the magazine may 2009

S a n t a F e ’ s M o n t h l y of and for the Arts • May 2009m enizaga

Brion Gysin gone but not forgotten

forgotten

Brion Gysin gone Gysin

gone Gysin but not

gone but not

gone forgotten

Save the Date: AUCTION SITE 2009

June 19 & 20

Featuring important works by leading contemporary artists for sale to benefit SITE Santa Fe. Honoring Marlene Nathan Meyerson, Honored Artist: Jenny Holzer, Honorary Chairman: Todd Oldham, Auctioneer, Jamie Niven, Vice Chairman, Sotheby’s.

For tickets or catalogue information, please visit www.sitesantafe.org

PRETTY IS ASPRETTY DOESPRETTY DOESPRETTY

Through MAY 10, 2009

TUESDAY, MAY 5, 6 pm

Artist Talk by Judith SchaechterFeatured in Pretty, Schaechter’s work is figurative, possibly narrative, and Pretty, Schaechter’s work is figurative, possibly narrative, and Prettysometimes difficult—she will address these issues in a way that seems to

answer everything yet dispels none of the mystery.

Co-sponsored by William Shearburn Gallery

1606 Paseo de Peralta Santa Fe, NM 87501 | 505.989.1199 | www.sitesantafe.orgFunding for this exhibition is generously provided by: LLWW Foundation, EVO Gallery, and Zane Bennett Family Foundation, with additional support from Claire Oliver Gallery and Salon 94. The Arts & Culture series is made possible by a generous endowment from the Marlene Nathan Meyerson Family Foun-dation. Support for SITE Santa Fe’s exhibitions and programs is generously provided by the Board of Directors, many individuals, and the following major contributors: The Brown Foundation, Inc., Houston; The Burnett Foundation; The City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Department of Cultural Affairs, and the National Endowment for the Arts; Lannan Foundation; McCune Charitable Foundation; and the Thaw Charitable Trust. This announcement is funded in part by the Santa Fe Arts Commission and the 1% Lodgers’ Tax. Special thanks to THE magazine.

Terry AllenDarren AlmondRichard AvedonLutz BacherBarry X BallRina BanerjeeTanyth BerkeleyGay BlockBarbara BloomKathy ButterlyJim CampbellSuzanne CaporaelAntonia ControLouise Dahl-WolfeJim DineJames Drake Tim EitelTeresita Fernández

Dana FrankfortGloria GrahamAngelina GualdoniDouglas Kent HallHarmony HammondKevin HanleyMona HatoumJenny Holzer Colette HosmerJames HowellKenro IzuRobert W. KellyNikki S. LeeDavid LeighSze Tsung LeongDavid LevinthalDonald Lipski Vera LutterNick ManganDavid Marshall

Jason MiddlebrookAndrew MillnerMarilyn MinterFranco Mondini-RuizBruce NaumanNic NicosiaRoxy PaineJaume PlensaOrit RaffAlan RathNeo RauchMatthew RitchieDon RitterMichal RovnerMeridel RubensteinEd RuschaPeter SarkisianJudith SchaechterDavid SchnellDana SchutzKiki SerorSusan Silton

Gary SimmonsJohn F. Simon, Jr.Federico SolmiSebastian SprengSteina Alison Elizabeth TaylorToadhouseFred TomaselliMatthias Weischer‘Line Drive’ Portfolio [Includes works by] Terry Allen John Baldessari Greg Colson Robbie Conal Gajin Fujita Victor Gastelum Joe Goode R.B. Kitaj Mark Licari Paul McCarthy Michael C. McMillen Raymond Pettibon Ed Ruscha

contents 5 Letters

12 Universe of artist Katrina Lasko

17 Studio Visits: Nicolas Gadbois, Marcia Muth, and Michele Tisdale

19 Food for Thought: The Sunday Dinner

21 One Bottle: The Nicolas Feuillatte Non-Vintage Champagne Brut Rosé, by Joshua Baer

23 Dining Guide: Amavi Restaurant and Trattoria Nostrani

27 Openings & Receptions

28 Out & About

34 Previews: Herbert Bayer at Peyton Wright; Douglas Johnson at Parks Gallery (Taos); and John Randall Nelson at Gebert Contemporary

37 National Spotlight: Kim McCarty at Kim Light Lightbox, Los Angeles

39 Person of Interest: Brion Gysin

43 Critical Reflections: Chicana Bad Girls at 516 Arts (Alb.); Dark Memory Lecture at the Santa Fe Art Institute; Erika Wanenmacher at the Boulder Museum of Contemporary Art; Jacklyn St. Aubynat Zane Bennett Contemporary; Larry Fodor at the Lannan Foundation; Louise Bourgeois at MoCa (Los Angeles); Pretty is as Pretty Does at SITE Santa Fe; Roger Shimomura at Eight Modern; and Superstars 2009 at Goldleaf Gallery

53 Architectural Details: Abandoned Business, photograph by Guy Cross

54 Writings: “For Him,” by Liza A. Lucero

John Saladino was born in Kansas City, graduated from the Yale School of Art and Architecture, and then worked in Italy with architect Piero Sartogo before opening his own design practice in New York City. Saladino is considered by those in the trade to be “the designer’s designer”—a master of scale. His approach to design is to mix light with dark and smooth with rough. Villa (Francis Lincoln Publishers, $95) is a look at the Villa di Lemma—the hillside Tuscan farmhouse in California that Saladino renovated over a four-year period. The book is divided into four components: architecture, interiors, landscape, and entertaining. The section on architecture includes a two-page spread of architectural drawings showing the complexity of the construction required to remodel the villa, and a cutaway drawing that illustrates how the site descends into a series of terraces. A genuine love of history permeates all of Saladino’s design work, which is ultimately about beauty, comfort, and human scale. In talking about architecture Saladino has said, “Beyond being shelter and keeping the rain off your head, architecture is an emotional experience.” About garden design, “The landscape is a created reality, an improvement on the real world. The garden may become a quest or seeking of paradise. We transform nature so that we may spiritually embrace it.” Included with the book is a DVD of a virtual tour of the house and garden with commentary by Saladino. Above photograph—Foot of Mercury—is by Ethan Boehme. This book is an absolute must for anyone with a love of interior and exterior design.

tentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentsconconconconconconconconconconconconconconconconconconconconconconconconconcontentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentsconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconcontentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentsconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconconcontentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstentstents

READINGS & CONVERSATIONS

www.lannan.org

All tickets for all events are sold at the Lensic Performing Arts Center. Tickets can be purchased in person,by telephone, or online at: Lensic Performing Arts Center, 211 W. San Francisco Street, Santa Fe, New Mexico. Box Office hours: Monday – Friday 10am – 4 pm; Saturday – Sunday Noon to show timeTelephone 505.988.1234. www.lensic.com

All tickets are for reserved seating. Doors open at 6:30 p.m.

General Admission $6 and Senior/Student with ID $3. Ticket purchases are limited to four per person.

Proceeds will be donated to the Lensic Performing Arts Center.

Lannan is podcasting Readings & Conversations! Please visit our website, www.lannan.org, to learn more,listen, read author biographies and subscribe to have the events automatically downloaded to your computer.

Marge Piercy with Martín EspadaWednesday 20 May 2009 7pmTickets on Sale Now!

“We tend to think of writers according to categories: a novelist, poet, essayist; and find it hard to imagine a writer who excels in more than one medium. But Piercy has written many wonderful novels (e.g., Braided Lives; Vida) and an equal number of deeply moving and exquisitely crafted books of poetry (e.g., What Are Big Girls Made Of? ). Her newest volume of poetry is in many ways the best yet. It brings together poems written to celebrate Piercy's Jewishness, reflecting and expressing the joy, pain, passion, and elegance of this rich culture.” —Library Journal on The Art of Blessing the Day: Poems with a Jewish Theme

Eduardo Galeano with Michael SilverblattWednesday 10 June 2009 7pmTickets on sale Saturday May 2nd

"Galeano's pages are full of empathy, candor, unsettling connections, and fresh through more than 30 years, affront at the suffering of his country—for Uruguay itself was in exile from its long traditions of tolerance. He writes in defense of his countrymen and others: the embattled Mexican Indians in Chiapas, Brazil's street children, the more than eight million children abandoned across Latin America . . . from the Internet to Interpol, from the vapidity of television to auto-itis, nothing is safe from Galeano's committed deconstructions."

—New York Times Book Review on Upside Down: A Primer for the Looking-Glass World

TO THE EDITOR:

Through engaging our environment, we develop a sense of

reality, whether our environment is virtual or physical, local

or international. Engagement involves empathy, imagination,

expression, and action. The arts have always helped this along

by suggesting meaningful relationships: the rhythms of visual or

musical elements, and the metaphysical play of ideas they evoke.

Consumer culture, on the other hand, has encouraged us to derive

meaningful existence through acquisition and display (desire,

possession, illusion, and the resultant disillusion and irony).

The arts—viewed through the green-tinted glasses of

consumerism—enhance status when they are absorbed or

acquired (“I have already been to that exhibit everyone’s talking

about” or “I own something by that famous artist”)—but only

when the label is loud. Visiting the studio, or owning the work,

of an unknown artist won’t lend any cachet no matter how strong

the art itself may be. If the art is unusually forceful, it might even

cause embarrassment.

Despite appearances to the contrary, the arts have become

marginalized in consumer culture. Never mind the spectacular

attendance at blockbuster museum shows, multi-million dollar

movie productions, and concert crowds big enough to fill

sports arenas. The communities that support artists, and the

arts communities themselves, break down under the weight of

financial difficulties and obscurity. Just like the saying “it takes a

village to raise a child,” it takes hundreds of artists to make a few

good ones. And it takes community support to encourage the

work of hundreds of artists.

Here are some of the reasons why the arts become

marginalized: Visual and musical pollution: we are inundated with

advertising devoid of the commanding structure and profoundly

associative content of great art. There’s less psychic room for art;

less of the space and silence that inspire hunger for art. Lack of

visual and musical education: arts budgets are cut in schools, small

arts programs can’t compete for the dwindling consumer dollar.

The result is widespread insensitivity and ignorance. Conformism:

we must play into the popular culture for fear of not belonging.

The arts pose a threat to those fragile sandcastles of narcissistic

identity constructed in relation to consumer culture. We seek to

live in ever more impressive places, and need larger spaces to

store what we own, so there’s less room for art in our homes, and

less money to spend on it after paying a high rent or mortgage.

The tyranny of housing developments, zoning regulations, and

expensive building codes: artists have a tough time building or

finding affordable and suitable space in their chosen communities.

In a world ravaged by the tragedies of war, illness, and poverty,

the arts don’t seem to be worthy of support.

Lost in the process: constructive imagination, as opposed

to fearful imaginings; the ability to integrate all elements of reality

into one constantly changing picture; creative engagement in

the worlds of work, play, politics, and community; sensitivity

to—and acts of caring for—friends and strangers, elders and

children, community and environment.

And then we face these dire results: ever narrowing view

of one’s own role and capabilities; lower expectations of systems

of government and education; lower expectations of children,

friends, lovers, and strangers; we become incapable of expressing

ourselves beyond a monosyllabic grunt (even small animals and

birds have a more extensive range); eventually, the inability

to relate leads to a state where emotional intimacy becomes

painful and the experience of spiritual closeness is frightening.

We communicate through acts of violence; and fear of art. The

powerful presence of art becomes too painfully intimate to bear.

Slow down, turn off the electronic entertainment. Suffer

the silence and welcome the unfamiliar. Involve local artists in the

events that shape the lives of individuals, family, and community.

Like the rings on the water when that first stone is lobbed into

the lake, the circles of influence spread far beyond what seems at

first possible. Artists, remember the words of one of the world’s

greatest living directors, Zhang Yimou, “To survive is to win.”

—Tina Dickey, British Columbia

Letters: themag1@aol.com or 1208-A Mercantile Rd., SF87507

Recent Paintings by Jerry West will be on view at Phil Space, 1410 2nd Street, Santa Fe. Opening reception: Saturday, May 23, from 6 to 9 pm. Artist’s talk on Tuesday, May 26, at 7 pm. Show runs through June 20. Information: 983-7945.

TO THE EDITOR: The arts pose a threat to those fragile sandcastles of narcissistic

m a g a z i n eVOLUME XVI, NUMBER VIII

WINNER 1994 Best Consumer Tabloid

SELECTED 1997 Top-5 Best Consumer Tabloids

SELECTED 2005-06 Top-5 Best Consumer Tabloids

P U B L I S h e R / C R e A T I V e D I R e C T O RGuy Cuy Cuy ross

P U B L I S h e R / F O O D e D I T O RJudith Cross

A R T D I R e C T O RChris Myers

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C O P y e D I T O RedGar sCully

P R O O F R e A D e R SJaMes rodewaldrodewaldrKenJi Barrett

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C O N T R I B U T O R S

Jan adladla MannMannM , diane arara MrMr itaGitaGita e, Joshua Boshua Boshua aer Baer B , aer, aer

susanna Cusanna Cusanna arlisle Carlisle C , Jon Carver Carver C , arver, arver ira Cra Cra ohen, Kathryn, Kathryn, K M davisdavisd , Kathelin, Kathelin, K Gray, ray, ray harMarMar ony haMMaMMa ond, rinrinr Chen

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A D V e R T I S I N G S A L e S

roseroser darland: 505-577-8728 (MoBile)KathrynKathrynK M davis: 505-424-6868 (MoBile)

sheri Mann: 505-989-1214 or 501-2948 (or 501-2948 (or MoBile)reBeCCa o’day: 505-699-1915 (MoBile)

Jennifer esperaza: 505-982-3587the MaGazine: 505-424-7641

D I S T R I B U T I O N

JiMMy My My ontoya: 470-0258 (MoBile)

THE magazine is published ten times a year by THE magazine Inc., 1208-A Mercantile Road, Santa Fe, NM 87507. Corporate address: 44 Bishop Lamy Road, Lamy, NM 87540. Phone (505) 424-7641. Fax: (505) 424-7642, E-mail:THEmag1@aol.com. Website: www.TheMagazineOnLine.com. All material copyright 2008 by THE magazine. All rights are re-served by THE magazine. Reproduction of contents within are pro-hibied without written permission from THE magazine. All submis-sions must be accompnied by a self-addressed, stamped envelope. THE magazine is in no way responsible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspell-ings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazine do not necessarily represent the views or policies of THE magazine, its owners, or any of its agents, staff, employees, members, interns, volunteers, or distribution venues. Bylined articles and editorials represent the views of their authors. Letters to the edi-tor are welcome. All letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the autheticity or quality of objects and/or services advertised. As well, THE magazine is not responsible for any claims made by its advertisers; for copyright infringement by its adve tisers; and is not responsible or liable for any mistakes in any advertisement.

LETTERS

| may 2009 T H E M A G A Z I N E | 5

Railyard District

540 S. Guadalupe St. Santa Fe NM 875015 0 5 . 8 2 0 . 3 3 0 0 W I L L I A M S I E G A L . C O M

d a v i d H E N D E R S O N

W I L L I A M S I E G A L G A L L E R Y

A N C I E N T C O N T E M P O R A R Y

May 15 – June 12, 2009

opening | Friday, May 15 5 to 7 pm

p a u l a R O L A N D

David Henderson, Colossus. Carbon fiber, epoxy, paint. 40 x 32 x 60 inches

Paula Roland, Connecting Dots 136. Encaustic monotype, 40 x 26 inches

1613 Paseo de Peralta Santa Fe, NM 87501 tel 505.988.3250 www.lewallengalleries.com info@lewallengalleries.com

RonnieLandfield

May 22-June 21.2009OPENING RECEPTION: Friday, May 22, 5:30 -7:30 PM

FORTY YEARS OF COLOR ABSTRACTION

LewAllenGalleriesAT THE RAILYARD

Big Trane (for John Coltrane), 1998, acrylic on canvas, 93" x 81"

Gulf Wind, 2005, acrylic on canvas, 85" x 118"

The Inaugural Show at LewAllen Galleries’ Spectacular New Space in Santa Fe’s Railyard District

Catalog Available with Essay by Klaus Kertess

April 11 - June 5

artist reception: Friday June 5, 6:00 - 8:00

William Betts

Simpatia é Quase Amor

Richard Levy Gallery • Albuquerque • www.levygallery.com • 505.766.9888

THE TREASURE TROVEOF SANTA FE

ORIGINALART

CUSTOM-MADE FRAMES

ONE OF A KIND JEWELRY

BYAPPOINTMENT:

505-983-7523

Antonio Murado, detail, Untitled (#873) , 2001, Oil on paper, 30 x 22 inches

On pAper: drAwings by sixty Artists

May 1 through June 24, 2009

reCeptiOn Friday, May 1 5-7pm

129 west san Francisco, 2nd Floor, santa Fe

505 989.8020, info@shearburngallery.com

shearburngallery.com

thomas Ashcraft, donald baechler, Jean-Michel basquiat,

ross bleckner, Louise bourgeois, James brown, peter Cain,

ingrid Calame, will Cotton, Leslie dill, Jim dine,

graham dolphin, sue eisler, t.r. ericsson, Howard Finster

tony Fitzpatrick, Caio Fonseca, suzan Frecon, ellen

gallagher, robert gaylor, Andrew gellatly, teo gonzalez,

gloria graham, Joseph Havel, roni Horn, Jerald ieans,

tim Jag, Jennifer Joseph, Alex Katz, Kit Keith, Jay Kelly,

david Kramer, tim Liddy, suzanne McClelland, robert

Medvedz, Andrew Millner, robert Motherwell, Antonio

Murado, J.b. Murray, Craig norton, thomas nozkowski,

gary passanise, enoc perez, Judy pfaff , Lucas samaras

Fred sandback, peter schuyff, James siena, tom slaughter,

Joe sola, peter soriano, erik spehn, donald sultan, philip

taaffe, toadhouse, richard tuttle, Jack tworkov, Jacques

Villon, Andy warhol, Christopher warrington, william

wegman, Amy westphal and terry winters.

PARKS GALLERY127 A Bent Street, Taos, New Mexico 87571 575 751-0343 parksgallery.com

60 s SU R V IVOR I : DOU GLA S JOHNSON

Paintings & Prints: 1969-2009May 9 to June 2, 2009

Reception Saturday, May 9, 4-6 pm

This exhibition is part of the Taos-wide Summer of Love celebration. See taossummeroflove.com for full schedule of events.

Pueblo Revolt, 2009, gouache, 5 x 6 inches

Santa Fe Art InstituteMEMORY: Shadow & Light –

Art as individual/ collective memory

WWW.SFAI.ORG, 505- 424 5050, INFO@SFAI.ORG, SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FENM 87505 | THE SANTA FE ART INSTITUTE EXPLORES THE INTERCONNECTIONS OF COMTEMPORARY ART AND SOCIETYTHROUGH ARTIST AND WRITER RESIDENCIES, PUBLIC LECTURES AND WORKSHOPS, EXHIBITIONS, & EDUCATIONAL OUTREACHTHIS PROGRAM PARTIALLY FUNDED BY THE CITY OF SANTA FE ARTS COMMISION AND THE 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF THE DEPARTMENT OF CULTURAL AFFAIRS

PhotographerDavid Maisel5/11 Lecture, 6pm Tipton Hall

5/12 Portfolio Review/ Workshop,10 -4pm SFAI________________________

5/4 SFAI Artist-in-Residence, Issa NyaphagaTalk & Performance, 6pm Tipton Hall

5/12 Birds in the ParkInstallation by Christy Hengst, 9am - 5pm SFAI

5/14 ‘Memory Preserved: Crypto-Jewish Rootsof New Mexico’ Readings & Performance, 6pm Tipton Hall

5/21 Artists & Writers Open Studio5:30pm SFAI

THEmay09.qxd:Layout 1 4/20/09 10:09 PM Page 1

KATRINAKATRINAK LATRINA LATRINA ASKO LASKO L ’S work is about the concealing, tangling, and untangling of visual language. The wrapping or covering of her artworks are interactive, as they force both Lasko and the viewer to untangle the meaning of the work. Lasko’s hope is that the viewer will look behind the beauty in the work, for that is where the message, which is often not so beautiful, is to be found. Lasko recently exhibited at the Matrix Gallery, The Cradle Project, and the Outpost—all in Albuquerque. On May 12, a solo show—Don’t Look—will be on view at the Matrix Gallery, Albuquerque. Look—will be on view at the Matrix Gallery, Albuquerque. Look

WheRe eGO FITSThere is always ego involved in the making of art. As a young artist, I was more demanding of attention—call it the urgency of youth.

Older now, I am still as committed, but not as recklessly or insistently. The message is still there, but I am now accepting of the terms.

There is a lot of good and meaningful art in the world and I cannot delude myself into thinking that what I do is too important. I also know

that the ego in what I do pushes boundaries that I say I won’t cross.

The WORLD We LIVe INThis world is sad for many—so hopeless, so frightening. As a “sixties child” I had much hope for a better world—didn’t

we all? The disillusionment I feel today is almost unbearable. Horrors confront us daily. I pray for peace and humanity

for all those who suffer. My work is about the despair I feel.

The NeW WORk—FIGURATIVe AND NON-OBjeCTIVeThe figurative work I do is about distancing ourselves, and the disengagement that we practice because we feel helpless. We hide, are blinded, and run from the terrors and

sadness of the world. Some of my sculptural pieces depict an ideological split. My non-objective work, such as in the series Cocoon, refers to the cocoon we surround ourselves

with as means of protection from the world. In my last series—Hurts—I referred to the many injuries every person experiences in life—emotional, physical, psychological,

societal, and political. These “hurts” damage, change, bruise, wound, and injure us—but then teach, strengthen, build, and always in some way alter us with each experience. societal, and political. These “hurts” damage, change, bruise, wound, and injure us—but then teach, strengthen, build, and always in some way alter us with each experience. societal, and political. These “hurts” damage, change, bruise, wound, and injure us—but then teach, strengthen, build, and alwa D

| may 2009 The magazine | 13

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Allow me to introduce all of you to“Bo”—the new First Dog. Next week

we will be taking “Bo” to the groomer(and you know which groomer that is).

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The Lofts at1012 MARQUEZ PLACEBUILDING 1, SUITE 107AA5 0 5 . 9 9 5 . 9 8 0 05 0 5 . 9 9 5 . 9 8 0 0

May 9 & 10Mother’s Day Weekend

10 am to 5 pmFree Self-Guided Tour

Twelfth Annual Placitas Studio Tour 50 artists and artisans invite you to visit 42 studios in the rolling hills of Placitas.DIRECTIONS: Take I-25 to Exit 242. Follow the signs to the Welcome Center. Our doors are open!

Meg Leonard #8

Cate Clark #35 Susan Gutt #40

Sarena Mann #14

Dianna Shomaker #5 Michael Prokos #19 David Cramer #6

Sponsored by the PlacitasMountainCrafts Soiree

SocietyFOR MORE INFORMATION:

PLACITASSTUDIOTOUR.COM505-771-1006

Barry McCormick #18

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1. ROGER PRESTON BLATZ - Photography

ROXANNE BEBEE BLATZ - Photography

2. SHIRLEY ANN SLOOP - Jewelry

3. ADRIANA SCASSELLATI - Pastel

4. ANDI CALLAHAN - Jewelry

5. DIANNA SHOMAKER - Mixed media

6. DAVID CRAMER - Photography

7. SUSAN JORDAN - Gourd art

8. MEG LEONARD - Painting

9. WAYNE MIKOSZ - Mixed media

RIHA ROTHBERG - Mixed media

10. BUNNY BOWEN - Wax resist

11. LYNN HARTENBERGER - Painting

12. SHARON PEROTTI - Ceramics

13. NAN BARBEAU - Mixed media

14. CAROLYN VAN HOUSEN - Jewelry

GAIL GERING - Metal media

SARENA MANN - Paper maché

15. MARY BOATRIGHT - Gourd art

16. FERNANDO DELGADO - Photography

17. MARCE RACKSTRAW -Linocut/charcoals

18. BARRY McCORMICK - Photography

19. MICHAEL PROKOS - Ceramics

20. RALPH CHURCHILL - Wood bas relief

21. KARL, MARY HOFMANN - Ceramics

PEACHES MALMAUD - Direct print attire

22. MARY DAVIS HAMLIN - Painting

23. GREG REICHE - Sculpture

LAURA TELANDER - Painting

24. ROGER EVANS - Mixed media

25. JUDITH RODERICK - Silk painting

26. PAT HARRISON - Painting

27. JIM FISH - Wood sculpture

BETTY TEMPLE - Pastels/mixed media

KAREN MELODY SHATAR - Ceramics

28. LENORE GOODELL - Photography

29. KATHERINE IRISH HENRY - Pastel

30. BUCK LAWTON - Wood turning

31. DANA PATTERSON ROTH - Photography

32. LISA CHERNOFF - Glass

33. JON & NANCY COUCH - Water prisms

34. JOAN A. FENICLE - Painting

35. CATE CLARK - Mosaics

36. ANGEL ROSE - Mixed media

37. VICKI VAN VYNCKT - Painting

38. MEG JOHNSON - Silk painting

39. GERI VERBLE - Jewelry

40. SUSAN GUTT - Basketry

41. NANCY HAWKS - Pastels

42. WILLIAM SKEES - Watercolor inksRiha Rothberg #9Adriana Scassellati #3

MeMORIeS ARe CONSTRUCTIONS MADe IN ACCORDANCe WITh PReSeNT NeeDS, DeSIReS, AND INFLUeNCeS, AND ARe OFTeN ACCOMPANIeD By FeeLINGS AND eMOTIONS. MeMORy USUALLy INVOLVeS AWAReNeSS OF The MeMORy. WhAT IS The PLACe OF MeMORy IN The ART yOU ARe PReSeNTLy MAkING? ThRee ARTISTS ReSPOND.

Memory is an integral part of the art that I do. I am frequently called a “Memory Painter.” Memories,

with their attendant feelings and emotions are the fires that flame into creativity. Experience produces

memory. Most of my work has been done to recreate in art the times and the moods of the 1930s,

and the paintings have become a kind of visual history of that particular era. Memory, at least for me,

is like having an ever-ready film library in my head—a mental click and scenes spring into life.

—MarCia Muth

Muth’s paintings are in many corporate and private collections. Two books are available about her work: A World Set Apart: Memory Paintings (2007) and Words and Images (2004). In 2008, a biography by Teddy Jones—Left Early, Arrived Late: Scenes from the Life of Marcia Muth, Memory Painter—was published.

All of my paintings begin from a place of deep feeling and strong emotions. When I paint

the landscape I preserve a feeling of that special place and create a memory. The wind,

a fleeting change in light, the sparkle of copper, the warmth of someone’s home or the

eeriness of a city park at night all create a strong feeling and an urgency to paint. The past

and the present constantly mix, whether the influence is the rendering of ancient mandalas

in the hallway of a Santa Fe school, or childhood memories of Michigan woods and fields.

I want my art to make people pause, see with fresher eyes so they notice the beauty in every-

day places and objects. I paint with joy and purpose. My art preserves the memories.

—MiChele tisdale

Tisdale will be having a show on Friday, May 22, with a reception from 5 to 7 pm at the Eli Levin Studio, 830 Canyon Road. In Albuquerque, she is represented by the Alumenart Gallery. To see more of Tisdale’s work, tisdale-art.com

My current paintings are concerned with the memory of places I have visited during the last three

years. I take my lead from places that have a particular emotional resonance for me. The initial

experience of a place or landscape is altered as it is filtered through memory and my feelings.

I use overlays of color to enhance, blur and distort the image of the place I am recalling. The filters

of color I use address the somewhat unreal quality of memory. Looking at scenes through the filter

of emotions is a way for me to speak to the fleeting or ephemeral quality of place and memory.

—niColas GadBois

In 2008, Gadbois showed work at the Public Art Project for Tri Cities Cancer Center, Kennewick,Washington, and was in a group etching exhibition at the Eli Levin Studios, Santa Fe. Upcoming shows in 2009 include the Wood Gallery, Montpelier Vermont, Mesa College in San Diego, and the Argos Gallery, Santa Fe. Contact Gadbois at nicolasgadbois@yahoo.com

STUDIO VIS ITS

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| may 2009 T H E M A G A Z I N E | 1 9

FOOD FOR THOUGHT

THE SUNDAY DINNER

The Sunday Dinner was once an American institution—the main event of the week and a dinner that no person in his right mind would miss except for the gravest reason. Sunday dinners were usually served at noon and it was understood that by four o’clock everyone would leave for home. The dinners were a time of learning to put away childish things and learn adulthood etiquette—those manners that were conventionally acceptable and required by society. It was also a time of family stories, yarns, and tall tales. Sadly, this once-weekly gathering that brought people together in a celebration of food and family has all but disappeared. When most people in the world lived on farms and grew their own food, they also ate most of their meals together. With industrialization, came jobs in the city and meals away from home. Thus Sunday dinners became the only day that the whole family could share a meal together—one of the last remaining ways our culture has to strengthen ties with family and friends and to reconnect to our heritage. D

Lunch Dinner Nightlife

The Heart Of Santa Fe.

Corazón 401 S. Guadalupe rock, and then some... 505.983.4559

Afternoon, Dinner and Late Night Menus~

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For menus and entertainment listings, visit us online at corazonsantafe.com or myspace.com/corazonsantafe

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One BOttle:

The Nicolas Feuillatte Non-Vintage Champagne Brut Roséby Joshua Baer

A cooking fire is one of those things everyone should know how to make.

Here is an old family recipe for a cooking fire.

One newspaper. Two kitchen matches. Six pieces of dry kindling. (If you

live in New Mexico, dry branches from either a juniper or a piñon tree make

good kindling. If there are needles on the branches, expect a series of small

explosions ten seconds after you light the fire.) Nine pieces of dry firewood.

(Each piece of firewood should be no more than three inches in diameter. Split

pieces of juniper will work. So will split pieces of oak, piñon, or Ponderosa

pine. The best woods for a cooking fire are fruitwood cuttings. Some people

like apricot cuttings. I like apple cuttings. If you experiment with cuttings from

different fruit trees, the smoke will tell you which wood is your favorite.)

You can build a cooking fire in a fire pit, a hibachi, or an outdoor grill.

Of the commercially available grills, the Weber One-Touch® is the easiest to

use. Ideally, you want a bed of coals that is between twelve and sixteen inches

in diameter and a grill that sits four to six inches above the coals. The One-

Touch® has an 18.5-inch diameter grill that sits six inches above the coals.

Thirty minutes before you want to cook, make loose balls out of

the newspaper and place the balls at the base of the grill. Arrange the

kindling on top of the newspaper. I prefer the log cabin configuration

to the tipi configuration but either one will work. Place three of the

pieces of firewood on top of the kindling. Light the newspaper in

four places.

After the fire catches, lay the rest of the pieces of firewood

on top of the burning fire. Again, I like the log cabin configuration

but any configuration will work as long as the fire consumes

everything. What you want to avoid is the stray piece of

smoldering wood.

Five minutes after you light it, you should have a roaring fire.

At this point, the most important thing you can do is nothing.

Let the fire burn but keep an eye on it. Ten minutes later, the

flames should be dying down and the nine pieces of firewood

should be well on their way to becoming live coals. (If you

are burning oak or fruitwood, it will take longer to reach this

stage.) After the flames subside, use a stick or a metal poker to

even out the coals. Arrange them into something approaching

a circle, then take the grill and put it over the coals. You want

the heat from the coals to burn off any traces of meat, fish,

chicken, or vegetables left over from prior grillings. You also

want a searing hot grill for your food.

The worst thing you can do at this stage is get distracted.

If you go inside and watch the last two minutes of a ball

game, you will come back to coals that are past their prime.

At that point, if you are like me, you will panic and attempt

to revive your coals with twigs or pieces of kindling. That

never works. If your coals are weak, do the right thing and

rebuild your fire. Use at least six pieces of split firewood,

let them come to a blaze, watch the flames die down, and

be there—with whatever it is that you want to grill—when

the coals are ready.

How can you tell when the coals are ready? There is no magic moment.

What you want is to grill over high heat but not over flames. If you are grilling

steaks, lamb chops, rack of lamb, chicken thighs, or salmon fillets, the dripping

fat will ignite a few flames. A few flames are all right. Lots of flames are bad.

The best way to learn is to make mistakes. After one or two cooking fires that

are too hot, you will have no trouble recognizing when the coals are ready.

The secret to cooking over live coals is to cook your food unevenly.

When you cook on a stove, you apply equalized amounts of heat to food.

This creates a homogeneity of flavor and texture in the food you eat. When you

cook over live coals, you want there to be variegation in the heat you apply to

the food. Think of the grill stripes that appear on a rib steak cooked over live

coals and you will know what I mean.

Here is another secret. Undercook everything. Aim for rare. As soon as

you think your steak, lamb chop, halibut fillet, or tofu burger might be ready,

take it off the grill and put it in a warm oven. Fifteen minutes later, it will not

only be ready, it will be delicious.

Which brings us to the Nicolas Feuillatte Non-Vintage Champagne

Brut Rosé.

In the glass, the Feuillatte Brut Rosé is copper alloyed with gold.

The bead is delicate and playful. At first, the flavors run in different

directions. By the second glass, those directions resolve themselves

into a sensual narrative. The finish is neat and quick but

also emphatic.

Many people drink Champagne before they sit down to dinner.

They pour it as an apéritif. A good Champagne is not an apéritif.

A good Champagne will lead you into a dinner, entertain you,

listen to your stories, offer advice, and lead you out of the dinner

with charm, panache, and restraint. Champagne is bottled joy.

If you have never enjoyed the benefits of an all-Champagne meal,

do yourself a favor and have one for your family and friends.

The Feuillatte Brut Rosé works beautifully with steaks,

lamb, chicken, fish, or vegetables cooked over live coals. There

is something simultaneously disciplined and savage about this

Champagne. Serve it very cold. Fifteen minutes in your freezer

will have a profound effect on its flavors. At some point during

the dinner, raise your glass and drink to the art of the cooking

fire. Cooking fires have been around for a long time. They lie

close to the heart of what it means to be human.

In Santa Fe, you can buy the Feuillatte Brut Rosé at Whole

Foods for $56 a bottle and at Liquor Barn for $53 a bottle.

On the Web, you can buy it from B-21 Wines in Tarpon Springs,

Florida (www.b-21.com), for $30 a bottle. D

One Bottle is dedicated to the appreciation of good

wine and good times, one bottle at a time. The name

by onebottle.com. Write to Joshua Baer at

jb@onebottle.com

ONE BOTTLE

315 BistrO & Wine Bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/wine. Smoke-free inside. Patio. Major credit cards. $$$Cuisine: French. Atmosphere: Three intimate rooms—reminiscent of a small inn in the French countryside. Patio dining. house specialties: Earthy French onion soup made with a duck stock; squash blossom beignets; smooth and rich foie gras terrine with poached cranberries; crispy duck; and one of the most flavorful steaks in town. Comments: Teriffic wine selection.

¡a la Mesa! 428 Agua Fria St. 988-2836 Dinner/Brunch (Sat./Sun) Beer/Wine. Smoke-free. Major credit cards. $$$Cuisine: Eclectic. Atmosphere: Bustling and friendly. house specialties: Start with the Calamari Jardiniere in a fennel sauce or the Tataki of beef. For your main course, we suggest the flavorful Steak Frites, the perfectly cooked Salmon Osso Bucco, or the Honey and Almond Duck. Finish your meal with Profiteroles with raspberry ice cream, chocolate sauce, and minted chantilly cream. Comments: Good wine list and attentive service.

aMavi restaurant 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$Cuisine: Mediterranean. Atmosphere: Intimate and attractive. house specialties: Menu changes depending on what is fresh at the market. The tapas are sensational. For your main, we recommend the Pollo Mattone. the tiger shrimp with garlic, shallots, smoked pimenton, and sherry, and the pan-roasted ribeye chop. Recommendations: The bouillabaisse is not to be missed. Comments: The bar is much fun for dinner and drinks.

anasazi restaurantInn of the Anasazi 113 Washington Ave. 988-3236. Breakfast/Lunch/Dinner Smoke-free. Valet parking. Major credit cards. $$$$Cuisine: Contemporary American cuisine. Atmosphere: A casual and elegant room evoking the feeling of an Anasazi cliff dwelling. house specialties: To start, try the enticing Buffalo carpaccio with thinly-sliced black truffle and frisee or the sublime lavendar-glazed squab with mission figs and an aged Porto reduction. For your entree, we suggest the perfectly-prepared rare chipolte-crusted lamb rack or the herb-crusted tenderloin of beef served with whipped poblano potatoes and cipollini onions. Comments: Attentive service, superbly-presented plates, and an excellent wine list, all under the deft hand and guidance of executive chef Oliver Ridgeway.

andiaMO!322 Garfield St. 995-9595. Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$Cuisine: Italian. Atmosphere: Cozy interior with Tuscan yellows and reds. house specialties: The chicken parmesan; baked risotto with mushroom ragout; and any fish

special. Comments: Consistently good food and a sharp wait staff makes Andiamo! one of the places in Santa Fe to eat Italian.

BOBcat Bite restaurant Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Smoking. Cash. $$Cuisine: American. Atmosphere: This is the real deal—a neon bobcat sign sits above a small, low-slung building. Inside are five tables and nine seats at a counter made out of real logs. house specialties: The enormous inch-and-a-half thick green chile cheeseburger is sensational. The 13-ounce rib eye steak is juicy and flavorful. Comments: No desserts.

BuMBle Bee’s Baja Grill301 Jefferson St. 820-2862. Breakfast Daily Lunch/Dinner. Patio and drive-up window. Major credit cards. $$Cuisine: Mexican Atmosphere: Casual, friendly and bright with handy drive-up for those on the go. house specialties: Soft corn Baja-style fish tacos, featuring mahi mahi; steak burrito grande; and rotisserie chickens. Homemade salsa (bowls of it at the salsa bar) and chips are super.

cafe cafe italian Grill500 Sandoval St. 466-1391 Lunch/Dinner Beer/wine. Smoke-free. Major credit cards. $$Cuisine: Italian. Atmosphere: Casual. house specialties: For lunch, start with the classic Caesar salad; the tasty speciality pizzas; the baked lunch cannelloni; or the grilled eggplant sandwich. At dinner, we loved the perfectly grilled swordfish salmorglio; the fresh linguini and clams; and the herb breaded veal cutlet. Comments: Very friendly waitstaff.

café lOkaLas Placitas and Ledoux Courtyard. Taos.575-758-4204 Breakfast/Lunch Major credit cards. $$Cuisine: American—fresh, organic, and local produce. Atmosphere: Casual. house specialties: In the am, try the organic egg, cheddar, and ham panini or the housemade organic granola with yougurt and local honey. We love the salad specials and the Turkey and havarti panini. Comments: Nice selection of teas and coffee drinks.

café Pasqual’s121 Don Gaspar. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$$Cuisine: Multi-ethnic. Atmosphere: The café is adorned with lots of Mexican streamers, Indian maiden posters, and rustic wooden furniture. house specialties: Hot cakes get a nod from Gourmet magazine. Huevos motuleños, a Yucatán breakfast, is one you’ll never forget. For lunch, try the grilled chicken breast sandwich with Manchego cheese.

the cOMPOund653 Canyon Road. 982-4353. Lunch/Dinner Full bar. Smoke-free. Patio.

Major credit cards. $$$Cuisine: Contemporary American . Atmosphere: 150-year-old adobe with pale, polished plaster walls and white linen on the table. house specialties: Jumbo crab and lobster salad.The chicken schnitzel is flawless. Recommendations: Deserts are absolutely perfect. Comments: Seasonal menu. Chef/owner Mark Kiffin didn’t win the James Beard Foundation’s “Best Chef of the Southwest” award for goofing off in the kitchen. Recent wrtie-up in the New York Times.

cOPa de OrO Agora Center at Eldorado. 466-8668. Lunch/Dinner. & days. Take-out. Wine/Beer. Smoke-free. Major credit cards. $$Cuisine: International. Atmosphere: Casual. house specialties: Start with the mussels in a Mexican beer and salsa reduction. Entrees include the succulent roasted duck leg quarters, Moroccan lamb stew with polenta, savory palliard of chicken, and the slow-cooked twelve-hour pot roast. Great spicy French Fries. For dessert, go for the lemon mousse or the kahlua macadmia nut brownie. Comments: Well worth the ten-minute drive from downtown Santa Fe.

cOrazón401 S. Guadalupe St. 424-7390 Dinner to late Major credit cards. $$Cuisine: Pub grub. Atmosphere: Casual. house specialties: You cannot go wrong with the not-to-be-believed thin-cut grilled ribeye steak topped with blue cheese, and served on a bed of spinach, or the flash fried calamari with sweet chili dipping sauce, or the amazing Corazón hamburger trio. Comments: Love music and an easygoing atmostphere? Corazón is definitely your place. Good pour at the bar. Great prices. Jazz on Sunday. Lunch coming soon.

cOunter culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Wine/Beer. Smoke-free. Patio. Cash. $$Cuisine: All-American. Atmosphere: Informal. house specialties: Breakfast: burritos and frittata. Lunch: sandwiches and salads. Dinner: flash-fried calamari; grilled salmon with leek and pernod cream sauce; and a delicious hanger steak. Comments: Boutique wine list .

cOWGirl hall Of faMe319 S. Guadalupe St. 982-2565 Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Patio Major credit cards. $$Cuisine: All American. Atmosphere: Popular patio shaded with big cottonwoods. Cozy bar. house specialties: Very “Atkins-friendly.” The smoked brisket and ribs are fantastic. Dynamite buffalo burgers; potato salad (with skins); a knockout Texas onion loaf; and strawberry shortcake. Comments: Beers, beers, and more beers—from Bud to the fancy stuff.

cOyOte café132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$Cuisine: Nouville Southwestern. Atmosphere:

Fun. house specialties: For your main course, try the Syrah braised beef short risbs; the grilled Maine lobster tails; or Eric’s Southwestern Rotisserie—rock hen, basted butternut squash, Shelby’s sharp chedder greeen chile “mac and cheese” roasted chicken glace. Dessert favorite is the Bernadines coconut pumpkin pie.

dOWntOWn suBscriPtiOn376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash. $Cuisine: American coffeehouse and newsstand. Atmosphere: Café society. Over 1,600 magazine titles to buy or peruse. Big room with small tables and a nice patio outside where inside where you can sit and schmooze. house specialties: Espresso, cappuccino, and lattes.

el farOl808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$Cuisine: Spanish. Atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheek-to-cheek dancing. Wall murals by Alfred Morang. house specialties: Tapas and paella.

el Mesón213 Washington Ave. 983-6756. Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$Cuisine: Spanish. Atmosphere: Spain could be just around the corner. Music nightly: house specialties: Tapas reign supreme, with classics like Manchego cheese marinated in extra virgin olive oil; sautéed spinach with garlic and golden raisins; and flash-fried baby calamari with two sauces.

GerOniMO724 Canyon Rd. 982-1500. Dinner/Lunch-Brunch (Friday-Sunday) Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$Cuisine: Fusion/eclectic Atmosphere: Two-hundred-year-old building with kiva fireplaces, a portal, and a lovely garden room. house specialties: Entrées include the sauteed Atlantic salmon; the perfectly grilled Amish-raised pork shop; and the delicious New York strip, with a gratin of crushed golden potato, carrot confit, pearl onions, and sauce Bordelaise. Comments: Impeccable service.

il PiattO95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$Cuisine: Italian Atmosphere: Bustling. house specialties: Grilled hanger steak with three cheeses, pancetta and onions; and the lemon and rosemary grilled chicken. Comments: A reasonably priced wine list and attentive service.

jinja510 North Guadalupe St. 982-4321. Lunch/Dinner

Full Bar. Smoke-free. Major credit cards. $$Cuisine: Pan-Asian. Atmosphere: Dark wood booths and subdued lighting deliver romance and nostalgia. house specialties: Yin Yang tiger shrimp dusted in salt and pepper with a plum ginger sauce, and the classic Pad Thai. Jinja’s drink menu: Mai-Tai, Singapore Sling, Zombie, Kava Bowl, and Volcano drinks. Comments: Great savory soups and a friendly and efficient waitstaff.

jOsePh’s taBle108-A South Taos Plaza Lunch/Dinner Full bar Visa & Mastercard $$$Cuisine: Modern American / New Mexico- inspired. Atmosphere: Casual. house specialties: Vodka-cured Wild Salmon served on Corn Blinis.

jOsh’s BarBecue3486 Zafarano Drive, Suite A 474-6466 Lunch/Dinner Beer/wine Major credit cards. $$Cuisine: Barbecue. Atmosphere: Casual, house specialties: Cuts of meats special-ordered by Josh and then wood-smoked low and slow—are king here. Recommendations: Besides the excellent red-chile, honey-glazed ribs and tender brisket, other standouts include the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Everything is made in-house. Seasonal barbecue sauces range from peach to cherry to apple brown sugar, and will wow your taste buds.

kOhnaMi restaurant313 S. Guadalupe. 984-2002. Lunch/Dinner Beer/Wine/Sake. Smoke-free. 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: Sushi is always perfect. Try the Ruiaku Sake—it is clear, smooth, and very dry, Some say that it is like drinking from a magic spring admist a bamboo forest. They’re right!

laMy statiOn caféLamy Train Station. Lamy. 466-1904 Lunch/Dinner/Sunday Brunch Major credit cards. $$Cuisine: American. Atmosphere: 1950’s dining car. house specialties: Fantastic green chile stew, crab cakes, omlettes, salads, bacon and eggs, and do not forget the fabulous Reuben sandwich. Sunday brunch is marvelous. Comments: For your dessert, order the apple crisp.

lOs Mayas409 W. Water St. 986-9930. Dinner Full bar. Non-smoking. Patio. Major credit cards. $$Cuisine: Both new and old Mexican.Atmosphere: Casual and friendly. house specialties: Try the marvelous Ceviche or the turbo fish in fresh lemon and orange juice.

INeXPeNSIVe MODeRATe eXPeNSIVe VeRy eXPeNSIVe

$ up to $14 $$ $15—$23 $$$ $24—$33 $$$$ $34 plus

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. eAT OUT MORe OFTeN!

...a guide to the very best restaurants in santa fe and surrounding areas...

Ph O t O: Gu y cr O s s

| mayl 2009c o n t i n u e d o n p a g e 2 5

The magazine | 23

Pollo Mattone at

Amavi Restaurant 221 Shelby Street

Reservations: 988-2355

DINING GUIDE

Offering Seasonal Northern Italian Cuisineand a Comprehensive Wine List

New Spring Menu featuringVegetables from Our Garden!

SANTA FE’S SOLE RECIPIENTGOURMET MAGAZINE’STOP 50 RESTAURANTS

3o4 Johnson Street in Downtown Santa FeMonday - Saturday 5:3o -1o pm

Reservations 983.38oo or www.trattorianostrani.com

NOSTRANIR I S T O R A N T E

1814 2nd St.982-3030

1814 2nd St.

Nothing Beats a Sunny Day on the Patio

Fine Foods, Fresh Craft Beers: Pints, Pitchers, Growlers1814 2nd St.

982-3030982-3030 • 1814 Second Street

Second Street BreweryBREW PUB - RESTAURANT

Jonas Povilas Skardis Mac (and PC) Consulting

Training, Planning, Setup, Troubleshooting, Anything Final Cut Pro, Networks, Upgrades, & Hand Holding

Serving Northern NM since 1996

(505) 577-2151 Pov@Skardis.com

phone: email:

luMinaria restaurant & PatiOat the Inn of Loretto211 Old Santa Fe Trail 984-7915. Breakfast, lunch, dinner Smoke-free. Valet parking. Major credit cards. $$$$Cuisine: American/Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the award-winning tortilla soup or the scrumptious crab enchiladas. For your main course, we suggest the flavorful Cowboy rib-eye, the chile-crusted pork tenderloin, the mountain ruby trout, or the ancho-braised beef short ribs. Dessert: Choose the rustic lemon-almond tart or the artisan cheeses with truffle honey and roasted almonds. Comments: Local, farm fresh foods when available. A sophisticated wine list. Chef Brian Cooper is a steady hand at the helm in the kitchen.

ManGiaMO PrOntO!312 Read St. 989-1904 Breakfast/Lunch/Dinner Beer/Wine. Smoke-free. Outdoor seating. Visa/MC. $$Cuisine: Italian. Atmosphere: Intimate, light, and hip counter service. house specialties: Paninis and soups are great. Recommendations: Minestrone soup, Muffuletta panini, and an espresso to finish. Comments: The help-yourself hand grater to add a grind of parmesan on your soup or salad is a nice touch. Maria’s neW Mexican kitchen555 W. Cordova Rd. 983-7929. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $Cuisine: New Mexican. Atmosphere: Rough wooden floors, hand-carved chairs and tables, and kiva fireplaces set the historical tone. house specialties: Freshly-made tortillas and green chile stew. Pork spareribs in a red chile sauce are a fifty-year-old tradition. Flan with burnt-sugar caramel sauce is the perfect ending. Comments: For Margaritas, Maria’s is the place.

Mu du nOOdles1494 Cerrillos Rd. 983-1411. Dinner Beer/wine. Smoke-free. Major credit cards. $$Cuisine: Noodle House Atmosphere: Casual and friendly. house specialties: We love the salmon dumplings drizzledwith oyster sauce and the Malaysian Laksa—wild rice noodles in a red coconut curry sauce with baby bok choy.

MuseuM hill café 710 Camino Lejo. 820-1776. Lunch/Sunday Brunch Major credit cards. $$Cuisine: All-American. Atmosphere:

Cafeteria-style. house specialties: A wonderful and hearty soup selection, righteous salads, and sandwiches. We also liked the chicken enchiladas. Comments: Healthy, fresh food.

O’keeffe café217 Johnson St. 946-1065. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$$Cuisine: Contemporary Southwest with a French flair. Atmosphere: The walls are dressed with photos of Ms. O’Keeffe herself. house specialties: A silky smooth foie gras served with orange muscat is an inviting appetizer. For your main, try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Very nice wine selection.ó eatinG hOuseHighway 84/285 Pojoaque. 455-5065 Lunch/Dinner Full bar. PatioMajor credit cards. $$$Cuisine: Mexican, Native American, Spanish, French, and New Mexican. Atmosphere: Cozy and friendly. house specialties: Pueblo style Guacamole with two salsas; Pomegranate BBQ duck taquitos with sweet potato fries; and the tender rib-eye steak.

Old hOuse at the Eldorado Hotel309 W. San Francisco St. 988-4455. Dinner Full bar. Smoke-free. Major credit cards. $$$Cuisine: American meets Southwestern. Atmosphere: Clubby and comfortable. house specialties: we suggest without reservation the Pan-seared Alaskan halibut with Yukon gold potato and lobster cake and pepper-tomato jam. For dessert, the warm liquid center chocolate cake with crème anglaise.

Pd Bean2411 Cerrillos Rd. 473-9092. Breakfast/Lunch Smoke-free. $Cuisine: American. Atmosphere: Coffee-house casual. house specialties: Smothered breakfast burrito, an array of sandwiches (our favorite is the “To Die for Tuna Salad”), a variety of wraps, and fresh, fresh salads. Comments: Wonderful Texas chili and a fantastic cafe latte. Wi-fi in the cafe and take-out are available. Drive-up window.

railyard restaurant & salOOn530 S. Guadalupe St. 989-3300. Lunch: Monday-Saturday Dinner daily Bar Menu daily Smoke-free.

Major credit cards. $$Cuisine: American Classics Revisited. Atmosphere: Open, spacious, and bustling. house specialties: Appetizers include southern fried buttermilk chicken strips with Creole remoulade dipping sauce. Steaks and chops with choices of compound butters. Recommendations: Most flavorful burgers in town, bar none Comments: Generous pour at the bar.

red saGe restaurant and Bar20 Buffalo Thunder Trail, at the Buffalo Thunder Resort & Casino. 819-2056. Dinner/Bar menu. Full Bar. Smoke-free dining room. Major credit cards. $$$$Cuisine: Modern fare with Native American, European, and Latin American influences. Atmosphere: An elegant and contemporary room. house specialties: To start, we recommend the roasted butternut squash soup or any of the beautifully prepared salads. For your main course, we suggest the succulent beef tenderloin; the perfectly cooked pan- roasted Chilean sea bass, or the Pueblo Garden vegetarian plate: red quinoa and wild rice stuffed ancho. Try a side order of the out-of-this-world bacon mashed potatoes. For dessert, go for the oven-fired blackberry cobbler with maple cream. Comments: Excellent selection of wine and imported beers. Mark Miller has done it again!

riO chaMa steakhOuse414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar menu. Full Bar. Smoke-free dining rooms. Major credit cards. $$$Cuisine: American Steakhouse/New Mexican. Atmosphere: Pueblo-style adobe with vigas and plank floors. house specialities: USDA Prime steaks and prime rib. Haystack fries and corn bread with honey butter. Other recommendations: For dessert, we love the chocolate pot.

ristra548 Agua Fria St.. 982-8608. Dinner/Bar Menu Full Bar. Smoke-free. Patio Major credit cards. $$$Cuisine: Southwestern with French flair. Atmosphere: Elegant new bar with an extensive bar menu, sophisticated and comfortable dining rooms, a charming outdoor patio. house specialties: Mediterranean mussels in chipotle and mint broth; ahi tuna tartare; squash blossom tempura; pistachio-crusted Alaskan halibut; and achiote grilled Elk tenderloin. Comments: Ristra offers an extensive wine list, and won the Wine Spectator Award of Excellence in 2006.

san franciscO st. Bar & Grill50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. house specialties: At lunch, do try the San Francisco St. hamburger on a sourdough bun; the grilled salmon filet with black olive tapenade and arugula on a ciabatta roll; or the grilled yellowfin tuna nicoise salad with baby red potatoes. At dinner, we like the tender and flavorful twelve-ounce

New York Strip steak, served with chipotle herb butter, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at Devargas Center. santacafé231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. house specialties: For starters, the crispy calamari with lime dipping sauce will never disappoint. Favorite dinner entrées include the perfectly cooked grilled rack of lamb; pan-seared salmon with olive oil crushed new potatoes and creamed sorrell; miso marinated halibut with lemongrass. Comments: If available, you must order the tempura shrimp. Appetizers at cocktail hour is always a lot of fun.

saveur204 Montezuma St. 989-4200. Breakfast/Lunch No alcohol. Smoke-free. Patio. Visa/MasterCard. $Cuisine: A mix of French and American. Atmosphere: Cafeteria-style service for salad bar and soups. Deli case with meats and desserts. Sit down at small tables in very casual rooms, elbow to elbow. Bustling with locals every day. house specialties: Excellent salad bar and sandwiches.

secOnd street BreWery1814 Second Street. 982-3030. Lunch/Dinner Beer/wine. Smoke-free inside. Patio. Major credit cards. $$Cuisine: Simple pub grub and brewery. Atmosphere: Casual and very friendly. house specialties: The beers, which are brewed on the premise are outstanding, especially when paired with beer-steamed mussels; beer-battered calamari; burgers; perfectly crunchy fish and chips; spicey green chile stew or the truly great grilled bratwurst. Comments: A kid-friendly place.

the shed1131/2 E. Palace Ave. 982-9030. Lunch/Dinner Beer/wine. Smoke-free. Patio. Major credit cards. $$Cuisine: New Mexican. Atmosphere: The Shed—a local institution; some say a local habit)—is housed in an adobe hacienda. house specialties: Try the stacked red or green chile cheese enchiladas with blue corn tortillas. Comments: Check out their sister restaurant, La Choza, for the same classic New Mexican food.

shOhkO café321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$Cuisine: Authentic Japanese Cuisine.Atmosphere: Sushi bar as well as table dining. house specialties: Softshell crab tempura; hamachi kama; sesame seafood salad, and Kobe beef with Japanese salsa. Comments: Chat with the knowledgeable and friendly sushi chefs.

steaksMith at el GanchOOld Las Vegas Highway. 988-3333. Dinner Full bar. Smoke-free dining room. Major credit cards $$$Cuisine: American. Atmosphere: Family restaurant with full bar and lounge. house specialties: Aged steaks and lobster. Try the great pepper steak with Dijon cream sauce. Comments: They know steak here. Good pour at the bar.

the teahOuse821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner Wine/Beer Fireplace. 7 days. 8:30 am-9 pm. Major credit cards. $$Cuisine: Farm-to-table. Atmosphere: house specialties: Salmon Benedict w/poached eggs, Gourmet Cheeser sandwich, Polenta plate,soups with vegan base, fresh salads, and many organic teas and other drinks. Comments: Organic ingredients—from farm to fork.

tia sOPhia’s210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking.

Major credit cards. $Cuisine: New Mexican. Atmosphere: The “real deal.” Old wooden booths or tables. house specialties: Green chile stew (known to cure the common cold). Enormous breakfast burritos stuffed with bacon, potatoes, chile, and cheese.

trattOria nOstrani304 Johnson Street. 983-3800. Dinner Wine/Beer. Smoke-free. Patio. Major credit cards. $$$$Cuisine: Regional dishesfromNorthern Italy. Atmosphere: A 1887 renovated adobe with a great bar. house specialties: Begin with the chickpea soup with sweet Ital ian sausage or the radicchio salad with blue goat cheese dressing and candied pistachios, or the foie gras. For your main course, we recommend the braised duck with pappardel le or the saffron cannel loni with beef ragu and asiago. Comments: A comprehensive European wine l ist with over four-hundred selections. Winner of Gourmet magazine’s “Top 50 U.S. Restaurants.” And in 2009, Frommer ’s Guide included Trattoria Nostrani as one of the “Top 500 Restaurants in the World.”

tree hOuse café & Pastry shOP1600 Lena St. 474-5543. Breakfast and lunch Closed Monday Smoke-free. Major credit cards. $$$Cuisine: Using only organic ingredients. Atmosphere: Light, bright, and cozy. house Specialties: Fresh Farmer ’s Market salad; soup and sandwich of the day; quiche, and the vegetable quesadilla. Comments: Try the mile-high quiche with a flaky whole wheat crust.

tuliPs222 N. Guadalupe St. 989-7340 Dinner Wine/Beer. Smoke-free. Patio. Major credit cards. $$$ Cuisine: Whimsical gourmet. Atmosphere: Intimate. Two small rooms with beautiful art on the walls. house specialties: Lobster spring rolls, organic chicken liver pate, and marinated venison tenderloin. Comments: For dessert, go for the award-winning airy Grand Marnier infused chocolate mousse “tulip.”

vanessie Of santa fe434 W. San Francisco St. 982-9966. Dinner Full bar. Smoke-free. Major credit cards. $$$Cuisine: American. Atmosphere: Piano bar and oversize everything, thanks to architect Ron Robles. house specialties: New York steak and Austral ian rock lobster tai l . Comments: Great appetizers, generous drinks.

vinaiGrette709 Don Cubero Alley. 820-9205 Lunch/Dinner Beer and Wine. Smoke-free. Major credit cards. $$Cuisine: Farm-to-table. Atmosphere: Light, sunny, cheerful, and welcoming. house specialties: The Nutty Pear-fessor salad with gri l led bosc pears, bacon, toasted pecans, and Gorgonzola, served over a bed of greens, and the Chop Chop salad are utterly fantast ic. Wonderful soups, sanwiches, and sides round out the menu. Try the apple pie for dessert—it wil l not disappoint. Comments: Owner Erin Wade grows organic greens at her Nambe farm, del ivering the freshness and qual ity that farm-to-table s low food promises.

zia diner326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. Pato. Major credit cards. $$Cuisine: As American as Mom’s apple pie. Atmosphere: Down home and casual. house specialties: Absolutely the best meat loaf in town, served with real mashed potatoes and gravy; a variety of of hamburgers and cheeseburgers; and the “real deal” chicken-fried chicken. Comments: I f you l ike ice cream, you wil l love the hot fudge sundae. And, there are great pasteries are avai lable for take-out.

A restaurant for the true food and wine lover.

Northern Italian Cuisine at

Trattoria Nostrani 304 Johnson Street - 983-3800

| may 2009 T H E M A G A Z I N E | 2 5

DINING GUIDE

SOFA WEST Celebrates at the Santa Fe Opera!Join glass maestro Lino Tagliapietra for an evening of food, wine, and music at the Santa Fe Opera, surrounded by the Sangre deCristo and Jemez Mountains. Highlights fromoperas La Traviata and The Elixir of Love will be performed. Saturday evening, June 13,$50/per person. Tickets on sale in April atwww.sofaexpo.com

Join us for the premiere of SOFA WEST: Santa Fe

Sculpture Objects & Functional Art Fair June 11-14, 2009Santa FeConvention CenterOpening Night Wednesday, June 10A benefit for the New Mexico Museum of Art

Friday, May 1

Bali & BeyOeyOey nd, 218 Galisteo St., Santa Fe. 989-1415. Sunrise in Bali: contemporary and traditional art from the Island of the Gods. 4-7 pm.

Blue rainrainr Gallery, 130 Lincoln Ave., Santa Fe. 954-9902. Tony Abeyta and Richard Zane Smith: new work. 5-7 pm.

BriGht rainrainr Gallery, 206 ½ San Felipe, Alb. 505-843-9176. What We Left Behind: new work by David Polka. 6-9 pm.

charlOharlOharl tte jacksOn fine art, 200 W. Marcy St., Santa Fe. 989-8688. Full Circle: new sculptural works by Elliot Norquist. 5-7:30 pm.

Gallery chartreuse, 216 Washington Ave., Santa Fe. 992-3391. Grand Opening: sculpture, painting, and photography. 5:30-8:30 pm.

GeBert cOnteMPOrary, 550 S. Guadalupe St., Santa Fe. 992-1100. John Randall Nelson: paintings, drawings, sculpture, and video. 5-7 pm.

handsel Gandsel Gandsel allery, 616½ Canyon Rd., Santa Fe. 455-2393. Hilario: new paintings. 5-7 pm.

kiMO theater lOBByOBByOBB art Grt Grt allery, 423 Central Ave. NW, Alb. 505-768-3522. Natural Transformations: group show. 6-8 pm.

ManitOu Galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Jerry Jordan & Brent Lawrence: Southwestern landscapes by Jordan. Sculptural wall-reliefs by Lawrence. 5-7:30 pm.

MariPOsa Gsa Gsa allery, Nob Hill, 3500 Central Ave. SE, Alb. 505-268-6828. Lauren Tobey: metal work. Eric McCollon: mixed media. Memory Cloths: work by Leslee Nelson. 5-8 pm.

Matrix fine art, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Don’t Look: paintings and sculptures by Katrina Lasko. 5-8 pm.

neW GW GW rOunds Print Wrint Wrint OrkshOP & Gallery, 3812 Central Ave. SE, Suite 100-B, Alb. 505-268-8952. Peep Show: gravure by Diane Alire. 5-8 pm.

Patina Gatina Gatina allery, 131 W. Palace Ave., Santa Fe. 986-1879. Homage to Sandro: mobiles, assemblages, and garden sculptures by Ivan Barnett. 5:30-7:30 pm.

PeytOeytOeyt n WriGht, 237 E. Palace Ave., Santa Fe. 989-9888. Herbert Bayer (1900-1985): Fifty Years of Prints: 1930-1980: prints and posters. 5-8 pm.

rOBrOBr in Gray desiGn, 511 Agua Fria St., Santa Fe. 995-8411. Faces of Freedom: The RugMark Foundation Artists: photography by U. Roberto Romano. 5-8 pm.

suMner & ner & ner dene, 517 Central Ave. NW, Alb. 505-842-1400. New Mexico Skies: acrylic paintings by Angus Macpherson. Pastels by Katherine Irish Henry. Oil paintings by Jeannie Sellmer. 5-9 pm.

tOuchinG stOtOt ne, 539 Old Santa Fe Trail, Santa Fe. 988-8072. Forms Unbound: contemporary Japanese ceramics by Yukiya Izumita. 5-7 pm.

ventanaventanav fine art, 400 Canyon Rd., Santa Fe. 983-8815. Open Windows: All Artists Exhibition: new work by gallery artists. 5-7 pm.

Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb. Fresh Ink: Zen paintings by Susan Linnell. 5-9 pm.

WilliaM shearBurn Gallery, 129 W. San Francisco St., 2nd Floor, Santa Fe. 989-8020. On Paper: group exhibition of works on paper. 5-7 pm.

Saturday, May 2

203 fine art, 203 Ledoux St., Taos. 575-751-1262. Platones, Aplastados y Dichos: new works by Ron Cooper. 5-7 pm.

OPen sPacePaceP visitOr center, 6500 Coors Blvd. NW, Alb. 505-897-8831. Gatherings: installation by Linda Holland and Becky Holtzman. 1-4 pm.

WedneSday, May 6

center fOr cOnteMPOrary arts, 1050 Old Pecos Trail, Santa Fe. 982-1338. Go For Launch: installation by Gardner Post and Brian Kane. 6-8 pm.

Friday, May 8

casa cOnteMPOrary fine art, 300 E. Marcy St., Santa Fe. 660-2001. Group Show: featuring local artists. 5-8 pm.

center fOr cOnteMPOrary arts, Spector Ripps Project Space, 1050 Old Pecos Trail, Santa Fe. 982-1338. Schoolgirls and Schoolboys: new work by Erin Currier. 5-7 pm.

chiarOscurO cOnteMPOrary art, 702 1/2 Canyon Rd. (Gypsy Alley). Santa Fe. 992-0711. At This Point in Time: paintings by Susan Sales. Casting About: work by Gretchen Wachs. 5-7 pm.

GOldleaf Gallery, 627 W. Alameda St., Santa Fe. 988-5005. Heart Project: new work by Meg Hachmann. 5:30-7:30 pm.

nstitute Of aMerican indian arts

MuseuM, 108 Cathedral Pl., Santa Fe. 983-8900. Second Annual IAIA New Media Arts Spring Graduate Film Premiere. 6-8 pm.

MariGOld arts, 424 Canyon Rd., Santa Fe. 982-4142. Keeping It Real: paintings by Ruth Tatter. Paintings and monoprints by Christine Seubert-Bourque. 5-8 pm.

selBy fleetWOOd Gallery, 600 Canyon Rd., Santa Fe. 992-8877. Spring Forth: Small Works: spring show. 5-7 pm.

verve Gallery Of PhOtOGraPhy, 219 E. Marcy St., Santa Fe. 982-5009. Intimate Landscape: fashion and photography by Pascal Demeester. Photography by Lorena G. Vaschetti. 5-7 pm. Artist talk at 2 pm.

Saturday, May 9

Parks Gallery, 127 Bent St., Taos. 575-751-0343. Douglas Johnson: Paintings and Prints, 1969 to 2009. 4-6 pm.

GhOst POny Gallery, 1634 State Road 76, Truchas. 505-927-8070. Myth and Memory: Icons of the American West: mixed-media paintings by Trish Booth. 4-7 pm.

Friday, May 15

BOx Gallery, 1611-A Paseo de Peralta, Santa Fe. 989-4897. Voyage: paintings by Kathleen Morris. 5-7 pm.

dr fine art, 123 Galisteo St., Santa Fe. 642-4981. Grand Opening: landscape paintings by David Rothermel. 5-8 pm.

aMes kelly cOnteMPOrary, 1601 Paseo de Peralta, Santa Fe. 989-1601. Qnuru: sculptural solar landscape lighting fixtures designed by Tom Joyce. 5-7 pm.

MuseuM Of internatiOnal fOlk art, 706 Camino Lejo, Santa Fe. 476-1200. Writing with Thread: Traditional Textiles of Southwest Chinese Minorities. 5-7:30 pm.

Palette cOnteMPOrary art and craft, 7400 Montgomery NE, Suite 22, Alb. 505-855-7777. Past Perfect: photography by Steve Lewis. 5-8 pm.

sca cOnteMPOrary art, 524 Haines NW, Alb. 505-351-4067. the world is flat (driving in my car I think of you): group show. 5:30-7:30 pm.

WilliaM sieGal Gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. David Henderson: sculptures. Paula Roland: encaustics. 5-7 pm.

P989-9888. Years of Prints: 1930-19805-8 pm.

rFe. 995-8411. Foundation ArtistsRomano. 5-8 pm.

s505-842-1400. paintings by Angus Macpherson. Pastels by Katherine Irish Henry. Oil paintings by Jeannie Sellmer. 5-9 pm.

tFe. 988-8072.Japanese ceramics

v983-8815. new work by gallery artists. 5-7 pm.

WNE, Alb. Linnell. 5-9 pm.

WFrancisco St., 2nd Floor, Santa Fe. 989-8020. On Paper5-7 pm.

Saturday, May 2

203 751-1262. new works by Ron Cooper. 5-7 pm.

OBlvd. NW, Alb. 505-897-8831. installation by Linda Holland and Becky Holtzman. 1-4 pm.

cOld Pecos Trail, Santa Fe. 982-1338. LaunchBrian Kane. 6-8 pm.

Friday, May 8

cMarcy St., Santa Fe. 660-2001. featuring local artists. 5-8 pm.

cRipps Project Space, 1050 Old Pecos Trail, Santa Fe. 982-1338. new work by Erin Currier. 5-7 pm.

c1/2 Canyon Rd. (Gypsy Alley). Santa Fe. 992-0711. by Susan Sales. Gretchen Wachs. 5-7 pm.

GSanta Fe. 988-5005. work by Meg Hachmann. 5:30-7:30 pm.

institute

M983-8900. Arts Spring Graduate Film Premierepm.

MFe. 982-4142. by Ruth Tatter. Paintings and monoprints by Christine Seubert-Bourque. 5-8 pm.

sRd., Santa Fe. 992-8877. Small Works

vMarcy St., Santa Fe. 982-5009. Landscapeby Pascal Demeester. Photography by Lorena G. Vaschetti. 5-7 pm. Artist talk at 2 pm.

Saturday, May 9

P751-0343. Prints, 1969 to 2009

G76, Truchas. 505-927-8070. Memory: Icons of the American Westmixed-media paintings by Trish Booth. 4-7 pm.

Friday, May 15

Santa Fe. 989-4897.Kathleen Morris. 5-7 pm.

drFe. 642-4981. paintings by David Rothermel. 5-8 pm.

de Peralta, Santa Fe. 989-1601. sculptural solar landscape lighting fixtures designed by Tom Joyce. 5-7 pm.

M706 Camino Lejo, Santa Fe. 476-1200. Writing with Thread: Traditional Textiles of Southwest Chinese Minorities

P7400 Montgomery NE, Suite 22, Alb. 505-855-7777. by Steve Lewis. 5-8 pm.

scaNW, Alb. 505-351-4067. (driving in my car I think of you)show. 5:30-7:30 pm.

WGuadalupe St., Santa Fe. 820-3300. Hendersonencaustics. 5-7 pm.

Friday, May 1

B989-1415. traditional art from the Island of the Gods. 4-7 pm.

BFe. 954-9902. Smith

BAlb. 505-843-9176. new work by David Polka. 6-9 pm.

cMarcy St., Santa Fe. 989-8688. new sculptural works by Elliot Norquist. 5-7:30 pm.

GAve., Santa Fe. 992-3391. sculpture, painting, and photography. 5:30-8:30 pm.

GSt., Santa Fe. 992-1100. paintings, drawings, sculpture, and video. 5-7 pm.

hFe. 455-2393.

kiCentral Ave. NW, Alb. 505-768-3522.Transformations

MSanta Fe. 986-0440. LawrenceJordan. Sculptural wall-reliefs by Lawrence. 5-7:30 pm.

MAve. SE, Alb. 505-268-6828.work. Cloths

MSuite 100-B, Alb. 505-268-8952. paintings and sculptures by Katrina Lasko. 5-8 pm.

nGAlb. 505-268-8952. Diane Alire. 5-8 pm.

PFe. 986-1879.assemblages, and garden sculptures by Ivan Barnett. 5:30-7:30 pm.

MAY ART OPENINGS MAY 1 — MAY 29

Qnuru: solar powered landscape lighting fixtures designed by Tom Joyce at James Kelly Contemporary, 1601 Paseo de Peralta. Reception: Friday, May 15, 5-7 pm.

| may 2009c o n t i n u e d o n p a g e 3 0

The magazine | 27

ART OPENINGS

HERE’S THE DEAL!$500 full-page ads in the June issue for artists

without gallery representation in New Mexico.

Deadline: Friday, May 15. 505-424-7641

WHO SAID THIS?“If we don't change, we don't grow. If we don't grow, we are not really living. ”

A: Nelson Mandela B: Gail Sheehy C: Margaret Mead D: Aldous Huxley E: Carl Jung

OUT & ABOUT

Photos: Mr. Clix,

Dana Waldon,

and Jennifer Esperanza

OUT & ABOUT

Photos: Mr. Clix,

Dana Waldon,

and Jennifer Esperanza

Saturday, May 16

suMner & ner & ner dene, 517 Central Ave. NW, Alb. 505-842-1400. Capture New Mexico: photography by Woody Galloway. Watercolors by Mary Hoeksema. 5-8 pm.

Sunday, May 17

el farOl, 808 Canyon Rd., Santa Fe. 983-9912. Mitos (Myths): paintings by Marghreta Cordero. 5-7 pm.

WheelWheelWheel riGht Mht Mht useuM Of the aMerican

ndian, 704 Camino Lejo, Santa Fe. 982-4636. Through Their Eyes: Paintings from the Santa Fe Indian School: paintings by students who attended the Santa Fe Indian School between 1919 and 1945. 1-5 pm.

Friday, May 22

canyOanyOany n rOadOadO cOnteMPOrary art, 403 Canyon Rd., Santa Fe. 983-0433. Group

Show: members of the Ryder Studio School show portraits, landscapes, and still lifes. 5-7 pm.

eli levin studiO, 830 Canyon Rd, Santa Fe. 986-8071. New Work: realist landscape and still lifes by Michele Tisdale. 5-7 pm.

GeBert cOnteMPOrary, 558 Canyon Rd., Santa Fe. 992-1100. Ron Slowinski: new paintings. 5-7 pm.

hunter kirkland cOnteMPOrary, 200-B Canyon Rd., Santa Fe. 984-2111. Kensho: mixed media on wood panels by Jennifer J. L. Jones. 5-7 pm.

nart santa fe Gallery, 219 Delgado St., Santa Fe. 983-6537. Afterglow: paintings by Nancy Reyner. 5-8 pm.

karankarank ruhlen Gallery, 225 Canyon Rd., Santa Fe. 820-0807. Pressed and Layered: chine-collé monotypes and

collage/mixed media on canvas by Janet Lippincott. 5-7 pm.

leWaWaW llen Galleries, 1613 Paseo de Peralta, Santa Fe. 988-8997. Grand Opening Reception: paintings by Ronnie Landfield. 5:30-7:30 pm.

Meyer east Gast Gast allery, 225 Canyon Rd., Santa Fe. 983-1657. Brian Kershisnik: New Works: paintings. 5-7 pm.

selByByB fleetWOOleetWOOleet d Gallery, 600 Canyon Rd., Santa Fe. 992-8877. Edge of Color: abstract landscapes by Sandra Pratt. 5-7 pm.

turner carrOll Gll Gll allery, 725 Canyon Rd., Santa Fe. 986-9800. Contemporary Tapestries: Belgian-woven, Jacquard tapestries by major American artists. 5-7 pm.

Saturday, May 23

POP Gallery santa fe, 133 W. Water St., Santa Fe. 820-0788. POP Femme Sugar Coated Strange: work in 2D and 3D. Silent art auction to benefit Southwest C.A.R.E. Center. 6 pm.

Wilder niGhtinGale fine art, 119-A Kit Carson Rd., Taos. 575-758-3255. Far Out: work by Kemper Coley, Peggy Immel, and Judith Stroh-Miller. 5-7 pm.

Sunday, May 24

tatat OaOa s center fOr the arts encOre Gallery, 145 Paseo del Pueblo Norte, Taos. 575-758-2052. Summer of Love to Woodstock: Behind the Lens With Lisa Law: photographer and documentary artist Lisa Law. 4:30-6:30 pm. Film screening of “Flashing on the Sixties” at 6:45 pm.

Friday, May 29

GeBert cOnteMPOrary, 544 S. Guadalupe St., Santa Fe. 983-3838. Little Islands: new paintings by Udo Nöger. 5-7 pm.

GeBert cOnteMPOrary, 550 S. Guadalupe St. Santa Fe. 983-5444. Painted: work byKatrin Möller. 5-7 pm.

institute Of aMerican indian arts

MuseuM, 108 Cathedral Pl., Santa Fe. 983-8900. Dennis Esquivel: new paintings. 4-7 pm.

klaudia Mlaudia Mlaudia arr Gallery, 668 Canyon Rd., Santa Fe. 988-2100. All On Paper: group show. Flight: paintings by Isabelle du Toit. 5-7 pm.

Special intereSt

516 arts, 516 Central Ave. SW, Alb. 505-242-1445. 516 WORDS: reading withmemoirist, poet, journalist, and critic Michael Datcher. Sat., May 9, 7:30 pm.

adOBe Gallery, 221 Canyon Road, Santa Fe. 955-0550. Pueblo Pottery of Santo Domingo and Cochiti. Through July 15.

Garcia street Btreet Btreet OOks, 376 Garcia St., Santa Fe. 986-0151. What We Eat When We Eat Alone: book signing with Deborah Madison and Patrick McFarlin. Fri., May 8, 5 pm.

GeOrGrGr ia O’ia O’ia keeffekeeffek MuseuM, 217 Johnson St., Santa Fe. 946-1000. Modernists in New Mexico: works from a private collector. Through Thurs., May 10. Debating Modern Photography: The Triumph of Group f/64: photography. Fri., May 22 through Sat. Sept. 12.

Girls inc. Of santa fe, Girls Inc. Hillside Center, 301 Hillside Ave., Santa Fe. 982-2042. Growing Together Workshop: open to the public, for a girl and a trusted adult. Sat., May 2 and Sat., May 9, 10 am-5 pm. To register: willis@girlsincofsantafe.orgregister: willis@girlsincofsantafe.orgregister: willis@girlsincofsantafe.or

harWOOarWOOar d MuseuM Of art, 238 Ledoux St., Taos. 575-758-9826. Hopper Curates: work by Larry Bell, Ron Cooper, Ronald Davis, Ken Price, and Robert Dean Stockwell. Through Sun., Sept. 20.

iaia caMPus, 83 Avan Nu Po Rd., Santa Fe. 424-2387. The Four Seasons of Wellness: Cultivating Mind, Body and Spirit: conference on the emotional, mental, physical, and spiritual health of people of all ages. Thurs., May 21 and Fri., May 22, 8 am-5 pm.

ShowSchool show portraits, landscapes, and still lifes. 5-7 pm.

eFe. 986-8071. and still life

GSanta Fe. 992-1100. paintings. 5-7 pm.

hCanyon Rd., Santa Fe. 984-2111. mixed media on wood panels by Jennifer J. L. Jones. 5-7 pm.

Santa Fe. 983-6537. by Nancy Reyner. 5-8 pm.

kRd., Santa Fe. 820-0807. Layered

collage/mixed media on canvas by Janet Lippincott. 5-7 pm.

lPeralta, Santa Fe. 988-8997. Reception5:30-7:30 pm.

MFe. 983-1657. paintings. 5-7 pm.

sSanta Fe. 992-8877. landscapes by Sandra Pratt. 5-7 pm.

tSanta Fe. 986-9800. Belgian-woven, Jacquard tapestries by major American artists. 5-7 pm.

Saturday, May 23

POP GSanta Fe. 820-0788. Strangeto benefit Southwest C.A.R.E. Center. 6 pm.

WCarson Rd., Taos. 575-758-3255. work by Kemper Coley, Peggy Immel, and Judith Stroh-Miller. 5-7 pm.

Sunday, May 24

t145 Paseo del Pueblo Norte, Taos. 575-758-2052. the Lens With Lisa Lawdocumentary artist Lisa Law. 4:30-6:30 pm. Film screening of “Flashing on the Sixties” at 6:45 pm.

Friday, May 29

GSt., Santa Fe. 983-3838. paintings by Udo Nöger. 5-7 pm.

GSt. Santa Fe. 983-5444. Katrin Möller. 5-7 pm.

institute

M983-8900. 4-7 pm.

kSanta Fe. 988-2100. show. 5-7 pm.

Special

516 505-242-1445. memoirist, poet, journalist, and critic Michael Datcher. Sat., May 9, 7:30 pm.

a955-0550. and Cochiti

GFe. 986-0151. Aloneand Patrick McFarlin. Fri., May 8, 5 pm.

GSanta Fe. 946-1000. works from a private collector. Through Thurs., May 10. The Triumph of Group f/64May 22 through Sat. Sept. 12.

GCenter, 301 Hillside Ave., Santa Fe. 982-2042. to the public, for a girl and a trusted adult. Sat., May 2 and Sat., May 9, 10 am-5 pm. To register: willis@girlsincofsantafe.or

hTaos. 575-758-9826.by Larry Bell, Ron Cooper, Ronald Davis, Ken Price, and Robert Dean Stockwell. Through Sun., Sept. 20.

iaiaFe. 424-2387. Cultivating Mind, Body and Spiriton the emotional, mental, physical, and spiritual health of people of all ages.May 21 and Fri., May 22, 8 am-5 pm.

Saturday, May 16

sNW, Alb. 505-842-1400. MexicoWatercolors by Mary Hoeksema. 5-8 pm.

Sunday, May 17

e9912. Cordero. 5-7 pm.

Windian

4636. Santa Fe Indian Schoolwho attended the Santa Fe Indian School between 1919 and 1945. 1-5 pm.

Friday, May 22

cCanyon Rd., Santa Fe. 983-0433.

ART OPENINGS

c o n t i n u e d o n p a g e 3 2

30 | The magazine | may 2009

Solo show by Lucy Maki at Linda Durham Contemporary, 1101 Paseo de Peralta. Reception: Saturday, May 16, 5-7 pm.Solo show by Lucy Maki at Linda Durham Contemporary, 1101 Paseo de Peralta. Reception: Saturday, May 16, 5-7 pm.

Schoolgirls and Schoolboys, new work by Erin Currier at the Center for Contemporary Arts, 1050 Old Pecos Trail. , new work by Erin Currier at the Center for Contemporary Arts, 1050 Old Pecos Trail. Reception on Friday, May 8, 5 to 7 pm.

HOPPER AT THE HARWOODL.A. TO TAOS: 40 YEARS OF FRIENDSHIP

Larry Bell Ron Cooper Ronald Davis

Dennis Hopper Ken Price Robert Dean Stockwell

May 8 – September 20, 2009Artists Reunion Dinner, May 3

Opening Reception, May 9, 3 pm

Douglas Dreisphoon Lecture, May 5, 5 pm

Panel discussion with Dave Hickey,August 1, 6 pm

Catalog available

575.758.9826 Taos, New Mexicowww.harwoodmuseum.org

visit www.newmexico.org

of The University of New Mexico

HOPPER AT THE HARWOODL.A. TO TAOS: 40 YEARS OF FRIENDSHIP

Larry Bell Ron Cooper Ronald Davis

Dennis Hopper Ken Price Robert Dean Stockwell

May 8 – September 20, 2009Artists Reunion Dinner, May 3

Opening Reception, May 9, 3 pm

Douglas Dreisphoon Lecture, May 5, 5 pm

Panel discussion with Dave Hickey,August 1, 6 pm

Catalog available

575.758.9826 Taos, New Mexicowww.harwoodmuseum.org

visit www.newmexico.org

of The University of New Mexico

SAM SCOTT

Formal Critique for Painters

984-0039 for appointment

60+ artists • 25+ organizations • exhibitions • site-specific projects lectures • performances • tours • poetry & more

Albuquerque • Santa Fe • Mountainair

Coordinated by 516 ARTS • Downtown Albuquerque • 505-242-1445

Blog: www.smudgestudio.org

nstitute Of aMerican indian arts

MuseuM, 108 Cathedral Pl., Santa Fe. 983-8900. Museum Collection Tours: take a guided tour with the IAIA Museum’s Curator of Collections, Tatiana Lomahaftewa-Singer. Wed., May 6, 11 am, Thurs., May 14, 2 pm, and Fri., May 22, 11 am. Info: iaia.edu

udy yOyOy uens Gallery, 826 Canyon Rd., Santa Fe. 466-3357. Feminine Essence: group show focused on femininity. To Sun., May 31.

lannanlannanl fOundatiOn, Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe. 988-1234. Lannan Readings & Conversations Series: Marge Piercy with Martín Espada. Wed., May 20, 7 pm. Info: lannan.org

llOlOl ydOydO kiva neW GW GW allery, iaia Miaia Miaia useuM, 108 Cathedral Pl., Santa Fe. 424-2351.Art with Heart: silent and live art auction to benefit New Mexico Community AIDS Partnership. Fine art, festivities, party, raffle, wine, hors d’oeuvres, and live music. Art show: May 19-29. Party and auction on Fri., May 29, 6-9 pm. Info: nmcap@yahoo.com

Marty sanchez links de santa fe GOlf

cOurse, 205 Caja del Rio Rd., Santa Fe. 428-2346. Duffers & Divas Kids Golf Tournament: proceeds benefit Open Hands. Sat., May 9. Info: openhands.org

MuseuM Of indian arts and culture, Milner Plaza on Museum Hill, Santa Fe. 476-5105. A River Apart: The Pottery of Cochiti and Santo Domingo Pueblos: an examination of the pottery traditions of the two Pueblos.

neW MW MW exicO histOry Mry Mry useuM, 113 Lincoln Ave., Santa Fe. 476-1141. Grand Opening: various grand opening events Sun., May 24.

Offcenter cOMMunity arts PrOjectOjectO , 808 Park Ave. SW, Alb. 505-247-1172. 4th Annual Albuquirky House Tour: tour of three unusual houses. Sat., May 2, 1-4 pm. Call for info.

Placitas, nM, I-25 to exit 242, just east of I-25 on Hwy 165. Placitas Studio Tour: a free, self-guided tour of artwork at 42 sites and galleries. Sat. and Sun., May 9 and 10, 10 am-5 pm. Info: placitasstudiotour.com

PrevieW GW GW allery, Eldorado Community School, corner of Avenida Vista Grand and Avenida Torreon, Eldorado. 670-6649. 18th

Annual Eldorado Studio Tour: artwork by 72 studios and galleries in Eldorado. Sat. and Sun, May 16 and 17, 10 am-5 pm.

santa fe art institute, 1600 St. Michael’s Drive, Santa Fe. 424-5050. Talk and Performance: Issa Nyaphaga, painter and political cartoonist at Tipton Hall, May 4, 6 pm. Lecture: photographer and activist David Maisel at Tipton Hall, May 11, 6 pm. Workshop/Portfolio Review: David Maisel. May 12, 10 am-4 pm. Birds in the Park Installation: by Christy Hengst. SFAI (exterior, front entrance). May 12, 9 am-5 pm. Memory Preserved: The Crypto-Jewish Roots of New Mexico: concert, readings & panel discussion at Tipton Hall. May 14, 6 pm. Info: sfai.org

santa fe arts cOMMissiOn cOMMunity

Gallery, 201 W. Marcy St., Santa Fe. 955-6705. What Seeds Have Borne: Current Monotypes from Local Artists: a juried exhibition of new works. Sat., May 9.

santa fe clay, 1615 Paseo de Peralta, Santa Fe. 984-1122. In House: work made by faculty. Through Sat., May 30.

santa fe cOMMunity cOlleGe, 6401 Richards Ave., Santa Fe. 428-1501. Project Known Quantity: installation by Isabella Gonzales. Each piece can be sponsored for $300; proceeds go toward providing a service dog for a veteran. Fri., May 29. Info: assistancedogsofthewest.org

santa fe cOMPlex, 632 Agua Fria, Santa Fe 216-7562. Manipulated Image: Potter-Belmar Labs will present short experimental videos, followed by Live Cinema Performance and discussion. Fri., May 29, 8-10 pm.

santa fe cOuncil fOr the arts, inc., Cathedral Park, the corner of Palace Ave. and Cathedral Pl., next to St. Francis Cathedral. 424-1878. New Mexico Arts Market: juried arts and crafts shows featuring Southwest artists. Sat. and Sun, May 30 to 31, August 15 to 16 and October 3 to 4, 2009. 10 am-5 pm. Info: artscounsf@aol.com

shy rarar BBit cOnteMPOrary arts, 333 Bastille Dr., Pagosa Springs, CO. 970-731-2766. The Contemporary Photograph: national juried exhibition of 33 artists from USA and Canada. Closing reception Sat.,June 6, 5-8 pm.

WeBster cOllectiOn, 52 1/2 Lincoln Ave., Santa Fe. 954-9500. Vivid: photography by Zoe Danae Falliers and Robert Stivers with works by Michael Eastman, David Levinthal, and Chuck Ramirez. Through Fri., June 5.

WilliaM sieGal Gallery, 540 S. Guadalupe, Santa Fe. 820-3300. Parkinson’s: A Journey Through Time and Space: paintings and digital composite images by Bunny Conlon and Eddie Dayan. Through May.

zane Bennett cOnteMPOrary art, 435 S. Guadalupe St., Santa Fe. 982-8111. Nineties ‘Til Now: work by Peter Lodato. Through Sat., June 6.

OutPOst PerfOrMance sPaPaP ceacea , 210 Yale SE, Alb. 505-268-0044. 20th Anniversary Spring

Season 2009: weekly musical performances throughout May. Info: outpostspace.org

st. jOhn’s cOlleGe, Peterson Student Center, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Brahms: The Complete Sonatas for Piano and Violin: Stefan Jackiw, violinist, and Max Levinson, pianist. Fri., May 1, 8 pm. Info: stjohnscollege.edu

perForMing artS

riO Grande theatre, 11 N. Downtown Mall, Las Cruces. 575-523-6403. Dancing On Air: aerialists, dance, music, and poetry. sat., May 23, 2009. Call for details.

santa fe PlayhOuse, 142 E. De Vargas St., Santa Fe. 988-4262. Greater Tuna: a comedic play. Thurs., May 14 to Sun., May 31. Info: santafeplayhouse.org

call For artiStS

The santa fe renaissance fair is seeking air is seeking air

original poster designs for the 2009 event, which will be held Sat. and Sun., Sept. 19 and 20 at El Rancho de las Golondrinas. Deadline for submissions: midnight, Fri., May 15, 2009. Info: Charles Veilleux, 982-1117, charles@veilleuxfineart.com

center fOr fine art Prt Prt hOtOtO OGtOGt raPhy, 400 North College Ave. Fort Collins, CO. 970-224-1010. Accepting submissions for documentary photography. Entries due by midnight, Tues., May 12. Juror: Ed Kashi. Info: http://c4fap.org/cfe/2009Documentary/documentary.asp

The 13th annual nO dead artists

uried exhiBitiOn is now accepting submissions. Submission deadline is Fri., July 17. The exhibition will be on view from Wed. to Sat., Sept. 2-26 at Jonathan Ferrara Gallery in New Orleans. Info: jonathanferraragallery.com

Mc2346. proceeds benefit Open Hands. Sat., May 9. Info: openhands.org

MMilner Plaza on Museum Hill, Santa Fe. 476-5105. Santo Domingo Pueblosthe pottery traditions of the two Pueblos.

nAve., Santa Fe. 476-1141. various grand opening events Sun., May 24.

O808 Park Ave. SW, Alb. 505-247-1172. Annual Albuquirky House Tourunusual houses. Sat., May 2, 1-4 pm. Call for info.

Pof I-25 on Hwy 165. free, self-guided tour of artwork at 42 sites and galleries. Sat. and Sun., May 9 and 10, 10 am-5 pm. Info: placitasstudiotour.com

PSchool, corner of Avenida Vista Grand and Avenida Torreon, Eldorado. 670-6649. Annual Eldorado Studio Tourstudios and galleries in Eldorado. Sat. and Sun, May 16 and 17, 10 am-5 pm.

sDrive, Santa Fe. 424-5050. Performance:political cartoonist at Tipton Hall, May 4, 6 pm. David Maisel at Tipton Hall, May 11, 6 pm. Workshop/Portfolio Review12, 10 am-4 pm. by Christy Hengst. SFAI (exterior, front entrance). May 12, 9 am-5 pm. Preserved: The Crypto-Jewish Roots of New Mexicoat Tipton Hall. May 14, 6 pm. Info: sfai.org

sG6705. Monotypes from Local Artistsexhibition of new works. Sat., May 9.

sSanta Fe. 984-1122.by faculty. Through Sat., May 30.

sRichards Ave., Santa Fe. 428-1501.Known QuantityGonzales. Each piece can be sponsored for $300; proceeds go toward providing a service dog for a veteran. Fri., May 29. Info: assistancedogsofthewest.org

sSanta Fe 216-7562. Potter-Belmar Labs will present short experimental videos, followed by Live Cinema Performance and discussion. Fri., May 29, 8-10 pm.

sCathedral Park, the corner of Palace Ave. and Cathedral Pl., next to St. Francis Cathedral. 424-1878. Marketfeaturing Southwest artists. Sat. and Sun, May 30 to 31, August 15 to 16 and October 3 to 4, 2009. 10 am-5 pm. Info: artscounsf@aol.com

sBastille Dr., Pagosa Springs, CO. 970-731-2766. national juried exhibition of 33 artists from USA and Canada. Closing reception Sat.,June 6, 5-8 pm.

WSanta Fe. 954-9500. by Zoe Danae Falliers and Robert Stivers with works by Michael Eastman, David Levinthal, and Chuck Ramirez. Through Fri., June 5.

WSanta Fe. 820-3300. Through Time and Spacedigital composite images by Bunny Conlon and Eddie Dayan. Through May.

zS. Guadalupe St., Santa Fe. 982-8111. Nineties ‘Til NowThrough Sat., June 6.

OAlb. 505-268-0044.

Season 2009throughout May. Info: outpostspace.org

sCenter, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Sonatas for Piano and Violinviolinist, and Max Levinson, pianist. Fri., May 1, 8 pm. Info: stjohnscollege.edu

rMall, Las Cruces. 575-523-6403. On Airs

sSt., Santa Fe. 988-4262. comedic play. Thurs., May 14 to Sun., May 31. Info: santafeplayhouse.org

The original poster designs for the 2009 event, which will be held Sat. and Sun., Sept. 19 and 20 at El Rancho de las Golondrinas. Deadline for submissions: midnight, Fri., May 15, 2009. Info: Charles Veilleux, 982-1117, charles@veilleuxfineart.com

cNorth College Ave. Fort Collins, CO. 970-224-1010. Accepting submissions for documentary photography.May 12. Juror: Ed Kashi. Info: http://c4fap.org/cfe/2009Documentary/documentary.asp

The juried

submissions. Submission deadline is Fri., July 17. The exhibition will be on view from Wed. to Sat.,Ferrara Gallery in New Orleans. Info: jonathanferraragallery.com

institute

M8900. tour with the IAIA Museum’s Curator of Collections, Tatiana Lomahaftewa-Singer. Wed., May 6, 11 am, Thurs., May 14, 2 pm, and Fri., May 22, 11 am. Info: iaia.edu

Santa Fe. 466-3357. show focused on femininity. To Sun., May 31.

lArts Center, 211 W. San Francisco St., Santa Fe. 988-1234. Conversations SeriesMartín Espada. Wed., May 20, 7 pm. Info: lannan.org

l108 Cathedral Pl., Santa Fe. 424-2351.Art with Heartto benefit New Mexico Community AIDS Partnership. Fine art, festivities, party, raffle, wine, hors d’oeuvres, and live music. Art show: May 19-29. Party and auction on Fri., May 29, 6-9 pm. Info: nmcap@yahoo.co

ART OPENINGS

Douglas Johnson: Paintings and Prints, 1969 to 2009 opens Saturday, May 9 at Parks Gallery, 127 Bent St., Taos. Reception: 4-6 pm.Douglas Johnson: Paintings and Prints, 1969 to 2009 opens Saturday, May 9 at Parks Gallery, 127 Bent St., Taos. Reception: 4-6 pm.Douglas Johnson: Paintings and Prints, 1969 to 2009

Collage and Chine-Colle by Janet Lippincott at Karan Ruhlen Collage and Chine-Colle by Janet Lippincott at Karan Ruhlen Gallery, 225 Canyon Rd. Reception: Friday, May 22, 5-7 pm.

12th Annual Placitas Studio Tour on May 9-10, 10-5 pm. Annual Placitas Studio Tour on May 9-10, 10-5 pm. Above painting by Wayne Mikosz and Riha Rothberg. Above painting by Wayne Mikosz and Riha Rothberg. placitasstudiotour.com

PREVIEWS

Herbert Bayer (1900-1985): Fifty Years of Prints, 1930-1980 May 1 to June 2

Peyton Wright Gallery, 237 East Palace Avenue, Santa Fe. 989-9888 Opening reception: Friday, May 1, 5 to 8 pm.

The exhibition includes a number of rare 1930s posters and an extensive selection of monoprints, lithographs, and silkscreen prints created up until just a few years before Herbert Bayer’s death. Born in Austria, this renowned Bauhaus master’s first exposure to the world of print and posters was as an apprentice to architect and designer Georg Smidthammer. Bayer learned drawing, painting, and architectural drafting while creating posters and advertisements for his mentor. Later on at the Bauhaus school, Bayer was influenced by its focus on simplified forms, rationality and functionality, and the integration of art and industry. Four years later Bayer was appointed director of the new Bauhaus printing and advertising workshop in Dessau. In 1928, Bayer left the Bauhaus to become art director of Vogue magazine’s Berlin office, as well as the Director of the Dorland Studio in Berlin. In 1938, Bayer e*/*migrated to the United States where he eventually served as a chairman of the design department at the Container Corporation where he created a series of advertisements called “Great Ideas of Western Man.” Bayer eventually became a significant artistic and cultural force in Aspen, where he worked as a design consultant for the Aspen Institute, the Atlantic Richfield Company, the Aspen Music Festival, and the town of Aspen itself. In 1968, Bayer designed an articulated wall construction for the Olympics in Mexico City. This exhibition will be the most comprehensive viewing of Herbert Bayer’s works on paper in the United States since 1982.

John Randall Nelson: Paintings, Drawings, Sculpture, and VideoMay 1 to May 23Gebert Contemporary, 550 South Guadalupe Street, Santa Fe. 992-1100Opening reception: Friday, May 1, 5 to 7 pm.Known for using simple, bold, instantly recognizable images of everyday symbols, John Randall Nelson imbibes all forms of expression with a sense of theater. Well versed in semiotic theory, Nelson causes images to function like words in a sentence: the meaning of each image is dependent on how it is paired with another image—each one infused with a changing, subjective symbolism. Influenced by American folk artists such as Bill Traylor and Simon Rodia, Nelson adds a cogent postmodern twist that transforms an outsider sensibility into conceptual, text-influenced works. His paintings, drawings, sculptures, and videos all provoke a zany delight and deliver a punch with their playful pictorials, thus leading the viewer into Nelson’s own paradoxically jokey view of the universe.

John Randall Nelson, Face of a Man from Saturna, mixed media, 52” x 36”, 2009

Douglas Johnson: Paintings and Prints, 1969 to 2009May 9 to June 2Parks Gallery, 127 Bent Street, Taos. 575-751-0343Opening reception: Saturday, May 9, 4 to 6 pm. In collaboration with Taos’s town-wide celebration, Summer of Love, Parks Gallery will offer several exhibitions of what gallery owner Steve Parks calls 60s Survivors. Douglas Johnson’s paintings and prints will be the first in the series. “The 60s in Taos… were the beginning of a new era of art in northern New Mexico,” says Parks. “Young artists were coming here to escape the war, of course, but also to work as their forbears had, in an environment relatively unaffected by the aesthetic dictates of both East and West coasts. As the poet Robinson Jeffers described an earlier wave of artists in Taos, they were ‘pilgrims from civilization, anxiously seeking beauty, religion, poetry; pilgrims from the vacuum.’ Some moved on, some died or burned out, a few like Douglas prevailed.” A self-taught painter, Johnson created miniature gouache paintings with jewel-like color, many inspired by the ceremonies and symbolism of Pueblo, Navajo, and Hopi people. Johnson’s work took off in the early 70s when there was a huge surge in interest in the Southwest with its dramatic landscapes and ancient, still authentic, cultures. Johnson’s art, with its quality of almost mystical beauty, became emblematic of the glories of the region. This show will include these early works, as well as works inspired by travels to exotic locales in South America and Asia, along what used to be known as the Hippie Trail. Some of his newest paintings are collage-like amalgams of times and cultures that reveal his deep interest in the history of the region.

Douglas Johnson, 1932 Cadillac Phaeton V-16, gouache, 5” x 7¼”, nd

Herbert Bayer, Four Warped Squares, silkscreen, 30” x 30”, 1971

V I T K O V S K Ia r c h i t e c t . a r t i s t s e c o n d s t r e e t s t u d i o s

r d s t d e s g i n @ a o l . c o m 6 1 6 . 2 6 2 . 8 1 1 1

V I T K O V S K Ia r c h i t e c t . a r t i s t s e c o n d s t r e e t s t u d i o s

r d s t d e s g i n @ a o l . c o m 6 1 6 . 2 6 2 . 8 1 1 1

| may 2009 The magazine |37

NATIONAL SPOTLIGHT

KiM MCCarty

waterColor on arChes paper, 2009

Los Angeles artist Kim McCarty makes diaphanous watercolor portraits, whose embellishment of the figure suggests adolescent androgyny. McCarty’s method makes good use of watercolor as a liquid medium. Her finely honed treatments of a wet-in-wet process depict the bodies with thin, broad washes and short dashes of color, which bleed at their edges. These are lush and sensuous paintings. Leah Ollman writes: “McCarty uses watercolor’s fluidity to portray identities that are themselves fluid.” McCarty’s work is in the collections of The Museum of Modern Art, New York City, UCLA Hammer Museum, and the Honolulu Academy of Art. The exhibition is on view through May 16 at Kim Light/LightBox, 2656 South La Cienega Boulevard, Los Angeles. D

Elliott B. Oppenheim, MD, JD, LLM. Health LawLiterary Agent

Formal Literary Review and Representation

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Exhibition continues through June 28

MARK SHAWRetrospective exhibition concurrent

with the new book Charmed By Audrey

Photographed for LIFE in 1953, Audrey Hepburn, under the hair dryer

Masterp iece s of PhotographyANDREW SMITHGALLERY, INC.

T h e H o u s e o f P h o t o g r a p h y122 Grant Ave., Santa Fe, NM 87501 • 505.984.1234 • www.AndrewSmithGallery.com

We have moved!We have consolidated at our

new location at 122 Grant Ave.On the corner of Grant and

Johnson next to theGeorgia O’Keeffe Museum.

Question: Who is the

most influential radical cultural

visionary of the 20th century?

Answer: Brion Gysin—

painter, performance artist,

and sound poet.

Question: Who?

Answer: You know,

the guy who ushered in the

multimedia age, whose work

with William S. Burroughs

is considered to be the most

important collaboration in

modern literature...

Question: Brian?

Answer: No. Brion,

like the wine, Château Haut-

Brion Bordeaux.

Brion Gysin called himself “the man from nowhere,” though he was also the man from

everywhere, considering himself variously Swiss, British, Canadian, American,

Moroccan, and French. He had lived on multiple continents by the time he was sixteen.

When he arrived in Paris at the Sorbonne, he began to paint and associated with Max

Ernst, Salvador Dalí, Dora Maar, and Picasso. At nineteen, Gysin was invited to participate in the first Surrealist exhibition, but the night

before the opening, Paul Eluard, on orders from André Breton, ejected him from the

Surrealist movement for “incorrect politics.” In protest, Gysin set up his painting on the

sidewalk outside. Shortly after that he sailed to New York, designed costumes for Irene Sharaff on Broadway, worked as a shipyard welder, danced the Lindy Hop at the Savoy,

befriended composer/author Paul Bowles, and shared a studio with Chilean painter Roberto Matta. Billie Holiday gave him the keys to her apartment. He enlisted in the Canadian army during World War II and was assigned to the

intelligence unit, where a study of Japanese calligraphy ignited a lifelong passion for the

matrix of image and word. On airborne spy missions between Miami and Havana, he saw

fiery cosmic calligraphy in red-gold clouds.

| may 2009c o n t i n u e d o n p a g e 4 0

The magazine | 39

PERSON OF INTEREST

Brion Gysin gone but not

forgotten

Brion Gysin gone Gysin

gone Gysin but not

gone but not

gone forgotten

Self-portrait by Brion Gysin

By Kathelin Gray

ByByB 1950,y 1950,y Bowles had become the center of an artistic circle in

Tangier. He invited Gysin to visit, and Gysin moved in.

Entranced by the local Master Musicians of Jajouka during an ancient Rite of Pan, Gysin

shouted, “I want to hear that music for the rest of my life!” With Jajouka as his house

band, he opened the 1001 Nights club in Tangier, a magnet for artists, eccentrics, royalty,

diplomats, expats, and spies. He avoided Burroughs, who was holed up in a cold-water

flat near the Casbah alternately staring at his toes and attacking the typewriter for hours

on end, producing a thousand unnumbered pages, which carpeted the floor. Now a

denizen of North Africa, Gysin painted the desert and evolved a personal calligraphic

style inspired by both Asian and Arabic forms. The 1001 Nights’ glamorous clientele

vanished in the 1956 dissolution of Tangier as an International Zone, and he closed

the club. As he left he discovered a

potent Berber charm of mirror shards

and a cabbalistic grid that had been

anonymously placed in the kitchen’s

stovepipe inscribed, “May Massa

Brahim leave this place like smoke

leaves fire.”

In the cold Paris spring

of 1958, Gysin bumped into

Burroughs on the Place St. Michel,

and their lifelong collaboration

began. They lodged in a bohemian

flophouse that Gregory Corso

christened The Beat Hotel. Its

feisty proprietress nurtured

wayward habits of artists, creating

an ideal testing-ground for new

forms of art and identity. Gysin

meditated on the meaning of the

Tangier charm: he played with

grid patterns in his art until they

metamorphosed into x and y

coordinates of psychic location

and teleportation, architectured

hyperspace, or quantum particles.

He challenged the apparent

constancy of identity in sustained

mirror-gazing sessions. For

Burroughs, the final edit of his

book was an issue—outtakes were

once again scattered underfoot,

material for later novels. Gysin

observed that Burroughs “was

more intent on Scotch-taping his

photos together into one great

continuum on the wall, where

scenes faded and slipped into one

another.” Gysin helped Burroughs

order the final galleys of his novel, which Jack Kerouac had named Naked Lunch,

and Olympia Press published in 1959.

While other dwellers of the Left Bank’s Beat Hotel assumed that putting LSD

in water supplies would change the world, to our duo such a Garden of Delights

was yet another control system. Burroughs had studied anthropology at Harvard

and medicine in Vienna and was also interested in word/image, specifically Mayan

and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco, and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco, and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco,

To both,

magic was unquantified technique that facilitates action. Steadfastly opposed to

power structures such as organized religion, they devised new techniques—new

magic—to deconstruct the exploitative social systems which wreak havoc on the

planet’s ecology and people’s innate savvy.

Gysin found revolutionary inspiration in the legendary eleventh-century

Old Man of the Mountain, Hassan i Sabbah—mystic founder of the Ismaeli

band of Hashashins, or Assassins, whose mendicants/secret agents infiltrated

Europe from a legendary fortress atop Persia’s Mount Alamut. Today, the Aga

Khan is its wealthy inheritor. Gysin replaced the Assassin’s dagger and sword

with scissors, and transformed a Surrealist technique: “While cutting a mount

for a drawing, I sliced through a pile of newspapers with my Stanley blade....

I picked up the raw words and began to piece together texts that later appeared

as “First Cutups: Minutes to Go.”

Fueled by three to four grams of

hashish a day, they systematically

cut-up words and images, often

from newspapers, rearranging

them to reveal hidden meanings.

Burroughs sprinkled his novels

with “See, see the Silent Writing

of Brion Gysin, Hassan i Sabbah!”

—both amusing and embarrassing

Gysin. The two investigated ways

to expose the monumental fraud

of cause-and-effect thinking.

Gysin altered his cut-up

technique to produce what he

called permutation poems, in

which a single phrase was repeated

with the words rearranged in

a different order with each

iteration: “I don’t work you dig/

You work I don’t dig.” He derived

permutations using a random

sequence generator from an

early computer program written

by Cambridge mathematician

Ian Sommerville, with whom he

also built the Dreamachine—a

sculpture and flicker device in

the eight to twelve per second

range, which can stimulate

spontaneous hallucinations. Gysin

called the Dreamachine a drugless

psychedelic, the first art object

to be seen with the eyes closed,

“giving an extended vision of one’s

own interior capacities which

could also be overwhelming.”

He thought that those interior

capacities were the next art form, superceding painting. Biographer Terry Wilson

wryly observes that avant-garde art was a cover for their esoteric activities.

Gysin and Burroughs experimented in sound and image, using collage, tape

recorder, light-painting, writing, and film, and co-authored “Third Mind,” the

term they used for the symbiotic fusion of two creative minds, creating a third

and superior virtual mind. Their work has had a pervasive influence on popular

and underground cultures, inspiring David Bowie, Patti Smith, J.G. Ballard, Bill

Laswell, Keith Haring, D.J. Spooky, Peter Lamborn Wilson (Hakim Bey), Michael

Stipe, and legions of young cultural explorers.

Gysin and Burroughs in Geneva, 1975. Photograph by Francois Lagarde

and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco,

Gysin considered magic a fact of everyday existence. To both,

magic was unquantified technique that facilitates action. Steadfastly opposed to

and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco, and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco, and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco, and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco, and Egyptian hieroglyphics. He brought science to the partnership. Post-Morocco,

Gysin considered magic a fact of everyday existence.Gysin considered magic a fact of everyday existence. To both, To both,

magic was unquantified technique that facilitates action. Steadfastly opposed to magic was unquantified technique that facilitates action. Steadfastly opposed to

Gysin spent his last decade living opposite the entrance to the Centre

Georges Pompidou in Paris. He documented the construction of the museum in

photographs. Later, from his balcony, he peered through binoculars to inspect

the comings and goings of painters and their widows on deal-making missions

within. Most midnights, he catted out for an appearance at the Palace club—

people-watching, inspecting travelos (transvestites), and drinking whiskey with

Bianca Jagger. He painted watercolors, collaborated on recordings with jazz

musician Steve Lacy, exhibited his art, performed, and wrote his final novel,

The Last Museum. Passionate about history and ecology, Gysin attended annual

Institute of Ecotechnics conferences on ecology and humanity’s role in nature:

“Man is the only bad animal,” he would say.

His apartment barely contained the Amazon River of Fellini-esque

characters pouring through from every variety of earthly existence. One of the

world’s great raconteurs, Gysin gracefully entertained all with astounding stories

and commentaries on history, anthropology, and mysticism. He never trusted

convenient explanations and would mine veins of gossip until he extracted a

tragicomic jewel. One representative evening was spent drinking Ayahuasca with

a friend while dissecting the lineage of Sufi ecstatic poetry and the intertwined

history of Asia and Europe. About Gysin, musician Genesis P. Orridge said, history of Asia and Europe. About Gysin, musician Genesis P. Orridge said, history of Asia and Europe. About Gysin, musician Genesis P. Orridge said,

Surviving cancer in the seventies, Gysin said he remained on the planet in

order to paint a final big work. During his last years in Paris, financial constraints

forced him to work in small formats until in 1985—with a windfall from the

Akademia Foundation—Gysin executed his magnum opus Calligraffiti of Fire.

Burroughs said that Gysin painted with life-or-death urgency and this was literally

true in this last great work. Although on oxygen, Gysin executed Calligraffiti of

Fire’s fifty feet of calligraphy in just one day, in just one take. Gysin knew what he

wanted and worked like lightning, even trimming bouquets of white flowers for

his sitting room with Edward Scissorhands–like alacrity.

The painting’s unique proportions dictate that it cannot be seen in a single

gaze; one must move to take it in. It contains an extended permutation of

Gysin’s signature glyph, (the graffiti tag, sho), a momentous wave of calligraphy/

graffiti with a grid pattern derived from the magical charm of the 1001 Nights

club. The work is a homage to the inferno and to the creative flame—a trance-

inducing shaman’s fire, dancing sunlight, a romp in a field of dandelions, the

interior of a giant spinning Dreamachine. He called it “The Makimono,” a

Japanese folding book, though he did not construct its ten panels to be folded—

thus an always-open book. Ian MacFadyen points out this gives particular thus an always-open book. Ian MacFadyen points out this gives particular thus an always-open book. Ian MacFadyen points out this gives particular

meaning to “I am The Artist when I am open. When closed, “I am The Artist when I am open. When closed,

At the 1985 fall vernissage in Paris’s Galerie Samy Kinge, Gysin was too

weak to stand up (the mark of his whiskey glass is still visible on the marble

floor). Unable to leave Paris, he declared he did not want to live beyond Bastille

Day—July 14,1986—because “Tout Paris” vacated the city for the summer.

Burroughs stated, “Brion Gysin was the only man I ever respected.”

This steadfast friend made a last visit to Gysin in early 1986, eliciting hysterical

laughter from his ailing friend as Burroughs mimed wielding swords, spears,

daggers, arrows, and firearms. On July 13, 1986, Steve Lacy and the author of

this article met in a jazz club in New York and spoke about Gysin’s Bastille Day

wish. At the same moment in Paris, his friends served Gysin a gorgeous feast and

fine wine, after which he slowly walked to his bedroom, as always, with the erect

posture of a wild man. Gysin died in his sleep that evening.

The ripple effect from his radical concepts continues to affect independent

thinkers. Countless references abound on the Internet, and in the last year, Paris’s

Palais de Tokyo, London’s October Gallery and New York’s Guggenheim Museum

have honored his art and ideas. Flicker, an acclaimed feature documentary about

his creation of the Dreamachine was released this year. For Gysin, art began in

magic where paintings catalyze an act in the “real” world. Calligraffiti of Fire was

Gysin’s last magical transmission before “Massa Brahim disappeared like smoke

from a fire.” Brion Gysin is gone but not forgotten—smoke-signaling to dreamers

who live their dreams. D

Kathelin Gray is a theater director, curator, and writer based in Santa Fe and London. She met Gysin in 1977, and they remained friends until his death. A survey of Gysin’s works—Bryon Gysin: Dreammachine—will be on view at The New Museum, New York City, from June 30 to October 3, 2010. Anniversary events in Paris, and London will occur in July, 2009. For more on Gysin: briongysin.com or octobergallery.co.uk or flickerflicker.com

PERSON OF INTEREST

“Once you met him, everyone else seemed dull.” Surviving cancer in the seventies, Gysin said he remained on the planet in Surviving cancer in the seventies, Gysin said he remained on the planet in

“Once you met him, everyone else seemed dull.” “Once you met him, everyone else seemed dull.”

I am Brion Gysin.” I am Brion Gysin.” I am Brion Gysin.” At the 1985 fall vernissage in Paris’s Galerie Samy Kinge, Gysin was too At the 1985 fall vernissage in Paris’s Galerie Samy Kinge, Gysin was too

weak to stand up (the mark of his whiskey glass is still visible on the marble weak to stand up (the mark of his whiskey glass is still visible on the marble

I am Brion Gysin.” I am Brion Gysin.” At the 1985 fall vernissage in Paris’s Galerie Samy Kinge, Gysin was too At the 1985 fall vernissage in Paris’s Galerie Samy Kinge, Gysin was too At the 1985 fall vernissage in Paris’s Galerie Samy Kinge, Gysin was too

I am Brion Gysin.”

thus an always-open book. Ian MacFadyen points out this gives particular thus an always-open book. Ian MacFadyen points out this gives particular

“I am The Artist when I am open. When closed, “I am The Artist when I am open. When closed, I am Brion Gysin.” I am Brion Gysin.” I am Brion Gysin.” I am Brion Gysin.”

Brion Gysin, Calligraffiti of Fire, oil on canvas, 4’ x 50’, 1985. Photograph courtesy: Academy of Everything is Possible

Artists

April 10–June 28, 2009

2009 Spring Exhibition&The Nylon Show

Art Center Hours:

Wed–Friday: 1–5 p.m.Saturday: 11 a.m.–5 p.m.Sunday: 1 p.m.–5 p.m.

All other times by appointment.

1755 Avenida de MercadoMesilla, NM 88046575-523-8713

www.prestoncontemporaryart.com

Dan Burkholder, Jeff Curto,

Elizabeth Galvin, Jed Schlegel,

Richard Warrington

Jason Brown, Karen Bucher,

Flo Hosa Dougherty,

Amanda Gordon Dunn, Arielle Falk,

Amy M. Ho, Glenn Holgersen,

Amanda Marcott, Svala Olafsdottir,

Elizabeth Scof ield,

Peter Snadik, Cecelia Thorner,

Laura Young, Susan Young

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127 D Bent Street Taos NMOPEN 11 - 5pm or by appt. 575-751-3033

humanlinestudio@newmex.com

Stacey Huddleston

TThe Museum of Contemporary ArtThe Museum of Contemporary ArtTThe Museum of Contemporary ArtT in Los Angeles is the fourth venue for an exhibition of more than one hundred and fifty works representing Louise Bourgeois’s prolific and versatile seven-decade-long career. Included in this retrospective are sculptures, and fifty works representing Louise Bourgeois’s prolific and versatile seven-decade-long career. Included in this retrospective are sculptures, Tand fifty works representing Louise Bourgeois’s prolific and versatile seven-decade-long career. Included in this retrospective are sculptures, Tinstallations, drawings, and prints, all of them created between 1938 and 2008. Born in 1911 into a family of weavers and tapestry restorers, installations, drawings, and prints, all of them created between 1938 and 2008. Born in 1911 into a family of weavers and tapestry restorers, Tinstallations, drawings, and prints, all of them created between 1938 and 2008. Born in 1911 into a family of weavers and tapestry restorers, TBourgeois has been aptlyBourgeois has been aptlyTBourgeois has been aptlyT inspired by the spider, a principal motif in her work since the 1990s. Both predator and protector, a threatening presence and an obsessive repairer, the spider is, for Bourgeois, intended as a representation of “mother,” and one immediately encounters presence and an obsessive repairer, the spider is, for Bourgeois, intended as a representation of “mother,” and one immediately encounters Tpresence and an obsessive repairer, the spider is, for Bourgeois, intended as a representation of “mother,” and one immediately encounters Tone of those hideously elegant, huge spiders in the first room of the exhibition. The nearly twenty-two-footone of those hideously elegant, huge spiders in the first room of the exhibition. The nearly twenty-two-foot-high steel spider hovers over a large cage with voracious possessiveness, as protectress, prison guard, or hoarder—take your pick. Bits of tapestry and bone are enmeshed in the sides of the cage, the cage being an example of one of Bourgeois’s enclosed structures (another recurring theme in her work) that may suggest a protective nest or a private space to cultivate one’s ideas, or a sinister trap.

Walking through the exhibition rooms, you realize that the fact that Bourgeois’s work has intersected with most of the avant-garde movements of the twentieth century is an almost incidental coincidence. Though early on she absorbed the influences of Fernand Léger, Brancusi, Giacometti, and Francis Bacon, and later, after her move to New York, thrived on friendships with Le Corbusier and Robert Motherwell, Bourgeois quickly subsumed and personalized these influences and went on to make confident use of her own extremely fertile intellectual resources. She has plugged those resources into her drive to express the physicality of (often abused) emotional states and has thus, over the years, generated an abundance of explosions of form, all articulated in tantalizingly reckless ways that may be uncomfortable for the viewer.

A collection of her Personages, on display in the next room, are Bourgeois’s earliest sculptures. They were constructed in part out of bits of leftover wood from construction sites, found on the streets of Manhattan when the artist lived there with her husband and family in the 1940s and used the roof above their apartment as an open-air studio. Though the sculptures reflect the verticality of the surrounding skyscrapers, they were conceived as quasi-anthropomorphic, animistic expressions of people she has known, liked, or disliked, some of them left behind in France. Measuring mostly five to six feet tall, they stand upright as succinct and totemic expressions of individual personalities. The Personages are arranged on a kind of stage, making the work appear even more theatrical: a cast of eccentric personalities holding themselves according to their distinctly neurotic expressions. Such is the artist’s incisive wit that you keep checking back with the wall text to learn the individual figure’s descriptive name. Persistent Antagonism, Listening One,Femme Voltage (Fickle Woman) are some examples.

Nature Study, a headless feline creature sitting on its haunches with three sets of breasts, is an example of Bourgeois’s singular vision, which expresses the voluptuousness obscenity of form itself. Cast in pink marble, this humanoid figure—from its top heavy, too narrow torso and ribcage right down to the pristinely manicured nails of its paws that are rendered as tenacious grabbing instruments—is at once bizarre, streamlined, elegant, and menacing.

The title of Cumul IThe title of Cumul IThe title of , a pure white marble sculpture mounted on a rugged wooden plinth, is based on its supposed resemblance to cumulus clouds, but this close grouping of rounded, vaguely sexual forms more likely suggests a cluster of nipples or breasts, penises, eyeballs—beautiful, tender, vulnerable surfaces, softly draped, that have a surging, insistent presence.

Bourgeois’s Cell installations, room-sized enclosures built out of old doors and fences, are inhabited with assemblages that are sometimes unmistakably autobiographical and convey psychological portraits of the artist’s anguished past. Elements of the rooms include both found and personal objects, sculptures of clasped hands that are cut off at the wrists, spools of thread, perfume bottles, hourglasses, old clothes, bedroom furniture. The narrative aspect of these installations is sometimes prodded by the manner in which one is obliged to explore them: difficult entries into the sanctums, partial views through windows that block comprehension of the whole space, and unexpected mirror reflections of yourself or some stranger, either one catching you by surprise. The Destruction of the Father is a cave-like installation—a giant mouth, The Destruction of the Father is a cave-like installation—a giant mouth, The Destruction of the Fatherreally—composed of bulbous latex forms that surround a table, all bathed in a grim red light against a background of red velvet. The forms represent Bourgeois’s family members, meant to be feasting on the remains of her father’s organs (cast animal bones). This installation, made in 1974 when the artist was sixty-three years old, somehow didn’t provoke horrific or intense emotions of any kind, perhaps because it was too literal and on-the-nose. While Bourgeois is not a woman known to make art whose meaning is meant to be delicately extracted or tentatively inferred, at the same time her use of nontraditional materials to create disturbing sculptures usually yields a more whacky, thoughtful, and sophisticated result than this depiction of cannibalism.

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Louise Bourgeois, Couple IV, fabric, leather, stainless steel, plastic, wood, and glass Victorian vitrine, 72” x 82” x 43” overall, 1997Courtesy: Cheim & Read, Galerie Karsten Greve, and Galerie Hauser & Wirth. Photo by Christopher Burke. © Louise Bourgeois

CRITICAL REFLECTIONS

S IIt’s difficult to form a concrete opinionIt’s difficult to form a concrete opinionIIt’s difficult to form a concrete opinionI of an invitational. Though such shows’ inclusions are vastly differentiated, they prove—almost invariably—Though such shows’ inclusions are vastly differentiated, they prove—almost invariably—IThough such shows’ inclusions are vastly differentiated, they prove—almost invariably—Ito be over-accommodating mosaics pieced together from all-too-obviously exhaustible to be over-accommodating mosaics pieced together from all-too-obviously exhaustible Ito be over-accommodating mosaics pieced together from all-too-obviously exhaustible Isupplies of local talent. In fact, it’s much easier to judge them on the basis of their supplies of local talent. In fact, it’s much easier to judge them on the basis of their Isupplies of local talent. In fact, it’s much easier to judge them on the basis of their Iorganizers’ motivations than on the wildly wavering terms of their constituent works’ organizers’ motivations than on the wildly wavering terms of their constituent works’ Iorganizers’ motivations than on the wildly wavering terms of their constituent works’ Iaccomplishments. And, if that fails to divert, one can always discuss their openings: accomplishments. And, if that fails to divert, one can always discuss their openings: crowded and self-congratulatory affairs whose highlights include such entertaining pastimes as watching the precarious choreography staged in parking lots as space-starved as the salon-hung walls within and the guilty pleasure of noting sartorial anachronisms as outmoded as the art exhibited.

On the other hand, it’s hard to condemn acts of charity, especially given the precarious state of an art market that holds little hope of resurrection until well after we’ve learned the results of Sotheby’s May 12 Contemporary Art Evening Sale. Indeed, one absolutely cannot fault Goldleaf Gallery’s generosity in marketing and installing seventy-five works from which 90% of proceeds return directly to a selection of artists who have spent a good portion of the year donating to the benefit of other institutions. In that sense, I can’t help but think of Superstars 2009 as a sort of tax return rewarded to artists who file their talents expertly.

And, to be fair, between hordes of unintentionally Surrealist canvases pulled from dusty back stocks, a few works do stand out; some, moreover, have fully earned their adjacent red dots. While artists like Michael Bently suggest what might happen were a James Hayward hung in unfortunate proximity to an improperly stored Piero Manzoni, Eugene Newmann’s Study 2007—despite its diminutive proportions—boasts the same blend of adroit gesturalism and subtly anthropomorphic references that substantiate his deserved influence on the vernacular of New Mexican abstraction. An untitled wall relief by Stacey Neff also manifests a mature artist’s signature aesthetic; here, tapering pods of blown and delicately frosted glass capture the fecundity of nature as they reify the frangibility of human breath. Despite being sandwiched between sliding doors and an acute corner of the gallery space, the work’s dominating presence on an otherwise blank wall proves a boon.

Incidentally, the show’s organizer may deserve the place of its most accomplished exhibitor. A departure from the immaculately gilded political assemblages for which he is better known, Marty Carey Horowitz’s text-punctuated Italian Study embodies how contemporary artists continue to invoke their precedents, yet suggests that the way we experience the art of the past is anything but stable or predictable. Quoting an Italian Pop Art

aesthetic developed by the infamously miscreant Mimmo Rotella and Mario Schiffano, Horowitz employs an additive process incorporating precious, handmade Italian papers to strip the sardonicism from the colorful décollages that his predecessors used to critique mid-century mass media; eschewing their aggressive procedures and politics, yet having deftly incorporated the punch of their psychedelic color-harmonies, Italian Studyreinterprets these artists’ vitriol as a source of simple pleasure. If the totality of his invitational doesn’t leave you optimistic, his work just might.

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Lawrence Fodor, Installation view, 2009 Martin Cary Horowitz, Italian Collage, 2008

Since the beginning of the Since the beginning of the SSince the beginning of the S enlightenment, in the eighteenth century, Western man has elevated reason over intuition and sensory experience. eighteenth century, Western man has elevated reason over intuition and sensory experience. Seighteenth century, Western man has elevated reason over intuition and sensory experience. SIn this century we are becoming more and more a culture of floating heads, disconnected In this century we are becoming more and more a culture of floating heads, disconnected SIn this century we are becoming more and more a culture of floating heads, disconnected Sfrom our bodies—and the body of the earth. Perception and sensation—the rich physicality from our bodies—and the body of the earth. Perception and sensation—the rich physicality Sfrom our bodies—and the body of the earth. Perception and sensation—the rich physicality Sof experience—often take a back seat to the intellectual and virtual worlds.of experience—often take a back seat to the intellectual and virtual worlds.Sof experience—often take a back seat to the intellectual and virtual worlds.S

Lawrence Fodor’sLawrence Fodor’s poetic and serene installation of KōaKōaK n Boxes ōan Boxes ōa at the Lannan Foundation carries us beyond reason, reconnecting us to intuition, memory, emotion, sensation, and mystery. Drawing on the Buddhist practice of training the mind, these small paintings push us towards a precipice where all methods of rational or linear thought no longer function. Fodor urges us to jump into empty space, into an atmosphere where we may open our minds, our pulses, our beings.

How does he do this? Old wooden cigar boxes (from the collection he began during childhood) filled with memorabilia, invitations, and other flotsam of his life become drop cloths for his larger paintings. The boxes initially present tactile histories of the larger works—memories of the artist’s mind, hand, and mood. Yet Fodor works the paint-laden boxes, taking them to richer realms, laminating their pasts to an ever-evolving present. Siennas dance with yellows and oranges, sea blues merge with greens and peeks of violet, and aquamarines and cobalts churn up dark purples streaked with light. These layered, scraped, dripped, and textured pigments pulsate with paradox–the dark fecundity of earth blends with the vibrant luminosity of sea and sky. Worlds within worlds erupt like volcanos, spewing embers of darkness and light, conjuring the elements, yet merging to permit a transformation from substance to spirit.

Turner described Rembrandt as “piercing the mystic shell of color.” Simon Schama wrote that Turner achieved this as well. By capturing the fugitive nature of sensual, intuitive experience, Fodor follows in this great tradition of penetrating color and “dissolving solid surfaces into a numinous radiance.”

This sublime transformation is reinforced by Fodor’s use of gold leaf along the sides of each box. The gold responds to the artist’s masterful lighting, casting a soft, ethereal glow around each painting. The glow floats the surface of the paintings off the wall, suspending them in space, yet paradoxically grounding them with drenching light. Time also takes on the nature of paradox. Past, present, and future become one suspended moment—a luminous moment—quivering with possibility. Fodor brings us a challenging poetry—rich visual kōvisual kōvisual k ans that breathe introspective pauses between the hurried and troubled moments of our times.

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AAA Ajolie laidejolie laideAjolie laideA is one of those exquisitely turned French conceits that once learned is never forgotten for the way it captures a rare and intriguing phenomenon, i.e. a woman who is “pretty-ugly,” forgotten for the way it captures a rare and intriguing phenomenon, i.e. a woman who is “pretty-ugly,” Aforgotten for the way it captures a rare and intriguing phenomenon, i.e. a woman who is “pretty-ugly,” Aa woman, usually “of a certain age,” who is, paradoxically, both homely, yet undeniably beautiful. A few a woman, usually “of a certain age,” who is, paradoxically, both homely, yet undeniably beautiful. A few Aa woman, usually “of a certain age,” who is, paradoxically, both homely, yet undeniably beautiful. A few Aclassic, striking classic, striking Aclassic, striking A jolies laides that come to mind include the Duchess of Windsor, the fashion legend Diana Vreeland, and the artist Louise Nevelson.Vreeland, and the artist Louise Nevelson.AVreeland, and the artist Louise Nevelson.A

That curious concept kept floating in and out of my consciousness as I picked my path through the perverse garden of earthly delights conjured up by SITE Santa Fe’s art historian/director, Laura Steward Heon. As the first exhibition conceived and mounted by Heon herself—as opposed to SITE Biennials, always productions of noteworthy guest curators—Pretty Is As Pretty Does illuminates Heon’s insights as an art historian and a contemporary art authority.

In essence, the phrase “pretty is as pretty does” is meant to suggest that any young lady’s supposed attractiveness must always be qualified by her acts, as well as her demeanor. As Heon describes the lass in question, she is “a pretty girl with a nasty disposition.” All of the works Heon has plucked for her jolie laide bouquet conflate “an effervescent prettiness and sneering nastiness that circle around each other,” as the press release observed. “Both qualities are magnified by their combination.”

Among the nine artists represented, this viewer was most convinced that the phenomenon “pretty-ugly” is a palpable truth by the widely diverse, yet undeniably gorgeous works of young artists who have intensified painterly imagery by translating it to craft media. Kathy Butterly’s ceramics, Judith Schaechter’s stained glass, and Angelo Filomeno’s apparitions in textile all commingled beautiful materials with disturbing thoughts.

The great Paul Klee maintained that beauty, “inseparable from art, relates not to the object but to the pictorial representation. That is why art overcomes ugliness without evading it.” This paradox is certainly evident in the dumbfounding ceramics of Kathy Butterly. Tours de force in clay, her glittering little pieces represent collisions of the precious with the uncanny. Butterly’s coy piece on tiny feet, Above Normal, creeps along like an alien lab-specimen; her Golden could be a freakish Judith Leiber minaudiere. Butterly’s accomplished ceramic works are at once repellent and alluring—they overcome ugliness without evading it.

Arrayed around the walls of a darkened room, the stained glass, light-box pictures of Judith Schaechter initially beckon to the viewer with glowing, jewel-like color. Upon closer inspection, her charming tableaux, Neo-Gothic, in their aura and execution turn out to be rather gruesome exorcisms of private demons. All the protagonists in her images—resolutely glum and sad-eyed—appear to be in extremis indeed. Medieval stained glass windows function to instruct the illiterate in the mysteries of the faith; Schaechter’s windows, however, tend to reveal only the dark night of the soul. And…they are unforgettable.

Angelo Filomeno’s macabre imagery—as in Philosopher’s Women—becomes darkly seductive through his use of shimmering silks and beadwork. Coming from a background as a costume maker, the artist uses complex textile skills to summon up the spectral. Many of his motifs—skeletons, goblins, and contorted rock formations—seem to be drawn from nineteenth-century Japanese prints of ghosts and demons. One would like to see an entire chapel lined with Filomeno’s dusky, sinister apparitions.

Additional works in this alternately enchanting and creepy show merit attention because each of the artists has discovered his or her most satisfying medium in which to cloak unsettling subject manner in come-hither compositions.

Marilyn Minter’s photographs, and her photo-realist paintings based on them, offer up Glamour with a capital “G,” until, on closer inspection, they reveal revolting details. The painting Spike, for example, offers a close-up of a bejeweled, high-heeled shoe encasing an appallingly scruffy, naked heel. Minter’s Soiled blows up a detail of two filthy feet with lurid, metallic nail polish. Pages from Soiled blows up a detail of two filthy feet with lurid, metallic nail polish. Pages from Soiled Vogue or Wthese images definitely ain’t, but the technique and the intent are unquestionably drawn from the world of fashion photography.

Heon aptly describes Chiho Aoshima’s hypnotic five-screen video projection City Glow as a work of “scintillating and unnerving beauty.” Even from afar, it is immediately clear that we are looking at a “Kai Kai Kiki” masterpiece; that is, as a disciple of the superstar Japanese artist Takashi Murakami (whose ateliers are all dubbed “Kai Kai Kiki”), Aoshima also has a penchant for inventing strange, new worlds peopled with even stranger inhabitants. City Glow offers up a candy-colored dystopia, simultaneously awash in whimsical flowers and butterflies, yet filled with encroaching menace in the underbrush.

Pretty Is proves to be a very successful investigation of ever-present phenomena in the history of art re-asserted in contemporary art. The works on view testify to both the undying compulsion to ornament and the eternal resurgence of the uncanny.

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CChingada! Chingada! CChingada! C Is the co-curator an ethnicist or a racist? Laura E. Perez, Associate Professor of Ethnic Studies at U.C. Berkeley, opens her catalogue essay for at U.C. Berkeley, opens her catalogue essay for Cat U.C. Berkeley, opens her catalogue essay for C Chicana Badgirls: Las Hociconas at 516 Arts in Albuquerque with the following: “Badgirl hociconas don’t behave in a world of double standards, whether these be men over women, heterosexuals over queer folk, haves over have nots, ‘white’ don’t behave in a world of double standards, whether these be men over women, heterosexuals over queer folk, haves over have nots, ‘white’ Cdon’t behave in a world of double standards, whether these be men over women, heterosexuals over queer folk, haves over have nots, ‘white’ Cpeople over those ‘of color,’ and so on. They shouldn’t.”people over those ‘of color,’ and so on. They shouldn’t.”Cpeople over those ‘of color,’ and so on. They shouldn’t.”CHere’s some schoolin’ for the Ethnic Studies teacher. Pleasant as it sounds, “peopleHere’s some schoolin’ for the Ethnic Studies teacher. Pleasant as it sounds, “peopleCHere’s some schoolin’ for the Ethnic Studies teacher. Pleasant as it sounds, “peopleC of color” is an exclusionary racist term. It’s meant to exclude only those whose ethnic backgrounds result in being born pink. The phrase is premised on generalizations about the excluded group of “others” as only those whose ethnic backgrounds result in being born pink. The phrase is premised on generalizations about the excluded group of “others” as Conly those whose ethnic backgrounds result in being born pink. The phrase is premised on generalizations about the excluded group of “others” as Cdefined by skin tone. That’s about as tight a definition of racism as they come. Does Hocicona (Latina for loudmouth) Perez just want to replace the old double standards with new ones? Is she seeking scapegoats and/or a sense of revenge? As a professor in Ethnic Studies, has she become what she hates? Does she hate “white, have, hetero males”? Why these specific examples of double standards when our world has so many?

She might have a point about the haves. Class is America’s true double standard. This is for you, and you, and you. Just celebrate yourself and your

camaradas as Chicana women who are proud of who you are. Like you do in the rest of the essay and as your co-curator Delilah Montoya does in her shorter but more eloquent contribution. Fight specific injustices where you find them, but abandon your cliché, inaccurate, and over-determined master-narratives. Modernism is what’s really “over.” Stop trashing the “other,” whose cultures or ethnicities you haven’t really got a clue about. And stop playing the victim. It serves to alienate those who would be your allies and in the end it just drags us all down. Que pinche hueva.

So, no more double standards, cuz we shouldn’t. The show was muydisappointing all in all. Maybe the hype was too much. Opening night was packed for a bizarre performance that needed far more resolution. Santa Fe’s own Elisa Jimenez presented her “couture fashion performance, and we thank her for trying. The place wasn’t set up for performance and it ain’t 1972 anymore. A short woman (who got her place in the corner early) complained throughout that she couldn’t see. It took numerous admonishments by those around her before she would trade the joys of whining for a place up front. The professional dancers delivered, as they should, but it only made the amateurs look that much more so. The mock striptease by all ages of Eve was a sign-of-the-times reminder that in 1972 we all would’ve probably been nude, and it wouldn’t have been half as perversely awkward as going from scantily clad to scantier, but who’s complaining? Just me—and the short woman in the corner.

Every artist minus one in this eighteen-woman show incorporated the human figure predominantly in her art. Latina loudmouths are humanists apparently. None of the most interesting work involved the numerous images of the Lady of Guadalupe or the somewhat fewer of her boy, Mr. Christ, but I’ve saved the best for last.

Maya Gonzalez of San Francisco, the visually quietest of the hociconaspopped up with her mysteriously detailed pen-and-ink drawings (based on the painted books of Mexico) in which a strange iconography functions as a visual linguistic system in a way that recalls the recent paintings of artist Andrea Carlson. Both bodies of work are well worth looking at.

And speaking again of bodies, the large-scale photographs of masked nudes by Cecilia Portal, while technically not as well realized as they could be, are also worth watching. Derived from her dreams and mythology, these masked figures have an archetypal magic quality as they confront the viewer. They are by turns eerie, sly, monstrous, and nearly comic, striking a chord of animism that leaves one spellbound.

Marie Romero-Cash’s santos-inspired sculpture of Catwoman Rising tussles with similarly shamanic themes, but in a much lighter way.

And that’s about it.Maybe the idea makes more sense in Northern California. In New Mexico,

Chicana is quite arguably the dominant culture, if you’re looking for such. It’s not exactly a huge exaggeration to say that the government, law enforcement, school boards, business, academic settings, and family life here are all run in large part by Badgrrl/Hocicona types. It’s like having David Duke curate a Fucked up Crackers art show somewhere in Louisiana. Not exactly enlightening.

At least there aren’t any white, have, hetero-male oppressors in the large group of donors helping finance 516 Arts. And this critic identifies himself as a pink, middle class, omni-sexual, non-female—so no worries.

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Maya Gonzalez, Flying Fur Gown Expanding Throat Black Gloves Falling, pen and ink on archival paper, 2008

TThe time is the early 1940sThe time is the early 1940sTThe time is the early 1940sT and Roger Shimomura is a toddler living behind bars and barbed wire. World War II The time is the early 1940s and Roger Shimomura is a toddler living behind bars and barbed wire. World War II The time is the early 1940sis underway, Pearl Harbor has been bombed, and being a Japanese-American from the western part of the United States carries with is underway, Pearl Harbor has been bombed, and being a Japanese-American from the western part of the United States carries with Tis underway, Pearl Harbor has been bombed, and being a Japanese-American from the western part of the United States carries with Tit a particularly negative weight. It means something—something frightening and threatening to America. Something to be contained it a particularly negative weight. It means something—something frightening and threatening to America. Something to be contained Tit a particularly negative weight. It means something—something frightening and threatening to America. Something to be contained Tand scrutinized carefully for further threats of terrorism—notwithstanding the fact that the people who come under scrutiny are and scrutinized carefully for further threats of terrorism—notwithstanding the fact that the people who come under scrutiny are Tand scrutinized carefully for further threats of terrorism—notwithstanding the fact that the people who come under scrutiny are TAmerican citizens.American citizens.TAmerican citizens.T

It wasn’t that long ago that I first heard about the Japanese internment It wasn’t that long ago that I first heard about the Japanese internment camps in the West, and I had a hard time believing that it was true. But can we compare the internment of the Japanese-Americans to the concentration camps in Europe? Yes and no. When you are a prisoner behind bars and barbed wire, having done nothing wrong but now are living your life being watched by armed guards who hate you and who peer at you from high towers with rifles in their hands, and the future looks dim, there is an obvious relationship between the camps in America and those that were in Europe.

There is a phrase that was coined by the philosopher Hannah Arendt in writing about the systematic decimation of the Jews by Hitler and the mainly complicit Germans: the banality of evil. Perhaps this phrase could be rewrittenslightly for the purposes of this review and be called the banality within evil. This is what Shimomura captures in the work from the series Minidoka on My Mind—the striving for the ordinary, the normal, and the commonplace within Mind—the striving for the ordinary, the normal, and the commonplace within Mindthe pressures of false imprisonment, the failure of citizenship, and perhaps impending death.

In one large work, Night Watch, it’s as if we are gazing at the windows of an urban high rise. We look into each window in turn and see cropped vignettes of lives that could be anywhere in America—Peoria, Providence, Poughkeepsie: A mother feeds her baby, a father explains baseball to young boys in baseball caps, a person exercises, a nurse checks the blood pressure of a seated man, children frolic in the midst of a pillow fight. In this work, as in all the paintings in the Minidoka series, no detail is gratuitous. Everything is rendered in a severe and stylized manner that focuses not on painterly traditions of, for example, the need to create illusionistic space, but on the ultra-flat visual narratives of most graphic novels and much of Pop Art. Think Adrian Tomine meets John Wesley within overlapping conceptual spaces washed over with the acid colors from Ukiyo-e prints. Shimomura filters his source material, stripping it of non-essentials, and then puts everything to work in a spirit of ironic recollection and cool, detached, and synthesized outrage.

The name Minidoka sounds like it could be a city from the “floating world” of Japanese prints—a space of geishas, warriors, aristocrats, and ordinary citizens depicted with all due respect to the artistic protocols of 19th century stylized beauty, gesture, clothing, and social traditions. The truth behind Minidoka is more spare and harsh. The name is from the Shoshone Indian language and means “broad expanse,” and Anglo settlers gave it to a newly created town in Idaho, in the late 19th century. It was here that the Minidoka internment camp was established and where Shimomura would arrive with his parents in 1942 and live for three years.

Shimomura has been working through the Minidoka series for several decades. His memories and those of others have been distilled into a clarified style that expresses a kind of brittle artificiality that works in tandem with the ironic striving in the camp for the fulfillment of familiar archetypes found in middle-class American culture. Shimomura’s flatness and often acerbic color schemes, like those found in Businessman and Lush Life, are masks for the pathology that comes with living in captivity under clouds of uncertainty. His broad expanses of unmodulated color mirror boredom and enforced regimentation, and a sense of repressed hysteria lurks around the edges of his impassive faces with their schematic, bland features. In Shimomura’s hands, color can be used to ravish the senses and set one’s nerves on edge at the same time.

In Custom Houses, a five-part work depicting barracks-style camp housing, the seemingly innocuous baby blue of the sky, the ochre color of the bare desert sand, and the relentless black of the tarpaper on the shacks signal Shimomura’s own interpretation of “the banality of evil.” The very comic-bookishness of the houses and the uninflected blue of the cloudless sky are pinned down conceptually by the resonance of the barbed wire fences that bracket the shacks on one side. The viewer is very much a part of this image and, if at first the viewer simply stops to look, the more one looks the more one is drawn into the row of houses. The viewer becomes an implied inhabitant of the camp on the one hand, or becomes another aspect of the bars and the barbed wire containment: the viewer becomes a voyeuristic guard.

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Roger Shimomura, Businessman, acrylic on canvas, 60” x 24”, 2008 Roger Shimomura, Lush Life, acrylic on canvas, 60” x 30”, 2008

hhhhistorically, “nature morte”istorically, “nature morte”historically, “nature morte”h has symbolically represented transformation, the cyclical nature of time, and the transitory nature of existence. What does it mean to paint nature-based still-life paintings in the year 2009? Can the genre reflect the transitory nature of existence. What does it mean to paint nature-based still-life paintings in the year 2009? Can the genre reflect hthe transitory nature of existence. What does it mean to paint nature-based still-life paintings in the year 2009? Can the genre reflect hon contemporary environmental issues or the experience of nature as mediated through photography, advertising, tourism, and on contemporary environmental issues or the experience of nature as mediated through photography, advertising, tourism, and hon contemporary environmental issues or the experience of nature as mediated through photography, advertising, tourism, and hurban sprawl? Or is it so over-determined that it can’t move beyond nostalgia? What does it mean to gather, to visually document, to urban sprawl? Or is it so over-determined that it can’t move beyond nostalgia? What does it mean to gather, to visually document, to hurban sprawl? Or is it so over-determined that it can’t move beyond nostalgia? What does it mean to gather, to visually document, to hreconfigure bits of the natural world as it is disappearing around us? Does this entail a responsibility? Can the artist simply respond reconfigure bits of the natural world as it is disappearing around us? Does this entail a responsibility? Can the artist simply respond hreconfigure bits of the natural world as it is disappearing around us? Does this entail a responsibility? Can the artist simply respond hto nature and its previous representations? Is this enough?to nature and its previous representations? Is this enough?

Jacklyn St. Aubyn’s paintings do not confront these issues straight on, but these issues circulate around her paintings as they do all contemporary landscape and nature-based still-life painting. They are modest paintings that reference botanical drawings and Audubon bird paintings from the nineteenth century (when the concept “nature” was socially constructed), a history of decorative arts based on natural forms, and traditions of Euro-Western still-life painting.

St. Aubyn’s subject matter is gathered from her personal world—nature experienced and collected in her yard, neighborhood, and community—the outer world brought inside the domestic environment and studio. The paintings in this exhibition employ three formats: horizontal diptychs, most often juxtaposing a bird or a plant with a simple still life of fruit rendered in three-dimensional space; single panel vertical paintings with all-over, nature-based decorative arts as their subject; or verticals with birds and botanical fragments floating in horizontal bands of different sizes stacked on top of each other in flat pictorial space.

For me, the horizontals just didn’t work. The diptych format, especially those with miniature still-life paintings within the larger painting, combined with the exhibition’s title The Meaning of Things, suggested a correspondence or conceptual dialogue between the images that didn’t happen. Other than referring to outdoor/indoor spaces, the choice of which images were juxtaposed seemed arbitrary, or perhaps, just a visual decision. While there was often a shift in perspective from one panel to the other, the still lifes remained generic and uninteresting. Whatever symbolism or meaning might be there for the artist was too private and personal to have larger resonance, and the visual strategy of juxtaposition offered by the diptych format remained unengaged.

The vertical paintings are a different story. Here St. Aubyn is at her best. The painting format and composition are not being asked to speak to conceptual concerns. We can just experience the paintings for their visual pleasure. I looked less to “the meaning of things,” and simply enjoyed the juxtaposition of images for their superb color and attention to detail. Pattern After WMre-presents and activates the tendrils of a William Morris pattern in blues and greens with highlights of magenta and red. The dark green and red flat pattern of leaves and roses in Rose Tree calls up early American drawing and needlework, referencing not only marginalized creative traditions but also painting’s inherent decorativeness.

Other vertical paintings such as Rupture, Birds and Thistle, andRemembrance are divided into horizontal bands of flat color. Remembrance utilizes a cool palette of grayed blues, greens, and aquamarines. A “couple” of birds float above a branch heavy with ripe purple plums. The bottom section introduces natured-based repetitive pattern in conversation with the birds and plants floating above, at the same time as it functions as a decorative border. The painting has a strong graphic sensibility, engaging traditions of natural-history illustration, while remaining a painting.

What we collect and combine is ultimately about creating a sense of self. What the painter collects and visually combines not only creates a sense of self, but also constructs a symbolic world within the painting site. St. Aubyn layers opaque and transparent paint in a traditional illustrative manner. I found myself welcoming those places of variation where the paint ever so slightly piled up thicker—where the paint surface itself came alive. Upon close examination you

can see that the birds and fruit are not painted on a colored ground but rather that the so-called “backgrounds” are carefully painted “around” the nature forms, so that the paint and pictorial space-ground are what connect the “things” depicted.

The works I enjoyed most were those that simply painted nature and its representations. St. Aubyn’s paintings are unpretentious and genuine—about the pleasure of looking and the pleasure of painting. This is their strength. But is it enough? At times I found myself wanting these paintings to speak through, even interrogate, those histories of nature-based imagery they reference. Political content and visual pleasure need not be mutually exclusive.

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Jacklyn St. Aubyn, Remembrance, oil on wood panel, 24”x 18”, 2008

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eeeerika Wanenmacher needs to get outta townrika Wanenmacher needs to get outta townerika Wanenmacher needs to get outta towne . Rather, she deserves to get outta town: to some mythical place where her admirably crafted, literally spell-binding, and complex installations can be exhibited full-speed ahead, not in dribs mythical place where her admirably crafted, literally spell-binding, and complex installations can be exhibited full-speed ahead, not in dribs emythical place where her admirably crafted, literally spell-binding, and complex installations can be exhibited full-speed ahead, not in dribs eand drabs at her very generous but naturally limited gallery, Linda Durham Contemporary Art. Wanenmacher is a big artist with big ideas and drabs at her very generous but naturally limited gallery, Linda Durham Contemporary Art. Wanenmacher is a big artist with big ideas eand drabs at her very generous but naturally limited gallery, Linda Durham Contemporary Art. Wanenmacher is a big artist with big ideas eand big skills, and they just don’t translate adequately into a gallery setting. The miracle is that Wanenmacher continues to be so liberally and big skills, and they just don’t translate adequately into a gallery setting. The miracle is that Wanenmacher continues to be so liberally eand big skills, and they just don’t translate adequately into a gallery setting. The miracle is that Wanenmacher continues to be so liberally esupported by her gallerist. supported by her gallerist. esupported by her gallerist. e Having established the positive side of the equation, the problem remains: where to show off an artist of Wanenmacher’s high caliber? I am most certainly not suggesting that she move to that provincial bastion of twentieth-century modernism, New York City. L.A. might be good for Wanenmacher, but where, exactly? The MoCA is slightly distracted right now, and neither the Broad Contemporary nor its “parent” (although who’s parenting whom is a whole other story) LACMA, seems fitting. The Hammer would be great as far as its physical space and potential for public exposure go, but Wanenmacher is a far cry from being a member of the “UCLA community” the museum states it serves. Back in New Mexico, the artist’s home base, Santa Fe’s Center for Contemporary Arts—where Wanenmacher has already shown more than once—is pathetically and seemingly permanently mired in its own muck. And the artist has already had the luxury of a solo exhibition at SITE Santa Fe, in 2001 under the direction of Louis Grachos, so where can our girl go now?

Art-wise, Wanenmacher can only move ahead, because that is who she is, but I left her exhibition at the Boulder Museum of Contemporary Art feeling conflicted: I loved the show and hated that it felt so confined and far from the broad audience it warrants. It was like flying to Paris, seeing the Eiffel Tower, and leaving. An unforgettable experience, yes, but how frustrating to miss the rest of the city! I don’t have a solution; so far as I know no one in the art world does, but there are artists for whom it’s a crime that we can’t experience their work often and thoroughly, and for me, Wanenmacher is one of them.

The gist of the Boulder exhibition that ran from September through the end of December was the artist’s aspiration to counter mad-science mojo from radiation experiments conducted on marginalized human beings during the 1940s and into the ’70s. For example, it turns out that MIT researchers regularly exposed institutionalized children to radiation, without familial knowledge or permission, in a series of experiments known as “The Science Club.” Wanenmacher came upon evidence of this madness in part, at least, because of her frequent visits for scrounging and chatting with the recently deceased Ed Grothus at his Black Hole—a thrift-shopper’s heaven, chock-full of discards from the Los Alamos National Labs. The Boulder show’s entry piece comprised an X-ray of what seemed to be a spinal chord gone terribly awry; Wanenmacher had discovered these medical images of human tissue and bone and felt compelled to gather them for some serious “off-gassing” in her studio. They had, she said, “the worst resonance of anything I had ever touched.”

The Science Club is Wanenmacher at her best, her deep sociopolitical concerns engagingly presented within an ethical framework, art as a presence that refuses to be ignored. Entrance into the Boy’s Room, the principal component of the tripartite installation, was presaged by radioactive signs in biohazard yellow: quaint ’50s ephemera, they raise the ever-hovering question, “How much radiation is safe?” Copies of Atomic Superboy and Mad magazine, complete with a flashlight for under-the-cover reading, lay on a black and gray atomic-motif quilt Mad magazine, complete with a flashlight for under-the-cover reading, lay on a black and gray atomic-motif quilt Madwith alternating daisy squares, a hopeful counter to the insanity of nuclear warfare. Cowboys astride bucking broncos mixed with radium symbols on the gray wallpaper. A little gray suede vest hung near a toy six-shooter in its holster—how tiny the boy who played with these would have been. A size small, gray lab coat, “Los Alamos Scientific Lab” embroidered in red across its back, made a fashion statement of blamelessness with a pair of black high-top Keds. The scrubbed faces and buzz cuts of the young men of mid-20th-century Los Alamos—at the Boys School and during the Manhattan Project—lingered like holograms in the room, itself all gray and metal and sad. A ham radio emitted the static-y sounds of an unnamed danger. Gray curtains opened onto a black background—is there no escape? A clunky TV ran Wile E. Coyote cartoons in black and white; a fantastic, grayed-out PB&J sandwich waited nearby on a tray with an acid-green drink. There were arrowheads such as a boy like Oppenheimer might have collected—but these were crystal, and served the artist’s spell of reversal. Outside the Boy’s Room was the “ed center,” where books on the subject of making the bomb shared a table with candles lit to dispel evil. In the video room, a pentagram, herbs, a sorcerer’s sword, images of the moon, and a snake in a figure 8 worked with the artist’s recorded voice in casting a spell to reverse the evil she spotlit with deliberate lucidity. Black magic functions best in secrecy; it cannot survive the light of truth.

Back to that question of exhibition space: Maybe all the bronze bears in Santa Fe could be replaced with serial installations by Wanenmacher, complete with a citywide map to her art sites? The land of enchantment, indeed.

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Erika Wanenmacher, The Science Club: The Boy’s Room, mixed media with audio and video, dimensions vary, 2008

DDark Silence, White Sleep: Dark Silence, White Sleep: DDark Silence, White Sleep: D an abiding quandary of contemporary art formed the backdrop of a recent SFAI panel on the late painter and political activist Rudolf Baranik. The panel featured artists May Stevens and Abdelali Dahrouch, and panel on the late painter and political activist Rudolf Baranik. The panel featured artists May Stevens and Abdelali Dahrouch, and Dpanel on the late painter and political activist Rudolf Baranik. The panel featured artists May Stevens and Abdelali Dahrouch, and Dart historians Lucy Lippard and David Craven. The quandary was aptly captured by the program’s citation from art historian and art historians Lucy Lippard and David Craven. The quandary was aptly captured by the program’s citation from art historian and Dart historians Lucy Lippard and David Craven. The quandary was aptly captured by the program’s citation from art historian and Dcritic Richard Leslie, writing some months after Baranik’s passing in 1998. “One of the dirty little secrets of the more canonical critic Richard Leslie, writing some months after Baranik’s passing in 1998. “One of the dirty little secrets of the more canonical Dcritic Richard Leslie, writing some months after Baranik’s passing in 1998. “One of the dirty little secrets of the more canonical Dart world is that it continues to claim for art the ‘aura’’ of social relevance derived from the early politicized history of the art world is that it continues to claim for art the ‘aura’’ of social relevance derived from the early politicized history of the Dart world is that it continues to claim for art the ‘aura’’ of social relevance derived from the early politicized history of the Davant-garde while at the same time it marginalizes art forms such as Baranik’s that are developed from fully-committed political avant-garde while at the same time it marginalizes art forms such as Baranik’s that are developed from fully-committed political positions.” In other words, by 1998 the socialist legacy of Modernism was “more honored in the breach than in the observance” by its Postmodern heirs.

In the 1970s and 80s, the art world was absorbed in the great debate about the direction of art. Two divergent tendencies with competing claims vied for the postmodern mantle. A conservative camp sought to redefine late Modernism’s dominant formalist ethos by a return to figurative imagery and expressive objects, while an “oppositional” camp with roots in Conceptual art viewed this formalist tradition (championed by Neo-expressionist painting) as detached from its socio-cultural context and commodified by an art market that eschews art’s obligation to engage (political) reality. By 1990 the debate had wound down to a draw. The truce has held to this day. That was the milieu within which Baranik identified himself as a “socialist formalist.”

A New York Times piece on the painter’s death in 1997 noted, “Mr. Baranik believed equally in “art’s poetic prerogatives” and its “moral responsibility,” a stance that made him a moderating, unusually flexible anomaly in the polemic-prone art world of the 1970s and 80s.” Notwithstanding his representation in major museums, Baranik’s work is not as well known as it should be. That may well be due to the tendency of advocacy art to fall prey to the fate of the passing social conditions that fuel it—especially true in today’s attention-deficit society untroubled by the weight of history.

But access to Baranik’s art is further deflected by a trait in the work that should have helped raise it above the transitory appeal of social realism—what might be termed, pace Greenberg, its homeless abstraction. His signature Napalm Elegy, a series of thirty paintings done between 1967-1974, is a passionate indictment of the Vietnam War whose imagery is based on explicit allusion to a photograph of a Cambodian child whose face had been badly burned and disfigured by napalm. The poignant title, still-provocative historical subject, and anguished figuration seem at first to be lost in the eerily tranquil, abstracted forms and spare intimation of locale or landscape tempered by the monochrome, black and white palette. Yet such a reading might be due simply to our proximity to those events.

The social consciousness of works like Napalm Elegy places Baranik in the tradition of Goya’s Napalm Elegy places Baranik in the tradition of Goya’s Napalm Elegy Disasters of War and Picasso’s Guernica (both works serving as sources of motifs or compositional devices for his painting and poster art). But the artist’s formalism links him directly to the twin Abstract Expressionist currents represented by Motherwell and Rothko. Napalm Elegyrecalls Motherwell’s Elegy to the Spanish Republic. The somber, monumental feel of Napalm’s broad, biomorphic forms and its stark black and white contrasts infuse the stacked rectangular color fields recalling Rothko with the palpable immediacy of dense, geologic strata. And beyond Baranik’s formal affinity with Motherwell is a similar aesthetic in their approach to current historical themes. For the twenty-one-year-old Motherwell in 1936, the Spanish Civil War was “the most moving political event of the time,” as the Vietnam War some thirty years later would be for Baranik. And the painter’s intention in making the Napalm Elegy would Napalm Elegy would Napalm Elegyfind common cause with Motherwell’s Elegy, which the latter considered as “not ‘political’ but my private insistence that a terrible death happened that should not be forgot…” But where Motherwell’s lament for a lost cause is an instance of what Irving Sandler described as the artist’s “desire to monumentalize symbols of his private sentiments,” Baranik’s engagement with his subject in Napalm Elegy starts from a deep personal concern for its current social impact. Yet what is common to both artists is a level of detachment that allows them to convey a universal import occasioned by specific historical events—a quality often lacking in much of the “angry arts” polemic of agit-prop art. Our increasing distance from the trauma of the Vietnam War will likely shift critical focus to the universal import in Baranik’s art.

If the largely anecdotal remarks of the panel fell short of a focused discussion of the artist’s work and its polemic, they offered valuable insight into Baranik’s art with their testimony to the artist’s life. So much more so for having lost his family to fascism and his son to suicide, Baranik’s belief in an “art after anger” provides compelling insights about the abiding role of socially conscious art.

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The panel and the audience.

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WRITINGS

For HimBy Liza a. Lucero

He sat across from me smiling and talking intensely

about why we metbecause it was destined, he truly believes that.

I am so nervous, I smile so hard my cheeks hurt.I shake inside with nerves

strong enough to make me convulse.

He stares at meruns his hands through my hair

puts his fingers on my lipstouches them with his rough hands.

I melt like the stars do at nightinto the big, black sky

becoming a part of his universe, he is the sun, and I am the planet who

runs her course around him.He feeds my soul with his poetic affirmations,

reducing me to the most concentrated part

of a human being.It’s brilliant,

As not just anyone can do that.My eyes are so lost in his

as he speaks and shares his life,

the parts he is willing to let go of.

I am thankful for what he gives me

because I know this is not a bookand I can listen firsthand,like a little girl who waits

for her bed-time story.He tucks me into his heart as he promises

never to hurt me,to provide for me

to have this long lasting affair with me.

Does he think I’m delusional?That I believe he can do that,

care for me, possiblynever developing love for me.

I realistically can’t livelike that

but for himI might.

Gretchen Wachs, Wave, 2009, ceramic & cast glass, 13.5” x 18” x 5”

Gretchen WachsCasting About

Susan Sales, Back in Town (detail), 2009, oil on canvas, 48” x 72”

Susan SalesAt This Point in Time

May 8-June 6 , 2009Opening Reception: Friday May 8, 5-7pm

702 1/2 canyon Road on Gypsy Alley, Santa Fe, NM 875015 0 5 . 9 9 2 . 0 7 1 1 w w w. c h i a r o s c u r o s a n ta f e . c o m

the magazine may 2009

burnett foundation

brown foundation

llww foundation

peralta santa fe

arts culture series

zane bennett family

site santa fes exhibitions

lodgers tax new mexico

Documents

sarasota realtor magazine - may 2009

ubqari magazine may 2009

kickradio i-magazine may 2009

hickam services may magazine 2009

charlotte magazine may 2009

epilogue magazine, may 2009

parish magazine may 2009.cdr

nightlife magazine may 2009

creative knitting magazine (may 2009) - malestrom

may 2009 business magazine

natural awakenings magazine ~ may 2009

engaged wedding magazine - may 2009

my hometown magazine - may 2009

99 news magazine - may 2009

piclistbr magazine may 2009

airman magazine may - june 2009

tech professional magazine - may 2009

rem magazine may 2009

prestige magazine april - may 2009

tabdil magazine may 2009