Château La Nerthe Châteauneuf-du-
style duck confit, but no less delicious. If you’re at the bar—and the seats at
Pape is the best red wine on a deep list. If you’re eating at the bar and
the bar are the best seats in the house—order the crispy duck as an appetizer.
don’t feel like drinking wine, the Chimay ale from Belgium—at $15 a chilled
Steak au poivre (New Mexico beef tenderloin with Madeira wine, porcini
goblet—is a worthy complement to the crispy duck and steak au poivre.
mushroom sauce, and smashed potatoes). $42. A local classic. Order it rare,
Joseph’s is that rare combination: a serious restaurant that refuses to
even if you usually order your steak medium rare. The texture is the whole
take itself too seriously. Call them. Ask for seats at the bar, or in the main
story. Cracked peppercorns tenderize the meat. The steak’s interaction with
room by the door or the windows. Pace yourself. Food this good can be eaten
the Madeira, porcinis, and smashed potatoes takes you to the heart of luxury:
in a hurry, but it tastes that much better when you take your time.
Space, time, delight without guilt, indulgence without remorse. Butterscotch pudding with caramel sauce and sea salt. $12. It would be a crime to leave the restaurant without tasting this dessert. There are the people you meet and get to know, there are the people you M AY
2014
Ancient City Appetite recommends places to eat, in and out of Santa Fe. Photograph by Guy Cross, ©2014. Send the names of your favorite places to places@ancientcityappetite.com.
the magazine |23
a luxury you can afford
Celebrate Mom!
featuring new ‘casual favorites’ on our dinner menu:
Mother’s Day Brunch
sherried chicken salad w/ golden raisins, toasted almonds, avocado & tomato - 12.00 santacafe green chile burger w/ rosemary potato chips & judy’s catsup - 9.50 w/ new mexico sharp cheddar cheese - 10.50
Sunday, May 11 11:30am –3pm
blue corn chicken confit enchiladas w/ red & green chile, asadero cheese & calabacitas - 12.00 happy hour weekdays 4:00 - 6:00 pm full bar w/ free wi-fi & hdtv
Make your reservations today 505.982.4353 653 Canyon Road compoundrestaurant.com
restaurant bar
Lunch • Dinner • Bar
231 washington avenue - reservations 505 984 1788
gift certificates, menus & special events online www.santacafé.com
photo: Kitty Leaken
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Drink different.
Small Batch Heirloom Spirits from the Great Southwest
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ONE BOTTLE
one bottle :
the 2010 comte abbatucci aJaccio rouge “cuvÉe faustine” BY JOSHUA
BAER.
The sorcerer will see you now. It could take an hour. Or two, if you and
here to solve your problems. If anything, he’s here to create problems,
he get along. His sessions are fluid. There are no set times. And
big problems, except that they’re the kind of problems that make your
you’ll know when it’s over. There won’t be any doubt in your mind.
problems look like solutions. You’ll do fine. Just walk down the hall to
He doesn’t charge for his sessions. You can leave a donation,
the door at the end and knock. He’ll probably open it before you knock.
but he’ll just take the money and give it to the next homeless person he sees. That’s the nature of invitation-only. When he invites you to come in for a session, that means he heard about you or read about
He’s expecting you. Which brings us to the 2010 Comte Abbatucci Ajaccio Rouge “Cuvée Faustine.”
you and decided you had something to contribute. “A role to play”
In the glass, the 2010 Abbatucci “Cuvée Faustine” is a clear garnet.
is the way he describes it. Same thing if you get invited back. Either
The wine’s lack of opacity gives it a self-contained brilliance. The bouquet
way, you don’t owe him money.
is an intimate hint, a private suggestion that you are being escorted into
Leave your rings on, but if you have keys or coins or anything else made out of metal in your pockets, leave them in the basket, along with your phone. I’m the only other person here, and there’s nobody else on his schedule this afternoon, so your
the realm of authentic pleasures. On the palate, those pleasures nourish you and their nourishment gives you strength. The finish acts like it wants to harmonize all of the wine’s flavors into a single, extended tone, as was the case with the 2009 Abbatucci
things will be safe. And, if you could turn off your phone,
“Cuvée Faustine.” Then, without fanfare, the finish reverses
that would help. It’s irrational, I know, but I feel weird
direction and allows the wine’s flavors to become a chorus
turning off other people’s phones.
of diversified gestures. This was a brave move on the
It has something to do with magnetism, obviously,
part of Jean-Claude Abbatucci. Most winemakers strive
and with the disruption of his energy, but I’m new to
for the resolved finish. Whether the move was accidental
this, so I really shouldn’t guess. The best thing would
or intentional is beside the point. The point is that
be to ask him. He might not get around to telling you—
Abbatucci trusts his own wines—and, one would assume,
when you’re in there with him, events take on a life
his own taste.
of their own—but he appreciates it when people ask
Absolutely. I doubt anyone will notice, not unless they
questions. All kinds. Nothing’s off-limits. Just don’t
know you incredibly well, but you do look different. If you
expect any answers. Once the session gets rolling,
have a dog, don’t be surprised if he sniffs every inch of you.
he’ll stay focused on his sorcery.
After my first session, I went home and took a nap, and
My sense is that this is who he is, and who he’s always been, even when he was a little kid. Brazil,
my Aussie climbed into bed and curled up in the crooks of my knees. We slept that way for days. We still do.
somewhere along the coast. No, not Rio. A fishing
It’s everything, but mostly it’s the sorcery. You can’t
village. He told me the name but I forgot. According
go through something like what you just went through and
to him, the entire country is one big metaphysical
come out the same. Magic’s not the right word. I mean, of
event. Everyone and everything down there is
course, magic’s involved. How could it not be? But there’s
a sorcerer, from the cab drivers to the stoplights to the
more to it than what the naked eye can’t see. Or refuses
leaves on the trees. Don’t ask me to explain what that
to see. Magic’s a trick. What the sorcerer does—with you,
means, but that’s what he says. It can be a challenge,
with himself, and with the rest of the universe?—that’s the
knowing when to take him literally and when to take
opposite of a trick. Think about a river. A big, wide, lazy
him figuratively, but I can tell you this: When he says
river. Think about how the water in that river knows how
something, pay attention, because he won’t say it twice,
to move and hold still at the same time. Think about all the
and he’s not telling you what he’s telling you so you’ll
clouds that had to form and all the rain that had to freeze
forget. My first session, I kind of let my mind wander,
and all the sun that had to shine and all the snow that had
you know, just to see where it went? Huge mistake.
to melt to feed all of that water into that river. That’s what
He notices everything. He may be a mystery to you, but
just happened to you.
you are not a mystery to him. I wouldn’t worry. He’s not judgmental, at least not about people. His issue is events. The thing to remember is that this is sorcery, not therapy. He’s not
M AY
2014
One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. All content is ©2014 by onebottle.com. If you can’t find a wine, write to me at jb@onebottle.com, and I’ll help you find it.
the magazine |25
DINING GUIDE
Aspargus
Il Piatto Italian Farmhouse Kitchen 95 West Marcy Street, Santa Fe Reservations: 984-1091
$ KEY
INEXPENSIVE
$
up to $14
MODERATE
$$
$15—$23
EXPENSIVE
$$$
VERY EXPENSIVE
$24—$33
$$$$
Prices are for one dinner entrée. If a restaurant serves only lunch, then a lunch entrée price is reflected. Alcoholic beverages, appetizers, and desserts are not included in these price keys. Call restaurants for hours.
$34 plus
EAT OUT OFTEN PHOTOGRAPHS :
G UY C ROSS
...a guide to the very best restaurants in santa fe, albuquerque, taos, and surrounding areas... 315 restaurant & wine bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$ 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. Watch for special wine pairings. andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. anasaZi restaurant Inn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room. House specialties: For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses. Comments: Attentive service. body cafÉ 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ Cuisine: Organic. Atmosphere: Casual. House specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Avocado and Cheese Wrap. b ouche
451 W. Alameda Street 982-6297 Dinner Wine/Beer Patio. Major credit cards. $$$ Cuisine: French Bistro fare. Atmosphere: Intimate with an open kitchen. House specialties: Standouts starters are the “Les Halles” onion soup and the Charcuterie Plank. You will love the tender Bistro Steak in a pool of caramelized shallot sauce, the organic Roast Chicken for two with garlic spinach, and the Escargots a la Bourguignonne. Comments: Menu changes seasonally. Chef Charles Dale and staff are consummate pros. cafe cafe italian grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$
Cuisine: Italian. Atmosphere: Casual. House specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled Eggplant sandwich. For dinner, the grilled Swordfish. cafÉ fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $$ Cuisine: Call it contemporary comfort food. Atmosphere: Casual. House specialties: For breakfast, both the Huevos Motulenos and the Eldorado Omlet are winners. For lunch, we love the One for David Fried Fish Sandwich, and the perfect Green Chile Cheeseburger. Comments: Annamaria O’Brien’s baked goods are really special. Try them. You’ll love them. cafÉ pasQual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner Beer/Wine. Major credit cards. $$$ Cuisine: Multi-ethnic. Atmosphere: Adorned with Mexican streamers and Indian maiden posters. House specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. 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, Kung Pau Chicken, and Broccoli and Beef. 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. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or
the classic peppery Elk tenderloin.
beer on draft, and great service.
doc martin’s restaurant 125 Paseo del Pueblo Norte. 575-758-2233. Lunch/Dinner/Weekend Brunch Full bar. Major credit cards. $$$ Cuisine: Regional New American. Atmosphere: Down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves is the Pan Seared Whole Boneless Trout. Comments: Great bar.
harry’s roadhouse 96 Old L:as Vegas Hwy. 986-4629 Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Down home House specialties: For breakfast go for the Scrambled Eggs with Smoked Salmon, Cream Cheese, or the French Toast. Lunch: the All-Natural Buffalo Burger. Dinner the Ranchero Style Hanger Steak or the Grilled Salmon Tacos. Comments: Friendly.
Kohnami restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ Cuisine: Japanese. Atmosphere: Casual. House specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the utterly delicious Ruiaku Sake
dr. field goods kitchen 2860 Cerrillos Rd. 471-0043. Lunch/Dinner Beer/Wine Major credit cards. $$$ Cuisine: New Mexican Fusion. Atmosphere: Casual and friendly. House specialties: Starters: Charred Caesar Salad, Carne Adovada Egg Roll, and Fish Tostada. Mains: El Cubano Sandwich, Steak Frite, and the Pizza Margartia. Comments: Nice portions and you leave feeling good. Real good.
il piatto italian farmhouse kitchen 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ 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.
the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.
downtown subscription 376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $ Cuisine: Standard coffee-house fare. Atmosphere: A large room where you can sit, read periodicals, and schmooze.. House specialties: Espresso, cappuccino, and lattes. el farÓl 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Spanish Atmosphere: Wood plank floors, thick adobe walls, and a small dance floor for cheek-to-cheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang. el mesÓn 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$ 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. geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and
iZanami 3451Hyde Park Road. 428-6390 Lunch/Dinner Saki/Wine/Beer Major credit cards. $$$ Cuisine: Japanese-inspired small plates. Atmosphere: A sense of quitetude. House specialties: For starters, both the Wakame and the Roasted Beet Salads are winners. We also loved the Nasu Dengaku—eggplant and miso sauce and the Butakushi—Pork Belly with a Ginger BBQ Glaze. Comments: A wonderful selection of Saki and very reasonable prices. Jambo cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups. Joseph’s culinary pub 428 Montezuma Ave. 982-1272 Dinner. Beer/Wine Major credit cards. $$$ 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 Lamb & Baby Yellow Curry Tagine or the Crispy Duck, Salt Cured Confit Style. Comments: Produce is procured locally. The bar menu features Polenta Fries and the New Mexican Burger. Wonderful desserts, excellent wine,
la plancha de eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast / Lunch / Dinner / Sunday Brunch 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: Pho Tai Hoi: vegetarian soup. Comments: Friendly waitstaff. la plaZuela on the plaZa 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$ Cuisine: New Mexican and Continental. Atmosphere: Casual House specialties: Start with the Tomato Salad. Entrée: Braised Lamb Shank with couscous. Comments: Beautiful courtyard for dining. maria’s new meXican kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$ Cuisine: American/New Mexican. Atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. House specialties: House-made Tortillas and Green Chile Stew. Comments: Perfect margaritas. midtown bistro 910 W. San Mateo, Suite A. 820-3121. Lunch/Dinner Beer/Wine/ Patio. Major credit cards. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room with mirrors. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection.
continued on page 29 M AY
2014
the magazine |27
CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY
Chateau Montelena Winemaker Dinner Thursday, May 22, 7pM u $95 / person u reservaTions: (505) 986-9190
1st COURSE halibut Francaise with Fresh peas & saffron sauce 2011 Chardonnay, Napa Valley
e 2nd COURSE duck & Morel Mushroom ravioli with Fiddlehead Ferns & Wild ramp sauce 2010 Cabernet Sauvignon, Calistoga
e 3rd COURSE Grilled Galisteo Lamb Chop with Wilted spring Greens, Fava Bean Fritters & Tamarind sauce 2009 Estate Cabernet Sauvignon, Napa Valley
e dESSERt Black & Blueberry Croustade with Camembert cheese 2011 Zinfandel, Napa Valley Sunday- Thursday, 5:00 - 9:00 pm u Fri day- Saturday, 5:00 - 9:30 pm 315 Old Santa Fe Trail u Santa Fe, NM u www.315santafe.com Reservations Recommended: (505) 986.9190
DINING GUIDE
Major credit cards. $$ Cuisine: New Mexican and American. Atmosphere: Casual ajnd Friendly. House. specialties: For brakfast, go for either the Sheepherder’s Breakfast: new potatoes with jalapeno and onion, topped with red and green chile, melted chees, and with two eggs any style or the perfect Eggs Florentine: two poached eggs with hollandaise and an English muffin or the made-from-scratch pancakes. Lunch favorites are the Carne Adovada Burrito; the Green Chile Stew; the Tostada Compuesta; and the Frito Pie. Comments: No toast is served at Tecolote. Why? It’s a Tecolote tradition, that’s why.
n New Locatio
THE COWGIRL HALL OF FAME: GREAT BURGERS, RIBS, BRISKET, SALADS, AND A FULL BAR—319 S. GUADALUPE STREET. 982-2565. mu du noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ Cuisine: Pan-Asian. Atmosphere: Casual. House specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Organic. new york deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$ Cuisine: New York deli. Atmosphere: Large open space. House specialties: Soups, Salads, Bagels, Pancakes, and gourmet Burgers. Comments: Deli platters to go. plaZa cafÉ southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$ Cuisine: American and New Mexican. Atmosphere: Bright and light. House specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile. rio chama steakhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$ Cuisine: All-American, all the way. Atmosphere: Easygoing. House specialities: Steaks, Prime Ribs and Burgers. Haystack fries rule Recommendations: Nice wine list. ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. rose’s cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños and the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. san Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ 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.
M AY
2014
Major credit cards. $$ Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. House specialties: At lunch try the San Francisco St. hamburger on a sourdough bun; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce New York Strip steak, served with chipotle herb butter, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. santacafÉ 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. Atmosphere: Minimal, subdued, and elegant House specialties: The world-famous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Panseared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails only $5. santa fe bar & grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmealcrusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. santa fe capitol grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: Tuna Steak, the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, the New York Strip with a Mushroom-Peppercorn Sauce, and Ruby Red Trout. Desserts are on the mark. Comments: A great selection of wines from around the world. Happy hours 3 to 6 pm and after 9 pm. saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: . Do not pass on the Baby-Back Ribs when they are available. second street brewery 1814 Second St. 982-3030.
Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Simple pub grub and brewery. Atmosphere: Real casual. House specialties: Beers are outstanding, when paired with the Beer-steamed Mussels, Calamari, Burgers, or Fish and Chips. Comments: Sister restaurant in the Railyard District. shake foundation 321 Johnson St. 982-9708. Lunch/Early Dinner - 11am-6pm Major credit cards. $$ Cuisine: All American. Atmosphere: Casual with outdoor table dining. House specialties: Green Chile Cheeseburger, the Classic Burger, and Shoestring Fries Comments: Sirloin and brisket blend for the burgers. Take-out or eat at a picnic table. shohko cafÉ 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$ Cuisine: Authentic Japanese Cuisine. Atmosphere: Sushi bar, table dining. House specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff. station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffees and teas. Atmosphere: Friendly. House specialties: For your breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Many Special espresso drinks. at el gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.
steaksmith
sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: 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. tecolote cafÉ 1203 Cerrillos Rd. 988-1362. Breakfast/Lunch
Soon
teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$ Cuisine: Farm-to-fork-to tableto mouth. Atmosphere: Casual. House specialties: For breakfast, get the Steamed Eggs or the Bagel and Lox. A variety of teas from around the world available, or to take home. terra at four seasons encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American with Southwest influences. Atmosphere: Elegant House specialties: For breakfast, we love the Blue Corn Bueberry Pancakes. For dinner, start with the sublime Beet and Goat Cheese Salad. Follow with the Pan-Seared Scallops with Foie Gras or the delicious Double Cut Pork Chop. Comments: Chef Andrew Cooper partners with local farmers to bring fresh seasonal ingredients to the table. A fine wine list and top-notch service. the artesian restaurant at oJo caliente resort & spa 50 Los Baños Drive. 505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: 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, foillow with the Trout with a Toa sted Piñon Glaze. Comments: Nice wine bar. the compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: American Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. the palace restaurant & saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ Cuisine: Modern Italian Atmosphere: Victorian style merges with the Spanish Colonial aesthetic. House Specialties: For lunch: the Prime Rib French Dip. Dinner: go for the Scottish Salmon poached in white wine, or the Steak au Poivre. the pink adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club Sandwich. For dinner, Steak Dunigan or the SanFried Shrimp Louisianne. Comments: Cocktails and nibblles at cocktail hour in the Dragon Room is a must!
the shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: New Mexican. Atmosphere: A local institution located just off the Plaza. House specialties: If you order the red or green chile cheese enchiladas. Comments Always busy., you willnever be disappointed. the ranch house 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best BBQ ribs. tia sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ Cuisine: Traditional New Mexican. Atmosphere: Easygoing and casual. House specialties: Green Chile Stew, and the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Lunch: choose from the daily specials. Comments: This is the real deal tune-up cafÉ 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Easy on your wallet. vanessie
of
santa fe
434 W. San Francisco St. 982-9966 Dinner Full bar. Smoke-free. Major credit cards. $$$ Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. House specialties: New York steak and the Australian rock lobster tail. Comments: Great appetizersgenerous drinks. vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and cheerful. House specialties: Organic salads. We love all the salads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Over 65 brands of Tequila. Zia diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American diner food. Atmosphere: Casual.House specialties: The perfect Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the Southwestern Chicken Salad and the Fish and Chips. Comments: A wonderful selection of sweets available for take-out. The bar is most defintely the place to be at cocktail hour.
the magazine |29
JOHN CONNELL
A MIND TO OBEY NATURE
PAINTINGS, DRAwINGS AND SCuLPTuRES May 30 - July 12, 2014 Opening Reception: Friday, May 30th 5:00 - 7:00 PM
Weeds on Water II, 17” x 29 3/4”
Bird II, ca1980, 7-12ed, Bronze, 5 1/2” x 8” x 3”
Buddha and Man with Staff, 16 3/4” x 13 3/4”
DavidrichardGALLEry.com DAVID RICHARD GALLERY
The Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 (505) 983-9555 | info@DavidRichardGallery.com
OPENINGS
MAYARTOPENINGS FRIDAY, MAY 2
aXle contemporary, in front of SITE Santa Fe, 1606 Paseo de Peralta. The Royal Bread Show: Show miniature sculptures and festive loaves of bread. 5-7 pm. chiaroscuro, 702½ Canyon Rd., Santa Fe. Fe 992-0711. The Black Place: Two Seasons: Seasons photographs by Walter W. Nelson. Book signing. 5-7 pm. downtown s ubscription, 376 Garcia St., Santa Fe. 983-3085. Fantastical Forms: Forms abstract paintings by Emily Van Cleve. 5-6 pm. eggman & w alrus, 130 Palace Ave., 2nd floor. Santa Fe. 660-0048. Unbounded—The Six Shooters + Two: Two six photographers and two painters depict nudes. 5-9 pm. 2, 5-7 pm.
first friday artscrawl, Alb. Citywide. 5-8:30 pm. artscrawlabq.org mariposa gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Warrior: paintings by Christian Gallegos, jewelry and metalwork by Lauren Tobey. Peaks and Valleys: paintings and prints by Alice Webb. 5-8 pm. steven boone gallery, 714 Canyon Rd., Santa Fe. 670-0580. City Water: mixed media on board by J.E. Boc. 5-7 pm. the gallery abQ abQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. Art & Artifacts: mixedmedia works by Frank A. Marich, Chris Meyer, and Marilu Tejero. 5-8 pm. SATURDAY, MAY 3
aspen gallery, McCarthy Plaza, 115 E. Plaza, Taos. 575-751-3260. Gallery Grand Opening: mixed-media artists. 5-8 pm.
cafe pasQual’s gallery, 102 E. Water St., 2nd floor. Santa Fe. 983-9340. The Black Paintings: works on paper, Place—Earth Paintings canvas, and wood inspired by Georgia O’Keeffe’s Black Place. Book signing for The Black Place: Two Seasons. 1-4 pm.
450-6884. Slap & Bang: smoke drawings on vintage ledger sheets by Dan Socha. 5-8 pm. karan ruhlen gallery, 225 Canyon Rd., Santa Fe. 820-0807. Janet Lippincott— White: mixedLyrical Works in Black and White media works by Lippincott. 5-7 pm.
SUNDAY, MAY 4
n.m. museum of natural history and science, 1801 Mountain Rd. NW, Alb. 505841-2800. Nature’s Blueprints: cyanotypes of flora and fauna by Marietta Patricia Leis. 2-4 pm. FRIDAY, MAY 9
art gone wild, 130 Lincoln Ave., Ste. D. Santa Fe. 820-1004. Sculptor Michael Gurule will discuss his inspirations and newest works. 5-7 pm. eXhibit/208, 208 B’way SE, Alb. 505eXhibit/208
santa fe art collector gallery, 217 Galisteo St., Santa Fe. 988-5545. The Best of Burros: oil paintings by Jo Sherwood. 5-8 pm. Burros winterowd fine art, 701 Canyon Rd., Santa Fe. 992-8878. Secret Place: new paintings by Jamie Kirkland. Artist talk: 4:30 pm. 5-7 pm. SATURDAY, MAY 10
byZantine proJect at byZantium lofts, 1348 Pacheco St., #105, Santa Fe. 9823305. Fabrications: digital drawings by Jonathan Morse. 4-7 pm. wade wilson art santa fe, 217 W. Water St., Santa Fe. 660-4393. Variations: Surface: works by Joan Winter Structure and Surface and Lucinda Cobley. 5-7 pm. THURSDAY, MAY 15
institute of american indian arts/ museum of contemporary native art, 108 Cathedral Pl., Santa Fe. 983-1666. Annual IAIA BFA Exhibition: Exhibition student works. Closing reception: 4-6 pm. FRIDAY, MAY 16
charlotte Jackson fine a rt, 554 S. Guadalupe St., Santa Fe. 989-8688. Joan Watts—Boundless: Watts—Boundless meditative oil paintings. 5-7 pm. matthews g allery, 669 Canyon Rd., Santa Fe. 992-2882. Familiar Strangers— Vernacular Photography: anonymous Photography photographers. 5-7 pm. new c oncept g allery, 610 Canyon Rd., Santa Fe. 795-7570. Wilderness Untamed: monochrome images of nudes Untamed and sculptures by Bill Heckel. 5-7 pm. page coleman gallery, 6320-B Linn Ave. NE, Alb. 505-238-5071. Legos, Straws and Cardboard Tubes: Tubes mixed-media wall reliefs by Katherine Shangnessy. 5-8 pm. Contemporary Contemporary Naturalism—group Naturalism—group show show with with eight eight artists. artists. On On view view through through July July 55 at at Gerald Peters Peters Gallery, Gallery,1101 1101Paseo Paseode dePeralta. Peralta,Reception: Santa Fe. Friday, Reception: Gerald May Friday, 23 fromMay 5 to23 7
M AY 2014 from 5 to s7Ron pm.Kingswood. Image: Ron Kingswood. pm. Image:
continued on page 34
the magazine | 31
Honey Harris in Conversation with THE magazine on Thursday, May 8 at 10:30 am 98.1 FM KBAC
THE DEAL
For artists without gallery representation in New Mexico. Full-page B&W ads for $750. Color $1,000. Reserve space for the June issue by Thursday, May 15. 505-424-7641 or email: themagazinesf@gmail.com
WHO WROTE THIS? “The longer you look at an object, the more abstract it becomes, and, ironically, the more real� 1. James Turrell 2. Albert Camus 3. Albrecht Durer
4. Lucian Freud
OUT AND ABOUT photographs by Mr. Clix Lisa Law and Jennifer Espaeranza
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OPENINGS
tai modern, 1601 Paseo de Peralta, Santa Fe. 984-1387. Ramona Sakiestewa—Tangram Shapes: prints comprised Butterfly and Other Shapes of visual fragments from different artistic traditions. 5-7pm.
lupe St., Santa Fe. 820-3300. Continuum: abstract works by Signe Stuart. 5-7 pm. SATURDAY, MAY 31
museum of contemporary native arts, 108 Cathedral Pl., Santa Fe. 922-4222. We Hold These Truths—ARTiculations in Print: Print Shan Goshorn. 4-5 pm.
SATURDAY, MAY 17
203 fine art, 203 Ledoux St., Taos. 575-7511262. Screens of Memories & Flowers Imagined: oils on canvas by Charles C. Gurd. 5-7 pm.
SPECIAL INTEREST
aXle contemporary, at SITE Santa Fe, 1606 Paseo de Peralta, Santa Fe. 989-1199. The Royal Bread Show: Show reading, book signing, and bread sale. 12-1:30 pm.
333 monteZuma arts, 333 Montezuma Ave., Santa Fe. 988-9564. Panorama— panoramic photography by Gus Foster, Carlos Silva and Roberto Vignol. Through June 2. 333montezumaarts.com
encaustic art institute, 18 County Rd. 55A (General Goodwin Rd.), Cerrillos. 505-4246487. Wax and Dimension: members show, 3D encaustics and 2D with dimension. 12-5 pm.
blacksmith shop of the albuQuerQue rail yards, 1st Street at Hazeldine, Alb. Classical music concert: Sat., May 3, 5 pm. chatterabq.org/railyards
FRIDAY, MAY 23
gerald peters gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Contemporary Naturalism: paintings, sculptures, and mixed media work by eight artists. Water and Stone: paintings by Julia Loken and sculptures by Les Perhacs. 5-7 pm.
City Water Water—mixed-media works on board by J.E. Boc at Steven Boone Gallery, 714 Canyon Road. Two book signings for Walter W. Nelson’s The Black Place: Two Seasons. Chiaroscuro, 702½ Canyon Road on Friday, May 2 from 5 to 7pm. Café Pasqual’s Gallery, 102 East Water Street, 2nd floor on Saturday, May 3 from 1 to 4 pm.
canyon road merchants association’s passport to the arts: Silent Auctions and Quick Draw. Fri., May 9-Sun., May 11. 11 am-1 pm. vivocontemporary.com council
on
international relations,
gf contemporary, 707 Canyon Rd., Santa Fe. 983-3707. Wings: group show. 5-7 pm. hunter kirkland contemporary, 200B Canyon Rd., Santa Fe. 984-2111. Invisible Paintings: works by Jennifer J.L. Thread—New Paintings Jones. 5-7 pm. karan ruhlen gallery, 225 Canyon Rd., Santa Fe. Fe 820-0807. In the Abstract: paintings by Martha Rea Baker and Kevin Tolman. Sculptures by Bret Price. 5-7 pm. nü n art gallery, 670 Canyon Rd., Santa Fe. 988-3888. go back to earth and tell the animals here: new paintings by Santiago Perez. i am still here 5-7 pm. SATURDAY, MAY 24
museum of contemporary native arts, 108 Cathedral Pl., Santa Fe. 922-4222. Brandywine Collection: printmaking and media Workshop Collection technologies by indigenous artists. 4-5 pm. FRIDAY, MAY 30
david richard gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. A Mind to Obey Nature: Nature paintings, drawings, and sculptures by John Connell. 5-7 pm. william siegal gallery, 540 S. Guadacontinued on page 36
34 | the magazine
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OPENINGS
and world affairs councils of america, events at Bishop’s Lodge, 1297 Bishop’s Lodge Rd., Santa Fe. 982-4931. Europe Day in Santa Fe: panel discussions, dinner, and movie. Sun., May 4, 5-9:00 pm. Mon., May 5, 10am–3:30 pm. sfcir.org
creative santa fe, 314 Read St., Santa Fe. 288-3538. Santa Fe Convention Center, 201 Marcy St., Santa Fe. “Connecting People and Places—A Livable and Walkable Santa Fe”: lecture by Dan Burden and Robert Ping. Wed., May 14, 6 pm. creative santafe.org creative santa fe, 314 Read St., Santa Fe. 989-9934. Event at DeVargas Park/ Guadalupe St. FANTASE Dome Fest: multimedia interactive light festival installations by Jacob Snider, Marion Wasserman, Brad Wolfey, Richard, Sandra, and Justin Duval, and Amy Filbeck. Fri., May 9, 6 pm-midnight. david richard gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Found: mixed media on steel by Michael Scott. Through Sat., June 7. Gloria Graham. Sensation: group show. Through Sat., May 24. la tienda eXhibit space, 7 Caliente Rd., Eldorado. 670-1635. 23rd Annual Eldorado Studio Tour 2014: mixed-media show of ninety artists and artisans. Reception: Fri., May 16, 5-7 pm. Tour Hours: Sat., May 17 and Sun., May 18, 10 am-5 pm. eldoradostudiotour.org lewallen galleries at the railyard, 1613 Paseo de Peralta, Santa Fe. 988-3250. Emily Mason—Opened Jars: abstract paintings by Mason. Through June1. lewallengalleries.com museum of contemporary native arts, 108 Cathedral Pl., Santa Fe. 922-4222. Chaos to Complexity—Where Do Art and Science
Meet? Meet?: discussion with artist Shan Goshorn and Santa Fe Institute professor Jennifer Dunne. Sat., May 31, 2-4 pm. Bon à Tirer: Prints from MoCNA’s Permanent Collection. Through Sun., May 11. Native American Films Presented by Sundance Institute. Through Sun., May 18. Institute
placitas community library, 453 Highway 165, Placitas. 505-867-3355. Rock the Labyrinth: Labyrinth build a labyrinth, enjoy children’s entertainment, and celebrate the library’s 11th birthday. Sat., May 3, 10 am-3 pm. placitaslibrary.com
Nelson’s The Black Place: Two Seasons. chiaroscuro, 702 ½ Canyon Rd. Fri., May 2, 5-7 pm. cafe pasQual’s gallery, 102 E. Water St., 2nd floor. Sat., May 3,1-4 pm.
new concept gallery, 610 Canyon Rd., Santa Fe. 795-7570. Santa Fe in Bloom: botanical art by Carole Aine Langrall, Richard Solomon, and Brian Arthur. Through Sun., May 11. newconceptart.com
santa fe botanical garden, 715 Camino Lejo, Santa Fe. 471-9103. Kevin Box / Garden: large-scale sculpture Origami in the Garden exhibition. 9 am-5 pm. Through Sat., Oct. 25. santafebotanicalgarden.org
paa-ko fine artists, Paa-ko Event Center, 232 Paa-Ko Dr., Sandia Park. 505-2860897. Art Show & Sale: sale benefits charity. Sat., May 3 and Sun., May 4, 11 am-5 pm. paakoartists.com
santa fe convention center, 201 W. Marcy St., Santa Fe. H.H. Sakya Trizin— First Visit and Teachings in Santa Fe. Fe Tues., May 6, 9:30 am-7 pm. tsechennamdrolling. wordpress.com
department of theatre and dance, Rodey Theater, Center for the Arts, UNM main campus. Alb. 505-925-5858 or 1-877-6648661. Night and Day: double bill of dance theatre pieces by Charles L. Mee. Thurs., May 1, Fri., May 2, Sat., May 3, 7:30 pm and Sun., May 4, 2 pm. theatre.unm.edu
patina gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Drawn to the Wall— Ephemerist: collage/assemblage by Gail Rieke. Reception: Fri., June 6. 5-7 pm. patina-gallery.com
santa fe film festival, Jean Cocteau Theater, 418 Montezuma Ave., Santa Fe. 466-5528. Center for Contemporary Arts, 1050 Old Pecos Tr., Santa Fe. 983-1338. The Screen, 1600 St. Michael’s Dr., Santa Fe. 473-6494. Dream Awake: film festival with screenings and guest filmmakers. Thurs., May 1-Sun., May 4. santafefilmfestival.com
photo-eye
gallery, 376-A Garcia St., Santa Fe. 988-5158. Synergy—Studies of the Female Basin: photos by Tony Nude Shot in the Galisteo Basin Bonanno. Through Fri., June 6. photoeye.com placitas artists series at Las Placitas Presbyterian Church, Highway 165, Placitas. 505-867-8080. Art of Mary Rawcliffe Colton, Gary Priester, Judith Roderick, Audrey Ross: Ross tapestry weaving, digital photography, silk painting, art quilts, and jewelry.
tarnoff art center, 107 Wildflower La., Rowe. 505-919-8888. What’s in the BAG: contemporary book art. Through Sat., May 17. tarnoffartcenter.org the canyon road merchants association, 795-5703. Passport to the Arts 2014: 2014 events, silent auctions, and hands-on activities connect art fans with Canyon Road artists. Sales benefit SFPS Music Programs. Fri., May 9, Sat., May 10, Sun., May 11. visitcanyonroad.com the space, Everyday Center for Spiritual Living, 1519 5th St., Santa Fe. 438-6078. Motherhood Out Loud: Loud performance by Susan R. Rose and Jan Stein. Fri., May 9 and Sat., May 10, 7pm. Sun., May 11, 4 pm. everydaycsl.org the studio, 332 Camino del Monte Sol, Santa Fe. Dance Party: DJ Dwight Loop spins world fusion music, electronica, and tribal rhythms. Sat., May 3, 8-10 pm. thestudiosantafe.com two book signings for Walter W.
36 | the magazine
PERFORMING ARTS
santa fe opera guild, Unitarian Universalist Church, 107 E. Barcelona St., Santa Fe. 6291410, ext. 109. “Exploring the Mystery of Sun Yat-sen”: lecture by Dr. Joan Birdwhistell on the subject of 2014-season opera by Huang Ruo. Wed., May 21, 5:30 pm. guildofsfo.org wise fool new meXico, Railyard Park Performance Green, Guadalupe and Cerrillos Rd. Santa Fe. 699-9574. Flexion: stilt aerial spectacle. Fri., May 16, 7:30 pm and Sat., May 17, 1 pm and 7:30 pm. wisefoolnewmexico.org/flexion working classroom, The Paul Carpenter Salazar Theater, 423 Atlantic SW, Alb., 505242-9267. Guera: an interactive one-woman show by Lisandra Tena. Fri. and Sat., May 16,17, 23, 24, 7:30 pm. Sun., May18, 25, 2 pm. workingclassroom.org CALL FOR ARTISTS
corrales bosQue gallery, 4685 Corrales Rd., Corrales. 505-898-7203. Artist-owned gallery call for new members. Deadline: Sast., June 7. corralesbosquegallery.com gaucho blue fine art gallery, 14148 State Road 75, Peñasco. 575-587-1076. Roving Beyond the Edge Edge: juried contemporary fiber show. Deadline: May 9. gauchoblue.com Top: 2014 Placitas Studio Tour on Saturday, May 10 and Sunday, May 11, from 10 am to 5 pm. I-25 to Placitas Exit 242. Follow the yellow signs. placitasstudiotour. com. Diptych image: Wayne Mikosz and Riha Rothberg Left: Saturday, May 3 at 5 pm, a classical music concert in the Blacksmith Shop of the Albuquerque Rail Yards (First Street at Hazeldine). Details: chatterabq.org/ railyards
M AY
2014
javier lÓpez barbosa
Mark white fine art 414 canyon road, santa fe, new mexico www.markwhitefineart.com 505.982.2073
PREVIEWS
Top Right: Ramona Sakiestewa, Untitled, lithograph, 28” x 22¼”, 2014 Top Left: Carlos Silva, Snails (Caracoles), digital print, 78 ¾” x 21½”, 2007-2014 Bottom: Roberto Vignoli, Meeting Marseille, digital print, 48” x 252”, 2012
Ramona Sakiestewa: Tangram Butterfly and Other Shapes Tai Modern, 1601 Paseo de Peralta, Santa Fe. 984-1387 May 16 to June 15, 2014 Reception: Friday, May 16, 5 to 7 pm.
Panorama: Panoramic Photography by Gus Foster, Carlos Silva, Roberto Vignoli April 25 to June 2 333 Montezuma Arts: 333 Montezuma Avenue, Santa Fe. 988-9564 Reception: Friday, April 25, 5 to 7 pm.
When artists move from one medium to another, the results can be intriguing. Does it reflect
Panoramic photography has been with us since 1843, when Joseph Puchberger patented a hand-
an extension of the previous style or is it a radical departure? Ramona Sakiestewa has a
cranked Daguerreotype contraption. Intrepid inventors have been tinkering with the technology
noteworthy reputation for the striking visual effects of her tapestries; abstract compositions
ever since, from the Cyclo-Pan to the Sony Cybershot—a 3D digital unit that makes flawless
of rich contrasting colors and intersections of form. Tangram Butterfly and Other Shapes is
360-degree images without cranks or rotating lenses. You can also attach the Kogeto Dot
a switch from textile weaving to printmaking, but her attention to composition and shape
catadioptric lens for your smartphone and post to Instagram. 333 Montezuma continues to bring
dominates, demonstrating a consistency of vision and a deft economy of expression. The
us unexpected and intriguing work in its newly expanded space in the Railyard District, with an
Chinese tangram puzzle consists of seven flat shapes, called tans, which are put together
international trio of artists working in the long form. Gus Foster is old school. He’s been at it since
to form shapes. The objective of this dissection puzzle is to create a specific shape, with
the 1970s, when he began hauling his 1902 Cirkut camera up and down the Rockies, producing
only a silhouette, using all seven pieces, none of which may overlap. In the depicted image,
black-and-white, ten-inch-by-six-foot images in his darkroom. Although he’s followed advances in
Sakiestewa follows the rules of the game to create a butterfly, an important icon in her Hopi
technology and works in color, he still shoots in the bush, producing sublime landscapes on a grand
cultural heritage. She binds the image to her Native American tradition using the stylistic
scale, many shot on monumental walks on the Tokaido Road in Japan or on his epic trek across the
designs found on potsherds, which the artist has collected since childhood. The delicacy of
United States. Roberto Vignoli, based in Rome, began freelancing in his teens, shooting in Europe
the contour lines, which create the shapes, and the butterfly formed from shapes within
and Africa. He premieres his four-by-twenty-one foot work Marsiglia, which fills the north wall of
the greater shape, feel Asian in their minimalist quality and simultaneously echo ancient
the gallery. Vignoli creates an interwoven narrative, combining elements in a fractured and seamless
Southwestern design sensibility. This intriguing combination, not to mention the example of
collage reminiscent of David Hockney, only more kinetic. Carlos Silva, from Valparaiso, Chile, works
the tangram well played, creates visual pleasure for the viewer, and shows that a talented,
vertically, shooting urban interiors in seemingly impossible perspectives. The ninety-degree shift is
perceptive artist can produce striking and well-crafted imagery faithful to their vision
disconcerting. Unlike the work of Foster and Vignoli, Silva’s images are scroll-like with compressed
regardless of the medium.
and vertiginous sightlines featuring abstracted but luminous contemporary and baroque interiors.
38 | the magazine
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Saturday-Sunday May 17-18 Studios Open: 10 a.m. - 5 p.m. Preview Gallery in the La Tienda at Eldorado Exhibit Space: Sat. - Sun., May 17-18: 9 a.m. - 5 p.m. Advance Preview Hours: May 6-16, 12 - 6 p.m. Brochures available at the Preview Gallery
7 Caliente Road, Santa Fe, New Mexico
90 artists within a four-mile radius open their studios for one of the oldest and largest tours in New Mexico. Works encompass sculpture, paintings and photography through woodwork, weaving, jewelry and pottery.
Artist Reception: Friday, May 16: 5 - 7 p.m. eldoradostudiotour.org
The Encaustic Art Institute Wax with Dimension Opening: Saturday, May 17th, Noon to 5pm
Nation-wide members of the non-profit Encaustic Art Institute, working in encaustic/wax medium, have entered this themed show with the guideline of entering 3D sculptural pieces, or 2D paintings that have dimensional quality to them. A wide variety of styles and creative interpretations are the result. There are local artists represented as well as artists from across NM, Colorado, California and more.
The show will remain up in the gallery through June 15th Gallery open to the public weekends from Noon - 5 pm or by appointment April through October Contact Douglas Mehrens at 505-424-6487 A non profit arts organization. For map and information go to
www.eainm.com Barbara Cone (MA) “The Counselor”
Thanks to Los Alamos National Bank for their continued support.
18 County Road 55A (General Goodwin Road) Cerrillos NM 87010 18 miles south of Santa Fe on scenic Turquoise Trail, 4 miles north of Madrid
Serigrafix.com 505.316.0237 “Hiroshima” 32” x 48” 6 color Serigraph with Gold Leaf on Raw Silk (detail)
A NDRE W S M I T H G AL LERY I NC.
CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY
Joel-Peter Witkin Love a nd O t he r R e a s o n s ...To L ove Throug h June 2 1 , 2 0 1 4
The Reader, 2010
Joel-Peter Witkin is world renowned for his provocative, controversial works that deal with matters of life and death, myth and allegory. His fantastic imagery frequently alludes to classical works of art, often with religious themes. His works are often shocking, but not gratuitously so, because they invite viewers to consider weighty subjects like love, compassion, morality and spirituality.
Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION Next to the Georgia O’ Ke e f f e M u s e u m a t 1 2 2 G ra n t Ave . , S a n t a Fe , N M 8 7 5 0 1 505.9 8 4 .1234 • www. A n d r e w S mi th G a l l e r y. c o m • H o u r s : 1 1 - 4 , Mo n d ay - S a t u r d ay.
N AT I O N A L S P O T L I G H T
ALIBIS: SIGMAR POLKE: 1963–2010 Untitled (Quetta, Pakistan) 1974/1978 Creativity doesn’t exist in a vacuum. Artists’ works, however diverse in media, content, and form, are often bound together by early essential experiences that haunt their life’s work. Sigmar Polke, a prolific and wildly experimental artist, harbored a deep skepticism of authority—artistic, familial, and governmental—that was ingrained in those growing up in post–World War II Germany. While many of his fellow citizens lived in denial of the atrocities that took place, Polke’s questioning perception led him to an avoidance of conventional art forms, and a divergent oeuvre of unexpected revelations. New York’s Museum of Modern Art’s exhibition, created in tandem with the Tate Modern, London, is a vast survey of two hundred fifty works that document Polke’s prolific vision, insight, process, and production. Visually fascinating and intellectually rich, the artwork explodes rather than evolves in various directions. In the hallucinogenic era of the seventies, Polke undermined photography’s alleged fidelity to reality and explored altered states of consciousness. His experiments with materials and processes included a range of pigments, chemicals, and techniques, which he tested in small abstract paintings and in film, using liquid spills and piles of pigment that are animated by mixing, and by running across the canvas. Layering content, relying on chance, working with mass-produced materials, intimate or grand scale renderings, handmade, mechanical, and digital images, Polke employed a broad spectrum of techniques to illuminate nasty historical truths, with sometimes brutal humor. He also created massive abstractions of breathtaking beauty. Throughout his career he blurred the distinction between abstraction and figuration, handmade and mechanical, and original and copy. This exhibition provides a deep and sprawling overview of Sigmar Polke’s fifty-year career. The exhibition is on view at MoMA—11 West 53rd Street, New York City—through August 3, 2014.
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A R T I S T ’ S S K E TC H B O O K B Y PAT R I C K M C FA R L I N
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1. Joan Fenicle, Photography, Painting 2. Dana Patterson Roth, Photography 3. Lisa Chernoff, Fused Glass 4. Nancy & Jon Couch, Water Prisms 5. Katherine Irish, Pastel Painting 6. Reid Bandeen, Landscape Painting 7. Ann Pollard, Painting 8. Denise Elvrum, Fused Glass
17th Annual Tour Mother ’s Day Weekend
9. Joan M. Hellquist, Painted Drums, Pastels 10. Geri Verble, Jewelry 11. Sonya Coppo, Mixed Media Fiber Art Jim Fish, Wood Carving Linda Nisenbaum, Jewelry
May 10th & 11th 1. JOAN FENICLE
10 am to 5 pm
Audrey Ross, Jewelry 12. Katherine Christie Wilson, Painting 13. Cate Clark, Mosaics 14. Karl & Mary Hofmann, Pottery Peaches Malmaud, Fabric Printing/Painting 15. Roger Evans, Sculpture, Painting 16. Althea Cajero, Jewelry Joe Cajero, Bronze Sculpture 17. Fehrunissa Willett, Stained Glass 18. Marce Rackstraw, Painting, Drawing
5. KATHERINE IRISH
20. JAMES GAY
13. CATE CLARK
19. Lois Wagner, Jewelry 20. James Gay, Photography 21. Michael Prokos, Ceramics 22. Gail Gering, Metal Media Carolyn Van Housen, Jewelry 23. Susan McWilliam, Fused Glass Mary Louise Skelton, Gourd Art 24. Wayne Mikosz, Upcycled Media, Painting Riha Rothberg, Mixed Media, Painting
34. ADRIANA SCASSELLATI
24. RIHA ROTHBERG
9. JOAN M. HELLQUIST
25. Bianca Harle, Pastels, Collage 26. Bunny Bowen, Wax Resist Painting 27. Kandy Tate, Painting 28. L. Heath, Oil Painting 29. Susan Jordan, Gourd Art 30. Dianna Shomaker, Mixed Media 31. Andi Callahan, Jewelry 32. E.T. LaFore, Pottery
30. DIANNA SHOMAKER
11. JIM FISH
18. MARCE RACKSTRAW
33. Sandy Johnson, Jewelry 34. Adriana Scassellati, Pastel Painting 35. Adrienne Kleiman, Painting 36. Sal Gullo, Metal Sculpture 37. Shirley Ann Sloop, Jewelry 38. Jim Carnevale, Photography 39. Aquila M. Stanley, Jewelry 40. Betty Temple, Mixed Media 41. Lynae Maxim, Collage Maps available
22. GAIL GERING
6. REID BANDEEN
31. ANDI CALLAHAN
42. Erica Wendel-Oglesby, Photography at all studios
w w w. p l a c i t a s s t u d i o t o u r. c o m DIRECTIONS: Take I-25 to Placitas exit 242 and follow the signs. 505-771-1006
Sponsored by Placitas MountainCraft Soiree Society
MARINA ABRAMOVIC: The Artist is Still Present by
K athryn M D avis
was seated, passive, with a sign directing audience members to use the objects, which included honey, scissors, a gun and one bullet, in any way they chose. For six hours, the artist allowed herself
FAME VS. CELEBRITY
alive now, they would surely be celebrities along the
to be manipulated at will by her audience. The
Raphael, were he alive today, would be a celebrity.
lines of Warhol, Rothko, and, in smaller circles (i.e. the
performance ended when the loaded gun was
By all accounts he was affable and charming, and the
art world), Marina Abramovicć. Less famous than her
pointed at her. She said later that she had learned
guy was handsome to boot. He might have been a
counterparts, Abramovicć has been accused recently,
that “if you leave it up to the audience, they can kill
James Franco, let’s say: talented with a bit of the
and often, of selling out to celebrity. Would we make the
you...” Despite the close call, she has continued to
approachable everyman to his image. Michelangelo,
same accusation of Michelangelo today, for example, for
push human limits of understanding and endurance
that touchy virtuoso, would have been a different
deciding against risking the Pope’s wrath and consenting
in her artwork.
kind of celebrity, valued not only for his terribilitá, but
to paint the ceiling of the Sistine Chapel, even though he
for his very refusal to adjust his attitude for his fans—
apparently did not wish to do so?
maybe an elderly Joaquin Phoenix. And Leonardo, a
After all these years, Abramovicć has been in the news cycles again lately. Her recent performance, The Artist is Present (also the title of a retrospective
secretive genius, would most likely have been today’s
THE ARTIST PAST AND PRESENT
exhibition at the Museum of Modern Art in New
Albert Einstein, beloved by all, and belabored by his
Abramovic is a performance artist who helped
York in 2012, where the performance took place),
own luminosity. Let’s imagine Stephen Hawking in
define the genre in its early years, in the second
consisted of the artist, two chairs and a table, and
Stephen Colbert’s body for the “wow” kind of guy
half of the twentieth century. Her singular works
one audience member seated in front of her. It was
we’d all love to love.
are iconic. They can be deeply moving to witness
a grueling ordeal for the artist, who remained seated
In an article that appeared last fall in the
and contemplate, dealing as they often do with
for as long as the museum was open to the public,
online magazine ARTPULSE, Paco Barragán makes a
the essence of human nature. Abramovic has been
six days a week from March to May for over seven
carefully thought out distinction between fame and
a practicing artist for some forty years, and her
hundred and fifty hours total. Abramovicć’s stated
celebrity. Here is how he defines the two: “fame
work is rigorous, even dangerous. Offering her
objective was “to achieve a luminous state of being…
equals
ability/product/object,
audience the tools of her own destruction, she has
to engage in what she calls ‘an energy dialogue’ with
[while] celebrity stands for notoriety and recognition/
placed herself at their mercy, seeming to thrive on
the audience.” She reached deeply within herself to
well-knownness/person/subject.” The Big Three of
her own vulnerability. One of her most notorious
offer viewers “stillness in the middle of hell,” as her
the High Renaissance, Raphael, Michelangelo, and
performances, Rhythm 0, was staged in 1974. She
curator put it. This is the kind of terrifying stillness
Leonardo, are famous today for their art; were they
placed objects on a table in front of which she
we seek, consciously or not, in yoga, in meditation,
reputation/skills
and
F E AT U R E
ABRAMOVIC
SEEMS TO NEED THE WHOLE WORLD TO LOVE HER
and ultimately, in the face of our own death. Many
exhibition—he was once romantically involved with
I’d venture that’s up to him—when he filmed his
individuals who sat across from the artist wept; she
the artist—states that she means nothing personal by
“Picasso Baby” video at New York’s Pace Gallery last
did too.
her seductions; she merely “desires to be loved, she
summer. The rapper is said to have been inspired
The Artist is Present offered its viewers the
desires to be needed.” Don’t we all? Particularly as we
by Abramovicć, which I find highly justifiable. In a
opportunity to be seen and acknowledged—no small
get older, and Abramovicć is now sixty-seven years old.
six-hour marathon, he danced with and rapped at
thing in today’s hustle-and-bustle—and to share the
She is compelling, intelligent, and beautiful, and I’m sure
A-list names including Judd Apatow, Alan Cumming,
experience in a unique and unforgettable encounter.
she doesn’t lack for interested suitors. But Abramovic
Rosie Pérez, and Pablo Picasso’s granddaughter,
One child collapsed after his session, his energy
seems to need the whole world to love her, and
Diana Widmaier. When Abramovicć stepped into the
drained, while his mother wept over him. When
therein lies her downfall in certain art circles, which,
ring, the paparazzi went crazy. Again, whether the
he asked her why she was crying, she repeated
unconsciously or not, fall back on Victorian conventions
two artists worked the celebrity angle successfully,
several times, “I’m so proud of you.” This is where
about artists in general and aging women in particular.
tastefully, or intelligently is up to us, the viewers,
Abramovic’s art is superlative: She allows us to—no,
Those assumptions imagine artists to be above our
to decide for ourselves against the backdrop of art
she demands that we—experience the profound
mundane requirements; artists are supposed to be
history.
depths of our own selves without the distractions
our moral superiors, replacing mortal desire with an
Let’s look again at Raphael, Michelangelo, and
of words, work, or consumerism. Often, the artist
extraordinary genius. However, the truth of the matter
Leonardo, and re-cast them, this time as women.
has fasted for days while performing, denying her
is that artists are people first, regardless of celebrity. If
Raphael could be Jennifer Lawrence, radiant with
own needs in the face of a quest that can never be
an attractive Serbian artist who happens to be closing
charm, youth, and talent; Michelangelo would
completely achieved but must always be sought.
in on seventy wants to dance with Jay Z (because he
be Dame Maggie Smith, undeniably skilled and
The nature of her work as a quest may suggest that
seeks recognition as an “artist”), that doesn’t mean
countenancing no nonsense; and Leonardo is Meryl
she is a superior being, functioning in our society as
that performance has died, as some would have it. It
Streep, a revered yet mysterious treasure growing
a priestess, a guru, or a nun.
means that we have trouble with older women who
from better to best as she ages. Now, put them on
are still sexual (and virile black men who want to be
the dance floor with Jay Z, or for that matter, painting
THE ARTIST IS NOT A SACRIFICIAL LAMB
taken seriously for their talent and intellect, but that’s
the Sistine ceiling. It’s a beautiful sight to behold, real
However, she is no nun. Key to any understanding
another story), women who still need recognition for
and imagined. Let the artist be present within us all.
of Marina Abramovic is the realization that she is a
their work, who aren’t willing to disappear into the
seductress. Underlying that trait, as with all would-be
wallpaper, babysitting the grandkids.
seducers, is the passionate desire for love’s requital,
For the record, Jay Z joined the ranks of
sexual or otherwise. Her curator for the MoMA
performance artists—or at least he claimed to, and
M AY
2014
Kathryn M Davis is an art historian who specializes in modern and contemporary American art. She works as a writer, editor, and teacher, and hosts ArtBeat on KVSF 101.5. Find radio podcasts from the show on santafe.com and on Facebook at ArtBeat Radio.
the magazine |45
Madelin Coit
November 2014 217 West Water Stree t Santa Fe, NM 87501 505. 660. 4393 www.wadewilsonart.com
CRITICAL REFLECTION
micHael scott: Found
david ricHard gallery 544 soutH guadaluPe street, santa Fe
I N T H E PA S T, M I C H A E L S C O T T C R E AT E D S E V E R A L C YC L E S O F S LY LY humorous narrative paintings, all rendered with virtuosic
or another spur the intelligence, seed the intuition, and
of texture in these fiercely worked collaged paintings,
technique in the style of Old Master portraiture, still life,
(hopefully) stimulate a pathway to the sublime.
and once you recognize the fusion of the decorative and
and tableau paintings. There has often been an element of
Last winter, while Scott was walking the streets of
representative functions of the paintings that Scott has
theatrical unveiling in his work, including painted curtains
San Miguel de Allende and Mexico City, he noted churches
made thoughtful efforts to tease out, the curious viewer
that have been drawn apart. This present show, Found,
whose exterior walls were beautified by exquisitely decaying
has an opportunity to take it further. Of course that’s true
demonstrates a departure from using didactic narrative, and,
surfaces. Curious about the fact that the evolution of decay
with any painting: it lives only through the person who is
in the artist’s words, is intended “to pitch you out in time
could speak such poetry and evoke vibrant, non-specified
looking at it, attempting a dialogue and being willing to
and space.” There may still be an unveiling taking place, but
memories in a way that sterile, brand-new surfaces do not,
follow unknown leads. This is particularly true with this
the viewer takes on some responsibility and willingness to
Scott entered the churches and observed the communicants
body of work, whose subject matter remains mysterious
bear with uncertainty; to slip back and forth across a delicate
within. Repeatedly, he found people absorbed in prayer for
and undecided.
threshold between the arbitrariness and the strictness
long stretches of time, apparently in intense communion with
The ideas that surface for me in these complex
of collaged images; images that suggest a dialogue about
images of the Virgin Mary, Mother of Christ. Scott began to
paintings have small purchase in my own psyche.
something that is not necessarily graspable in a literal way.
question how the conversation with a higher power actually
I think: Mary as Mother, as Virgin, as Lover (Mary
The means for suggesting this journey, according to Scott, has
transpired. He wondered what the underpinnings of religious
Magdalene), and though this sounds like it could be an
been to present “porthole” ideas: layered forms and shapes
preoccupation actually are, but most especially, he asked,
apt, if extremely streamlined, portrait of the feminine
(haloes, chains, wheels, crosses, eggs, eyes) that in one way
“Who is Mary after all?”
principle, I don’t know where to go with it. However This wondering tied in
gorgeously conceived, these celestially kaleidoscopic
with Scott’s long-standing
dreamscapes are unavailable to me as vehicles that might
observation of a thriving
inspire surrender. Though the instinct to establish some
mysticism
surrealism
kind of vivid, abiding contact with our basic nature is
present in Latin American
fundamental to human life, our paths in this matter come
cultures in general. What is it
to us randomly, and only sometimes through religion.
that predisposes a people to
Traditionally, God usually has rather definite intentions to
line up on the street, paying
do something—say, to produce a world for instance—and
for street corner mystics to
he may therefore be unnecessarily dramatic. On the other
dispense purifying rituals,
hand, the manifestations of what are loosely labeled as the
replete with rings of fire
feminine aspect tend to be more accidental and playful,
and incantations? Gullibility
or embryonic: it embellishes itself, puts on makeup; it
and
the
expresses itself by demonstrating some sort of glamour,
ardent belief in form—are
whatever it may be: passion, aggression, seduction, loving
these human propensities
kindness, the sheer ferocity of life... attributes churning
a
blessing?
beneath the surface of things. Maybe that’s what people
Scott recognizes that the
will find so compelling about Mary in these paintings:
yearning for communion and
her all-accommodating nature invites scrutiny, and if one
surrender that is implicit in
happens to have the right temperament, she may awaken
formal acts of supplication is
those mysterious capacities that direct us toward the
not to be despised. Efficacy
eternally flawless.
and
susceptibility,
curse
or
a
of means, whatever it takes, is primary. It is challenging and
Most remarkable is the luminosity that these hybrid works of art manifest. These intensely worked images on stainless steel are the fruition of intense labor and
daring to propose the idea of
unique
methodology—collaging,
painting,
grinding,
“The Holy Mother Mary” as
carving, varnishing—that allow a radiance to ripple
the driving concept behind
through, ever changing, according to one’s state of mind
a body of work. After all,
and the quality of light. Their large format indicates that
just how far can most of
they are meant to be looked up to—ideally, surrendered
us go with Mary, an idea
to—and gazed at from different angles and distances.
already so overloaded with
The full “pop” will not occur in a cursory glance; rather,
stale, limited concepts? At
fresh images and connections blossom over time and
first glance, not very far at
with patient communion.
all. But once you take in
—rinchen lhamo
the delicious pigments, the arabesques of rhythm, the fine and subtle relationships M AY
2014
Michael Scott, 111, mixed media on steel, 68” x 48”, 2014
the magazine | 47
Kick up your heels, kick into high gear or just kick back. From lilacs and art openings to music festivals and raft races, Taos offers plenty of reasons to get away for the weekend, including irresistible overnight savings. See TAOS.org/spring. MAY 09–11 Taos Chamber Arts & Crafts Fair in Kit Carson Park 09–11 Mother’s Day Raft Races on the Rio Grande in Pilar 10–11 KXMT Mother’s Day Music Fest in Kit Carson Park, free 10–29 Hank Saxe sculpture at DAFA on Kit Carson Road 16–18 Jicarilla Apache Artists Show & Sale at Millicent Rogers Museum
Bring on spring.
16–18 Taos Lilac Festival arts & crafts fair, pet parade, car & truck show, lilac walking & driving trails 17 Taos Home and Garden Expo at Taos Youth and Family Center 21–26 Memorial Day motorcycle rallies throughout the Enchanted Circle 22 Taos Plaza Live concerts begin, every Thursday through September 4 31 Spring Experiment exhibit opens at DAFA PHOTOGRAPH: GERAINT SMITH
TAOS
Whitewater today. Sculpture and motorcycles tomorrow. Full of unforgettable contrasts. 888.580.8267
Look + Book TAOS.ORG
CRITICAL REFLECTION
Ken Price: slow and steady wins tHe race worKs on PaPer 1962-2010
Harwood museum oF art 238 ledouX street, taos
Bird on the Bonsai Can you know About the mojo? —Ken Price, detail from K. P.’s Journey to the East, ink on paper, 1962
A F T E R G E T T I N G H I S M FA F R O M A L F R E D U N I V E R S I T Y I N 1 9 6 2 , Ken Price took a trip to Japan to study its Bizen ware pottery, a style of functional ceramics characterized by unglazed surfaces that nonetheless yielded a tremendous variety of effects in the process of being fired in wood-burning kilns. Bizen ware goes back to medieval times and is Japan’s oldest pottery-making technique. Whatever else Price gleaned from his six-month stay in Japan, he created an unusual outlet for his own brand of humor in the form of a horizontal scroll comprising nine ink drawings with their faux Japanese script and text plates in English. In this work he called himself Price-San, the protagonist of a tongue-in-cheek trip through the land of Bizen ware. K. P.’s Journey to the East, displayed at the Harwood Museum in a long and narrow vitrine, is just as much fun to read as it is to look at the drawings. Price’s journey is rendered with a light touch and he pokes fun at himself as he navigates aspects of traditional Japanese culture. In one plate, as Price-San is checking into an inn, he greets the woman hostess in Japanese saying “third class mail” when he thinks he’s saying “good evening.” Little incidents like this made me laugh out loud. Viewers who didn’t take the time to read the text missed out on half the delight of this engaging work. There is a wonderful, wry sense of humor that pervades
most of Price’s drawings—typically acrylic and ink on paper—
and everything that was sophisticated about monochromatic
but they are not without their
painting. Price’s ceramic cups were a revelation for many
weirdness, too. Price renders
clay artists in the ’70s who were used to working with more
eerie moods that suggest the
traditional forms and glazes, but who were suitably jazzed by
mildly sinister or perhaps a
Price’s iconoclastic playfulness combined with an obvious rigor
dose of impending, open-
and a juicy sense of experimentation.
ended doom—as in his Los
As for this show of seldom seen drawings, Price had a
Angeles vignettes punctuated
long-term commitment to doing works on paper and board
by spindly palm trees, a
during his entire career as an artist, but he did them mainly
hopelessly bland light, and a
for himself—to relax, he said, to extend the boundaries of his
feeling that all the air has been
creative process, or just to explore the world of fantasy, irony,
sucked out of a room or a
and cultural dead-panishness. One drawing I particularly liked
section of the city. Price was
is Study for a Billboard from 1972. More than a drawing, it’s a
born in LA in 1935; he grew
polished Pop-inflected painting that reminds me of the work
up there, went to his first art
of that supreme stylist, John Wesley, who is also originally from
schools there, and witnessed
LA. Whatever irony Price indulges in regarding his Study for a
the LA art scene morph from
Billboard, it’s tempered by a more sanguine treatment of the
a colossal void in the ’50s to a
woman featured in it; perhaps she’s a portrait of the artist’s wife,
place in the ’60s where artists
Happy—the work has the words “Happy’s Curios” painted on
like himself, Larry Bell, John
it—but whoever she is meant to be, she isn’t psychologically
Altoon, John McCracken, and
skewered as Wesley has a tendency to do to the women in his
Robert Irwin developed their
paintings. However, there is a similar sense of pictorial, comic-
understated LA-cool attitudes
book flatness and a certain shared vapidness of expression. Of course, Price is better known for his more recent
toward art making. to
series of ceramic sculptures—work that is impossibly
working in clay from his
sensuous and spectacular in its surfaces, painted with many
student days, influenced by
layers of acrylic that were then sanded so that patterns of
such boundary pushers as Peter
partially revealed colors are presented as a visual, but not
Voulkos; however, he was also
actual, texture. This work is surprising, incredibly beautiful,
influenced by Pop art, cartoons,
and endlessly fascinating, and would prove to be his last
and a pared-down, modernist
hurrah, as the artist passed away in 2012. He left behind
aesthetic. The artist quickly
a dedicated perfection to his craft and an artist’s embrace
developed his own unique style
of conceptual derring-do that was untethered to any art
leavened by bold juxtapositions
world’s sanctioned hipness. Price became his own species of
Price
was
drawn
of color and an unlikely
“bird on a bonsai” whose mojo was, in a word, impeccable.
formalism, as in his cup series
—diane armitage
that seemed to recapitulate everything that was kitsch about, say, folk art ceramics
M AY
2014
Ken Price, Taos Talking Pictures, acrylic and ink on paper, 17 11/16” x 12 5/8”, 2000. Collection of Gus Foster.
the magazine |49
Hannah Hughes: Kawashokachakraboom
Phil Space 1410 Second Street, Santa Fe
KAWASHOKACHAKRABOOM HAPPENED ON TWO EVENINGS IN MARCH. This “sculpture event” was formally a shoka, a Hindu
postures, while standing or lying upon the two upright
(I paraphrase, since of course memory is notoriously
traditional floral offering form, which is a mandala, or
motorcycles. The third motorcycle was lying on its side
unreliable, but the moment, laden with import, remains
radically symmetrical representation of the universe. It
on the floor and was being decorated with sequins by one
indelibly etched.)
was indeed an offering—none of the artists are likely to
of the performers. Another yogini was lying on the floor
It’s easy enough to rustle up a clutch of structuring
make money from this piece, which seems to be more
unmoving, flat on her back with her arms at her sides in
dichotomies to slot into discussion of this scenario:
a part of a gift or exchange economy, which is a large
“corpse” asana, a presumably total-relaxation posture.
masculine/feminine, biological life form (body)/metal machine,
east/west,
technology/biology,
stillness/
part of what sustains a true local art scene. It had formal
In the loft above, someone read aloud from Emil
structure, spatially and in terms of being presented in
Cioran’s 1949 book, A Short History of Decay, but this was
movement, inner/outer, chaos/order, focus/diffusion—all
multiple sessions. Like all good anti-theater, it had no
lost in the resonance of the space with thirty-five or so
of them vaguely relevant. The arbitrary juxtaposition of
dramatic structure or dynamics, and plenty of ambiguity.
people talking, or possibly the microphone intermittently
disparate objects, a century-old strategy of modern art,
There was ambiguity as to when the piece had begun,
not working. It didn’t seem to matter to the energy of
sometimes yields new insights. That is one thing I go to
ambiguity as to the intended position of the audience—
the event, though apparently the authors of the piece
art for—to see something I had not seen before, or for
we stood loosely arrayed around the edges of the shoka.
meant for it to set some kind of tone or introduce a
the pleasure of seeing something beautiful, or beautifully
Happily, you did not have to fold your hands in your lap
note of theoretical frisson. A Romanian intellectual who
made. Occasionally, I even get that hit of transcendence,
and stay put, you could move around, wander out for
moved to Paris in the 1940s and subsequently wrote in
of something in its being-in-itself, that points to the
snacks and return; you could talk. Paparazzi, darting
French, Cioran was spectacularly pessimistic in a densely
entire universe for me in a new way (whether it’s a
between you and the action, were a deliberate part of
lyrical postmodern way, while also rooted in the French
Bellini Madonna or a 1980s Christian Boltansky piece).
the piece.
aphoristic mental mode. In his youth, Cioran supported
But the juxtapositions of Kawashokachakraboom did not
Two video monitors were propped within the
Romania’s version of fascism, the Iron Guard, but later
quite achieve liftoff for me in this regard.
performance arena. On one a motorcycle raced around
recanted this position. As the title of one of his books,
The female protagonist of Rachel Kushner’s novel The
a track; our pov was a head-mounted version of the
The Trouble with Being Born, suggests, humans are stuck
Flamethrowers enters the 1970s art world determined to
rider’s view, and the soundtrack of the sonic space was
in a weird situation. Essentially, being alive is absurd, and
blur the line between life and art via her fascination with
the engine’s roaring. The other screen featured a henna-
“the impossible necessity of dealing with it fills us with
motorcycles and speed, luxury and thrills. She hooks up
painted hand making mudras, or ritual gestures. There
dread.” Outside a punk club in late-1970s San Francisco,
with the heir to an Italian tire and motorcycle fortune and
were four women in black yoga clothing. A practitioner
a contemporary of mine spontaneously declaimed this
gets involved in the violent activities of the radical groups
of yoga, or of Buddhist meditation, is called a yogi.
existential view succinctly: “It’s totally embarrassing
of that period in European history, such as the Red Guard.
So, these are yoginis. Two were doing yoga asanas, or
just to be standing up here in this body,” she said.
The phrase “compensatory decorative exhilaration,” which appears in the descriptive text for the performance, is from Frederic Jameson, a theorist whose lucid, practical writings greatly helped me in the 1980s when I was teaching critical reading of literary texts to college students. This “exhilaration” is, among other things, the baroque aspect of our polyvalent, multi-vocal world, where the line between art and life is constantly flapping about, and ubiquitous communication devices shred the kind of singular focus that used to be crucial to serenity. A new paradigm calls us to be embodied and focused amid and as part of the whirl and rush of sensory stimulation. Is this possible? Well, the popularity of practices like yoga, meditation, and the ubiquity of “mindfulness-based” approaches to health problems suggests a widespread need, even yearning, for the capacity to stay centered. It’s not easy to do, either literally—as these yoginis on the bikes elegantly demonstrated—or in a deeper sense of staying in touch with what is important and meaningful to us, moment by moment. How nice to have an evening that gracefully reminds us of this dilemma.
—Marina La Palma
Hannah Hughes, Kawashokachakraboom, performance, 2014
CRITICAL REFLECTION
yoKo ono: arising
55tH international venice biennale 2013 venice, italy
YOKO ONO INVITED WOMEN FROM COUNTRIES AROUND THE WORLD to write testaments of harm done to them for simply being
an open mass grave. Testaments line two long walls from
of the desire to unlock that which is beyond our reach. Arising
a woman. The setting for these testaments are part of her
floor to ceiling and a polite Queen Anne table and chair sit at
differs considerably from these pieces, independent of
installation Arising, shown in conjunction with the 55th Venice
one end—a place for women to add their own narratives, if
cerebral games. Arising is not about intellectual calculation,
Biennale along Venice’s Grand Canal, just a few steps away
they are so inclined.
but rather an offering up of a collective emotional wound
from the Rialto Bridge. In an interior room of a Renaissance
At eighty years old, Ono has been creating performance
for healing. It is as though in this chapter of Ono’s creative
mansion one finds the source of Ono’s unmistakable voice
art and installations since the mid-1950s when she moved
output, she wants to score a piece that is without the sparcity
on the soundtrack to a video playing on a continuous loop.
to Manhattan and married her first husband, pianist and
of her previous work and leaves nothing to the imagination.
Her haunting aria wails, sings, moans, screams:
composer Ichiyanagi Toshi. Ono was on the cusp of change
The components that make up Arising are literal in subject and
happening in the art world at that time as Asian philosophy
content, leaving no space to query what the point is. This is
“Listen to your heart
met American artists through the lectures of D. T. Suzuki at
not a needle on a pedestal, or glass keys.
Respect your intuition...
Columbia University. Ono met John Cage during this critical
Ono’s performance Cut Piece, first presented in Kyoto,
Have courage
juncture at one of Suzuki’s lectures on Zen. They became
in 1964, and later in London and New York City, at Carnegie
Have rage
friends and she later helped to bring Cage to Japan, performing
Recital Hall, does resemble Arising in the expression of
We’re all together...
with him in a collaborative piece called Music Walk.
content. Ono invited the audience to snip away at her
We’re rising.”
Ono was a founding member of the conceptual artist
clothing until she was left seated onstage with little but
group Fluxus, in New York City, and created a body of work
shreds covering her body. In an essay for her 2001-2002
Arising is a multi-media installation—a single piece
that is poetic, somewhat ephemeral, and often profound.
traveling retrospective, Alexandra Munroe wrote, “Cut
comprised of video, sculpture, sound, photos of eyes,
By comparison to her recent installation in Venice, her 1966
Piece expresses an anguished interiority while offering
and the written testaments from hundreds of anonymous
piece Forget It—a steel sewing needle pointed upward and
a social commentary on the quiet violence that binds
women. On a flat screen mounted between two windows
mounted on a Plexiglas pedestal engraved with the title and
individuals and society, the self and gender.” Arising has a
a video plays of a dozen or more human shapes burning like
her initials—is minimal, a found object with Duchampian
similar social commentary with the audible voices of more
a pyre of corpses in a funerary ceremony. In the center of
connections. One thinks about the proverbial needle in a
than two hundred fifty individual testaments. Some women
the gallery space, in front of the video, a mound of life-size
haystack or joining up one thing with another. Ono’s art has
wrote that they had never shared their story with anyone
female figures—perhaps the remains from the pyre—are
consistently been idea oriented and at the same time elegant
before out of fear or shame. Their words contain the pain
piled up on a parquet wood floor. Far more realistic than
in material form. Another early conceptual piece, Glass Keys
of secrets long hidden: “My silent mantra was, ‘stay small,
mannequins, these lifeless bodies are covered with an ashen
to Open the Skies—four clear glass skeleton keys hanging in a
stay quiet, become invisible.’ My name is ‘Anonymous,’
dust and encrusted with scales of a coppery green patina in
thin Plexiglas case, keys that are too fragile to be used—speaks
because that is how my father made me feel. He touched and held me as tight as he could, though not in the way a father should.” These are stories of physical abuse, sexual transgressions, and rape. These are stories of destruction. These are the types of stories flattened by television police dramas. They are not spellchecked or edited for grammar, they are raw. Curator and museum director, Nonjo Fumio, wrote of Ono’s oeuvre, “Some of her messages call for love and peace; others encourage us to see our life from different perspectives. But always at the heart of her messages is a call to us all to be human; and all are informed by Eastern wisdom and poetics transcending
national
boundaries.”
Ono’s
installation Arising will continue to travel to various venues during 2014, and all women are invited to continue to add their testaments. Perhaps these stories are a part of that search and the truths of an arising global heart.
—deborah gavel
Yoko Ono, installation view, 2013
M AY
2014
the magazine |51
Spring Thaw
Chiaroscuro 708 Canyon Road, Santa Fe
SPRING THAW MADE VERY LITTLE SENSE AS THE TITLE OF THIS GROUP SHOW. The press release states that this is an exhibition of four under-
professor of communications at Kent State. Once again, things
the wide web at various points, Ernesto Neto style. It seems a
represented artists. The four artists’ bodies of work have
stopped making sense, and not really in a good way. First off,
little unhinged and precarious in a way that keeps you on your
little to do with one another, are hung in separate spaces, and
all the images are printed on Tyvek, a polyethylene product
toes, but also has a slack Eva Hesse type entropy that makes you
dialogue not. This makes the only interesting interpretation
invented and manufactured by Dupont. Is this an attempt at
wanna relax along with it. It’s wired and tired in a way that’s true to
of the exhibition’s title something along the lines of “Thanks,
irony on Moore’s part, or is he just sans clue, as it were? What
the times. Snail, on the other hand, seemed like a classic Hamilton
Chiaroscuro, for pulling these four popsicles outta the deep
exactly does it mean to purchase a product from one of the most
piece, and in some sense an ideal subject for the artist. This small
freeze.” The remaining readings are all variations on “Oh yeah,
voraciously capitalistic corporations in the world (remember
steel poem justified its own intimate intricacy by spiraling down
and it’s spring.” But bad titles aside, it’s the work that matters,
Bhopal and the hole in your ozone) and print it up with pictures
into itself tight and snug as a shell. Or at least as tight and snug
right? So let’s spring to it and see if Chiaroscuro really should
of poor but happy Socialist Cuba and Cubanos? Second off, the
as a space-age surreal 3-D visual analysis of a gastropod can get.
release these deep-space travelers from their cryogenic pods.
images are schmaltzy and romanticizing. They fall into my least
Finally, in the oblong back of the space, David Hoptman
Leah Siegel’s digital drawings, printed and mounted on
favorite category of art—rich folks taking pictures of poor folks
showed small bronze sculptures cast from his rustic ceramic
aluminum supports (and in one case digitally impregnated into the
for rich folks to look at. Throw in the inanity of U.S.-Cuban
forms. These tabletop pieces have rich and complex patinaed
aluminum itself) are intriguing geometric abstractions that hold up
relations over the past fifty plus years and Moore’s images of
surfaces and read as fragments of ancient vessels or weaponry.
under visual inquiry. Definitely digitized, Siegel steps up the flatland
intensive tourism feel like he’s better off staying home. In fact, his
With slight curves and arcs they activate the space around
of the compu-derived print by letting the texture of the surface
images of Chicago are the best on his website. Has Moore, who’s
them, but not overly much, or with anything other than the
matter in a way that way too many (still under glass?) digitizers
been taking pictures since 2008, not yet developed an eye for the
simplest dynamics. Like artifacts of a lost civilization, though, they
don’t. Her Badlands series (not exhibited here) sports wild
interaction of light with matter (the classic photographic crux) or
somehow carry the sense that maybe the greater part of things
algorithmic warpings and unravelings of her color photographs
is the Tyvek just graying everything out? Look at Vermeer and
has gone missing.
of the already naturally outrageous Bisti/De-Na-Zin Wilderness
Rembrandt and Caravaggio for light on matter. And then look
Like a theme, Spring Thaw advances as the season does in
badlands up in the Navajo Nation. Her latest series, Revisions,
at Julia Margaret Cameron, and Brassai, for how to get hold of
New Mexico’s mountains, by fits and starts (a couple of each
thawing out in the vestibule, is more purely abstract in formal
it with a camera. But most of all look for how the two invisible
perhaps). Despite some sweet moments, it feels like the apricot
terms than the Badlands pieces, more minimal, and more distilled,
entities interact. Leonardo called it chiaroscuro.
tree that loses its blossoms to a late freeze. It doesn’t quite come
but similarly seductive. Here pattern dominates though anomaly
Jamie Hamilton, in the higher ceilinged space in the center
flourishes. Come for the repetition, stay for the random incidents.
of the beautiful and tastefully appointed gallery, stood out for the
Next on the wall was photographer Carl Moore, with
ambitious scale of his work. Fish Trap is a large net-like structure
new images from his seventh visit to Cuba in two years. Moore
composed of arcs of steel hinged to one another, strung with a
turned to photography after a twenty-six year career as a
loose white netting material, suspending steel balls dropped into
to complete fruition.
—Jon Carver
Jamie Hamilton, installation view, 2014
CRITICAL REFLECTION
Paul Pascarella: new moon west
david richard gallery 544 south guadalupe street, santa fe
IN NORTHERN NEW MEXICO, THE NATURAL WORLD IS UNAVOIDABLY DRAMATIC —dramatic sunsets, dramatic rainfalls, dramatic landscapes.
spontaneity. In the Me to We #1-3 series (2014), flashes
of dramas and feel automatic in their execution, the
In his recent solo exhibition, New Moon West, Paul
of color—whether in paint or collaged printed papers—
large-scale panels convey the grace and grandeur of
Pascarella’s abstract paintings capture the energy of these
interact within a matrix of black, white, and muddled
an unfolding ballet, ordered and thoughtful. In the
natural phenomena as they unfold: raw, organic, and
grays, injecting life into a neutral, if not static, backdrop.
large triptychs, composition is loose and spacious, and
powerful. Pascarella has had a longtime interest in nature,
Collaged images of anonymous faces are obscured in the
condensed gestural activity is balanced with planes of
and particularly the pre-industrial world, of which there
melee. These images seem to hearken to portraiture,
stillness and quiet space. These pieces take Pascarella
are some nostalgic remnants left in the American West.
though only tangentially.
two to three months to complete; he works on panel to support the continuous application of media as he
Originally from New York, the artist relocated from Los
Color plays a more dominant role in panels such as
Angeles to Taos in the 1980s, and has been a fulltime artist
Spring into Summer (2014) and Beach (2012), in which
ever since.
broad brush strokes in a vibrant palette including coral
In New Year New Moon (2011), gestural strokes
The exhibition is dominated by several large-
pinks and buttery yellows edge out the pervasive black
result in vibrational patterns. As movements emerge,
scale triptychs painted in a variety of media including
pigment. Swaths of color, accentuated by thin drizzles of
figuration emerges as well. Elegant S-curves are animated
pigments, pastels, and collaged elements. The large-
black and red, feel automatic and intuitive as the panels
like figures—perhaps birds, fish, costumed dancers?—
scale paintings are accompanied by series of smaller
effloresce with the spirit of changing seasons. Other
that float through the panels. The use of the triptych
single-panel paintings. While a consistent aesthetic
works incorporate collaged elements such as graphic,
in the large-scale paintings has the compositional effect
pervades the exhibition, the small and large panels fulfill
patterned papers. In an untitled work (2014), floral
of dividing the fluid motion of pigment into a quasi-
two distinct roles: the small panels are more condensed
prints peek out from the background creating a curious
narrative flow. The vertical breaks formally disrupt
in composition and energetically frenetic. They read as
juxtaposition between printed and painted patterning.
the dancing lines and impose a sense of order and
singular moments of observation or studies of unique,
Though the paintings are abstractions, patterns emerge
containment. On each panel, the dancing figures morph
nuanced events.
creates visual crescendos.
from the would-be chaos, perhaps akin to the seemingly
and turn, evolving from epicenters of paint to ethereal
Each of these sixteen-by-twelve-inch panels feels
random nature of natural phenomena that ultimately
beings. In Dance (2013), singular paint strokes suggest
almost entirely consumed with pigment. Vigorous
emerge into observable rhythm and pulse. While the
wings or whirling, sleeved arms, and lead the eye from
brush strokes and drizzles of color convey palpable
small-scale paintings play host to intense explorations
limb to tumultuous, painterly bodies. The serpentine figures are like the elusive flying
phoenix,
twisting
through space yet just out of the realm of observable reality.
The
viewer
may
spend
time
tracing
lines
discerning
the
of
color,
drama of life taking flight, yet
never
seeing
more
than abstractions in paint. Though than
more
calculated
Pascarella’s
smaller
panels, these large paintings are immersive experiences of the artist’s intuitive vision of the natural world around him. His passion for the pulse and patterning of the natural world is palpable. Capturing the
so
minute
often
overlooked
spectacles
of
the
natural world is a feat akin to preservation, inviting viewers to observe, respect, and hold dear the rapidly changing landscape around us.
—lauren tresp Paul Pascarella, New Year New Moon, acrylic, oil stick, collage on panel, 50” x 90”, 2011
M AY
2014
the magazine | 53
Timothy Nero: Mind Gears
Ellsworth Gallery 215 East Palace Avenue, Santa Fe
MICROBIOLOGOGY. ENTOMOLOGY. ZOOLOGY. BOTANY. CONCOLOGY. Timothy Nero’s work brings the viewer in touch with many aspects of the natural world, quite possibly in ways that Nero never intended. His forms evoke microorganisms, insects, animals, flowers, even encrusted seashells. But the works’ titles—Greasy Mind, New Shape for Anxiety, Minor Threat—tell us that Nero is really portraying a complex inner world. Ellsworth Gallery’s Mind Gears exhibition presents ten large shapes, four small to medium shapes, and two sculptures along with seven framed drawings. The curves, paint squiggles, and piercing stake-like protrusions fill each work with a life force. “I found that the forms I was drawing or painting,” writes Nero, “were far more engaging for me than any painted figuration locked on a flat ground. I needed to see it as an object occupying space.” Greasy Mind is the first form I meet in the gallery’s
Ellsworth’s brightly lit east gallery offers five of the
participant throughout, and sometimes it shimmers
flagstone entryway. Its curves echo the gentle meander
largest shapes “occupying space” together on one wall.
subtly under other layers of paint. New Shape for Anxiety
of the flagstone floor beneath it. Gallery director
The combination of this bright light and our natural Santa
has a tall, gently curved boomerang shape or whale body
Kathryn Stedham explains how Nero begins making a
Fe light through a skylight and the large front window
or fat slug look, with seven chunky side protrusions. It
shape from a circle of wood or canvas, then adds to
show off the paintings beautifully. Each form seems
is created from blacks and grays, with greens allowed to
and subtracts from each to create the resulting ovoid,
poised to crawl along the wall in a different direction
emerge on its surface and bright pink leaking onto the
elliptical, and freeform curved shapes. For Greasy Mind,
and each one reflects subtle color from behind. Part of
wall behind it. The shape I most want to see but don’t,
Nero used acrylic on wood 63 ¾” x 7 ¾” x 2 ¾”. The
Nero’s creativity includes painting the underside edges
is a giant paisley.
base layers of paint and some of the surface pattern drift
of each canvas or block of wood with a carefully chosen
Trodden completely captivates me. It is small at
over the sides. Nero creates the pattern with an intense
color. He then places supports behind each piece that
8” x 13¾” x 3” and has an almost triangular shape. Here
series of paint curlicues. Before I asked for details of his
extend the work from the wall. When light hits the
Nero uses acrylic on industrial foam, but it feels like a
technique, I imagined him as a cake decorator squeezing
picture, the resulting shadows pick up these subtle color
large fossil. The underlying surface colors are subtle-
paint through a frosting tube. In fact, he uses a rubber-
reflections. Glancing along this first wall, we see hints of
to-bold teals. On top of these are whites and creams
tipped shape tool to apply the paint and then push and
rose, yellow, red, mustard, and royal blue, respectively,
streaming down the surface from that same shape-tool
pull it around into a dense network of ripples and curves.
inching out from behind each piece. The “behind” color
treatment. But in the center is a geode-like structure
Eleven wooden stakes pierce the sides of the shape near
often also appears on the front surface of the piece.
and texture that reveals a heart shape. In New Shape for
its fiery red sections and above the central red swath.
Sometimes it is the accent color, sometimes it is a bold
Anxiety (Doesn’t Work), another large-scale wall form, Nero suggests that his translation of anxiety didn’t work out. There are nine pieces of wood here, attached in a way that clearly delineates all of their seams, unlike some of the other works’ protrusions that either pierce the piece or extend it. The color orange radiates from behind the work and the surface treatment is olive green in three key areas but otherwise white with black scales painted along several edges. Only at one extremity does the olive give way to nautical blue. Perhaps, up close, the anxiety doesn’t leap out, but from the far end of the gallery this figure is alive with fear as it runs across its wall toward possible escape through the front door. I was alarmed by its urgency. Nero’s drawings take us into a different kind of detail. When he works in ink on paper the effect shimmers from the intensity of tiny repeated lines or circles or organic forms, what Nero calls “skeins of scribbled lines, ribbons, and circles” that cannot be untied. The drawings are part botanical illustration, part molecular rendering. And whereas his use of color is bold in the big wall forms, here his colors are subtle and often only emerge after moving up close. Then we spot lovely hidden blues and mint greens. Nero says that he thinks in paint. But it goes beyond this. Kathryn Stedham says it best: “He is a painter who thinks like a sculptor.”
—Susan Wider Timothy Nero, Greasy Mind, acrylic on wood, 64” x 76” x 2 ¾”, 2013
CRITICAL REFLECTION
wooden menagerie: made in new meXico
museum oF international FolK art 706 camino leJo, santa Fe
Tradition doesn’t stop. It’s like a plant that continues to grow, a product of its environment. —Santa Fe sculptor Luís Tapia
S A N TA F E S T Y L E WA S N ’ T S O M E T H I N G T H AT S P R A N G , G O B L I N - L I K E , in the anything-goes 1980s out of the cocaine-rattled
have felt for the wild creatures with whom they shared the
movement really began heating up in the 1960s and seventies.
imagination of a tourism bureau chief on the rampage for
mountains, fields, and rivers, as norteños did well into the
“Young curators and scholars were pushing the notion that
more income in the city’s coffers. It was actually based on
mid-twentieth century. These animals—the roadrunners
American folk art was alive and well,” that it hadn’t died
something with substance—a way of life that is hundreds of
and woodpeckers, porcupines, bobcats, sheep, bears,
with the nineteenth century. Tapia was his “obvious go-to”
years old, and the art it inspired. That this art falls under the
trout, snakes, and coyotes—were neighbors. (Later, the
source, and between them, they formulated the narrative
rubric of “folk” makes it no less compelling or relevant than
Tesuque sculptors made every imaginable animal, from
for the exhibition. “The nature of the conversation is about
a diamond-encrusted skull by Damien Hirst—albeit for very
gorillas to elephants.) The earliest works in Menagerie
sculpture—making and makers,” states Cecil. Importantly,
different reasons. Wooden Menagerie, the exhibition that
date from the 1930s and include gorgeous specimens by
this show is proof of the fact that the tradition survived a
opened in early April this year in the Hispanic Heritage wing
the great Patrociño Barela, Celso Gallegos (contemporary
near-fatal encounter with commercial success and attendant
of MoIFA, immediately informs any onlooker that folk art is
sculptor Luís Tapia’s great-great-great uncle), and José
overexposure that threatened to cheapen the craft of
not merely “whimsical.” It is the stuff of history, tradition,
Dolores López of the Córdova school that eschews
carving animals from wood. The most recent artworks in
faith, and soul itself. The exhibition works on many levels; a
pigment. The sense of an art intrinsically tied to the making
Menagerie, from the seventies into the nineties, are exquisite:
smallish show, it’s definitely view-worthy.
of devotional objects is clear in these historic pieces, and
Mark Rodríguez exhibits a boar that is simply wonderful.
lends weight and meaning to the exhibition at the outset.
Gloria López Córdova’s St. Francis could easily snap up a
Menagerie tells the story of wooden animals carved by Hispanic New Mexicans during the late twentieth
Once the commercial viability of this particular version
prize at Spanish Market this summer. And Tapia’s Tigre is not
century, specifically from the 1930s into the eighties, when
of folk art was proven, a “tsunami of economy” hit, says
to be missed—a contemporary homage to his forefathers
the carvers had their moment in the sun. By that decade,
guest curator Andrew John Cecil. Thousands of works were
Gallegos, Barela, and Chicano sculptor Luís Jiménez.
carved animals from Tesuque’s La Escuela of hugely popular
made—and sold—during this period. Busloads of tourists
The Santa Fe style of the eighties may look like a bad
sculptors could be found seemingly everywhere—in 1986,
were brought in to Tesuque where the Archuletas, Ortegas,
joke now, a throw-back we’d all like to forget—along with
one of Jim Dávila’s snakes shared the cover of Rolling Stone
and others employed their skills in wood, house paint, and
our Dolman-sleeved big shirts, parachute pants, and Farrah
magazine with Jack Nicholson; Mark Miller chose animal
found materials: Archuleta made a fantastic rattlesnake from
hairdos—but the tradition that inspired it is alive and well today.
figures created by Leroy Ortega to grace the spanking new,
bottle caps and used buttons and glass for his creatures’
Wooden Menagerie might just leave you howling with joy.
ultra-trendy Coyote Café for its grand opening in 1987;
eyes, as displayed in the exhibition.
—kathryn m davis
and the howling coyote was ubiquitous—the latter a rather
Cecil, a Cranbrook-educated sculptor who curated
unfortunate instance because of the tendency of familiarity
Menagerie with contemporary santero Tapia’s support and
to breed contempt (or at least eyeball rolls).
expertise, notes that the contemporary American folk art
Felipe Benito Archuleta and Gorilla, 1977. Photo: Davis Mather
Felipe Benito Archuleta (1910-1991) is considered the grandfather of New Mexico’s wood-animal-carving tradition; forty-eight of his pieces make up the bulk of the exhibition. Like most of his compañeros, he grew up poor, and working for a paycheck was critical. In 1967, he found himself in dire straits, overlooked by the carpenter’s union. Archuleta was in his late fifties and desperate to earn a living. He prayed to his God, and experienced a religious revelation. Thanks to guidance from Heaven above, Archuleta started carving the kinds of figures he saw others creating for sale on Canyon Road, soon taking his art to a level quite beyond theirs. Archuleta’s work is deeply rooted in the Spanish Colonial tradition of bulto carving, the art of sculpting three-dimensional devotional images, primarily of the saints—or santos—that emerged from a geographically remote culture in northern New Mexico and southern Colorado, far from priests and the big-city cathedrals that glistened with gold, silver, tapestries, and oil paintings. Oral tradition kept the memory of such opulence alive, but since the seventeenth century, limited local resources had restricted the making of santos to such materials as cottonwood and mineral-based pigments. Every one of Archuleta’s pieces reveal a certain reverence mingled with the sly intimacy that a people living close to the land may M AY
2014
the magazine | 55
The Armory Show
Center for Contemporary Arts 1050 Pecos Trail, Santa Fe
T H I S I S A S G O O D A S I T G E T S — A N D W H O S E FA U LT I S T H AT ? I don’t mean just this particular show, per se. The Armory
But the CCA show points to a more fundamental problem that
about pursuing a career in an arts field (film, video, music,
Show is, overall, underwhelming. Apart from that, this CCA
speaks to contemporary art’s postmodern legacy.
theatre, creative writing, studio arts). They take as a given
show’s à la carte pluralism is emblematic of the current state
CCA emerged in the late 1970s at a critical juncture
the pervasive and defining role of popular culture in their
of contemporary art and its status within today’s leading media
in American art, when a rapid succession of new
lives and in society at large. That is where they are looking
art forms (film and video, television, theater, music). More on
movements since the mid 1960s, radically opposed to
for the “grand narratives”—and finding them. It doesn’t
that later, if I may. CCA has mounted this large show of works
Clement Greenberg’s elitist, hoch kunst aesthetic, led to a
matter that, for most of them, the last museum they visited
by more than one hundred Santa Fe–based artists to celebrate
rupture with modernism and the rise of postmodernism.
had Ben Stiller and Ricky Gervais in it. The marginal status of
the Center’s thirty-fifth anniversary as a regional venue for
Postmodern was marked, as David Hopkins wrote in After
contemporary art for them—vis-à-vis the influence of film
contemporary New Mexico artists. The show, featuring a wide
Modern Art 1945-2000, by “the loss of any overall sense of
and video, theatre, television, music—suggests a decreased
range of styles, comprises work by artists who have shown
an avant-garde project…” and by “a pluralist cultural ethos
capacity of contemporary art to convey the element that
at CCA in the past, and who in turn invited younger artists
. . . without any agreed goals. Art objects became cultural
is essential in any art form that elevates it above craft:
to show—a nod to CCA’s history of artist-organized shows
products among others, rather than catalysts for social or
vicarious experience. Contemporary art (or at the least,
dating from 1979. Past CCA armory shows were in an actual
aesthetic values.” The 1980s saw an explosive growth of
the art museum) is no longer a viable force to convey it.
armory, but the title would also evoke the modernist anti–art
the art market, which has continued unabated to this day, as
The problem is not with the students; it is with “the state
establishment spirit of the 1913 Armory Show in New York
well as a decade of postmodern art theory whose writings
of the art.”
City, which took its cue in turn from the nascent avant-garde
and art practices dominated art dialogue (postmodernism’s
Contemporary art has one of two ways to be viable.
of the 1863 Salon de Refusés in Paris.
“discourse”). Postmodern discourse dissipated (happily) by
It must become relevant (“awesome”) again, this time for
1990, while its cultural pluralism and commodity art market
the “Millennials,” too. Or it must aspire to the condition of
continue to dominate the contemporary art scene.
poetry, whose influence in our culture, while profound, is
The dogged visitor will find some strong work in the show: painting and drawing by Monty Little, Frank Ettenberg, Sam Scott, Helen Beck, Eugene Newmann; photography by
CCA’s salon approach does more than deny works
largely indirect, not market driven, and celebrity free (unless
Lynn Lown, Alex Traube, Gloria Graham; sculpture by Stacey
their specific contexts. It confirms that there no longer is a
you count the Library of Congress national poet laureate
Neff, Tom Joyce, and Michael Wilding; magical multimedia by
context for “art objects,” no longer a deep belief (borrowing
who—admit it—nobody can name).
Peter Sarkisian and Benji Geary; and wry, witty, wanker-ish
from postmodern nomenclature) in “grand narratives”—e.g.
It is likely too facile and glib to dismiss The Armory Show
pieces by Janet Russek, Yuli Nishimura, Michael Schippling, Laura
humanism, the Enlightenment (downsized to “projects”), art’s
as little more than a fundraising gambit gone flat. But it is
Stanziola, and Ligia Bouton.
social mandate—or at least in art’s capacity to address them.
certainly not the CCA of the past, and, I hope, not the future
What surprised me was how much of the work I found
The result, as critical theorist Fredric Jameson wrote, is a
of contemporary art.
to be weak, or, if done well, just not engaging—including some
“waning of affect.” In this sense, the works in the CCA Armory
—Richard Tobin
signature work by the more established artists. Perhaps my
Show, for all the artists’ intentions, are simply cultural products.
viewer’s response is simply a function of the limited impact of
I teach a liberal arts seminar for art students at the
a wide-ranging group show without a common theme. Such a
former College of Santa Fe, now the Santa Fe University
“salon” or “silent auction” approach denies a work the context
of Art and Design—or SFUAD (what were they thinking?).
within which it could effectively convey its meaning and import.
I’ve learned a lot from the students. They are really serious
Michael Wilding, The Offering, dyed limestone, 2014 Ligia Bouton, The Adventures of William Morris Man: William Morris Man vs. Owen Jones 2, colored pencil, ink, graphite, gold leaf collage on digital print, 22” x 30”, 2011
CRITICAL REFLECTION
gray, matters
santa Fe community college 6401 ricHards avenue, santa Fe
G R AY, M AT T E R S , T H E N E W E S T E X H I B I T I O N AT T H E S A N TA F E Community College, “identifies a group of Native artists
head. The other draws a deer stick figure with a quotation
traditions and animal instincts. Hanska may be working
working in undefined ‘Gray’ areas and highlights the
bubble that says “Show-off!” Cell Phone Signal suggests the
with concepts of black and white to make a shady gray area
significance of this work and why it ‘Matters.’” The twelve
clumsiness of Native and non-Native cross-pollination as
but who cares? The gray area is a perfectly pressurized art
mid-career artists are all Native American with roots that
two kids question whether grandpa is saying his evening
practice and that’s what matters.
span the country. Their works are very different from
prayers or trying to get a cell phone signal.
—hannah hoel
each other and with over five hundred different federally
Sam Haozous, Allan Houser’s grandson, has three
recognized Native American tribes in the United States,
cyanotypes in the show that are perplexing if not grotesque.
each with its own identity, it’s no wonder. The show
Each photograph shows a nude wearing a mask that
has a little bit of everything—fashion, pottery, painting,
glares at the viewer. The
sculpture, video, and photography with the uniting force
images are jarring, funhouse
being that the artists are all Native, despite emerging from
representations with inherent
very different cultures. Gray, Matters therefore seems a
contradictions
little disparate. Gray matter also refers to brain function,
the signature, historic blue
as if the show’s curator, David Gaussoin, is suggesting that
and
the artists’ work be remembered and saved from artistic
angles, fisheye lens, nudity,
amnesia.
incongruent Kachina masks,
Native appropriation by non-Natives has been and
the
between
invasive
camera
and sometimes brushstrokes.
still is a hot topic across the country. The exotic Other who
In
shares the same soil as non-Native Americans is slowly
bares his three skull tattoos
being demystified while at the same time being severely
and confronts the viewer
projected upon with everything that non-Native Americans
with raised bear-claw hands,
crave. One of the artists, Cannupa Hanska, said in a recent
a monkey face, and vacant
interview that culture is the last remaining commodity that
eyes. He is either attacking
Natives have—so please let them have it. This tension
or being attacked and it’s
is like a family fighting over inheritance. Gray, Matters is
unclear whether Haozous is
thus completely on point for soliciting this “liminal state
aiming to shock, is aimless,
of artistic identity.” However, it is naïve to think that
or is commenting on historic
America’s own cultural disparities wouldn’t shake just a
portraiture
little from the ripples of information technology. Today,
Americans in it.
Self
Haozous
Portrait,
and
Native
artists are working in an image-based world and artists
Perhaps the most well-
who are Native American must face the same challenges
known artist in the group is
as the rest of them. Gray, Matters marginalizes the twelve
Hanska,
artists as opposed to assuming their qualifications.
work is staunchly aware
whose
ingenious
(2008)
of itself as Native and yet
authenticates the power of artists coming together to
transcends any stereotype
be creative regardless of their cultural heritage. Benally’s
of
film documents a time “where a group of friends, artists,
considering
mad men, and mad women convened over the making,
“stereotype” ceramic boom
taking, and breaking of what art is, and what is was.”
boxes
This model ideally still holds. One of Santa Fe’s first young
Museum of Contemporary
art collectives, The Humble was comprised of Natives and
Native
non-Natives coming together to collaboratively investigate
new one of which is in
art. Many of the original artists are still working here in
Gray,
Santa Fe and one of them, Hanska, is also featured in Gray,
incorporating textiles into
Matters.
his
Razelle
Benally’s
film,
The
Humble
Ricardo Caté’s cartoons are regularly published in
Native
art—ironic his
from Arts
last
year’s
Museum,
Matters. ceramic
“women’s
signature
Hanska
a is
sculptures:
work”
that
is
The Santa Fe New Mexican but will hopefully one day go
handy and homey with its
viral. There are two of his pieces in the show: eight-by-ten-
next of kin, ceramics. In
inch acrylic paintings that whimsically prod preconceived
Capricorn, the resting animal
stereotypes of Native culture. Show-off depicts two
wears a gray-and-red felted
shirtless Indians from behind drawing on a gray wall. They
covering that immediately
each have a long black braid down their backs with a
domesticates the feral animal,
protruding white feather. One guy draws a realistic deer
cross-pollinating
M AY
2014
Cannupa Hanska, Capricorn, ceramic and felt, 24” x 13” x 14”, 2014
artistic
the magazine | 57
Identity • Persona & Branding for Artists • Writers • Musicians & Creatives
j
ennifer Esperanza Culture Blogger
Photography & Productions
The PREMIER COMPANION for your ART JOURNEY www.jenniferesperanza.com
505.204.5729 • Santa Fe, New Mexico
Artist Richard Kurtz New York Outsider Art Fair May 8 - 11 Booth #205 Laura Steward Projects
MARK Z. MIGDALSKI, D.D.S. An
ANNUAL GUIDE for
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
GENERAL AND COSMETIC DENTISTRY “DEDICATED TO PREVENTION, SERVICE & EXCELLENCE”
CAROLE AINE LANGRALL
GREEN PLANET
A K A T H E F LO W E R S P Y DESIGNER • WRITER • MASTER GARDENER PH O T O I L LUSTRATION BY
J ENNIFER E SPERANZA
Carole Aine Langrall has worked in the floriculture industry for over twenty years. As a master gardener, she advocates and lectures about the importance of sustainability in flower farms and in beautification projects. Her monthly column, “Santa Fe in Bloom,” in the Santa Fe New Mexican Home Magazine showcases native flowers and gardens of the Southwest. Langrall is known for her unusual combinations of botanical elements. Her blog— Neglected Beauty—challenges traditional concepts of beauty by highlighting the hidden and unexpected forms she discovers in her everyday travels. flowerspy.com neglectedbeauty.blogspot.com
“The secret life of the plant world has
always fascinated me far more than humankind.”
M AY
2014
the magazine | 59
A R C H I T E C T U R A L D E TA I L S
ROAD TO NOWHERE PHOTOGRAPH BY JUSTIN
M AY
2014
SACHS the magazine |61
WRITINGS
BLACK MESA BY
M ARY H ELEN K LARE
Descending the Main Hill Road From Los Alamos to Española, you see Black Mesa In the distance sitting in the fields of San Ildefonso Pueblo Looking like a large volcanic turtle, wise, steadfast, eternal. She presides under sun-glazed clouds floating by like ancient Dreams. Sides speckled with piñon trees, faraway Indian cows Dot-like on her lumpy head—she’s Queen of the Valley Safe-keeping legends in her heart like turquoise nuggets on a string. Deer’s friend, Moon’s confidant, Coyote’s inspiration. As you approach, you meet her neighbor to the right, The Pueblo Mission, with its eight white crosses Standing like squat sentinels in the lonely cemetery Where wayward tumbleweeds bump against yellow Chamisas And lavender asters invite creamy butterflies to tarry. Nearby golden cottonwoods rustle in the breeze. The Río Grande, intent on his mission, burbles beside them. Beyond, the sprawling Sangre de Cristo Range joins The sky in a sweeping autumn symphony of blue.
No matter the season, the setting stirs the artist in you. Black Mesa, ceremonial in a woven rug of sun and snow As she listens to Kokopelli’s flute melting winter into spring, When, greenly budding, she presides over the renewal of the land. Black Mesa, serene in summer when clumps of Indian Paintbrush red-ly rim the road, afternoon showers waft sagebrush Perfume, dusk creeps in, and no longer dark and plain, she’s Awash in color spewed from the setting sun’s palette. When you return from all your roaming, the night sky Will be glittering with stars, the air fragrant with the sweetness Of the sleeping earth. Rest by the roadside. Heed Coyote’s call in the sandstone cliffs. Seek out Deer nibbling grass in the shadows. Allow Moon’s glow to rinse away your weary fears. Eyes softened, listen to the night . . . and enter. The cool brush you feel against your cheek, is Black Mesa’s Whispering to the Río as he passes by on his journey south. To you, she’ll only give her knowing silence.
Mary Helen Klare was born and raised in El Paso, Texas. She is a freelance musician and former winner of The New Mexican’s Holiday Short Story Writing Contest. Her work has appeared in The Blue Mesa Review, The Santa Fe New Mexican, The Los Alamos Monitor, and most recently in Arts Perspective. Her first poetry collection is in progress. Photograph by Mary Helen Klare
62 | the magazine
M AY
2014
C o n t e m p o r a r y n at u r a l i s m M ay 2 3 , 2 0 1 4 – j u l y 5 , 2 0 1 4
r o n K i n g s w o o d , s p r i n g t h aw o i l o n C a n va s , 4 3 7 / 8 x 6 0 i n C h e s
les perhaCes, Chaos series: triangle in CirCle 2 fa b r i C at e d s t e e l , 2 0 x 2 9 x 17 i n C h e s
s u s a n b r e a r e y, a r C t i C i C e o i l o n C a n va s , 2 4 x 3 6 i n C h e s
e w o u d d e g r o o t, e i d e r r e f l e C t i o n s oil on linen, 47 1/2 x 47 1/2 inChes
o p e n i n g r e c e p t i o n w i t h t h e a r t i s t s : F r i d ay, M ay 2 3 r d F r o M 5 - 7 p M
w o r k s b y: pat r i c i a b e g g i n s • s u s a n b r e a r e y • j o h n F e l s i n g • e w o u d d e g r o o t steve kestrel • ron kingswood • les perhacs • Mary roberson
g e r a l d p e t e r s g a l l e r y ® ® 1 0 1 1 pa s e o d e p e r a l t a , s a n t a F e , n e w M e x i c o 8 7 5 0 1 F o r i n F o r M a t i o n p l e a s e c o n t a c t M a r i a h a j i c , ( 5 0 5 ) 9 5 4 - 5 7 1 9 , o r M h a j i c @ g p g a l l e r y. c o M
Walter W. Nelson The Black Place - Two seasons
May 2 - 31 Opening May 2 , 5-7
c h i a r o s c u r o 702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM
505-992-0711
www. chiaroscurosantafe .com
Also on View: New Work by John Garrett & Peter Millett