The magazine oct 2013 by FlavorGrafix Design

Santa Fe’s Monthly

of and for the Arts • October 2013

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Photographer Ted Spagna’s legacy extends beyond the art world. His “God’s-eye view” photographs of sleeping men, women, and children, which echo the work of Eadweard Muybridge, are sure to delight art and photography lovers from all walks of life, but they have also provided previously unknown information—such as the existence of a ninety-minute sleep cycle—to sleep researchers at Harvard University. “At times seemingly staged, Spagna’s subjects are so variously draped, shaped, dressed or undressed as to denote an unexpected communicative function of sleep as social behavior,” wrote celebrated dream researcher Dr. Allan Hobson in a scientific journal in 1989, the year Spagna died. But it is the incredible intimacy of Spagna’s photographs—the completely unguarded, unposed, and unarranged demeanor of his subjects—that makes his sleep series so arresting. Peter and Cat, a photographic series of a young man sleeping peacefully with his Siamese cat became the photographer’s most well-known image after it appeared on the cover of The New York Times Magazine. But in Sleep (Universe, $55), the full range of Spagna’s human studies is revealed—from Uncle Artie, a photograph of a lone old man asleep in a plain room, to Steve and Barbara, which, for a breath, catches a young couple in a warm moment of intimacy.

letters

universe of

art forum:

studio visits:

food for thought:

one bottle:

dining guide:

artist Sheldon Krevit

The Last Supper by James G. Davis Lenny Foster and Jennifer Lynch La Pâtisserie

The 1970 La Fleur Château La Fleur-Pétrus Pomerol by Joshua Baer Dr. Field Goods Kitchen, Kohnami (San Q and San Q Sushi)

and Santacafé 31

art openings

out & about

previews:

national spotlight:

person of interest:

critical reflections: Susanna Carlisle and Bruce Hamilton at Yares Projects; Alexandra Eldridge at Nüart Gallery; Susan Davidoff and Rachelle Thiewes at Zane Bennett Contemporary Art; Katherine Lee at Eight Modern; Cannupa Hanska Luger at the Museum of Contemporary Native Arts; Ed Moses at Charlotte Jackson Fine Art; Keiko Sadakane at Gebert Contemporary; Mark White at Mark White Contemporary; and Taos Moderns at 203 Fine Art (Taos)

green planet:

Tara Trudell: Filmmaker, Activist, and Poet, photograph by Jennifer Esperanza

architectural details:

Atomic Surplus at the Center for Contemporary Arts; Martin Parr at the University of New Mexico (Alb.); and Mary Tsiongas and Jenna Kuiper at Richard Levy Gallery (Alb.) Passport to Paris at the Denver Art Museum

David Bradley: Artist & Activist by Kathryn M Davis

Shrine of Our Lady of Guadalupe, photograph by

Guy Cross 62

writings:

“Breakfast with Capitalists” by Orlando Ricardo Menes

CONTENTS

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

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.

JEREMY SCHAHILL

JAMAICA KINCAID

with ROBERT FAGGEN

WEDNESDAY 16 OCTOBER AT 7 PM LENSIC PERFORMING ARTS CENTER With the intensity of Virginia Woolf, Kincaid creates a palimpsest of time past, time present and time future . . . Mrs. Sweet in these pages makes a verbal symphony . . . Kincaid’s attempt to capture living itself may just be, as she puts it, ‘always just out of reach,’ but her talent for trying remains palpable on every page . . . Connoisseurs will find it delicious. — Chicago Tribune on See Now Then Jamaica Kincaid, whose work has been called loosely autobiographical, has said, “Everything I say is true, and everything I say is not true. You couldn’t admit any of it to a court of law. It would not be good evidence.” Her recent novel, See Now Then, chronicles the death of a marriage like a beautiful elegy, where Mr. and Mrs. Sweet’s final years together are anything but. Kincaid immigrated from the West Indies at 17 to New York, where she eventually joined the staff of The New Yorker. Her books explore themes of colonialism and its legacy, and the complex relationships between mothers and daughters.

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

with TOM ENGELHARDT

WEDNESDAY 30 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER At his inauguration in January 2013, Obama employed the rhetoric of internationalism. “We will defend our people and uphold our values through strength of arms and rule of law. We will show the courage to try and resolve our differences with other nations peacefully—not because we are naïve about the dangers we face, but because engagement can more durably lift suspicion and fear,” the president declared…The drone strike in Yemen the day Obama was sworn in served as a potent symbol of a reality that had been clearly established during his first four years in office: US unilateralism and exceptionalism were not only bipartisan principles in Washington, but a permanent American institution. As large-scale military deployments wound down, the United States had simultaneously escalated its use of drones, cruise missiles and Special Ops raids in an unprecedented number of countries. The war on terror had become a self-fulfilling prophecy. The question all Americans must ask themselves lingers painfully: How does a war like this ever end? — from Dirty Wars: The World is a Battlefield by Jeremy Scahill © 2013. Jeremy Scahill is National Security Correspondent for The Nation magazine and a Puffin Foundation Writing Fellow at The Nation Institute. The author of the international bestseller Blackwater: The Rise of the World’s Most Powerful Mercenary Army, he has reported from Afghanistan, Iraq, Somalia, Yemen, the former Yugoslavia and elsewhere across the globe. Dirty Wars: The World Is a Battlefield is Scahill’s latest book, and he is also a writer and producer of the film Dirty Wars, which premiered at the 2013 Sundance Film Festival.

LETTERS

magazine VOLUME XXI, NUMBER IV

WINNER 1994 Best Consumer Tabloid SELECTED 1997 Top-5 Best Consumer Tabloids SELECTED 2005 & 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 Lydia Gonzales PREVIEW / CALENDAR EDITOR Elizabeth Harball WEBMEISTER

Jason Rodriguez SOCIAL MEDIA

Laura Shields

CONTRIBUTORS

Diane Armitage, Joshua Baer, Chris Benson, Davis Brimberg, Jon Carver, Kathryn M Davis, Jennifer Esperanza, Hannah Hoel, Marina La Palma, Thais Mather, Iris McLister, Orlando Ricardo Menes, Max Rockland, Richard Tobin, and Lauren Tresp COVER

Sacra Conversazione by Keiko Sadakane

acrylic on wood, 29 1/2” x 19 5/8” Courtesy: Gebert Contemporary, Santa Fe. Page 45

Drawing Room: an exhibition of paintings and works on paper by Eugene Newmann (left) and John Connell (right) will be on view at PHIL Space, 1410 Second Street through Friday, November 8. Opening reception on Friday, October 11 from 5 to 8 pm. TO THE EDITOR: What a tremendous review in the September issue of the exhibition Those Who Dared at the Monroe Gallery of Photography. Such insight into each of the photographs mentioned. Please share our compliments and thanks with your writer, Iris McLister. This is a review we will share with others.

—Harry and Gigi Benson, New York City, via email TO THE EDITOR:

Thank you for the wonderful review in your September issue by Richard Tobin of my work at David Richard Gallery. Such an insightful analysis of the work broadens my view of how the work is understood by the viewer. It is an honor to be included in your publication. —Ted Larsen, Santa Fe, via email TO THE EDITOR:

ADVERTISING SALES

THE magazine: 505-424-7641 Lindy Madley: 505-577-4471 DISTRIBUTION

Jimmy Montoya: 470-0258 (mobile) THE magazine is published 10x a year by THE magazine Inc., 320 Aztec St., Santa Fe, NM 87501. Corporate address: 44 Bishop Lamy Road Lamy, NM 87540. Phone number: (505)-424-7641. Email address: themagazinesf@gmail.com. Web address: themagazineonline.com. All materials copyright 2013 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.

OCTOBER

2013

A heaviness and sadness overwhelmed me and my heart ached while reading Cheye Pagel’s words and looking at her photographs in “The Healing Power of Art” story in your latest issue. I applaud her bravery. Kudos to her for opening a small crack of her life to reveal a part of what truly goes on and to help people become aware. I do not understand how a person can impose such inhumane inflictions on society’s most helpless and vulnerable citizens—our young children. These horrific abuses happen in our midst on a daily basis. All adults in our society share the responsibility to be aware of our surroundings and need to be a voice for these abused children, many of whom cannot speak up for themselves. Many are threatened, beaten into unconsciousness, systematically starved, and locked in closets. One hundred children are abused every hour, and the numbers are increasing. I have worked with children who have been sexually abused and they have expressed great concern about what they can do to help prevent other children from being molested. They have said that parents need to increase their awareness of this problem, and that sexual-abuse prevention education for children should be taught beginning in kindergarten and continuing throughout the school-age years. The more sexual abuse is ignored, the more of a problem it is going to become. Warning signs include unusual behavior, such as not wanting to be touched, grades dropping, nightmares, withdrawing, fear in the eyes, a sudden

weight change, and rebellious behavior. Parents need to teach their children about their bodies and what kinds of touching is okay. Parents need to tell them to come and talk with them about touching that is not okay, and they need to be told that they will believe them. Some children are threatened not to tell. Tell your children that you will protect them and you won’t be mad at them. And assure your children that sexual abuse is not their fault. I salute your publication for bringing the issue of abuse into the light. —Patricia Ryan, Riverside, CA, via email TO THE EDITOR: Thank you for the “Healing Power of Art” article in your September issue. While growing up, I got the message loud and clear from both my father and uncle that men are in charge—women are not—and that anger is the only emotion that it’s okay to express. I am now thirtyeight years old, and finally have come to understand how this message led to my disrespecting, mistreating, and abusing women. I sought therapy and now, as an exabuser, I ask all men to get out of that sick “man box” and boldly act in ways counter to what they’ve been taught.

—Jeffrey Hudnell, via email TO THE EDITOR: Horrific abuses such as what happened to Cheye Pagel happen in our midst on a daily basis. All adults in our society share the responsibility to be aware of our surroundings. We need to be a voice for the children; the children cannot speak up for themselves.

—Emily Caires, via email This issue is dedicated to the life of our friend Steve Parks.

Letters: Email to themagazinesf@gmail.com Mail: 320 Aztec St., Suite A - Santa Fe NM 87501

THE magazine | 5

new exhibition opening in october

Michael roque Collins beyond earth’s rhythms october 18-november 24 artist reception: Friday, october 18, 5:00-7:00pm

top: Georgia O’Keeffe, Lake George, 1922. Oil on canvas, 161/2 x 22 in. San Francisco Museum of Modern Art, California. bottom: Georgia O’Keeffe,

Lake George Barns, 1926. Oil on canvas, 21 3/16 x 32 1/16 in., Collection Walker Art Center, Minneapolis. Gift of the T. B. Walker Foundation, 1954.

MOdErN nature Georgia O’Keeffe and Lake George

as part of the Santa fe gallery association’s “art Matters” event please join us for a panel discussion with artist Michael roque Collins moderated by museum curator and art writer Jim edwards and gallery co-owner Ken Marvel Saturday, october 19, 11:00am at lewallen’s railyard gallery.

continuing through october 13, 2013

ronnie LandfieLd after the rain

october 4, 2o13 — January 26, 2o14

Between 1918 and 1930, Georgia O’Keeffe created an extraordinary body of work inspired by annual seasonal visits to Lake George, New York. Here, O’Keeffe discovered and refined her ground-breaking approach to nature and abstraction. This exhibition showcases artwork produced during her transformative and prolific years at Lake George.

Modern Nature: Georgia O’Keeffe and Lake George was organized by The Hyde Collection in association with the Georgia O’Keeffe Museum. The national presentations of the exhibition and catalogue have been made possible in part with support from The Henry Luce Foundation and the National Endowment for the Arts. Additional support and related programming were made possible in part by a generous grant from The Burnett Foundation, and partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax. Additional support for the catalogue has been provided by Furthermore: a program of the J. M Kaplan Fund.

Bernard Chaet (1924-2012) MeMorial exhibition: SongS of Joy

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STAN BERNING

“White Interstices”, watercolor/gouache, 16” x 13”, 2011

“Ten Paintings And Some Clay”

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SHELDON KREVIT’S

meticulous paintings and drawings are concerned with the essence of things, from the microscopic to the cosmic. Like an art detective, he investigates what causes things to look the way they do—up close, from a distance, and from every angle. For Krevit, the act of creating is a meditation that focuses his attention on the now. Time is not a factor in his work—he takes each piece as far as he can, until it’s resolved. The work itself tells him when to stop. A one-man show of recent work—Golden—will be on view at the Jay Etkin Gallery, 703 Camino de la Familia, Santa Fe, with an opening reception on Friday, October 18 from 5 to 7 pm.

photograph by

Dana Waldon

UNIVERSE OF

EARLY INFLUENCES

does one thing begin or end? Perhaps an

of Jackson Pollock’s. By the time my

DIVIDING THE PICTURE PLANE

The work of Georges Seurat impressed

even better question is: Where does our

own visual vocabulary had emerged,

I often combine multiple surfaces in

me, because he did away with lines.

awareness of something begin or end?

around 1974, I became aware of some of

the same painting or drawing to create

After all, there aren’t any lines in nature.

It’s all about the nature of perception.

Richard Pousette-Dart’s much his work

diptychs, triptychs, and polyptychs.

There are particles and edges, but no

I also loved the strength of Cézanne’s

resonated with me. It wasn’t an influence,

Sometimes I leave some space between

lines. Edges are very important. Where

work, and the freely expressed energy

for me, as much as a validation.

the canvases, panels, sheets of paper,

or tiles. I want an immediate awareness

accommodate it. I regard every one

THE NEW WORK

the works that I reference.

of being in the presence of a physical

of my creations as my offspring. I

That’s always a fluid process. I’m usually

object. That’s an important perceptual

bring them into this world. They need

just along for the ride. I’m working on some

ART MARKET FRUSTRATIONS

starting point. The divisions in my work

to be able to survive on their own

new paintings and thinking of reworking

Any artist who’s been around for as long as I

also manifest the duality of our existence

before they leave my studio. Probably

some others. There is a body of work I’ve

have can write a book about the frustrations

and the transcending of that duality.

over thirty years ago, David Novros,

wanted to do for years and hope to get

and absurdities of the art market. It’s mostly

someone I think of as one of our

to before long. I’d like to respond to the

irrational. All I can do is keep my integrity—

BEING CONSISTENT

greatest living painters, told me “great

work of some old masters, beginning with

artistic and otherwise—and be thankful

The work lets me know what it

art takes time.” I would add that great

Rogier van der Weyden, with paintings of

that I’ve found a dealer with integrity, Jay

requires of me, and I’m obliged to

art also reveals itself over time.

my own that manifest certain elements of

Etkin, who believes in my work.

OCTOBER

2013

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 1974 OIL-ON-CANVAS PAINTING BY JAMES G. DAVIS ENTITLED THE LAST SUPPER. THEY WERE SHOWN ONLY THE IMAGE. THEY WERE NOT TOLD THE TITLE OR NAME OF THE ARTIST. In this painting we find emotional conflict over life

complex became the issues of authorship, authority,

ne sais quoi quality. But I digress, into my somewhat

and death. A ghostly woman is preparing a meal,

and intellectual value. As we find ourselves in the

narrow—that is, contemporary—understanding of

perhaps for her beloved’s arrival. Some say eating

postmodern paradigm, which implies that everything

art. Have we over intellectualized art to the point that

is a reaffirmation of life. Therefore, psychologically,

is art, it is so confusing and often estranging to try to

we can no longer enjoy it? Or is there so much crappy

she is caught between the pleasures of life and the

discover ourselves within the definitions of art. I find

art that we feel like cynical intellectuals looking at

acceptance of her own death. The ghoulish man in

myself in the same conundrum as I view this work.

most of it? If art is everything, why are those of us

the foreground may represent death itself. His suit

Painting is dead to many postmodern intellectuals, but

who define ourselves as postmodernists the harshest

and shiny pinky ring remind me of a Mafia hit man.

yet remains the only living beast in our local art market.

critics of all? Why are we the judge and jury? If

He appears like the Grim Reaper. A ghastly looking

I wonder if I could, as a critic, even define this painting

anything, we have put ourselves in an impossible

dog defensively stares at him. The animal instinctively

in any meaningful way. The piece appears neo-folk,

position where we can no longer define or accept

senses danger. A painting in the background shows a

somewhat Ab-Ex (and I do not mean that as a term

anything as art.

haloed figure, perhaps Christ after his Resurrection: an

of endearment), has a certain globbed/overworked je

—Thais Mather, Art Lover

iconic example of physical and spiritual transformation. In the kitchen window, we see a landscape with an animal feeding at night. Again, eating is contrasted against eternal darkness. The window’s nature scene recalls the four seasons and their symbolism of death and rebirth.

—Davis K. Brimberg, Ph.D., Clinical Psychologist I hate this image. Francis Bacon meets Matisse meets Dracula. It’s flat and crusty and there is nothing pretty in it: chartreuse, red-orange, pasty skin. Both figures and even the cat are struggling from some internal dilemma that feels dogged and unromantic. Everything is stiff like cardboard and the only movement comes from the dark-haired woman floating across the back wall, putting a bowl of salad or broccoli on the table. The white-hot light looks cinematic and interrogating, while at the same time familiar and solitary. It’s lonely feeding oneself. The shadow behind her head evokes a film noir surprise—not to mention the not-so-benign steak knife, lurking ghost, toaster reflection, and even some scalding rodent in the oven. The rest of the table is hidden and mysterious. It’s dinnertime so everything should be cozy and warm, but something’s not right: dinner for one, but there’s too much food and an unexpected guest. The black cat (or dog?) seems to know and hiss or growl around the corner at the stiff ghostly man. What happens next?

—Max Rockland, Artist, Bolinas, CA Recently an acquaintance asked me to define the difference between folk art and high art. Growing up with parents who were dealers of folk art, and myself being a recent MFA (whatever the fuck that means), it seems as though you’d think I could easily answer the question. The more I thought about it the more

18 | THE magazine

OCTOBER

2013

Mary Ellen Mark photograph

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STUDIO VISITS

photographs by

Anne Staveley

IN HER BOOK THE ARTIST’S WAY, JULIA CAMERON WROTE, “THE CREATIVE PROCESS IS For me the creative process is all about surrender: first and foremost, surrendering to the muse, the

A PROCESS OF SURRENDER,

inspirations, urgings, and the ebb and flow of the powerful creative energy that flows in and around me. When I’m in my true vibrational flow, there is no need for controlling, forcing, or doubt when creating imagery. I can trust that I am where I need to be, doing what I’m meant to do and seeing what is meant to be seen. When coming from this place, I can also surrender to the ego’s insatiable appetite and I can create purely for the love of it and not be motivated or manipulated by what anyone else thinks of the work. Living my life as an artist requires trust, faith, and belief that if I am true to myself and the work, it will lead me to spiritual and financial abundance—and so far this is true. So surrendering isn’t an event

NOT CONTROL.” TWO ARTISTS RESPOND TO HER STATEMENT.

or a one-time thing; to me it is a beautiful daily practice that allows me to be in harmony with a power much greater than myself.

I agree. Follow the work and it will show you what to do.

—Lenny Foster

—Jennifer Lynch

In October, Foster’s photographs will be shown at the Taos Select 40th Annual Taos Fall Arts Festival, the Albuquerque Museum’s Miniatures and More exhibition, and at Living Light Gallery, Taos. In January, 2014, his work will be on view at the Miniatures exhibition and fundraiser at the Millicent Rogers Museum,Taos. lennyfoster.com OCTOBER

2013

Lynch has shown her work at Dafa and the Encore Gallery at the Taos Community Auditorium,Taos, the Arvads Center for the Arts, the Invisible Museum, Denver, and Artifact, New York City.

THE magazine | 21

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L a P âtisserie L a P âtisserie G loppe

by Jean

Béraud, 1889

Time for a pop French quiz! Imagine you are walking down the Avenue des Champs-Élysées in Paris, panier in hand, searching for the best desserts the City of Lights has to offer. You turn the corner, and there you find a gleaming window, filled with delicate, colorful pastries in perfect lines behind the glass. Which item would you not find in this classic Paris pâtisserie? A) Paris-Brest. B) andouillette. C) Saint-Honoré. D) mille-feuille. Unless you are un fou you know that a mille-feuille (D) is a delicately layered pastry, also known as a Napoleon in Les États-Unis. If you guessed Paris-Brest (A), it’s probably your first time in France, so perhaps you have not yet encountered this wheel-shaped confection with a praline filling, invented in the late 1800s to celebrate the Paris-to-Brest bicycle race. If you picked Saint-Honoré, you’re wrong—no pâtisserie would be complete without this iconic treat in its display case, which is named for the patron saint of pastry chefs. However, if you guessed Andouillette, c’est vrai! If you tried to order that at your Paris patisserie, you’d be sent down the street to a charcuterie, or a sausage shop. OCTOBER

2013

THE magazine | 23

patio dining always available

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restaurant

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Good Taste! Good Time! The Compound Restaurant ~ A New Mexico Tradition LUNCH • DINNER • BAR

231 washington avenue - reservations 505 984 1788

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ON NEE BBO OT TT TLLE E O

One BOttle:

tHe 1970 CHÂteAU lA FleUR-PÉtRUS POMeROl by Joshua

baer

The original Judgment of Paris occurred thousands of years ago, during

The six California Cabernets were the 1969 Freemark Abbey, the 1970

mythological times. Zeus, the king of the gods, invited everyone on Mount

Heitz “Martha’s Vineyard,” the 1970 Ridge “Monte Bello,” the 1971

Olympus to a banquet in celebration of the marriage of Peleus and Thetis.

Mayacamas, the 1972 Clos Du Val, and the 1973 Stag’s Leap Wine Cellars.

Peleus was an aging mortal, a warrior with a checkered past, but Thetis

Before they blind-tasted, the judges were told to grade each wine on

was a sea nymph and, therefore, immortal. Zeus lusted after Thetis, and

a scale of one to twenty, with twenty the highest score possible. After the

assumed that he and she would meet again, so he wanted the banquet

judges voted, their scores were combined and averaged. When Spurrier

to be a success.

announced that the 1973 Stag’s Leap had won, with an average score of

Zeus held the banquet on Mount Pelion, at the mouth of the cave of

seventeen, the judges were shocked. Judge Odette Kahn, editor-in-chief

Chiron, the infamous centaur. Hermes, the son of Zeus, and the messenger

of two prestigious French magazines, La Revue du vin de France and Cuisine et

of the gods, greeted each guest. Aphrodite, the goddess of beauty, Athena,

Vins de France, demanded the return of her ballot. When Spurrier refused,

the goddess of wisdom, and Hera, Zeus’s wife and sister, were shown

Kahn claimed that the competition was a fraud and that Spurrier was

to their seats. Apollo played the lyre. The Muses serenaded the guests.

a charlatan. Spurrier, who loved French wines and had assumed that the

Ambrosia and nectar were served. Chiron presented Peleus with an

1970 Haut-Brion would win, later revealed that Kahn’s ballot gave the

ashen spear polished by Athena. The spear’s blade had been forged by Hephaestus. Poseidon, Zeus’s brother, gave the newlyweds two immortal horses, Balius and Xanthus. Before the last guests arrived, Zeus took Hermes aside.

1973 Stag’s Leap a fifteen—the highest score given by Kahn to any of the wines she tasted. The modern Judgment of Paris, also known as “the tasting of the century,” changed the world’s approach to California

“Everyone’s having such a good time,” he said. “When Eris gets

wines. It also changed California’s approach to marketing.

here, tell her she’s not welcome. You know how she is. She’ll

Following the Judgment, the Napa Valley spent the rest of the

argue with the first person who disagrees with her, then

twentieth century promoting its Cabernets as world-class

we’ll all take sides and start fighting.”

wines. The promotion succeeded beyond all expectations.

Eris was the goddess of discord. She arrived at the

Which brings us to the 1970 La Fleur-Pétrus Pomerol.

banquet with a golden apple plucked from the Garden of the

In the glass, the 1970 La Fleur-Pétrus displays a mythological

Hesperides. Her intention was to give the apple to Thetis.

clarity. While it has nothing to hide, its garnet color is anything

When Hermes told her she was late, and that there were no

but transparent. The bouquet offers hints of fate, mayhem, and

seats left at the banquet, Eris took offense. Using her fingernail,

paradox. On the palate, the wine gathers its strengths. Halfway

she wrote καλλίστῃ (kallistēi, “for the fairest one”) on the

through the bottle, you realize you should have taken the wine

apple and threw it into the air. The apple landed at the center

more seriously, which forces you to cherish whatever you have

of the banquet. Within minutes, the guests were arguing. Who

left in your glass. The finish is a Greek tragedy. By the time you

was the fairest one? Aphrodite, Athena, and Hera each insisted

take your last sip, you not only miss the La Fleur-Pétrus, you

that the apple was rightfully hers.

miss the last twenty years of your life.

Zeus told Hermes to escort Aphrodite, Athena, Hera,

These are the legacies of the modern Judgment of Paris:

and the apple to Mount Ida; to have each goddess bathe

Blind-tasting and numerical ratings have become the lingua

in the springs at the foot of the mountain; and to present

franca of the wine world. Wine experts presume objectivity

the naked goddesses to Paris, a young prince tending

when they blind-taste. Wine experts insist that wines taste like

sheep on the mountain. Paris would decide which goddess

fruits and vegetables. Wine experts not only tell us which wines

was the most beautiful, then he would give her the apple.

we should drink, they tell us which fruits and vegetables we

After meeting the goddesses, Paris declined to say which

will taste when we drink them. As we speak, thousands of

goddess he liked best. The goddesses reacted by offering bribes.

aspiring sommeliers are taking courses designed to teach them

Aphrodite offered him Helen of Sparta, the most beautiful

how to identify wines through blind tastings. Good taste has

woman in the world. Athena guaranteed him victory in any battle

been replaced by blind taste.

he fought. Hera promised to make him king of Europe and Asia.

Just as your taste determines your choices, your choices

Paris gave the apple to Aphrodite.

create your taste. If you mistrust your taste, then respect the

The modern Judgment of Paris took place on May 24,

wine experts. But if you love wine, then respect your taste. And,

1976, when Steve Spurrier, a British wine expert, held a wine

if you get the chance, drink a pre-Judgment bottle. Your taste will

competition in Paris, France. Nine French judges were asked to

thank you for the experience.

blind-taste four Bordeaux and six California Cabernets. The four Bordeaux were the 1970 Haut-Brion, the 1970 Montrose, the 1970 Mouton Rothschild, and the 1971 Léoville-Las Cases. OOCCTTOOBBEERR

2013 2013

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time. The name “One Bottle” and the contents of this column are ©2013 by onebottle.com. For back issues, go to onebottle.com. Send comments or questions to jb@onebottle.com.

magazine || 25 25 The magazine THE

DINING GUIDE

Not Just Pizza at Dr. Field Goods

Kitchen

2860 Cerrillos Road, Santa Fe 11 am – 9 pm Lunch and Dinner Daily 471-0043

$ 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: Guy Cross

...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. $$$ Cuisine: French. Atmosphere: An inn in the French countryside. House specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: Generous martinis, a terrific wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence. Watch for special wine pairings. 317 Aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$ Cuisine: Café and Juice Bar. Atmosphere: Casual. House specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Juice bar and perfect smoothies. Andiamo 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ Cuisine: Italian. Atmosphere: Casual. House specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Great pizza. Anasazi Restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner. Full bar. Valet parking. Major credit cards. $$$$ Cuisine: Contemporary American with a what we call a “Southwestern twist.” Atmosphere: A classy room. House specialties: For lunch, we suggest the Ahi Tuna Tacos or the Fried Ruby Trout. For dinner, start with the Heirloom Beet Salad. Follow with the flavorful Achiote Grilled Atlantic Salmon. Dessert: the Chef’s Selection of Artisanal Cheeses. Comments: Attentive service. Body Café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$ 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, try the perfectly grilled Swordfish.

specialties: The smoked brisket and ribs the best. Super buffalo burgers. Comments: Huge selection of beers. Coyote Café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$ Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. House specialties: Main the grilled Maine Lobster Tails or the 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.

Café Fina 624 Old Las Vegas Hiway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $ Cuisine: Contemporary comfort food. Atmosphere: Casual and bright. House specialties: Ricotta pancakes with fresh berries, the chicken enchiladas; and the green-chile Cheese burger. Comments: Organic and housemade products are delicious.

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: Friendly—down home. House specialties: For lunch try Doc’s Chile Relleno Platter or the Northern New Mexico Lamb Chops. Dinner faves are the Pan Seared Whole Boneless Trout and the Green Chile Smothered Chicken Burrito. Comments: Great bar, wonderful desserts, and a kid’s menu.

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. For lunch, try the Grilled Chicken Sandwich.

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 and you leave feeling good.

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.

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 with with a nice patio outside where you can sit, read periodicals, and schmooze. Tons of magazine to peruse. House specialties: Espresso, cappuccino, and lattes.

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

Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly. House specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go, you will love it. Geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: French/Asian fusion. Atmosphere: Elegant and stylish. House specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin. Il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$ 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. Jambo Cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$ Cuisine: African and Caribbean inspired. Atmosphere: Casual. House specialties: Jerk Chicken Sandwich and the Phillo, stuffed with spinach, black olives, feta cheese, and roasted red peppers, Comments: Chef Obo wins awards for his fabulous soups. Kohnami Restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$ 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 Ruiaku Sake.

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-tocheek dancing. House specialties: Tapas, Tapas, Tapas. Comments: Murals by Alfred Morang.

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: Salvadoran Grill. Atmosphere: Casual. House specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch.

El Mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$

Lan’s Vietnamese Cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$ Cuisine: Vietnamese. Atmosphere:

Casual. House specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies. Comments: Friendly waitstaff and reasonable prices. 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. $$ Cuisine: American fare with a Southwestern twist. Atmosphere: Large open room. House specialties: For lunch: the Baby Arugula Salad or the Chicken or Pork Taquitos. Entrée: Grilled Atlantic Salmon with Green Lentils, and the French Cut Pork Chop. Comments: Good dessert selection. Mu Du Noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$ 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.

continued on page 29 OCTOBER

2013

THE magazine | 27

Full Bar/Lounge Area Award-Winning Wine List Classic French Bistro Farmers Market Produce Join our e-newsletter at www.315santafe.com for specials, promotions & wine dinner updates.

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and enjoy a free dessert! Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190

CLOUD CLIFF BAKERY at the SANTA FE FARMERS MARKET TUESDAY and SATURDAY

COOKING SOON

DINING GUIDE

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 and the Santa Fe Style Chilaquiles. 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.

Kohnami 313 South Guadalupe Street 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. $$$ Cuisine: Southwestern with a French flair. Atmosphere: Contemporary. House specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list. Rose’s Cafe 5700 University W. Blvd SE, #130, Alb. 505-433-5772 Breakfast/Lunch. Patio. Major credit cards. $ Cuisine: A taste of the Yucatán with a Southwest twist. House specialties: We love the Huevos Muteleños: corn tortillas w/ refried black beans, eggs topped with Muteleños sauce, cotya cheese, and fresh avocado. Lunch: the Yucatán Pork Tacos. Comments: Kid’s menu and super-friendly folks. San Q 31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$ 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. San Francisco Street Bar & Grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: All-American. Atmosphere: Casual. House specialties: The San Francisco Street Burger or the Grilled Yellowfin Tuna Nicoise Salad. Comments: Sister restaurant in the DeVargas Center. Comments: Reasonable prices. Santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: Southwest Contemporary. OCTOBER

2013

San Q

San Q Sushi

33 Burro Alley

3470 Zafarano Drive

Atmosphere: Minimal, subdued, and elegant House specialties: The worldfamous calamari never disappoints. Favorite entrées include the grilled Rack of Lamb and the Pan-seared Salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Happy hour special from 4-6 pm. Half-price appetizers. “Well” cocktails and House Margaritas only $5. Santa Fe Bar & Grill 187 Paseo de Peralta. 982-3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$ Cuisine: American and New Mexican. Atmosphere: Casual and friendly. House specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet. Santa Fe Capitol Grill 3462 Zafarano Drive. 471-6800. Lunch/Dinner Full bar. Major credit cards. $$ Cuisine: New American fare. Atmosphere: Contemporary and hip. House specialties: we suggest that you start with the Seared Ahi Tuna. For your main, we love the Chicken Fried Chicken with mashed potates and bacon bits, the flavorful Ceviche, or the Beer Battered Fish and Chips. All of the desserts are right on the mark. Comments: A great selection of wines from around the world. Quality beers. And marvelous mixed drinks. Two happy hours: 3-6 pm and 9 pm on. Generous portions and reasonable prices. Menu changes with the seasons. Go. Saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$ Cuisine: French meets American. Atmosphere: Casual. Buffet-style service for salad bar and soups. House specialties: Daily specials, gourmet sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Do not pass on the Baby-Back Ribs. Second Street Brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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. 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 and casual. House specialties: For breakfast, get the Ham and Cheese Croissant. Lunch fave is the Prosciutto, Mozzarella, and Tomato sandwich. Comments: Special espresso drinks. Steaksmith at El Gancho

Old Las Vegas Hwy. 988-3333. Lunch/Dinner Full bar. Major credit cards $$$ Cuisine: American. Atmosphere: Family restaurant House specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here. Sweetwater 1512 Pacheco St. 795-7383 Breakfast/Lunch/Dinner. Sunday Brunch Beer/Wine Major credit cards. $$$ Cuisine: Innovative natural foods. Atmosphere: Large open room. House specialties: In the am, try the Mediterranean Breakfast— Quinoa with Dates, Apricots, and Honey. Lunch favorites is the 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 Major credit cards. $$ Cuisine: New Mexican and American. Atmosphere: Down home and casual. House. specialties: For breakfast, 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.

The Artesian Restaurant at Ojo Caliente Resort & Spa 50 Los Baños Drive.  505-583-2233 Breakfast/Lunch/Dinner Wine and Beer Major credit cards. $$ Cuisine: Local flavors. Atmosphere: Casual, calm, and friendly. House specialties: At lunch we love the Ojo Fish Tacos and the organic Artesian Salad. For dinner, start with the Grilled Artichoke, foillow with the Trout with a Toasted Piñon Glaze. Comments: Nice wine bar. The Compound 653 Canyon Rd.  982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$ Cuisine: Contemporary. Atmosphere: 150-year-old adobe. House specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. All of the desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award. The Palace Restaurant & Saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$ 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. $$$ Cuisine: All American, Creole, and New Mexican. Atmosphere: Friendly and casual. House specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, Steak Dunigan or the Fried Shrimp Louisianne. Comments: Cocktails and nibblles at cocktail hour in the Dragon Room is a must! The Shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$ 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. $$$ Cuisine: BBQ and Grill. Atmosphere: Family and very kid-friendly. House specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: The best ribs. Tia Sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $$ 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. Comments: The real deal Tune-Up Café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$ Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. Atmosphere: Down home. House specialties: For breakfast, order the Buttermilk Pancakes or the Tune-Up Breakfast. Comments: Real friendly. Vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$ Cuisine: American. Atmosphere: Light, bright and very cheerful. House specialties: All organic salads. We love all the saleads, especially the Nutty Pear-fessor Salad and the Chop Chop Salad. Comments: NIce seating on the patio. In Albuquerque, visit their their sister restaurant at 1828 Central Ave., SW. Zacatecas 3423 Central Ave., Alb. 255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$ Cuisine: Mexican, not New Mexican. Atmosphere: Casual and friendly. House specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs. Also offered are over sixty-five brands of Tequila. Zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$ Cuisine: All-American Atmosphere: Down home. House specialties: The Chile Rellenos and Eggs is our breakfast choice. At lunch, we love the burgers, the Southwestern Chicken Salad and the crispy Fish and Chips. Comments: wonderful selection of sweets to takeout. The bar is the placeto be at the cocktail hour.

Shrimp & Spinach Dumplings at Santacafé 231 washington Avenue • 984-1788

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.

THE magazine | 29

OPENINGS

OCTOBERARTOPENINGS THURSDAY, OCTOBER 3

Wade Wilson Art Santa Fe, 217 W. Water St., Santa Fe. 660-4393. Floyd Newsum: paintings by Floyd Newsum. 5-7 pm. FRIDAY, OCTOBER 4

5G Gallery, 1715 5th St. NW, Alb. 505-9779643. Ghost of Sea: new works by Alan Paine Radebaugh. 5:30-8:30 pm. A Gallery Santa Fe, 154 W. Marcy St. #104, Santa Fe. 603-7744. Exceptions to the Rule: sculpture, wall pieces, and paintings by Carol Ware, Nathaniel Hesse, and David Forlano. 5-7 pm. Andrew Smith Gallery, 122 Grant Ave., Santa Fe. 984-1234. Mannequin: photography by Lee Friedlander. 4-6 pm.

Frank Ettenberg and Jeff and Hannah Uffelman. 5-7:30 pm. Legends Santa Fe, 125 Lincoln Ave., Santa Fe. 983-5639. Illusory: photography by Stephen Lang. 5-7 pm. Mariposa Gallery, 3500 Central Ave. SE, Alb. 505-268-6828. Luscious: jewelry by Kristin Diener. 5-8 pm. Monroe Gallery, 112 Don Gaspar Ave., Santa Fe. 992-0800. Ernest Withers—A Life’s Work: photography by Ernest C. Withers. 5-7 pm.

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Titanic Tectonics: glass sculpture by Paul Harrie. 5-8 pm.

Realm: paintings and mixed media by Felicitas, Merlin Emrys, and Holger Schmidt. 5-7 pm. SUNDAY, OCTOBER 6

Patina Gallery, 131 W. Palace Ave., Santa Fe. 986-3432. Ingrained: vessels and jewelry in wood by Liam Flynn and Gustav Reyes. 5-7 pm. Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Merging Worlds: pottery and porcelain works by Clarence Cruz and Kathryne Cyman. 5-8:30 pm. SATURDAY, OCTOBER 5

New Concept Gallery, 610 Canyon Rd., Santa Fe. 795-7570. Reg Loving—Early Works and More: landscape and abstract paintings by Reg Loving. 5-7 pm.

Encaustic Art Institute, 18 County Rd. 55-A, Santa Fe. 424-6487. National Juried Encaustic/ Wax Exhibition: group show of 49 artists. Awards TBA. 12-5 pm.

Nüart Gallery, 670 Canyon Rd., Santa Fe. 9883888. Desiderata: paintings by Erin Cone. 5-7 pm.

La Tienda Exhibit Space, 7 Caliente Rd., Santa Fe. 428-0024. Vibrant Choices in the Abstract

Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505-867-8080. Placitas Artist Series: paintings and photography by Debby Brinkerhoff, Katherine Irish Henry, and Preston Photography. 2 pm. Leich Lathrop Gallery, 323 Romero St. NW, Alb. 505-243-3059. Code Talking—Word and Symbol as Language: works by Harriette Tsosie. 3-5 pm. THURSDAY, OCTOBER 10

A Gallery Santa Fe, 154 W. Marcy St. #104, Santa Fe. 603-7744. Exceptions to the Rule: sculpture and paintings by Nathaniel Hesse, Carol Ware, and David Forlano. 5-7 pm.

Axle Contemporary, The Railyard, Santa Fe. 670-5854. Autophotography: photography group show. 5-7 pm.

El Museo Cultural de Santa Fe, 555 Camino de la Familia, Santa Fe. 690-1928. Inside Out: exhibition and fundraiser for National Mental Illness Awareness Week. 5-7 pm.

Blue Rain Gallery, 130 Lincoln Ave., Ste. C, Santa Fe. 954-9902. Alberto Valdes: Selected Paintings. 5-7 pm.

FRIDAY, OCTOBER 11

Blue Rain Gallery, 130 Lincoln Ave., Ste. C, Santa Fe. 954-9902. In the Flow: new paintings by Doug West. 5-7 pm.

Canyon Road Art Brokerage, 618 Canyon Rd., Santa Fe. 995-1111. Michael Lawton—The Panoramic Works: photography from 1969 onwards by Michael Lawton. 5-8 pm.

Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 983-1338. Atomic Surplus: multi-disciplinary group exhibition surveying the nuclear legacy. 6-8 pm.

Ernesto Mayans Gallery, 601 Canyon Rd., Santa Fe. 983-8068. Loud Whisper: paintings and paper assemblages by Kathleen McCloud. 5-7 pm.

Exhibit/208, 208 Broadway SE, Alb. 505-4506884. New Paintings: works by Richard Hogan. 5-8 pm.

Evoke Contemporary, 130 Lincoln Ave., Santa Fe. 995-9902. OPHTHALM: drawings and paintings by Kent Williams. 5-7 pm.

Hunter Kirkland Contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. New Oil Paintings: works by Peter Burega. 5-7 pm.

Factory on 5th, 1715 5th St. NW, Alb. 505977-9643. Black Swan Event: mixed-media works by Juliana Coles. 6-9 pm.

Page Coleman Gallery, 6320-B Linn Ave. NE, Alb. 505-238-5071. Bosque Morning: paintings by Page Coleman. 5-7 pm.

Freestyle Gallery, 1114 Central Ave. SW, Alb. 505-243-9267. Montez and Sandoval: ink drawings, paintings, and photography by Derrick Montez and Jose Sandoval. 6-9 pm.

PHIL SPACE, 1410 Second St., Santa Fe. 9837945. Drawing Room: works on paper by Eugene Newmann and John Connell. 5-8 pm.

The Gallery ABQ, 8210 Menaul Blvd. NE, Alb. 505-292-9333. Something Different: oil and mixed-media works by Marcella Boushelle, Judi Foster, and Jean Porter. 5-8 pm.

Stranger Factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Bewitching III: Halloween group exhibit. 6-9 pm.

Gebert Contemporary, 558 Canyon Rd., Santa Fe. 992-1100. New Work: paintings by Dirk De Bruycker. 5-7 pm.

Tom Ross Gallery, 409 Canyon Rd., Santa Fe. 984-8434. Dirk Kortz: new paintings by Dirk Kortz. 5-7:30 pm.

Harwood Art Center, 1114 Seventh St., Alb. 505-242-6367. Disaster/Resilience: group show exploring contemporary social justice issues. Faces of the Elderly: photographs by Hal Kahn. 6-8 pm.

ViVO Contemporary, 725 Canyon Rd., Santa Fe. 982-1329. The Universe Next Door: group show. 5-7 pm.

Kristin Johnson Fine Art, 323 E. Palace Ave., Santa Fe, 780-5451. A Double Feature: work by

Gerald Peters Gallery, 1011 Paseo de Peralta, Santa Fe. 954-5700. Presence, Place,

SATURDAY, OCTOBER 12

A new series of photographs—Mannequin—by Lee Friedlander at Andrew Smith Gallery, 122 Grant Avenue. Reception: Friday, October 4 from 4 to 6 pm. OCTOBER

2013

continued on page 34

THE magazine | 31

Honey Harris in Conversation with THE magazine on Thursday, Oct. 10 at 10:30 am 98.1 FM KBAC

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OPENINGS

and Perspective: works by Don Coen, Elizabeth Elting, Karen Kitchel, and Don Stinson. 5-7 pm.

group show of landscape paintings from the 19th century onward. 5-7 pm.

Richard Levy Gallery, 514 Central Ave. SW, Alb. 505-766-9888. The Likenesses of Light: video installation by Mary Tsiongas. Light in Hand: photograms by Jenna Kuiper. 6-8 pm.

Silver Sun Gallery, 656 Canyon Rd., Santa Fe. 9838743. Trunk Show: jewelry and paintings by Shane Hendren, Gary Custer, and Lee MacLeod. 5-7 pm.

Rio Bravo Fine Art, 110 N. Broadway, Truth or Consequences. 575-894-0572. Guys and Canyons: paintings by Delmas Howe. 6-9 pm.

The Steven Boone Gallery, 714 Canyon Rd., Santa Fe. 670-0598. Twisted Portraits: works by Steven Boone and Dirk Kortz. 5-7 pm. SATURDAY, OCTOBER 19

516 Arts, 516 Central Ave. SW, Alb. 505-2421445. Art at the Border—21st Century Responses: group show. 6-8 pm. FRIDAY, OCTOBER 18

Adobe Gallery, 221 Canyon Rd., Santa Fe. 629-4051. Special Exhibit: paintings by early 20thcentury Native American artists. 4-6 pm. Canyon Road Art Brokerage, 618 Canyon Rd., Santa Fe. 995-1111. Ten Paintings and Some Clay: work by Stan Berning. 5-7 pm.

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Any Position Limits the View: works by Allan Graham. Closing reception and discussion: Sat., Oct. 19, 2-4 pm. Gaucho Blue Fine Art, 14148 State Rd. 75, Peñasco. 575-587-1076. Annual Fall Art Auction: silent and live auction featuring New Mexico artists. 1-5 pm. FRIDAY, OCTOBER 25

Canyon Road Contemporary, 403 Canyon Rd., Santa Fe. 983-0433. Five Theories: group show. 5-7 pm.

Adobe Gallery, 221 Canyon Rd., Santa Fe. 6294051. Special Exhibit: early and mid-20th century katsina dolls from Hopi and Zuni Pueblos. 4-6 pm.

Jay Etkin Gallery, 703 Camino de la Familia, Santa Fe. 983-8511. Golden: paintings and more by Sheldon Krevit. 5-7 pm.

Casweck Galleries, 203 W. Water St., Santa Fe. 988-2966. Bronze Sculpture: works by Brant Kingman. 5:30-7:30 pm.

Karan Ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Recent Landscapes—Near and Far: landscape paintings by Martha Mans. 5-7 pm.

Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. Art on Paper—Fine Art Prints: woodblock prints, lithographs, and etchings by Pablo Picasso, Pierre-Auguste Renoir, Paul Gauguin, and more. 5-7 pm.

Kristin Johnson Fine Art, 323 E. Palace Ave., Santa Fe. 699-6576. Groupies: photographs by Baron Wolman. 5:30-7:30 pm. The Longworth Gallery, 530 Canyon Rd., Santa Fe. 989-4210. Empowerment: paintings by Kimberly Webber. 5:30-7:30 pm. Matthews Gallery, 669 Canyon Rd., Santa Fe. 992-2882. New Horizons—Focus on Landscapes:

Turner Carroll Gallery, 725 Canyon Rd., Santa Fe. 986-9800. Igor Melnikov—New Work: paintings by Igor Melnikov. 5-7 pm. Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 982-8111. WholeInOne: paintings and drawings by Emily Cheng. In Case of Emergency: wood assemblages by Roger Atkins. 5-7 pm.

Art at the Border—21st Century Responses at 516 Arts, 516 Central Avenue SW, Albuquerque. Reception: Saturday, October 12 from 6 to 8 pm. Installation: Alejandro Almaza Pereda

David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Life Support—Art Design Sustenance: international design exhibition of functional and unique art. 5-7 pm.

Canyon Road Paint Out, locations along Canyon Rd., Santa Fe. 6th Annual Canyon Road Paint Out: over 100 artists working outdoors, plus music, food, and demonstrations. Fri., Oct. 18 through Sat., Oct. 19. visitcanyonroad.com

Marigold Arts, 424 Canyon Rd., Santa Fe. 982-4142. International Folk Art from the Estate of Liselotte Kahn: exhibition and sale of rugs, wood sculpture, and copper vessels. 5-7 pm.

Charlotte Jackson Fine Art, 554 S. Guadalupe St., Santa Fe. 989-8688. Paintings and Drawings: work by Tony DeLap. Through Sun., Oct. 27. charlottejackson.com

Palette Contemporary Art and Craft, 7400 Montgomery Blvd. NE, Alb. 505-855-7777. Finding Finished: paintings by Janet Bothne. 5-8 pm.

Chiaroscuro Contemporary Art, 7021/2 Canyon Rd., Santa Fe. 992-0711. Gallery Artist Group Show. Fri., Oct. 25 through Sat., Nov. 23. chiaroscurosantafe.com

FRIDAY, NOVEMBER 1

SPECIAL INTEREST

Abiquiu Inn, 21120 US 84, Abiquiu. 505685-4378. Abiquiu Lecture Series—The Curator as Artist and Historian: lecture by Joseph Traugott. Thurs., Oct. 3, 7 pm. abiquiuinn. com/workshops.html Abiquiu Studio Tour, various locations in Abiquiu. 20th Annual Abiquiu Studio Tour: over 80 local artists. Sat., Oct. 12 through Mon., Oct. 14. abiquiustudiotour.org ARTScrawl, various locations in Alb. 505244-0362. First Friday ARTScrawl: citywide gallery openings. Fri., Oct. 4, 5-8:30 pm. Route 66 ARTScrawl: self-guided art tour. Fri., Oct. 18, 5-8:30 pm. artscrawlabq.org Bostick & Sullivan, 1541 Center Dr., Santa Fe. 474-0890. Albumen Printing Workshop: with Jill Enfield. Sun., Oct. 20 to Tues., Oct. 22.

Couse Foundation, 146 E. Kit Carson Rd., Taos. 575-751-4308. Open House: tour of historic studio, ongoing exhibit, and gardens. Sat., Oct. 5. cousefoundation.org David Richard Gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. Any Position Limits the View: works by Allan Graham. Allan Graham’s (a.k.a. Toadhouse) 70th Birthday. Tues., Oct. 8, 5-7 pm. Panel Discussion and Exhibition Walk and Talk. Sat., Oct. 26, 2-4 pm. davidrichardgallery.com Eggman and Walrus, 131 W. San Francisco St. and 130 W. Palace Ave., Santa Fe. 6600048. Limitless: collage and paintings by Charles Greeley with Bernadette Freeman. Through Sat., Oct. 12. eggmanwalrus.com Eldorado Hotel and Spa, 309 W. San Francisco St., Santa Fe. 988-4455. IEA EncaustiCon 2013: conference hosted by International Encaustic

A Double Feature: work by Frank Ettenberg and Jeff and Hannah Uffelman at Kristin Johnson Fine Art, 323 East Palace Avenue. Reception: Friday, October 4 from 5 to 7:30 pm. Image by Frank Ettenberg.

34 | THE magazine

OCTOBER

2013

Dyeing wool in Seco.

A Truly Art-Full Season October in Taos Highlights ONGOING TO OCT 6 Taos Fall Arts Festival Civic Plaza Drive THROUGHOUT OCT Weaving Workshops in Arroyo Seco Weaving Southwest

Aspen yellow is not the only fall color in Taos.

k TRUE k FALSE

OCT 4 SOMOS Grand Story Slam Taos Mesa Brewing OCT 4-5 First Weekend Art Walks Ledoux Street, Kit Carson Road OCT 5 Live from the Met Opera Taos Community Auditorium OCT 5 SOMOS Storytelling Fest, Terry Allen Taos Community Auditorium OCT 5-6 Taos Wool Festival Kit Carson Park OCT 11 TAO@Town Hall Exhibition Opening OCT 11-13 Fall for Antiques Show & Sale Millicent Rogers Museum OCT 25 Katherine Ann Power, Surrender Sponsored by SOMOS Taos Community Auditorium OCT 25-27 Taos Mountain Balloon Rally OCT 26 Live from the Met Opera Taos Community Auditorium

TAOS is

Find all events at

TAOS.org/fall2013 888.580.8267 PHOTOGRAPH: KATHLEEN BRENNEN

OPENINGS

Artists. Thurs., Oct. 31 through Sun., Nov. 3. encausticon.com El Rito Studio Tour, various locations in El Rito. 575-581-0155. 27th Annual El Rito Studio Tour. Sat., Oct. 5-Sun., Oct. 6. elritostudiotour.org Galisteo Studio Tour, various locations in Galisteo. 505-466-2121. 26th Annual Galisteo Studio Tour. Sat., Oct. 19-Sun., Oct. 20. galisteostudiotour.org Georgia O’Keeffe’s Home and Studio, Abiquiu. 505-685-4539. O’Keeffe Abiquiu Art Session: paint, draw, and sketch in the landscape that inspired O’Keeffe. Mon., Oct. 7, 7 am-6 pm. okeeffemuseum.org Georgia O’Keeffe Museum, 217 Johnson St., Santa Fe. 946-1000. Modern Nature— Georgia O’Keeffe and Lake George: paintings by Georgia O’Keeffe from the Hyde Collection. Exhibition runs Oct. 4-Jan. 26, 2014. On Thursday, Oct. 3, at 6:30 pm, curator Erin B. Coe will discuss the formative influence of Lake George on the art of Georgia O’Keeffe. Museum opens at 10 am. Harwood Museum, 238 Ledoux St., Taos. 575758-9826. Halloween at the Harwood: music, storytelling, and more. Sat., Oct. 26, 11 am-2 pm. harwoodmuseum.org Harwood Museum, 238 Ledoux St., Taos. 575758-9826. 90th Anniversary: ongoing exhibitions and special events. Through Sun., Jan. 26, 2014.

harwoodmuseum.org Heinley Fine Arts, 119-C Bent St., Taos. 617947-9016. Paint this Land: paintings by Jivan Lee. Through November. heinleyfineartsw.com High Desert Test Sites 2013, various locations between Joshua Tree, CA and Magdalena, NM. Installations, performances, and events culminating in Alb., with projects by local artists Andrea Polli and Debbie Long. Sat., Oct. 12 to Sat., Oct. 19. highdeserttestsites.com Hunter Kirkland Contemporary, 200B Canyon Rd., Santa Fe. 984-2111. Spiral Curve: sculpture by T Barny and paintings by Laura Wait. Through Sun., Oct. 6. hunterkirklandcontemporary.com Inn and Spa at Loretto, 211 Old Santa Fe Trail, Santa Fe. 988-5531. 2013 New Mexico Film and TV Industry Mixer: celebrate the success of film and TV in New Mexico. Sun., Oct. 13, 3-6 pm. nmwif.com James A. Little Theater, 1060 Cerrillos Rd., Santa Fe. 827-6760. Ideas in Psychiatry: National Mental Illness Awareness Week with a lecture by Maria Oquendo, MD. Fri., Oct. 11, 6 pm. nmsd.k12.nm.us Jane Sauer Gallery, 652 Canyon Rd., Santa Fe. 995-8513. A Decade of Seasons: paintings by Hilario Gutierrez. Through Tues., Oct. 22. jsauergallery.com

Jonathan Abrams MD Art Gallery, University of NM Hospital, 2211 Lomas Blvd. NE, Alb. 505-272-9700. Discovering Fire— A Matchbox Series: 27 photographs by Margot A. Geist. Through Fri., Nov. 1. geistlight.com Kit Carson Home and Museum, 113 Kit Carson Rd., Taos. 1-800-684-0340. The Wool Festival at Taos: market, demonstrations, and more. Sat., Oct. 5 to Sun., Oct. 6. taoswoolfestival.org Kristin Johnson Fine Art, 323 E. Palace Ave., Santa Fe. 780-5451. Sponsorship Party: film showing, music, and more in honor of the Santa Fe Independent Film Festival. Fri., Oct. 18, 7:30 pm-12 am. kjfgallery.com The Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Minds Interrupted: conversations in honor of National Mental Health Awareness Week. Wed., Oct. 9, 7 pm. lensic.org The Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Santa Fe Independent Film Festival: featuring This Filthy World by John Waters and more. Wed., Oct. 16 through Sun., Oct. 20. santafeindependentfilmfestival.com Madrid and Cerrillos Studio Tour, various locations in Madrid and Cerrillos. 505-4701346. 8th Annual Madrid and Cerrillos Studio Tour. Sat., Oct. 5 to Sun., Oct. 6; Sat., Oct. 12 to Sun., Oct. 13. madridcerrillosstudiotour.com Museum of Indian Arts And Culture, 710 Camino Lejo, Santa Fe. 476-1250. Heart Beat—Music of the Native Southwest: exhibits and events related to the dance and music of Southwestern Native Americans. Through Tues., April 1, 2014. indianartsandculture.org New Mexico History Museum, 113 Lincoln Ave., Santa Fe. 476-5200. Architecture + Mission: lecture on the DeBartolo architectural firm. Mon., Oct. 7, 5:30-7 pm. architecturesantafe.org New Mexico Museum of Art, 107 W. Palace Ave., Santa Fe. 476-5072. Collecting is a Curiosity/Inquiry and A Life in Pictures—Four Photography Collections: two group shows. Through Sun., Jan. 19, 2014. 50 Works for 50 States—New Mexico: the Dorothy and Herbert Vogel Collection. Through Sun., April 13, 2014. nmartmuseum.org photo - eye ,

370 Garcia St., Santa Fe. 988-5152. Autophotography Book Signing: sale of catalogue from the Axle Contemporary exhibit. Fri., Oct. 18, 5-7 pm. photoeye.com

Santa Fe Community College, 6401 Richards Ave., Santa Fe. 428-1776. Alternative Photography International Symposium: lectures and demonstrations on photographic technique. Thurs., Oct. 17 to Sat., Oct. 19. bostick-sullivan.com Santa Fe Community College, 6401 Richards Ave., Santa Fe. 428-1776. From the Inside: faculty exhibition. Part I through Mon., Oct. 14. Part II through Wed., Jan. 15, 2014. Reception: Thurs., Oct. 24, 4:30-6:30 pm. sfcc.edu Above: The Water Drawings, new works on canvas by M. Oliver at the Encore Gallery at the Taos Community Auditorium—145 Paseo del Norte, Civic Drive East, Taos—through November 17. Reception: Friday, October 11 from 5 to 7 pm. Right: Influences from Egypt: sculptures by David Pearson on view at Patricia Carlisle Fine Art, 544 Canyon Road.

Santa Fe Community Foundation, 501 Halona St., Santa Fe. 988-9715. RETHINK/

REDESIGN / REDEPLOY: an architectural workshop. Sun., Oct. 6-Mon., Oct. 7. architecturesantafe.org Santa Fe University of Art and Design, 1600 St. Michael’s Dr., Santa Fe. 473-6011. “Time Under Mexico’s Light”: 6 am lecture on photographer Guillermo Kahlo by Cristina Kahlo. 5 Mexican Photographers: photography exhibition. Reception following lecture. Thurs., Oct. 17, 7 pm. santafeuniversity.edu Selby Fleetwood Gallery, 600 Canyon Rd., Santa Fe. 992-8877. MF Cardamone— A New American Botanical: mixed-media works by MF Cardamone. Through Tues., Oct. 8. selbyfleetwoodgallery.com Silver City Museum, 312 W. Broadway St., Silver City. 575-538-5921. Railroads of Southwestern New Mexico: brown bag program with Joe Gill. Thurs., Oct. 3, 12 pm. Baxter Black Show: fundraiser for the Silver City Museum Society. Sat., Oct. 12, 6:30 pm. Poetry Reading: poems by Bonnie Maldonado. Sun., Oct. 27, 2 pm. silvercitymuseum.org SITE Santa Fe, at the Santa Fe Farmers Market, 1607 Paseo de Peralta, Santa Fe. 989-1199. SPREAD 4.0: community dinner to fund artist projects. Fri., Oct. 11, 7 pm. spreadsantafe.com

Weekend: featuring Nora Ephron’s Love, Loss, and What I Wore with live fashion design by Lisa Samuel. Sat., Oct. 19, 6 pm. casweckgalleries.com Las Placitas Presbyterian Church, 7 Paseo de San Antonio, Placitas. 505867-8080. Placitas Artist Series: music by pianist Jon Nakamatsu. Sun., Oct. 6, 3 pm. placitasarts.org The Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. The Rumi Concert: music, dance and poetry in celebration of Rumi. Fri., Oct. 4, 7:30 pm. lensic.org National Hispanic Cultural Center, 1701 4th St. SW, Alb. 505-246-2261. 1929: flamenco performances by the dancers of Jesús Muñoz Flamenco. Fri., Oct. 4-Sat., Oct. 5, 8 pm. nhccnm.org Santa Fe Playhouse, 142 E. de Vargas St., Santa Fe. 988-4262. I Hate Hamlet: Paul Rudnick’s comedy, directed by Robert Nott. Thurs., Oct. 10 through Sun., Oct. 27. santafeplayhouse.org Taos Center for the Arts, 145 Paseo del Pueblo Norte, Taos. 575-758-4677. SOMOS Storytelling Festival: Terry and Jo Harvey Allen tell stories through song. Fri., Oct. 4-Sat., Oct. 5. somostaos.org

St John’s College, 1160 Camino Cruz Blanca, Santa Fe. 984-6117. Community Seminars: read and discuss the classics. Ongoing. stjohnscollege.edu Taos Center for the Arts, 145 Paseo del Pueblo Norte, Taos. 575-758-4677. Katherine Ann Power: reading and discussion. Fri., Oct. 25, 7 pm. tcataos.org Taos Convention Center, 120 Civic Plaza Drive, Taos. 575-758-5792. Taos Fall Arts Festival: works in all media by over 250 artists. Through Sun., Oct. 6. taosfallarts. com TMBRA Field, Albright Rd., Taos. 575-7589210. Taos Mountain Balloon Rally: hot air balloon festival. Fri., Oct. 25-Sun., Oct. 27. taosballoonrally.com Unitarian Universalist Church, 107 W. Barcelona St., Santa Fe. 982-9674. Santa Fe Doorways: National Mental Illness Awareness Week lecture by Larry Dossey, MD. Thurs., Oct. 10, 11:45 am. uusantafe.org University of New Mexico, 1 University Blvd. NE, Alb. 505-277-4112. Inconsolable Longing: juried exhibition of 17 student artists. Through Fri., Oct. 4. unm.edu CALL FOR ARTISTS

Placitas Artist Series, P.O. Box 944, Placitas. 505-867-8080. Media Artwork Competition: annual contest for NM visual artists. Deadline: Thurs., Oct. 31. placitasarts.org PERFORMING ARTS

Casweck Galleries, 203 W. Water St., Santa Fe. 988-2966. First Annual Art Matters Above: Paintings by Jacobo de la Serna at de La Serna Fine Arts Studio & Gallery, 808½ Canyon Road. Reception: Friday, October 4 from 5 to 7 pm. OCTOBER

2013

Top: New figurative paintings by Dirk Kortz at Tom Ross Gallery, 409 Canyon Road. Reception: Friday, October 11 from 5 to 7:30 pm.

THE magazine | 37

PREVIEWS The Likenesses of Light: video installations by Mary Tsiongas Light in Hand: photograms by Jenna Kuiper October 16 to December 20 Richard Levy Gallery, 514 Central Avenue SW, Albuquerque. 505-766-9888 Reception: Saturday, October 12, 6 to 8 pm This month at the Richard Levy Gallery, two local woman artists shed light on … light. Jenna Kuiper presents a series of photograms, created by arranging cut-out shapes on glass, precisely exposing the glass to light again and again, and then developing them in the darkroom—the end result looking something like a grayscale Matisse. These camera-less creations are another manifestation of talent from an artist who seems equally comfortable taking more traditional Counterclockwise from top:

photographs, painting, drawing, and even exhibiting found objects. In the Likenesses of Light, award-winning artist Mary

Mary Tsiongas, The Dreaming Girl, 5 minute HD video loop, 2013

Tsiongas has used appropriated works by nineteenth century artists—the British botanical illustrator Edward Skeats and

Martin Parr, Margate, UK, pigment print, 20” x 24”, 1986. © Martin Parr / Magnum Photos

the French painters Charles-François Daubigny and Jean-Baptiste-Camille Corot—to create five video pieces. Tsiongas,

Installation view

who teaches electronic media at the University of New Mexico, appropriated the backdrops for her videos from the University’s collection. In these works, people appear before the paintings to alter the work’s appearance, drawing out relationships between old media and new media and changing the viewer’s original perception of the works.

Life’s a Beach: photographs by Martin Parr Through December 14 University of New Mexico Art Museum, 1 University of New Mexico, Albuquerque. 505-277-4001 Summer is over, with all its sunburned, sticky glory, but a new exhibition at the University of New Mexico Art Museum will take you back to every beach vacation you’ve ever had. British photographer Martin Parr says he is drawn to the seaside “like a migrating bird,” returning year after year to chronicle the strange, universal rituals of beach culture with his signature satirical touch. Over the last several decades, Parr has captured sunbathers and surf swimmers everywhere from Italy to China, most of them lying naked on towels gritty with sand or poking uncertain toes into the water. Some images invite wonder, such as The Ocean Dome, a photograph of an artificial beach in a warehouse in Japan. swarming with visitors hungry for sand and palm trees. Others, like an image of a Belgian man swathed mummy-like in white cloth, bring out the sometime strangeness of beachside living. This exhibition of fifty-three photographs is one of five exhibits celebrating the University of New Mexico Art Museum’s fiftieth anniversary—be sure to check out the other shows, featuring works by heavyweight artists including Andy Warhol, Agnes Martin, and Kiki Smith.

Atomic Surplus: international group show October 11, 2013 to January 5, 2014 Center for Contemporary Arts, 1050 Old Pecos Trail, Santa Fe. 982-1338 Reception: Friday, October 11, 6 to 8 pm The incomprehensible power of nuclear energy has inspired a heated debate since even before the first explosion that took place north of Alamogordo, New Mexico, on July 16, 1945—raging on until the present day as radioactive water seeps from the Fukushima Daiichi Nuclear Power Plant in Japan. For better or for worse, nuclear power is inextricably linked to New Mexico’s identity—even after the recent closure of “The Black Hole,” Los Alamos’s landmark nuclear laboratory surplus store, where ghosts of the Manhattan Project still lurk nearby. This month, the Center for Contemporary Arts is attempting to unpack “what it means to live in the birthplace of the bomb” with an exhibition of works by twelve international artists, including Peter Cusack of London, the Rankin & Dub Ainu Band of Tokyo, and local artists Nina Elder and Claudia X. Valdes. The show, which takes the viewer through the arc of nuclear history, presents a variety of media interpretations of different viewpoints on the nuclear issue, not taking any particular position but most certainly provoking discussion. Atomic Surplus will be accompanied by a series of other exhibitions and events, including a group reading of Cormac McCarthy’s post-apocalyptic novel The Road and “meaning-making” youth workshops with the Los Alamos Historical Society. Details: www.ccasantafe.org

38 | THE magazine

OCTOBER

2013

A N D R E W S M I T H G A L L E RY I N C .

CLASSIC AND HISTORIC, MASTERPIECES OF PHOTOGRAPHY

LEE FRIEDLANDER - MANNEQUIN OCTOBER 4, 2013 - JANUARY 5, 2014 ARTIST RECEPTION: OCTOBER 4, 2013, 4 - 6p In his most complex and multi-dimensional series in recent years, Lee Friedlander pays homage to the monolithic deities of faux models in fashion. Between 2003 and 2011 Friedlander photographed female mannequins in storefront windows throughout the United States. Shot through glass, the pictures describe an array of fashion mannequins, clothing, displays, advertising signs and light fixtures. These physical objects interact with reflections of buildings, flags, cars, retail displays, skyscrapers, passersby, and, occasionally, the photographer himself. Friedlander’s camera reveals immensely intricate conjunctions of light and form that the mind and eye fluidly capture and record. Lee Friedlander, New York City, 2011

Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION N e x t t o t h e G e o r g i a 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 5 0 5 . 9 8 4 . 1 2 3 4 • w w w. A n d r e w S m i t h G a l l e r y. c o m • H o u r s : 1 1 - 4 , M o n d ay - S a t u r d ay.

The Encaustic Art Institute October Events October 5 to November 3

National Juried Encaustic/Wax Exhibition 49 nation-wide artists’ works were juried into this show by Michael Kessler. A Best of Show and Award of Excellence will be announced at the opening.

Opening October 5, 2013

Lisa Bick, IN

Noon to 5 pm Best of Show and Award of Excellence TBA (also part of the Madrid & Cerrillos Studio Tour)

October 5 - 6 and 12 - 13, 2013

Noon to 5 pm EAI joins Madrid & Cerrillos Studio Tour www.madridcerrillosstudiotour.com

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 Theresa Halzle, WA

Thanks to Los Alamos National Bank for their continued support.

fine western & contemporary art

203 West Water St. • Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966

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

N AT I O N A L S P O T L I G H T

Passport to Paris Paul Cézanne, A Painter at Work, oil on canvas, 1875 The rock stars of Impressionism—Edgar Degas, Camille Pissarro, Pierre-Auguste Renoir, Berthe Morisot, Paul Cézanne, Henri de Toulouse-Lautrec, and Claude Monet, among others—are making their way to the Mile-High City at the end of this month, and fans of these one-time Salon de Paris rejects shouldn’t miss out. Three separate exhibitions, jointly titled Passport to Paris, will open at the Denver Art Museum, showcasing French art from the fifteenth to the eighteenth centuries. Not only will an impressive array of paintings be on display, including Monet’s The Beach at Trouville, but a series of ink-and-pastel sketches will also be on view, allowing a window into the artistic process of the French artistic greats. Decorative art objects and costumes will also be exhibited to give viewers a fuller sense of the history surrounding the over one hundred works in the exhibition. And for the first time, paintings from the private collection of American oil magnate and longtime Denver Art Museum supporter Frederic C. Hamilton will be on view to the public, including works by Pissarro, Monet, and Cézanne. Passport to Paris runs from October 27 to February 9, 2014 at the Denver Art Museum, on 13th Avenue between Broadway and Bannock streets. For more information, log on to denverartmuseum.org. OCTOBER

2013

THE magazine | 41

A L B E R T O V A L D É S (1918 – 1998) Selected Paintings, October 4 – 18, 2013 Opening Reception: Friday, October 4th from 5 – 7 pm An exclusive show featuring never before exhibited works

Pregnant Lady (1998), acrylic on Arches paper, 28" h x 21" w

Blue Rain Gallery | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

PERSON OF INTEREST

DAVID BRADLEY: ARTIST & ACTIVIST by

Kathryn M Davis

photograph by

Guy Cross continued on page 44

OCTOBER

2013

THE magazine | 43

orn to the Minnesota Chippewa tribe

everything taken from them. One of the last valuable

Bradley’s art today, as is his early proclivity to a social

in 1954, David Bradley’s individual

things they own is their identity. Now that Indian identity

consciousness that stems from the plight of the individual.

history can best be understood

has become a marketable commodity, it is being taken

After completing two years in the Peace Corps (1975-

through the lens of his people. He

as well.”

77), Bradley moved to Santa Fe, where he enrolled in art

became an artist as a young boy, and

Equally influential for Bradley’s future as an artist was

classes at the Institute of American Indian Arts. At that

was inspired and encouraged by two

George Morrison. The younger man remembers him as

time IAIA was foundering after its initial glory days, when

fellow Chippewa artists: Patrick DesJarlait (1921–1972)

“a sophisticated abstract painter who spent many years

the first generation of teachers and students had gained

and George Morrison (1919–2000).

in the New York art scene of the fifties and sixties; he

various measures of fame and fortune. When Bradley

DesJarlait, a member of the Red Lake Ojibwa,

knew many of the big-name artists of that era. [Sources

attended classes, they were held in the old army-hospital

“painted traditional Chippewa people doing everyday

state that Morrison was “acquainted with” the Abstract

barracks at the former College of Santa Fe, hardly a

things,” remembers Bradley. The older man’s personal

Expressionists Willem de Kooning, Franz Kline, and Jackson

glamorous campus. Bradley graduated in 1980 at the top

style embodied two key influences: the fragmentation

Pollock.] When Morrison moved back to Minnesota [in

of his class with a B.F.A. in sculpture; today he considers

of Cubism and socially monumental Mexican Muralism.

1970, to teach American Indian Studies and art at the

himself a painter, printmaker, sculptor, jeweler, and

According to tribal lore, DesJarlait’s “dream was to

University of Minnesota], I met him, and visited him a

ceramist. Nevertheless, he says, “The work of Allan

teach non-Indian people about the beauty and dignity of

couple times at his house. He encouraged me to pursue

Houser really impacted my sculpture. He had just retired

the Ojibwa traditions.” It was as a commercial artist that

my art career. We remained friends for many years until his

from teaching sculpture at IAIA but he would come back

DesJarlait first gained success, serving in the Navy during

passing around the age of eighty.” Morrison’s puzzle-piece

to visit us in the studio and to give a few lectures.”

World War II, when he worked as an illustrator for Walt

aesthetic can be detected in Bradley’s collage pieces, such

Disney Studios. Sent to teach art

today’s struggling art-school graduates.

near a Japanese internment camp,

Bradley was accepted into the

he couldn’t have helped but

prestigious

revisit the trauma of his own people’s

What happened next might seem like a fairy tale to

Elaine

Horwitch

Galleries—the only gallery,

displacement.

it seemed, that mattered

After the war, DesJarlait

in the Southwest in the

lived in the Twin Cities,

eighties. Fritz Scholder

where

was at his peak, and

assisted

creating a series of popular

Bradley

TV commercials for the

right

was alongside

showing him.

Hamm’s Brewery account.

Bradley reminisces about

The commercials featured

those days, “Many other

dancing

bears,

accomplished Santa Fe artists

accompanied by percussive

were there at that time: Woody

cartoon

“Indian” jingles whose lyrics

Gwyn, Tom Palmore, Dick

touted beer “from the land of

Jemison, Bill Schenck, Douglas

sky-blue waters.” The success

Johnson, Rudy Fernandez, and

of the Hamm’s bears led to an

others. It was a special time

even bigger account: the Land o’

in Santa Fe’s art history and an

Lakes dairy maiden; she continues

exciting time in Indian art history.”

to kneel seductively on butter cartons in supermarkets

as his recent Route 66 Postcard. Between DesJarlait and

Julie Sasse, Chief Curator and Curator of Modern

across the United States. Every bit of this saga—its

Morrison, the young, unassuming Chippewa artist David

and Contemporary Art at the Tucson Museum of Art,

visual, socio-political, and populist characteristics—

Bradley was off to a promising start, with guides of the

has known Bradley since he joined the Elaine Horwitch

would inform Bradley’s future as an artist, an activist,

highest order lighting his path.

Galleries in 1981, the same year that she started working

and an educator.

After completing all the art classes he was allowed

there as director. She fondly recalls asking people to

A striking example of DesJarlait’s influence and

to take in high school, it was time for Bradley to head

wait in line while she wrote up invoices for Bradley’s

Bradley’s sensitivity to the nuances of visual culture—

off to college. He recalls, “I started majoring in art at

paintings. She writes about his significance as an artist:

the latter’s sculpture, Land O Bucks, Land O Fakes, Land

the University of Arizona in Tucson in 1975, but got tired

David Bradley is a narrative painter who blends a

O Lakes (2006, Denver Art Museum)—is a spot-on

of school and wanted to travel, so I joined the Peace

realistic painting style with the traditions of American

parody of the supposed Edenic existence Natives enjoy

Corps. I worked in a program along the Dominican

history painting and American Regionalism to make witty

as a people who are supernaturally close to Nature—a

Republic and Haitian borders. I got exposed to some of

and insightful commentaries about the romanticism

stereotype that is employed to sell a multitude of

the great Haitian folk-art movements; I loved the bright

and commercialism inherent in Santa Fe and its clash of

products to the American consumer. As Bradley puts

colors in their paintings and the charming, folk feeling

cultures. At first his paintings appear intentionally naïve in

it, “For five hundred years, American Indians have had

of the work”—an influence that is strikingly evident in

their approach, but upon further examination, the viewer

PERSON OF INTEREST

soon finds [Bradley’s] satire is quite sophisticated. In many

sell artwork that had a “Native”—and therefore highly

and I still find myself occasionally getting blacklisted over

of his works, he captures the humor in his characters while

saleable—style.] These were tough years for David, but his

twenty years later. But I do not let that define me.”

exposing their superficialities; while in others, he establishes

work proved to result in effective changes that clarify the

David Bradley will continue to be feted by many and

their dignity in a culture that seems to be determined to

objectives of Native arts and culture. Brush back in hand, he

reviled by a few as an activist for indigenous artists’ rights.

turn the world into one big marketplace.

began a series of works that documented the pantheon of

Those times may not seem so bad to him today, as he and

Scathing social criticism and empathy—this is David

famous and memorable Indian artists. These group scenes of

his family look ahead to a tentative future.

Bradley, an incisive artist who is a kind and gentle man.

artist receptions, feast days, and ironic mixings of tri-cultural

“I am now fighting an even bigger struggle, and it is a

He describes his personal philosophy with these words: “

characters [often featured individuals who] are since gone,

battle for my life. Two years ago, I was diagnosed with ALS

To be an artist is to seek truth. I think that artists should

but live on in those paintings.

(amyotrophic lateral sclerosis, aka Lou Gehrig’s disease).

retain the freedom to experiment and explore at all times;

During the heady 1980s, when Southwest and

It is a fatal neuromuscular disease with no cure and no

they must follow their hearts. Art is about freedom and

“Indian” art were selling like crazy, Bradley found it more

treatment. At this time I can still paint to some degree,

with that freedom comes responsibility. I try to use my

imperative than ever to get involved in activism and Indian

though I am steadily losing the use of various muscles. [He

art to spotlight the Indian worldview and socio-political

politics. As he tells it, “In one high-profile public dispute with

finds it difficult to speak, and much of the material for this

realities. To expose social injustice is to overcome it.”

the Museum of Fine Arts, I joined Chicano activist Edward

article came via email.] Some wonderful friends, Charmay

Gonzales to get the state museum to exhibit more people

Allred, Patsy Phillips, Leroy Garcia (of Blue Rain

The painter Tony Abeyta has this to say about his

“

Scathing social criticism and empathy—this is David Bradley

friend Bradley:

”

of color. We eventually won that battle. I later got involved

Gallery), and Tony Abeyta are organizing a fundraiser for

My earliest memories of David Bradley are of his work

in the Indian-authenticity movement and eventually helped

my family and me to defray medical expenses and help us

at the Institute of American Indian Arts when I first moved

influence the passage of Indian art laws. With all the easy

out a little.” The event will take place in October. Anyone

to Santa Fe. His images referenced a true knowledge of

Indian art money to be made, numerous fake ‘Indian’ con

who is interested in attending and/or contributing to the

mainstream art history, all done with that classic Native

artists moved in to take opportunities that were intended

fundraiser is invited to contact pphillips@iaia.edu.

twist that has defined his work so distinctly. During the late

for Indian people. We drew a line in the sand and let it

eighties, David emerged as a Native activist, working hard

be known that unscrupulous frauds were not going to

to preserve the Indian art world from the many artisans who

take one of the last things we had, our very identity. But

yearned to participate in Native museum venues and group

it was a controversial and often nasty battle, one that left

shows but, more often than not, lacked tribal enrollment.

me blacklisted by influential con artists and their wealthy

[This is a polite way of stating that sometimes artists

galleries, which wanted to protect their ill-gotten gains at

misrepresented themselves as indigenous in order to

the expense of Indian people. I was stigmatized by it all

OCTOBER

2013

Left: David Bradley, Land O Fakes, acrylic on paper and wood, 24” x 42” x 24”, 2006. Courtesy Denver Art Museum Above: David Bradley, Pueblo Feast Day, acrylic on canvas, 59” x 80”, 2005 Kathryn M Davis is a art historian, writer/editor, and curator, specializing in modern and contemporary American art and critical theory. She is a contributing writer to THE magazine and various national publications and organizations. She also hosts ArtBeat—a weekly radio show. Find program podcasts on santafe.com.

THE magazine | 45

Mary Tsiongas The Lightness of Light

Opening Reception Saturday, October 12 6:00 - 8:00pm

October 16 - December 20 gallery closed November 28 - December 11

Project Room

Jenna Kuiper Light in Hand Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888

CRITICAL REFLECTION

Keiko Sadakane: Geometric Painting after Piero della Francesca I RECENTLY CAME ACROSS THE PHRASE “SURGICALLY PRECISE” in a review that Roberta Smith wrote for The New York Times,

and then rigorously analyzed the latter’s spatial compositions

but her review had nothing to do with Keiko Sadakane’s show

in terms of their mathematical precision.

in Santa Fe. Nonetheless, when I read it, I thought, Indeed,

On one wall of the gallery at Gebert Contemporary

that is the essence of Sadakane’s exhibition of recent panel

were black-and-white facsimiles of the eight della Francesca

paintings—these geometric explorations and translations of

paintings that Sadakane analyzed and then transformed into

work by the early Renaissance artist Piero della Francesca.

abstract images. It was instructive to view these facsimiles as

Sadakane is not alone in her fascination with della Francesca’s

preliminary sketches because the artist had drawn over them

painting; many other contemporary artists love it as well

in bright red as a means of defining her various systems of

for its sense of calm grandeur, its color, spatial clarity, and

horizontal, vertical, and diagonal lines; over each reproduction

the enigmatic nature of della Francesca’s fixations. Was he

she indicated how she organized della Francesca’s pictorial

more interested in mathematics, or the meaning behind the

spaces and brought them into her own paintings with their

religious symbolism of his day? In spite of the fact that della

interpretive colors and forms. This doesn’t mean that a

Francesca’s paintings are religious illustrations, his deeper

viewer needed all this information to appreciate the jewel-like

preoccupation seemed to have been with manifesting the

qualities in Sadakane’s pieces, but seeing that della Francesca

sanctity of geometric relationships that were at the very

was the genius loci of this exhibition certainly helped to

foundation of the Renaissance rediscovery of one-point

understand the “surgically precise” decisions that Sadakane

perspective. In Sadakane’s new body of work, she based each

made in each of her works.

one of her images on a particular painting by della Francesca

If a viewer did a comparison of a Sadakane painting with a color reproduction of the della Francesca work on which it was based, some of the artist’s extrapolations—while true to form in their parsing of the Renaissance master’s geometry— were highly subjective; one could tell that Sadakane has done a fair amount of interpretation in her abstract paintings. For

Gebert Contemporary 558 Canyon Road, Santa Fe

example, her work was not a literal translation of the pictorial devices of Catholic mysticism found in della Francesca. If Sadakane’s work suggested the spiritual, it was through an abstract painter’s religious devotion to color and formal relationships. Sadakane both celebrated the locus of her inspiration and grandly departed from it. In two of Sadakane’s pieces in particular, Annunciazione and Misericordia, when compared with those works by della Francesca, there was a clarity and solidity in Sadakane’s ability to move from original image to contemporary invention. Annunciazione is divided into four quadrants as is the work by della Francesca: a depiction of God is in the upper left, the angel Gabriel below him, Mary to the lower right, and an arched open window above Mary. Sadakane has reduced God to a monochromatic field of red, and Mary to one of blue; in the upper right quadrant, the artist has hinted at the architectural detail of the original, and in the lower left quadrant, Gabriel—delivering the message from the Holy Spirit about Mary’s imminent pregnancy—is rendered as thin, rose-and-aqua-colored triangles radiating from a diffuse center. Sadakane’s bridge—from della Francesca’s annunciation scene to vibrant contemporary abstraction— was not only coherent in its visual translation, it was an arresting interpretation of the Renaissance belief in the logic and clarity of the human mind, from which emerges the power of the word and the divinity of the artist’s visions. This same depth of analysis is embedded in Sadakane’s Misericordia, whose geometric parts lend themselves to comparison with the central panel of della Francesca’s multi-part altarpiece from which Sadakane has borrowed. In Sadakane’s painting, the geometry of the central triangle, in subtle shades of red, represents the protective body of Mary, who watches over her followers symbolized in the multi-colored drum-like form below. The golden oval at the tip of the pyramid is Mary’s halo, her abstract aura, and an attribute of her transubstantiation. Sadakane’s painting is also an astute analogy for the state of the artist who resides both in the world of matter and the world of visions, merging the qualities of one with the powers of the other in never-ending cycles of abstraction at the mercy of representation. Or is it the other way around? Or are they, at heart, the same? Sadakane’s work is proof that paintings can contain both a rigorous sense of precision in their making and still be openended and poetic in their visual resonance, in their clearly defined yet disembodied reach.

—Diane Armitage Left: Keiko Sadakane, Annunciazione, acrylic on wood, 29½” x 19½”, 2013 Right: Keiko Sadakane, Misericordia, acrylic on wood, 29½” x 19½”, 2013

OCTOBER

2013

THE magazine | 47

Taos Moderns: Postwar Modern Art

203 Fine Art 203 Ledoux Street, Taos

THERE IS A LOT OF ART IN THE WORLD.DESPITE FREQUENT DECLARATIONS OF ITS DEATH, people stubbornly continue to make the stuff. Given the volume

Of the artists represented in this small but tightly packed

stand out, however, were all skilled experimenters in the ideas

of that output, the hard truth is that much of it simply disappears.

exhibition, some are quite strong, others less so. The handful that

prevailing in American Modernism at the time they were made.

We focus on the handful of success stories, but these are drops in

Their mostly abstract works came after the wave of regional

a vast ocean of things made in the quest for some more personally

landscape and western genre painting popularized in the opening

defined Grail. Sadly, it is more often than not the case that an artist

decades of the twentieth century by the first Taos school. Their

will spend a lifetime making works that receive scant attention.

formal styles and execution reference a range of precedents

Our fame-obsessed culture would have us believe that such lesser-

from the early fragmented surfaces of Cézanne to the Cubism of

known efforts must, by definition, be failures. But are they really?

Picasso and Braque that grew from his example. Several also recall

It is so hard to know with any certainty which art is good or bad, valuable or disposable, because the business of measuring that value is so subjective, so driven by fashion and personal,

the hard formalism of Mondrian and Malevich, and the expressive landscape-derived compositions of Richard Diebenkorn. Three pieces particularly stood out: the first, a small collaged

cultural, and commercial tastes. Much of the work that ends up

oil painting with applied canvas fragments by Janet Lippincott

in the attics of history probably deserves to be there, but there

(1918-2007) had the softened rhythms and occasional bright

are also many things crammed into those eaves that are worth

notes of a jazz piano riff—all muted greens and blues with stripes

re-discovering. Who then keeps track of these orphans; who

of ochre and one bright pink medallion in a corner. The next, a

can tell us what valuable works we may have passed over? The

pair of hard-edged geometric abstractions by Oli Sihvonen (1921-

best galleries and museums generally do this work for us, but as

1991)—especially his small spade-like figure in cadmium yellow

the market has grown into an ever more dominant force in the

against a muted aquamarine ground, the edges of the figure

world, the love of artistic things for their own sake has become

almost but not quite touching the sides of its square canvas. Last

overtaken by the love of the money they can generate as

was a charcoal and pastel drawing in black-and-white by Edward

commodities. Too often, their real human value is either obscured

Corbett (1919-1971). This piece showed a masterful handling

or forgotten in that transaction.

of the medium and its elegant balance of forms both static and

There was a show at 203 Fine Art

animated. Corbett’s hand had the sureness

in September that stirred the pot of all

of de Kooning or Diebenkorn—but with

these simmering questions about artistic

softer, more vulnerable marks than either

merit and commercial marketability.

would have made, the charcoal and pastel

Before addressing the work itself, I have

merging into a shadowed expanse at the

to commend the directors for being

top, ripe with dark portents.

sufficiently thoughtful to mount an

Who were these artists? What else

exhibition that both acknowledges and

did they make and where did that work go?

tackles the difficult issues noted above. The

Why don’t we know them better? There

selection of modernist paintings, drawings,

is a fashionable currency in the creative

and sculpture that are on view were all

emanations of the cultural zeitgeist that we

made in Taos around the middle of the

too readily confuse with quality. Such trends

last century. Some of this work was done

mark passing preferences that truthfully

by artists visiting from other parts of the

have little to do with the more lasting

country, some by locals conscious of the

markers of actual merit. Newness does

broader Modernist currents outside New

not in itself make a work good—goodness

Mexico in those years. But, as one of the

does. Many pieces in this small show are

owners of the gallery said to me when I

strong, memorable, and valuable works

visited the show, many of these artists are

of art that deserve a second look. They

in danger of being forgotten. Is this because

may not be “great,” but they are certainly

the work itself is not considered valuable

good: a distinction that could be just as fairly

enough by the market to be remembered,

applied to many better-known and more

or is it that our tastes have so eclipsed those

highly valued objects hanging in museums

that prevailed when these things were

and private collections the world over.

made that there is no longer any content

—Christopher Benson

in them that is sufficiently appealing, or accessible, to our contemporary eyes to catch and hold their much divided attention?

Top: Janet Lippincott, Untitled, mixed media on canvas, 13” x 11”, 1955 Bottom: Edward Corbett, Untitled, charcoal and pastel on paper, 28” x 25”, 1953

CRITICAL REFLECTION

Katherine Lee: Fire, Flags, and Sacrifice

Eight Modern 241 Delgado Street, Santa Fe

KATHERINE LEE IS A VIRTUOSO WITH THE APATHY OF A DISCONTENTED MILLENNIAL. Her third solo show at Eight Modern, Fire, Flags, and

fictitious sites. Her recent paintings look like desolate video

contrast to the luscious green grass and familiar plastic table

Sacrifice, opened with ten paintings that build on the

game arenas in which the player is remotely searching for the

and chairs in the rest of the backyard. An empty clothesline

artist’s previous reconsideration of place. The show title

illusive ammo, unsuspecting bad guy, or cryptic instructions.

scales this vignette, which is very deliberately isolated by

suggests a narrative of protest, fraught with social and

Most of them have hints of wreckage and/or death that

industrial, cement brick walls beyond which are distant

political transgressions. Lee is known for painting herself as

suggest human interventions and doomed endings.

lands still seething with ashen debris and dense smoke.

a hostage, scenes of “animal violence” and topless women,

Exterior 22 (Settlement. A Summer Home) shows an

Was an afternoon barbeque cut short by a missile strike,

and desolate Landscapes. Fire, Flags, and Sacrifice shows

empty courtyard of grey, cemented cobblestone with an

one that inexplicably left the unbearably crisp, bright blades

off her dedication to meticulous realism while subverting a

anachronistic tent nestled beside a grand marble staircase.

of grass un-scorched? Did the dwellers grab their freshly

stable narrative. Her stills of imagined exteriors suggest an

The stairs ascend to an imposing, Kafkaesque building

laundered clothes and run?

event either before or after the fact, now emptied of people.

painted in neutrals with English-green shutters. The light is

The insertion of such titanic decay into an otherwise familiar and ordinary scene reveals more than anything Lee’s morose proclivities. In a 2010 review of Lee’s Animal Violence and Women Eating Jam show, Lee said, “People are nothing if not violent and naked. I am of the belief that man will never be able to transcend these aspects of himself and thus perpetuates his own doom in trying.” Exterior 27 (Death. On Isola di San Michele) is a lofty, grey warehouse interior with a back doorway that looks out across the sea to what is presumably Italy. Isola di San Michele is a Venetian island off the coast where, in the 1800s, Venetians housed their dead. Lee’s rendition shows glowing orange sunlight seeping into a nondescript barren interior with a single funereal arrangement of pink and white flowers. It covers a mound the length of a body and sits on stone tiles jutting up against a wall of Soprema, the waterproofing construction material. Lee’s juxtapositions suggest war and fallen soldiers. They show technical precision while painting death in apathetic disguises. Although the artist is quoted repeatedly as being “concerned ultimately with little beyond the act of painting and the technical result,” Fire, Flags, and Sacrifice obviously raises numerous questions about the role of narrative tropes. Her concept of triangulation alone suggests a highly informed artist who is juggling traditional painting, current events, and semiotics. Her work lands smack in the middle of all three—a powerful location to which the artist evidently adheres but refuses to conclusively own. Lee’s continual deflection of meaning prevents her from being a social activist but her misanthropy succinctly communicates a world confused by itself—one “consumed with violent

Lee uses the mathematical process of triangulation—

low and artificial. Absolutely nothing is happening and the

narcissism and bleak self-indulgence.” Fire, Flags, and

the determination of an unknown geographical location

viewer starts to creat a narrative because of the very lack

Sacrifice discloses an unfixed history, a palimpsest that is

by three supplemental coordinates—as a lens to view

of one. This habitual response searches for Lee’s subtlest of

dystopian as much as it is despondent.

her work. Designating traditional painting, media literacy,

breadcrumbs. The only certainty is her virtuosity, particularly

—Hannah Hoel

and contemporary cultural signifiers as her conceptual

apparent in the moody shadows of the decorative iron

constellation, Lee morphs reality into illusory sites composed

banister and luminescent light on the shallow steps. Lee

of fragmentary photographs. She starts each painting by

handles light well, while her black ground absorbs color,

spray-painting a signature black ground and placing an image

creating a self-contained environment whose surface barely

transfer of her scene, then layering more spray paint and

reflects the gallery’s ambient light.

oils. Aerosol in itself suggests graffiti with monikers that

A still-smoldering fire burns to coals in the foreground

territorialize urban landscapes—sardonic, considering Lee’s

of Exterior 23 (Over Grown Domestic Scene). It’s a stark

OCTOBER

2013

Katherine Lee, Exterior 27 (Death. On Isola di San Michele), oil and spray paint on illustration board mounted on panel, 30” x 40”, 2013

THE magazine | 49

Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American Museum of Contemporary Native Arts 108 Cathedral Place, Santa Fe

CANNUPA HANSKA LUGER HAS FILLED A GALLERY WITH EXQUISITELY CRAFTED ceramic sculptures in the form of boom boxes, also known as

pieces are three-dimensional sculptures and need to be seen

to be examined in the same way we might sincerely ponder

“ghetto blasters.” Sometimes lugged around by teenagers in

from all angles) references the generic image of the drunken

whether the over-representation of women as prostitutes

economically depressed neighborhoods, these objects provide

Indian. Such a sculpture may alter the perceptions of a few

in mass entertainment contributes to the focus on women

an affordable form of entertainment that, by attracting their

gallery-goers. A well-designed and well-funded substance-

primarily as sexual objects in a culture that often seems to

peers and alienating adults and outsiders, can function as a sonic

abuse treatment program could help many people withdraw

condone rape. Following that train of thought, we then need to

terrain marker. The fact that these “stereo” players disseminate

themselves from this trap. What is the artist’s job?

consider solutions. Public service announcements? Censorship? It is a lot to tackle on many levels, and a lot of signifying to ask

that most long-lived, democratic, and visceral of mass media,

The Barrymore alludes to Drew Barrymore’s posting of

radio, adds to the charged atmosphere these works intend to

a photo of herself wearing a chicken feather headdress as

inhabit.

her profile picture on Facebook. While Barrymore may be a

The Ghost is one piece that seems to be trying to point

an artwork to shoulder.

This exhibition marks out the ground for a complex dance

cultural icon of Hollywood glamour to some young women,

more to an ideological mindscape where an assumption

with representation as critique and the potential for falling into

surely the appropriation of appealing cultural regalia is

that pervades mainstream thought is nearly invisible. The

a seductive homage to the thing shown. The pieces, adorned

a symptom of the superficiality of popular culture. The

stereotype of Native American extinction is indeed dangerous

with a plethora of found and constructed materials—feathers,

actress could have posed as a Japanese geisha, a gypsy with

for a people who still inhabit the Americas in great numbers.

beads, spirit catchers, fur—have titles suggesting misconceived

headscarf, flowered skirt and hoop earrings, or any number

The haunting art object presented here may point to an

types used in popular culture to reference indigenous culture. As

of stereotypes of one group or another. In fact, most young

opening of some dialogue on the question without a lot of

with anything co-opted by mass media and the entertainment

actresses seem compelled to permanently pose as vamps

didactic background being necessary. Re-presentation is the

industries, stereotypes of Indians are mindless mash-ups of

to further their careers. Mass commodity fetishism, and the

crux here regarding thorny issues of identity and authenticity.

visually intriguing details fluffed up into stagy romanticization

voracious consumption and swift discarding of images are

The problem with doing battle with stereotypes is you must

and/or derogatory exaggeration.

part of a larger pattern that subtly destroys our capacity

re-create them in order to comment on them. The artist notes,

The Curtis references the widely recognized photographs

to authentically engage with life. If one has no interest in

“to be as accurate as possible first one must show the lies.” But

of idealized Native Americans taken by Edward S. Curtis during

Drew Barrymore and has never seen her Facebook post,

all parody and satire skirt an edge where they risk perpetuating

the late nineteenth and early twentieth centuries. Here Luger

the piece is a lovely object whose meaning remains opaque

what they decry, or being taken for the thing itself.

is reaching back to the beginnings of the particular cultural

until one reads the accompanying text. These pieces require

Along one wall of the room stand four ceramic structures

dilemma he is shadow boxing with. Curtis is known to have

extensive captioning in order to convey their message, and

titled Spring, Summer, Autumn, and Winter. They retain

staged his photographs by posing people and objects according

in artistic terms that is not a strength.

the original color of the clay bodies they were built from,

to what looked visually appealing, with no particular fidelity to

Big Chief points to the stereotype of Native men as icons

representing the cardinal directions and the inexorable cyclic

the subject’s habitual wear or tribal affiliation. His works are

of America’s wild past rather than living human beings—all

passage of time, the force to which all things are subject.

canonical, collectible icons of the presumed lost, tragic nobility

dressed up, full of sound and fury, but signifying not much more

Roughly the same in size as the stereotype boom boxes,

of those he recorded for posterity.

than a great costume. This is as different from the genuine

these have real speakers inside, making them ceramic sound

Reliance on destructive substances to dull the pain of a

ritual use of feathers, face paint, deer hooves, and animal skins,

sculptures whose added sound dimension pulls the view in

harsh life is both a truth and a cliché. Alcoholism, while it exists

for example, in Pueblo dances, as a Halloween witch outfit or

closer. Their quixotic shapes speak of nature, irregularity, and

in native communities and destroys lives, is a broadly human

Madonna’s flip and glitzy onstage use of Catholic imagery are

the chaos of life beyond our control.

problem, probably no more or less prevalent in reservation

from their sources. The implication is that casual usurpation

—Marina La Palma

life than in Brazilian favelas, Russian winters, Capetown

of articles from a social group that has been greatly oppressed

shanties, wild Hungarian parties, or Australian mining camps.

in recent history causes harm to members of that culture and

The Drunk, with a whiskey bottle embedded in back (these

perpetuates their victimization. As an argument, that needs

Cannupa Hanska Luger, Installation view, ceramic, variable sizes, 2013

CRITICAL REFLECTION

Ed Moses: Green/Bronze

Charlotte Jackson Fine Art 554 South Guadalupe Street, Santa Fe

ED MOSES IS A HARD GUY TO WRITE SOMETHING NEWLY PROFOUND ABOUT because so much has been said about him already. Without

Irwin, and Ruscha, among numerous equally prominent names.

Kelly. By then, he was already a seasoned artist, having shown with

adding to the blather, I present the following précis of Moses for

Despite his art-world renown—or maybe because he dotes on the

the inimitable Walter Hopps at Ferus Gallery. In Manhattan, Moses

your edification:

attention—Moses remains an approachable, everyday kind of guy

hung around the Cedar Tavern, and got to know Ad Reinhardt,

whose anecdotes are an art unto themselves. Although those tales

Franz Kline, and Mark Rothko.

1) He’s the most famous artist in Los Angeles you may never have heard of. 2) He is a serious and prolific painter. 3) His paintings, often flat and highly abstracted, do not reflect emotional states—they are the results of his practice of Buddhism within the phenomenal world, a world he readily admits terrifies him. 4) He detests being called an artist, insisting that he does not impose his will upon the making of the object but directs it, a skilled factory worker on the line.

are not necessary to “getting” his work, they add the right note of

By this time, Moses had moved into the arena that would

hilarity to the oeuvre of an artist who could, if he were so inclined,

come to be his unfailing modus operandi as a painter: art as

take himself far too seriously.

a process underpinned onto a purely non-objective surface.

Moses strung a necklace of narratives back-to-back with his

He is the laborer, working outdoors daily at his Venice studio.

personal take on art theory one afternoon in late August during

He allows the work to direct him, maintaining that “One thing

a dialogue with Rani Singh at Charlotte Jackson’s gallery. Singh,

leads to another. They mutate…. I don’t change my mind;

senior research associate in the Department of Contemporary

I respond…. I don’t express myself.” Rather, he sets himself an art

Programs at the Getty Research Institute, was one of the curators

problem and proceeds to follow his curiosity through the process

of the globally respected Pacific Standard Time: Crosscurrents in L.A.

he has chosen. If something makes noises at him from a corner

Painting and Sculpture, a broad-spectrum initiative of exhibitions

of the studio, he takes note, but continues working on the task at

For a frightened Buddhist, this guy’s having a hell of a lot of fun.

that took place throughout South Cali in 2011, and just about

hand. If “it barks enough times, then I say, ‘Ok, let’s see what it is

And why shouldn’t he? He’s made it, after all, into his late eighties

single-handedly convinced the New York art crowd that they had

you are barking about.’ There is the shift.” Many of his paintings

and gained a healthy amount of recognition as a painter’s painter

to pay attention to the West Coast’s post-War art history. If not

are what he calls “losers,” because he is willing to take the risk to

in the doing.

for the likes of Moses, that would certainly not be the case, and

discover what might happen when he adds glitter, or in the case of

Although he’s yet to attain the fame of an Ed Ruscha, Moses has

we’d probably still be awash in Abstract Expressionism. No Finish

this exhibition, his “secret sauce.”

been a key figure in Southern California’s modern art history from the

Fetish, no clay, no light, no latex, no fun. Yes, this is hyperbolic, but

mid-twentieth-century to today. Having emerged, in the late 1950s,

you get the point.

The most recent body of work, Green/Bronze, on exhibition at Charlotte Jackson Fine Art, comprised a series of “crackle”

from the “Cool School” of Ferus Gallery, Moses kept company with

A young Moses lived in New York for a year beginning in

paintings. Moses’s tale of how they came about is as free-flowing

Larry Bell, Wallace Berman, Frank Gehry, Dennis Hopper, Robert

1957, where his neighbors included Agnes Martin and Ellsworth

as any of his yarns. The way he tells it, he was getting into looking at and experimenting with van Gogh’s paintings. While investigating the late-nineteenth-century post-Impressionist, Moses noted what art historians call craquelure, wherein the medium and/or pigments begin to crack apart with age. Having been to Jack-in-the-Box many times with his kids, Moses was familiar with their glue-like secret sauce. He came up with his own concoction (hold the pickles?) and, in a three-part process, began making crackle paintings. First, a layer of pigment goes down onto the prepared canvas. Next, secret sauce is slathered on and left to dry to tautness. Moses helps the crackling process along with a few punches and, one is tempted to guess, karate kicks. Finally, the third layer, a new pigment, is applied and left to dry. The results are surprisingly tender, linking the delicacy of drawings with the organic and solid authenticity of thousand-year-old tree trunks. When Singh brought up that the crackle paintings reveal both chance and control, Moses was quick to assert that he “never wants to be in control.” He prefers what he calls “being in tune.” How does he know which paintings are winners and which losers? “Great paintings have a presence,” he said, launching into a story about visiting the Tate in London and hearing the de Koonings and Rothkos growl at him like mighty lions. After answering a few questions from the audience, and generally haranguing them, Moses closed the dialogue with “Hasn’t this been fun? I’ve had the best time.” And with that, we all put our shoes and socks back on, having sat zazen with one of Buddha’s beloved jesters.

—Kathryn M Davis

Ed Moses, B/W, mixed media on canvas, 48” diameter, 2013

OCTOBER

2013

THE magazine | 51

Mark White: Upon Reflection 414 Canyon Road

and

Mark White Fine Art 1611 Paseo de Peralta, Santa Fe

UPON REFLECTION IS A FITTING NAME FOR AN EXHIBITION OF NEW WORK by Mark White, whose eponymous galleries have locations on

did-he-do-that sleekness. At its most pristine, White’s

industrial quality that makes his previous pieces seem

Canyon Road and in the Railyard. It’s a show of contrasts, and

measured paint handling results in smears and streaks that

downright delicate in comparison. Like a mechanical crane,

while the work spans multiple artistic disciplines, it’s elegantly

appear almost digital, like Gerhard Richter’s zippingly vibrant

it moved slowly to and fro when I observed it on a relatively

cohesive. Chances are good that if you’ve spent even a little

abstract compositions. Upon My Reflection makes use of

still afternoon. Even still, it seemed ingenious and captivating

time in Santa Fe, you’re familiar with White’s work; his balletic

whispery violets, light grass-greens, and pale Easter yellows.

that such a heavy metallic object could be propelled by the

stainless steel and copper sculptures are ubiquitous here.

It’s consummately abstract, but its energetic arrangement, so

wind and not by a hidden motor. Swaying slightly, its smooth

Their tall stalks are topped with delicate blades, meticulously

full of happy color, evokes decidedly optimistic, springtime

movements confounded the straight lines and hard angles

engineered to react to light breezes and strong enough to

qualities. The painting’s surface is broken up with small gashes

of its constitution, making it a hypnotic testimony to the

withstand one hundred mile per hour winds. The centrally

and scrapes, adding a visually intriguing and necessary heft to

gallery’s tongue-in-cheek warning that “Extended viewing

located Canyon Road gallery is something of an oasis, perched

its breezy palette.

[of the wind sculptures] may cause extreme relaxation and bouts of pleasant daydreaming.”

on a hilltop and abundant with benches and butterflies.

The complex, densely colored Deep Blue III is darker

Walking up the steps is akin to a Zen-like experience,

than other paintings on display and finished with a fine, glassy

In this exhibition, Mark White’s creative versatility is

heightened by White’s glinting sculptures—some of which

veneer that enhances its watery appearance. White achieves

on full display, and to me, his Renaissance-man abilities are

have been modified into fountains—that line the path.

depth and outdoorsy associations with streaks of red, yellow,

as inspirational as the art itself. Both White’s paintings and

White is less well known for his two-dimensional work.

and brown rendered in thin strokes that appear as branches

sculptures evoke a contagious joie de vivre, thanks to their

For this exhibition, the prolific artist’s paintings were spread

or fallen leaves. The painting straddles abstraction and realism,

aesthetically pleasing qualities and the adroit facility of their

across both Santa Fe gallery locations, and vary from loose

for even a cursory glimpse at it suggests the surface of a just-

creator. As the artist has asserted, “I purposely and consciously

abstractions to thoughtful landscapes, pleasingly bridging both

disturbed pond, but its atmospheric, color-heavy layout places

stay away from over-intellectualizing.” It’s a refreshingly and

genres. Considering the definitively abstract qualities of his

it squarely in a non-objective vein. On the opposite spectrum

un-cynical take on art making—and coming from this multi-

sculpture, it’s no surprise that White’s paintings are mostly

are works like Cyprus Lily II, an overtly abstract painting free

faceted artist, it’s utterly believable.

non-objective. His paintings bear an innate grace and softness,

of even vaguely realistic undertones. Striated and broken-up

—Iris McLister

but unlike the sleekly minimal lines of his latest sculptures

bands of ochre and red alternate vertically across the painted

(more about them later) the paintings have an organic,

surface, almost but not quite forming a discernible pattern.

changeable quality. White uses a palette knife to meticulously

White’s latest sculptures evince a marked departure

scrape paint across Masonite surfaces prepped with gesso,

from his characteristic organic wind sculptures. The

and the resulting compositions boast silky-smooth, how-

monumental Parallel Pendulums is kinetic, but has an

Mark White, Deep Blue III, oil on panel, 48” x 48”, 2013 Mark White, Nonparallelaxes 4, stainless steel, 16’ x 16’, 2013

CRITICAL REFLECTION

Alexandra Eldridge: Meeting with my Daemons “Be true to yourself and you will never fall.” —From “Pass the Mic” by the Beastie Boys

YOUR SOUL, YOUR PSYCHE, YOUR ANIMA OR ANIMUS, your animal guide, your protector, your guardian angel, your spirit, your gut, your intuition, your inspiration, your duende, your inner voice, your driving force, your higher self, your pure enthusiasm, your genius, your insight, your deep imagination, your winged messenger, your freedom, your wild abandon, your character, your truth, your demons, your daemon. How are you so animated with life, with being and seeing making and doing and eating and sleeping and running and walking and resting and nesting and painting and writing and singing and signing and getting and having and losing and crying and flying and talking and talking and talking and dying? Miraculous that for eons diurnal bodies, animal, vegetable,

mineral, and atmospheric, in a continuous spherical wave around the planet’s surface rise up and stretch toward the sun each morning. We go to work; we do our thing, spirited by the day. Sun worshipping derives from Earth’s diurnal DNA. For Socrates and his Athenian buds, followers of Japan’s Shinto religion, Gothic Catholics, and nearly every indigenous culture worldwide, the garden world the sungod makes is full of nature spirits, naiads and dryads, eight million kami, djinn, and genies, animal deities, spirits, sprites, and beings of light, dragons, demi-urges, divinities, and your daemon. One of the very earliest Paleolithic examples of human artmaking is a lion-headed human figure carved from a

NüArt Gallery 670 Canyon Road, Santa Fe mammoth tusk. The characterization of one’s self through totalizing identification with an animal being is as old as the first human thought. The process of discovering your totem spirit is typically assisted by music, magic, dance, ritual incantation, ceremony, meditation and/or intoxicating sacraments, and always, art. In Alexandra Eldridge’s piece Levitation, an antique, hand-tinted photograph under bubble glass of a boy sitting crossed-legged, gains, by the artist’s hand, a lion’s head, a seed-spilling pink lily, which he holds erect in his lap, and the novel sense that he is floating a few inches above the ground. The piece is part of Eldridge’s Meeting with my Daemons exhibition at Nüart Gallery in the middle of Canyon Road. Eldridge demonstrates once again her considerable powers of invention, releases the full menagerie of her incredible imagination, and makes our oldest meanings new again. Guardian of New Souls is an image of a stork in time atop an egg-like island inside a cosmic hourglass. Eggs pour from a round locket with a pocket-watch shape. The liveliness of the bird’s presence is uncanny as his one eye tracks you around the room. There is an obvious echo here of Thoth, the Egyptian ibis-headed god of writing and magic, who records the names of each soul in his book of the dead. Most of Eldridge’s work plays on the level of cultural and literary allusions. A great lover of Blake and Jung, she is as passionate about reading mystical and romantic texts as she is about her painting. Many of the pieces here contain hand-scrawled quotations and intriguing, cryptic phrases referencing the primacy of the human imagination and a sense of wonder as our richest universal resource. Eldridge is hard working and prolific. Her paintings are also her journal pages, and as such retain a freshness and variation that is the inevitable result of an extremely active mind and eye. My Daemon, the title track of the show, is a large, cool painting of a massive buck with a flock of little songbirds perched on his glowing white antlers. Again, the sense of deep intelligence given to her animal avatar is arresting. This gaze will stop you in your tracks if you let it. Above the deer floats a pink cloud of ether, situating this image on a mystical continuum somewhere between Tenniel and Tomaselli. Hares abound here, and that gives the show a slight Alice in Wonderland overtone, which is scarcely odd for Eldridge’s excellent exhibitions, as she’s basically a native there. Like Lewis Carroll, J.K. Rowling, or Antoine de Saint Exupéry, hers is the territory of pure creative thought, puns, puzzles, and vast conundrums. Absurdity and a bright wit are her survival tools, and a little whimsy goes a long way. Eldridge continues to push and expand the boundaries of her subjects and techniques, as does any truly committed painter. After many unwavering years, she’s at the height of her game. In Meetings with my Daemons, inspired and possessed by grace, beauty, and a remarkably inventive intelligence, Eldridge generously allows her viewers to come forth and confront her potent spirit.

—Jon Carver

Alexandra Eldridge, Guardian of New Souls, mixed media on panel, 56” x 48”, 2013 OCTOBER

2013

THE magazine | 53

Regeneration / Common Language

REGENERATION / COMMON LANGUAGE IS A SINGLE exhibition consisting of two distinct bodies of work.

reminiscent gestures. Davidoff’s earthy palette and rustic,

Regeneration presents Susan Davidoff’s drawings on paper,

textural paper relax the focus on structure and allude to

and Common Language presents photographs of site-specific

nature’s fluid unfolding.

installations created collaboratively by Susan Davidoff and Rachelle Thiewes.

The concept of regeneration is present in the inclusion of faint fire maps in select images, referencing the loss and

Davidoff’s works on handmade paper are the visual

regrowth of vegetation due to forest fires in the Davis

manifestation of the inspirations she experiences on her hikes

Mountains in West Texas. There is, however, little else that

and wanderings, observing nature in West Texas. Residing in

resonates of regeneration within the seemingly repetitive

El Paso, she collects organic materials and creates many of her

nature of Davidoff’s botanical efforts. Aesthetically, there

own pigments from such things as clay, cochineal, lichen, and

is little in Regeneration that could be described as novelty,

juniper berries. Together with charcoal and graphite, Davidoff

innovation, or the cutting edge. But perhaps contemporary

Zane Bennett Contemporary Art 435 South Guadalupe Street, Santa Fe allowing it to evolve and morph on paper, Davidoff seems to draw out or capture this essential underlying quality in each of her subjects. Around the corner and regrettably tucked into a small, hard-to-find part of the gallery are photographs from the series Common Language. This series is the result of a collaboration between Davidoff and jewelry artist Rachelle Thiewes and the two-month residency they held together at Fiskars Village, Finland, in 2009, as well as continuing work they create in El Paso, where they both reside. The photographs record sitespecific installations, described as “interventions,” in outdoor spaces where the natural environment encounters man-made constructions. In Langsjö Woods 9.3 (2009), in a wooded land formerly forested and since replanted, the artists tied neon tape around tree trunks, suggesting that these, too, may be chopped down. By using an explicitly unnatural and identifiably unusual material to make their marks, the artists staged a scene that highlights the impact of human industry in this otherwise flourishing place. In Path to Alsviken 8.11 (2009), an exposed tree root emerging along a hiking trail was burnished by the artists in silver leaf, another insertion of an unusual material into organic space. In this installation, the use of silver leaf—a traditional decorative and artistic medium—creates a self-referential comment on art production itself, perhaps calling attention to environmental concerns within the art industry as much as within the more obvious industry of logging. The series Common Language offers greater conceptual depth than Regeneration and certainly achieves its goal of drawing attention to natural beauty versus human interference.

However,

the

finished

presentation of the works comes off as rather prosaic. Viewed next to Davidoff’s gauzy, handmade papers, hung simply and freely from studs, the choice to print the uses these materials to visualize silhouettes and outlines of

aesthetic and conceptual attitudes should be set aside in

plant life. Specific titles indicating the plant in focus, such as

recognition of the sincerity of the artist’s impulse and her

Regeneration-Fire Map w/ Thistles (2013), suggest methodical

ostensible dedication to bringing experience in nature,

documentation of specimens; the use of silhouette, however,

organic materials, and intuitive images into communion on

obscures botanical details. Charcoal silhouettes instead serve

paper. Repetition and dedication could be seen as discipline

to isolate and highlight organic structure. By smoothing over

in the service of the Neo-Confucian concept of Li which

the visual details in dark charcoal, these images emphasize

Davidoff cites as a driving motivation. In Neo-Confucian

the integral form of plants over their radiant efflorescence.

Chinese philosophy, Li refers to the underlying order and

However, the isolation of form is not rigid or reductive.

reason of nature that is reflected in its organic forms. It is the

Layers of silhouettes recede into the picture plane, shadowing

grain in wood and veins in marble: both infinitely repeatable

or echoing the original form, even as they blur and soften into

and entirely unique. By repetitiously isolating form, and then

photographs on highly polished aluminum is perplexing. The images are dark and metallic, infusing admirable environmental concerns with an objectionable industrial sheen. Anyone with the slightest care for conservation will find value in these scenes regardless of the lack of poetry in their presentation; however, Davidoff’s exploration of the vegetal world will likely resonate more deeply. —Lauren Tresp

Susan Davidoff and Rachelle Thiewes, Langsjö Woods 9.3, photograph on aluminum, 30” x 45 1/4”, 2009

CRITICAL REFLECTION

Carlisle/Hamilton: Energy Fields

Yares Art Projects 123 Grant Avenue, Santa Fe

“UNDERNEATH DAY’S AZURE EYES, OCEAN’S NURSLING, VENICE, LIES.” It is rare that a multimedia installation can leave the viewer

time-lapse, three-dimensional orb of the earth viewed from

with a rich visual conceit such as this one, akin to the poet

deep space.

Venice Morning and Venice Evening do not attempt the global reach of Watermarks or the optic paradox of

Shelley’s memory of Venice from his perch on the lava-rich

Each of the three versions of Markings stands on its own,

the Markings series. For each work, a four-foot spread fan

hills overlooking the vast flat Padovan plain of the Veneto

yet they comprise a trilogy in which each video projection

of birch panels with silk stretched over the folds serves

and, in the distance, the shimmering jewel of La Serenissima

passes through a suspended steel screen whose metal surface

as the screen for the projection of colored lights—the

by the shores of the Adriatic. But one installation from Energy

is perforated by ten vertical zigzag slits spaced evenly across the

fan perhaps a subtle evocation of Venus, born from the

Fields does just that. And if its diptych video projections

panel, with the result that only those portions of the projected

sea’s foam and borne aloft on a sea shell over the waves.

Venice Morning and Venice Evening are the most picturesque

image that pass through the narrow vertical openings are

The sources of these colored images are not discernible,

in the show, they owe their success to an aesthetic that

recorded on the wall. The initial response of the viewer is to the

giving viewers license to associate them with their

is shared in common with Watermarks and the Markings

imagery as it sweeps slowly back and forth across the surface of

experience of Venice. In Venice Morning, the wash of blue

trilogy. The creators of Energy Fields, artists Susanna Carlisle

each hanging steel panel, producing what appear to be abstract

that embraces the shell’s base and the red-flecked yellow

and Bruce Hamilton, describe that approach in their artist

compositions of intense saturated blues and reds and bright

that floats along its rim evoke the Queen of the Adriatic’s

statement: “Our work combines video, sculpture, and

ochres and greens. Yet as the viewer’s attention turns to each

blue lagoon and cerulean sky, crowned by the dawn light

architecture. We use a variety of materials to create three-

of the narrow image sections transmitted through the slits onto

that slowly draws its golden veil across the floating domes

dimensional environments to explore and expand the

the wall, the constant pendular shift of the projected image

of San Marco.

content and visual poetry of moving images. By bringing

over the transmitting openings in the metal plates produces on

True to their artist statement, fugitive images become

the moving image into three-dimensional environments, we

the wall a kinetic succession of these vertical portions of the

“interpreters of inner vistas” that form a repository of

hope to address movement through time and space while

image, whose continual back-and-forth appearance one after

experience. Susanna Carlisle and Bruce Hamilton’s Energy

magnifying our concern for the world around us. We seek to

the other has the effect of reassembling the whole image. This

Fields is as much a testament to their poetic sensibility as it is

portray bodies in motion as a repository of experience. By

visual synecdoche reveals what appeared on the steel plates

a demonstration of their digital artistry.

using tools of technology, we are attempting to make inner

as rich abstract tapestries of colored light to be actual graffiti

—Richard Tobin

states visible….”

wall paintings along a neighborhood sidewalk. Yet in this case,

In many multimedia projects employing imageprocessing software, the notion of a “visual poetry of moving

what appeared to be the parts turn out to comprise the whole as well.

Susanna Carlisle, Bruce Hamilton, Venice Morning, video projection, birch, silk, 48” x 69” x 9”, 2013

images” would be an oxymoron. Too often the tool of digital technology becomes its own magic wand, conjuring little more than dazzling eye candy. In Energy Fields, though, the creators have achieved their aim of investing moving images with narrative force that creates/activates their spatial ambient and populates that space with import and portent. Watermarks is a video projected from a ceiling-mounted projector through suspended transparent glass forms and onto the gallery wall. The principal glass element in this piece is a sphere. Viewing the projections on the wall recalls the experience of looking through a kaleidoscope, only here the color patterns are liquid and dynamic, as if the eddies and swirls of Florentine marbled paper had come to life. The palette of intense blue, sea green, and burnt umber assumes the form of some lush landscape whose chameleon currents shift constantly into new forms of vegetation. And as this kinetic pattern passes through the glass sphere itself, it plays upon its surface, transforming the transparent glass sphere into the dazzling

OCTOBER

2013

THE magazine | 55

DRAWING ROOM A Collaboration of Works on Paper by Eugene Newmann and John Connell

“INCIDENT IN PARADISE”

YESKIM LEVANTIS: LIVE WORLD RENOWNED, AVANT-GARDE NEW AGE MUSICIAN TEAMS W/ LOCALS FOR ENVIRONMENT

a “sound odyssey” from before the BIG BANG through the present and beyond @ the IAIA

Dean Howell Unveils Iconic Sculpture! WHO: Levantis: Dean Howell, Tony Buford, Kay Kahn, Iris Vazquez, Ben Murdock.

WHAT: Live Concert: “Incident in Paradise” Tickets Santa Fe: $10 each. WHEN: Saturday, October 26. Concert @ 2 pm. Sculpture unveiling @ 4 pm. WHERE: IAIA Auditorium and the Dance Circle. 83 Avan Nu Po Road, Santa Fe. IAIA Guests Free with ID.

Opening Reception: Friday, October 11, 5 to 8 p.m.

PHIL SPACE

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Felecia Ford

GREEN PLANET

damp earth Tara Trudell I stand in shadows of aspen dancing leaves shimmering playing my body softly I lean into rain breezes immersing soul cleansing thoughts trusting tenderness lingering in hazy warm air I breathe deep damp earth red dirt essence tracing brown skin remembering living in your full heart revealing spirit messengers trusting the nature of alone I count full moons until you appear on my horizon. OCTOBER

2013

Photographed at Montezuma Hot Springs, Las Vegas, New Mexico byÂ Jennifer EsperanzaÂ www.taratrudell.com

THE magazine | 59

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2013

Guy Cross THE magazine | 61

WRITINGS

Breakfast with Capitalists by

Orlando Ricardo Menes

Their favorite café like a baroque wedding cake Of spumoni marble and gypsum marzipan Waiters in glazed frocks quick to placate the don With a peeve, expatriates like Papá who rake Dollars off the books with bribes, the fixed trade. Sipping espresso, eyeing the paper, they talk Money, politics, their dread of some slight havoc Priming revolution. Discord comes, a grenade Breakfast with Capitalists is from Fetish (University of Nebraska Press, $17.95) a collection of poems that sew together stories of dislocation and loss, of survival and hope, of a world patched together by a family over five generations of diaspora. This book of poems is Mendes’s tapestry of the Americas. Mendes is an associate professor of English and Faculty Fellow of the Institute for Latino Studies at the University of Notre Dame. His poetry collections include, among others, Furia: Poems and Rumba atop the Stones.

62 | THE magazine

Of insult tossed. Short Papá stands on a chair To quell his cadre; busboys dab spills and stains. As I doodle melted butter, their anger wanes, And the talk turns to me, his first son, the heir Who’ll log the Amazon, mine the Andes, fish The Pacific, conquest by capital, laws to vanquish.

OCTOBER

2013

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