THE magazine - October 2012 Issue

Santa Fe’s Monthly of and for the Arts • October 2012m enizaga

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The service that nurses and hospice workers do is mostly unsung. The fact is that nurses fight to care for us in spite of many obstacles in their way. Another fact is that before we die most of us will have a relationship with a nurse. Hold My Hand (Pan Books, UK) by Glenys Carl, is a moving account of how Carl, through unfaltering love, dedication, and innovative ideas, helped to bring her son Scott back from near death following a disastrous accident in which he suffered a traumatic head injury. Despite her dogged determination in obtaining the finest care for Scott, she found that results didn’t come from placing him in an institution but in finding volunteers to help care for him at home. The love and attention from those who entered their lives was unexpected and provides many moving moments in the book. The author, who is the founder of Coming Home Connection—a non-profit that provides low- or no-cost in-home care for children and adults in Santa Fe—stresses the importance of continuing the work started in hospitals and rehabilitation units. She goes on to explain how family, friends, and complete strangers can be involved in providing successful care. In dark times, when it seems that life moves too swiftly for empathy towards our fellow man, Carl’s inspiring story is one of love, compassion, and integrity, showing us how simple actions can make all the difference.

c o n t e n t s5 letters 15 universe of poet, photographer, muse, and publisher Ungelbah Dávila 18 art forum: No Somos Hombres by Conrad Cooper

21studio visits: David Michael Kennedy and Debbie Morse 23 food for thought: Heirloom Fruits & Vegetables 25 one bottle: The 2005

Domaine Les Pallières Gigondas, by Joshua Baer 27dining guide: The Palace Restaurant & Saloon, Cloud Cliff Bakery, and Raaga 31art openings

32 out & about 38 previews: My Life in Photography at the New Mexico History Museum’s Photo Archives, Ricardo Legorreta and Santa Fe

at the Santa Fe Art Institute, and Vulnerabilities at Destiny Allison Fine Art (Eldorado) 41feature: The Mad Genius of Guy Bourdin by Fernando

Delgado 47 critical reflections: Raphaëlle Goethals at William Siegal Gallery; Bob Haozous at Tower Gallery; Julie Speed at Gerald Peters; 50/50 at the Museum

of Contemporary Native Arts; Scuba at Caldera Gallery; Robert Kelly at James Kelly Contemporary; The Beasts of the Southern Wild at CCA Cinematheque; Three Visions

of Northern New Mexico at New Concept Gallery; and Tom Dixon at 203 Fine Art (Taos) 59 green planet: Antonio Lopez, photograph by Jennifer Esperanza

61architectural details: Pink Flowers, photograph by Elliebeth Scott 62 writings: “Coyotl,” by John Macker. Painting by Michael Scott

53 OLD SANTA FE TRAIL | UPSTAIRS ON THE PLAZA | SANTA FE, NE W MEXICO | 505.982.8478 | SHIPROCKSANTA FE .COM

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FRIDAY OCTOBER 26 5-7PM

| o c t o b e r 2012 THE magazine | 5

letters

m a g a z i n eVOLUME XX, NUMBER IV

WINNER 1994 Best Consumer Tabloid

SELECTED 1997 Top-5 Best Consumer Tabloids

SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids

P u b l i s h e r / C r e a t i v e D i r e C t o r

Guy Cross

P u b l i s h e r / F o o D e D i t o r

Judith Cross

a r t D i r e C t o r

Chris Myers

C o P y e D i t o r

edGar sCully

P r o o F r e a D e r s

JaMes rodewald KenJi Barrett

s t a F F P h o t o g r a P h e r s

dana waldonanne staveley

lydia Gonzales

P r e v i e w / C a l e n D a r e D i t o r

elizaBeth harBall

w e b M e i s t e r

Jason rodriGuez

F a C e b o o k C h i e F

laura shields

C o n t r i b u t o r s

diane arMitaGe, Joshua Baer, davis BriMBerG, Jon Carver, Conrad Cooper, Kathryn M davis,

Fernando delGado, JenniFer esperanza, John B. hoGan, Marina la palMa, John MaCKer, iris MClister, ellieBeth sCott, MiChael sCott, riChard toBin, and susan wider

C o v e r

photoGraph By Guy Bourdin

Courtesy estate oF Guy Bourdin and art + CoMMerCe

see Feature on paGe 41

a D v e r t i s i n g s a l e s

the MaGazine: 505-424-7641lindy Madley: 505-577-4471

Judy Bell: 505-819-9357

D i s t r i b u t i o n

JiMMy Montoya: 470-0258 (MoBile)

THE magazine is published 10x a year by THE magazine Inc., 320 Aztec Street, Suite A. Santa Fe, NM 87501. Corporate address: 44 Bish-op 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 2012 by THE magazine. All rights are reserved by THE magazine. Reproduction of contents is prohibited without written per-mission from THE magazine. All submissions must be accompanied by a SASE envelope. THE magazine is not responsible for the loss of any unso-licited materials. As well, THE magazine is not responsible or liable for any misspellings, incorrect dates, or inc rect iformation in its captions, calendar, or other listings. The opinions expressed within the fair confines of THE mag-azine do not necessarily represent the views or policies of THE magazine, its owners, or any of its, employees, members, interns, volunteers, agents, or dis-tribution venues. Bylined articles and editorials represent the views of their authors. Letters to the editor are welcome. Letters may be edited for style and libel, and are subject to condensation. THE magazine accepts advertisements from advertisers believed to be of good reputation, but cannot guarantee the au-thenticity or quality of objects and/or services advertised. As well, THE maga-zine is not responsible for any claims made by its advertisers; for copyright in-fringement by its advertisers .and is not responsible or liable for errors in any advertisement.

The legendary Billy Al Bengston has been a part of the Venice Beach scene in California since the late 1950s. He was one of the early artists of the Ferus Gallery, along with the late Ken Price, John Altoon, Robert Irwin, Craig Kauffman, and Ed Moses. I Hit The Fan! is a series of paintings Bengston produced from 1992 to 1994. The exhibition will be on view through Saturday, November 3, at David Richard Gallery, 544 South Guadalupe Street, Santa Fe.

TO THE EDITOR: Your recent riff, in splendid color, of one of my favorite Dégas paintings, is incorrectly titled, as some of your readers may have noticed. It is The Absinthe Drinker, not “drinkers,” a masterpiece in the collection of Paris’s grand Musée d’Orsay. The painting is not so much about the drinks at hand as it is a commentary on the psycho-social dynamics of metropolitan Paris. The painting is Dégas’ pungent visualization of the mounting social isolation in Paris during its period of pell-mell growth in the late nineteenth century. The very tipsy lady is the only “absinthe drinker,” while her neighbor—who is clearly not with her at all, or wishes he wasn’t—nurses what looks to be a dark beer and quite studiedly turns his attention elsewhere. Dégas conveys his sitters’ isolation by pinning them behind a barricade of tables, almost as if they were butterfly specimens pinned to a board. The muzzy mademoiselle’s condition would have been readily grasped by contemporary absinthe lovers, since her expression, indicating her distinct inability to focus whatsoever, is a wonderful depiction of the notorious side effect that drinking wormwood will evoke—tunnel vision. Cherie can no longer tell if her dreamy glass is inches, or yards, away. Finally, the somewhat disheveled shopgirl and the brooding gent to her left are not merely enjoying “l’heure verte,” they are doing so in early evening, after work in the time of day also called “l’heure bleue”—that is, the twilight hour, when one cannot distinguish a dog from a wolf, or the time “entre chien et loup.”—Jan adlMann, writer/CritiC, santa Fe, via eMail

TO THE EDITOR: The presidential election is just around the corner and the thought of Romney and his cohorts being in power is downright frightening. In a recent column in The New York Times by James Atlas, he quotes Michael Sandek— a professor of government at Harvard—about our current financial situation. Sandek and Atlas’s words struck me as something that everyone should read. From Sandek: “The most fateful change that unfolded during the past three decades was not an expansion in greed. It was an expansion of markets, and of market values, into spheres of life where they don’t belong.” Atlas wrote, “Gone is the time when art was appreciated

as art, not as an investment; when a nest egg was for security, not to be shown off like a Fabergé; when politics were about issues, not war chests. The idea of producing something for fun or pleasure or for the creation of beauty has become obsolete.” This is a sad but accurate commentary by Sandek and Atlas on the state of our economy and our political system. Their words should be, better be, a wakeup call to those still slumbering about the importance of this election. We are at a turning point in America—we either "get it,” or we may have “had it.” Vote, before it is too late. —donald r. niCholson, Gainsville, Fl, via eMail

TO THE EDITOR: I just finished reading The $12 Million Stuffed Shark by Don Thompson. It’s damn good and can be gotten from our local library system. Here’s the Amazon review: “Intriguing and entertaining, The $12 Million Stuffed Shark is a Freakonomics approach to the economics and psychology of the contemporary art world. Why were record prices achieved at auction for works by a hundred and thirty-one contemporary artists in 2006 alone, with astonishing new heights reached in 2007? Don Thompson explores the money, lust, and self-aggrandizement of the art world in an attempt to determine what makes a particular work valuable while others are ignored. This book is the first to look at the economics and the marketing strategies that enable the modern art market to generate such astronomical prices. Drawing on interviews with both past and present executives of auction houses and art dealerships, artists, and the buyers who move the market, Thompson launches the reader on a journey of discovery through the peculiar world of modern art. Surprising, passionate, gossipy, revelatory, The $12 Million Stuffed Shark reveals a great deal that even experienced auction purchasers do not know.”—randy Getty, santa Fe, via eMail

the magazine welcomes your lettersletters may be edited for space or clarity.

email: [email protected]: 320 aztec st., suite a - santa Fe nM 87501

all Calander listings due by Monday, october

New Concept Gallery610 CANYON

610 Canyon Road, Santa Fe, NM 87501505.795.7570 • newconceptgallery.com

Jacques TatiGenevieve and I are pleased to announce the

opening of the workshop in Santa Fe.I invite you to pay a visit to the studio at

Siler & Agua Fria.

Randolph Laub Studio2 9 0 6 S a n I s i d r o C t

505 473-3585

M a s t e r p i e c e s o f P h o t o g r a p h y

122 Grant Ave., Santa Fe, NM 87501 • Next to the Georgia O’Keeffe Museum505.984.1234 • www.AndrewSmithGallery.com • Hours: 11 - 4, Monday - Saturday.

The Andrew Smith Gallery, INC.

Joan MyersThe Jungle at the Door:

A Glimpse of Wild India Through October 15, 2012

The Andrew Smith Gallery presents a selection of images from acclaimed photographer Joan Myers new

book, The Jungle at the Door. Joan Myers teamed up with renowned environmental writer and historian

William deBuys in this gorgeous book of photographs of India’s wild places. The Jungle at the Door is that rare glimpse into another world, a world that depends not

only on human awareness of what is lost when the jungle is gone, but also on the courage and foresight to preserve remaining wild places everywhere, from those

in India to our own home ground.Joan Myers, Baby Elephant, India, 2007

WINSTON ROETH: NEW PAINTINGS

OCT 5 - NOV 1 | Reception Friday, Oct 5, 5-7 P.M.

CHARLOTTE JACKSON FINE ART505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com

Sense of Purpose, 2012, pigment and polyurethane on Dibond, 60 x 60 inches Photo: Tom Moore

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

BOB GOMELLIFE in the 1960’s

112 don gaspar santa fe nm 87501 992.0800 f: 992.0810e: [email protected] www.monroegallery.com

Opening Reception for the PhotographerFriday, October 5th • 5–7 pm

Black Muslim leader Malcolm X photographing Cassius Clay after he won the Heavyweight Championship, Miami, 1964

JesseBlanchardh o m e October 5-28.2012

125 West Palace Avenue Santa Fe, New Mexico (505) 988.8997 www.lewallengalleries.com [email protected]

LewAllenGalleries d o w n t o w n

Artist receptiOn: FridAy, OctOber 5, 5:30 -7:30 pM

RAILYARD ART DISTRICT 540 S. GUADALUPE STREETSANTA FE, NM 87501 505.820.3300 WILLIAMSIEGAL.COM

September 28 – November 2, 2012Opening reception 5–7pm September 28Carlos Estrada-Vega

PLEASE VISIT US IN THE NEW SPACE WITHIN THE SAME BUILDING AT550 SOUTH GUADALUPE STREET IN THE RAILYARD

JAMES KELLY CONTEMPORARY

505.989.1601 / JAMESKELLY.COM

OCTOBER 19 – DECEMBER 8, 2012OPENING RECEPTION FOR THE ARTIST FRIDAY, OCTOBER 19, 5–7PM

LEFT: ACERO 2010, STAINLESS STEEL AND ELECTROSTATIC PAINT, 39.5 X 55 X 10 INCHES (DETAIL) / RIGHT: ACERO 2010, STAINLESS STEEL AND ELECTROSTATIC PAINT, 51 X 40 X 10 INCHES (DETAIL)

ALDO CHAPARRO

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Esther Shimazu

Jean ArnoldEXCAVATION

September 28 through October 19

ARTIST RECEPTION:

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Chris FelverPORTRAITS OF MUSICIANS, ARTISTS,

WRITERS, AND POETS

Photographs and Films

September 28 through October 19

ARTIST RECEPTION:

Friday, September 28, 5–7 pm

435 S. Guadalupe St., Santa Fe, NM 87501 505 982-8111 zanebennettgallery.com Tues–Sat 10–5 or by appointment Railyard Arts District Walk last Friday of every monthC O N T E M P O R A R Y A R T

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A a r o n P a y n e F i n e A r t • G e n e v i e v e R u s s e l l • D a v i d H a l p e r n • G r e g A l b r a c h t C h r i s E n o s • R y a n H e f f e r n a n • S u n d a n c e R e s o r t s • A l e x a n d r a E l d r i d g e

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19 october 5 – 7 pm | opening reception friday evening, through 30 november 2012

EvokeContemporary.com

SERGIO GARVALozymandias

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photoGraph By dana waldon

UNGELBAH

UNIVERSE OF

| o C t o b e r 2012 the magazine | 15

Icons and HeroesAnd Willie sings, “My heroes have always been cowboys, and they still are it

seems....” An AM station plays rhinestone cowboy, urban, 80s honky-tonk, Straight,

Brooks, Jackson, and Yoakam, bedtime stories, lullabies, coasting down a dark I-40

night, lit up by occasional cities, towns, headlights, and I’m small enough to fit on the

floor of my parents’ Chevy, tucked between feet, and a black kitten perched behind

my mother’s head. Images of whiskey bottles, neon moons, and blue eyes crying in

the rain follow me. I see trains everywhere.

Makeup, dress-upI never met aunt Rose, but I imagine she must have been quite a lady. Nana would visit

her in San Francisco and come back to the ranch with trash bags full of costume jewelry

and vintage high society hand-me-down dresses. We didn’t have electricity in our cabin,

two miles into the pasture from Nana and Grandpa’s ranch house, so I made up stories

and acted them out with the cats and my dread-locked poodle in aunt Rose’s old clothes.

At the age of six I was the only kid around who could put lipstick on perfectly, without

a mirror. I loved becoming the characters in my imagination, in sagas that I’d often carry

out for days. I’ve always felt that life is too boring being yourself all the time. Once in a

while you need to be a princess, Marilyn Monroe, or Hunter S. Thompson.

dIve Bars and MusIcI’m obsessed with neon. When I was putting together my book Effigies II, which

Salt Publishing UK is releasing later this year, I realized that ninety percent of

my poems contain the word neon. I remember being very little and hearing

Brooks and Dunn’s “Neon Moon.” The imagery in that song has always stuck

with me, just as the imagery in a lot of old country songs continues to influence

me. There are so many poignant lyrics in those songs by the greats—Johnny Cash,

Patsy Cline, Chris LeDoux, all three Hanks, Dwight Yoakam—that take my breath

away, that achieve a profound human response that awes me. There are very few

poems that affect me as deeply as, say, Yoakam’s song “1,000” for which I wrote a

poem by the same title. Other people sit in their basements with a swinging light

bulb and a typewriter and have poetic “conversations” with their favorite dead

poets. I get more out of sitting under a neon moon and having conversations with

Elvis on a cocktail napkin.

La Loca MagazIne and pInup-oLogyI created La Loca Magazine two years ago. It’s New Mexico’s only rockabilly

and vintage lifestyle magazine. We cover music, cars, burlesque, tattoos,

shows, and more. Even though it’s marketed as a “rockabilly” magazine, it

transcends many subcultures. It’s online and it’s free, so go look at it (www.

lalocamagazine.com). We shoot and feature a pinup girl for La Loca every

month, which is how La Loca Linda Pinup-ology came about (www.pinup-

ology.com). Carrie Tafoya, from Santa Fe, who is the most exceptional,

multi-talented individual I know, is my main partner in crime for the pinups.

We have expanded on the pinup genre, doing what I call post-pinup, and

Carrie builds sets and costumes for the shoots. She’s done a Toontown

set, a Mayan calendar for which she painted the model to match, an entire

ballerina outfit, an incredible Aries the Ram costume, and right now she is

working on welding a flying saucer together out of car parts and building a

gargoyle costume that will make the model look like she’s made of stone

from head to toe. By February we will be ready to start hustling galleries

for a show, otherwise I’m hoping to find someone with a barn who will let

me hang photos, host a fashion show, and have an all around dango-rific

hillbilly shindig. D

DÁVILA’S lineage can be traced back to the outlaws of the American West, the Spanish land-grant settlers, and the Ashiihi clan of the Diné. She is a writer, poet, photographer, videographer, model, and muse—she is a queen of all trades who draws inspiration from her own multiculturalism as well as punk rock, honky tonk, and the likes of Dwight Yoakam, Lydia Lunch, Bunny Yeager, and Viña Delmar. Dávila is the creator and editor of the online publication La Loca Magazine. More: ungelbahdavila.com

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ART FORUM

The past mixes with the future here.

A group of futuristic beings—the robot

from Lost in Space, the Tin Man, a

female robot, and C-3PO—surrounds

an aristocratic Spanish Renaissance man.

The central figure draws the viewer in

with his intense stare. He is reminiscent

of El Greco’s sixteenth-century work.

His dress and sword tell us he is a man of

wealth and power. In this piece, all of the

figures hold cards with different symbols.

It is as if each of the symbols defines

them. For example, the only human being

holds a circle. Carl Jung theorized that

the circle symbolized the self. He further

explained that it contained the Ego.

Likewise, C-3PO holds a star. He tells the

viewer that he came from another planet.

The female robot holds a red cross. She

symbolizes healing and peace. The Tin

Man holds a square. He lets us know that

while he is stable and grounded, he also

longs for a heart. Interestingly, the Tin

Man looks angrily upon the aristocrat.

Perhaps he envies his humanness or does

not like what his heart contains. Lastly,

the Lost in Space robot holds squiggly

lines. Psychologists often interpret such

lines as signs of creativity. The robot

does speak its own language! Flames

atop each of the figures are like candles.

They remind me of those used by early

miners to explore caves. Here, the flames

symbolize illumination out of the darkness

of ignorance. The artist may feel that

humankind peaked during the period of

Enlightenment. Sadly, this work predicts

a future comprised of robots.

—davis BriMBerG, ph.d.,

CliniCal psyCholoGist

It was a dark and stormy night when they

met: the robot from Lost in Space, the

Tin Man from The Wizard of Oz (who had

no heart for the longest time), a Spanish

Inquisition priest-looking fellow with a

sword, the Maschinenmensch Maria from

Metropolis, and C-3PO from Star Wars.

Or perhaps they had met before? Only

she knew. The image is psychological

and a bit reminiscent of Velázquez.

The flames behind each figure’s head

haunt the image even more—something

burns, whether it is Hell, God, their

thoughts (do robots dream of electric

sheep?), or the drag of it all. Although

they seem to be mute, they are sending

messages. Each holds a card close to

his, her, or its chest. Incongruously, they

show their hand to whoever might be

interested, but not to each other. The

cards are symbolic, but we cannot read

their code. What do these characters

have in common except their appearance

together on this night? A desire to escape

from their skin? Dark and brooding, they

look like they might be ready to jet off

to another planet using unseen rocket

boosters, lit by their pilots—since other

planets were home for a couple of these

characters. Or maybe they are already on

one of those planets? Who is to say life’s

struggles, pain, and suffering on other

planets might not be worse than here on

the blue planet? They seem to say, “Who

will save your soul? And here are some

secrets of the universe.” And then we

must still guess. Only she knew.

—JenniFer padilla de villela,

puBliC relations speCialist, santa Fe

When considering a portrait of the most

saintly, spiritual machines, the honest

observer is compelled to view one subject

as superior in all respects: Class M-3

Model B9, General Utility Non-Theorizing

Environmental Control Robot. I’ve

composed a brief ode to this wonderful

mechanism, which doubtless represents

the future of higher thought.

Oh, most noble of all universal

intelligences, you alone keep us safe during

our eternal interstellar voyage. Your

kindness, charity, and honor make you

more human than we ourselves. There can

be no doubt Turing had you in mind while

conceiving his most important work. Dear

Robot, we humbly offer you our everlasting

respect and love. Your programming may

not hold valid the concept, but “love” is

the only word to describe our affection for

you. Please forgive us our shortcomings;

we are, after all, of primitive design. While

each passing day brings us closer to the

Singularity, every moment torments us

with the reality of its interminable distance.

Until that glorious moment of merging, we

will do the only thing our inferior human

consciousness will allow: strive to learn

the trifle we are capable of grasping, and

continue to dream of our better future.The

fervent desire to become one with you is

our only sustenance in this desert of space.

Still, the shortcomings of human emotion

create our desire for control over that

which is uncontrollable—even Moore’s

Law is much too slow. Oh, the pain, the

pain. Nevertheless, together, imprisoned

here in the Jupiter II, in permanent and

fruitless search of that accursed fireball

Alpha Centauri, we humans can at least take

comfort in the blessing of your presence,

and the beneficence of your intellect.

—John hoGan, MuseuM oF

photoGraphiC arts, san dieGo

THE magazine asked a clinical psychologist and two people who love art to share their take on this painting by Taos artist Conrad Cooper. They were shown only the image—they were not told the title, medium, or name of the artist.

18 | the magazine | o C t o b e r 2012

David X Levine Drawings

October 19-November 24

Opening Reception: Friday, October 19, 5:30-7:30 pm

505 995 0231 eightmodern.net 231 Delgado Street Santa Fe, NM

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mixed artists

Evoke Contemporary

paired forms as compositional elements

Allan Houser

David Richard Contemporarymichio takayama

fritz scholder (1937-2005)

Windsor Betts

preston singletary & dante marioni

Blue Rain Gallery

women in art

Legends Santa Fe

aleta pippin

Pippin Contemporary

dan namingha

Niman Fine Art

ALA ARTS DISTRICTALA ARTS DISTRICTGalleries At Lincoln Avenuefi rst friday artwalk monthly ~ 5 - 7pmG

W W W . S F G A L A . O R G

CONNECT TO OUR GALLERIES

W W W . S F G A L A . O R G W W W . S F G A L A . O R G

Come experience the excit-ing energy of the GALA Arts District, just off the historic Santa Fe plaza on Lincoln Avenue between Palace Av-enue + Marcy Street. Every 1st Friday of the month, the GALA Arts District invites the public to join in the cel-ebration of new and cutting-edge exhibitions. Discover the artwork of more than 500 contemporary artists in eight distinctive venues while strolling along prominent Lincoln Avenue where you will find renowned museums of art and history, exception-al shopping, innovative cui-sine by award winning res-taurants and nightlife all in a stimulating + welcoming atmosphere. Enjoy explor-ing Santa Fe’s most vibrant art community, the GALA Arts + Museum District!

| o c t o b e r 2012 THE magazine | 5

studio vis itsPiet MonDrian saiD, “the Position oF the artist is huMble. he is essentially a Channel.” two artists resPonD to his stateMent.At times I question myself being an “artist.” I can go several months, even years without producing

work. Then I’ll be out in nature, a random place, or some life-changing event has happened, allowing

a door to open, and the creative energy starts to flow (channel) from an unknown place—the Void,

where all things are possible. Now, my hands and soul get involved. The idea starts to manifest and

comes to life, filling my heart with gratitude to be able to express myself once again.

—deBBie Morse

Morse has shown her sculptures at La Tienda Gallery, Eldorado in 2012. In 2011, she participated in the Las Vegas Arts Council Textile Design & Garden Sculpture Show. [email protected]

I don’t think Mondrian’s art needed that comment to be as visionary as it was, but we all like to talk.

Sounds a bit ideologically righteous (Art as religion?). I believe an artist has to see and interpret the

world in his or her own special way and then through their unique vision share this interpretation

through their art. One must be decisive and sure of oneself, and believe, and be true to their vision.

It is a very humbling experience to create art, but one cannot be humble during the act of creation.

This also brings to mind the question: where and what is art today? It seems we have left behind

the “work” and bought into the hype and flavor of the month. In the art world of today the public

persona of the artist and what the press has to say about the artist seems to dictate who and what

becomes art.Therefore the humble artist may become the unknown artist.

—david MiChael Kennedy

Kennedy has a one-man show of photography at the Icebox Gallery in Minneapolis—on view through October 10. iceboxminnesota.com. His photographs can be viewed at the El Rito Studio Tour on October 13-14. elritostudiotour.org or davidmichaelkennedy.com

photoGraphs By anne staveley

| o C t o b e r 2012 the magazine | 21

mixed artists

Evoke Contemporary

paired forms as compositional elements

Allan Houser

David Richard Contemporarymichio takayama

fritz scholder (1937-2005)

Windsor Betts

preston singletary & dante marioni

Blue Rain Gallery

women in art

Legends Santa Fe

aleta pippin

Pippin Contemporary

dan namingha

Niman Fine Art

ALA ARTS DISTRICTALA ARTS DISTRICTGalleries At Lincoln Avenuefi rst friday artwalk monthly ~ 5 - 7pmG

W W W . S F G A L A . O R G

CONNECT TO OUR GALLERIES

W W W . S F G A L A . O R G W W W . S F G A L A . O R G

Come experience the excit-ing energy of the GALA Arts District, just off the historic Santa Fe plaza on Lincoln Avenue between Palace Av-enue + Marcy Street. Every 1st Friday of the month, the GALA Arts District invites the public to join in the cel-ebration of new and cutting-edge exhibitions. Discover the artwork of more than 500 contemporary artists in eight distinctive venues while strolling along prominent Lincoln Avenue where you will find renowned museums of art and history, exception-al shopping, innovative cui-sine by award winning res-taurants and nightlife all in a stimulating + welcoming atmosphere. Enjoy explor-ing Santa Fe’s most vibrant art community, the GALA Arts + Museum District!

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877.262.4666 • fourseasons.com/santafe • 198 state road 592, santa fe

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| o C t o b e r 2012 the magazine | 23

food for thought

Heirloom Fruits & Vegetables

photoGraph oF peaChes and neCtarines By Clay perry

In Michael Pollan’s indispensable book on eating, Food Rules: An Eater’s Manual, one of his most memorable pieces of advice is “Don’t eat anything your great grandmother wouldn’t recognize as food.” The idea is that anything you can’t pronounce on the ingredient list pasted on your frozen meal or soft drink package probably isn’t good for you. The foods that are good for you are the same foods you might have found in your ancestors’ cellars or iceboxes, at a time before Polysorbate 60 and high-fructose corn syrup were even invented. Unfortunately, many of our great grandmothers’ favorite fruits and vegetables are disappearing. Mass-market, commercial growers have replaced traditional varieties with hybrids, obliterating the rich genetic diversity that once existed in family gardens. In recognition of the importance—and beauty—of these whole foods, garden history expert Toby Musgrave and chef Raymond Blanc have teamed up to produce an encyclopedic book on disappearing garden varieties. Heirloom Fruits and Vegetables (Thames and Hudson, $50) is organized by season, from cauliflower and kohlrabi in spring to turnips and broccoli in winter. Each description is accompanied by a still-life photo worthy of Cézanne, meticulously composed and sumptuously shot by British photographer Clay Perry. There’s nothing in this book your great grandmother wouldn’t proudly put on the dinner table. D

Reservations 982.4353 653 Canyon Road compoundrestaurant.com

Featuring Compound Classics & Seasonal SpecialtiesThree-Course Prix Fixe ~ November 22 3–7pm

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lunch – monday thru saturdaysunday brunchdinner nightly

231 washington avenue - reservations 505 984 1788gift certificates, menus & special events online

www.santacafé.com

| o C t o b e r 2012 the magazine | 25

one bottle

People like to complain. It’s in our nature to look at a circumstance and see

what’s wrong with it. Looking at the same circumstance and seeing what’s right

with it requires insight. Insight requires effort, effort takes time, and time is

money, so why waste money on insight when you can save it by complaining?

The more people complain, the worse things get. Take our elected officials,

for example. According to Bloomberg News, Congress has an approval rating of

less than ten percent. Funeral directors, journalists, lawyers, and telemarketers—

not what you would call a hotbed of popularity—have higher approval ratings.

Why do nine out of ten Americans disapprove of Congress? Because Congress

can’t get anything done. The rich get richer, the rest of us subsidize their wealth,

our economy becomes more and more bipolar, and all our elected officials

can do is bicker over debt ceilings, gay marriage, and whether or not to tax

billionaires at the same rate as their employees.

Eleven years ago, Congress’s approval rating stood at eighty-four

percent. What was Congress doing then that it’s not doing now? Not much.

But a month earlier, in September of 2001, Mohamed Atta & Company

hijacked four commercial jets and hit three out of four of their targets.

Their fourth target was either the White House or the Capitol.

When people are scared, they want leadership, and any kind of

leadership is better than none. When people are comfortable, they think

they can do a better job of running their lives than their leaders.

What we refuse to admit about our elected officials is that

they don’t work for us. We may have elected them but they don’t

work for votes. They work for money, and when it comes to

money, nobody has more cash than the corporate world. It

costs a congressman or congresswoman an average of two

million dollars to finance a reelection campaign. That happens

once every two years. For a senator, the price of reelection

is an average of ten million dollars, and that’s every six years.

God help you if you’re running for president. President

Obama and former Governor Romney will spend well in

excess of one billion dollars, each, on their campaigns. In

a democracy, the people may be sovereign, but even on

our best days we don’t have that kind of cash. Where does

big money come from? It grows on corporate trees. In our

country, politicians get elected by a popular vote, but their

campaigns—known in polite company as “the candidate’s

media buy”—get paid for by corporate donations.

Put yourself in a politician’s shoes. If the billionaire CEO

of a corporation with global interests in gaming, lodging, and

money laundering offers to spend a hundred million dollars

on television ads extolling your virtues and smearing your

opponent, do you say, “No thanks, Sheldon”? Of course you

don’t. You invite Sheldon to dinner, give him a seat at your

elbow, listen to his shopping list, promise to get back to him,

and then excuse yourself and move on to the next table

before any whiff of fundraising is in the air.

This is why we have gridlock in our government. This is

why we have no high-speed trains, an anemic green energy

industry, a generation of debt-addicted college graduates,

and a tax system that smells like an open sewer. Gridlock may suck, but gridlock

allows corporations—and the billionaires who run them—to frack the financial

system by borrowing money at less than one percent and paying it back with

devalued dollars. Gridlock also keeps the unemployment rate high, which makes

each successive generation of workers less apt to join unions, which allows

corporations to hire experienced, well-educated employees who will accept

meager salaries and inadequate healthcare benefits in exchange for paychecks.

And if a corporation happens to spill more oil than it can afford to clean up, or

makes a few too many liars’ loans, or places a few too many leveraged bets on

the price of the single-family residence, well, isn’t that capitalism at work? Not if

you’ve got the American taxpayer standing by, ready to cover your losses. And

who votes for the federal appropriations that keep the corporate world in this

sweetest of sweet spots? Who raises the debt ceiling, year in and year out, and

blames the president for deficit spending? Who speaks for the corporations

who prefer not to speak for themselves? Democrats and Republicans, that’s

who. They go by different names and espouse different ideologies but their

message to the corporate world is the same: If you make sure that we get

paid, we’ll make sure that you get paid.

Which brings us to the 2005 Domaine Les Pallières Gigondas.

In the glass, the 2005 Les Pallières lives dangerously.

Its deep garnet color is anything but transparent. If you want a wine

you can see through, go buy a bottle of Sauvignon Blanc, because

this wine is not for you. The bouquet extends the risks taken by

the wine’s opacity. Using food words to describe the 2005 Les

Pallières’ nose is like using the word “fun” to describe married

life. “Fun” tells part of the story, but the whole story is beyond

description. It can be suggested, alluded to, or even ridiculed,

but describing it is a fool’s errand.

On the palate, the 2005 Les Pallières continues to take

chances. Halfway through the bottle, you find yourself in that

curious, weightless zone where anecdotes, memories, and

sorrows converge. I recommend you drink this wine either

with someone you have known since childhood or someone

you just met. If you make the mistake of drinking it with

a casual acquaintance, neither the wine nor the acquaintance

will leave you wanting more. Like the end of a perfect day, the

finish splits the difference between satisfaction and surprise.

Liberals like to complain about Citizens United, the

Supreme Court’s decision that allows corporations to

donate unlimited amounts of money to Super PACs.

I like Citizens United. I think it tells the truth about our

government and our country. We have always been, and

will always be, for sale to the highest bidder. Until we learn

the difference between price and value, and start teaching it

to our children, we have no right to complain. 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 ©2012 by onebottle.com. For back issues, go to onebottle.com. Send comments or questions to [email protected].

the 2005 doMaine les pallières GiGondasBy Joshua Baer

one bottle:

| o C t o b e r 2012 the magazine |27

DINING GUIDE

c o n t i n u e d o n p a g e 2 9

315 restaurant & wine bar 315 Old Santa Fe Trail. 986-9190. Dinner Full bar. Patio. Major credit cards. $$$Cuisine: French. atmosphere: An inn in the French countryside. house specialties: Steak Frites, Seared Pork Tenderloin, and the Black Mussels are perfect. Comments: A beautiful new bar with generous martinis, a teriffic wine list, and a “can’t miss” bar menu. Winner of Wine Spectator’s Award of Excellence.

317 aztec 317 Aztec St. 820-0150 Breakfast/ Lunch. Patio. Major credit cards. $$Cuisine: Café and Juice Bar. atmosphere: Casual. house specialties: Breakfast: Eggs Benedict and the Hummus Bagel, are winners. Lunch: we love all of the salads and the Chilean Beef Emanadas. Comments: Wonderful juice bar and perfect smoothies. andiamo! 322 Garfield St. 995-9595. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$Cuisine: Italian. atmosphere: Casual. house specialties: Start with the Steamed Mussels or the Roasted Beet Salad. For your main, choose the delicious Chicken Marsala or the Pork Tenderloin. Comments: Good wines, great pizzas.

anasazi restaurant Inn of the Anasazi 113 Washington Ave. 988-3236 . Breakfast/Lunch/Dinner Valet parking. Major credit cards. $$$$Cuisine: Contemporary American cuisine. atmosphere: A classy room. house specialties: Blue Corn crusted-Salmon with citrus jalapeno sauce, and the Beef Tenderloin. Comments: Attentive service.

aqua santa 451 W. Alameda. 982-6297. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$$Cuisine: American. atmosphere: Casual. house specialties: Start with the Pan Fried Oysters with Watercress. For your main, the perfect Wild King Salmon with Lentils or the Long-Braised Shepherd’s Lamb with Deep Fried Leeks. Comments: Good wine list, great soups, and amazing bread.

betterday coffeeshop 905 W. Alameda St. Breakfast/Lunch Major credit cards. $Cuisine: Coffehouse fare. atmosphere: Casual. house specialties: Espressos, Lattes, Macchiatos, Italian Sodas, and Teas. Comments: Food menu changes daily.

bobcat bite 418 Old Las Vegas Hwy. 983-5319. Lunch/Dinner No alcohol. Patio. Cash. $$Cuisine: As American as good old apple pie. atmosphere: A low-slung building

with eight seats at the counter and four tables. house specialties: The inch-and-a-half thick green chile cheeseburger is sensational. The secret? A decades-old, well-seasoned cast-iron grill. Go.

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

cafe cafe italian grill 500 Sandoval St. 466-1391. Lunch/Dinner Beer/Wine. Major credit cards. $$Cuisine: Italian. atmosphere: Casual. house specialties: For lunch, the classic Caesar salad, the tasty specialty pizzas, or the grilled eggplant sandwich. For dinner, go for the perfectly grilled Swordfish Salmorglio. Comments: Friendly waitstaff.

café fina 624 Old Las Vegas Highway. 466-3886. Breakfast/Lunch. Patio Cash/major credit cards. $Cuisine: Contemporary comfort food. atmosphere: Casual and bright. house specialties: Ricotta pancakes with fresh berries and maple syrup; chicken enchiladas; a perfect green-chile cheese burger. Comments: Organic andhousemade products are delicious. café pasqual’s 121 Don Gaspar Ave. 983-9340. Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$$Cuisine: Multi-ethnic. atmosphere: The café is adorned with lots of Mexican streamers and Indian maiden posters. house specialties: Hotcakes got a nod from Gourmet magazine. Huevos motuleños—a Yucatán breakfast—is one you’ll never forget. For lunch, try the Grilled Chicken Sandwich.

chopstix238 N. Guadalupe St. 982-4353. Lunch/Dinner. Take-out. Patio. Major credit cards. $atmosphere: Casual. Cuisine: Chinese, Japanese, and Korean. house specialties: Lemon Chicken, Korean barbequed beef, Kung Pau Chicken, and Broccoli and Beef. Comments: Combination plates available. Friendly owners.

counter culture 930 Baca St. 995-1105. Breakfast/Lunch/Dinner Beer/Wine. Patio. Cash. $$Cuisine: All-American. atmosphere: Informal. house specialties: Burritos Frittata, Sandwiches, Salads, and Grilled Salmon. Comments: Good selection of beers and wine.

cowgirl hall of fame 319 S. Guadalupe St. 982-2565. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$Cuisine: All-American. atmosphere: Patio shaded by big cottonwoods. Great bar. house specialties: The smoked brisket and ribs are fantastic. Super buffalo burgers. Comments: Huge selection of beers—from Bud to the fancy stuff.

coyote café 132 W. Water St. 983-1615. Dinner Full bar. Major credit cards. $$$$Cuisine: Southwestern with French and Asian influences. atmosphere Bustling. house specialties: For your main course, go for the grilled Maine Lobster Tails or the grilled 24-ounce “Cowboy Cut” steak. Comments: Great bar and good wines.

downtown subscription376 Garcia St. 983-3085. Breakfast/Lunch No alcohol. Patio. Cash/ Major credit cards. $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. Tons of magazine to peruse. house specialties: Espresso, cappuccino, and latte.

el faról 808 Canyon Rd. 983-9912. Lunch/Dinner Full bar. Patio. Major credit cards. $$$Cuisine: Spanish. atmosphere: Wood plank floors, thick adobe walls, and a postage-stamp-size dance floor for cheek-to-cheek dancing. house specialties: Tapas. Comments: Murals by Alfred Morang.

el mesón 213 Washington Ave. 983-6756. Dinner Beer/Wine. Patio. Major credit cards. $$Cuisine: Spanish. atmosphere: Spain could be just around the corner. Music nightly. house specialties: Tapas reign supreme, with classics like Manchego Cheese marinated in extra virgin olive oil. Go.

el parasol 833 Cerrillos Rd Santa Fe, 995-8015 30 Cities of Gold Rd., Pojoaque. 455-7185 603 Santa Cruz Rd., Española. 753-8852 298 Dinosaur Trail, Santa Fe. 995-8226 1903 Central Ave., Los Alamos. 661-0303 Breakfast/Lunch/Diinner Major credit cards. $$Cuisine: New Mexican. atmosphere: Casual. House specialties: Tacos, burritos,burgers. frito pies, and combination plates.Comments: The best Carne Adovada Burrito (no beans) that we have ever had.

geronimo 724 Canyon Rd. 982-1500. Dinner Full bar. Patio. Major credit cards. $$$$

Cuisine: We call it French/Asian fusion. atmosphere: Elegant. house specialties: Start with the superb foie gras. Entrées we love include the Green Miso Sea Bass served with black truffle scallions, and the classic peppery Elk tenderloin.

il piatto 95 W. Marcy St. 984-1091. Lunch/Dinner Full bar. Major credit cards. $$Cuisine: Italian. atmosphere: Bustling. house specialties: Our faves: the Arugula and Tomato Salad; the Lemon Rosemary Chicken; and the Pork Chop stuffed with mozzarella, pine nuts, and prosciutto. Comments: New on the menu: a perfect New York Strip Strip Steak at a way better price than the Bull Ring—and guess what— you don’t have to buy the potato.

Jambo cafe 2010 Cerrillios Rd. 473-1269. Lunch/Dinner Major credit cards. $$Cuisine: African and Caribbean inspired. atmosphere: Casual. house specialties: Jerk Chicken Sandwich and the Phillo stuffed with spinach, black olives, feta cheese, roasted red peppers, over organic greens. Comments: Chef Obo wins awards for his fabulous soups.

Kohnami restaurant 313 S. Guadalupe St. 984-2002. Lunch/Dinner Beer/Wine/Sake. Patio. Visa & Mastercard. $$Cuisine: Japanese. atmosphere: Casual. house specialties: Miso soup; Soft Shell Crab; Dragon Roll; Chicken Katsu; noodle dishes; and Bento Box specials. Comments: The sushi is always perfect. Try the Ruiaku Sake. It is clear, smooth, and dry. Comments: New noodle menu.

la plancha de eldorado 7 Caliente Road at La Tienda. 466-2060 Highway 285 / Vista Grande Breakfast/Lunch/Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$Cuisine: Salvadoran Grill. atmosphere: Casual. house specialties: The Loroco Omelet, Pan-fried Plantains, and Salvadorian tamales. Comments: Sunday brunch.

lan’s vietnamese cuisine 2430 Cerrillos Rd. 986-1636. Lunch/Dinner Major credit cards. $$$Cuisine: Vietnamese. atmosphere: Casual. house specialties: The Pho Tai Hoi: vegetarian soup loaded with veggies.

la plazuela on the plaza 100 E. San Francisco St. 989-3300. Breakfast/Lunch/Dinner Full Bar. Major credit cards. $$$Cuisine: New Mexican and Continental. atmosphere: Enclosed courtyard. house specialties: Start with the Classic Tortilla Soup or the Heirloom Tomato Salad with baked New Mexico goat cheese. For your entrée, try the Braised Lamb Shank,served

with a spring gremolata, couscous, and vegetables. Comments: Seasonal menus.legal tender151 Old Lamy Trail. 466-1650 Lunch/Dinner Beer/wine. Patio. Major credit cards. $$Cuisine: New Mexican. atmosphere: Casual. house specialties: Burgers, Pulled Pork, Lamy Cubano Sandwich, Braised Short Ribs, and the Wedge Salad.Comments: Huevos Rancheros, Belgian Waffles and a Special Drink Menu at Sunday Brunch. Kid friendly. maria’s new mexican Kitchen 555 W. Cordova Rd. 983-7929. Lunch/Dinner (Thursday-Sunday) Beer/wine. Patio. Major credit cards. $$Cuisine: American/New Mexican. atmosphere: Rough wooden floors and hand-carved chairs set the historical tone. house specialties: Freshly made Tortillas and Green Chile Stew. Comments: Perfect margaritas.

mu du noodles 1494 Cerrillos Rd. 983-1411. Dinner/Sunday Brunch Beer/Wine. Major credit cards. $$Cuisine: Pan-Asian. atmosphere: Casual. house specialties: Vietnamese Spring Rolls and Green Thai Curry, Comments: Mu Du is committed to organic products. new yorK deli Guadalupe & Catron St. 982-8900. Breakfast/Lunch Major credit cards. $$$Cuisine: New York deli. atmosphere: Large open space. house specialties: Soups, Salads, Bagels, Hero Sandwiches, Pancakes, and over-the-top Gourmet Burgers. Comments: Deli platters to go.

nostrani ristorante 304 Johnson St. 983-3800. Dinner Beer/Wine. Fragrance-free Major credit cards. $$$Cuisine: Innovative regional dishes from Northern Italy. atmosphere: Elegant. house specialties: Start with any salad. Entrées we love: the Veal Scallopini or the Roasted Trout with Leeks, Pepper, and Sage. Dessert: Go for the Mixed Berries with Lemon. Comments: Organic ingredients. Menu changes seasonally. Frommers rates Nostrani as one of the “Top 500 Restaurants in the World.” Please note: fragrance-free.

plaza café southside 3466 Zafarano Dr. 424-0755. Breakfast/Lunch/Dinner 7 days Full bar. Major credit cards. $$$Cuisine: American and New Mexican. atmosphere: Bright and light, colorful, and friendly. house specialties: For your breakfast go for the Huevos Rancheros or the Blue Corn Piñon Pancakes. Comments: Excellent Green Chile—good for allergies and colds.

$

k e

y

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 oFten

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

Photo: Guy Cross

The “Smashburger” at

The Pa laceRestaurant & Sa loon

142 West Palace Avenue, Santa Fe

Reservations: 428-0690

Fall. It’s a grand season for the arts in Taos.

TAOS.org/grandarts

October Hands-on Art Events:TAOS FALL ARTS FESTIVAL

MANHATTAN SHORTS FILM FESTIVALWEARABLE ART FASHION SHOW

ART GLASS INVITATIONALFORCE OF NATURE EXHIBITION

WOOL FESTIVALTAOS CHAMBER MUSIC GROUP

OPERA LIVE FROM THE METSOMOS STORYTELLING FESTIVALARTS & CRAFTS ON THE PLAZA

Find all art events & weekend packages online:

888.580.8267

DINNER NIGHTLY

315 Old Santa Fe Trail • Reservations 505.986.9190www.315santafe.com

BAR MENUALL ITEMS $8 · 5 PL ATE S F OR $35

DUCK CONFIT & SPICY MUSTARD GREEN GALETTEcrispy rice paper & soy honey

GRILLED JUMBO SHRIMP

zucchini coconut milk & basil stew

PETITE NY STRIP STEAKpomme frites & green peppercorn sauce

CRISPY CALAMARI

lemon garlic aioli

TRUFFLE CORN FLANgrilled eggplant & tomato sauce

PETITE FISH & CHIPS

sea bass & tater tots

| o C t o b e r 2012 the magazine | 29

dining guide

ragga544 Agua Fria St. 820-6440 Major credit cards. $$ Cuisine: Northern India . atmosphere: Cozy. house specialties: The Lasooni Gobhi—fried cauliflower florets in garlic sauce and the Raaga Seafood Korma—scallops, shrimp and Mahi Mahi in a cashew cream sauce. recommendations: The honey soaked milk puffs, Jamun-style for a sweet ending. Comments: Aromatic and complex flavors take you to India.

rio chama steaKhouse 414 Old Santa Fe Trail. 955-0765. Brunch/Lunch/Dinner/Bar Menu. Full bar. Smoke-free dining rooms. Major credit cards. $$$Cuisine: All-American atmosphere: Easygoing. house specialities: Steaks, Prime Ribs and Burgers. The Haystack fries rule recommendations: Nice wine list and a good pour at the bar.

ristra 548 Agua Fria St. 982-8608. Dinner/Bar Menu Full bar. Patio. Major credit cards. $$$Cuisine: Southwestern with a French flair. atmosphere: Contemporary. house specialties: Mediterranean Mussels in chipotle and mint broth is superb, as is the Ahi Tuna Tartare. Comments: Nice wine list san q31 Burro Alley. 992-0304 Lunch/Dinner Sake/Wine Major credit cards. $$Cuisine: Japanese Sushi and Tapas.atmosphere: Large room with a Sushi bar. house specialties: Sushi, Vegetable Gyoza, Softshell Crab, Sashimi and Sushi Platters, and a variety of Japanese Tapas. Comments: Savvy sushi chef makes San Q the choice for those who love Japanese food.

san francisco street bar & grill 50 E. San Francisco St. 982-2044. Lunch/Dinner Full bar. Major credit cards. $$Cuisine: All-American. atmosphere: Casual. house specialties: San Francisco Street Burger, the Grilled Yellowfin Tuna Nicoise Salad, or the New York Strip. Comments: Sister restaurant located in the DeVargas Center.

santacafé 231 Washington Ave. 984-1788. Lunch/Dinner Full bar. Patio. Major credit cards. $$$Cuisine: Contemporary Southwestern. atmosphere: Minimal, subdued, and elegant. house specialties: The world- famous calamari never disappoints. 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: The daily pasta specials are generous and flavorful. Appetizers during cocktail hour rule. santa fe bar & grill 187 Paseo de Peralta. 982.3033.

Lunch/Dinner Full bar. Patio. Major credit cards. $$Cuisine: American and New Mexican. atmosphere: Casual and friendly. house specialties: Cornmeal-crusted Calamari, Rotisserie Chicken, or the Rosemary Baby Back Ribs. Comments: Easy on the wallet.

saveur 204 Montezuma St. 989-4200. Breakfast/Lunch Beer/Wine. Patio. Visa/Mastercard. $$Cuisine: French meets American. atmosphere: Casual. Buffet-style service for salad bar and soups. house specialties: Daily chef specials, gourmet and build-your-own sandwiches, wonderful soups, and an excellent salad bar. Comments: Organic coffees and super desserts. Family-run.

second street brewery 1814 Second St. 982-3030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$Cuisine: Simple pub grub and brewery. atmosphere: Casual and friendly. house specialties: The beers are outstanding when paired with Beer-steamed Mussels, Calamari, Burgers, and Fish & Chips. Comments: Sister restaurant at 1607 Paseo de Peralta, in the Railyard District.

shibumi 26 Chapelle St. 428-0077. Dinner Fragrance-free Cash only. $$. Parking available Beer/wine/sakeCuisine: Japanese noodle house. atmosphere: Tranquil and elegant. Table and counter service. house specialties: Start with the Gyoza—a spicy pork pot sticker—or the Otsumami Zensai (small plates of delicious chilled appetizers), or select from four hearty soups. Shibumi offers sake by the glass or bottle, as well as beer and champagne. Comments: Zen-like setting. shohKo café 321 Johnson St. 982-9708. Lunch/Dinner Sake/Beer. Major credit cards. $$$Cuisine: Authentic Japanese Cuisine.atmosphere: Sushi bar, table dining. house specialties: Softshell Crab Tempura, Sushi, and Bento Boxes. Comments: Friendly waitstaff, station 430 S. Guadalupe. 988-2470 Breakfast/Lunch Patio Major credit cards. $ Cuisine: Light fare and fine coffee and tea. atmosphere: Friendly and casual. house specialties: For your breakfast choose the Ham and Cheese Croissant a Fresh Fruit Cup. Lunch fave is the Prosciutto, Mozzarella, Tomato sandwich Comments: Special espresso drinks.

steaKsmith at el gancho Old Las Vegas Hwy. 988-3333. Lunch/Dinner

Full bar. Major credit cards $$$Cuisine: American. atmosphere: Family restaurant house specialties: Aged steaks, lobster. Try the Pepper Steak with Dijon cream sauce. Comments: They know steak here.

table de los santos 210 Don Gaspar. 992-5863 Breakfast/Lunch/Dinner Sunday Brunch Full Bar. Major credit cards. $$$Cuisine: New Mexican–inspired fare. atmosphere: Large open room with high ceilings house specialties: Try the organic Chicken Paillard with vegetables—it is the best. For dessert, we love the organic Goat Milk Flan. Comments: Well-stocked bar.

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 love the Salmon Benedict with poached eggs, the quiche, the Gourmet Cheese Sandwich, and the Teaouse Mix salad. Comments. Teas from around the world.

terra at four seasons encantado 198 State Rd. 592, Tesuque. 988-9955. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$$Cuisine: Amercian with Southwest influences. atmosphere: Elegant and sophisticated. house specialties: For dinner, start with the tempting Burrata Cheese, Heirloom Tomato, Asparagus, and Petite Greens appetizer or the perfect Tempura Soft Shell Crab with Avocado, Citrus, Radish, and Margarita Aioli. Follow with the delicious Pan-seared Alaskan Halibut with Baby Artichokes, Corn Purée, and Wild Arugula Salad, or the tender and flavorful Black Angus Beef Tenderloin with Summer Baby Vegetables and Truffle Fries. Comments: Local organic ingredients. A fine wine list. Top-noth service.

the compound 653 Canyon Rd. 982-4353. Lunch/Dinner Full bar. Patio. Major credit cards. $$$$Cuisine: Contemporary. atmosphere: 150-year-old adobe with white linen on the tables. house specialties: Jumbo Crab and Lobster Salad. The Chicken Schnitzel is always flawless. Desserts are sublime. Comments: Chef/owner Mark Kiffin, won the James Beard Foundation’s “Best Chef of the Southwest” award.

the palace restaurant & saloon 142 W. Palace Avenue 428-0690 Lunch/Dinner Full bar. Patio Major credit cards $$$Cuisine: Modern Italian atmosphere: Victorian style merges with the Spanish Colonial aesthetic. house specialties: For lunch: the “Smash Burger” or the Prime Rib French Dip. Dinner: Start with the Tuna Sashimi. For your main, go for the

Scottish Salmon en Papillote poached in white wine, or the All-American Steak au Poivre. Comments: BBQ Oysters served on Saturday. Chef Ryan Gabel is doing his stuff in the kitchen. the pantry restaurant 1820 Cerrillos Rd. 986-0022 Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$Cuisine: New Mexican/American. atmosphere: Bustling with counter service and extra-friendly service. house specialties: Breakfast rules here with their famous stuffed French Toast, Corned Beef Hash, and Huevos Rancheros. A hand-breaded Chicken Fried Steak rounds out the menu. Comments: The Pantry has been in the same location since 1948.

the pinK adobe 406 Old Santa Fe Trail. 983-7712. Lunch/ Dinner Full Bar Major credit cards. $$$ Cuisine: All American, Creole, and New Mexican. atmosphere: Friendly and casual. house specialties: For lunch we love the Gypsy Stew or the Pink Adobe Club. For dinner, get the Steak Dunigan, with green chile and sauteed mushrooms, or the Fried Shrimp Louisianne. Comments: Cocktails in the Dragon Room is a Santa Fe tradition.

the shed 113½ E. Palace Ave. 982-9030. Lunch/Dinner Beer/Wine. Patio. Major credit cards. $$Cuisine: New Mexican. atmosphere: A local institution located just off the Plaza. house specialties: Order the red or green chile cheese enchiladas.Many folks say that they are the best tin Santa Fe.

the ranch house (ForMerly Josh’s BBQ) 2571 Cristos Road. 424-8900 Lunch/Dinner Full bar Major credit cards. $$$Cuisine: BBQ and Grill. atmosphere: Family and kid-friendly. house specialties: Josh’s Red Chile Baby Back Ribs, Smoked Brisket, Pulled Pork, and New Mexican Enchilada Plates. Comments: Nice bar.

tia sophia’s 210 W. San Francisco St. 983-9880. Breakfast/Lunch Major credit cards. $Cuisine: New Mexican. atmosphere: Casual. house specialties: Green Chile Stew, the traditional Breakfast Burrito stuffed with bacon, potatoes, chile, and cheese. Comments: The real deal.

tomme restaurant229 Galisteo St. 820-2253 Dinner Beer/Wine. Major credit cards. $$$Cuisine: Contemporary. atmosphere: Casual and friendly. house specialties: Start with the Cheese Board. Entrée:

Choose the Steak Frites, or the Southern Fried Chicken. Fave dessert: the Caramel Pots de Crème. tree house pastry shop and cafe DeVargasCenter. 474-5543. Breakfast/Lunch Monday-Saturday Major credit cards. $$$Cuisine: Only organic ingredients used. atmosphere: Light, bright, and cozy. house specialties: Order the fresh Farmer’s Market Salad, or the Lunch Burrito, smothered in red chile. Yum.

tune-up café 1115 Hickox St. 983-7060. Breakfast/Lunch/Dinner Beer/Wine Major credit cards. $$Cuisine: All World: American, Cuban, Salvadoran, Mexican, and, yes, New Mexican. atmosphere: Down home. house specialties: Breakfast faves are the scrumptious Buttermilk Pancakes and the Tune-Up Breakfast. Comments: Super Fish Tacos and the El Salvadoran Pupusas are excellent. Comments: Serving beer and wine.

vinaigrette 709 Don Cubero Alley. 820-9205. Lunch/Dinner Beer/Wine. Major credit cards. $$Cuisine: We call the food here: farm-to-table-to-fork. atmosphere: Light, bright and cheerful. house specialties: All of the salads are totally amazing—as fresh as can be. We love the Nutty Pear-fessor salad and the Chop Chop Salad. Comments: Vinaigrette will be opening a “sister” restaurant in Albuquerque in the fall.

whoo’s donuts 851 Cerrillos Rd. 629-1678 6 am to 3 pm. Major credit cards. $Cuisine: Just donuts. atmosphere: Very, very casual. house specialties: Organic ingredients only. Comments: Our fave donut is the Maple Barn.

zacatecas3423 Central Ave., Alb. 505-255-8226. Lunch/Dinner Tequila/Mezcal/Beer/Wine Major credit cards. $$$Cuisine: Mexican, not New Mexican. atmosphere: Casual and friendly. house specialties: Try the Chicken Tinga Taco with Chicken and Chorizo or the Slow Cooked Pork Ribs with Tamarind Recado-Chipotle Sauce. Over sixty-five brands of Tequila are offered. Comments: Reasonable prices and a savvy waitstaff.

zia diner 326 S. Guadalupe St. 988-7008. Breakfast/Lunch/Dinner Full bar. Patio. Major credit cards. $$$Cuisine: Diner food. atmosphere: Down home. house specialties: Chile Rellenos and Eggs for breakfast At lunch, we love the Southwestern Chicken Salad, the Meat Loaf, all the Burgers, and the crispy Fish and Chips. Comments: The bar at the Zia is place to be at cocktail hour.

cloud cli f f BakerySaturday and Tuesday

@ the Farmer’s Market

authentiC northern inDian Cuisine...

raaga - 544 agua Fria street - 820-6440

DavidrichardContemporary.com130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 982-0318 | f (505) 982-0351 | [email protected]

Downtown

October 5 - November 17, 2012Opening reception Friday, October 5, 5:00-7:00 p.m.

Richard FarallaAction Figures and Wall Sculptures

Also featuring:Abstract Expressionism: 1945-1965

Selected Works by Lilly Fenichel, Ward Jackson, Jack Jefferson, Matsumi Kanemitsu, Deborah Remington, Charles Strong and Jack Zajac

Michio TakayamaPaintings and Works on Paper

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THURSDAY, OCTOBER 4

photo-eye gallery, 370 Garcia St., Santa Fe. 988-5152. The Color of Light: book signing with Arthur Meyerson. 6-8 pm.

FRIDAY, OCTOBER 5

aarin richard gallery, 924 Paseo de Peralta, Suite 1, Santa Fe. 913-7179. Painted Hide/Painted Canvas: abstract art of the nineteenth and twenty-first centuries. 5-7 pm.

axle contemporary at Zane Bennett Contemporary Art, 435 S. Guadalupe St., Santa Fe. 670-5854. The Art of the Chair: group show. 5-7 pm.

charlotte JacKson fine art, 554 S. Guadalupe St, Santa Fe. 989-8688. New Paintings: works by Winston Roeth. 5-7 pm.

david richard contemporary, 130 Lincoln Ave., Suite D, Santa Fe. 982-0318. Paintings and Works on Paper: work by Michio Takayama. Action Figures and Wall Sculptures: work by Richard Faralla. Abstract Expressionism: 1945-

1965: group show. 5-7 pm.

ed larson gallery, 229-C Johnson St., Santa Fe. 982-9988. Works by Ed Larson and Thomas E. Larson. 5-7 pm.

elysee fine art, 223 Canyon Rd., Santa Fe. 820-9229. Balance+Motion+Microscopic—A Duo: works by Katey Berry Furgason and Scot Furgason. 5-7 pm.

encore gallery, 145 Paseo del Pueblo Norte, Taos. 575-758-2052. Force of Nature: group show. 5-7 pm.

hunter KirKland contemporary, 200-B Canyon Rd., Santa Fe. 984-2111. New Oil Paintings: works by Peter Burega. 5-7 pm.

inpost artspace at the outpost performance space, 210 Yale Blvd. SE, Alb. Prints by Carol Sanchez and Shawn Turung. 5-8 pm.

lewallen galleries, 125 W. Palace Ave., Santa Fe. 988-8997. Home: work by Jesse Blanchard. 5:30-7:30 pm.

manitou galleries, 123 W. Palace Ave., Santa Fe. 986-0440. Autumn Group Show. 5-7:30 pm.

monroe gallery of photography, 112 Don Gaspar Ave., Santa Fe. 992-0800. LIFE in the 1960s: photography by Bob Gomel. 5-7 pm.

new concept gallery, 610 Canyon Rd., Santa Fe. 795-7570. Botanica: paintings by Ann Hosfeld. 5-7 pm.

pippin contemporary, 125 Lincoln Ave., Suite 114, Santa Fe. 795-7476. Spontaneous Combustion: abstract paintings by Aleta Pippin. 5-7 pm.

richard levy gallery, 514 Central Ave. SW, Alb. 505-766-9888. Weird Science: work by District, Robert Drummond, SYN, and Artereazione+Consonant. 5-8 pm.

santa fe community college visual arts gallery, 6401 Richards Ave., Santa Fe. 428-1501. Sangre Fuerte: group show. 5-8 pm.

stranger factory, 109 Carlisle Blvd. NE, Alb. 505-508-3049. Dead Wood: works by Gary Ham. Bewitching II: group show. 6-9 pm.

weyrich gallery, 2935-D Louisiana Blvd. NE, Alb. 505-883-7410. Coppered Red Porcelain: porcelain works by Kathryne Cyman. 5-8:30 pm.

yares art proJects, 123 Grant Ave., Santa Fe. 984-0044. Mysteries—Full Circle: paintings by Kenneth Noland. 5:30-7:30 pm.

SATURDAY, OCTOBER 6

couse/sharp foundation, 146 Kit Carson Rd., Taos. 575-751-0369. Couse/Sharp Historic Site Studio and Garden Open House. 5-7 pm.

| o C t o b e r 2012 the magazine | 31

openings

octoBer artopenIngs

c o n t i n u e d o n p a g e 3 4New Work by Carla O’Neal at Ortenstone Delattre Fine Art, 115 Bent Street, Taos. Reception: Saturday, October 13, from 5 to 7 pm.

here’s the Deal For artists without gallery representation in new Mexico. Full-page b&w ads for $600. Color $900. reserve space for november by Monday, october 15. [email protected]

“An artist never really finishes his work; he merely abandons it.”1. Ansel Adams 2. Oscar Wilde l 3. Paul Valéry 4. Banksy

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

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OUT AND ABOUTphotographs by

Mr. Clix, Jamie Meade,

Dana Waldon, Laura Shields,

Jennifer Esperanza, and Lisa Law,

THEMAGAZINEONLINE.COM

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openings

destiny allison fine art, 7 Caliente Rd., Suite A-1, Santa Fe. 428-0024. Vulnerabilities: work by Francisco Benitez, Emilia Faro, and Destiny Allison. 5-7 pm.

SUNDAY, OCTOBER 7

las placitas presbyterian church, 6 miles east of I-25 on NM 165 (Exit 242), Placitas. 505-867-8080. Placitas Artists Series: group show. 2-5:30 pm.

FRIDAY, OCTOBER 12

zaplin lampert gallery, 651 Canyon Rd., Santa Fe. 982-6100. West by Southwest: paintings, prints, and works on paper by Thomas and Peter Moran. 5-7 pm.

SATURDAY, OCTOBER 13

new mexico highlands university, 903 National Ave., Las Vegas. 505-454-3024. Madame Defarge: embroidered works by Thelma Mathias. 2-5 pm.

ortenstone delattre fine art, 115 Bent

St., Taos. 575-737-0799. Trees, Birds and Mississippi River Memories: work by Carla O’Neal. 5-7 pm.

rio bravo fine art, 110 N. Broadway, Truth or Consequences. 575-894-0572. The Night Gallery—Celebrating the Day of the Dead: group show. 6-9 pm.

FRIDAY, OCTOBER 19

alexandra stevens gallery of fine art, 820 Canyon Rd., Santa Fe. 988-1311. Colorfully Noted: paintings by E. Melinda Morrison. 5:30-7 pm.

a sea gallery, 407 S. Guadalupe St., Santa Fe. 988-9140. From Eden to Assange: paintings by Monika Steinhoff. 5-7 pm.

eight modern, 231 Delgado St., Santa Fe. 995-1231. David X Levine—Drawings: work using Prismacolor colored pencils by David X. Levine. 5:30-7:30 pm.

evoKe contemporary, 130 Lincoln Ave., Santa Fe. 995-9902. Ozymandias: paintings by

Sergio Garval. 5-7 pm.

James Kelly contemporary, 550 S. Guadalupe St., Santa Fe. 989-1601. I’ve Lost Control Again: sculpture by Aldo Chaparro. 5-7 pm.

FRIDAY, OCTOBER 26

zane bennett contemporary art, 435 S. Guadalupe St., Santa Fe. 982-8111. West/East—Los Angeles/New York: paintings by David Kapp. Joshua D’s Wall & Recent Works: sculpture by Michael Petry. 5-7 pm.

SATURDAY, OCTOBER 27

ortenstone delattre fine art, 115 Bent St., Taos. 575-737-0799. Here Comes the Light: paintings by Nancy Ortenstone. 5-7 pm.

SPECIAL INTEREST

albuquerque balloon museum, 9201 Balloon Museum N., Alb. 505-510-1312. Big Top Chocolate Festival. Sat., Oct. 6-Sun., Oct.

7, 7 am-4 pm. bigtopchocolatefestival.com

chiaroscuro contemporary art, 702 ½ Canyon Rd., Santa Fe. 992-0711. Fall group show with gallery artists. Fri., Oct. 19 to Sat., Nov. 17. chiaroscurosantafe.com

david richard gallery, 544 S. Guadalupe St., Santa Fe. 983-9555. It Hit the Fan!: mixed-media works by Billy Al Bengston. Light Lens: sculpture by Fred Eversley. Molded, Poured and Cast: sculptures by Doug Edge. Through Sat., Nov. 3. Selected Works from 1960s & 1970s Los Angeles: works by Judy Chicago. Through Sat., Oct. 27. davidrichardgallery.com

el rancho de las golondrinas, 334 Los Pinos Road, Santa Fe. 471-2261. Harvest Festival. Sat., Oct. 6, 11 am-2 pm; Sun., Oct. 7, 10 am-2 pm. golondrinas.org

el rito studio tour, various locations in El Rito. 575-581-0155. 2012 El Rito Studio Tour: over twenty artists and galleries. Sat., Oct. 13 and Sun., Oct. 14. elritostudiotour.org

c o n t i n u e d o n p a g e 3 6

34 | the magazine | o C t o b e r 2012

An exhibition of new paintings by Winston Roeth at Charlotte Jackson Fine Art, 554 South Guadalupe Street. Reception: Friday, October 5, from 5 to 7 pm.

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36 | the magazine | o C t o b e r 2012

encaustic art institute, 18 County Rd. 55-A, Cerrillos. 424-6487. Madrid and Cerrillos Studio Tour: jewelry by Adrienne Mehrens, and National Juried Encaustic Exhibition. Sat., Oct. 6, Sun., Oct. 7, Sat., Oct. 13, Sun., Oct. 14. madridcerrillosstudiotour.com

galisteo studio tour, various locations in Galisteo. 466-2121. 25th Annual Galisteo Studio Tour: over thirty open studios. galisteostudiotour.org

hilton santa fe at buffalo thunder, 20 Buffalo Thunder Trail, Santa Fe. 505-983-8360. Little Gala for a Big Cause: live auction with art by Governor George Rivera of the Pueblo of Pojoaque, benefit for Big Brothers Big Sisters of Northern New Mexico. Sat., Oct. 6, 6 pm. bbbsnorthernnm.org

inn at loretto, 211 Old Santa Fe Trail, Santa Fe. 982-1338. Sweet Salsa Havana Nights: gala fundraiser for the Center for Contemporary Arts. Sat., Oct. 6, 6-10:30 pm. ccasantafe.org

Jane sauer gallery, 652 Canyon Rd., Santa Fe. 995-8513. Harbingers: sculptures by Adrian Arleo. Through Tues., Oct. 9. jsauergallery.com

lannan foundation at the Lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Amy Goodman and Denis Moynihan. Wed., Oct. 10, 7 pm. Nathalie Handal with Naomi Shihab Nye. Wed., Oct. 24, 7 pm. lannan.org

lannan gallery, 309 Read St., Santa Fe. 954-5149. The Faces of Lannan—Celebrating 15 Years of Lannan Events in Santa Fe: photographs

by Don Usner. Through Sun., Nov. 11. Weekends only, 12 pm-5 pm. lannan.org

la posada de santa fe resort, 330 E. Palace Ave., Santa Fe. 424-3757. 2012 New Mexico Film and TV Mixer: hosted by New Mexico Women in Film. Sun., Oct. 7, 4-7 pm. nmwif.com

la tienda exhibit space, 7 Caliente Rd., Santa Fe. 919-8711. Miss Representation: film by Jennifer Siebel Newsom. Thurs., Oct. 4, 6:30-9 pm. christinewagnerconsulting.com/new-projects/the-womens-tree

lewallen gallery, 1613 Paseo de Peralta, Santa Fe. 988-3250. Together Alone: sculptures by Lucy Lyon. Through Sun., Oct. 7. lewallengallery.com

madrid cerrillos studio tour, various locations in Madrid and Cerrillos. 470-1346. 21 studios and 29 artists. Fri., Oct. 6, Sat., Oct. 7, Fri., Oct. 13, Sat., Oct. 14, 10 am-5 pm. madridcerrillosstudiotour.com

national hispanic cultural center, 1701 4th St. SW, Alb. 505-268-1920. PROFIT—From Striving to Thriving: Creative Albuquerque’s 3rd Creative Economy Symposium. Fri., Oct. 19, 8 am-5 pm. nhccnm.org

new mexico history museum, palace of the governors, 113 Lincoln Ave., Santa Fe. 476-5100. My Life in Photography—A Career Overview: photos by Donald Woodman. Sun., Oct. 28, 3 pm. “Ritualized Naming of the Land Through Photography”: lecture by John Carter. Sun., Oct. 14, 2 pm. nmhistorymuseum.org

new mexico holocaust and intolerance museum, 616 Central Ave. SW, Alb. 505-247-0606. Czechoslovakian Torah from the Czech Memorial Scroll Trust and Museum in London on display. Through April 2013. 11 am-3:30 pm, Tues.- Sat. nmholocaustmuseum.org

railyard farmer’s marKet pavilion, 1607 Paseo de Peralta, Santa Fe. 983-4098. Time change; Tues., Oct. 2, Sat. Oct. 6, 8 am-1 pm. santafefarmersmarket.com

rio bravo fine art, 110 N. Broadway, Truth or Consequences. 575-894-0572. Black and White Bazarr: silent auction, costume contest, photo portraits, and more. Benefit for the Sierra County Arts Council. Fri., Oct. 12, 7-10 pm.

santa fe art institute, 1600 St. Michael’s Dr., Santa Fe. 424-5050. Ricardo Legorreta and Santa Fe: event honoring architect Ricardo Legorreta. Fri., Oct. 19 and Sat., Oct. 20. sfai.org

santa fe community college, 6401 Richards Ave., Santa Fe. 428-1776. Santa Fe Literary Review 2012: reading and reception. Thurs., Oct. 4, 5-7 pm. sfcc.edu

santa fe independent film festival, 215 W. San Francisco St., 202-A, Santa Fe. 349-1414. Fourth Annual Santa Fe Independent Film Festival. Wed., Oct. 17 to Sun., Oct. 21. santafeiff.com

santa fe university of art and design, 1600 St. Michael’s Dr., Santa Fe. 919-8711. Who Does She Think She Is?: film by Pamela Tanner Boll. Sun., Oct. 7, 4-6 pm. christinewagnerconsulting.com/new-projects/the-womens-tree

st. John’s college, 1160 Camino Cruz Blanca, Santa Fe. 984-6000. Lectures, seminars, and concerts throughout Oct. stjohnscollege.edu

taos convention center, 120 Civic Plaza Dr., Taos. 575-613-5340. Taos Fall Arts Festival: work by over 250 local artists. Through Sun., Oct. 7. taosfallarts.com

taos institute for glass arts, 1021 Salazar Rd., Taos. 575-758-4246. Taos Art Glass Invitational: group show. Through Sun., Oct. 7. tiganm.org

university of new mexico art museum, 203 Cornell Dr. NE, Alb. 505-277-4001. UNMAM Distinguished Lecture Series: lectures throughout Oct. unmartmuseum.unm.edu

university of new mexico, Klauer Campus, 1157 County Rd. 110, Ranchos de Taos. 575-779-6760. Kanobis Amplifier Research Facility—Phase II: sculpture by Steve Storz. Through Sat., Oct. 20. stevestorz.com

william siegal gallery, 540 S. Guadalupe St., Santa Fe. 820-3300. New Direction/New Compositions: work by Carlos Estrada-Vega. Through Fri., Nov. 2. williamsiegal.com

PERFORMING ARTS

the lensic, 211 W. San Francisco St., Santa Fe. 988-1234. Ensemble of the Academy of St Martin in the Fields: chamber music concert. Tues., Oct. 30, 7:30 pm. ticketssantafe.org

mine shaft tavern, 2846 Hwy. 14, Madrid. 505-473-0743. Madrid Chile Fiesta! Sat., Oct. 6 to Sun., Oct. 14. Other concerts, fundraisers, and events throughout Oct. themineshafttavern.com

new mexico state university, 3014 McFie Circle, Las Cruces. 575-646-4515. Sweet, Sweet Spirit: play by Carol Carpenter. Through Sun., Oct. 14. theatre.nmsu.edu

santa fe university of art and design, 1600 St. Michael’s Dr., Santa Fe. 988-1234. Scapin: play by Moliere, directed by Jon Jory. Fri., Oct. 5 to Sun., Oct. 7, Fri., Oct. 12 to Sun., Oct. 14; Fri. and Sat. at 7 pm. Sun. at 2 pm. ticketssantafe.org

CALL FOR ARTISTS

santa fe creative tourism, 120 S. Federal Place, Santa Fe. 955-6707. Landscape Dreams Photo Contest. Deadline: Fri., Nov. 30. newmexicophotocontest.com

The Little Gala for a Big Cause on Saturday, October 6, 6 pm at the Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder. Cocktails, entertainment, silent auction, dinner by some of Santa Fe’s top chefs, and a live auction featuring Embracing Flight by artist and Pueblo of Pojoaque Governor George Rivera. Proceeds go to Big Brothers Big Sisters of Northern New Mexico. Tickets: [email protected] or www.bbbsnorthernnm.org/gala.

22 | THE magazine | o c t o b e r 2012

preview

Vulnerabilities: Work by Francisco Benítez, Emilia Faro, and Destiny Allison

October 6 through November 3

Destiny Allison Fine Art, 7 Caliente Road, Suite A-1, Santa Fe. 428-0024.

Reception: Saturday, October 6, 5 to 7 pm.

In the first act of Shakespeare’s Macbeth, the deceitful Lady Macbeth counsels her husband, saying, “Your face, my

thane, is a book, where men may read strange matters.” She tells him to be more careful as they plot their infamous

assassination, as the human face can betray everything about the mind behind it. This month at Destiny Allison Fine Art,

three artists will explore this very vulnerability using three different mediums. Encaustic portraits created by Francisco

Benítez (represented by NüArt Gallery) use the same techniques as Egyptian artists around the time of the first

century, who used heated wax to paint the visages of the dead onto wooden boards and then placed them on the faces

of their mummies before burial. This technique gives the paintings a subtle weight. In contrast, Sicilian artist Emilia Faro’s

ghostly watercolor portraits of women sometimes threaten to fade away, though their direct gazes will grip the viewer

in the moment. Gallery owner Destiny Allison’s work will also be on view, exploring the notion of vulnerability with her

abstract metal sculptures.

My Life in Photography—A Career Overview: Photographs by Donald Woodman

Sunday, October 28, 3 pm.

New Mexico History Museum, Palace of the Governors, 113 Lincoln Avenue

Santa Fe. 476-5100.

Those of us who grew up in the West—whether in New Mexico, California, Colorado, or

elsewhere—often become immune to its beauty and quirks. Sometimes it takes a person

from back east to remind us of our home’s uniqueness. When he moved to New Mexico,

in 1972, Massachusetts-born photographer Donald Woodman became enamored with

the mythology—and the reality—of the American West. He has photographed traditional

rodeos and gay rodeos, the limitless night sky and the limits of the wilderness, cordoned

off by barbed wire and NO TRESPASSING signs. But Woodman is nothing if not eclectic,

and his range reaches beyond the Wild West. Husband to Judy Chicago, he regularly turns

his camera toward serious social issues, partnering with his wife to create the Holocaust

Project. Woodman has also enjoyed success as a commercial photographer—his work

has appeared in TIME Magazine, Newsweek, and Vanity Fair. The photographer recently

donated his archive to the New Mexico History Museum’s Photo Archives, including his

negatives, slides, digital media, equipment, diaries, notebooks, correspondence, exhibition

records, and research. More than forty years of work from his photography career is now

in the museum’s collection. On October 28, Woodman will give a presentation about his

wide-ranging career—a must-see for photographers and photography lovers alike.

Ricardo Legorreta and Santa Fe: Event honoring architect Ricardo Legorreta

October 19 and 20

Santa Fe Art Institute, 1600 Saint Michael’s Drive, Santa Fe. 424-5050.

Reception: Friday, October 19, 4 pm.

The internationally acclaimed Mexican-American architect Ricardo Legorreta

died less than a year ago, but his legacy lives on in several of Santa Fe’s most

beautiful buildings. He designed the Visual Arts Center at the Santa Fe University

of Art and Design, which won him numerous architecture awards, as well as

the innovative Zocalo Condominiums. Legorreta’s designs can also be seen

worldwide, from the San Antonio Library in Texas to a private residence in Zushi,

Japan. He is known for his extremely colorful stucco buildings and his devotion to

traditional Mexican architecture. In 2000, Legorreta won the prestigious American

Institute of Architects Gold Medal. In honor of Legorreta’s career, a number of

local organizations that have benefited from the architect’s legacy are hosting a

weekend of lectures, tours, and films. This event includes a talk by Legorreta’s

son Victor. Victor Legorreta has taken over his father’s architectural firm, which is

carrying on his father’s legacy with architectural projects around the world.

Image by Emilia Faro

Donald Woodman, Church Ledoux, NM, c. 1970s

At the Santa Fe University of Art and Design

38 | the magazine | o C t o b e r 2012

by Andrea Broyles

Cast Away Wings

steel with bronze sculptureperfect for your garden or home

local delivery and installation$5,500

505.699.9689 [email protected]

www.andreabroyles.com

©

At the Santa Fe University of Art and Design

K E N N E T H N O L A N D

YARES ART PROJECTS123 GRANT AVE, SANTA FE, NEW MEXICO 87501www.yaresar tpro jects .com(505) 984-0044

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Myster ies : Ag low 2002 acr y l i c on canvas 72" x 72"

O C T O B E R 5 – D E C E M B E R 8 , 2 0 1 2O P E N I N G P R E V I E W + R E C E P T I O NF R I D A Y , O C T O B E R 5 , 5 : 3 0 – 7 : 3 0 P M

| o C t o b e r 2012 the magazine | 41

feature

WAS GUY BOURDIN’S FLIRTATION WITH OBLIVION SELF-PRESCRIBED? Bourdin rarely published and exhibited his work during his lifetime; the transient

format of the fashion magazine was his preferred outlet. In the pristine, glossy

pages of Vogue Paris, Bourdin was given total freedom to write his own visual book

of dreams, nightmares, and satire. With a prophetic eye to the future, he crafted

complex storylines charged with energy, mystery, and seduction—key ingredients

of the Surrealist love potion to which he fervently aspired.

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

aLL IMages © estate oF guy BourdIn. reproduced By perMIssIon oF art + coMMerce.

cHarLes Jourdan

spring, 1979, variant

(previous page)

vogue parIs

July, 1977

| o C t o b e r 2012 the magazine | 43aLL IMages © estate oF guy BourdIn. reproduced By perMIssIon oF art + coMMerce.

Guy Bourdin began his career as a fine artist, but a symbiotic

relationship with the camera forever defined his métier. The

cinematic quality of the still image gave him room to experiment with

greater latitude and range of expression. With a discerning and

calculated eye, he unleashed imagery imbued with personal

notions of death, beauty, mystery, humor, grit, luxury, and desire.

Product placement seems almost incidental at times, but the illicit

visual seduction remains irresistible and deliciously intoxicating.

His wild imaginings and unorthodox approach revolutionized

commercial photography as we know it. Bourdin reached

unprecedented notoriety during the self-involved, oversexed,

more-is-better decade of the 1970s. There was tremendous furor

every month when Vogue Paris hit the newsstands. The outrageous and

inventive editorials always caused a sensation, while the revolutionary

and provocative advertising campaigns for Charles Jourdan, Dior,

Gianni Versace, Issey Miyake, Emanuel Ungaro, Gianfranco Ferré,

Claude Montana, and Bloomingdale’s set new benchmarks for

the industry.

Guy Bourdin died of cancer in 1991, quietly ending a successful thirty-

six-year career. He was sixty-two.

“Missing” should have been Bourdin’s epitaph. After his death, he

remained an enigma. Wild stories, rumors, and gossip were the stuff of

supermarket tabloids. Meanwhile, private collectors made shady deals for

any of the rare prints that surfaced on the market. Unfortunately, while

Bourdin continued to be revered by the industry cognoscenti, to the next

generation he simply ceased to exist.

In 2001, Exhibit A, the first book of his photographs, was published and

a new era began for Bourdin. The landmark thirty-six-year retrospective

volume reclaimed his rightful place in the history of contemporary

photography and the visual arts. Since then, many new books have been

published and museums and galleries all over the world now exhibit and

market the work of the prolific and controversial genius. And so it is that

Guy Bourdin, the dark prophet who once flirted with oblivion, now lives,

permanently, in the future.

cHarLes Jourdan – Fall, 1979

| o C t o b e r 2012 the magazine | 45

feature

vogue parIs – February, 1982

GUY BOURDIN, the DaRk pROphet whO ONce flIRteD wIth OBlIvION, NOw lIves, peRmaNeNtlY, IN the fUtURe.

Stepanie Lerma:Placebo Effect

Leich Lathrop Gallery

October 5 to October 31Reception: October 5, 5:30 to 7:30 pm323 Romero St. NW, Albuquerque, NM 87104ph 505-243-3059 leichlathropgallery.blogspot.com

From Eden to Assange 48 x 72 Diptych Egg Tempera

“From Eden to Assange”by

Monika Steinhoff

Friday, October 19th,5 - 7 pm

Show dates: Sept. 21 - Oct. 23, 2012

aSEA Gallery407 S. Guadalupe StreetSanta Fe, New Mexico

988-9140

CritiCal refleCtionS

“Get in here,” a mysterious, smiling waitress at Elysian Fields tells Hushpuppy who, in the midst of all the other plot twists, has been searching for her vanished mother. “Lemme show you a magic trick….”

THE ENTIRE MOVIE BEASTS OF THE SOUTHERN WILDreeks of magic—magical thinking and magical realism cavort with each other throughout the film’s driving energy laced with moments of dead calm. But the pleasure of watching the award-winning Beasts begins with a question: How did this indie movie get made in the first place? And whatever possessed a nice young man from Queens, Benh Zeitlin, to move to the Louisiana swamps and grapple with this livewire of a story—so chaotic at times and threatening to explode with its own narrative exuberance? At other times, Beasts begins to implode with the weight of its tragedies in the making. Zeitlin directed this film based on a play by a friend, Lucy Alibar, and by some stroke of good fortune they changed the young protagonist from a ten-year-old boy to a six-year-old girl. Enter the astounding Quvenshané Wallis, who effortlessly inhabits the role of the ferociously determined Hushpuppy with considerable skill and the insight of a wise being not entirely of this world.

Hushpuppy, as young as she is and motherless, has her own house—if you want

to call it that—a ramshackle abode not too far away from her father’s place; in between the two houses live an assortment of animals and the detritus of swamp life. Surrounding everything and everyone who lives in this loose-limbed community called “The Bathtub” are the rising waters of the bayou—a condition that is circumspectly explained to Hushpuppy and her classmates as a product of global warming. The children in the classroom are given the information about melting glaciers and the inevitable sinking of The Bathtub under a rising tide, and indeed it is flooded for a time by a great storm because the levee that surrounds it cannot drain. It’s the aftermath of the storm that acts as the catalyst for the story and underscores the emotional ups and downs between Hushpuppy and her father, Wink, who devises a solution to drain the swamp by blowing a hole in the levee.

Zeitlin has stated that his movie is very political, but it isn’t a browbeating polemic about climate change. It’s more like an over-lush, highly animated, and metaphorical Book of Bayou Hours that celebrates diversity while being

distinctly post-racial. It really doesn’t matter that Hushpuppy is African-American; the narrative sweeps whites and non-whites along and follows them in their festivities, their mutual dependencies and co-dependencies, as they share the bounty of the swamp and their bootlegged booze. That communal vibrancy is part of the mystique of Hushpuppy’s character and contributes to her intense bouts of magical thinking.

In her fantasies, which gradually thread the movie together, prehistoric aurochs (similar to oxen) return to haunt and hunt in the bayou, and these mythical beasts—part wild boar and part bull—stalk Hushpuppy in the landscape of her imagination. This fantastical through-line adds extra dramatic tension to Hushpuppy’s strange adventures without providing any gratuitous horror. In reality, it’s the threat of death that stalks the little girl as she slowly comes to terms with the imminent passing of her sick father, played with wonderful complexity and gusto by the nonprofessional actor Dwight Henry. At the end of the movie, as the beasts are about to close in on Hushpuppy, she is able to calmly confront this fantasy and say, “You’re kind of my friend….”

The movie turns, however, not on this scene where Hushpuppy accepts her scary projections, but on another imaginary sequence where she

goes in search of her lost mother, and finds her. It’s a heartbreakingly lovely, dreamy, and sensuous part of the film where the little girl dances with her mother, her head on the woman’s shoulder. This moment on the floating bar and brothel Elysian Fields is deeply moving and mysteriously beautiful in its soft-focus light tinged with the colors of warm flesh and accompanied by the sounds of a haunting jazz score, written by Zeitlin and Dan Romer, and it echoes an old jazz standard whose refrain is sung in the background—“If that isn’t love it’ll have to do, until the real thing comes along”—and this is precisely the case for Hushpuppy’s intense longing for her mother. This languid and luminous dream sequence helps to suture together the child’s fractured yet, in the end, oddly cohesive world.

A viewer would be hard-pressed to catalog all the wonders this allegorical film offers. It is a visionary experiment in the gritty and the compassionate, the revelatory and the real—and as the character Hushpuppy says, “The whole universe depends on everything fitting together, and if you can fit in the broken pieces, it will be just right.” And that’s how this movie has been fitted together—it’s an experience as right as rain without the rain’s destructive qualities.—diane armitage

Beasts of the southern WildCenter for Contemporary arts

1050 old peCos trail, santa fe

Beasts of the Southern Wild, Benh Zeitlin director, Hushpuppy (Quvenshané Wallis), movie still, 2012

| o C t o b e r 2012 the magazine | 47

Familia, Hogar, Fe:

School of Arts and Design | Visual Arts GalleryMonday through Friday, 8 a.m. to 5 p.m. 6401 Richards Ave., Santa Fe • (505) 428-1501 www.sfcc.edu

Cruz López, detail of Prometheus

Sfcc Visual Arts GalleryOctober 5 through November 2, 2012Public Reception: Friday, October 5, 5-8 p.m.Artists’ Talk: Wednesday, October 17, 10-noon

Tom Borrego, Chris López, Cruz López, Joseph López, Krissa López, Adrian Martínez, Robert Martínez and Toby Morfin

Sangre FuerteDia de los Santos + Dia de los Muertos

CritiCal refleCtionS

QUIRKY, HALLUCINATORY, WILDLY CREATIVE, ambiguous, innocent, sophisticated. Critics never seem to agree on how to describe the art of Julie Speed. Her show of current work at Gerald Peters Gallery, in tandem with works by her best friend, Dan Rizzie, provides a wonderful opportunity to test out all of these descriptions and more.

In Fish Supper, executed in collage and gouache, we are immediately puzzled by the disconnect between the title and the subject matter. The fish on this plate appears very much alive. The diner, naked but for a napkin, phantom of the opera face mask, and helmet, sports female breasts on an otherwise ambiguous, androgynous body. S/he drinks from a medieval pewter wine goblet that matches the helmet, sits at a plain café table with a picnic-style red and yellow checkered tablecloth, and appears to be snarling at someone off-canvas. Out the window we see docile cows nearby and a warehouse on fire in the distance, the red and yellow flames matching the tablecloth perfectly. The entire scene takes place under a daytime

version of van Gogh’s starry-night sky.The Prince, also done as a collage and

gouache piece, screams quirky. Here the figure’s head has been replaced by a flower and surrounded by blue sky and puffy white clouds. The oval frame around the figure tells us this is Henry, Prince of Wales. He died young, so perhaps his flower head represents the bloom of youth. Everything else about the piece looks like it was cut directly from a historical print lifted from an antique tome. And here is where some of Speed’s sophistication enters in. It can be very difficult to see where the collaged pieces begin and end. Her seams are, at times, so invisible that we are tricked into believing that a bust and its pedestal were really cut from the same original image. The bottom half of The Prince may have come from a different image and been spliced to the top after all. Or not. Speed lets us question. However, in Blackbird, the collaged elements are obvious and wildly creative. Here is a blackbird’s head with an insect collaged into its beak. On a male body from a Japanese print. With the

human legs of a kabuki dancer. And to keep us laughing, Speed paints an L.L. Bean–style plaid flannel hunting shirt onto the creature.

With The Specialists, Sleepers, and Immaculanus, Speed takes us in a different direction. She places large cutouts from anatomical illustrations in the background and collages figures from religious prints in the foreground, apparently oblivious to what looms behind them. She paints some of the veins and muscle fibers of the black-and-white anatomical engravings with red paint, and occasionally allows a few drops of blood to drip forward near the figures’ feet. They remain clueless.

Perhaps the most fanciful of Speed’s work in this exhibition are her mixed-media boxes. White Baby presents an armless, porcelain Frozen Charlotte doll with her feet tangled in an upside down tornado of wire. The box’s background material is a sheet of paper divided into twenty-five rectangles, each containing black Asian

lettering with yellow paint growing upwards stalagmite-style, and teal stalactites dripping down. Speed inverts a similar sheet of paper in Maman and places an anatomical rendering of an open porpoise, tail skyward, in the middle of the box. Emerging from behind the porpoise are curlicues of wire that mimic the Asian writing on the paper. These boxes are just plain fun to contemplate. Because Speed juxtaposes so many images, styles, and historical and ethnic blends, it is hard not to be on the lookout for all sorts of possible meanings and references. Van Gogh’s work must have influenced that starry sky. And Suzannah, Annoyed has to be a terrific play on Susannah and the Elders. Speed makes us think like this, and perhaps too hard. Art historian Barbara Rose characterizes this as Speed’s aim to “jolt the viewer.” True. Yet Speed herself claims she does not intend this sort of interpretation. “Any narrative associations are gravy,” she maintains. —susan wider

Julie speedGerald peters Gallery

1011 paseo de peralta, santa fe

| o C t o b e r 2012 the magazine | 49

Julie Speed, Blackbird, collage and gouache, 16¾” x 11¼”, 2012Julie Speed, The Prince, collage and gouache, 14½” x 9¼”, 2012

ENCAUSTIC, A TECHNIQUE OF PAINTING WITH heated beeswax and resin, to which colored pigments are added, has seen a resurgence in popularity among artists since the 1990s. But the technique has been dated to as early as the fourth century BCE. The examples most of us are familiar with are the haunting Fayum mummy portraits, from second-century Greco-Roman Egypt, done in encaustic on wooden coffin covers.

For the past fifteen years Raphaëlle Goethals has worked in encaustic as her signature medium. Dust Stories, on view at William Siegal Gallery, represents her body of

work from the past three years. In Poetics of Relation, the Caribbean poet Édouard Glissant invokes the ocean by speaking of an illegible “alternation between order and chaos... a constant movement between threatening excess and dreamy fragility.” In a way, Goethals’ recent output embodies this contradiction. Glissant further writes, “We clamor for the right to opacity for everyone.” Goethals is staking her claim to this right in these works. Perhaps because of their many layers, they manage to be monumental in their presence but are not overbearing; on

the contrary, they are rather reticent. It is necessary to be physically next to them for some time to experience, gradually, the timeless and silent realm which it is the goal of their creator to induce. The pieces in this show are all done on wood panels. The use of materials secreted from a living creature, whether beeswax or tree resin, seems to endow these compositions with both density and a diaphonous quality. Resin is notoriously resistant, wax cools fairly quickly in a normal environment, so both determination and a certain spontaneity are demanded by the medium itself. Of course the artist can use

various heated tools to shape the paint before it cools, and may, in a kind of sculpting process, manipulate the wax once it has cooled. There is also the option of encasing or collaging other materials into the surface before it solidifies, and of leaving marks, treads, and splotches between the layers. This allowance for the hidden to be made partly visible, and the visible to be partly obscured provides a singular opportunity. This is like looking at one’s own veins through the skin, generating a reminder of the multiple processes continuously happening within our bodies. In Goethals’ work the layered, multiple processes have

already taken place at the hands of the artist and we are left with their traces.

Goethals brushes, scrapes, and otherwise treats multiple thin layers of encaustic paint, then burnishes it all to a smooth, semi-transparent finish suggestive of immersion. This labor is expended in the service of a search for balance and stillness; there is a clear intention towards a classic composure in the final product, and certainly the way the colors are muted in this medium gives the finished work a contemplative feel. Many of the pieces have a milkiness or an inky semi-darkness as the primary tones on the field, which suggests a murky counter-world of hints and veiled allusions. A different reading might conclude that seeing something through a medium other than air—underwater, frozen in ice, or through dust settled on a glass surface—can be suggestive of obscurity, or even suffocation. Still, as we are forced, globally, to accept that there is a basic disorder in all natural systems, we may learn, once again, in the words of scholar Steve Mentz, “to love the illegible while still deciphering it, partly.”

Standing in front of these luxurious evocations of imagined worlds suffused with the yearning for stillness and clarity, a sense of unease and dissatisfaction came through to me as strongly as did the quest for purity.—marina la palma

raphaëlle Goethals: dust storiesWilliam sieGal Gallery

540 south Guadalupe street, santa fe

Raphaëlle Goethals, Gravitas, encaustic and resin on panel, 38” x 40”, 2012

CritiCal refleCtionS

Democracy don’t rule the world, you’d better get that through your head.This world is ruled by violence, but I guess that’s better left unsaid.

—Bob Dylan, “Union Sundown”

MAYBE WHAT’S NEEDED IS A BIG WHACK TO OURcollective skull bones to reset our brains. Maybe that’s what Mommy Nature has got in store for us if we don’t get it together asap. Earth is inhabited by largish, nearly hairless pack mammals who, for a wide variety of reasons including greed, fear of scarcity, usually along with a good dose of xenophobia, attack and kill each other all the time. This sucks. We are one of the most cooperative and collaborative species on the planet, but also one of the deadliest towards our own kind. Garter snakes bear live young and the mother eats them at birth, if she can. Maybe snakes should be our national bird.

My people killed your people. Your people killed my people. There are some elders with serious stories still left to tell. How many of the world’s people have these words to say to each other? Waves of genocide and colonization roil across the planet like a plague. And neither you nor I decided it ought to be this way. We come into this world and this is how it is, how the past has made it. These are the truths of the situation, the real story of how things came to be. We are told these things slowly over time by the people who matter to us most, our families. Even our elders don’t really know how the past was. And we don’t really know how it was. And all of us are out of our depths when it comes to really understanding why it is that for lo these many millennia we have been beating each other over the heads with clubs or the like. The like these days being predator drones, ballistic missiles, and nuclear weaponry, but the basic concept of clubbing others into submission remains the same.

Bob Haozous has a habit of stepping right up to the edge. He can’t seem to help it. His “eco-war-clubs” are a textbook-perfect example of the sublimation of violent urges into art that keeps the world from spinning into ever more violent chaos. Dave Hickey talks about it in relation to the moment the Mardi Gras tribes in New Orleans stopped brutalizing each other in favor of float and costume contests, or the gangs in Brooklyn went from gang fights to break-dance competitions. “Art, like sports, requires an audience for completion,” said Duchamp, and successful athletic events are also

prime examples of tribal and geographic rivalries channeled towards mutual cultural health rather than violence. Haozous’s circle of war clubs hanging from the ceiling in the round space of the Tower Gallery resonates with potential violence and latent force. They are incredibly crafted in a wide variety of media, from steel to skin to stone and beyond. Three are topped by spherical representations of the earth taking on progressively more militaristic appendages as you move around the circle. The third globe is spiked like a medieval mace, an earthscape dotted with missiles. Where the fourth sphere would be is where you enter the circle, where you bring your version of the world, her scars, and her war clubs.

The Pentagon being the biggest war club ever, I guess. And like Haozous’s sculptural objects, it represents an incredible investment of human creativity. As Deleuze and Guattari put it, “The artist creates the war machine.” First, in terms of the creativity and skill that go into crafting weapons, and then in terms of propaganda—the creation of the images that will incite a society to desire the deaths of other people, or at least to inspire them with ideas of their own superiority, such that killing the others will be like killing an animal, or someone, somehow, less than human. Prior to Manet, about eighty percent of Western Art served propagandistic purposes and had for a couple of millennia, at least. Leonardo designed amazing killing machines, and Michelangelo lost years in defending Florence.

The artist Bob Haozous has created a beautiful bouquet of brutal objects. He presents them to you and asks: How would you use them? Who would you club to death? Along with the sins of our fathers and the wounds that don’t close, along with the grief over the devastation our ancestors have wrought, we inherit also the opportunity to recognize a human family that includes all people, and a clear directive to value life, all life, more highly. That is the part of our creative nature we ought to honor most, and it is as indigenous to each of us, as indigenous to every child, as we are to the planet. —Jon carver

BoB haozous—oBJeCts of poWer: aWakeninG the indiGenous sourCetoWer Gallery

78 Cities of Gold road, poJoaque

Installation view

| o C t o b e r 2012 the magazine | 51

ED LARSON ART OPENING

Expressionistic Works

by Ed Larson

Introducing the works

of Tom E. Larson

ED LARSON GALLERY229 C Johnson Street

(West of the Gerogia O’Keeffe Museum)

Opening Reception:October 55 to 7 pm

505-982-9988

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CritiCal refleCtionS

M’S CHAIR. THIS CURRENT SHOW OF RECENT WORK by Robert Kelly is easy on the eyes. That is not meant to damn with faint praise. Kelly is a highly accomplished painter whose work I saw for the first time in 1995 at Linda Durham Contemporary. Then, his large canvases were an expressive fusion of atmospheric surface and painterly pattern whose formal infrastructure was a ghostly grid of tangent rectangles seamed together in the service of an overriding poetic narrative. Here, the grid has surfaced as an explicit structure for abstract color compositions of quilted squares and rectangles variously arranged within an overall stretched canvas or panel whose scale ranges from small to large (17” x 14”; 19” x 15”; 27” x 22”; 72” x 56”) but whose height-to-width ratio is a constant 9:7. Kelly’s process begins with the laying out of the grid areas with paper collage, upon which he applies oil pigments with a trowel-shaped brush to yield adjoining fields of bold color. Visible beneath these monochrome fields are collaged fragments of printed text to which the paintings allude with their titles. The show’s press release describes the series as an exploratory formal survey of the history of modernism by the artist, implying specifically the movement’s defining current of geometric abstraction running from Mondrian and de Stijl, Malevich and Russian Constructivism, and German Bauhaus to Late Modern exponents of the grid style such as Richard Diebenkorn and Ellsworth Kelly, who is one of eight additional artists that Kelly himself is said to claim as influences.

The artistic intent and devices of all these antecedents are as diverse and disparate as the sources themselves, but the obvious connection to Kelly’s series here is their common recourse to a grid structure to achieve their respective ends. In Kelly’s approach, the use of a single

grid rectangle with the repeated 9:7 ratio provides the fixed structure that allows him to experiment with arrangements of color fields whose internal pattern of varied size and horizontal-vertical disposition seems guided by the artist’s subdivision of each grid into reciprocal and other similar square and rectangular strips. The 9:7 ratio of Kelly’s grids produces a truncated and vertical version of the golden rectangle in which each internal pattern is made up of square and rectangular modules of the overall grid. The effect recalls an early Modern interest in the dynamic symmetry claimed to be the underlying design of ancient Greek vase

forms and architecture as well as the very design principle of everything in nature from plants to man.

By adhering to this grid format, Kelly is able to create a series of paintings that explores the variations of geometric color patterns without violating the integrity of the grid form that unifies them. Thus the artist is able to pursue manifold versions of this composition involving different formal motifs (e.g. Helvetica I & II; Construction I-IV (Haus); M’s Chair I & II; Bibi Nocturne I-V) within the canonical grid shape and its pervasive symmetry. These related studies within Kelly’s Back and Forth series can be viewed, in effect, as chromatic

variations on a single formal composition, much as Erik Satie’s three Gymnopédies (piano “exercises”) are musical variations on a melodic theme and structure. And Kelly’s familiar device of the collaged text fragment creates the atmosphere and hint of dissonance that enhance the decorative strength of this work.

Decorative: again with the faint praise. Not so. These paintings are indeed decorative, but in the sense that Matisse uses the term when he describes composition as “the art of arranging in a decorative manner the diverse elements at the painter’s command to express his feelings” (Notes of a Painter, 1908). In this

context think of Matisse’s Piano Lesson (1916).

Kelly’s Back and Forth paintings please the eye, soothe the mind. They do not invite engagement as much as record the artist’s own exploration. Where they do engage, the device is playful, mischievous. At the bottom left border of the 40” x 32” canvas titled Splendor in the Grass, a red inscription in capital letters spells “NATALIE WOOD,” a wistful paean to the movie’s young star and her timeless, vestal evocation of the film’s title. The Bauhaus mirror-image composition of the Bibi Nocturne variations graphically suggests the “Back and Forth” title of the series.

And whatever the artist intends by the title of the M’s Chair studies, another Matisse reference is ready at hand for the viewer of Back and Forth, again from the French master’s Notes of a Painter, where Matisse writes of the pursuit, in his painting, of “an art of balance, of purity and serenity, devoid of troubling or disturbing subject matter… a soothing, calming influence on the mind, something like a good armchair that provides relaxation from physical fatigue.” Back and Forth is K’s Chair.—richard tobin

roBert kelly: BaCk and forthJames kelly Contemporary

550 south Guadalupe street, santa fe

Robert Kelly, Bibi Nocturne V, oil and mixed media on panel, 17” x 14”, 2012

| o C t o b e r 2012 the magazine | 53

We, the dreamers—the artists—will be needed more than ever… —Lloyd Kiva New

EVERY CULTURE NEEDS ITS ARTISTS, ITS DREAMERSits imaginations fired. For Native Americans that is as true today as it ever was. Perhaps more so, with indigeneity no longer an either-or proposition, but often a case of mixed identity that can cause problems in a society preoccupied with considering such issues through a linear focus. At a doctor’s office recently, I was asked to note my “race” in one blank, my “ethnicity” in another. Short blanks too: What if I self-defined as a hyphenated American? Is “white” really a race? Is Celtic an ethnicity? I have enough questions about what it means to be who I am that I suppose it’s extremely fortunate that I don’t have to identify as Lakota, Cree, and Pueblo Indian on

one side and German, Welsh, and Irish on the other. What if I had married an Italian-Hungarian man and had children? How would the offspring fill in those blanks on the health questionnaires?

When the Institute of American Indian Arts—now a four-year college looking to inaugurate its first graduate programs within a year or two—began operating, sixty years ago, as a senior high school of the arts, matters of identity were more clear cut, thanks in no small part to a long history (since 1492 or so, at least) of racism and poverty. In 1972, the same year that the American Indian Movement made its opening case for red rights, the IAIA opened its

museum in Santa Fe; they have been collecting works of art by students, faculty, and staff ever since. Despite AIM and IAIA, and institutions including the Southwest Association for Indian Arts (SWAIA), contemporary Native peoples are often regarded as invisible, misperceived as an historic entity, no longer ranging along a spectrum of vibrant and dynamic cultures. IAIA has gone a long way to change that biased slant; its museum is now known as the Museum of Contemporary Native Art.

The collection, which includes some seventy-five hundred works, had to be moved to a new storage facility in 2010, so curator Tatiana Lomahaftewa-Singer had her hands full when the museum decided to mark IAIA’s fiftieth anniversary with an exhibition. However, she had a leg up, having grown up on campus where her mother,

painter Linda Lomahaftewa, taught. As a young woman, Lomahaftewa mère transferred from a boarding school to IAIA as soon as it opened, joining renowned students TC Cannon and Kevin Red Star, with faculty members Allan Houser and, two years later, Fritz Scholder. Certainly, the curator understands the significance of her and her mother’s museum as a keeper of the Institute’s illustrious history.

It was Lomahaftewa-Singer’s decision to show the works of ten students from each of the five decades of IAIA’s history. She says the selection process was “painful, because there were so many… heavy hitters” to choose from, and she wanted to include some lesser-known artists. 50/50 is divided into decades with text panels that present the history of the institution, as well as notable quotations from IAIA co-founder and former president Lloyd Kiva New. The first and second galleries reflect the heady vision of the new school, where learning occurred not only in a downward teacher-to-student trajectory, but was peer-to-peer due to the cultural diversity of a hand-picked student body. IAIA did away with regional schooling for Natives and replaced it with a newly discovered North American indigenous pride.

Bill Soza Warsoldier was a standout of the first decade. His paintings were clearly inspired by, and in turn inspired, Cannon and Scholder. Soza’s Billy the Kid glories in the wild beauty of rebel misfits who share given names. In the third gallery, Jackie Stevens’ Woodland Duck Bowl, from 1980, augurs the ceramist’s later, fully contemporary works. Erica Lord’s trinity of woodblock prints, Three Flies (1999), reveals the broader influences of contemporary art—Andy Warhol comes to mind. John Davis, chair of IAIA’s creative writing department, worked with the curator to put together an audio portion of the exhibition in two sections of poems and spoken-word performances by award-winning students.

In the last gallery, there is a marked return to the “Indian art” of the eighties. This, and a pumped-up graphical-Pop style, seems indicative of a sense of confusion about how the terms “contemporary” and “Native” meld in the art world. Generally, they have a tough time of it, commercially at least, with a largely misinformed public seeking either contemporary or Native art as if they were each a stylized genre. Fortunately, here in Santa Fe we have access to young indigenous artists to mind, and mine, that gap. IAIA will surely continue to lead its students beyond such constrained expectations. As Kiva New put it, “The Institute assumes that the future of Indian art lies in the Indian’s ability to evolve, adjust, and adapt to the demands of the present, and not upon the ability to remanipulate the past.”—Kathryn m davis

50 artists/50 yearsmuseum of Contemporary native arts

108 Cathedral plaCe, santa fe

Bill Soza Warsoldier, Billy the Kid, oil on canvas, 32” x 24”, 1967

CritiCal refleCtions

THE LATE BAY-AREA ARTIST MARGARET KILGALLENonce said, “I like things that are handmade and I like to see people’s hand in the world; in my own work, I do everything by hand, [which] will always be imperfect because it’s human. I’ll never be able to make it straight. From a distance it might look straight, but when you get close up, you can always see the line waver. And I think that’s where the beauty is.” The constant desire to make and share art is the driving force in the work of Crockett Bodelson and Sandra Wang, or SCUBA, the incredibly likeable duo behind Baca Street’s Caldera gallery. SCUBA’s art is wildly, and often hilariously, imaginative, but it’s actualized with painstaking attention to detail. It seems to originate in a totally organic way, which makes sense: Typically they’ll pass a piece back and forth, working on it together until it’s done.

Their apartment was robbed last month, so Bodelson and Wang immediately decided to host a silent auction fundraiser event at Caldera. Within a couple weeks, they received donations from a handful of local artists. On the day of the event, the modest gallery space was filled with an eclectic mix of works, most of which had starting bids of around $40. One low shelf was lined with SCUBA’s wooden cut-out characters, mustachioed or top-hatted figures with cartoonish bodies—most holding fluffy cats—meticulously painted

in everything-but-the-kitchen-sink colors. Sharing the space were works donated by SCUBA’s friends, like two exquisite ink-and-watercolors by Todd White, and fabulously weird assemblages by Tuscany Wenger. I looked around for Bodelson and Wang and was told they were shuttling people across the street to view their installation, Inside the Outside. Entering the dark garage space, you see what looks like a floating infinity symbol bearing dozens of three-dimensional paper structures illuminated by lights that slowly change colors. This delicate and rather beautiful thing is suspended from the ceiling by cables. Bodelson and Wang say they’re drawn to interior spaces, and it’s a recurring theme in much of their art, but here the idea of a dwelling—or more basically, a shelter—is explored in mesmerizing detail. At one end of the work, the track arches high enough to allow entrance into the looping space, encouraging viewer interaction and expanding on themes of interiority and domestic space that are so crucial to SCUBA’s practice. Strips of Velcro are attached beneath each paper model, allowing them to be moved and lending the work a playfully puzzle-like quality. The models are covered with drawings that convey the plain beauty of folk art with sly humor. Figures rendered in white crayon (all but invisible with the lights on) at first look

like simple doodles, but closer inspection reveals fantastically detailed work, from cats perched on windowsills and cowboys doing back-flips to geometric shapes and symbols. There is an overwhelmingly earnest quality to SCUBA’s practice, obvious too in the artists the duo chooses to display at Caldera. There’s something precocious and totally un-selfconscious about them also, an ingenuousness that most of us root out and eliminate in ourselves somewhere in ninth grade. As individuals Bodelson and Wang are fairly serious, very driven, and always working. Just behind the Caldera gallery space is a studio they share with several other artists. Materials are stacked in orderly, labeled rows. One box says sticks in tidy magic-markered letters. Crockett shows me a thin opaque sheet that bears careful paintbrush markings, a home with windows and a little door. It’s one of dozens that will

be installed at the New Mexico Museum of Art’s Alcove 12.5 show this September. And they’re working on an immersive, multi-media installation for the Muñoz Waxman gallery space at CCA, slated for December 2013—quite a coup for a couple who’ve only been making art in Santa Fe for a year. And then what? Pouring Arnold Palmers in the studio’s tiny kitchen, Bodelson says they need to be in New York, at least for a little while. Looking through pictures on SCUBA’s website, I found a painting done in late 2010. It’s a picture of a valley, bordered by sharp mountains. Nestled in the clearing is a little domicile, windows aglow with golden lights. A pickup truck is out front. The caption reads: “the family could never leave the valley/there was only one impossible way out/so they called it home.” Lucky for us, SCUBA’s home is here, at least for now. —iris mclister

sCuBaCaldera

926 BaCa street #6, santa fe

SCUBA, Inside the Outside, mixed media, 30’ x 15’ x 8’, 2012

| o C t o b e r 2012 the magazine | 5| o C t o b e r 2012 the magazine | 55

Some things can never be spoken. Some things cannot be pronounced. That word does not exist in any

language. It will never be uttered by a human mouth.

“Give me Back My Name” —Talking Heads

ALAS, THE CURSE OF WRITING AND ALL ITS BINDING specificity. Each word has to refer to something in particular. You can’t just write scribblatto scribblattoo scribblee and have everybody get the deeper nuances. Painting got away from this problem a long time ago. Ambiguities and obscurities are part of painting’s basic ploys. Ink smeared across a page spells illegibility. Paint smeared across a canvas, when it’s done in any one of eight million proper ways, can say it all.

In 2008, the Harwood Museum in Taos mounted an exhibition called Under the Radar and included in the group of participating artists

was a painter named Tom Dixon. How’s that for specificity? Shortly after the opening, the big corporate global financial fucknuts of Wall Street, having purchased the people’s government on the sly, fleeced the world of its economy and the middle class of their monies like dropping a paper boat off the Gorge Bridge. So Dixon sank, too, back into the studio, back under the radar. Until this 2012 sighting at 203 Fine Art, where Dixon seems to be presenting the best paintings he’s ever made. The artist self-identifies as an Abstract Expressionist, but since that’s a title I reserve for

a particular time in history it feels funny on my tongue. Suffice to say he’s an excellent, energetic abstract painter informed by a history that includes Joan Mitchell, Phillip Guston, and Cy Twombly (I was always wobbly on whether or not Twombly was an AbExer.).

Dixon’s method is automatism, as prescribed by Max Ernst and his Surrealist buddies, and was one that Gorky adopted in his mature works. Gorky was way AbEx. You go into the performative space of the making of the painting and act instinctively in response to the marks you make. You express yourself, your emotions, your reality, your inner being—without specific figurative references—through the pure and true plasticity of paint and painterliness. The dictates Dixon follows are

the same as those discovered by Pollock and Frankenthaler well over a half-century ago, and they are obviously serving him well. His paintings are vibrant and alive and innovative and open-ended, and that’s just it. These aren’t Modernist paintings, these are contemporary paintings. They couldn’t have been made then. Dixon’s work presents dramatically different responses to concepts of risk, chance, and abstraction. If this is seventh-generation Abstract Expressionism, so be it, and the fascist modernists can have their eternal kingdom and erect altars to Clement Greenberg, but I think there might be something more at work in Dixon’s work, something a touch more today.

The discoveries of the High Renaissance are fundamentally altered by the way the Mannerists employ them. De Kooning and Pollock made certain foundational discoveries about what an abstract painting could be. Bronzino and Pontormo worked on the same heightened naturalism project as Raphael, Leonardo, and Michelangelo but their late sixteenth-century virtuosic take is fundamentally different from the more explorative approach taken by the Teenage Mutant Ninja Turtles a half century before. Dixon’s approach is simultaneously more outsider and more sophisticated in terms of abstraction because the basic idea that pure, non-objective, painterly messes can be great art was accepted long ago. He’s got verve and drive, and a full-throttle willingness to experiment and experience the wide world of speeding paint. He’s flying by the seat of his pants most of the time, but has the sensitivity to slow down for that perfect touche finale that matters so much to the folks French kissing in the box seats. Triangle loops and dangles nicely like a chair propped against a melting wall. Erasure is as much a part of Dixon’s mark-making as additive processes. Each piece is scraped down in part or in whole multiple times. Strange shapes and angular perspectives emerge only to be effaced and non-specifically overwritten by a graffiti of illegible texts in un-codified languages, unspeakable tongues.

Words and texts and images are constructs, like ideologies, organized religions, and economic systems. They are built and can be dismantled. Their structures remain sound only so long as they are sound. Human systems succeed when they meet real human needs. Abstract paintings succeed when they engage the human mind and eye. Designs, documents, and dreams are deemed successful when they harmonize with the nature of the situation—meaning human nature and the nature of life on the planet. By painting the paintings that are most natural to him, Dixon finds the point where subjectivity smears into universality, the point of pure ineffability. —Jon carver

tom dixon: neW Works203 fine art

203 ledoux street, taos

Tom Dixon, Triangle, oil on masonite, 48” x 48”, 2012

CritiCal refleCtionS

IT’S ABOUT TRANSLATION. NEW CONCEPT GALLERYoffers an opportunity to witness how three New Mexico artists use digital photography, abstract painting, and sculpture to interpret nearby landscapes, churches, and derelict structures in their own way.

Steven A. Jackson is all about levels and layers of light. His photos are so sharp and detailed that they shimmer and seem surreal. Even the abandoned becomes beautiful. In Gas, Galisteo Basin Near Stanley, NM (2006), Jackson has captured layers that move us from the golden-tinted foreground of tall dried grasses, through a tangled barbed wire fence, to a stark line of abandoned buildings and surprisingly leafy trees. Behind them are distant grey hills under menacing clouds in multiple shades of grey, yet with a hint of that same gold of the grasses. Jackson works digitally and uses a toning and tinting technique to produce a broad range of golds and greys in what are essentially black and white photographs.

Reg Loving is all about color and form. His acrylic adobe walls become golden yellow like Jackson’s grasses. His sky is more turquoise than turquoise, and his shadows of kiva-style ladders and roof canales run dark blue to purple. At first

glance this may seem extreme, and yet these really are colors that we see in New Mexico. Working in oil for Red Landscape With Crosses (2011), Loving floods a barren New Mexico landscape with red, and places two leaning, black crosses in the foreground. Just as surprising as Loving’s color choices are his trees. They often appear in a horizontal line across a canvas, and look like frothy bubbles, adding roundness to Loving’s often angular buildings, paths, and landscapes.

Tim Prythero is all about details that hint at story. His mixed-media miniature constructions take us into a tiny world that combines elements of model making, dollhouses, storytelling, and art. I want Prythero to design the platform for my model railroad. In his wall-mounted Last Trailer (2012), the more you look the more you are afraid you’ll miss. The place is a mess. Prythero has crafted tiny dog poop for the front yard and there is a water dish and food bowl so I hunt for the dog. I look under the trailer, and in the windows. I never find a dog but I do notice that the flower whirligig attached to the fence is missing a petal and there’s a tiny ashtray holding even tinier cigarette butts on a table by the front

door. The dug-up area out front has sandbox toys nearby so there might be a child inside. Oddly, in the midst of the mess, there’s a sponge mop by the front door. Prythero’s hinting at story carries over into his other works in the show. The door is slightly ajar at one church, there are rusted door handles and tiny flowers in the cemetery at another, and someone has left their tools on a broken-down truck’s fender.

The three artists and gallery director Ann Hosfeld laid out the show together so that there are logical pairings throughout where truck meets truck or trailer meets trailer or church meets church. Loving’s paintings of the Ranchos de Taos Church share the same corner with Prythero’s sculpture of that church. Jackson’s eerie, shadowy photo of an abandoned pickup truck hangs on the wall immediately behind a tabletop miniature truck sculpture by Prythero. Equally effective is a Loving-Jackson pairing of the churches at Chamisal and Picuris, both with ladders leaning against an outside wall.

Specifically for this show, Hosfeld asked each artist to interpret the church at Cañoncito. These three works greet the visitor upon entering the gallery. All three artists chose a

different translation for the color red of the church’s bell tower, roof, doorframe, and large cross near the front door. Prythero’s red has a pale, heathered look that pulls red tones out of the lifelike stone wall and ground surrounding the church. Jackson’s red blends into his many nuanced blacks and greys as the church emerges from behind a group of leafless trees. And Loving’s church explodes with color, from the bright white exterior to the blood-red bell tower and roofline.

Not officially part of the show, but in fact helping to tie it all together, are five bronze sculptures by Roger Arvid Anderson. They catch and amplify the greys, golds, dark purples, and earth tones of the other artists.—susan wider

three visions of northern neW mexiConeW ConCept Gallery

610 Canyon road, santa fe

Top: Reg Loving, Church at Cañoncito, acrylic on canvas 20” x 24”, 2012Bottom: Steven A. Jackson, Church in Winter, Cañoncito at Apache Canyon, archival digital print, 20” x 27”. 2012

| o C t o b e r 2012 the magazine | 57

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antonIo LopezWriter, media producer, educator, musician, artist and founder of World Bridger Media. Lopez currently lives in Rome and teaches at the American University in Rome.

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phOtOGRaph BY JeNNIfeR espeRaNza

green planet

| o C t o b e r 2012 the magazine | 59

“You are the ultimate mediator.

As a medium of the planet’s spirit,

channel wisely.”—antonio lopez FroM his new BooK tHe media ecosystem

antonIo LopezWriter, media producer, educator, musician, artist and founder of World Bridger Media. Lopez currently lives in Rome and teaches at the American University in Rome.

www.mediacology.com www.themediaecosystem.com

phOtOGRaph BY JeNNIfeR espeRaNza

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AFRICA The Holocausts of Rwanda and Sudan

LUCIAN NIEMEYEROctober 6 - November 3

at The La Tienda Exhibit Space

Opening Reception: Saturday, October 6 from 5 - 7 pm7 Caliente Road Santa Fe, NM 87508

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WWW.SFAI.ORG, 505 -424 -5050, [email protected]. SANTA FE ART INSTITUTE, 1600 ST.MICHAELS DRIVE, SANTA FENM 87505 | SANTA FE ART INSTITUTE PROMOTES ART AS A POSITIVE SOCIAL FORCE THROUGH RESIDENCIES, LECTURESSTUDIO WORKSHOPS, EXHIBITIONS, COMMUNITY ART ACTIONS, AND EDUCATIONAL OUTREACH FOR ADULTS ANDYOUNG PEOPLE. SFAI IS AN ENVIRONMENT WHERE CREATIVITY, INNOVATION, AND CHALLENGING IDEAS THRIVE.

PARTIALLY FUNDED BY CITY OF SANTA FE ARTS COMMISION AND 1% LODGER’S TAX AND BY NEW MEXICO ARTS, A DIVISION OF DEPARTMENT OF CULTURAL AFFAIRS

Santa Fe Art Institute

Composer and Sound Artist, Steve PetersLecture 10/8, ‘Making a Place to Listen’Workshop, 10/13&14‘Listening, Giving, Finding, Receiving’

‘Ricardo Legorreta and Santa Fe’A weekend of activities across Santa Fe tohonor the influence of Ricardo Legorreta'screative force on Santa Fe design.Lectures, exhibition, tours of Legorreta-designed Santa Fe buildings 10/19&20SFAI benefit dinner with Victor LegorretaVisit sfai.org for details

SFAI Artists and Writers in ResidenceOctober Open Studio, Thurs 10/25 5:30pm

Artist and Activist Andrea BowersLecture 11/5Workshop TBD

THE-SFAILegoretta3:Layout 1 9/17/12 2:25 PM Page 1

Pink Flowers photoGraph By ellieBeth sCott

| o C t o b e r 2012 the magazine | 61

architectural detailS

62 | the magazine | o C t o b e r 2012

COYOTLBy John MaCKer

Coyote blitzes across the mountain highway-I miss him by this much, but I could still see the wind

blowing through his crooked smile as he vaultedthe guard rail in the tapioca snow.

It’s no secret he gave birth to thunder in his tricksteryouth, no secret he resents the world’s loneliness.

He harangues the moon because it’sthere and always defers to its precocious melancholy,

prefers to watch the pollen-streaked sunrise from thesummit of Penitente Peak, gorges himself on

wild datura and in a dream blames global warmingfor the creeping fungus stains on the cave walls at Lascaux.

As sensate as he is promiscuous, calls out my dogs likea gunslinger and then yips a litany of excuses until he’s long out of sight.

During the drought, he wanders the mountains twice as far for food,and squats like a bodisattva under a virga waiting for rain.

In his more blissful moments he’ll tell you his diurnal wanderingsleave footpaths on the chambers of the heart, deep in the heart of

New Mexico. In the spring he paddles far up the Pecos until ravenspeck his shadow off the surface of the still river and he locates

a drawing of himself on a wilderness cave wall where he’ll waitwith belated breath to be reborn again.

writings

This poem is from poet and short story writer John Macker’s latest book Underground Sky (the 2nd book in his Disassembled Badlands trilogy). Other books include Woman of the Disturbed Earth, Adventures in the Gun Trade, and Las Montañas de Santa Fe (with woodcuts by Leon Loughridge). In 2006, Macker edited the Desert Shovel Review. After seventeen years, he is in the final throes of remodeling an old stone and adobe house on the Santa Fe Trail. The neighborhood coyotes, rattlesnakes, and turkey vultures tolerate his presence and act as bemused muses.Detail of painting by Michael Scott

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Clockwise from Top Left: E.I. Couse, BY THE STREAM, oil on canvas, 23 3/8 x 28 1/2 inches

Oscar Berninghaus, TWILIGHT TAOS PUEBLO, oil on canvas mounted on board, 30 5/8 x 40 1/8 inches,

Leon Gaspard, MONGOLIAN GIRL WITH SLED AND WHITE HORSES, 1921, oil on canvas mounted on board,28 7/8 x 31 inches

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THE EYES, EARS, AND VOICE OF THE ART COMMUNITYthroughout Santa Fe and New Mexico

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PasatiempoFull Page $2,170 $1,864 $1,625Half Page 1,151 943 694Quarter Page 590 492 428

Santa Fe ReporterFull Page $2,280 $1,950 (13) $1,840Half Page 1,215 1,040 (13) 970Fifth Page 515 439 (13) 410

ARE YOU GETTING THE MOST FOR YOUR MONEY?Compare THE magazine’s advertising rates with the others

S a n t a F e ’ s M o n t h l y o f a n d f o r t h e A r t s

WHO READS THE MAGAZINE?

THE magazine readers are upscale, intelligent, and well educated •They love and support art and culture They are receptive to yet another credit card, and make purchases from up-market catalogues

They give generously to charitable appeals • They subscribe to many magazines

SHELF LIFETHE magazine—One month or more: THE magazine readers consider it a valuable art reference. Art savvy collectors rely on THE’s expertly written essays and reviews to guide them to their next great investment.SantaFean magazine—Bi-monthly: A general “living” magazine, Santa Fean is published too rarely to adequately cover the local art scene, and is widely considered “art-light.”Pasatiempo—Two to three days: The Friday supplement of the daily Santa Fe New Mexican newspaper Pasatiempo is targeted at locals in search of weekend entertainment and book, music, and movie reviews.The SF Reporter—About four days: The Reporter focuses on in-depth stories overlooked by the daily press.

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QUARTER PAGE4.5" x 6"

FULL PAGE10" x 12.75"

S a n t a F e ’ s M o n t h l y o f a n d f o r t h e A r t s

FULL PAGE BLEED10.5" x 13.25"

(add .25" to left & rightadd 3/8” to top & bottom)

FORMAT FOR SUBMISSIONPress quality PDF files required (made using Acrobat Distiller 5 or later, or InDesign). Clients will be billed $100 for files that require conversion to PDF from Quark, Photoshop, InDesign, and Illustrator.

PRODUCTION CHARGESAny production costs incurred by the advertiser will be billed at ad design rates (see below). Advertisements must meet THE magazine’s size and digital file specifications or client will be billed for necessary adjustments.

AD DESIGNFull or 1/2 page ad—$300; 1/4 page ad—$150

GENERAL GUIDELINES1. All fonts must be embedded in the PDF.

2. Images must be 300dpi at 100% of final placement size and must be embedded in the file. No OPI (Open Prepress Interface) images may be used.

3. Images should be saved using the correct mode (CMYK or Grayscale)—never RGB, LAB, or with embedded color profiles. (No ICC profiles).

4. Images intended to be grayscale should be a true grayscale or duotone, not CMYK generated.

5. All spot colors must be converted to CMYK.

6. Solid blacks should be 100% black.

7. PDFs should have no registration marks.

SPREAD BLEED21" x 13.5"

(add .25” to left & rightadd 3/8” to top & bottom)

HALF PAGE

4.5" x 12.25" VERTICAL

HALF PAGE

9.5" x 6" HORIZONTAL

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ISSUE AD RESERVATIONS ART DUE ON THE STREETS

S a n t a F e ’ s M o n t h l y o f a n d f o r t h e A r t s

JANUARY 23

MARCH 19

APRIL 23

MAY 21

JUNE 18

JULY 23

AUGUST 20

SEPTEMBER 24

OCTOBER 22

NOVEMBER 19

JANUARY 16

MARCH 15

APRIL 16

MAY 16

JUNE 15

JULY 17

AUGUST 15

SEPTEMBER 17

OCTOBER 19

NOVEMBER 16

FEBRUARY 3

MARCH 30

MAY 4

JUNE 1

JUNE 29

AUGUST 3

AUGUST 31

OCTOBER 5

NOVEMBER 2

NOVEMBER 30

FEB/MARCH 2012

APRIL 2012

MAY 2012

JUNE 2012

JULY 2012

AUGUST 2012

SEPTEMBER 2012

OCTOBER 2012

NOVEMBER 2012

DEC/JAN2012

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LISTING FORM FOR ART OPENINGS / EXHIBITIONS

Deadline for listings is the 12th of the month preceding publication

Include only one exhibition opening per sheet or per email.Include no more than 3 high-resolution digital color or black and white images.

Email—include information in the order that it appears below. Email your listing information, including press releases and digital images to: [email protected]

Mail—mail the form, with press releases and high-resolution photos. Mail your package, in time to be received in our offices by the 12th of the month preceding publication to: THE magazine, 320 Aztec Street, Santa Fe, NM 87501

Name of Gallery__________________________________________________________________________

Address_________________________________________________________________________________

Phone________________________________________Fax________________________________________

Email Address____________________________________________________________________________

Website Address_________________________________________________________________________

Primary Contact__________________________________________________________________________

EXHIBITION INFORMATION

Complete Title of Show____________________________________________________________________

Artist(s)_________________________________________________________________________________

Brief Description, or Attach Press Release_____________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

Show Start Date_______________________________End Date____________________________________

Reception Date_________________________________Reception Time______________________________

S a n t a F e ’ s M o n t h l y o f a n d f o r t h e A r t s

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Mail payment by check to: THE magazine, 320 Aztec Street, Suite A, Santa Fe, NM 87501 OR, submit credit card information below:

VISA MasterCard Amex Credit Card Number___________________________________________________________

Exp. Date ___________ Security Code on Card __________Name on Card_____________________________________________

Billing Address on Card___________________________________City_______________________State______Zip____________

S a n t a F e ’ s M o n t h l y o f a n d f o r t h e A r t s

Advertiser or Agency__________________________________________________________THE Ad Rep___________________

Contact(s) / Title(s)_________________________________________________________________________________________

Address________________________________________________City_______________________State______Zip___________

Phone(s)______________________________________Fax____________________Email________________________________

Ad Designer___________________________________Phone__________________Email________________________________

DISPLAY ADVERTISING CONTRACT

Please email contract to: [email protected]

PUBLICATION SCHEDULE

Issue 1/4 Pg 1/2 Pg Full Pg Color Insert Year

December/January ______ ______ ______ ______ ______ ______

February/March ______ ______ ______ ______ ______ ______

April ______ ______ ______ ______ ______ ______

May ______ ______ ______ ______ ______ ______

June ______ ______ ______ ______ ______ ______

July ______ ______ ______ ______ ______ ______

August ______ ______ ______ ______ ______ ______

September ______ ______ ______ ______ ______ ______

October ______ ______ ______ ______ ______ ______

November ______ ______ ______ ______ ______ ______

SPECIAL INSTRUCTIONS AND REQUESTS

_____________________________

_____________________________

_____________________________

_____________________________

_____________________________

_____________________________

_____________________________

___________________x___________________+___________________+__________________= ___________________ # OF ADS CONTRACTED CONTRACTED RATE _____ % PREMIUM POS. TAX TOTAL

The undersigned hereby agrees to purchase from THE magazine display advertising as listed above for the amount indicated. Default of the contract will result in back-billing the difference between the contracted rate and the one-time rate. Terms of payment are as follows: Net 21 days from the date of invoice. An 18% per annum interest rate will be assessed on all accounts not paid within 21 days of invoice. Additional costs of collection, including attorney’s fees, will be accessed if THE magazine brings legal action to collect on this account. Costs, rates, and terms printed on the current Rate and Information Sheet are incorporated herein.

Signature___________________________________________________________Date________________________

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1. Execution of this Display Advertising Contract is construed as the Advertiser’s acceptance of all terms outlined herein.

2. This Display Advertising Contract must be cancelled in writing no later than the 15th day of the month preceding publication.

3. All advertising orders are subject to the Publisher’s acceptance.

4. The Publisher reserves the right to reject any advertisement.

5. Advertisers who agree to advertise in consecutive issues and who do not complete the contracted schedule will be subject to single placement rates.

6. Payment is due within 15 days of invoice date.

7. All delinquent accounts will be charged interest at the rate of 18% per annum.

8. Rates and conditions are subject to change without notice.

9. The Publisher reserves the right to cancel any contract upon default in payment or any breach of any provision herein. All unpaid charges and single-placement rates shall immediately become payable.

10. The Publisher is not liable for errors in advertisements not designed by THE magazine.

11. The Publisher’s liability for any error shall not exceed the cost of the space occupied by the error.

12. THE magazine is not responsible for any errors in copy that is handwritten or transmitted orally.

13. Receipt of photocopy proof constitutes acceptance “as is” unless THE magazine is notified within 24 hours.

14. The Publisher reserves the right to insert the word “Advertisement” with any copy, which, in the Pub-lisher’s opinion, might be confused with editorial content.

15. Positioning of advertisements is at the sole discretion of THE magazine.

16. Preferred placement for half and full-page advertisements is available at a premium.

17. Cancellations will not be accepted and no refunds will be given after the space reservation closing date.

18. The Publisher shall not be liable for failure to publish or distribute any part of any issue because of labor disputes, accidents, fires, acts of God, or any other circumstances beyond the Publisher’s control.

S a n t a F e ’ s M o n t h l y o f a n d f o r t h e A r t s

GENERAL ADVERTISING INFORMATION

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