the magazine august 2010

Santa Fe’s Monthly of and for the Arts • August 2010m enizaga

Interview: Ryan Rice, Curator at the Museum of Contemporary Native Arts Is Your Indian Art Legal? What To Do When the Feds Knock at Your Door Universe of N. Scott Momaday: Writer, Poet, and Artist

FIRSTINDIgeNoUS VIRTUALBIeNNALe PAge 51

SHIPROCK SANTA FE ■ 53 OLD SANTA FE TRAIL (UPSTAIRS ON THE PLAZA) ■ SANTA FE, NEW MEXICO 87501 ■ 505.982.8478 ■ SHIPROCKSANTAFE.COM

Thursday, August 19, 2010, 6-8 p.m.VIRGIL ORTIZ

ANNUAL OPENING EVENT:Saturday, August 14, 2010, 6-8 p.m.HISTORIC NATIVE ART COLLECTION and New Works by Jemez Pueblo Artist PHILLIP VIGIL

1610A Thriving Society, A Foreign Arrival,

A Cultural Exchange, A Grand Transformation

1680A Pueblo Revolt

2010

LECTURE SERIES:Friday, August 20, 20101:30 p.m. JARED CHAVEZ San Felipe Pueblo, Printmaking

2:30 p.m. DARRYL AND REBECCA BEGAY2009 Best in Show Winners, Tufa Casting

RSVP for Lecture Series – 505.982.8478

Americans have had a century-long, passionate love affair with the automobile. Photographer Lee Friedlander took to the road in a rental car and over the course of a year made the 192 black-and-white photographs that comprise America by Car (Fraenkel Gallery, $49.95). The style is distinctly “Friedlander”—oblique, abstract, off-kilter, and kaleidoscopic. As well as details of the interior of the car itself, the photographs include landscapes, farm animals, trucks, industrial sites, signage, homes, churches, and people—all loaded with layers upon layers of visual information. Friedlander’s images are so uniquely composed, and comprised of so many elements, they could almost be read as collages.

NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNO 5 Letters

22 Universe of writer, poet, and artist N. Scott Momaday

27 Studio Visits: Teri Greeves, Douglas Miles, and Diego Romero

29 Food for Thought: A Bar at the Folies-Bergère, by Edouard Manet

31 Food for Thought: what we eat when we eat alone, by Deborah Madison and Patrick McFarlin

33 One Bottle: The 2006 Joseph Drouhin Puligny-Montrachet “Folatières,” by Joshua Baer

35 Dining Guide: Nostrani, Saveur, and Pizzeria Mozza, Los Angeles

39 Art Openings

40 Out & About

48 Previews: August Exhibitions at the Museum of Contemporary Native Arts; Birds on Pueblo Pottery at Adobe Gallery; and Pottery at Adobe Gallery; and Pottery Bill Eppridge at Monroe Gallery of Photography

51 International Spotlight: First Indigenous Virtual Biennale, by FREEAPACHE

52 Interview: Ryan Rice, Chief Curator at the Museum of Contemporary Native Arts, by Guy Cross

56 Feature: Is Your Indian Art Illegal?–What To Do When the FBI Knocks on Your Door, by Joshua Baer

60 Critical Reflections: Clayton Porter at Launch Projects; Currents 2010 at El Museo Cultural de Santa Fe; Divergent Works at the Webster Collection; Richard Berman at Linda Durham Contemporary Art; The Dissolve at SITE Santa Fe; and Self and Family... A Recent Look at Charlotte Jackson Fine Art

73 Artist at Work: Artist at Work: Artist at W Phillip Vigil, photo-assemblage by Matthew Chase-Daniel

75 Green Planet: Jodie Evens, co-founder of Code Pink, photograph by Jennifer Esperanza

77 Architectural Details: The Old Lamy Church, photograph by Guy Cross

78 Writings: Honeysuckle for Little Sister, by Sasha Pimentel Chacón

No. B, Novembre – Décembre – Janvier c-print x inches. Collection Lannan Foundation

FOUNDATION GALLERYwww.lannan.org Telephone . . ext. Read Street Santa Fe, New Mexicog a l l ery h o ur s : s at ur days an d s u n days n o o n – : p m W E E K E NDS ONLY

To Go Very Softly Photographs by J EAN - L U C M YLAYN E

saturday 14 august: reception 5 – 7 pm and gallery talk 6 pm

Please join us for a reception and gallery talk with Matthew Witkovsky, Curatorand Chair of the Department of Photography at The Art Institute of Chicago.

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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: [email protected]. Website: www.TheMagazineOnLine.com. All materials are copyright 2010 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written permission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unsolicited materials. THE magazine is not responsible or liable for any misspellings, incorrect dates, or incorrect information in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE magazinedo not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or distribution venues. Bylined articles and editori-als represent the views of their authors. Letters to the editor are welcome. Letters may be ed-ited 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 authenticity 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 advertisers and is not responsible or liable for errors in any advertisement.

TO THE EDITOR:I must tell you that from cover to cover your July issue looks fantastic! THE magazine keeps getting better and better. With eager anticipation, I wait for your next issue.–sharon adler, new orleans

TO THE EDITOR:To Joshua Baer. Thanks so much for “One Bottle.” I’m sending your current “One Bottle” article to my kids in New York City. They are rassling with issues about integrity, making sense of life, big plans, re-arranging memories—all that serious stuff. I’m sending your article to cheer them up, not necessarily as a cure. Last time I sent my daughter one of your articles, she quit her job and went to Africa. So I know your articles work. I’ve been liking your articles for a long time, but only recently have I realized they can be applied medicinally. I am a beer drinker these days. I still like direct perception, the actual roll in the hay, or the roll with the punches even more than savoring the idea of hay or punches. And wine makes me all philosophical or metaphorical—something less active than rolling. Beer doesn’t seem to slow me down in the least. I still feel frisky and flexible and curious and reasonably innocent. I don’t want to waste a moment of those abilities, so maybe the mellower, or melancholier, abilities that wine enhances are waiting just around the bend for me, when I might have aches and pains and regrets—many of which I am currently able to outrun. Maybe I’m just too young and free again (at 53) and just a naïve dumpling at heart. Even my scars and permanent damage look smooth for the moment—so beer is plenty of medicine for me. The starry night and the smell of smoke is enough to get me philosophizing, and doesn’t make me drowsy. But for those rassling with issues or pain—I’m sending your words and recommendations. Thanks, I appreciate and enjoy your writing. I’m sharing your writing with family and friends, and probably there’s a bunch of us fans out in the general public that do too.–J–J– aMie BrytowsKi, santa fe

TO THE EDITOR:The Paolo Soleri Amphitheater stands eccentric in a world of increasingly generic architecture. The late Lloyd Kiva New, artist and educator, worked with Soleri in 1965 to design the Amphitheater, and built it with help from students on the Santa Fe Indian School’s Cerrillos Road campus. The Paolo, as it is called for short, shares the legacy of these two far-sighted men. Lloyd Kiva New nurtured Native

American arts as a cosmopolitan visionary, a rare type in our age of opportunists and reactionaries.

The late Stuart Udall admired Kiva New and the way he represented Native American arts. Said Udall in Native Peoples magazine, “Who would have thought forty years ago that there would be a beautiful Museum of the American Indian on the National Mall in Washington? That’s a measure of how far we’ve come in this country.” Soleri, whose best-known vision is the project Arcosanti, in the Arizona desert, drew upon the past to design the future in the Amphitheater, planning it for the Indian School theater department as an interpretation of the Elizabethan stage. “We were hoping actors would not just use the stage, but also the area above it, and that’s why we designed the bridge and other platforms...to have action taking place on different levels...” was how Soleri described the design process in a Cosanti Foundation press release made public recently. To justify the building”s demolition, SFIS Superintendent Everett Chavez has cited costs of maintenance and renovation, along with an issue of “educational sovereignty.” Yet some of the most ardent supporters of the Amphitheater, like activist Frances Abeya, consider those contentions utterly baseless. What is true is that the Paolo has been woefully under-utilized. As Bruce King, a former SFIS faculty member, wrote in the Santa Fe New Mexican, “No one seems to understand that the facility was meant as an instrument to present Native American theater, not as a concert or lecture hall, and that when functioning at full capacity, the structure comes alive and we understand the artistic and creative equity that this facility houses.” Of course, thousands of concert-goers and performers have felt the Paolo fuse a special intimacy between audience and player. The Paolo should live up to its potential as a vital and viable performance space. The amphitheater could be architecturally modified with a retractable roof, to make the structure useable year-round in all types of weather. Addition of the roof, restrooms, and performance support areas would avail SFIS students and the community of the Paolo during the winter, as well as in warm weather. Immediately, the amphitheater’s utility and value would increase. Then the Santa Fe Indian School would have a lasting asset. The preservation of the collaborative legacy of Soleri, a significant architect, and of Kiva New, educator, would exemplify the stewardship of history and endure as an object. Soleri recently wrote, “Imagination was at the origin of the theater, imagination is essential now.” What else do we need? I believe the word is “angels.”—Conrad sKinner, first puBlished at adoBeairstreaM.CoM

TO THE EDITOR: American arts as a cosmopolitan visionary, a rare type

LETTERS

Letters: [email protected] or 1208-A Mercantile Road, SF 87507. Letters may be edited for clarity or for space consideration.

Work by Luis Jiménez at the Anderson Museum of Contemporary Art, 409 East College Boulevard, Roswell

| august 2010 T H E M A G A Z I N E | 5

Go topage38

Go topage38

653 Canyon Road Santa Fe NM 87501 505 983-2745 [email protected] www.bellasartesgallery.com

NUDO 1 2009fiber, gesso, acrylic paint

130 x 12 x 16 inches

OpeningFriday, July 31st

5 - 7 pm

M O D E R N I S T S C U

L P T O R

RUTHDUCKWORTH

653 Canyon Road Santa Fe, NM 87501 505 983-2745 [email protected] www.bellasartesgallery.com

Bellas Artes

UNTITLED #362193 1993 porcelain 22 x 14 x 9.5 in

JULY 2 - AUGUST 8, 2010

Reception, FridayJuly 9, 2010 5 -7 PM

Pho

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1919 - 2009

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

Manjari Sharma

Paani July 9 - August 20

Works from the Florence Pierce Estate

AUGUST 13 - SEPTEMBER 4Opening Reception / Friday, August 13, 5 -7 p.m.

Gallery Talk / Saturday, August 14, 3 p.m.Gallery Talk by Joseph Traugott, PhD, Curator of 20th Century Art, New Mexico Museum of Art

CHARLOTTE JACKSON FINE ARTRailyard Art District / 554 South Guadalupe, Santa Fe, NM 87501 / 505-989-8688 / www.charlottejackson.com

F L O R E N C E P I E R C ER E F L E C T I O N S

R A I L Y A R D A RT S D I S T R I C T

SITE SANTA FE EIGHTH INTERNATIONAL BIENNIALSARAH LEWIS and DANIEL BELASCO, Curators

ADJAYE ASSOCIATES, Exhibition Designer

Through JANUARY 2, 2011

www.thedissolve.net

SITE is greatful to the following for their generous support of this Biennial:HONORARY CHAIRMAN Agnes Gund HONOREES Jeanne & Michael L. Klein LEAD UNDERWRITERS Anonymous, The Andy Warhol Foundation for the Visual Arts, The Burnett Foundation, National Endowment for the Arts EXHIBITION PATRONS Anonymous, Agnes Gund, Jeanne & Michael L. Klein, Anne & John Marion CURATORS’ PATRONS Toby Devan Lewis, Marlene Nathan Meyerson CATALOGUE SPONSOR Rosina Lee Yue & Dr. Bert A. Lies EXHIBITION SUPPORTERS Karen & Steve Berkowitz, Cornelia Bryer & Herman Siegelaar, Katherine & James Gentry, Jeanne & Jim Manning / The Azalea Fund, Millstream Fund EXHIBITION FRIENDS Terry K. & Richard C. Albright, Dottie & Dick Barrett, Gay Block & Rabbi Malka Drucker, Suzanne Deal Booth, Carmel & Tom Borders, Century Bank, Étant Donnés: The French American Fund for Contemporary Art; Susan Foote & Stephen Feinberg, Christopher Hill & Rodolfo Chopoena, Mondriaan Foundation, Rita & Kent Norton, Linda Pace Foundation, JoAnn & Steve Ruppert, Courtney Finch Taylor & Scott Taylor, Ann Tenenbaum & Thomas H. Lee, Kathy & Charles Webster, Zane Bennett Gallery CORPORATE SPONSOR UBS Financial Services, Houston BIENNIAL WEBSITE SPONSOR Avalon Trust PANEL DISCUSSION SPONSORS TAI Gallery, Alicia & Bill Miller, Nancy Ziegler Nodelman & Dwight Strong SITE GUIDE SPONSOR Marcellin Simard, MD/Santa Fe Cardiology; and the SITE Board of Directors. This announcement is made possible in part by the City of Santa Fe and the 1% Lodgers Tax.1606 Paseo de Peralta, Santa Fe, NM 87501 | 505.989.1199 | www.sitesantafe.org

Ticket Information$10 for adults; $5 for students, seniors, and SITE members at Friend andFamily levels. Free with advance reservation for members at the Supporterlevel and above. The Art & Culture series is made possible by a generousendowment from the Marlene Nathan Meyerson Family Foundation.

Upcoming at SITE Santa Fe this summer:

TUESDAY, AUGUST 10, 6 PMArtists Talk about ArtistsJennifer and Kevin McCoyCo-sponsored by David Richard Contemporary

FRIDAY, AUGUST 27, 7 PMLive at SITE: Gallery GigFOLKy TONK: Weedpatch or BustCo-sponsored by Allsup’s and Coca-ColaFree admission; suggested donation $1Part of RAD Final Fridays

TUESDAY, AUGUST 17, 6 PMMy Life in ArtTalk and DrawPatrick Oliphant and Morley SaferCo-sponsored by Gebert Contemporary

JULY 30 – SEPTEMBER 25

JAME S KELLY CONTEMPORARY1601 PASEO DE PERALTA, SANTA FE, NEW MEXICO 87501T 505.989.1601 F 505.989.5005 JAMESKELLY.COM

LOCATED IN THE RAILYARD DISTRICTACROSS FROM SITE SANTA FE

A ROSE GROWS IN COMA 2010 CERAMIC 4.25 x 3.5 x 7 INCHES

RON NAGLESPIT SHINE

Lost Worlds-Ruins of the Americas

ARTHUR

DROOKERTOM

ALDRONNew Sculpture

RAILYARD DISTRICT540 S. GUADALUPE STREET | SANTA FE, NM 87501505.820.3300 | WILLIAMSIEGAL.COM

Photography

August13–September 3, 2010 Opening Reception Friday August13 5–7PM

W

Line, CuRve, FoRmJuly 20–auGust 28, 2010 | OpeninG Reception SatuRday, July 24, 2010, 5:00–8:00 PM

a GRoup shoW featuRinG: Simon Aldridge, Alex Couwenberg, Mark Emerson, Julie Karabenick, Scott Malbaurn and Richard Roth

SCott MAlbAuRn RiChARd Roth JuliE KARAbEniCK

SiMon AldRidgE AlEx CouwEnbERg MARK EMERSon

130 lincoln Avenue, Suite d, Santa Fe, nM 87501 | p (505) 983-9555 | f (505) 983-1284

www.davidRichardContemporary.com | [email protected]

545 Camino de la Familia, Santa Fe, NM 87501 505.984.1122 www.santafeclay.com

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

DAVID HICKS · PATRICIA SANNITJuly 9 - August 21

SANTA FE CLAY

EmilyMason R a i ly a R d

color revelations april 30– june 6. 2010

MargaretFitzgerald d o w n t o w n

desaparecer may 7– 31.2010 Reception: Friday, May 7, 5:30-7:30PM

Vanishing Points Saul Becker Martí Cormand Steve Robinson ApRil 30 – June 6 , 2 010 CuRAted By Alex RoSS

LewAllenGalleries

lewallenProjectspresents the inaugural exhibition of

LewAllenGalleries

Railyard: 1613 Paseo de Peralta (505) 988.3250 Downtown: 129 West Palace Avenue (505) 988.8997

www.lewallengalleries.com [email protected]

Georgia O’Keeffe, Series 1, No. 4, 1918. Oil on canvas, 20 X 16 in. Städtische Galerie im Lenbachhaus, Munich. Gift of the Georgia O’Keeffe Foundation. Georgia O’Keeffe, Series I–No. 3, 1918. Oil on board, 20 x 16 in. Milwaukee Art Museum. Gift of Jane Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. M1997.192. Photography by Larry Sanders. © Milwaukee Art Museum.

GEORGIA O’KEEFFE: ABSTRACTIONTIME MAGAZINE: ONE OF 2OO9’S TOP TEN ART EXHIBITIONS

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130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284

www.DavidRichardContemporary.com | [email protected]

ChRis KahleRAuGust 31 – OctobeR 9, 2010 | OpeninG Reception with Artist Friday, Sept. 3, 5:00 – 8:00 pm

Bio-dynamic

DetAiL: Dynamic HybriD c-1, 2010, 36" x 72" Acrylic and oils on canvas

B L U E R A I NG A L L E R Y

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130 Lincoln Avenue, Suite C

B L U E R A I N G A L L E R Y. C O M

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TO N Y A B E Y TAFr i d a y, Au g u s t 2 0, 5 – 8 p m

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GA’AN IN WHITE RECOVERING THE FEMININE, NO. 3

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JOAN BRINK STUDIOOPEN AUGUST

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D A N N A M I N G H A

H O P I M O N TAG E # 2 0 Acrylic on Canvas48" x 36" ©2010 Dan Namingha

A R L O N A M I N G H A

PA L H I K M A N A # 2 Texas Limestone and Basswood12" x 10" x 3.75" ©2010 Arlo Namingha

M I C H A E L N A M I N G H A

B L A M E I T O N T H E A LT I T U D E ( S A N TA f E c L I c H E S E r I E S ) Inkjet on Paper Edition of 3 33" x 24" ©2010 Michael Namingha

125 Lincoln Avenue • Suite 116 • Santa fe, NM 87501 • Monday–Saturday, 10 am to 5 pm 505-988-5091 • fax: 505-988-1650 • [email protected] • www.namingha.com

Artist reception, friday, August 20, 2010 5:30 pm to 7:30 pm

a whole new way to buy Contemporary ameriCan indian art for today’s ColleCtor

ALLAN HOUSER • G. PETER JEMISON • ROSEMARY LONEWOLF • NATHAN HART

FRITZ SCHOLDER • STEVEN YAZZIE • HOKA SKENANDORE • JULIE BUFFALOHEAD

JOE FEDDERSEN • RICHARD ZANE SMITH • ELIZA NARANJO-MORSE

KAY WALKINGSTICK • ROXANNE SWENTZELL • MARLA ALLISON • SARAH SENSE

ROSE B. SIMPSON • ERICA LORD • NORA NARANJO-MORSE • NORMAN AKERS

TONY JOJOLA • DOUG HYDE • WILL WILSON • RICK BARTOW • JOHN HOOVER

Coming soon: nw X sw: GlassFeaturing Preston SingletaryTony Jojola + Rosemary Lonewolfoctober 16 – november 15

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north ScottSdale: 32633 n. sCottsdale rd., sCottsdale, aZ 480.488.9817

atÊ theÊ HeardÊ MuseumÊ Shop

steven yazzie, Navajo/Laguna Pueblo, “death of a Curator,” oil on canvas, 30”h x 36”w

221 Canyon Road Santa Fe505.955.0550 www.adobegallery.com

BIRDS on Pueblo PotteryOpening Reception August 9th, 4-7 p.m.

A D I F F E R E N T S E N S I T I V I T YW O M E N I N B A M B O O A R T

I S O H I S E T S U K OK A J I WA R A AYATA N A B E M I T S U K OT A N I O K A A I K OO K I T O S H I E

AUGUST 7–14, 2010

Artist Reception

Friday, August 6, 5 – 7pm

1601B Paseo de Peralta

Santa Fe, New Mexico 87501

Across from SITE Santa Fe

505.984.1387

www.taigallery.com

I SOHI SE TSUKO

Rain Shower 201011 diameter x 16 inchesPhoto by Gary Mankus

T A I G A L L E R Y

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

• 505.984.1234 • www.AndrewSmithGallery.com

Exhibiting work by leading Native American Photographers: Hulleah Tsinhnahjinnie, Shelly Niro, Zig Jackson,

Larry McNeil, Victor Masayesva, and Da-ka-xeen Mehner

Hotdogs, Corndogs & Cold Drinks, 1999 © Zig Jackson

The Three Graces, 2003 © Hulleah Tsinhnahjinnie

Hearing Trees Fall - from La Pieta, 2006 © Shelly Niro

Celebrating Contemporary Native American Photography

122 Grant Ave., Santa Fe, NM 87501Next to the Georgia O’Keeffe Museum

M O N R O E G A L L E R Yo f p h o t o g r a p h y

112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810e: [email protected] www.monroegallery.com

Exhibition continues through September 26

The Beatles arrive in New York, February 7, 1964

Open Daily

BILL EPPRIDGEAn American TreasureMILTON AVERY

EMIL BISTTRAM DONNA GUNTHER BROWNLEONORA CARRINGTON HOWARD COOKCAROL CORELL RANDALL DAVEYRICHARD DIEBENKORN WERNER DREWES ALBERT LOOKING ELK NORMA BASSETT HALL E. MARTIN HENNINGS HANS HOFMANN CARL HOLTY WOLF KAHNGENE KLOSS GINA KNEE

WIFREDO LAMBEATRICE MANDELMANREGINALD MARSHROBERTO MATTACARLOS MERIDA

ROBERT MOTHERWELL

LOUIS RIBAKROLPH SCARLETTLOUIS SCHANKER

NILES SPENCERRUFINO TAMAYOABRAHAM WALKOWITZWILLIAM ZORACHFRANCISCO ZUNIGA

HIRSCH FINE ARTMuseum Quality Works on PaperFor the New to Experienced Collector

BY APPOINTMENT 505.988.1166LITERALLY STEPS OFF CANYON ROADwww.hirschfineart.com

JUAN MIRABAL

JANE PETERSON

JOHN SLOAN

LOUISA MCELWAIN

Thy Tender Mercies, 42 x 54, oil on canvas

view online catalogue at EVOKEcontemporary.com

The Buffalo In Plains Indian culture the buffalo is the animal representation of the sun. It is at

least equal to the horse in its sacred aspect. A buffalo bull is the sacrificial victim

of the Sun Dance. It is the one animal that sustained the Plains Indian at the peak

of Plains culture physically and spiritually.

The Pan-IndIan exPerIence I take it that “Pan-Indian” means the Indian across tribal barriers, Indians of

multiple cultures languages. I have lived among Kiowa, Navajo, Apache, and

Pueblo peoples. Thus I had a Pan-Indian experience in my formative years. It gave

me a wider-than-usual experience of the Indian world.

PassIng on The sTorIes, ProTecTIng The oral TradITIonAs a writer and one who has studied and taught the oral tradition for many years,

I have a keen interest in the element of language. I believe it is the principal

factor in separating the human being from all other species. We think that writing

is about six thousand years old. The oral tradition (language in the absence of

writing) is inestimably older and in several ways more vital, albeit more fragile.

The oral tradition of the American Indian is very highly developed.

sacred Places and The ThefT of The sacred Sacred places are places invested with deep spiritual significance, and they exist

all over the world. Among them are special features in the landscape (Bear

Butte, Devils Tower, etc.), battlefields, historic and prehistoric sites. The theft

of the sacred is the deprivation of that which is of critical value to a people—the

desecration of religious sites and/or objects, for example.

The WesT as a dream landscaPe full of sacred realITIesThe West is a mythical landscape, having substance not only as a

physical geography, but as a landscape of the imagination as well. There

is no America without the larger-than-life dimension of the Wild West. Ask

your day-dreaming European. Ironically, the true history of the West is often

more interesting and romantic than the fiction of the Wild West Show and of

dime novels.

The Place of PassIon In PoeTry and In PaInTIngPoetry, painting, the arts in general, must be informed with passion—inspiration

of a high order—or it is consigned to mediocrity. Mine is a proud calling; I am at

my best when expressing my spirit.

nnnnScott Momadaynnwas born in 1934 nnand spent his childhood on the Navajo, Apache, and nnPueblo reservations of the Southwest. nn“I had a Pan-nnIndian experience as a child, even before I nnknew what that term meant.”nn He says after enduring nnthe severity of the Great Depression, the family settled in New nnMexico, where his parents taught in a two-teacher Indian day nnschool. Momaday’s father was a painter and his mother a writer. nn“I grew up in a creative household and was interested in nnreading and writing early on.”nn Growing up among various Indian tribes, nnMomaday developed an appreciation for the healing power of stories and their words. nnMomaday is the author of a number of books, including novels, poetry collections, nnliterary criticism, and works on Native American culture. He has received numerous nnawards, includingnna Guggenheim Fellowship, a National Institute of Arts and Letters nnAward, and the nnPremio Letterario Internazionale Mondellonn, Italy’s highest literary award.n

| august 2010 T H E M A G A Z I N E | 2 3

nphotoGraph By Jennifer esperanza

UNIVERSE OF

203 W Water St Santa Fe, NM 87501 800-871-1883 www.lucchese.com

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STUDIO VISITS

DeGAS SAID, “A WORk OF ART ISA ThInG ThATReqUIReS AS MUCh CUnnInG AnDVICIOUSneSS ASThe PeRPeTRATIOn OF A CRIMe.” ThRee ARTISTS ReSPOnDTO ThIS STATeMenT.

(1) If art is a crime, then I’m a repeat offender, a three-time loser, and public enemy #1. Depends on who’s watching, clocking, and tracking art (crime) movement(s), but as far as I’m concerned (my) art and the making of it is a crime of passion.—douGlas Miles

A forty-foot wall installation, Apaches & Angels, by Miles

and a trio of artists, opens Friday, August 1, 5 to 7 pm

at the Museum of Contemporary Native Arts, Santa Fe.

Indian Ink, at Legends Gallery, 123 Lincoln Avenue, is curated

by Miles and opens on Friday, August 13. Reception from

5 to 7 pm. On Saturday, August 21, Skateploitation 2—

a skateboard competition sponsored by SWAIA, Volcom Stone

Age, and Apache Skateboards—takes place on Cathedral Street.

Prizes, art, product tosses, DJs, bands, skateboarding, and more.

PhotograPh of Miles by Dana WalDon

(2) The way of the artist is immediacy, and it is best to dash in, head-long.—dieGo roMero

Romero is represented in Santa Fe by Robert Nichols Gallery

and by Clark + Del Vecchio. His work can seen at the Indian

Market on August 21-22, booth 243.

PhotograPh of roMero by anne staveley

(3) The sheer will to not only survive, but to continue to express our cultures in the face of genocide, and in the last several generations—marginalization—has resulted in

stereotypical expectations. Perhaps for Native artists it is exactly cunning and viciousness that allows us to remind the world that the perpetration of a crime has happened, is happening, and will be processed through our creativity, regardless of what the “market” desires.—teri Greeves

Greeves is represented in Santa Fe by Shiprock Santa Fe.

Her work has been exhibited in the New Mexico Museum of

Art; the Royal BC Museum, Canada; the Fuller Craft Museum,

Brockton, MA; and the Brooklyn Museum, Brooklyn, NY.

Her work can seen at the Indian Market on August 21-22,

booth 327 FR-N.

PhotograPh of greeves by anne staveley

(1)

(2)

| august 2010 The magazine | 27

(3)

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A BAr At the Folies-Bergère

By edouArd MAnet

Painted in 1882 at a time when the impressionist movement was giving birth to modernism, Edouard Manet’s last painting, A Bar at the Folies-Bergère, is a celebration of contemporary life. The principal character is a barmaid, Suzon, a young woman who worked at the Folies-Bergère and posed for this painting in Manet’s studio. Suzon stands alone in the crowded room looking both aloof and somewhat melancholy. She seems alienated from her surroundings. Directly behind Suzon, the reflection of the marble countertop holding several bottles—plausible replicas of those to our left—anchors the lower border of the painting. The only solid realities are the marble bar top and the objects on it—crème de menthe, champagne, English ale, a bowl of oranges, and two roses delicately placed in a vase. The symmetry of the main grouping on the bar reinforces the symmetry of Suzon’s pose—she stands in the center of the picture with both hands resting on the bar. This balance is softened by Suzon’s averted gaze, by the flowers and fruit, by the displaced symmetry of the lights on the pillars behind her, and by her own dislocating reflection. In the background, the brush strokes appear to be very thick and butter-like, yet manage to give the painting the ability to retain a symmetrical balance of space. Behind Suzon’s reflection, we see the cap of a champagne bottle, reinforcing that this is, in fact, a reflection. The champagne illustrates that many of the clientele came from a high social rank. The bottles of Bass Ale communicate Manet’s distinctly anti-German sentiments—the Germans had occupied Alsace, the main source of beer in France, so Manet dissed the Germans by painting English ale. D

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FOOD FOR THOUGHT


whAt we eAt when we eAt Alone

By deBorAh MAdison And PAtrick McFArlin

In what we eat when we eat alone: stories and 100 recipes (Gibbs Smith, $24.99), Deborah Madison, founding chef of Greens Restaurant in San Francisco, and the author of many books, including Vegetarian Cooking for Everyone and The Savory Way, and artist Patrick McFarlin pose the question: If you live alone, or are on your own while your partner is away, what do you cook for yourself? To find the answer, Madison and McFarlin asked friends, neighbors, empty nesters, colleagues, artists, foodies, and people they met on their travels about what they ate when they were by themselves. Some diners chose simple fare, others elaborate meals, while still others had somewhat bizarre choices—such as Saltines crushed into a glass of milk, bread soaked in Margarita mix, or a Spam sandwich with grape jelly. While Madison does not present guidelines for using Spam, she does offer a host of user-friendly recipes, as well as exploring how men and women approach eating alone. The accompanying sketches by McFarlin are wonderful—he really knows his stuff. Part memoir and part cookbook, this gem of a book will add to your enjoyment of those solo dinners. D

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ONE BOTTLE

There were two sadhus, and they were as different from each other as night

was from day.

The first sadhu was tall and thin and very brave. His eyesight was so good, he

could see the colors of the stars. During meditation, his body did not move. Air

flowed into and out of his lungs without a sound. During yoga, his arms, legs, and

hands performed a series of effortless gestures. When he fasted, his mind was free

of all thoughts of food. On the roads and trails through the Himalayas, he was never

short of breath.

The second sadhu was slow, apprehensive, and fearful. His eyesight was good,

but there were times when his visions made it difficult for him to see what was

right in front of him. During meditation, he shook like a leaf. His breathing was

nervous and sporadic, like the breathing of a man on his deathbed. During yoga,

the second sadhu had a tendency to lose his way, find it, and lose it again. He

never seemed to know what to do with his hands. When he fasted, all he could

think about was mangoes. And on the roads and trails through the Himalayas,

he was always short of breath.

The two sadhus had met at the edge of a village, where a crowd

had gathered to watch the first sadhu do yoga. The second sadhu had

been in the crowd. After the crowd broke up and wandered back into

the village, the second sadhu went to the first sadhu and handed him

a yellow flower. From that day on, the two sadhus fasted, meditated,

and traveled together.

One day, in the foothills of the Himalayas, the two sadhus were

walking on a trail. With the exceptions of the garlands around their

necks and the paint on their faces, both men were naked. The

trail took them across a stream, then it led them up the west

side of a canyon. For a while, they could hear the water in the

stream but soon the sound of the water faded into silence. As

they climbed out of the canyon, they saw a ridge in the distance.

They also saw the pass where the trail crossed over the ridge.

Halfway to the pass there was a white granite boulder the size of

a house. The boulder looked like it was blocking the trail.

One hundred yards below the boulder, the first sadhu told

his mind to stop using the boulder as a reward. Walking was the

meditation. Measuring the distance between himself and the

boulder was a temptation, a trick of the mind.

The second sadhu had been watching the boulder for

a long time. As he climbed the trail, he used the boulder’s white

shape to pull him up the trail. He knew this was an abuse of his

concentration but his legs ached and he was short of breath.

When the sadhus were ten yards away from the boulder,

Lord Vishnu stepped out from behind the boulder. Both sadhus

fell to their knees. After they touched their foreheads to the

ground, they looked up. Lord Vishnu was still there.

“Lord Vishnu,” said the first sadhu, “supreme lord of the

worlds, I worship you.”

The second sadhu said nothing. He was too frightened to speak.

“Hello, boys,” said Lord Vishnu. “You each get one minute

alone with me, behind the rock, and you each get one question.

Who wants to go first?”

The first sadhu stepped forward. “I do,” he said.

Behind the rock, the first sadhu asked this question: “Lord Vishnu, how many

more lifetimes do I have to endure before I attain perfect enlightenment and achieve

liberation from the physical world?”

“Two,” said Lord Vishnu.

The first sadhu threw himself on the ground. He grabbed a stick, put it in his

mouth and bit down on it, then he spit out the stick and screamed. His lips and tongue

were bleeding.

“What’s wrong with you?” said Lord Vishnu.

“I thought this was it!” said the first sadhu. “I thought this was my last incarnation.

Damn you.” He got to his feet, wiped the blood from his lips, and left.

The second sadhu came behind the boulder. “Lord Vishnu,” he said, “thank you

for being here. I also worship you. Please forgive me. My question is selfish, but this

may be the only time I get to ask it. How many more lifetimes are waiting for me?”

Lord Vishnu led the second sadhu to a ledge beyond the boulder. From

the ledge, the second sadhu could see the whole canyon, the silver water

flowing through the stream below, and the Himalayas in the distance. Lord

Vishnu pointed at a tree growing out of the rocks on the opposite side of

the canyon. The tree had bright yellow leaves. “Do you see the leaves

on that tree?” he said.

“Yes,” said the second sadhu.

“The number of leaves on that tree—that’s how many lifetimes

you have waiting for you.”

The second sadhu looked at the tree for a long time, then he

turned to Lord Vishnu and bowed. “Thank you, Lord Vishnu,” he

said. “Thank you for all of them.”

Which brings us to the 2006 Joseph Drouhin Puligny-

Montrachet “Folatières.”

In the glass, the 2006 Joseph Drouhin Puligny-

Montrachet “Folatierès” offers you a degree of clarity that

does not exist between human beings. The fact that this

clarity can exist between a human being and a wine is a

paradox. Human beings love to lie. It is in our nature to

deceive each other and ourselves. So how is it that a human

being can make a wine that has no guile in it?

On the palate, the 2006 “Folatières” reaffirms its clarity.

You do not taste this wine so much as you wish you could be

more like it. The prospect of living, breathing, and speaking with

unmitigated clarity is thrilling, even if that prospect exists only

in your imagination. The finish reminds you

of why you can never have enough white

Burgundy in your cellar. The finish of a good

white Burgundy lifts your spirits. The finish of

a great white Burgundy lifts your soul. D

One Bottle is dedicated to the appreciation of good wines and good times, one bottle at a time.The name “One Bottle” and the contents of this column are ©2010 by onebottle.com. For back issues of One Bottle, go to onebottle.com. Joshua Baer can be reached at [email protected]

one bottle:

The 2006 Joseph Drouhin Puligny-Montrachet “Folatières”By Joshua Baer


Real Food prepared by Real ChefsFeaturing local farm fresh produce

Three course Lunch prixe fix, 14.95Three course Dinner prixe fix, 29.50

Dinner 7 Nights at 5 pmLunch Monday – Saturday

Patio Dining95 West Marcy Street

One block north of the Historic PlazaSanta Fe, New Mexico

505-984-1091

ilpiattosantafe.com

il piatto

Photograph by Cassie Rainey

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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...

c o n t i n u e d o n p a g e 3 7

315 restaurant & Wine bar 315 Old Santa Fe Trail. 986-9190. Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$$Cuisine: French. Atmosphere: Reminiscent of an inn in the French countryside. house specialties: Earthy French onion soup made with duck stock; squash blossom beignets; crispy duck; and one of the most flavorful steaks in town. Comments: Recently expanded and renovated with a beautiful new bar. Superb wine list. New spring menu.

a la Mesa! 428 Agua Fria St. 988-2836. Dinner Beer/Wine. Smoke-free. Major credit cards. $$$Cuisine: Eclectic. Atmosphere: Bustling and friendly. house specialties: Start with the Calamari Jardiniere or the Tataki of beef. For your main course, try the Steak Frites or the perfectly cooked Salmon Osso Bucco. Comments: Good wine list.

aMavi restaurant 221 Shelby St. 988-2355. Dinner Full bar. Smoke-free. Major credit cards. $$$$Cuisine: Mediterranean Atmosphere: Intimate. house specialties: Start with the Bistro Salad. For your main, we recommend the Pollo Mattone; the tiger shrimp with garlic, shallots, smoked pimentos, and sherry and the Olive Crusted King Salmon” Nicoise.” Comments: Chef Megan Tucker kitchen is cooking up a storm.

anasazi restaurant Inn 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 smoked chile and butternut squash soup with pulled spoon bread croutons and cumin crema. For your entrée, we suggest any of the chef’s signature dishes, which include blue corn crusted salmon with citrus jalapeno sauce, and the nine spice beef tenderloin with chipotle modelo glaze. Comments: Attentive service

anDiaMo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$Cuisine: Italian. Atmosphere: Cozy. house specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin Comments: Good wines, great pizzas and a sharp waitstaff.

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.

boDy café 333 Cordova Rd. 986-0362. Breakfast/Lunch/Dinner Major credit cards. $$$Cuisine: Organic. Atmosphere: Casual. house specialties: In the morning, try the breakfast smoothie or the Green Chile Burrito. We love the Asian Curry for lunch or the Avocado and Cheese Wrap. Comments: Soups and salads are marvelous, as is the Carrot Juice Alchemy.

cafe cafe italian grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$Cuisine: Italian. Atmosphere: Casual. house specialties: For lunch, the classic Caesar salad; the tasty specialty pizzas or the grilled eggplant sandwich. For dinner, we loved the perfectly grilled swordfish salmorglio and the herb-breaded veal cutlet. Comments: Very friendly waitstaff.

café Pasqual’s 121 Don Gaspar Ave. 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: Hotcakes 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 coMPounD 653 Canyon Rd. 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 linens on the tables. house specialties: Jumbo crab and lobster salad. The chicken schnitzel is flawless. Desserts 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.

coPa De oro Agora Center at Eldorado. 466-8668. Lunch/Dinner 7 days a week. Take-out. Beer/Wine. 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,

and the slow-cooked twelve-hour pot roast. For dessert, go for the lemon mousse or the kahlua macadamia nut brownie. Comments: Worth the short ten-minute drive from downtown Santa Fe.

corazón 401 S. Guadalupe St. 424-7390. Lunch/DinnerFull bar. 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, or the flash fried calamari with sweet chili dipping sauce; or the amazing Corazón hamburger trio. Comments: Love music? Corazón is definitely your place.

counter culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. 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 faMe 319 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: The smoked brisket and ribs are fantastic. Dynamite buffalo burgers and a knockout strawberry shortcake. Comments: Lots of beers—from Bud to the fancy stuff.

coyote café 132 W. Water St. 983-1615. Dinner Full bar. Smoke-free. Major credit cards. $$$$Cuisine: Southwestern with French and Asian influences. Atmosphere Bustling. house specialties: For your main course, go for the grilled Maine lobster tails or the Southwestern Rotisserie, or the grilled 24-ounce “Cowboy Cut” steak. Comments: Good wine list and unique signature cocktails.

DoWntoWn subscriPtion376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Smoke-free. Patio. Cash. $Cuisine: Standard coffee-house fare. Atmosphere: A large room with small tables inside and a nice patio outside where you can sit, read periodicals, and schmooze. Over 1,600 magazine titles to buy or peruse. house specialties: Espresso, cappuccino, and lattes.

el farol 808 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. Murals by Alfred Morang.

el Mesón 213 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.

geroniMo 724 Canyon Rd. 982-1500. Dinner Full bar. Smoke-free dining room. Patio. Major credit cards. $$$$Cuisine: FrenchAsian fusion. Atmosphere: Kiva fireplaces, a portal, and a lovely garden room. house specialties: Start with the superb French foie gras, Entrées we love include the green miso sea bass, served with black truffle scallions, and the classic peppery Elk tenderloin. Comments: Tasting menus for available.

il Piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Smoke-free. Major credit cards. $$Cuisine: Italian. Atmosphere: Bustling. house specialties: Arugula and tomato salad; grilled hanger steak with three cheeses, pancetta and onions; lemon and rosemary grilled chicken; and the delicious pork chop stuffed with mozzarella, pine nuts, proscuitto, potato gratin, and rosemary wine jus. Comments: Prix fixe seven nights a week. JaMbo cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Smoke-free. Major credit cards. $$Cuisine: African and Caribbean inspired. Atmosphere: Basic cafe-style. house specialties: We love the tasty Jerk chicken sandwich. Try the curried chicken salad wrap; or the marvelous phillo stuffed with spinach, black olives, feta cheese, roasted red peppers and chickpeas served over organic greens. You will love the East African coconut lentil stew. Comments: Obo was the executive chef at the Zia Diner.

Josh’s barbecue 3486 Zafarano Dr. Suite A. 474-6466. Lunch/Dinner Beer/Wine Major credit cards. $$Cuisine: Barbecue. Atmosphere: Casual,house specialties: Delicious wood-smoked meats, cooked low and very slow are king here. Recommendations: We love the tender red-chile, honey-glazed ribs, the tender brisket, the barbecue chicken wings, the smoked chicken tacquitos, and the spicy queso. Comments: Seasonal BBQ sauces. Josh’s was written up in America’s Best BBQs.

KohnaMi restaurant 313 S. Guadalupe St. 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: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and very dry—like drinking from a magic spring admist a bamboo forest. Comments: New noodle menu. Friendly waitstaff.

lan’s vietnaMese cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$Cuisine: Vietnamese. Atmosphere: Casual and friendly. house specialties: Start with the Pho Tai Hoi, a vegetarian soup loaded with veggies, fresh herbs, and spices. For your entree, we suggest the Noung—BBQ beef, chicken, or shrimp with lemongrass, lime leaf, shallots, garlic, cucumber, pickled onion, lettuce, and fresh herbs on vermicelli noodles—it will rock your taste buds.

laMy station café Lamy Train Station, Lamy. 466-1904. Lunch/Dinner/Sunday Brunch Beer/Wine. 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.

la Plazuela on the Plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Smoke-free. Major credit cards. $$$Cuisine: New Mexican and Continental. Atmosphere: A gorgeous enclosed courtyard with skylights and hand-painted windows exudes Old World charm. house specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese—both are absolutely delicious. For your entreé include the Braised Lamb Shank, served with a natural jus lie, spring gremolata, roasted piñon couscous, and fresh vegetables. Comments: Seasonal menus created by Chef Lane Warner. A good wine list and attentive service.

luMinaria restaurant anD Patio Inn and Spa at Loretto 211 Old Santa Fe Trail. 984-7915. Breakfast/Lunch/Dinner/Sunday Brunch Smoke-free. Valet parking. Major credit cards. $$$Cuisine: American meet the Great Southwest. Atmosphere: Elegant and romantic. Recommendations: Start with the award-winning tortilla soup or the Maine lobster cakes. If you love fish? Order the perfectly prepared coriander crusted kampache or the Santa Fean Paella—it isloaded with delicious shrimp, salmon,

Winner of Gourmet magazine’s

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Reservations: 983-3800

DINING GUIDE


Photos: Guy Cross

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clams, mussels, roasted peppers, and onions. The flavorful New Mexico chile pork tenderloin is top notch. Comments: Organic produce when available.

Maria’s neW Mexican Kitchen 555 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 set the historical tone. house specialties: Freshly-made tortillas, green chile stew, and Pork spareribs in a red chile sauce. Comments: Perfect margaritas.

Max’s 21st century fooD 401½ Guadalupe St. 984-9104. Dinner Beer/Wine. Non-smoking. Patio. Major credit cards. $$Cuisine: Contemporary. Atmosphere: Small and intimate. house specialties: Wonderful variety of salads, succulent baby-back pork ribs, flavorful grilled baby lamb chops, and perfectly-prepared seared black pepper-crusted yellowfin tuna. Comments: Organic ingredients when available.

MuseuM hill cafe Museum Hill, off Camino Lejo 984-8900. Breakfast/Dinner Beer/Wine. to come. Smoke-free. Major credit cards. $Cuisine: American, Mediterranean and Mexican. Atmosphere: Casual and friendly. house specialties: The Thai Beef Salad is right on the mark. Try the Smoked Duck Flautas—they’re amazing. Comments: Menu changes depending on what is fresh in the market. All organic ingredients used when available.

Mu Du nooDles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Smoke-free. Major credit cards. $$Cuisine: Noodle house Atmosphere: Casual and friendly. house specialties: Salmon dumplings with oyster sauce, and Malaysian Laksa (wild rice noodles in a red coconut curry sauce).

nostrani ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$$$Cuisine: Regional dishes from Northern Italy. Atmosphere: An 1887 renovated adobe with a great bar. house specialties: For your main, try the Stuffed Gnocchetti with Proscuitto and Chicken, or the Diver Scallops. Comments: A garden where they grow produce. European wine list. Winner of Gourmet magazine’s “Top 50 U.S. Restaurants.” Frommer’s rates Nostrani in the “Top 500 Restaurants in the World.”

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 O’Keeffe. house specialties: Try the Northern New Mexico organic poquitero rack of lamb with black olive tapenade. Comments: Nice wine selection.

Pizza centro Santa Fe Design Center. 988-8825. Agora Center at Eldorado. 466-3161. Lunch/Dinner Wednesday-Sunday Cash or check. No credit cards. $$Cuisine: Real New York-style pizza. Atmosphere: Casual. Counter service and a few tables. house specialties: A variety of pizzas with names that reflect The Big Apple, a.k.a. New York City. Recommendations: The Central Park thin-crust pizzas is a knockout.

Plaza café southsiDe 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Smoke-free. Major credit cards. $$$Cuisine: American and New Mexican. Atmosphere: Bright and light, colorful, and friendly. house specialties: For your breakfast go for the Huevos Rancheros, the Chile Rellenos Omelet, or the Blue Corn Piñon Pancakes. The Brisket Taquito appetizer rules. Try the green chili stew. railyarD restaurant & saloon 530 S. Guadalupe St. 989-3300. Lunch Monday-Saturday/Dinner Bar menu daily Smoke-free. Major credit cards. $$Cuisine: Italian. Atmosphere: Casual. house specialties: The appetizer we love is the Frito Misto del Mare (fried calamari, prawns, sardines, and oysters, presented with a spicy pomadoro sauce and caper salsa verde). For your entreé, order the Whole Cornish Game Hen, marinated in garlic and chili. Comments: Generous pour at the bar.

real fooD nation Old Las Vegas Hwy/Hwy 285. 466-3886. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $Cuisine: Farm to table with an on-site organic garden. Atmosphere: Cheery, light, and downright healthy. house specialties: A salad sampler might include the red quinoa, roasted beets (both vegan), and potato with dill. The roast veggie panini is perfect. Muffins, croissants are baked in house. Wonderful soups and desserts are divine. Recommendations: Inspired breakfast menu and really fabulous coffee drinks.

restaurant Martín 526 Galisteo St. 820-0919. Lunch/Dinner/Brunch Beer/Wine Major credit cards. $$$Cuisine: Contemporary American fare. Atmosphere: Casual. house specialties: For your main course try the grilled Berkshire pork chop with shoestring tobacco onions and peach barbecue jus, or the mustard-crusted Ahi tuna. Comments: A chef-owned.

rio chaMa steaKhouse 414 Old Santa Fe Trail. 955-0765. Sunday Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$Cuisine: All-American classic steakhouse. Atmosphere: Gorgeous Pueblo-style adobe with vigas and plank floors. house specialities: USDA prime steaks and prime rib. Haystack fries and cornbread with honey butter. Recommendations: For dessert, we strongly suggest that you choose the chocolate pot.

ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Smoke-free. Patio. Major credit cards. $$$Cuisine: Southwestern with French flair. Atmosphere: Elegant bar with a nice bar menu, sophisticated and comfortable dining rooms, and a lovely outdoor patio. house specialties: Mediterranean mussels in chipotle and mint broth is superb, as is the ahi tuna tartare. Comments: Ristra won the Wine Spectator Award of Excellence in 2006.

san francisco street bar & grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$Cuisine: As American as apple pie. Atmosphere: Casual with art on the walls. house specialties: At lunch, do try the San Francisco Street hamburger on a sourdough bun 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, or the Idaho Ruby Red Trout served with grilled pineapple salsa. Comments: Visit their sister restaurant at DeVargas Center.

santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Smoking/non-smoking. Patio. Major credit cards. $$$Cuisine: Contemporary Southwestern. Atmosphere: Minimal, subdued, and elegant. house specialties: For starters, the calamari with lime dipping sauce never disappoints. Our favorite entrées include the perfectly cooked grilled rack of lamb and the pan-seared salmon with olive oil crushed new potatoes and creamed sorrel. Comments: Pastry chef Cindy Sheptow’s Key Lime Semifreddo and Chocolate Mousse with Blood Orange Grand Marnier Sauce are perfect. Appetizers at the bar at cocktail hour rule. santa fe bar & grill187 Paseo de Peralta. 982.3033. Lunch/Dinner Full bar. Patio. Major credit cards. $$

Cuisine: American and New Mexican. Atmosphere: Casual and friendly. house specialties: Start with the delicious cornmeal-crusted calamari. For your main course, we love the Santa Fe Rotisserie chicken, the Rosemary and Garlic Baby Back Ribs, and the Prawns a la Puebla. Comments: Chef Carlos Rivas is doing a yeoman’s job in the kitchen.

saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Smoke-free. Patio. Visa/Mastercard. $$Cuisine: French/American. Atmosphere: Casual. Buffet-style service for salad bar and soups. house specialties: Daily chef specials (try the maple-glazed pork tenderloin), gourmet and build-your-own sandwiches, the best soups, and an excellent salad bar (try Dee’s salad dressing). Comments: Wonderful breakfasts, organic coffees, and super desserts. A family-run restaurant.

seconD street breWery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. house specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst.

seconD street breWery 1607 Paseo de Peralta. at the Railyard. 989-3278. Lunch/Dinner Beer/Wine. Smoke-free inside. Patio. Major credit cards. $$Cuisine: Simple pub grub and brewery. Atmosphere: Casual and friendly. house specialties: The beers are outstanding, especially when paired with beer-steamed mussels, the beer-battered calamari, burgers, fish and chips, or the truly great grilled bratwurst.

the sheD 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Smoke-free. Patio. Major credit cards. $$Cuisine: New Mexican. Atmosphere: This local institution—some say a local habit—is housed in an adobe hacienda. house specialties: We suggest the stacked red or green chile cheese enchiladas with blue corn tortillas. Comments: Great chile here. Try their sister restaurant, La Choza.

shohKo café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Smoke-free. Major credit cards. $$$Cuisine: Authentic Japanese Cuisine.Atmosphere: Sushi bar, table dining. house specialties: Softshell crab tempura; sushi, and Bento boxes.

steaKsMith at el gancho Old Las Vegas Hwy. 988-3333. Lunch/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. We suggest you try the pepper steak with Dijon cream sauce. Comments: One thing for sure, they know steak here.

the teahouse 821 Canyon Rd. 992-0972. Breakfast/Lunch/Dinner 7 days Beer/Wine. Fireplace. Major credit cards. $$Cuisine: Farm-to-fork. Atmosphere: Casual. house specialties: We are fans of the Salmon Benedict with poached eggs, quiche, gourmet cheese sandwich, and the amazing Teahouse Mix salad, a wonderful selection of soups, and the Teahouse Oatmeal—some say it is “the best oatmeal in the world.”

tia soPhia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch No alcohol. Smoking/non-smoking. Major credit cards. $Cuisine: New Mexican. Atmosphere: This restaurant is absolutely a Santa Fe tradition. house specialties: Green chile stew and the huge breakfast burrito stuffed with great goodies: bacon, potatoes, chile, and cheese. Tia Sophia’s is the real deal.

tree house Pastry shoP anD cafe 1600 Lena St. 474-5543. Breakfast/Lunch Tuesday-Sunday Smoke-free. Major credit cards. $$$Cuisine: Only organic ingredients used. Atmosphere: Light, bright, and cozy. house specialties: You cannot go wrong ordering the fresh Farmer’s Market salad, the soup and sandwich, or the quiche.

vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Smoke-free. Major credit cards. $$Cuisine: Farm-to-table. Atmosphere: Light, bright and cheerful. house specialties: Salads are knockouts—fresh as can be. Try the Nutty Pear-fessor salad with grilled Bosc pears, bacon, toasted pecans, and Gorgonzola, Comments: Only organic greens are used, thus delivering the freshness that slow food promises.

zia Diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Smoking/non-smoking. PatIo. Major credit cards. $$Cuisine: All-American. Atmosphere: Down home. house specialties: meat loaf, chicken-fried chicken, Possibly the best fish and chips in town. Comments: Friendly wait-staff. The hot fudge sundaes are always perfect and there are plenty of dessert goodies for take-out.

Fresh and Delicious Food served buffet-style at SAVEUR204 Montezuma Street, Santa Fe

DINING GUIDE

| august 2010 T H E M A G A Z I N E | 3 7

On The ROAD with The magazineSquash blossom burrata pizza at Pizzeria Mozza, 641 North Highland, Los Angeles

ART OPENINGS

AUGUST ART OPENINGS

| august 2010 c o n t i n u e d o n p a g e 4 2

The magazine | 39

Thursday, augusT 5T 5T

sKotiaKotiaK gallery, 150 W. Marcy St., Suite 103,

Santa Fe. 820-7787. The New Metropolis:

new works by Simon McWilliams and Valerio

D’Ospina. 6-8 pm.

frIday, augusT 6T 6T

1228 ParKWayKWayKW art sPace, corner of Parkway

Drive and Rufina Street, Santa Fe. 603-1259.

New photographs by Luis Sanchez Saturno

and new paintings by William Sorvillo.

5-9 pm.

artistas De santa fe, 228-B Old Santa Fe Trail,

Santa Fe. 982-1320. Grid Rocks!: paintings by

George Duncan. 5-7 pm.

bright rainrainr gallery, 206 1/2 San Felipe St.

NW, Alb. 505-843-9176. Augustine Romero: new

wall sculptures. 6-9 pm.

chalK farM gallery, 729 Canyon Rd., Santa

Fe. 983-7125. Symbols and Stillness: recent stone

lithographs, sculpture, and canvas giclees by

Michael Parkes. 5:30-8 pm.

gallery at Wells fargo banK, 241 Washington

Ave., Santa Fe. 984-0442. Pueblo: abstract

paintings by Dan McBride. 3-5 pm.

geralD Peters gallery, 1011 Paseo de Peralta,

Santa Fe. 954-5700. Wayne Thiebaud: Mountains:

retrospective of Thiebaud’s mountain scenes.

5-7 pm.

glenn green galleries, 130 Lincoln Ave.,

Santa Fe. 820-0008. Summertime at Red Lake:

new works on paper and bronze by Melanie

Yazzie. 2-5 pm.

high MayheM, 2811 Siler Lane, Santa Fe.

501-3333. Everyone Shimmers the Space Near:

drawing, sculpture, performance, and video by

Scott Moore. 6-8 pm.

legenDs santa fe, 143 Lincoln Ave., Santa Fe.

983-5639. One + One = Two: collaborative

works. 5-7 pm.

leWaWaW llen galleries DoWntoWn, 129 W. Palace

Ave., Santa Fe. 988-8997. Animal Farm: animal

portraits by Tom Palmore. 5:30-7:30 pm.

MariPosa gallery, 3500 Central Ave. SE,

Alb. 505-268-6828. Art, Allegory, and Artifice:

paintings by Jamilla Naji. Ceramic sculptures

by Melanie Wegner. New photographs by

Marilyn Conway. 5-8 pm.

Matrix fine art, 3812 Central Ave. SE, Suite

100-A, Alb. 505-268-8952. Pieces: mosaics and

ceramics by Laura Robbins. 5-8 pm.

Meyer east gallery, 225 Canyon Rd., Santa

Fe. 983-1657. Robert LaDuke: paintings of the

1930s-’40s. by LaDuke. 5-7 pm.

neW grounDs Print WorKshoP & gallery,

3812 Central Ave. SE, Suite 100-B, Alb. 505-

268-8952. Eclectic: monotypes by Gerald

Fitz-Gerald. 5-8 pm.

nuart gallery, 670 Canyon Rd., Santa Fe.

988-3888. The Mergatroids Have Landed: new

works about myth and legend by Santiago

Perez. 5-7 pm.

Peterson coDy gallery, 130 W. Palace

Ave., Santa Fe. 820-0010. Vistas & Venues:

new paintings by Desmond O’Hagan.

5-7:30 pm.

ProJect sPace 805, 805 Early St., Building

C, 205-B, Santa Fe. 490-3203. Badlands: new

photographic images by Leah Siegel. 5-7 pm.

rosWell MuseuM anD art center, 100 W. 11th

St., Roswell. 575-624-6744. Butterfly Trigger:

murals by Larry Bob Phillips. 5:30-7 pm.

touching stone gallery, 539 Old Santa Fe Trail,

Santa Fe. 988-8072. Tanba Masterworks: wood-

fired ceramics by Tadashi Nishihata. 5-7 pm.

aTurday, augusT 7T 7T

generator, 723 Silver Ave. SW, Alb. 505-463-

3995. Impossible Objects: Various Small Fires:

installation by Ed Ruscha. 5-7 pm.

saac’s gallery, Nesselrodt Building, 309 N.

Virginia, Roswell. 575-626-8626. New Work by

by Melanie Wegner. New photographs by

Marilyn Conway. 5-8 pm.

M

100-A, Alb. 505-268-8952.

ceramics by Laura Robbins. 5-8 pm.

M

Fe. 983-1657.

1930s-’40s. by LaDuke. 5-7 pm.

n

3812 Central Ave. SE, Suite 100-B, Alb. 505-

268-8952.

Fitz-Gerald. 5-8 pm.

n

988-3888.

works about myth and legend by Santiago

Perez. 5-7 pm.

P

Ave., Santa Fe. 820-0010.

new paintings by Desmond O’Hagan.

5-7:30 pm.

P

C, 205-B, Santa Fe. 490-3203.

photographic images by Leah Siegel. 5-7 pm.

r

St., Roswell. 575-624-6744.

murals by Larry Bob Phillips. 5:30-7 pm.

t

Santa Fe. 988-8072.

fired ceramics by Tadashi Nishihata. 5-7 pm.

sasas

g

3995.

installation by Ed Ruscha. 5-7 pm.

isaac

Virginia, Roswell. 575-626-8626.

New paintings by Darren Vigil Grey at Gerald Peters Gallery, 1011 Paseo de Peralta. Through August.New paintings by Darren Vigil Grey at Gerald Peters Gallery, 1011 Paseo de Peralta. Through August.

Thursday,

s

Santa Fe. 820-7787.

new works by Simon McWilliams and Valerio

D’Ospina. 6-8 pm.

f

1228 P


New photographs by Luis Sanchez Saturno

and new paintings by William Sorvillo.

5-9 pm.

a

Santa Fe. 982-1320.

George Duncan. 5-7 pm.

b

NW, Alb. 505-843-9176.

wall sculptures. 6-9 pm.

c

Fe. 983-7125.

lithographs, sculpture, and canvas giclees by

Michael Parkes. 5:30-8 pm.

g


paintings by Dan McBride. 3-5 pm.

g

Santa Fe. 954-5700.

retrospective of Thiebaud’s mountain scenes.

5-7 pm.

g

Santa Fe. 820-0008.

new works on paper and bronze by Melanie

Yazzie. 2-5 pm.

h

501-3333.

drawing, sculpture, performance, and video by

Scott Moore. 6-8 pm.

l

983-5639.

works. 5-7 pm.

l


portraits by Tom Palmore. 5:30-7:30 pm.

M

Alb. 505-268-6828.

paintings by Jamilla Naji. Ceramic sculptures

HERE’S THE GREAT DEAL! $500 B&W full-page ads ($800 for color) in the September issue for artists without gallery representation in New Mexico. Reserve Space by Monday, August 16. 505-424-7641

WHO SAID THIS?“The artist is expected to appear after dinner. His function is not to provide food, but intoxication ”

1. Lucius Annaeus Seneca 2. Norman Mailer 3. Andre Gide 4. Jean de La Fontaine

F o r r e s t M o s e s 1 9 8 2 M o n o t y p eContemplative and serene, this monotype

reflects Forrest Moses’ studies of Eastern art.

$5,000 - 505-570-1460

OUT & ABOUT

Photos: Mr. Clix, Dana Waldon,

Lisa Law, & Jennifer Esperazana

OUT & ABOUT

Photos: Mr. Clix, Dana Waldon,

Lisa Law, & Jennifer Esperazana

ART OPENINGS


42 | The magazine | august 2010

Albuquerque Artists: drawing media and collage

on paper by Cristina de los Santos. Abstract

compositions by Karl Hofmann. 5-7 pm.

laslasl coMaDres WoMen’s gallery, 228-A

Paseo del Pueblo Norte, Taos. 575-737-5323.

Reflections: metal mirrors and lanterns by Jeanne

Halsey. Glass works by Jo Ann Paulk. 3-7 pm.

monday, augusT 9T 9T

aDaDa obe gallery, 221 Canyon Rd., Santa Fe. 955-

0550. Birds on Pueblo Pottery: bird motif–themed

historic Pueblo pottery, 1850-1930. 4-7 pm.

Wednesday, augusT 11T 11T

taD tribal art, 401 W. San Francisco St.,

Santa Fe. 983-4149. Personal Collections, Past

Reflections: 24th anniversary show featuring

antique tribal arts. 5:30-8 pm.

frIday, augusT 13 T 13 T

1228 ParKWayKWayKW art sPacePaceP , corner of Parkway


Creative Soup: group show of paintings. 5-8 pm.

braD sMith gallery, 714 Canyon Rd., Santa Fe.

983-1133. Wings of Love: new paintings by Brad

Smith. 5-8 pm.

charlotte JacKson fine art, 554 S. Guadalupe

St., Santa Fe. 989-8688. Solo Show: encaustic

work by the late Florence Pierce. 5-7 pm.


Santa Fe. 954-5700. Los Colores de Otoño:

woodblock prints by Leon Loughridge. 5-7 pm.

hunter Kunter Kunter irKlanD conteMPorary, 200-B

Canyon Rd., Santa Fe. 984-2111. Steel wire-

mesh sculpture by Eric Boyer. Mixed media on

canvas and paper by Charlotte Foust. 5-7 pm.

MarigolD artsartsa , 424 Canyon Rd., Santa Fe. 820-1975.

Allan Bass: masks and sculptures by Allan Bass. 5-8 pm.

neW MW MW exico MuseuM of art, 107 W. Palace

Ave., Santa Fe. 476-5072. Traces: oil and acrylic

burnished on linen by Johnnie Winona Ross.

5:30-7:30 pm.

WilliaM siegal gallery, 540 S. Guadalupe St.,

Santa Fe. 820-3300. New Sculpture: steel and

wood sculptures by Tom Waldron. Lost Worlds—

Ruins of the Americas: by Arthur Drooker. 5-7

pm.

sasas Turday, augusT 14 T 14 T

203 fine art, 203 Ledoux St., Taos. 575-751-

1262. Fritz Scholder (1937-2005): Seldom Seen

Works: rarely exhibited paintings by Scholder.

5-7 pm.

DevDanDanD gallery, 6855 Fourth St. NW, Suite

B-2, Los Ranchos. 505-342-9649. T.I.M.E.:

Temporary Installations Made for the Environment:

artworks related to sustainability. 12-6 pm.

lannanlannanl founDationDationD , 313 Read St., Santa Fe.

986-8160. Matthew S. Wikovsky: reception and

gallery talk. 5-7 pm.

leDger gallery, 413 Broadway, Truth or

Consequences. 575-231-5295. Summer Solstice:

abstract paintings by Joe Hutchinson. 6-9 pm.

Morning star gallery, 513 Canyon Rd.,

Santa Fe. 982-8187. Identity & Pride: Aesthetic

Expressions in Plains Art: Plains art, including

beadwork, quillwork, and painted works.

6-8 pm.

neDra Mra Mra atteucci galleries, 1075 Paseo de

Peralta, Santa Fe. 982-4631. Artistic Ensemble:

Doug Hyde, John Moyers, and Terri Kelly Moyers:

painting and sculpture. 2-4 pm.

shiProcK santa fe, 53 Old Santa Fe Trail,

Santa Fe. 982-8478. Annual Opening Event:

group show featuring works from Shiprock

Santa Fe’s Historic Native Art Collection and

new works by Phillip Vigil and Jared Chavez.

6-8 pm.

tresa vorenberg golDsMiths, 656 Canyon Rd.,

Santa Fe. 988-7215. A Gem Packed Life: gold and

gemstone beaded jewelry by Donna Diglio. 11

am-5:30 pm.

zane bennett conteMPorary art, 435 S.

Guadalupe St., 982-8111. Santa Fe. Paintings,

Prints and Sculpture: new works by Stephen

Auger. Paintings, prints, and neon sculpture by

François Morellet and Tony Soulie. 5-7 pm.

Thursday, augusT 19T 19T


Santa Fe. 982-8187. Reading Between the Lines:

contemporary ledger art. 5-7 pm.

MuseuM of conteMPorary native arts, 108

Cathedral Pl., Santa Fe. 424-5922. Dry Ice:

Alaska Native Artists and the Landscape: works by

contemporary Native Alaskan artists exploring

the multiple meanings of, and associations

with, the Alaska landscape. Oblique Drift:

Nicholas Galanin: Galanin examines globalized

culture(s), freedom of cultural expression,

and the manifestations of change in a world of

shifting cultures and ancestral echoes. 5-7 pm.

Round-UP: Recent Video Work by Torry Mendoza:

Mendoza focuses on the re-appropriation and

deconstruction of Native identity in popular

culture. It Wasn’t the Dream of the Golden

Cities: Postcommodity Collective’s response


Creative Soup

b

983-1133.

Smith. 5-8 pm.

c

St., Santa Fe. 989-8688.

work by the late Florence Pierce. 5-7 pm.

g

Santa Fe. 954-5700.

woodblock prints by Leon Loughridge. 5-7 pm.

h

Canyon Rd., Santa Fe. 984-2111. Steel wire-

mesh sculpture by Eric Boyer. Mixed media on

canvas and paper by Charlotte Foust. 5-7 pm.

M

Allan Bass

n


burnished on linen by Johnnie Winona Ross.

5:30-7:30 pm.

W

Santa Fe. 820-3300.

wood sculptures by Tom Waldron.

Ruins of the Americas

pm.

s

203

1262.

Works

5-7 pm.

D

B-2, Los Ranchos. 505-342-9649.

Temporary Installations Made for the Environment

artworks related to sustainability. 12-6 pm.

l

986-8160.

gallery talk. 5-7 pm.

l

Consequences. 575-231-5295.

abstract paintings by Joe Hutchinson. 6-9 pm.

M

Santa Fe. 982-8187.

Expressions in Plains Art

beadwork, quillwork, and painted works.

6-8 pm.

n

Peralta, Santa Fe. 982-4631.

Doug Hyde, John Moyers, and Terri Kelly Moyers

painting and sculpture. 2-4 pm.

s

Santa Fe. 982-8478.

group show

Santa Fe’s Historic Native Art Collection and

new works by Phillip Vigil and Jared Chavez.

6-8 pm.

t

Santa Fe. 988-7215.

gemstone beaded jewelry by Donna Diglio. 11

am-5:30 pm.

z

Guadalupe St., 982-8111. Santa Fe.

Prints and Sculpture

Auger. Paintings, prints, and neon sculpture by

François Morellet and Tony Soulie. 5-7 pm.

Thursday,

M

Santa Fe. 982-8187.


M

Cathedral Pl., Santa Fe. 424-5922.

Alaska Native Artists and the Landscape

contemporary Native Alaskan artists exploring

the multiple meanings of, and associations

with, the Alaska landscape.

Nicholas Galanin

culture(s), freedom of cultural expression,

and the manifestations of change in a world of

shifting cultures and ancestral echoes. 5-7 pm.

Round-UP: Recent Video Work by Torry Mendoza

Mendoza focuses on the re-appropriation and

deconstruction of Native identity in popular

culture.

Cities

Albuquerque Artists

on paper by Cristina de los Santos. Abstract

compositions by Karl Hofmann. 5-7 pm.

l

Paseo del Pueblo Norte, Taos. 575-737-5323.

Reflections

Halsey. Glass works by Jo Ann Paulk. 3-7 pm.

m

a

0550.

historic Pueblo pottery, 1850-1930. 4-7 pm.

Wednesday,

ta

Santa Fe. 983-4149.

Reflections

antique tribal arts. 5:30-8 pm.

f

1228 PTracesTraces—work by Johnnie Winona Ross at the New Mexico Museum of Art, 107 West Palace Avenue. Reception: Friday, August 13, 5:30-7:30 pm.Reception: Friday, August 13, 5:30-7:30 pm.

Animal FarmAnimal Farm—animal portraits by Tom Palmore at LewAllen Galleries Downtown, 129 West Palace Avenue. Reception: Friday, August 6, 5:30-7:30 pm.Reception: Friday, August 6, 5:30-7:30 pm.

and the sheer scale of the paintings leave one with the sense that these objects have taken on a significance that one wouldnÕ t ordinarily ascribe to such commonplace items. A fundamental shift in perspective happens at the societal level: McWilliams seems to revel in the wonder of progress, invention, construction, where DÕ Ospina laments that very same progress by depicting the fossils of a more optimistic industrial era. The tension between modern activity on one hand and the detritus it inevitably becomes on the other creates a soulful, profound, and incredibly beautiful essay on the materialism and industry of modern man.

valerio dÕ ospina

s k o t i a g a l l e ry | 1 5 0 w. m a r c y s t s t e 1 0 3 s a n t a f e n m 8 7 5 0 1 | 5 0 5 . 8 2 0 . 7 7 8 7 | s k o t i a g a l l e r y. c o m

n e w m e t r o p o l i sopening reception thursday august 5th, 6-8pm | friday august 6th, 5-7pm

simon mcwilliams

Born in Belfast, Simon McWilliams trained at the University of Ulster and then at the Royal Academy Schools in London. An award winning artist, his work can be found in many of the major collections of Irish Art today.

Ranging from heavy impasto to the most delicate scumbles and washes, his work, first and foremost, is a celebration of painting. McWilliams’ work examines the timeless way in which the structural environment of a city intertwines with human presence, a subject that has resulted in seventeen awards for painting in the past eight years. Drawing on BelfastÕ s past, present and future, his paintings manage to combine both realist and abstract visions of a changing world where Palm houses come to occupy the same territory as modern office blocks and radio masts.

Valerio DÕ Ospina is the perfect foil to McWilliamsÕ vibrant pieces. Born in Taranto, Italy in 1980, this young talent depicts a less optimistic urbanity with his quick strokes and sinister palette. DÕ Ospina studied at the Accademia di Belle Arti in Florence before traveling to Paris to absorb the work of his favorite artists, Gericault, Delacroix, David, Ingres, Rubens, Rodin, Toulouse-Lautrec, Manet and the Impressionists. DÕ Ospina moved to the US at the age of 27 to begin teaching Classical Drawing and Painting. Valerio is now based out of Indiana, Pennsylvania.

on thursday, august 5th from 6-8pm, skotia gallery will have an opening reception for New Metropolis, with new work from Northern irish artist simon McWilliams and italian artist Valerio DÕ ospina.

Both artists, though possessing very different stylistic sensibilities (McWilliams with his vivid, primary

palette, and DÕ Ospina with his solemn monochrome), share a fascination with the man-made, and a curious rejection of the man himself. DÕ OspinaÕ s and McWilliamsÕ paintings are conspicuously devoid of humanity, and simply depict ghostly artifacts of constructed objects: giant skeletons of scaffolding, an empty room of old engines, a broken down bus deteriorating in a dusty shed. The images are ominous,

150 wes t marcy s t ree t s te 103 san ta fe nm 87501 | 505-820-7787 | 866-820-0113 | www.sko t i aga l l e ry.coms k o t i a g a l l e ry

150 wes t marcy s t ree t s te 103 san ta fe nm 87501 | 505-820-7787 | 866-820-0113 | www.sko t i aga l l e ry.coms k o t i a g a l l e ry | 1 5 0 w. m a r c y s t s t e 1 0 3 s a n t a f e n m 8 7 5 0 1 | 5 0 5 . 8 2 0 . 7 7 8 7 | s k o t i a g a l l e r y. c o m

150 wes t marcy s t ree t s te 103 san ta fe nm 87501 | 505-820-7787 | 866-820-0113 | www.sko t i aga l l e ry.com | 1 5 0 w. m a r c y s t s t e 1 0 3 s a n t a f e n m 8 7 5 0 1 | 5 0 5 . 8 2 0 . 7 7 8 7 | s k o t i a g a l l e r y. c o m

ART OPENINGS



to the Santa Fe 400th celebration from a

Native perspective, while also critiquing

aspects of the Indian Market. Matterings: work

by Rose Simpson. Apaches and Angels: site-

specific work envisioned by artist Douglas

Miles, incorporating hand-drawn, hand-cut

stencil works from Miles’ Apache Skateboards

Team. Annual Denise Wallace Showcase at the

Museum Store and Lloyd Kiva New Gallery.

4-7 pm.

shiProcK santa fe, 53 Old Santa Fe Trail, Santa

Fe. 982-8478. Revolt: new works in clay by Virgil

Ortiz. 6-8 pm.

frIday, augusT 20 T 20 T

arroyo, 241 Delgado St., Santa Fe. 988-1002.

Sacred Earth: The Missions of Alvin Gill-Tapia: new

work by Gill-Tapia. 5-7 pm.

canyon roaD conteMPorary, 403 Canyon

Rd., Santa Fe. 983-0433. Molly Heizer: ceramic

sculptures. 5-7 pm.

chiaroscuro gallery, 702 Canyon Rd., Santa

Fe. 992-0711. Collected Voices: contemporary

Native art. 5-7 pm.

gebert conteMPorary, 558 Canyon Rd., Santa

Fe. 992-1100. Keiko Sadakane: To Garado: wall

sculptures. 5-7 pm.

gebert conteMPorary railyarrailyarr D, 550 S.

Guadalupe St., Santa Fe. 983-5444. Perla Krauze:

Imprints: site-specific installation. 5-7 pm.


Santa Fe. 954-5700. John Coffer: The Daily Tintype:

wet-plate collodion tintype photography.

5-7 pm.

glenn green galleries, 130 Lincoln Ave., Santa

Fe. 820-0008. Indian Market Exhibition and Poster

Signing: signing by George Rivera. Work by Allan

Houser, Melanie Yazzie, Michael Kabotie, and

James Faks. 4-6 pm.

leWaWaW llen galleries DoWntoWn, 129 W. Palace

Ave., Santa Fe. 988-8997. Talismans: jewelry by

Carolyn Morris Bach. 5:30-7:30 pm.


Santa Fe. 982-8187. Reading Between the Lines:


niMan fine art, 125 Lincoln Ave., Santa Fe.

988-5091. New Works: paintings, sculptures, and

photographs by Dan Namingha, Arlo Namingha,

and Michael Namingha. 5:30-7:30 pm.

zane bennett conteMPorary art, 435 S.

Guadalupe St., Santa Fe. 982-8111. Yazzie

Johnson + Gail Bird: Native American jewelry by

Johnson and Bird. 4-6 pm.

frIday, augusT 27T 27T

1228 ParKWayKWayKW art sPacePaceP , corner of Parkway Dr.,

and Rufina St., Santa Fe. 603-1259. Retrospective:

abstractions by Mary Dinter Heimberg. 5-8 pm.

box gallery, 1611-A Paseo de Peralta, Santa Fe.

989-4897. Past As Presence: scratched Plexiglas

drawings by Joanne Lefrak. 5-7 pm.

KaranKaranK ruhlen gallery, 225 Canyon Rd., Santa

Fe. 820-0807. Daniel Phill: paintings on canvas

and paper by Phill. 5-7 pm.

lalal sala De galisteo gallery & Mallery & Mallery useuM, Davis

y Ortiz Hacienda, Route 41 & CR 42, Galisteo.

466-3219. Painting, Drawing, & Printmaking

from Artists of Galisteo: group show by Galisteo

artists. 5-7 pm.

neWeWe concePtPtP gallery, 610 Canyon Rd., Santa Fe.

795-7570. Abstraction: abstract paintings, monotypes,

and sculptures by six gallery artists. 5-7 pm.

santa fe clay, 545 Camino de la Familia, Santa

Fe. 984-1122. Connections: functional pottery

by Ingrid Bathe, Hiroe Hanazono, and Deborah

Schwartzkopf. 5-7 pm.

sunday, augusT 29T 29T

rrr ranchranchr , Santa Fe. 967-5297. Pony Up: art

auction to benefit Animal Protection of New

Mexico’s Equine Protection Fund. 2 pm. Call

for directions.

sPecIal InIal InI TeresTeresT T

2010 sWsWs aiaWaiaW santasantas fe inDian MarKetKetK Wet Wet eeK,

Santa Fe. Native American art and events. Fri,. Aug.

13 to Mon., Aug. 23. For schedule: swaia.org

222 shelby street gallery, 222 Shelby St.,

Santa Fe. 982-8889. Nino Caruso Terra Cotta:

work by Italian master ceramic sculptor

Nino Caruso. Through Sun., Aug. 29.

abiquiu WorKshoPs, Abiquiu Inn, 21120 U.S.

84, Abiquiu. 505-685-0921. Abiquiu Lectures

Series: weekly lectures with artists, writers,

scientists, and historians. Through Thurs., Oct.

20, 7 pm. Info: abiquiuworkshops.com

alaMosa booKs, 8810 Holly NE, Alb. 505-

344-9382. Book Signing: Nasario Garcia will sign

copies of Fe Y Tragedias. Sat., Aug. 7, 11 am.

center for conteMPorary arts, 1050 Old

Pecos Trail, Santa Fe. 982-1338. 10th Annual

Native Cinema Showcase: Indigenous-produced

film and video. Thurs., Aug. 19 to Sun., Aug. 22.

Details: ccasantafe.org

Devargasvargasv center, 153-B Paseo de Peralta,

Santa Fe. 989-7667. From a Shaman’s World:

archaic Himalayan ceremonial, ritual, and

utilitarian objects.

DWight hacKett ProJects, 2879 All Trades Rd.,

Santa Fe. 474-4043. Summer Landscape: work

by Jay DeFeo. Through Sat., Aug. 7.

eight MoDern, 231 Delgado St., Santa Fe.

995-0231. Brand New, Slightly Used: abstract

objects constructed from salvaged materials

by Ted Larsen.

flux conteMPorary, New Mexico Design

Center, 4801 Alameda Blvd., Space D-2, Santa

Fe. 504-9074. Telling Stories: work by Sharon

Schwartzmann.

galluP cultural center, 201 E. Historic Hwy.

66, Gallup. 505-344-9382. One Nation One Year:

book signing and talk with Don James. Tues.,

Aug. 10, 5-7 pm.

garcia street booKs, 376 Garcia St.,

Santa Fe. 986-0151. Readings: Tom Grimes,

author of Mentor: A Memoir. Tues., Aug. 10, 5

pm. Peter Lewis, author of Dead in the Dregs.

Fri., Aug. 20, 5 pm. Info: garciastreetbooks.com

gebert conteMPorary, 558 Canyon Rd., Santa

Fe. 992-1991. New Plexagraphs: new work by

Michael Eastman. Through Sun., Aug. 29.

girls incorPorateD, Santa Fe Plaza and Lincoln

Ave., Santa Fe. 982-2042. 38th Annual Arts and

Crafts Show: fine art and craftwork. Sat., Aug.

7, 9 am-6 pm. Sun., Aug. 8, 9 am-5 pm. Info:

girlsincofsantafe.org

aMes Kelly conteMPorary, 1601

Paseo de Peralta, Santa Fe. 989-1601.

Spit Shine: sculptures and drawings by

Ron Nagle. Through Sat., Sept. 25.

g

Fe. 820-0008.

Signing

Houser, Melanie Yazzie, Michael Kabotie, and

James Faks. 4-6 pm.

l


Carolyn Morris Bach. 5:30-7:30 pm.

M

Santa Fe. 982-8187.


n

988-5091.

photographs by Dan Namingha, Arlo Namingha,

and Michael Namingha. 5:30-7:30 pm.

z

Guadalupe St., Santa Fe. 982-8111.

Johnson + Gail Bird

Johnson and Bird. 4-6 pm.

f

1228 P

and Rufina St., Santa Fe. 603-1259.

abstractions by Mary Dinter Heimberg. 5-8 pm.

box

989-4897.

drawings by Joanne Lefrak. 5-7 pm.

K

Fe. 820-0807.

and paper by Phill. 5-7 pm.

l

y Ortiz Hacienda, Route 41 & CR 42, Galisteo.

466-3219.

from Artists of Galisteo

artists. 5-7 pm.

n

795-7570.

and sculptures by six gallery artists. 5-7 pm.

s

Fe. 984-1122.

by Ingrid Bathe, Hiroe Hanazono, and Deborah

Schwartzkopf. 5-7 pm.

s

rrr

auction to benefit Animal Protection of New

Mexico’s Equine Protection Fund. 2 pm. Call

for directions.

sP

2010

Santa Fe. Native American art and events. Fri,. Aug.

13 to Mon., Aug. 23. For schedule: swaia.org

222

Santa Fe. 982-8889.

work by Italian master ceramic sculptor

Nino Caruso. Through Sun., Aug. 29.

a

84, Abiquiu. 505-685-0921.

Series

scientists, and historians. Through Thurs., Oct.

20, 7 pm. Info: abiquiuworkshops.com

a

344-9382.

copies of

c

Pecos Trail, Santa Fe. 982-1338.

Native Cinema Showcase

film and video. Thurs., Aug. 19 to Sun., Aug. 22.

Details: ccasantafe.org

D

Santa Fe. 989-7667.

archaic Himalayan ceremonial, ritual, and

utilitarian objects.

D

Santa Fe. 474-4043.

by Jay DeFeo. Through Sat., Aug. 7.

e

995-0231.

objects constructed from salvaged materials

by Ted Larsen.

f

Center, 4801 Alameda Blvd., Space D-2, Santa

Fe. 504-9074.

Schwartzmann.

g

66, Gallup. 505-344-9382.

book signing and talk with Don James. Tues.,

Aug. 10, 5-7 pm.

g

Santa Fe. 986-0151.

author of

pm. Peter Lewis, author of

Fri., Aug. 20, 5 pm. Info: garciastreetbooks.com

g

Fe. 992-1991.

Michael Eastman. Through Sun., Aug. 29.

g


Crafts Show

7, 9 am-6 pm. Sun., Aug. 8, 9 am-5 pm. Info:

girlsincofsantafe.org

Ja


Spit Shine

Ron Nagle. Through Sat., Sept. 25.


44

to the Santa Fe 400th celebration from a

Native perspective, while also critiquing

aspects of the Indian Market.

by Rose Simpson.

specific work envisioned by artist Douglas

Miles, incorporating hand-drawn, hand-cut

stencil works from Miles’ Apache Skateboards

Team.

Museum Store and Lloyd Kiva New Gallery.

4-7 pm.

s

Fe. 982-8478.

Ortiz. 6-8 pm.

f

a

Sacred Earth: The Missions of Alvin Gill-Tapia

work by Gill-Tapia. 5-7 pm.

c

Rd., Santa Fe. 983-0433.

sculptures. 5-7 pm.

c

Fe. 992-0711.

Native art. 5-7 pm.

g

Fe. 992-1100.

sculptures. 5-7 pm.

g

Guadalupe St., Santa Fe. 983-5444.

Imprints

g

Santa Fe. 954-5700.

wet-plate collodion tintype photography.

5-7 pm.

New steel and wood sculptures by Tom Waldron at William Siegal Gallery, 540 South Guadalupe Street. New steel and wood sculptures by Tom Waldron at William Siegal Gallery, 540 South Guadalupe Street. Reception: Friday, August 13, 5-7 pm.Reception: Friday, August 13, 5-7 pm.

Reading Between the Lines:Reading Between the Lines: Contemporary Ledger Art at Morning Star Gallery, 513 Canyon Road. Receptions: Thursday, August 19, 5-7 pmReceptions: Thursday, August 19, 5-7 pm and Friday, August 20, 5-7 pm.

1011 Paseo de Peralta, Santa Fe, NM 87501 | tel (505) 954-5700

July 23 - October 2, 2010

Alexander Calder

Collar, Silver, 17 3/4 x 5 inches. Image courtesy Gerald Peters Gallery.

© 2010 Calder Foundation, New York / Artists Rights Society (ARS), New York

ART OPENINGS


leWaWaW llen galleries at the railyarrailyarr D, 1613

Paseo de Peralta, Santa Fe. 988-3250. John

Fincher: Enduring Terrain: recent paintings and

monotypes. Through Sun., Sept. 5.

linDaDaD Da Da urhaM conteMPorary art, 1807

Second St. #107, Santa Fe. 466-6600. Where

Have You Been? (Come to Your Senses): new work

by Erika Wanenmacher. Through Sat., Aug. 21.

MiraDor, 616 Canyon Rd., Santa Fe. 995-1977.

Christoper Merlyn: opening will take place on Fri.,

Aug. 6. Meryln will be present.

MuseuM of conteMPorary native arts, 108

Cathedral Pl., Santa Fe. 424-5922. Museum

Members’ Reception and Gallery Tour of New

Exhibits. Sat., Aug. 7, 2-4 pm. The ‘80s: A

Totally Rad Revolution. Dinner, silent, and live

art auctions. Benefit for student services and

scholarships at IAIA. Wed., Aug. 18, 5 pm at

La Fonda on the Plaza, 100 E. San Francisco

St. Tickets: 1-800-804-6423. Artists’ Reception

for Postcommodity Collective. Wed., Aug. 18,

4-5:30 pm. Call for info. Panel Discussion

with Postcommodity Collective. Fri, Aug. 20,

11:30 am-1 pm. Annual Members Appreciation

Breakfast. Sat., Aug. 21, 7:30-9 am. Alumni and

Student Artist Market: Sat., Aug. 21, 8 am-5pm.

Info: 983-8900. Alaska Native Artists’ Panel. Sat.,

Aug. 21, 1-2 pm. Info: 428-5922. In Session: A

Conversation with Rose Simpson and Michelle

McGeough. Sat., Aug. 21, 3-4 pm. Info: 983-

8900. Meet the Postcommodity Collective. Sat.,

Aug. 21, 9 am-5 pm. Info: 428-5909. Featured

Artists at the Lloyd Kiva New Gallery and Museum

Store: Sat., Aug. 21, 8 am-5 pm. Info: 983-8900.

Reading and Signing of Shrouds of White Earth with

Dr. Gerald Vizenor: an innovative novel about a

contemporary Native American artist. Sun.,

Aug. 22, 3-5 pm. Info: 428-5912

MuseuM of inDian arts anD culture, 710

Camino Lejo, Santa Fe. 476-1250. Breakfast

with the Curators: series of lectures and artists’

presentations. Fri., Aug. 13, 20, and 27 at 8:30

am. Info: indianartsandculture.org

MuseuM of northern arizona, 3101 N.

Fort Valley Rd., Flagstaff, AZ. 928-774-

5213. 61st Annual Navajo Festival of Arts and

Culture: Navajo artists, music, dances, and

Heritage Insight programs. Sat., Aug. 7 and

Sun., Aug. 8, 9 am-5 pm. Info: musnaz.org

nagasaKi Peace MuseuM, Nagasaki, Japan.

Nagasaki: Eternal Peace: Paintings made from 1985

to 2010 by Judy Asbury. On view from Tues., Aug.

10 to Sun., Aug. 29. Also on view at the Nagasaki

Airport from Thurs., Aug. 12 to Mon., Aug. 23.

neW MW MW exico history Mistory Mistory useuM, 113 Lincoln

Ave., Santa Fe. 476-5200. Diné/Navajo Women:

At the Intersection of Nation, Gender and

Tradition: lecture by Jennifer Nez Denetdale.

Sun., Aug. 22, 2 pm.

origins, 135 W. San Francisco St., Santa Fe.

988-2323. Jewelry Trunk Show: features Hari from

East India on Thursday, Friday, Saturday, Sunday

and Monday, August 19-20-21-22-23 (11:00 am-

6:30 pm Thurs./Fri./Sat. and 11:00 am-6:00 pm

Sun., and 11:00 am-3:00 pm on Mon.).

Preston conteMPorary art center, 1755

Avenida de Mercado, Mesilla. 575-523-8713.

Artist Dialogue: dialogue with Louis Ocepek and

Francisco Saenz. Sat., Aug. 28, 1-3 pm.

riva yaresyaresy gallery, 123 Grant Ave., Santa Fe.

984-0330. New Paintings: new work by Christian

Bonnefoi. Through Sun., Sept. 12.

santasantas fe art institute, College of Santa Fe,

Tipton Hall, 1600 St. Michael’s Dr., Santa Fe. 424-

5050. Jennifer Levonian Lecture: talk with the painter

and animator. Mon., Aug. 23, 6 pm. Nancy Reyner:

Artist’s Talk and Book Signing. Mon., Aug. 30, 6-7 pm.

shiProcK santa fe, 53 Old Santa Fe Trail, Santa

Fe. 982-8478. Shiprock Santa Fe Lecture Series:

printmaking with Jared Chavez. Fri., Aug. 20,

1:30 pm. Tufa casting with 2009 Best in Show

winners Darryl and Rebecca Begay, Fri., Aug. 20,

2:30 pm. Info: shiprocksantafe.com

steWartWartW l. uDallDallD center for Mfor Mfor useuM

resources, 725 Camino Lejo, Santa Fe. 983-

6155. Rag Rug Festival & Design Collective: benefit

for New Mexico Women’s Foundation. Fri., Aug.

13, 4-7 pm, Sat., Aug. 14 and Sun., Aug. 15, 10

am-4 pm.

WheelWheelWheel right MuseuM of the aMerican inDian,

704 Camino Lejo, Museum Hill, Santa Fe. 982-

4636. 2010 Benefit Auction: live and silent

auction. Preview Thurs., Aug. 19, 4-6 pm. Live

auction Fri,. Aug. 20, 1 pm. Old Friends, New

Faces: Indian Market sales exhibition. Thurs.,

Aug. 19 to Sun., Aug. 22. Call for info.

WhitehaWKhitehaWKhiteha antique shoWs, Santa Fe

Convention Center, 201 W. Marcy St., Santa Fe.

32nd Annual Invitational Antique Indian Art Show:

antique Indian art. Sun., Aug 15 to Tues., Aug. 17.

Info: whitehawkshows.com

WilliaM r. talbottalbott fine art, 129 W. San Francisco

St., 2nd floor, Santa Fe. 982-1559. Shorelines: 20th-

century landscape art. Through Sat., Oct. 9.

musIc

church of beethoven, The Kosmos, 1715

Fifth St. NW, Alb. 505-234-4611. August

Performances: chamber music performances.

Info: churchofbeethoven.org

Music froM angel fire, various locations. 888-

377-3300. 27th Season: chamber music. Aug. 20

to Sept. 5. Info: musicfromangelfire.org

santa fe Desert chorale, 811 St. Michael’s

Dr., Suite 206, Santa Fe. 988-2282. Summer

Season: musical performances. Through Fri.,

Aug. 13. Info: desertchorale.org

PerformIng arTsTsT

albuquerque theatre guilD, 712 Central SE,

Alb. 505-341-9590. August 2010 Performances:

weekly performances through August. Info:

abqtheatre.org

lensic PerforMing arts center, 211 W.

San Francisco St., Santa Fe. 988-1234. A Gala

Evening: performance by the Aspen Santa Fe

Ballet. Fri., Aug. 6 and Sat., Aug.w 7, 8 pm.

Info: ticketssantafe.org

outPost PerforMance sPacePaceP , 210 Yale Blvd. SE,

two blocks south of UNM, Alb. 505-265-2020.

Come Into My Parlour: performance by American

Vaudeville Museum Performance Project. Sun.,

Aug. 8, 4 pm.

theatre grottesco, Fashion Outlets of Santa

Fe, 8380 Cerrillos Rd., Santa Fe. 474-8400.

OM: Ten Tiny Epics in an Outlet Mall: theatrical

performance. Thurs., Aug. 27 to Sun., Aug, 29,

7 pm. Info: theatergrotteso.org

M

Camino Lejo, Santa Fe. 476-1250.

with the Curators

presentations.

am. Info: indianartsandculture.org

M

Fort Valley Rd., Flagstaff, AZ. 928-774-

5213.

Culture

Heritage Insight programs. Sat., Aug. 7 and

Sun., Aug. 8, 9 am-5 pm. Info: musnaz.org

n

Nagasaki: Eternal Peace

to 2010 by Judy Asbury. On view from Tues., Aug.

10 to Sun., Aug. 29.

Airport from Thurs., Aug. 12 to Mon., Aug. 23.

n


At the Intersection of Nation, Gender and

Tradition

Sun., Aug. 22, 2 pm.

o

988-2323.

East India on Thursday, Friday, Saturday, Sunday

and Monday, August 19-20-21-22-23 (11:00 am-

6:30 pm Thurs./Fri./Sat. and 11:00 am-6:00 pm

Sun., and 11:00 am-3:00 pm on Mon.)

P

Avenida de Mercado, Mesilla. 575-523-8713.

Artist Dialogue

Francisco Saenz. Sat., Aug. 28, 1-3 pm.

r

984-0330.

Bonnefoi. Through Sun., Sept. 12.

s

Tipton Hall, 1600 St. Michael’s Dr., Santa Fe. 424-

5050.

and animator. Mon., Aug. 23, 6 pm.

Artist’s Talk and Book Signing

s

Fe. 982-8478.

printmaking with Jared Chavez. Fri., Aug. 20,

1:30 pm. Tufa casting with 2009 Best in Show

winners Darryl and Rebecca Begay, Fri., Aug. 20,

2:30 pm. Info: shiprocksantafe.com

s

r

6155.

for New Mexico Women’s Foundation. Fri., Aug.

13, 4-7 pm, Sat., Aug. 14 and Sun., Aug. 15, 10

am-4 pm.

W

704 Camino Lejo, Museum Hill, Santa Fe. 982-

4636.

auction. Preview Thurs., Aug. 19, 4-6 pm. Live

auction Fri,. Aug. 20, 1 pm.

Faces

Aug. 19 to Sun., Aug. 22. Call for info.

W

Convention Center, 201 W. Marcy St., Santa Fe.

32nd Annual Invitational Antique Indian Art Show

antique Indian art. Sun., Aug 15 to Tues., Aug. 17.

Info: whitehawkshows.com

W

St., 2nd floor, Santa Fe. 982-1559.

century landscape art. Through Sat., Oct. 9.

m

c

Fifth St. NW, Alb. 505-234-4611.

Performances

Info: churchofbeethoven.org

M

377-3300.

to Sept. 5. Info: musicfromangelfire.org

s

Dr., Suite 206, Santa Fe. 988-2282.

Season

Aug. 13. Info: desertchorale.org

Perform

a

Alb. 505-341-9590.

weekly performances through August. Info:

abqtheatre.org

l

San Francisco St., Santa Fe. 988-1234.

Evening

Ballet. Fri., Aug. 6 and Sat., Aug.w 7, 8 pm.

Info: ticketssantafe.org

o

two blocks south of UNM, Alb. 505-265-2020.

Come Into My Parlour

Vaudeville Museum Performance Project. Sun.,

Aug. 8, 4 pm.

t

Fe, 8380 Cerrillos Rd., Santa Fe. 474-8400.

OM: Ten Tiny Epics in an Outlet Mall

performance. Thurs., Aug. 27 to Sun., Aug, 29,

7 pm. Info: theatergrotteso.org

l


Fincher: Enduring Terrain

monotypes. Through Sun., Sept. 5.

l

Second St. #107, Santa Fe. 466-6600.

Have You Been? (Come to Your Senses)

by Erika Wanenmacher. Through Sat., Aug. 21.

M

Christoper Merlyn

Aug. 6. Meryln will be present.

M

Cathedral Pl., Santa Fe. 424-5922.

Members’

Exhibits

Totally Rad Revolution

art auctions. Benefit for student services and

scholarships at IAIA. Wed.,

La Fonda on the Plaza, 100 E. San Francisco

St. Tickets: 1-800-804-6423.

for Postcommodity Collective

4-5:30 pm. Call for info.

with Postcommodity Collective

11:30 am-1 pm.

Breakfast

Student Artist Market

Info: 983-8900.

Aug. 21, 1-2 pm. Info: 428-5922.

Conversation with Rose Simpson and Michelle

McGeough

8900.

Aug. 21, 9 am-5 pm. Info: 428-5909.

Artists at the Lloyd Kiva New Gallery and Museum

Store

Reading and Signing of Shrouds of White Earth with

Dr. Gerald Vizenor

contemporary Native American artist. Sun.,

Aug. 22, 3-5 pm. Info: 428-5912

Terra cotta sculptures and monoprints by Nino Caruso at 222 Shelby Street Gallery, through Sunday, August 29. Terra cotta sculptures and monoprints by Nino Caruso at 222 Shelby Street Gallery, through Sunday, August 29.

Photographs by Luis Sanchez Saturno and paintings Photographs by Luis Sanchez Saturno and paintings by William Sorvillo at 1228 Parkway Art Space, 1228 by William Sorvillo at 1228 Parkway Art Space, 1228 Parkway Drive. Reception: Friday, August 6, 5-9 pm.Parkway Drive. Reception: Friday, August 6, 5-9 pm.

18 miles south of Santa Fe on scenic Turquoise Trail, 2 miles north of Cerrillos18 County Road 55A(General Goodwin Road), Cerrillos, NM 87010

505/424-6487EAI also offers many different Encaustic Workshops.For more info go to www.eainm.blogspot.com

Opening Reception: Saturday, August 21, 1 - 6 pm

A Show of 3-DIMENSIONAL Encaustic Art

The Encaustic Art Institute A non-profit arts organization

presents

To view all the works please visit www.gpgallery.com

1011 Paseo de Peralta, Santa Fe, NM 87501 | tel (505) 954-5700

Wayne ThiebaudMountains

August 6 - September 25, 2010Opening Reception: August 6, 2010 from 5-7pm

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ChartreuseGallery

216 Washington Ave | Santa Fe, NM 87501505.992.3391 | gallerychartreuse.com

Rancho, Oil on Linen, 11” x 14”

J

PREVIEWS

48| The magazine |august 2010

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Six exhibitions, including Matterings by Rose Simpson and It Wasn’t the Dream of the Golden Cities, an installation by Postcommodity collectiveAugust 2, 2010 to January 2, 2011 Museum of Contemporary Native Arts, 108 Cathedral Place, Santa Fe. 983-8900After being closed for several months for major roof repairs, the Museum of the Institute of American Indian

Arts is celebrating with a grand reopening, featuring six exhibitions offering to the public a “complex view

of contemporary Native art that reflects its diverse cross-cultural influences and explores its complicated

historical development through its educational programming.”

Look for local Santa Claran artist Rose Simpson in her solo show, Matterings, inaugurating the new Vision

Project Gallery. For this exhibition, Simpson works with clay to investigate her own creative process, unraveling

the paradoxical inspirations of comfort and fear. Using video in his show Round Up: Recent Work, Torry Mendoza

investigates the dialectic of the “Hollywood Indian” compared to what indigeneity looks like in contemporary,

everyday life. In particular, he remixes a conversation between Tonto and the Lone Ranger, revealing a hierarchy

of master and servant. In the Main Gallery (West), Alaskan artist Nicholas Galanin explores the authentic versus

the imaginary in terms of visual stereotyping of Native peoples, taking on the colonial gaze as manifested through

photographic images by Edward S. Curtis and his “noble savages.” In the South Gallery and outdoors in the Allan

Houser Art Park, a group of four young artists called Postcommodity, who maintain that “the Pueblo Revolt has

not ended…[but] evolved,” presents a series of installation works that celebrates and memorializes indigenous

local histories. In the Main Gallery (East), Dry Ice: Alaskan Native Artists and the Landscape explores the artists’

relationships to their changing Arctic land, as well as deflating the notion that their art and culture are “frozen in

an ancient past.” Finally, running throughout the halls like the graffiti-inspired work it emerges from, is Apaches

and Angels, a series of hand-cut stenciled works from Douglas Miles’ Apache Skateboard Team.

Bill Eppridge, burned master print of Robert F. Kennedy Shot, Ambassador Hotel, Los Angeles, June 5, 1968.

Bill Eppridge: An American Treasure Show runs to September 26, 2010Monroe Gallery of Photography, 112 Don Gaspar Road, Santa Fe. 992-0810More than fifty images in color and black-and-white by eminent photojournalist

Bill Eppridge are guaranteed to awaken memories of the sixties: family members

attending the funeral of a civil rights victim, the Beatles arriving stateside, marines

in Vietnam. By far, however, Eppridge’s name is associated with his pictures of

Bobbie Kennedy campaigning for the presidency. His photograph of RFK’s life

bleeding out while a busboy tries to comfort him, in June 1968, is, like so many

images from the late sixties, sadly iconic. Eppridge’s first professional assignment

was a nine-month, worldwide shoot for National Geographic. That story ran

thirty-two pages. The magazine wanted to put him on staff, but on advice from

the soon-to-become Geographic editor, Eppridge went to New York City to

renew some friendships he had made at LIFE. Eppridge’s work in LIFE, beginning

in 1962, was as epic as the times themselves.

Birds on Pueblo PotteryAugust 9 to 31

Adobe Gallery, 221 Canyon Road, Santa Fe. 955-0550Opening reception: Monday, August 9, 4 to 7 pm.

Stylized birds paired with geometric elements suggest a katsina mask: The design chases itself around the flat

shoulders of a clay vessel built near Zuni pueblo. This spectacular antique pot dates to just before the Pueblo

Revolt of 1680, and is a marvelous example of the sophistication and aesthetic appeal of historic clayware,

as well as a superb introduction to the exhibition Birds on Pueblo Pottery. In a recent piece, from circa 1910,

unknown hands from the pueblo of San Ildefonso built and decorated a storage pot with a gentle floral motif,

out of which flies a bird, its feathers outlined to suggest full wing and tail plumage. It’s entirely different from the

style that would come to dominate the pueblo just a few years later: the black stone-polished ware of María and

Julian Martínez that is recognized for its excellence around the world today. These are just a couple of examples

of the historic polychrome pots to be found in this exhibition. The bulk of the objects shown are from between

1850 and 1930. A Pueblo-style reception is planned for the exhibition’s opening.

Shannon Plummer Doctor of Oriental Medicine

Certified Elina Skin Care SpecialistBoard Member Association

of Holistic Skin Care Practitioners

BeautythroughBalance LLC

H o l i s t i c s k i n c a r e W o m e n ’ s H e a lt H

For a Free consultation: (505) 699-7258www.beautythroughbalance.com

Healthy Skin. Healthy Body. We can help you with either, or both.

• Organic Skin care

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Next Classes: Writing artist statementsaugust 14

survey of Kiln-glassseptember 9–14

Painting with Glassseptember 23–26

a Particulate languageseptember 28–October 2

805 early street, Building [email protected]/santafe

Make It in Kiln-glassBullseye Resource Center, Santa Fe

Next DeMOs & talKs:

Printmaking for Kiln-glassaugust 4

Drawing with Glassaugust 11

What Is Kiln-glass?september 1

& Design CollectiveA women’s cottage Industries programhelping to create a more abundant lifefor New Mexico’s women and girls.

Stewart Udall Centerfor Museum Resources725 Camino Lejo • Museum Hill

Friday • August 13th 4pm–7pmPreviewReceptionandSale $50•[email protected]

Saturday and Sunday • August 14th & 15th 10am–4pmFestivalOpen FreeAdmission•FreeParking

This project is made possible in part by New MexicoArts, a division of the Department of Cultural Affairs,and the National Endowment for the Arts.

New Mexico Women’s Foundation551CordovaRoad#411•SantaFe87505www.nmwf.org•505.983.6155

INTERNATIONAL SPOTLIGHT


First indigenous VirtuAl BiennAle

The primary aim of the First Indigenous Virtual Biennale is to serve as a catalyst for an honest depiction of indigenous identity. This prodigious task, led by the group FREEAPACHE, aims to stimulate contemporary indigenous people to direct their art statement inwardly, and to tackle vital cultural issues—drug and alcohol abuse, violence, poverty, diet, language, spirituality, group identity, cultural responsibility, the defilement and continual loss of homelands, and youth suicide—through their art. Other questions that must be addressed: Does the Stockholm Syndrome (“love of one’s captor”) contaminate indigenous thought? Is current Western contemporary art a meaningful forum for indigenous artists? Do marketplace restrictions degrade an indigenous artist’s honest expression? Does Western colonized thinking minimize genuine indigenous art expression? Do contemporary art movements disregard indigenous cultural art statements? FREEAPACHE is convinced that internal cultural dialogue among indigenous artists will result in meaningful discourses—conversations that will transcend the current market-driven art production that is prevalent among many contemporary artists. View the First Indigenous Virtual Biennale at www.freeapache.com. D

FreedoM 2010, By Mideo M. cruz

TThe magazine: Talk about the first art you were exposed to growing up and the

impact it made on you. Ryan Rice: I actually had two experiences with art growing

up. One was with our Catholic church, built in the 1700s. There were beautiful, ornate

images on the ceiling, so in church on Sunday I sat there and looked up at the images.

TM: Was it magical? RR: It was pretty magical because you had the traditional Western

art styles and many paintings from Italy. And there was the Crucifixion, the sculptures,

and all the Christian iconography, with Mohawk language added to it. I wondered what

these things were about. I found that I was more interested in looking at these things

than sitting in church and listening to the priests. Most churches have amazing things

to look at—it’s like going to a museum. The second experience was with a tourist

Indian village called “Chief Poking Fire’s Indian Village” that catered to non-Native

people. There I got to see a pan-Indian representation of Indian kitsch and “Made in

China” trinkets—totem poles that were crudely made in the Northwest Coast style,

Plains headdresses, all kinds of wacky stuff that was not Mohawk-related or Mohawk-

identified. It was a tourist-embellished business.

TM: Did it bother you at all? RR: Well, at that time culture was more in flux, and the

idea of an Indian identity was more of a generic pan-Indian thing. It was an interesting

period for me because growing up in Kahnawake we had Quebec language laws and

separation issues, along with identity issues, to deal with. It was also a turning point in

time because of the civil rights movement.

TM: For those who don’t know, what does pan-Indian mean? RR: Pan-Indian is an idea,

a stereotypical viewpoint embellished through the Hollywood Indian—all Indians wear

headdresses, all Indians live in teepees, ride horses, and so on.

TM: How did you come to be interested in curating? RR: Curating came to me as a

sort of need. In the late eighties there was not even a handful of active Native curators.

Artists didn’t have curators to work with, our works were not being shown, and we

weren’t being visited by curators. Then the Columbus Quincentennial happened—and

in 1992 everybody in North America had their Indian show. But after 1992 that stopped.

TM: The job of a curator? RR: The job of a curator is about multitasking. It’s about

developing a community. And it’s about giving voice—creating a visual language—and

coordinating or building or growing an idea based on artists’ works.

TM: Tell me the kinds of shows you like to curate. RR: I like to have a lot of perspective,

a lot of diversity, and a lot of different media. I like the group show and the big show

because it gives people a lot to see. I’m not opposed to solo exhibitions, which I think

are extremely important and needed, especially in the Native arts field because we’re

always grouped together. However, I like to do the big group show.

RYAN RICE is a Mohawk

from Kahnawake, outside of Montreal,

and the new chief curator at the Museum

of Contemporary Native Arts in Santa

Fe. In 2009, at the Harbourfront Centre

in Toronto, Rice brought together artists

from across Canada and the United

States for the exhibition AlterNation to

explore the topical shifts in traditional

and contemporary indigenous cultures

through photography, video, and mixed-

media installations. THE magazine met

with Rice to discuss his curatorial plans

and upcoming exhibitions at the Museum

of Contemporary Native Arts.

he Native peopleperformers in front performative fantasy

TM: Curators you admire, and why. RR: Marcia Tucker, the founder of the New

Museum in New York City. I admired her outlook on art because it was inclusive and it

was about diversity. Social implications were involved, identity was involved, and culture

was acknowledged. I thought her work was groundbreaking for a white, Jewish woman

in New York City.

TM: What most interests you in Native art? RR: The narrative—the oral tradition

continued. What I find with Native art, and what I really love, is that there is always an

underlying narrative that you have to find. There are so many layers involved, and what

I want to do is create a presence for those layers. What I’m looking at is diversity, and to

show what is happening in the contemporary field, and to expose those layers.

TM: What latitude of freedom do you have to curate shows here in Santa Fe? RR:

I’ve been given a lot of creative freedom. Patsy Phillips invited me to work here.

Joseph Sanchez was retiring. And the museum changed its name to the Museum of

Contemporary Native Arts, which changed the whole premise for me, because as a

student coming here the IAIA Museum felt very local.

TM: Give me some short responses on a few Native artists. Marcus Amerman. RR:

He’s known for his beadwork, which is amazing. And I’ve noticed he’s breaking out

into other media—glass, painting. It’s interesting how Santa Fe creates artists but also

boxes them in. Artists can’t be confined only to this market—they want a broader stage.

So if glass is doing it, let’s go work in glass; if video is accessible, let’s pick up the video

camera.

TM: Diego Romero. RR: Diego Romero is an interesting artist because his work is

traditionally and locally based on pottery and narratives. Now he’s moving it forward

into printmaking and painting. He’s bringing forward these icons and characters from

the past and portraying them as present day. It shows that Indians are contemporary.

TM: Rose Bean Simpson. RR: I’ve seen one work of hers from the Comic Art Indigène

show—the five cutouts of the women—which I tried to get for a show last year in

Toronto, but her work was going to the Smithsonian.

TM: How about Nora Naranjo-Morse? RR: Nora Naranjo-Morse is very respected.

She’s moving forward in her career, bridging the traditional and the contemporary. Her

work challenges the market, it challenges the idea of commodity, and it challenges the

art world’s definition of nature, beauty, and life.

TM: Roxanne Swentzell. RR: I’ve seen her work for years in magazines. She’s had an

interesting career and is well collected. I went to the Poeh Center recently and it’s

pretty exciting to see what she has created.

TM: The Museum has six shows opening in August. Talk about the shows in

terms of what they are about. Are they happening simultaneously? RR: Yeah,

they’re happening simultaneously, and they’re very diverse. Rose Simpson is

inaugurating the Vision Project Gallery, which is to complement a major project

that we’re working on called The Vision Project that’s meant to move the discourse

of Indigenous art forward. Rose is going to be our first artist represented in that

space. A group of artists that I’m working with is a collective called Postcommodity.

The title of their show is It Wasn’t the Dream of Golden Cities. I visited them in

Arizona last September and saw new and conceptual work. They’re working with

sound, which is very innovative. They’re excited, enthusiastic artists, so it was

great to start working with them on a project. I haven’t seen much agitation going

on, or even discussion around the 400th Anniversary of Santa Fe. To me, that’s

a red flag: There needs to be an intervention and there has to be a response. So

I invited Postcommodity to respond conceptually to the anniversary, to the idea of

the market, and to the commodification of art.

TM: Next? RR: Dry Ice: Alaska Native Artists and the Landscape is a show that’s been

touring. It looks at the changes that are affecting people. Oblique Drift is by Nicholas

Galanin, who is also in Dry Ice. It’s a solo exhibition critiquing the mass marketing of

Native products and how photographers like Edward S. Curtis created a false persona

of the Native American.

TM: How did he get away with it? RR: People love the photographs that Curtis made.

People wanted Indians to look like that. People still want that romanticized vision.

TM: Does that depress you? RR: You look at Curtis’s work and you know that he was

a brilliant artist and photographer to come up with these ideas. But he was basically

setting the stage. The Native people who posed for Curtis’ photographs became

performers in front of his lens, so he created a somewhat performative fantasy world

that we are still dealing with today. Then there is Round-Up—a collection of short videos

by Torry Mendoza that takes on Hollywood stereotypes by remixing and mashing up

footage, to reclaim the identity of Native people. Mendoza looks at Tonto, he looks at

Dances with Wolves, and he critiques them in a very short video format. Also, Apaches

and Angels is an exhibition featuring Douglas Miles, of Apache Skateboards.

TM: All of these shows will be shown simultaneously? RR: Yes. The museum re-opens

August 2 and we’ll have the public reception on August 19.

TM: Your motto in life—something you live by. RR: Not taking everything so seriously.

As long as nobody gets hurt, everything is okay. D

Interview and photograph by Guy Cross.

INTERVIEW


who posed for Curtis’s photographs of his lens, so he created a somewhat world that we are still dealing with today.

*Exclusive Estate Representative for Helen Hardin and Pablita Velarde201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com

Friday August 20, 2010 5:00pm Margarete Bagshaw Opening

3 Generations of Talking Art .

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Margarete Bagshaw

Helen Hardin (1941 - 1984)

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Pablita Velarde (1918 - 2006)

Your Art Should Say Something

ISyOURAMeRICAnInDIAnARTILLeGAL?What To Do When The FBI Knocks On Your DoorBy Joshua Baer

you collect American Indian art and you saw last summer’s headlines, you may have wondered if you own anything illegal. This is the reaction the federal government wants you to have. They want you to look at your American Indian art and be afraid. They want you to think twice before you buy or sell another work of American Indian art.

Fear is an effective weapon and our government knows how to use it. There is nothing you can do to change that. What you can do is educate yourself about what is legal and what is illegal. After you learn the difference, you will know what to do and what to say in the event that the FBI knocks on your door and presents you with a search warrant. If you own works of art signed by contemporary American Indian artists, then you are safe. If you own historic works of art signed by American Indian artists, then you are safe. However, if you own unsigned, historic works of American Indian art, and any of those unsigned, historic works of art were either used in ceremonies or excavated from burial sites, then it is illegal for you to sell those works of art, or to buy more works of art like them. And if any of your unsigned, historic works of American Indian art have eagle feathers attached to them, then it is illegal for you to sell those works of art, too. It is also illegal for you to buy any works of art with eagle feathers attached to them. If you own prehistoric pottery created by American Indian artists, then you have some decisions to make. If you can document the fact that your prehistoric pots were legally excavated on private land, then it is legal for you to sell those pots. If your documentation is inconclusive, or you have no documentation, then you are probably safe as long as you keep your prehistoric pots in your house and make no attempt to sell them. If you own the human remains of American Indians, then you are engaged in a perversion, and criminal prosecution is the least of your worries.

DozenS ARReSteD in ARtiFActS BuSt_____________________________________________

ex-Gallery owner’s Santa Fe Home Searched

Feds Face criticism over Arrests in Artifacts case...A7

Artifact theft Suspect Found Dead near Blanding...A8

WhAT TO DO IF The FBI knOCkS On yOUR DOOR

In the current environment, the chances of the FBI knocking on

your door and presenting you with a warrant are small. However,

if you think there is any chance of this happening, the following

recommendations will save you time and money.

hire an Attorney. This is the most important piece of advice

on this list. If you ignore it, do not bother reading the rest of the

list. If you already have an attorney, ask your attorney if he or

she is capable of representing you in a criminal matter regarding

American Indian artifacts. If his or her answer is “No,” ask him

or her to recommend a criminal defense attorney who can

represent you. Do not wait for the knock on the door. By that

time, it will be too late.

Document your Art Collection. Take photographs of all of

the works of American Indian art in your collection. If you have

receipts and/or cancelled checks, scan them into a digital file

that includes an image of each work of art, the date you bought

it, where you bought it, and the amount you paid for it. After

you complete the file, print out a copy, sign it, date it, and give

it to your attorney. When the FBI seizes art collections, they

seize illegal and legal works of art. If you and your attorney have

a record of each work of art in your collection, you will improve

your chances of having your legal items returned.

Back Up your Computer. If the FBI raids your house or

business, they will probably take your computer. If you back up

your computer at one of the online data storage sites and your

computer gets seized during a raid, you will be able to access your

data on another computer until the FBI returns your computer.

know the Laws. You can read about the Native American

Graves Protection and Repatriation Act of 1990 (NAGPRA), the

Archaeological Resources Protection Act of 1979 (ARPA), the

Bald Eagle Protection Act of 1940 (BEPA), and the Migratory

Bird Treaty Act of 1918 (MBTA) online. Read the texts of these

laws, read the commentary about these laws, and discuss these

laws with your attorney. If you are ignorant of these laws, your

ignorance will be used against you.

Beware of Inquiries. Right now, there are undercover agents

and government informants at work in the antique American

Indian art business. Their mission is to create illegal transactions,

which will result in criminal prosecutions. If you receive an inquiry

regarding works of ceremonial American Indian art or works of

prehistoric pottery in your collection, tell the person making the

inquiry to contact your attorney. If the person making the inquiry

is either an informant or an undercover agent, anything you say

to her or to him will be repeated to a prosecutor, and it will be

repeated in such a way that will characterize you as a criminal.

Answer the Door. If the FBI or any other law enforcement

agency comes to your home or business with a search warrant,

answer the door. Read the warrant, then ask the agent in charge if

you can have an attorney present before the agents conduct their

search. The sooner you and your attorney are in the same room

with the agents, the better off you will be.

Do not Answer questions. When the FBI raids an art

collector’s residence or business, they usually serve the collector

with a search warrant but they rarely arrest the collector. Why?

Because when you arrest someone, you have to read him his

rights, and when you read him his rights, you are required by

law to say, “You have the right to remain silent. Anything you

say can and will be used against you.” When the FBI raids your

house or your business, they do not want you to remain silent.

They want you to tell them how and where you acquired the

works of art in your collection. One of the phrases the FBI uses

is, “At your sentencing hearing, the judge will look kindly on

any cooperation you can give to us.” If an FBI agent says this

to you, tell the agent that you cannot talk to him until after you

speak with your attorney. Say this politely but make sure the

agent understands. You will not be speaking to him. You will be

speaking to your attorney.

Let your Attorney Speak for you. After the FBI searches

your house or business, it may be months before you hear from

the federal government. During that waiting period, you may

be contacted by the media. Refer all media inquiries to your

attorney. No matter what they promise you, do not speak to

reporters. Prosecutors thrive on publicity. Each time you speak

to a reporter, you strengthen the prosecution’s case against you.

Try to See Both Sides. Since 1492, European-Americans and

Anglo-Americans have actively oppressed American Indians. In

some cases the oppression was religious. In other cases it was

political. In all cases the oppression was brutal. In the United

States we use terms like “genocide,” “holocaust,” and “ethnic

cleansing” in reference to the Nazis, the Serbians, and the

Rwandans, but we refuse to use those terms in reference to

ourselves. The facts tell a different story: more than twenty

million American Indians died as the result of the European

colonization of North America. Some of those twenty million

deaths involved self-defense. Most of them did not. Women,

children, sick people, and the elderly were murdered. During

the last thirty years, many American Indian tribes have used

the laws of the United States to lift their people out of poverty

and to increase their political powers. Laws, like people, are

imperfect. If mistakes are being made in the applications of

ARPA, BEPA, MBTA, and NAGPRA, you have the right to speak

out against those mistakes. But before you label American

Indians, the Department of Justice, or the FBI as your enemies,

try to understand what they are doing, and why. What you

learn may not comfort you but it will surprise you, and it could

change your life. D

FEATURE


Ceramic Bowl with Man and Bear Pictorials, Mimbres Culture, circa 1100. Legal or illegal?

Dance Mask of the Sivi-i-qiltaqa, or Pot Carrier Kachina, Hopi Culture, circa 1890.Legal or illegal?

Beaded War Bonnet with Eagle Tail Feathers, Arapaho Culture, circa 1880. Legal or illegal?

MYTHICALVISIONARY BRONZES BY HO

Tesuque Pueblo Flea Market6 miles north of Santa Fe on U.S. 84/285MEET THE ARTIST: Fri-Sun 8am-4pm www.hobaron.com

ARCHETYPAL

JThe underworld is an innumerable community of

figures. The endless variety of figures reflects the

endlessness of the soul, and dreams restore to

consciousness this sense of multiplicity… Dreams

show us to be plural and that each of the forms that

figure there are full of potentials of behavior.

—James Hillman, The Dream and the

Underworld

James James JJames J hillman’s book The Dream and

the Underworldthe UnderworldJthe UnderworldJ was originally intended to provide

new insights to understanding our dreams and what new insights to understanding our dreams and what J

new insights to understanding our dreams and what J

the process of dreaming signifies in our daily life. But the process of dreaming signifies in our daily life. But

Jthe process of dreaming signifies in our daily life. But

Jit’s also a book that sheds light on the nature of our it’s also a book that sheds light on the nature of our

Jit’s also a book that sheds light on the nature of our

Junconscious and the visions that arise from it. unconscious and the visions that arise from it. The

Dream and the Underworld draws the reader into a

virtual world of shadows and fugitive experiences

just as The Dissolve does. And like the space of the

dream world, The Dissolve offers multiple relationships

on view in a heavily modulated light with an endless

permutation of colors, sounds, textures, and dialogue

spoken by characters human and inhuman, in an

atmosphere of smoke and mirrors that also references

the dream world’s essential nature—ambiguity—even

in light of the dream’s sense of absolute authority.

On my first visit to The Dissolve, I thought of

Hillman’s book. The exhibition seemed to be an actual

representation of Hillman’s underworld, peopled by

various characters in a dim and wondrously mythic

space that was a living presence in and of itself—a

space of whispered and mumbled sounds and flickering

images that could be vaguely seen through the layers

of translucent material that defined separate viewing

areas throughout the building. Thanks to architect

David Adjaye, spaces were distinct from one another

but persuasively intimate all the same. Every time SITE

Santa Fe has presented a biennial its interior has been

physically transformed, but never like this—never with

such an enveloping sense of purposeful alteration.

Even if a viewer decides not to spend more

than a couple of minutes looking at each of the thirty

works in the show—both historical and contemporary

examples of moving-image art—he or she could pass

from area to area countless times and never have the

same experience twice because The Dissolve is such a

mutable whole, a highly unusual visual and aural arc of

intentions that doesn’t force its underlying curatorial

conceits, but lets the individual visions “conjugate

each other” within architect Adjaye’s subtle and

unifying design. This idea of conjugation, voiced by

co-curator Sarah Lewis in the opening weekend panel

discussion, becomes a distinct reality, borne out as if

by a magical decree.

The Dissolve contains, within its separate film/

video/computer-enhanced projects and its catalogue,

references to the entire history of moving-image arts.

However, this history of time-based images in motion

goes further back than the nineteenth century, with

its crude but effective devices for animating images.

As participating artist Martha Colburn stated in a

roundtable discussion last fall, transcribed and included

in the catalogue, “Well, cave paintings could be seen as

the first animation. Any Animation 101 book is going to

tell you to look at cave paintings.” So the long reach of

art history has embedded within it the ongoing desire

for static images to move—to run, float, fly, melt,

dance, fight, fool around, act as a more comprehensive

witness to historical facts, or flesh out a narrative’s

potential for a more engaging storyline. But this is only

a partial list about why the human imagination wants

to see itself reflected in moving images—it’s simply

a natural desire, however capricious and arbitrary an

artist’s vision may appear in the finished work. It is this

universal desire for images to appear more dynamic

that casts a long shadow over the already dense and

shadowy world of The Dissolve—that and the full-

throated wish to showcase work that looks handmade

or references the body in some way.

In About to Forget, South African artist Berni Searle

created a montage of family photographs in red crepe-

paper silhouettes and then immersed the figures in

water. The viewer is caught up in a literal dissolve as

the figurative elements float away in wisps of color,

becoming a bath of blood red that turns to gray.

Searle explained, “Working with temporal dimensions

and movement further activates the image to evoke

or suggest a feeling or memory, which is fluid and

constantly changing.” Searle’s commentary on her own

piece’s fluidity and change is a thread, or a dissolved

subtext if you will, that connects all of the work in the

biennial. Yet, not all of the pieces could be viewed in

terms of fluidity per se. Colburn’s jarringly illustrated

and activated figures in Myth Labs are meant to provoke

and even disgust; she tweaks our whitewashed, colonial

perspectives on America’s sense of its manifest destiny.

As Colburn sees it, America’s history, from its pilgrim’s

progress to today’s outlaw meth labs, is one long

continuum of manifest addictions—whether based in

religion or in actual substances. Certainly not all of

the projects in The Dissolve are political by nature, but

many are, and some, like Kara Walker’s Six Miles from

Springfield on the Franklin Road, are devastatingly so.

Walker uses her handheld shadow-puppet technique

to interrogate America’s racial past and, by inference,

its still incomplete and lopsided racial narratives.

Artist Christine Rebet has a room of her own

for her two-channel video The Black Cabinet. In an

environment of classy Victorian-era wallpaper, a rug

on the floor, and a fancy antique chair not meant for

the viewing public to park itself in, Rebet’s stylized

late-Victorian protagonists attempt to contact spirits

from the world of the beyond. Animated in a jittery

way, her hand-painted characters are more suggestive

than finely articulated and convey an essential

mindlessness as they participate in their parlor game.

Instead of a figure from someone’s past, however,

the séance conjures up a twentieth-century military

despot who first rants and then winds up throwing

grenades back in time that land amidst the séance and

explode the scene.

Initially, I didn’t feel particularly drawn to Joshua

Mosley’s A Vue. His computer-animated Gumby-like

figures, moving in a bleached-out and sterile-looking

environment, appeared abject and stilted. But a quiet

melodrama unfolded in Mosley’s spare watercolor

images of a company town whose socioeconomic poles

oscillated between a fiber-optic factory and peanut

farming symbolized by a giant sculpture of George

Washington Carver looming over the landscape.

As slight as the plot and the dialogue are, Mosley’s

poignant scenario, cradled in a kind of existential void,

took me by surprise and A Vue became an example of

style wedded to substance—a work with unpredictable

roots and an equally unpredictable outcome. This can

also be said of most of the projects in The Dissolve.

The animated works in the show defy an

easy formal classification and wind up straddling

boundaries between drawing and painting, sculpture

and performance, live-action narrative and computer-

enhanced collage, or a combination of these and

other techniques that, in general, make no effort to

hide the evidence of the handmade. Although no two

works are alike, there is a double-helix connection that

underlies The Dissolve’s essential plurality of means—

as if all the separate pieces were projections from the

consciousness of a polyvalent creator. And in a sense

this is true and what makes this exhibition a uniquely

fascinating experience. The polyvalence belongs to

the curators Sarah Lewis and Daniel Belasco, who

conceived of this biennial as an organic whole with many

trajectories that go back and forth in time, pointing to

antecedents in film history along with contemporary

cross-fertilizations and hints of future directions in art.

TheTheT Dissolve: siTeTeT sanTaTaT Fe’s eighTh inTernaTional BiennialsiTeTeT sanTaTaT Fe

1606 Paseo De PeralTaTaT , sanTaTaT Fe

CRITICAL REFLECTIONS


Berni Searle, About to Forget, three-channel video projection transferred from 35mm cinemascope with sound, 2005. Courtesy of Michael Stevenson, Cape Town

The 3-D video projection After Ghostcatching

is a collaboration by the legendary dancer and

choreographer Bill T. Jones and OpenEnded Group

which includes Marc Downie, Shelley Eshkar, and

Paul Kaiser. This is a breathtaking piece, haunting and

exquisite both visually and aurally. After you don the

3-D glasses, the images float in front of you in wave after

wave of a technological brilliance that never eclipses

the human roots at the heart of this piece—although

you might think the opposite would be the case when

you’re handed the 3-D glasses. If any work could be said

to be a masterpiece that wedded computer-generated

animation to the human body with all its poetry of

motion, After Ghostcatching is a marriage made in

heaven. What gives the experience of this piece its final

measure of ethereal beauty are the heartbreakingly

lovely snatches of gospel and hymn music, humming,

the sounds of breathing, and the simple recitation

of the first letters of the alphabet. Sound combined

with motion-capture technology and the traces of a

moving body produced three-dimensional drawings

in a space that defies description. My feelings about

After Ghostcatching can be summarized in my favorite

Hillman quote: “...where each image coordinates within

itself qualities of consciousness and qualities of world.”

This review only scratches the surface of the

work that constitutes The Dissolve. For example, Lotte

Reiniger’s 1928 animation classic The Adventures of

Prince Achmed is a study unto itself, and I particularly

liked Jennifer and Kevin McCoy’s Traffic # 1: Our Second

Date which is an immensely clever send-up of Jean-

Luc Godard’s 1967 film Weekend. Laleh Khorramian’s

Water Panics in the Sea is a riveting and strange work

filled with sumptuous, painterly images that create a

hypnotic and sweeping mythic space—as if Khorramian

had re-visioned Homer’s Odyssey for the twenty-

first century. The Dissolve, while singularly unified

and artfully stratified, is a very complex exhibition

that functions dialogically. The curatorial choices,

the historical reach, the exhibition design, and the

individual visions—every aspect does indeed conjugate

the other. Everything converses, questions, offers

poetic moments; is soothing, challenging, irritating,

funny, disturbing, sinister, meditative, refractory. And

every visit could conceivably provide fresh insights into

the artistic process, interesting ideas about the history

of moving images, or new perspectives on Lewis,

Belasco, and Adjaye’s elegantly orchestrated labyrinth

of ravishing dreams set in an atmospheric space not

easily forgotten.

—Diane arMitageBill T. Jones and OpenEnded Group, still from After Ghostcatching, stereoscopic display with sound, 2010. Courtesy of Bill T. Jones, Marc Downie, Shelley Eshkar, and Paul Kaiser



FFrom art’s beginningFrom art’s beginningFFrom art’s beginningF in the caves,

portraying oneself and one’s kin has been front portraying oneself and one’s kin has been front Fportraying oneself and one’s kin has been front Fand center. All the silhouettes of hands on cave and center. All the silhouettes of hands on cave Fand center. All the silhouettes of hands on cave Fwalls say “Kilroy was here,” but they also betray an walls say “Kilroy was here,” but they also betray an Fwalls say “Kilroy was here,” but they also betray an Fobjectification of one’s self. Narcissus didn’t just see objectification of one’s self. Narcissus didn’t just see Fobjectification of one’s self. Narcissus didn’t just see Fhimself, but imagined his beauty while gazing into the himself, but imagined his beauty while gazing into the

lake. In Self and Family… A Recent Look, curator and art

maven Bobbie Foshay inaugurates Charlotte Jackson’s

air- and light-filled new space in the Railyard by posing

these questions anew.

Interestingly, Jackson and Foshay wanted to have

an exhibition that would contrast sharply with the

gallery ’s usual fare. Foshay chose seven contemporary

artists who address how to depict people. Hendrik

Kerstens’ C-prints of his daughter Paula hark back

directly to Vermeer’s paintings, with their lambent

atmosphere and delicate but exacting rendering of

young women. Kerstens, however, has an update: lowly

household objects that he uses to mimic the shape of

headdresses from an earlier era. The photographer’s

documentation of Paula’s life illustrates one of the

reasons for a portrait—the attempt to memorialize

a moment.

Colombian artist Monika Bravo takes the Narcissus

angle further. As the viewer peers into mirrors mounted

at the perfect height and proportion to look like a

bathroom cabinet, subtle statements are projected

through the glass. “Time,” says one, “is motion of the

mind.” The moment that Kerstens seeks to hold onto

is revealed as fiction by Bravo. As in a contemporary

memento mori, one’s image is fleeting, and the pleasures

of the world die over time.

Kiki Smith’s Mortal depicts her dying mother’s

hands, head, and feet. Using the woodcut—a medium

that cannot help but underline suffering, and which

reminds one of Kathe Kollwitz when combined with

grim subject matter—Smith pours compassion into

her subject.

Alex Katz’s cool, flat portraits of his wife Ada

have staying power. Katz has used his wife as a subject

since they met in 1957. This ongoing collaboration has

presented Ada as an almost abstract entity because of

how familiar we have become with her image. Katz

often names the pictures by a time or an article of

clothing, in order to further dislocate the image.

Coke Wisdom O’Neal’s portraits stem from

alternative devices in portraiture. In the triptych Family

Portrait the photographer portrays his family through

their medicine cabinets: The artist’s is Sterile, his sister

Georgia’s is Skin Caviar, and his parents’ is Big Pain. We

see personalities and lifestyles revealed by cosmetics

and medicine. Georgia’s is filled with natural products,

while the parents’ is filled with lots of allopathic

medications. O’Neal’s cabinet looks very no-nonsense,

with supermarket brands of shaving cream and OTC

drugs. In traditional Western portraiture the sitter is

identified by objects that pertain to his occupation

and his social standing. O’Neal uses our private

arsenal of making ourselves up in the world as the

window onto the subject’s identity. In another series

O’Neal has created a twenty-two-foot box in which

people pose. The box is a plain backdrop—literally

a frame—in which the sitters represent themselves.

In Mercury Khalsa the artist’s son almost disappears

in the corner, while O’Neal’s parents are dressed up

and almost dancing across the space. Taking a cue from

modernist artists, O’Neal here strips the environment

of signifiers beyond the box. Portraiture, having been

liberated by photography in the nineteenth century from

recording the trappings of class and profession, could

then concentrate on revealing the inner world of the

subject, as in Edouard Manet’s 1868 portrait of Théodore

Duret in which the only clues to the sitter’s world are

his clothing and a lemon. It is a short jump from there

to attempts to represent interiority (as in the German

Expressionists) or transcendental purity (the Russian

Suprematists). Like Richard Long’s Movable Picture

Frame—which could be moved anywhere to

create a “window on the world”—the box can be

anyone’s setting.

The least satisfying works in the show belong

to Sandra Scolnick, whose surrealizing self-portraits

involve a dreamlike, allegorical focus on her own

mortality. The work, while certainly haunting, does

little to move past the weakest of the Surrealist painters

from half a century ago.

Ellen Harvey works her face in both pieces in

this show. Her ID Card Project (1998) consists of

nicely rendered images that the artist paints from her

impressive collection of identification cards. Harvey is

captured twice: in the official documentation and in

her reinterpretation of those moments of identity fixed

within the culture. Twins consists of two small screens:

one of Harvey’s face, the second of a self-portrait that

she is drawing. The space between these two images is

where the meaning is really situated. The viewer steps

into the haptic/optic split and tries to rectify it.

Self and Family… A Recent Look succeeds. The artists

and works that Foshay has brought together reveal major

questions about portraiture through contemporary eyes.

—aline branDauer

selFFFFFFanFFDF F FF FF amily Family F … a recenT lookcharloTTe Jackson Fine arT

554 souTh guaDaluPe sTreeT, T, T sanTaTaT Fe

Hendrik Kerstens, Napkin, C-print, 2009 Courtesy Charlotte Jackson Fine Art

Le Bal Macabre



TThe wars in AfghanistanThe wars in AfghanistanTThe wars in AfghanistanT and Iraq lack several

things: foreseeable ends, an abundance of media coverage, and easily things: foreseeable ends, an abundance of media coverage, and easily Tthings: foreseeable ends, an abundance of media coverage, and easily Tdemonized enemies. Al-Qaeda just doesn’t have the visual branding demonized enemies. Al-Qaeda just doesn’t have the visual branding Tdemonized enemies. Al-Qaeda just doesn’t have the visual branding Tthe Nazis, the kamikaze pilots, or even “Charlie” had during previous the Nazis, the kamikaze pilots, or even “Charlie” had during previous Tthe Nazis, the kamikaze pilots, or even “Charlie” had during previous Twars. Sure, there’s Saddam Hussein, but he’s dead. And, no matter wars. Sure, there’s Saddam Hussein, but he’s dead. And, no matter Twars. Sure, there’s Saddam Hussein, but he’s dead. And, no matter Thow the propagandists might try, Osama bin Laden is just no Hitler. how the propagandists might try, Osama bin Laden is just no Hitler. Thow the propagandists might try, Osama bin Laden is just no Hitler. TActually, he’s more like Bigfoot at this point—a dangerous creature,

occasionally sighted, with no real evidence of where he lives.

For an artist such as Richard Berman, whose works are both

politically charged and actively engaging, propaganda is a necessary

piece of the puzzle. Berman takes symbols of the American flag

and the swastika and remixes them for his own purposes, creating

an aesthetic similar to the movie-like imaginings of World War II

and the protest-heavy ideals of the Vietnam era. Though all the

works in his exhibition are called Rise or Fall, they do not focus

on the same ups and downs. Rise or Fall, #1 through #3, focus on

the American dream. The acrylic and mixed-media works feature

classified ads layered with American flags. These flags are not the

patriotic, waving flags of baseball games and the Fourth of July.

Instead, these flags are folded into themselves, the apexes of their

cones pointed in the direction in which they plummet—save for

the flags that have already landed, and rest, seemingly broken, on

the dirty, newsprint-stained ground.

Ten of Berman’s works focus boldly on the image of a

swastika—ranging from the blatant to the discreet. Each work

incorporates obituary notices as its background, and in works #5

and #6 it is the texture of these notices under a blanket of red

paint that reveals the iconic shape. These seemingly standard

contemporary works challenge the viewer, forcing him or her to

think about why the artist chose a swastika, and what that symbol

means. Most obviously, in the Western consciousness, the swastika

is associated with the Nazi regime of World War II. It brings to mind

massacre, consolidated and unchecked power, and attempted

conquest. It reminds us of the rise and fall of a political system so

frightening that its symbol is still illegal in the country from which

it sprang. Elsewhere, however, the swastika has many other

meanings. For Hindus, the right-facing swastika found in Berman’s

work is representative of universal evolution—a concept that

requires death in order for rebirth to occur. For many Buddhists,

the insignia is one of eternity and can protect children from evil

spirits that haunt the world. It gives the visual story of the formation

of Mount Kailash, a peak sacred to Hindu, Buddhist, Jain, and Bon

religions. The Hopis saw the swastika as a symbol of wandering and

the Navajos believed it to be a mystical device of healing.

But knowing all this doesn’t make Berman’s work any less

political. By placing the swastika over newsprint he reminds us that

in the past we read about war in the papers, that every day the

headlines told us how the effort was going and who had been lost

to the enemy. In today’s wars those lost soldiers go unnamed, and

so Berman uses the everyday people of the United States, who die

through a variety of causes, as stand-ins. In turn, those substitutes

also become the nameless many dying on the other side of the

conflict, the civilians who are caught in war, not through patriotism

but because of geography. The names in the work’s obituaries

could easily have ended up there through more violent means, if

the war had been fought at home.

Through his art, Berman reminds those on the home

front of military action—past and present. He throws in

our faces the preconceptions we have of ourselves and

of international conflicts, and forces us to re-evaluate our

position. What we know of the men who brandished the

swastika in Europe is enormous in comparison to how little

we know of the ones who fight in the deserts of the Middle

East and South Asia. That Berman is willing to engage us via

a taboo symbol makes his work all the more powerful. This

image, juxtaposed within the same body of work, carrying the

same theme, the same name, and the same artistic aesthetic

as an icon Americans find not simply harmless but comforting,

asks us to see that symbol as the other, from another point of

view, and feel empathy for the victims of the American Dream

both at home and abroad.

—Patricia—Patricia—P sauthoffsauthoffs

rr

Tr

TTichar

TTD

T B B

T B

Terman: rise anD Fall Fall F

linDa Durham conTemPorary arT

1807 seconD sTreeT #107, T #107, T sanTaTaT Fe

Richard Berman, Rise or Fall #3, acrylic and mixed media on panel, 2009



TTTheT Divergent Works Divergent WorksT Divergent WorksT exhibition at Webster

Collection features two artists based in New Mexico. The Collection features two artists based in New Mexico. The TCollection features two artists based in New Mexico. The Tshow is comprised of a series of works on paper by Carolyn show is comprised of a series of works on paper by Carolyn Tshow is comprised of a series of works on paper by Carolyn TMills and two series by Luca Battaglia, one consisting of Mills and two series by Luca Battaglia, one consisting of TMills and two series by Luca Battaglia, one consisting of Tcibachrome archival prints and the other of small chromatic cibachrome archival prints and the other of small chromatic Tcibachrome archival prints and the other of small chromatic Tmetal plates recycled from vintage cars. The “divergent” in metal plates recycled from vintage cars. The “divergent” in

the show’s title refers to the contrast in styles and media of

the two artists—the graphic, print-based approach of Mills’

works on paper versus Battaglia’s painterly archival prints and

metal plates. But a larger reference is suggested by the very

nature of the show itself for Webster Collection, which has

historically focused on ethnic and indigenous art and artifacts.

The current show of work by two contemporary artists

represents a departure from this traditional role in that the

Webster Collection functions here as a venue for debuting

accomplished artists with a view to facilitating future affiliation

with a contemporary gallery. The venture is off to a good start

with the work of Carolyn Mills and Luca Battaglia.

Mills’ works on paper mesh traditional media and digital

technology as effortlessly as their cryptic narratives suspend

memory within a thin emulsion of biography and personal

myth. Mills' probing of the sensory and the subconscious

deploys dreamlike effects of the dot matrix and video-still

transfer to belie the veracity we tend to associate with the

photographic image. In ID (oil, silk, silver, digital print on

paper) Mills pairs a cutout female figure with a coil of string,

each blue-toned form overlaying a ghostly surrounding sepia

outline that isolates both images at the same time as it ties

them to each other in a metaphoric link of person and event.

A similar configuration in Shadow Self (oil, video-still

transfer on tissue, monotype) is reinforced by a strong

field of pattern fragment that subtends both figure and

string coil, thrusting the motifs into the foreground. In

Incubo Awakening (oil, video-still transfer on paper) Mills

reduces the female figure to a generalized form, and finally

to the masklike face of In Utero (oil, video-still transfer

on paper), while in Daydream State of Vapor, Self-Portrait,

and two versions of Childhood Memory the artist shifts

toward representation, replacing the abstracted female

figure with recognizable portrait heads that underscore

the autobiographical character of the narrative. Finally,

the composition is tightened in two versions of Incubo

with Electrical Storm (oil on silk and paper, xerox) with

the integration of a personal image, coil motif, and pattern

into a layered collage in which the self-portrait element is

now symbolized by the photo collage of the artist’s hands.

The recurring motifs of the female figure, the string coil,

the amorphous outline, and the pattern fragments form

a lexicon of Mills’ conceits. As highly personal as this

vocabulary is, their selection and combination by Mills

manages to create a narrative which, however idiomatic,

evokes an empathetic response in the viewer. And the

photographic image, in Incubo with Electrical Storm, of

hands actually grasping the coil in the center of a unified

composition conveys an aesthetic resolution of the

artist’s stated intent to explore “the layered fragments of

memories, history, and human experience,” resulting in

“something beautiful, arcane, and familiar to ourselves.”

Luca Battaglia’s cibachrome prints have the quality of

intimate still lifes. The precise, painterly strokes in Freedom

attain the delicacy of a Dürer gouache of blades of wild

grass. The vertical bands of the grooved wooden panels

in his Mollette conjure a detail of a barn door by Andrew

Wyeth. If Battaglia’s abstract cibachrome prints evoke still

life, they also serve as a source for the gestation of the latent

landscape imagery of his chromatic metal plates. Battaglia’s

reworking of the surfaces of flattened twelve-inch squares

of metal from vintage cars devolves the craftsman’s process

of layering sprayed and hand-rubbed lacquers over epoxy-

based primer coats. Yet Battaglia’s reduction of all or part of

the high gloss finish and his sealing of the resulting surface

with beeswax reveal a different kind of chromatic depth

and richness, one that transforms the colored squares into

large frescoes or distant topographies. One chalky red

panel recalls the cinnabar walls of the Villa of the Mysteries,

Pompeii, and the sea green and cerulean blue surfaces of

several panels become aerial vistas of the Mediterranean.

In two works in which Battaglia has arranged multiple

metal plates into the columns and rows of a rectangular

composition, the effect resembles an aerial view of some

richly cultivated farmland of ancient Roman Campania.

For all the painterly quality of the cibachromes and the

sculptural immediacy of the metal sheets, Luca Battaglia

succeeds in converting each print or plate into a pictorial

tableau that serves as a kind of synecdoche for a larger,

encompassing landscape.

—richarD tobin

DDTDTivergenTivergenTTT WT WT orks Works WWeWeW BsTer collecTion

54 ½ lincoln avenue, sanTaTaT Fe

Carolyn Mills, Childhood Memory II, video-still transfer, silk, oil, 24” x 54”, 2010Luca Battaglia, Freedom, cibachrome archival print, 5” x 7”, 2010

HEIDI LOEWEN

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AArt with a capitalist A Art with a capitalist A AArt with a capitalist A A bubbled and burst

in conjunction with real estate and Wall Street late in 2008 to in conjunction with real estate and Wall Street late in 2008 to Ain conjunction with real estate and Wall Street late in 2008 to Ahelp kick off the Great Recession. Remember when Damien help kick off the Great Recession. Remember when Damien Ahelp kick off the Great Recession. Remember when Damien AHirst took his wares to market for something like 200 million Hirst took his wares to market for something like 200 million AHirst took his wares to market for something like 200 million Abucks just as the New York Stock Exchange went into free bucks just as the New York Stock Exchange went into free Abucks just as the New York Stock Exchange went into free Afall? After a decade of auction houses pimping up the prices of fall? After a decade of auction houses pimping up the prices of

“contemporary artists” it was time for the big corporate war

and petrol profiteers and hedge fund managers to board the

inspired investment vehicles that would carry them and their

wealth into the paradise they’ve planned. Life is short. But

investing in Art is long, and what better place for your ill-gotten

capital during the severe and lasting downturn you’ve created?

Western Art’s ties to power and wealth are nothing

new, and the idea that Art is something essentially aristocratic

has long been a part of Western colonialism. Though of

course the term we use today is globalism. It’s a conceptual

connection we export alongside weaponry, war, corporate

irresponsibility, and the systematic extermination of non-

Western cultures and traditions. But after the Rococo

comes the French Revolution. The great thing about the

wealthy sticking their noses so far up their own asses is that

alternatives to the systems they’ve come to dominate (like

Art today) develop necessarily. The desire to see good work

remains, and desires exist to be filled. Some loser will be left

with a leaky formaldehyde vitrine and rotten shark carcass

while real art will continue to happen elsewhere.

We got a good look at this principle in practice this

summer in Santa Fe when Currents 2010, a homegrown video

extravaganza, utterly dissolved in its resounding wake the

underwhelming and irrelevant SITE Santa Fe “video” Biennial.

SITE has long been perceived as elitist, and despite their

best intentions (they are, for example, listed as sponsors for

Currents 2010) they can’t seem to shake this image. Putting

Robert Storr’s grad students in charge of curation doesn’t

exactly help to dispel this perception.

Mariannah Amster, Frank Ragano, and Paul Marcus—

who refer to themselves as producers rather than curators for

Currents 2010—employed for their show the democratizing

powers of twenty-first century technology. First they gathered

their video-artist friends, regulars in the Santa Fe Currents

group formed in 2002, and then put out an open call via the

Internet, and managed on a shoestring to assemble a video

show of both local and international scope—with many works

of outstandingly wondrous beauty and intrigue by artists who

(largely) haven’t had their creativity hyper-commodified,

including an ample handful of budding high school kids. They

didn’t pay any over-hyped architects to overcharge them for

scrims and screens, and with the artists pitching in they created

a new media space of remarkable sociability and interaction, as

they’ve done on a lesser scale in the recent past at Salon Mar

Graff and the Santa Fe Complex.

One of the strong points of the show was that nearly

all the artists considered the physical presence of their pieces

as sculpture and not just as screens. Robert Campbell’s Yellow

installation was most notable in this regard as it used five

separate videos projected onto translucent sculptures and

relief surfaces to create a fascinating, totalizing installation

of moving light and color. Video teamsters Susanna Carlisle

and Bruce Hamilton took a similar approach by hanging glass

baubles filled with various substances in front of the two

angled screens upon which their bright, abstracted moving

images played. Robert Drummond’s Emotion Anamorphic and

Lenka Novakova’s The River is a Mirror employed distortion The River is a Mirror employed distortion The River is a Mirror

and refraction, respectively, to alter the projected images.

This concept of the “video object” as opposed to a narrative

“movie” may indeed be what Santa Fe videographers do best.

A favorite for viewer interactivity was Albuquerque’s Dr.

Whoohoo!’s Walking Threw Dandelions. He graced a long wall

of the entry hall with a series of constantly morphing abstract

flower/sea anemone–type forms that would chase and cluster

around viewers who stepped in the interactive zone of

motion censors. Using open source software, Dr. Whoohoo!

promotes artistic and digitally democratic processes that are

as inspiring as they are inspired. Other standouts included

Marion Wasserman’s gorgeous Elephant Memory, projected

on the down low and reflected in a pool of water; and the

team of Steina, Woody Vasulka, and Rob Shaw, whose

untitled piece allowed you to glimpse your own head as a

continuously spinning series of bizarre planetary topologies.

Hsiao Ihara contributed a three-channel video projection of

pure and stunning color in motion, and David Stout and Corey

Metcalf dominated the large back wall of the main space with

fascinating shape-shifting algorithms. Again, the Santa Fe video

advantage seems to be that video is being used for time-based

object-experiences that are richer the longer you linger,

but for the most part don’t require you to sit through some

ultimately unsatisfying narrative in a peep-show setting.

Currents 2010 didn’t make it onto the Santa Fe map in

the most recent issue of Art in America, though it was hands

down the best show in Santa Fe this summer, making it clearer

than ever just how little the established, big money, art world

really matters.

—Jon carver

ccAcAAurrenAATAAsAATAsATA 2010 2010A 2010A el museo culTural De sanTaTaT Fe

555 camino De la Familia Familia F

Robert Drummond, detail from Emotion Anamorphic,, 2010

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DAVID SOLOMON

www.dsoloarts.com

WORKS ON PAPER

Opening August 20, 2010 5-8PM 505 983 8511

JAY ETKIN GALLERY



ADear Hart, how like you this?Dear Hart, how like you this?ADear Hart, how like you this?A—Tudor poet Sir Thomas Wyatt—Tudor poet Sir Thomas WyattA—Tudor poet Sir Thomas WyattAA hart is a stag A hart is a stag AA hart is a stag A just past its fifth year,

gloriously antlered and ready to rut. As chef Nichola gloriously antlered and ready to rut. As chef Nichola Agloriously antlered and ready to rut. As chef Nichola AFletcher described in her “Hart’s Desire” (Fletcher described in her “Hart’s Desire” (AFletcher described in her “Hart’s Desire” (A Gastronomica,

Summer 2001), a stunningly poetic and historically Summer 2001), a stunningly poetic and historically ASummer 2001), a stunningly poetic and historically Afascinating preface to a recipe of venison osso buco:fascinating preface to a recipe of venison osso buco:Afascinating preface to a recipe of venison osso buco:AThe strength and quick senses of deer earned them The strength and quick senses of deer earned them

enormous respect, and their extraordinary annual cycle

of antler re-growth, culminating in the wildly extravagant

rutting behavior of the mating season, came to represent

the marvel of nature’s eternal regeneration of life, as well

as male potency.

Wait, did someone say “male potency”? Trouble

of the semantic kind lurks here. Especially when we

consider the fact that deer have been—and I’m skipping

several steps here in the interests of brevity—linked to

Christianity and its paradoxical absorption with innocence

and sin. The white stag has even been equated with

Christ himself: omnipotent in the joyous consequences

of his wretched death, followed as it is by resurrection

and everlasting life. To compare, by a twist of speech, the

sufferings of Christ to lust (quite literally to horniness)

is generally considered blasphemous. However, notions

of temptation must, and do, accompany the Christ story,

and what is temptation but unrequited desire? How many

of us have the grit and discipline to delay the gratification

of insistent longing for more than a short period of time?

For most of us, when we want something badly, the time

between the wanting and the getting passes with the

agonizing slowness of a five-year-old’s Christmas Eve.

All of this is to say that Clayton Porter chose some

loaded imagery for his second solo exhibition, a show

of four panels that reek of desire, covetousness, pain,

and loss, in the forms of the stag, the hunting dog, and

a human with a monstrous tumor covering his face.

It’s taken Porter about six long months to eke out

this quartet of drawings, cross hatching like a prisoner

marking time. During all those days and nights of patient,

faithful work, Porter’s been doing a kind of penance:

In place of the rosary, he counts hatch marks on the

impeccably rendered portraits of his subjects. Each panel

is disrupted by a snake-like phallus that loops around its

subjects. The phallus, colored like an exploding lollipop,

embodies desire. The pictures, devoid of background

and modeling, are as flat as Takashi Murakami wallpaper,

long an influence on Porter’s art. Recently he’s become

an aficionado of the work of Bruce Nauman, whose

plays on words (Violins/Violence/Silence) compare with

Porter’s implied terminology: not only “hart/heart” and

“deer/dear” but “chased/chaste.” Once the “chased” is

had, she is no longer “chaste.” Turns out the Elizabethans

loved word play too; check your Shakespeare. It’s also a

fact that during Shakespeare’s lifetime, poaching of the

king’s deer by a commoner was punishable by death.

Requited love, ultimately, serves as a death sentence not

only to the delightful agony of yearning but to a certain

type of existential innocence. Porter investigates the

taking of someone else’s “dear” as it relates to cultural

proscriptions against emotional cheating. Cheating

is not taboo because so few practice it; it is taboo

precisely because uncovering it reveals its uncomfortable

pervasiveness. Never mind the complications of need

across class lines: killing and eating a royal hart versus the

practice of droit du seigneur.

This is very intimate stuff, and the work is directly

related to Porter’s intimate life. He reveals, quite slowly,

the universality of the lure of the forbidden, and one of

its results, shame. Desire and its sub-category of male

potency are not inherently wrong or shameful. It’s the

illusion of being in control of desire itself that destroys.

The dog, for example, is trained to do its job and snarls

when we catch him getting pleasure from it. The face

in the self-portrait is grotesquely distorted by a tumor

of desire; it metastasizes to cripple the licentious

one, leaving him alone to make reparation. Despite

the flatness of the image, sculptural references in the

landscape of the tumor make it appear to emerge from

the drawing. Again, we sense the influence of Nauman in

Porter’s pushing his figures out of their comfort zones:

Think of Nauman’s early videos of himself in misshapen,

self-directed positions. It seems that we do what we can,

literally. None of Porter’s creatures, in the end, have the

capacity to feel guilt, and therein lies their innocence and

their shame.

—Kathryn—Kathryn—K M Davis

clayTon PorTer: Deer harT, T, T Dog DicklaunchProJoJo ecTsTsT

355 easT PT PT alace avenue, sanTaTaT Fe

Clayton Porter, Untitled (self-portrait as a monster), graphite and acrylic on panel, 60” x 48”, 2010

C L A I B O R N E G A L L E R Y

6 0 8 C A N Y O N R O A DB Y A P P O I N T M E N T O R F R I D A Y 1 0 A M - 5 P M

T E L / F A X : 5 0 5 . 9 8 2 . 6 7 2 6

Santa Fe Art InstituteELEMENTAL: Earth, Air, Fire and Water

Art and Environment

WWW.SFAI.ORG, 505- 424 5050, [email protected], 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 OUTREACH

THIS 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

Painter and Animator

Jennifer Levonian8/23 Lecture, 6pm Tipton Hall

8/21 KSFR - SFAI Jazz w/ John Trentacostaand Straight Up, 7pm Tipton Hall, $15

8/26 August Artist and Writers in ResidenceOpen Studio 5:30pm SFAI. Admission free

8/30 Painter and Author Nancy ReynerArtist’s Talk /Book Signing, 6pm Tipton Hall

ELEMENTAL: Earth Air Fire WaterExhibition, M-F through 8/27, 9am - 5pm

THE-aug.qxd:Layout 1 7/15/10 10:04 AM Page 1

PERECT FOR AN ARTISTTwo properties sold together or separately in the townof Las Nutrias, just 45 minutes south of Albuquerque.

Fully restored Victorian house

built in 1890 on .98 acre. 1,950 sq.ft.

Drip irrigation,mature garden,

and trees.$242,000.

1,200 sq. ft. ArtStudio on 1.8acres. Heated,

bathroom, cooler,insulation, new

wiring, skylights,irrigation rights,pull-up garage

door, drip systemand an 800 sq.ft.adobe house with

new well and septic. $85,000.

Coldwell Banker Legacy 505-293-3799Call Mike Haley 505 280-4222

6-foot wall surrounds entire property

ARTIST AT WORK


photo-asseMBlaGe of artist phillip viGil By Matthew Chase-daniel

A one-man exhibition of Vigil’s work will be on view at Shiprock Santa Fe, 53 Old Santa Fe Trail.

Opening reception on Saturday, August 14 from 6 to 8 pm.

New Mexico Academy of Healing Arts leading the way in holistic bodywork studies

OPENING September 2010

Integrated Bodywork Center

501 Franklin Ave, Santa Fe•505.982.6271•888.808.5188•www.nmhealingarts.org•[email protected]

Integrating Traditional & Contemporary Bodywork Trainingfor 30 years in Santa Fe

Affordable, Professional SessionsPractitioners of Multiple ModalitiesNew Treatment Rooms & Gardens

GREEN PLANET

Jodie Evanspolitical organizer, Jodie Evanspolitical organizer, Jodie Evansauthor, documentary film producer, and co-founder of

Code Pink: Women For Peace

“Jodie Evans is a beautiful and remarkable woman

of extreme courage and grace. She moves through

the world with incredible energy and skill—

working tirelessly on the most critical issues that

face our fractured world. I am honored to call her

my friend.”

—Linda Durham, member of Code Pink

For over thirty years Jodie Evans has worked

as a community, social, and political organizer.

From 1973 to 1982, she served in administrative

capacities in all of Jerry Brown’s campaigns. She

worked in El Salvador and with the Zapatistas

on civil rights issues, and has traveled extensively

promoting the resolution of conflict by peaceful

means—leading citizen diplomacy delegations

to Iran, the Gaza Strip, and Afghanistan. Santa

Fe gallery owner and human rights activist Linda

Durham traveled to Baghdad with Evans to bear

witness to the plight of woman and children

during wartime.

Code Pink was founded with a focus on

ending the war in Iraq. The women and men of

Code Pink strive to inspire and ignite a spark within

other Peace workers. Their creative, provocative,

direct, and powerful campaigns are often acts of

performance art, as well as protest. Code Pink

describes itself as a “grassroots peace and social

justice movement working to end the war in

Iraq, stop new wars, and redirect government

resources toward health care, education, and

other life-affirming activities.”

After Evans disrupted Sarah Palin’s

speech at the Republican National Convention

in 2008, she was removed from the floor. After

a peace-seeking trip to Afghanistan, she delivered

to President Obama the signatures of Afghani

women urging him to refrain from sending more

troops to the area. In 2010 Code Pink showed up

during a book signing by Karl Rove. Evans charged

the stage with a pair of handcuffs, stating that she

was making a citizen’s arrest. She is also one of the

producers of The World Festival of Sacred Music

in Los Angeles.


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THEATERTHEATERTHEATER

TenTinyEpicsinanOutletMallOM:

inininin

TenTiny

MAugust 27 – September 26

Funded by New Mexico Arts: a division of the Offi ce of Cultural Affairs and funded by the National Endowment for the Arts; the City of Santa Fe ArtsCommission and the 1% Lodger’s Tax; the New Mexico Tourism Department; and the Santa Fe New Mexican. Theater Grottesco is a participant in

the New Generations Program, funded by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation, administered byTheatre Communications Group, the national organization for American theatre.

Thursdays –Sundays: 7 pm at the Fashion Outlets of Santa Fe

Cerrillos Road at I-25

$18 general admission; $8 students. OPENING NIGHT GALA! Friday, August 27, Tickets: $75

Pay What You Wish Performances:

Aug. 29, Sept. 2, 9, 16, 23.

505.474.8400 or theatergrottesco.org

Drawing by Patrick McFarlin

MARK Z. MIGDALSKI, D.D.S.

GENERAL AND COSMETIC DENTISTRY“DEDICATED TO PREVENTION,

SERVICE & EXCELLENCE”

the old lAMy churchphotoGraph By Guy Cross

ARCHITECTURAL DETAILS


WRITINGS

78| The magazine |august 2010

“Honeysuckle for Little Sister” is from Chacón’s first collection of poetry Insides She Swallowed (West End Press, Albuquerque. $13.95). Chacón recently won an Academy of American Poets prize and has had her work published in the American Poetry Review, Colorado Review, Callaloo, and other journals. She currently teaches creative writing at the University of Texas at El Paso.

honeysuckle for Little SisterBy sasha piMentel ChaCón

Sipping the blossom from its stemyou pick the yellow flower forits stamen: the pollen bulbbobbing on a filament, bright as a blade so you gaspfrom the sheer arc of it, the sharp luxury heavy with want.This is the bloomyou’ve peered in bush by bushfor, your face pressing the glossyleaves, hunting for your longing, that smell a scrim of wet birthdropping down your nostrils—hurtling into your summerfrom two petals like crowns, one rollingup, the other swelling downthe flower’s small opening,and you want to kiss it, hurtingfrom your tightened mouth.

August 13 - September 10, 2010

Opening Reception, Friday, August 20, 5-7pm

Collected Voices: Contemporary Native Art

c h i a r o s c u r o7021/2 & 708 canyon rd, santa fe chiaroscurosantafe.com 505-992-0711

Artists Include:

Rick Bartow

Joe Fedderson

Yatika Starr Fields

Harry Fonseca

Lisa Holt & Harlan Reano

Rose B. Simpson

Kay WalkingStick

Allim

ages:RoseB

.Simpson,PodII,2010,ceramic,reed,string,22x27x45inches

the magazine august 2010

Documents

shiprock santa fe

site santa fe

plaza santa fe

santa fe divergent works

pueblo pottery

santa fes

old santa fe trail upstairs

historic native art