Santa Fe’s Monthly m a g a z i n e of and for the Arts • November 2012

WHO IS
ROSALIND
KRAUSS?

AND WHY DOES SHE MATTER?

 C L A S S I C N AT I V E A M E R I C A N A RT

53 OL D SANTA F E TRAIL | UPSTAIRS ON THE PL AZ A | SAN TA F E, NE W ME XICO | 505.982 .8478 | SHIPROCKSAN TAF E .COM
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5 letters

10 universe of artist Sondra Goodwin

14 art forum:
17 studio visits:
19 food for thought:
25 one bottle:
23 dining guide:
27 art openings
The Doll and the Monster, by Guy Pène du Bois
Michael Sharber and Connie Schaekel
The Honeybee
The 2009 Chartron et Trebuchet Chassagne-Montrachet “Les Embazées,” by Joshua Baer
The Compound and La Boca

28 out & about

32 previews: Remix: Then & Now at Hills Gallery and Zachariah Rieke at Wade Wilson Art
35 national spotlight: War/Photography: Photographs of Armed Conflict and Its Aftermath, at the Museum of Fine Arts, Houston
37 feature: Who is Rosalind Krauss and Why Does She Matter? by Diane Armitage
40 critical reflections: Cause & Effect at Chiaroscuro; Chaos to Complexity at the Museum of Contemporary Native Arts;
Dancing with the Dark at UNM Art Museum; Dust in the Machine at the Center for Contemporary Arts; Ecumene at Santa Fe
Community College; Eddie Dominguez at the Roswell Museum; Chris Felver at Zane Bennett Contemporary Art; ISEA2012
Albuquerque: Machine Wilderness at 516 Arts (Alb.); Kenneth Noland at Yares Art Projects; and Walking at the Edge of Water at
the Lensic Center for the Performing Arts
51 green planet: Jim Hightower, photograph by Jennifer Esperanza
53 architectural details: On the Wire, image by Guy Cross
54 writings: “How to Appreciate Art” by Erik Campbell

Jean-Paul Goude is a legend in international magazine and advertising circles. Goude does it all—graphic design, art direction, illustration, choreography, photography, and film. Goude’s films illustrate his taste for
exoticism, music, dance, and fairy tales. Although he was the art director of Esquire for ten years, he is best known to the general public for his professional and romantic relationship with his longtime muse—singer,
model, and pop icon Grace Jones. Jean-Paul Goude (Thames & Hudson, $49.95) is a visual delight—it is loaded with drawings, sketches, storyboards, and photographs. Leafing through this book, which contains over
five hundred color images, there seems to be no end to Goude’s knack for coming up with fresh and scintillating imagery.
 letters

magazine
VOLUME XX, NUMBER V
WINNER 1994 Best Consumer Tabloid
SELECTED 1997 Top-5 Best Consumer Tabloids
SELECTED 2005 & 2006 Top-5 Best Consumer Tabloids

P u b l i s h e r / C r e at i v e D i r e c t o r
Guy Cross

P u b l i s h e r / F o o d Ed i t o r
Judith Cross

Art Director
Chris Myers

C o p y Ed i t o r
Edgar Scully

P r o o fR e a d e r S
James Rodewald
Kenji Barrett

s t a ff p h o t o g r a p h e r s
Anne Staveley
Lydia Gonzales
Two percent of the world’s population are orphaned children—abandoned by their parents, deprived of
Preview / Calendar editor parental care. “Orphans Of The World” is a project created by Tess Yong in 2011 after she traveled to
Elizabeth Harball Myanmar and Nepal. There she encountered an overwhelming number of orphaned children who were
living on the streets or in severe living conditions. Amid these bleak circumstances, Tess came across
WEB M EISTER children with bright smiles on their face—smiles that inspired her to want to be of service to them. In
Jason Rodriguez 2011, she raised enough money to school, feed, and board fifteen Tibetan and Nepalese children for a year.
The goal in 2012 is to feed, educate, and board one hundred and fifty refugee children, as well as assisting orphanages
facebook Chief
in Myanmar and Nepal. To raise money for this cause, a group of dancers and musicians, ages twelve to seventy-
Laura Shields
five, will present a performance—Sacred Sensuous Dance—on Saturday, November 10, at 7:30 pm at the Scottish
Contributors
Rite Masonic Theatre, 436 Paseo de Peralta. There will be a silent auction—art, gift certificates, jewelry, and food
R. Allen, Diane Armitage, Joshua Baer, Davis Brimberg, and drink (courtesy of Cloud Cliff Bakery, Old Dairy Mills, and Whole Foods). Tickets: $25. Students/Seniors: $18.
Erik Campbell, Jon Carver, Kathryn M Davis, Victor DiSuvero, Lensic: 984-1234 or www.ticketssantafe.org. This event is for the children—be there, they need your love and support.
Jennifer Esperanza, Marina La Palma, Iris McLister, Richard Tobin, www.orphansoftheworld.com
Susan Wider, and Nancy Zastudil

C o VER TO THE EDITOR: her and himself for his impending death and for
Photograph of Rosalind Krauss by Ann Gabbart Your October issue sported a marvelous cover her survival in a community of extreme poverty
See Feature on Page 37 and article on long-forgotten French photographer that is certainly a result of racism and racist
Guy Bourdin. I have always been a fan of Bourdin’s practices. Nevertheless, without romanticizing
surrealistic takes on fashion and beauty in French the characters in the movie, the story is testimony
Vogue. Seeing a sampler of his photography in your to human integrity, human resilience, and the
magazine once again reminded me of what a fantastic possible “fitting together” of the “broken pieces.”
body of photographs he produced in a time of so —Ellen J. Shabshai Fox, Santa Fe, via email
many other great fashion photographers—Helmut
Newton, David Bailey, Clive Arrowsmith, Richard TO THE EDITOR:
Avedon, Bob Richardson, and Hiro. Thank you THE. Many thanks for the excellent review of our show
—Bernadette Prevot, Los Angeles, via email Three Visions of Northern New Mexico by Susan Wider
in your October issue. Her descriptions of the three
TO THE EDITOR: artists—painter Reg Loving, sculptor Tim Prothero, and
I am writing to express my appreciation for Ms. photographer Steven A. Jackson—were interesting and
ADVertising Sales Armitage’s critical reflection on the film Beasts very accurate. I appreciate a reviewer who spends time
THE magazine: 505-424-7641 of the Southern Wild. While I do agree that it is looking at the show and comes to her own conclusions.
Lindy Madley: 505-577-4471 allegorical, mythic, and epic, I do not agree that —Ann Hosfeld, New Concept Gallery, via email
Judy Bell: 505-819-9357
it is “post-racial.” I don’t think there is such a
Distribution thing in present day America. This is a movie TO THE EDITOR:
Jimmy Montoya: 470-0258 (mobile)
of place and race. It would not be the same THE magazine is such a beautiful magazine.
THE magazine is a periodi cal published 10x a year by THE magazine Inc., movie if the protagonists were white or some The Roger Salloch article in the May issue about
320-A Aztec Street,, Santa Fe, NM 87501. Coporate address: 44
Bishop Lamy Road Lamy, NM 87540. Phone: (505)-424-7641. other ethnicity or race. It’s a celebration of black Château La Coste in France was perfect story telling.
Email address: themagazinesf@gmail.com. Website address: themagazineon-
line.com. All materials copyright 2012 by THE magazine. All rights reserved by culture and survival...and, it is inclusive of the We were happy to read it and to show it to those who
THE magazine. Reproduction of contents is prohibited without written per-
mission from THE magazine. THE magazine is not responsible for the loss of interracial relationships which are very much might have been reluctant to visit Château La Coste.
any unsolicited materials. THE magazine is not responsible or liable for any a part of the South whether overt or covert. Enough said.
misspellings, incorrect iformation in its captions, calendar, or other listings. Opin-
ions expressed do not necessarily represent the views or policies of THE mag- Many of my acquaintances condemned what —Kimiko Yoshida & Jean-Michel Ribette, Paris, via email
azine, its owners, or any of its, employees, members, interns, volunteers,
agents, or distribution venues. Bylined articles a represent the views of their au- they saw as child abuse. This is an unfortunate
thors. Letters to the editor are welcome. Letters may be edited for style and reading, situated in our over-psychological Santa THE magazine welcomes your letters.
libel, and are subject to condensation. THE magazine accepts advertise-
ments from advertisers believed to be of good reputation, but cannot guar- Fe culture. Wink, the father, clearly loves his Letters may be edited for space or clarity.
antee the authenticity of objects and/or services advertised. HE maga-
zine is not responsible for any claims made by its advertisers; for copyright daughter and is trying the best he can to prepare Email: themagazinesf@gmail.com
infringement by its advertisers .and is not responsible or liable for errors in
any advertisement.

november 2012 THE magazine | 5

 T H R O U G H D E C E M B E R 15, 2 012 | U N I V E R S I T Y O F N E W M E X I C O A R T M U S E U M | A L B U Q U E R Q U E

DANCING
WITH THE DARK:
JOAN SNYDER PRINTS
1963 – 2010

UNIVERSIT Y OF NE W MEXICO ART MUSEUM | AL BUQUERQUE

www.unm.edu/~artmuse 505.277.4001 Hours: Tuesday – Saturday 10 – 4 Closed Sunday & Monday

Joan Snyder, Madrigal X from 33 Madrigals, 2001, monoprint (color lithograph, monotype, and color woodcut). Collection of the artist. © Joan Snyder. Photo by Peter Jacobs.
Daniel Reeves, Video still from Avatamsaka, 2012, Video projection on 72 inch glass disc, 2:40:49 loop. Courtesy of the artist. This event is part of ISEA 2012 Albuquerque: Machine Wilderness. www.isea2012.org

TH E
T RA N S F O R M AT I V E
S U R FAC E
 M A X C O L E | BEYOND
NOVEMBER 30 - DECEMBER 30, 2012

R E C E P T I O N F O R T H E A R T I S T N O V E M B E R 3 0 , 5 - 7 P. M .

CHARLOTTE JACKSON FINE ART

554 South Guadalupe Street, Santa Fe, New Mexico 87501
Te l 5 0 5 . 9 8 9 . 8 6 8 8 | w w w. c h a r l o t t e j a c k s o n . c o m
 In partnership with ISEA2012: Machine Wilderness

October 26 - November 30
Weird Science

Anne Farrell Aaron Rothman

Philip Galanter Kamila Wozniakowska
Haein Kang Pinar Yoldas
Hugh Livingston Marina Zurkow
Josh Lopez-Binder

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

Michael Petry
JOSHUA D’S WALL AND RECENT WORKS

David Kapp Glass Installations

October 26 through November 23

WEST/EAST —
ARTIST RECEPTION:
LOS ANGELES/NEW YORK
Friday, October 26, 5–7 pm
Paintings
Artist will be present

October 26 through
November 23
ARTIST RECEPTION:

Friday, October 26,

5–7 pm
Artist will be present

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 month ZANEBENNETT
CONTEMPORARY ART
WES MILLS TO TEASE A HUMMINGBIRD NEW DRAWINGS
THROUGH DECEMBER 8, 2012

JAMES KELLY CONTEMPORARY

PLEASE VISIT US IN THE NEW SPACE WITHIN THE SAME BUILDING AT
550 SOUTH GUADALUPE STREET IN THE RAILYARD
505.989.1601 / JAMESKELLY.COM
UNTITLED 2011, GRAPHITE ON PAPER,10 X 10 INCHES, PAPER
When she was only four years old,

Sondra Goodwin
became a vegetarian. At sixteen,
she was given her first camera.
At twenty-one, she began to
grow and eat her own vegetables.
In growing and eating her vegetables,
she realized that she was killing
things, but soon accepted the
arrangement we humans have with
our planet Earth—life and death in
the garden. Goodwin’s work is a
memento mori— “Remember your
mortality.”
 UNIVERSE OF

My Farm IN THE MOUNTAINS

My studio lies on a path between my garden and kitchen. One day as I walked to
the kitchen with my arms full of vegetables, I thought them too beautiful to be
consumed. So I arranged them on my scanner and created images and posted them
on Facebook. People loved them and I was encouraged by a curator to start making
high-resolution images. Now that I was making art, I asked myself, what the hell was
I doing? I had an identity crisis. My other work had always dealt with the body and
sexuality, and these scanned images were such that even my mother could approve
of them. I then realized that it’s all about the physical shape in the world. Flowers are
plants’ sexual organs. Their fruits are the product of plant sex, in some cases even
interspecies sex—and how much kinkier can one really get? In art as in life, there
are no rules, no laws, and no regulations. Vegetables are the bridge between our
creations in the world and the natural world. They came from nature, but through
centuries of selection and breeding we’ve formed them to fit our needs. I am the
documentarian—the vegetables are the evidence of these two worlds meeting.
I grow them, I record them, and then I consume them. We have not invented their
species, only their variety.

The Human Body—Sex, Nudity, G-Rated

Having always worked with the body as imagery, I have come to think of the vegetables
as nature’s body and, finally, I can make sexual imagery that is “G-rated.” I say, show your
children the pretty flowers; point out their sexual organs, or their offspring, vegetables,
which are so sensual and beautiful. For me, all life revolves around just that—it is life,
death, and the continuation of a lust for all life, and all that it entails. Life is about the
living of life, and so I surround myself with lots of life, growing all of my own crops and
therefore most of my own food in my garden.

Process
Sometimes I see something, and I immediately see it. Sometimes I see something in my
mind’s eye, yet it does not translate into the physical, three-dimensional world. There
is not just one way of seeing a thing, as from one side it can look completely different
than seen from another side. As I gather ingredients for my dinner in the garden, I see
beauty. I assemble and compose the vegetables and cuttings on the scanner, making
different versions. Staying up until midnight before I have finished playing with my food
sure gives the term “starving artist” a whole new meaning. As I am preparing dinner, the
peels and insides of the vegetables become compositions on the cutting board. I return
to the studio to make drawings on the scanner. My images are not complex, they are
about the simple uniqueness and beauty of nature, of which we after all are a part, and
hopefully we will learn to appreciate and cherish it again—and maybe that’s enough. D

Photograph by Dana Waldon

november 2012 THE magazine | 11

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ART FORUM
THE magazine asked a clinical psychologist and two
people who love art to share their take on this 1914
painting—The Doll and the Monster—by Guy Pène du
Bois. They were shown only the image—they were not
told the title, medium, or name of the artist.
Sadness and anger fill this painting. This
appears to be a wealthy couple on their
way to or from a formal affair. The work is
dated 1914, the start of World War I. One
imagines whether this couple represents
the warring countries. Their relationship
looks like that of abuser and abused. What
are they arguing about? Psychologically,
deep relationship issues smolder beneath
the surface of tonight’s fight. He is
crowding her and she is recoiling. Her
hand reaches the wall for support while
his hand, in contrast, is in the “tough guy”
pre-fist position. He aggressively stares at
her. Head jutting forward, he leans towards
her in anger. He casts a long shadow over
her left arm while she casts a shadow on
the wall. There is also much irony in this
work. Beautiful clothing and hairstyles
contrast sharply with ugly moods. We
see a couple who are physically close,
yet emotionally distant. The artist paints
the figures’ psychological states as their
Large quick paint strokes behind the man
echo his anger, whereas soft quiet strokes
appearing next to the woman mirror her
sadness. This piece is rife with emotional
disconnection. We see the disillusionment
and sense of entrapment occurring in a
dysfunctional relationship.
—David Brimberg, Ph.D. Clinical
Psychologist, Santa Fe
Overbearing ~ yes, he owns her or will
have her ~ no matter what ~ she is
owned ~ does not know how to respond
~ the moment ~ her fate ~ how did she
get here ~ where is she? are they going?
~ this next instant or forever? a curse
manifested or a reproach? ~ nothing clear
except the lack of anything pleasant ~ why
do humans behave so badly? questions
unanswered ~ reverberating ~
—Victor DiSuvero, poet, Santa Fe
14 | THE magazine
We’re both free. Free to think Guy Pène du Bois focused on the beau
for ourselves now and then. monde, the social stratum preoccupied
Free to spend time with each other. by status, money, and fashion. He often
I imagine, portrayed men in evening dress pursuing
younger women. He depicted women
As I stare at these lily white lives, with great sensitivity, paying careful
captured at this time of their lives, attention to their clothes. The dress
Ah lily white, lily white, lily white... remaining forever. of the threatened young woman is the
Up, right. Up, tight. Just like any time. Did it last? visual focus of this painting—her face
Sophisticate, Early Urbanite. Subject That is all that I want to know. hides emotions; the man’s face is blank.
to the painterly eye. Dear wallflower Maybe the seeds were sown that night He is literally an empty suit, animated
may you bring me delight. New So long ago. only by his avarice. This man is, indeed,
sexuality expressing itself. monstrous.
—R. Allen, photographer, Pecos —The Editors, THE magazine
American tailored era - Excited innocence.
What did it lead to?
Who did it lead to?
When were we: now or then?
Have another drink wallflower.
Drink up then, her.
Tell me later what you think.
I don’t care what you think.
Wallflower. Say yes to me.
We’re both free. Free to think
for ourselves now and then.
Free to spend time with each other.
I imagine,
As I stare at these lily white lives,
captured at this time of our lives,
remaining forever.
Just like any time. Did it last?
That is all that I want to know.
Maybe the seeds were sown that night
So long ago. Ah lily white, lily white, lily white...
Up, right. Up, tight.
Sophisticate, Early Urbanite. Subject
to the painterly eye. Dear wallflower
may you bring me delight. New
sexuality expressing itself.
American tailored era - Excited innocence.
What did it lead to?
Who did it lead to?
When were we: now or then?
Have another drink wallflower.
Drink up then, her.
Tell me later what you think.
I don’t care what you think.
Wallflower. Say yes to me.
november 2012
HILL’S GALLERY
REMIX: THEN+NOW PHOtOgrAPHY COMPEtitiOn
i n c e l e b r at i o n o F
g eorgia o’K e e FFe ’ s 1 2 5t h bi r t h day
TWO MONTHS ONLY! theme: Flowers
Submit your images today & spread the word! The Georgia
VORTEX O’Keeffe Museum is excited to invite photographers, both
REVOLVING amateur and professional, to submit their favorite images
GALLERY of flowers. Be recognized for your talents and win prizes,
including publication in the Museum’s next issue of
DAVID KIMBALL O’Keeffe Magazine, exhibition on the Museum’s website,
ANDERSON cash awards, and more.
HELEN BECK BRUCE LOWNEY
JOHN CONNELL JOHN TINKER
DORIS CROSS THROUGH 11/13
MEGAN HILL UNM ROOTS:
JIM HILL CERAMICS
SOLOMON HILL PHOTOGRAPHY
SCULPTURE
CARL JOHANSEN
OPENS 11/16, 5–7 PM
JEAN PROMUTICO

217 Galisteo Street | 989.2779 | www.hillsgalleryremix.com

pane l oF Ju rors
Adults (21 Years of Age and Older):
Jennifer Schlesinger-Hanson, director, Verve Gallery of Photography
Joyce Tenneson, photographer
Norman Vanamee, editor-in-chief, Garden Design Magazine
Student Contest Judge (18 - 21 Years of Age):
Jackie M, director of education and public programs
Georgia O’Keeffe Museum
Student Contest Judge (Below 18 Years of Age):
Mary Anne Redding, chair, photography department
Santa Fe University of Art and Design

e nte r now!
Deadline: Enter Early and Save!
Thursday, November 15, 2012 (Georgia’s Birthday)
Final Entry Deadline: Wednesday, December 19, 2012

awa rds
All winning images will be published in the spring issue of
O’Keeffe Magazine and on the Georgia O’Keeffe Museum web site
(beginning February 1, 2013 – March 1, 2013).

Handle With Care

1st Place Award: $500 + Santa Fe Photographic Workshop Intensive,
Annie Leibovitz signed edition of her new book Pilgrimage, signed edition of
Roxana Robinson’s biography, Georgia O’Keeffe: A Life, and a select item
National invitational exhibit of 300 cups from the O’Keeffe Museum gift shop.
– AND – 2nd Place Award: $300 + Artwork from Heidi Loewen, Annie Leibovitz
signed edition of her new book Pilgrimage, signed edition of Roxana
SELECTIONS FROM THE Robinson’s biography, Georgia O’Keeffe: A Life, and a select item from the

HAZEL GREENBERG COLLECTION

O’Keeffe Museum gift shop.
3rd Place Award: $200 + Annie Leibovitz signed edition of her new book
Pilgrimage, signed edition of Roxana Robinson’s biography, Georgia
NOVEMBER 2 – DECEMBER 8 O’Keeffe: A Life, and a select item from the O’Keeffe Museum gift shop.

Opening Reception: Friday, November 2, 5 - 7 pm Student Awards: $100 + Annie Leibovitz signed edition of her new book
Pilgrimage, signed edition of Roxana Robinson’s biography, Georgia
O’Keeffe: A Life, and a select item from the O’Keeffe Museum gift shop.

SANTA FE CLAY Honorable Mention: 20 will be chosen; posted to Museum website only.

CONTEMPORARY CERAMICS
545 Camino de la Familia, Santa Fe, New Mexico 87501 For more inFormation and For contest rules, please visit our website at:
505.984.1122 www.santafeclay.com w w w. o K m p h o t o c o m p e t i t i o n . o r g
 Question of Power
The impact of the use of coal
on communities across America
Leich Lathrop Gallery
Holiday Show & Sale
Laurie Alpert: prints, books
Aaron Bass: prints
Rosemary Breehl: handcrafted gift cards
Donna Dodson: sculpture, paintings
Eason Eige: paintings
Adele Frances: paper jewelry
C.A. Klimek: paintings, prints
Chuck Lathrop: paintings, prints, sculpture
Stephanie Lerma: mixed media
Andy Moerlein: prints
Photo: Carlan Tapp
Krittika Ramanujan: prints
Stephanie Roberts-Camello: paintings
Fundraising Event: Photography Exhibition,
Silent Auction, Live Music, and Food. Carol Sanchez: prints, boxes & books
Janet Yagoda Shagam: prints
Friday, November 9, from 5 to 8 pm. Harriette Tsosie: mixed media
Phil Space, 1410 Second Street, Santa Fe.

Suggested donation of $15 at the door will

help support the work of Question of Power.
November 2 –December 31
www.questionofpower.org Reception: Friday, November 2, 5:30 to 7:30 pm.
323 Romero St. NW, Albuquerque, NM 87104
phone: 505-243-3059 leichlathropgallery.blogspot.com
 studio visits

“Art enables us to find ourselves

and lose ourselves at the same
time.” Two artists respond to
thomas Merton’s Statement.
My parents asked me if I was attending any church services. I answered that
when I need “to find myself” I go outside to be in nature and then I know
again I belong. It doesn’t take many minutes in nature before I pick up a rock,
leaf or stick from the ground. My thoughts become: How can this object hold
this shape? How did it form? How can my human mind bring attention to this
object and share it with others? I work with natural objects: grass, seeds, willow,
driftwood, stones, shells, bones, and such. I usually work outside, so when I am
creating, life’s deadlines and obligations leave the forefront of my mind and I
become present in the now. A single focus and I am lost in myself.
—Connie Schaekel

Schaekel had an exhibition of her work at Delgado Street Contemporary in May, 2012.

The artist is able to travel where no man has gone before, beyond normal reality—
beyond the expected. Losing oneself in that journey, opening new thought processes
and a new visual language may be my favorite part of the artistic method. I often gain
considerable insight about the person I am and can be. Beyond this, when viewing
the artwork of others I respect, a similar transformative feeling can be manifested.
—Michael Sharber

In 2012, Sharber participated in the New Mexico Showcase at 516 ARTS, Albuquerque,
Chautauqua National Juried Exhibition at Eastern Kentucky University, and After Dark
at Greg Moon Gallery, Taos. msharberstudios.com

Photographs by Anne Staveley

Photographs by Anne Staveley

november 2012 THE magazine | 17

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 FOOD FOR THOUGHT

The Honeybee
It’s been quite a year for honeybees. After reports that honeybee populations are in decline—probably due
to a common agricultural insecticide—backyard apiaries have come into fashion. And it’s a good thing, too,
because honeybees pollinate many of our favorite plants, such as apple trees, asparagus, strawberries, and
alfalfa. Rooftop hives have popped up in New York City, Seattle, and everywhere in between. Unfortunately,
this hasn’t turned out entirely well in some places. Due to a warm winter and a balmy spring in 2012, rogue
honeybee swarms kept NYPD officer Anthony Planakis—a.k.a. “Tony Bees”—buzzing all summer. He’s had
to deal with swarms of bees on fire hydrants, swarms outside a Chase bank, and swarms enveloping a station
wagon with a family trapped inside. Working with bees and hives is about overcoming fear. The hive is love
incarnate, and through the hive we can rediscover what it means to live in peace with insects, the landscape,
and each other. D

november 2012 THE magazine | 19

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ros

TAOS LIGHTNING WHISKEY • HACIENDA GIN • VODK A VIR ACOCH A • NAR ANJO OR ANGE LIQUEUR • BRIMSTONE ABSINTHE

One Bottle:
T he 2009 C hartron et T rébuchet
C hassagne -M ontrachet “L es E mbazées ”
by Joshua Baer
The moon is a woman, but there is a man in the moon. What’s he doing there?
I decided to find out.
My investigation started in Berkeley, California. In Berkeley, knowledge flows
out of people’s minds the way water flows out of a spring. After following a tall, lanky,
marginally disheveled grey-haired man through a grove of Ginkgo trees, I caught up
with him at the base of the Campanile and tapped him on the shoulder. “The moon is
a woman,” I said, “but there’s a man in the moon. What’s he doing there?”
“Excuse me?”
“You’re a professor, aren’t you?”
“Yes, I happen to be a professor. What business is that of yours?”
“I’m looking for the answer to the question.”
“Which question?”
“The one about the man in the moon. Do you know what he’s doing there?”
“I teach engineering,” said the professor. “Talk to a classics professor.”
After Berkeley, my investigation took me to Tassajara Hot Springs in the Santa
Lucia mountains east of Big Sur. At Tassajara I saw a Zen master. After following
the roshi through a canyon lined with sycamore trees, I caught up with him and
tapped him on the shoulder. The roshi had sensational eyebrows, big brown
eyes, and a shaved head. He was wearing a black robe over a pair of Levis.
“The moon is a woman,” I said, “but there’s a man in the moon.
What’s he doing there?”
“Don’t tap people on the shoulder. Not around here.”
“Why not?”
“Because it might startle them. What are you doing here?”
“Visiting. Sitting. Taking baths.”
“And asking questions.”
“Is there something wrong with asking questions?”
“There could be. This is a monastery. Why did you ask me
about the man in the moon?”
“You’re an important guy. I thought you might know the
answer. Do you?”
“There’s nothing to say.”
“That’s your answer? That’s the best you can do?”
“Right here, right now, there is nothing to say.”
After Tassajara, my investigation took me to Santa Cruz,
California, where I met the woman who later became my wife.
Before we got married, we became friends with a lady who made
paintings of angels. The lady lived on a farm in the Santa Cruz
Mountains, at the end of a private road that wound its way
up the side of a hill through a redwood forest. In the forest, it
was so dark you had to turn on your headlights but then the
road led you out of the forest and through a vineyard before
it brought you to the barn where the lady kept her paintings.
The lady seemed to be imbued with arcane wisdom. So,
after a few visits, I said, “The moon is a woman, but there’s
a man in the moon. What’s he doing there?”
“The man is her lover.”
“He is?”
“Of course he is. One night, during the dark of the moon, he came
november 2012
ONE BOTTLE
to her and made love to her. She liked it so much she decided to keep him forever.
Two weeks later, when she went full, there he was, for all the world to see.”
The lady with the paintings of angels was a tough act to follow. Years went by
before I resumed my investigation. In the meantime, my wife and I had two children,
a girl and a boy. When they were little, they looked like the angels in the lady’s paintings.
My wife and I used to read to them. Goodnight Moon was one of their favorite books
but it never occurred to me to ask them about the man in the moon.
After our children were born, we moved to Santa Fe so I could go to work in
the art business. After two years of working at a gallery, I decided to open my own
gallery. The day we opened, dozens of people came through the door. I met people
from all over the world. Many of them were fascinated with New Mexico, with the
art business, and with human nature. It was intoxicating, just being open for business.
One day, a young woman came in and put her résumé on my desk. Her
résumé said she was “goal-oriented.”
“What are your goals?” I said.
“You’re really putting me on the spot.”
“No, not really. I just want to know.”
“Right now I’m working as a waitress. It’s good money, but I’m an artist.
I’d rather be around art.”
After I hired her, we talked about the moon being a woman and the
man in the moon but I never asked the young woman if she knew what
the man was doing there. One morning, after I got to work, I found
a drawing on my desk. In the drawing, the moon was rising over the
mountains, and there was a man’s face in the moon.
Which brings us to the 2009 Chartron et Trébuchet
Chassagne-Montrachet “Les Embazées.”
In the glass, this wine is a clear, iconic gold. The bouquet
makes you feel lucky—lucky to be alive and lucky to inhale the
perfume of paradise while you’re alive. On the palate, the 2009
“Les Embazées” delivers a combination of patience and
urgency. The combination makes you want to do great things
but also suggests that you have plenty of time. The finish is like
a memory of all the people you’ve loved, rolled into one face,
one smile, one astonishing pair of eyes.
After I tasted the 2009 “Les Embazées,” I told my wife that
the moon was a woman but that there was a man in the moon.
Did she have any idea what he was doing there?
“Waiting to be born.”
“Why do you say that?”
“All of the little men I’ve ever known who were in the
moon were waiting to be born.”
As much as I like my wife’s answer, my sense is that my
investigation is not over. Maybe I’m delusional. Maybe the
answer is that there is no answer. If that turns out to be the
case, I’ll be disappointed but at least I’ll know the truth. In the
meantime, my goal is to finish what I started. 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 jb@onebottle.com.
THE magazine | 21
 dining guide

For Thanksgiving...think

The Compound
653 Canyon Road, Santa Fe
Reservations: 982-4353

INEXPENSIVE MODERATE EXPENSIVE VERY EXPENSIVE

$ KEY

$ 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...
315 Restaurant & Wine Bar Bobcat Bite Counter Culture 1903 Central Ave., Los Alamos. 661-0303 Lan’s Vietnamese Cuisine
315 Old Santa Fe Trail. 986-9190. 418 Old Las Vegas Hwy. 983-5319. 930 Baca St. 995-1105. Breakfast/Lunch/Diinner 2430 Cerrillos Rd. 986-1636.
Dinner Lunch/Dinner Breakfast/Lunch/Dinner Major credit cards. $$ Lunch/Dinner
Full bar. Patio. No alcohol. Patio. Cash. $$ Beer/Wine. Patio. Cash. $$ Cuisine: New Mexican. Atmosphere: Major credit cards. $$$
Major credit cards. $$$ Cuisine: As American as good old Cuisine: All-American. Atmosphere: Casual. House specialties: Tacos, Cuisine: Vietnamese. Atmosphere:
Cuisine: French. Atmosphere: An inn apple pie. Atmosphere: A low-slung Informal. House specialties: Burritos burritos, burgers. frito pies, and Casual. House specialties: The Pho
in the French countryside. House building with eight seats at the counter Frittata, Sandwiches, Salads, and Grilled combination plates. Comments: The Tai Hoi: vegetarian soup loaded with
specialties: Steak Frites, Seared Pork and four tables. House specialties: Salmon. Comments: Good selection of best Carne Adovada Burrito (no beans) veggies.
Tenderloin, and the Black Mussels are The inch-and-a-half thick green chile beers and wine. that we have ever had.
perfect. Comments: A beautiful new cheeseburger is sensational. The secret? La Plazuela on the Plaza
bar with generous martinis, a teriffic A decades-old, well-seasoned cast-iron Cowgirl Hall of Fame Geronimo 100 E. San Francisco St. 989-3300.
wine list, and a “can’t miss” bar menu. grill. Go. 319 S. Guadalupe St. 982-2565. 724 Canyon Rd. 982-1500. Breakfast/Lunch/Dinner
Winner of Wine Spectator’s Award of Breakfast/Lunch/Dinner Dinner Full Bar.
Excellence. Body Café Full bar. Patio. Full bar. Patio. Major credit cards. $$$
333 Cordova Rd. 986-0362. Major credit cards. $$ Major credit cards. $$$$ Cuisine: New Mexican and Continental.
317 Aztec Breakfast/Lunch/Dinner Cuisine: All-American. Atmosphere: Cuisine: We call it French/Asian Atmosphere: Enclosed courtyard. House
317 Aztec St. 820-0150 Major credit cards. $$$ Patio shaded by big cottonwoods. Great bar. fusion. Atmosphere: Elegant. House specialties: Start with the Classic Tortilla
Breakfast/ Lunch. Patio. Cuisine: Organic. Atmosphere: House specialties: The smoked brisket specialties: Start with the superb foie Soup or the Heirloom Tomato Salad with
Major credit cards. $$ Casual. House specialties: In the and ribs are fantastic. Super buffalo burgers. gras. Entrées we love include the Green baked New Mexico goat cheese. For your
Cuisine: Café and Juice Bar. morning, try the breakfast smoothie Comments: Huge selection of beers— Miso Sea Bass served with black truffle entrée, try the Braised Lamb Shank,served
Atmosphere: Casual. House or the Green Chile Burrito. We love from Bud to the fancy stuff. scallions, and the classic peppery Elk with a spring gremolata, couscous,
specialties: Breakfast: Eggs Benedict the Avocado and Cheese Wrap. tenderloin. and vegetables. Comments: Seasonal
and the Hummus Bagel, are winners. Comments: Soups and salads Coyote Café menus.
Lunch: we love all of the salads and the are marvelous, as is the super-healthy 132 W. Water St. 983-1615. Il Piatto
Chilean Beef Emanadas. Comments: Carrot Juice Alchemy. Dinner 95 W. Marcy St. 984-1091. L egal T ender
Wonderful juice bar and perfect Full bar. Lunch/Dinner 151 Old Lamy Trail. 466-1650
smoothies. Cafe Cafe Italian Grill Major credit cards. $$$$ Full bar. Lunch/Dinner
500 Sandoval St. 466-1391. Cuisine: Southwestern with French and Major credit cards. $$ Beer/wine. Patio.
Andiamo! Lunch/Dinner Asian influences. Atmosphere Bustling. Cuisine: Italian. Atmosphere: Bustling. Major credit cards. $$
322 Garfield St. 995-9595. Beer/Wine. House specialties: For your main House specialties: Our faves: the Cuisine: New Mexican.
Lunch/Dinner Major credit cards. $$ course, go for the grilled Maine Lobster Arugula and Tomato Salad; the Lemon Atmosphere: Casual. House
Beer/Wine. Patio. Cuisine: Italian. Atmosphere: Casual. Tails or the grilled 24-ounce “Cowboy Rosemary Chicken; and the Pork Chop specialties: Burgers, Pulled Pork,
Major credit cards. $$ House specialties: For lunch, the Cut” steak. Comments: Great bar and stuffed with mozzarella, pine nuts, and Lamy Cubano Sandwich, Braised Short
Cuisine: Italian. Atmosphere: Casual. classic Caesar salad, the tasty specialty good wines. prosciutto. Comments: New on the Ribs, and the Wedge Salad.
House specialties: Start with the pizzas, or the grilled eggplant sandwich. menu: a perfect New York Strip Strip Comments: Huevos Rancheros,
Steamed Mussels or the Roasted Beet For dinner, go for the perfectly grilled Downtown Subscription Steak at a way better price than the Bull Belgian Waffles and a Special Drink
Salad. For your main, choose the Swordfish Salmorglio. Comments: 376 Garcia St. 983-3085. Ring—and guess what— you don’t have Menu at Sunday Brunch. Kid friendly.
delicious Chicken Marsala or the Pork Friendly waitstaff. Breakfast/Lunch to buy the potato.
Tenderloin. Comments: Good wines, No alcohol. Patio. M aria ’ s N ew M exican K itchen
great pizzas. Café Fina Cash/ Major credit cards. $ Jambo Cafe 555 W. Cordova Rd. 983-7929.
624 Old Las Vegas Highway. 466-3886. Cuisine: Standard coffee-house fare. 2010 Cerrillios Rd. 473-1269. Lunch/Dinner (Thursday-Sunday)
Anasazi Restaurant Breakfast/Lunch. Patio Atmosphere: A large room with small Lunch/Dinner Beer/wine. Patio.
Inn of the Anasazi Cash/major credit cards. $ tables inside and a nice patio outside where Major credit cards. $$ Major credit cards. $$
113 Washington Ave. 988-3236. Cuisine: Contemporary comfort food. you can sit, read periodicals, and schmooze. Cuisine: African and Caribbean Cuisine: American/New Mexican.
Breakfast/Lunch/Dinner Atmosphere: Casual and bright. Tons of magazine to peruse. House inspired. Atmosphere: Casual. House Atmosphere: Rough wooden
Valet parking. House specialties: Ricotta pancakes specialties: Espresso, cappuccino, and latte. specialties: Jerk Chicken Sandwich and floors and hand-carved chairs set the
Major credit cards. $$$$ with fresh berries and maple syrup; the Phillo stuffed with spinach, black historical tone. House specialties:
Cuisine: Contemporary American chicken enchiladas; a perfect green-chile El Faról olives, feta cheese, roasted red peppers, Freshly made Tortillas and Green Chile
cuisine. Atmosphere: A classy room. cheese burger. Comments: Organic 808 Canyon Rd. 983-9912. over organic greens. Comments: Chef Stew. Comments: Perfect margaritas.
House specialties: Blue Corn crusted- andhousemade products are delicious. Lunch/Dinner Obo wins awards for his fabulous soups.
Salmon with citrus jalapeno sauce, and the Full bar. Patio. Mu Du Noodles
Beef Tenderloin. Comments: Attentive Café Pasqual’s Major credit cards. $$$ Kohnami Restaurant 1494 Cerrillos Rd. 983-1411.
service. 121 Don Gaspar Ave. 983-9340. Cuisine: Spanish. Atmosphere: 313 S. Guadalupe St. 984-2002. Dinner/Sunday Brunch
Breakfast/Lunch/Dinner/Sunday Brunch Wood plank floors, thick adobe walls, Lunch/Dinner Beer/Wine.
Aqua Santa Beer/Wine. and a postage-stamp-size dance floor Beer/Wine/Sake. Patio. Major credit cards. $$
451 W. Alameda. 982-6297. Major credit cards. $$$ for cheek-to-cheek dancing. House Visa & Mastercard. $$ Cuisine: Pan-Asian. Atmosphere:
Lunch/Dinner Cuisine: Multi-ethnic. Atmosphere: specialties: Tapas. Comments: Murals Cuisine: Japanese. Atmosphere: Casual. House specialties: Vietnamese
Beer/Wine. Patio. The café is adorned with lots of Mexican by Alfred Morang. Casual. House specialties: Miso soup; Spring Rolls and Green Thai Curry,
Major credit cards. $$$ streamers and Indian maiden posters. Soft Shell Crab; Dragon Roll; Chicken Comments: Mu Du is committed to
EDwith
Cuisine: American. Atmosphere: House specialties: Hotcakes got a El Mesón Katsu; noodle dishes; and Bento Box organic products.
S
LOWatercress.
Casual. House specialties: Start nod from Gourmet magazine. Huevos 213 Washington Ave. 983-6756. specials. Comments: The sushi is
the Pan Fried Oysters
a Cwith motuleños—a Yucatán breakfast—is one Dinner always perfect. Try the Ruiaku Sake. It New York Deli
For your main,antthe perfect Wild King
a SLentils
you’ll never forget. For lunch, try the Beer/Wine. Patio. is clear, smooth, and dry. Comments: Guadalupe & Catron St. 982-8900.
Salmon
A qu with or the Long-Braised Grilled Chicken Sandwich. Major credit cards. $$ New noodle menu. Breakfast/Lunch
Shepherd’s Lamb with Deep Fried Leeks. Cuisine: Spanish. Atmosphere: Spain Major credit cards. $$$
Comments: Good wine list, great soups, Chopstix could be just around the corner. Music La Plancha de Eldorado Cuisine: New York deli. Atmosphere:
and amazing bread. 238 N. Guadalupe St.  982-4353. nightly. House specialties: Tapas reign 7 Caliente Road at La Tienda. 466-2060 Large open space. House specialties:
Lunch/Dinner. Take-out. Patio. supreme, with classics like Manchego Highway 285 / Vista Grande Soups, Salads, Bagels, Hero Sandwiches,
Betterday Coffeeshop Major credit cards. $ Cheese marinated in extra virgin olive oil. Breakfast/Lunch/Dinner/Sunday Brunch Pancakes, and over-the-top Gourmet
905 W. Alameda St. Atmosphere: Casual. Cuisine: Go. Beer/Wine. Burgers. Comments: Deli platters to
Breakfast/Lunch Chinese, Japanese, and Korean. House Major credit cards. $$ go.
Major credit cards. $ specialties: Lemon Chicken, Korean El Parasol Cuisine: Salvadoran Grill. Atmosphere:
Cuisine: Coffehouse fare. Atmosphere: barbequed beef, Kung Pau Chicken, 833 Cerrillos Rd
Santa Fe, 995-8015 Casual. House specialties: The Loroco Nostrani Ristorante
Casual. House specialties: Espressos, and Broccoli and Beef. Comments: 30 Cities of Gold Rd.,
Pojoaque. 455-7185 Omelet, Pan-fried Plantains, and Salvadorian 304 Johnson St. 983-3800.
Lattes, Macchiatos, Italian Sodas, and Teas. Combination plates available. Friendly 603 Santa Cruz Rd., 
Española. 753-8852 tamales. Comments: Sunday brunch. Dinner
Comments: Food menu changes daily. owners. 298 Dinosaur Trail,
Santa Fe. 995-8226 Beer/Wine. Fragrance-free
continued on page 25
november 2012 THE magazine | 23
tomme
a restaurant

229 galisteo street 820-2253

dinner: monday - saturday
join us

joseph wrede,
behind the line

BAR MENU
A L L I T E M S $ 8 • 5 P L AT E S F OR $35
DUCK CONFIT &
SPICY MUSTARD GREEN GALETTE
crispy rice paper & soy honey
GRILLED JUMBO SHRIMP
zucchini coconut milk & basil stew
CUP OF FRENCH ONION SOUP
comté cheese & herb crouton
PETITE NY STRIP STEAK
pomme frites & green peppercorn sauce
CRISPY CALAMARI
lemon garlic aioli
TRUFFLE CORN FLAN
grilled eggplant & tomato sauce
PETITE FISH & CHIPS
sea bass & tater tots
CHARCUTERIE PLATE
CHEESE PLATE

executive chef louis moskow • dinner nightly

315 Old Santa Fe Trail • Reservations 505.986.9190 • www.315santafe.com

Tapas, Wraps, Beer, and Wine @
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.
Rasa Juice Bar/Ayurveda
815 Early St. 989-1288
Major credit cards. $$
Cuisine: Organic juice bar.
Atmosphere: Calm. House
specialties: Smoothies, juices, teas,
chai, cocoa, coffee, and espresso—
made with organic ingredients. Juice:
our favorite is the Shringara, made
with beet, apple, pear, and ginger.
Rio Chama Steakhouse
414 Old Santa Fe Trail. 955-0765.
Brunch/Lunch/Dinner/Bar Menu. Atmosphere: Casual. Buffet-style
Full bar. Smoke-free dining rooms.
Major credit cards. $$$
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. $$$
Cuisine: Southwestern with a French
flair. Atmosphere: Contemporary.
House specialties: Mediterranean
Mussels in chipotle and mint broth
is superb, as is the Ahi Tuna Tartare.
Comments: Nice wine list
San Q
31 Burro Alley. 992-0304
Lunch/Dinner
Sake/Wine
Major credit cards. $$
Cuisine: Japanese Sushi and Tapas.
Atmosphere: Large room with a
Sushi bar. House specialties: Sushi,
Vegetable 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. $$
Cuisine: All-American. Atmosphere:
Casual. House specialties: San
november 2012
La Boca 72 West Marcy Street, Santa Fe • 982-3433
Francisco Street Burger, the Grilled
Yellowfin Tuna Nicoise Salad, or the
New York Strip. Comments: Sister
restaurant located in the DeVargas
Center.
Santacafé
231 Washington Ave. 984-1788.
Lunch/Dinner
Full bar. Patio.
Major credit cards. $$$
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.
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. $$
Cuisine: Simple pub grub and
brewery. Atmosphere: Casual
and friendly. House specialties:
The beers are outstanding when
paired with Beer-steamed Mussels,
Calamari, Burgers, and Fish & Chips.
Comments: Sister restaurant at 1607
Paseo de Peralta.
Shibumi
26 Chapelle St. 428-0077.
Dinner
Fragrance-free
Cash only. $$. Parking available
Beer/wine/sake
Cuisine: 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
Oyters 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:
Cocktail hour 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. $$
Cuisine: New Mexican. Atmosphere:
A local institution located just off the
Plaza. House specialties: Order
the red or green chile cheese
enchiladas.Many folks say that they
are the best tin Santa Fe.
The Ranch House
2571 Cristos Road. 424-8900
Lunch/Dinner
Full bar
Major credit cards. $$$
Cuisine: BBQ and Grill. Atmosphere:
Family and kid-friendly. House
specialties: Josh’s Red Chile Baby
Back Ribs, Smoked Brisket, Pulled
dining guide
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: Traditional 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 – A Restaurant
229 Galisteo St. 820-2253
Dinner
Beer/Wine.
Major credit cards. $$$
Cuisine: Call it “chef-driven cuisine”
Atmosphere: Casual. House
specialties: Pan-Seared Foie Gras
or Oysters on the Half Shell. For your
main, we love the Pan Seared Rainbow
Trout and the delicious the Duck a
L’Orange Joseph Comments: Joseph
Wrede is doing his stuff in the kitchen.
Tree House Pastry Shop and Cafe
DeVargasCenter. 474-5543.
Breakfast/Lunch Monday-Saturday
Major credit cards. $$$
Cuisine: Cafe fare.. 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. $$
Cuisine: All World: American,
Cuban, Salvadoran, Mexican, and,
yes, New Mexican. Atmosphere:
Down home. House specialties:
Breakfast faves are the
scrumptious Buttermilk Pancakes
and the Tune-Up Breakfast.
Comments: Super Fish Tacos
and the El Salvadoran Pupusas
are excellent. Comments: Now
serving beer and wine.Yay!
Vinaigrette
709 Don Cubero Alley. 820-9205.
Lunch/Dinner
Beer/Wine.
Major credit cards. $$
Cuisine: All organic—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. Wonderful sauteed
vegetables. Comments: Vinaigrette
will be opening a “sister” restaurant
in Albuquerque in November/
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:
Using organic ingredients only.
Comments: Organic coffee. Our
fave donut is hard to pick—they’re
all delicious!
Zacatecas
3423 Central Ave., Alb. 505-255-8226.
Lunch/Dinner
Tequila/Mezcal/Beer/Wine
Major credit cards. $$$
Cuisine: Mexican, not New
Mexican. Atmosphere: Casual
and friendly. House specialties:
Try the Chicken Tinga Taco with
Chicken and Chorizo or the Slow
Cooked Pork Ribs with Tamarind
Recado-Chipotle Sauce. Over sixty-
five brands of Tequila are offered.
Comments: resonable prices and a
savvy waitstaff.
Zia Diner
326 S. Guadalupe St. 988-7008.
Breakfast/Lunch/Dinner
Full bar. Patio.
Major credit cards. $$$
Cuisine: All-American diner food.
Atmosphere: Down home baby,
down home. House specialties:
The Chile Rellenos and Eggs is
our breakfast choice. At lunch, we
love the Southwestern Chicken
Salad, the Meat Loaf, all the
Burgers, and the crispy Fish and
Chips (some say the best in Santa
Fe) Comments: Great desserts.
The bar at the Zia is place to be at
cocktail hour.
THE magazine | 25
 GALLERY

Railyard Art District

November 9 – December 15, 2012

Artist Reception Friday, November 16, 5:00-7:00 PM

SANFORD WURMFELD
Sanford Wurmfeld, II-17#1B(+RO), 2005, Acrylic
On Gesso Primed Cotton Canvas, 42” x 42”

GABRIELE EVERTZ
Optic Drive
Gabriele Everetz, (A-)ChromaticStudyM-L, 2012,
Acrylic On Canvas over wood, 36” x 36” x 1 3/4”

Also featuring artwork by:

MATTHEW KLUBER, JAY DAVIS AND PETER PLAGENS

DavidrichardGallery.com
544 South Guadalupe Street, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284 | info@DavidRichardGallery.com

november Artopenings
THURSDAY, NOVEMBER 1
Eggman and Walrus, 130 W. Palace Ave.,
Santa Fe. 660-0048. Paint Forward: work by John
Barker. 4-6 pm.
FRIDAY, NOVEMBER 2 Hispanic Arts Center at EXPO New
A Gallery Santa Fe, 154 W. Marcy St. #104,
Santa Fe. 603-7744. Watercolors and pastels by
Heinz Emil Salloch. 5-7 pm.
Axle Contemporary at the Santa Fe Railyard,
Cerrillos Rd. and Paseo de Peralta, Santa Fe.
Landscape Dreams—A New Mexico Portrait: photographs by Craig Varjabedian. At William R. Talbot Fine Art, 129 West San Francisco Street, Santa Fe.
Reception and book signing: Friday, November 23, from 5 to 7 pm.
670-7612. Like a Drunken Midnight Choir:
installation by Emilee Lord. 5-7 pm.
Eggman and Walrus, 130 W. Palace Ave.,
Santa Fe. 660-0048. Paint Forward: work by John
Barker. 5-9 pm.
FreeStyle Gallery, 1114 Central Ave. SW, Alb.
505-779-7941. Creation/Migration: Stories of the
november 2012
Journey: group show. 5-7 pm.
Harwood Art Center, 1114 7th St. NW,
Alb. 505-242-6367.  Prelude: group show and
fundraiser. 6-8 pm.
Mexico, 300 San Pedro Dr. NE, Alb. 505-
260-9977. 21st Annual National Pastel Painting
Exhibition and Small Works Show: hosted by the
Pastel Society of New Mexico. 5-8 pm.
Inpost Artspace at the Outpost Performance
Space, 210 Yale Blvd. SE, Alb. 505-268-0044.
Mutations: multi-media work by Valerie Roybal.
5-8 pm.
Manitou Galleries, 123 W. Palace Ave., Santa
Fe. 986-0440. Winter Group Show. 5-7:30 pm.
Marigold Arts, 424 Canyon Rd., Santa Fe. 982-
4142. The Liselotte Kahn Collection: exhibition and
sale of international folk art collection. 5-7 pm.
Palette Contemporary Art and Craft, 7400
Montgomery Blvd. NE, Alb. 505-855-7777.
Green Pastures to Winter Wonderlands: paintings
by Eyvind Earle. 5-8 pm.
Santa Fe Clay, 545 Camino de la Familia, Santa
Fe. 984-1122. Handle With Care: group show.
Selections from the Hazel Greenberg Collection.
5-7 pm.
Transcendence Design Contemporary Art,
1521 Upper Canyon Rd. Studio F, Santa Fe. 984-
0108. In the Space Between: paintings by Charlotte
Cain. Sculpture by Michael Cain. 5-7 pm.
Wade Wilson Art, 409 Canyon Rd.,
Santa Fe. 660-4393. Zachariah Rieke: new
paintings by Rieke. See preview on page 32.
5-7 pm.
Weyrich Gallery, 2935-D Louisiana Blvd.
NE, Alb. 505-883-7410. Terasu—Illumination:
7th Annual Fall Arita Student Porcelain Show.
5-8:30 pm.
openings
FRIDAY, NOVEMBER 9
5 Gallery North, 1715 5th St. NW, Alb. 505-
977-9643. Wake: mixed-media photography by
Billy Joe Miller. 6-9 pm.
Adobe Gallery, 221 Canyon Rd., Santa Fe.
629-4051. The Storage Jars of Margaret Tafoya.
5-7 pm.
Turquoise Trail Business Park, 41-A Bisbee
Ct., Santa Fe. 466-2838. EX-EX VII: group show.
5-8 pm.
SATURDAY, NOVEMBER 10
Rio Bravo Fine Art, 110 N. Broadway, Truth
or  Consequences.  575-894-0572.  Transitions:
work by Nolan Winkler. 6-9 pm.
SUNDAY, NOVEMBER 11
Center for Contemporary Arts, 1050
Old Pecos Trail, Santa Fe. 983-1338. “New
Directions”: artist talk by Jamey Stillings. 4 pm.
FRIDAY, NOVEMBER 16
Hills Gallery, 217 Galisteo St., Santa Fe. 989-
2779. Remix:: hen and Now: group show of
artists who showed at Hills Gallery from 1970
to 1981. See preview on page 32. 5-7 pm.
Weyrich Gallery, 2935-D Louisiana Blvd. NE, Alb.
505-883-7410. Terasu—Illumination: 7th Annual
Fall Arita Student Porcelain Show. 5-8:30 pm.
Palette Contemporary Art and Craft,
7400 Montgomery Blvd. NE, Alb. 505-855-
7777. Through the Near Trees: paintings by Pam
Conrad. 5-8 pm.
FRIDAY, NOVEMBER 23
Manitou Galleries, 123 W. Palace Ave., Santa Fe.
986-0440. Painters of Taos: group show. 5-7 pm.
Marigold Arts, 424 Canyon Rd., Santa Fe.
982-4142. Fractured Squares: tapestries by
Donna Loraine Contractor. 5-7 pm.
Silver Sun Gallery, 656 Canyon Rd., Santa Fe.
983-8743. Colors of Santa Fe: photographs by
Yuko Hirao. 3-6 pm. 
William R. Talbot Fine Art, 129 W. San
Francisco St., Santa Fe. 982-1559. Landscape
Dreams—A New Mexico Portrait: photographs
by Craig Varjabedian. 5-7 pm.
continued on page 30
THE magazine | 27
HERE’S THE DEAL
For artists without gallery representation in New Mexico.
Full-page B&W ads for $600. Color $900.
Reserve space for December/January “Best Books” issue by Thursday, November 15.
505-424-7641
themagazinesf@gmail.com
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OUT AND ABOUT

photographs by
Mr. Clix,
Dana Waldon,
Jennifer Esperanza,

and Lisa Law

Jonas Povilas Skardis

Mac (and PC) Consulting
Training, Planning, Setup, Troubleshooting,
Anything Final Cut Pro, Networks, Upgrades,
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“Those who are too smart to engage in politics are punished by being governed by those who are dumber.” phone: (505) 577-2151
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THEMAGAZINEONLINE.COM
openings
SATURDAY, NOVEMBER 24
Chiaroscuro Contemporary Art, 702-1/2
Canyon Rd., Santa Fe. 992-0711. The Lost
Christmas Gift—Images and Artifacts: work by
Andrew Beckam. 5-7 pm.
SUNDAY, NOVEMBER 25
Las Placitas Presbyterian Church, 6 miles E.
of I-25 on NM 165, Placitas. 867-8080. Placitas
Artists Series: group show. 2-5:30 pm.
FRIDAY, NOVEMBER 30
AVA/A Virtual Artspace, 316 Read St., Santa
Fe. 795-8139. The Myth of Abstraction: virtual
sculpture by Buchen/Goodwin. 5-8 pm.
Charlotte Jackson Fine Art, 554 S.
Guadalupe, St., Santa Fe. 989-8688. Beyond:
new paintings by Max Cole. 5-7 pm.
Zane Bennett Contemporary Art, 435 S.
Guadalupe St., Santa Fe. 982-8111. A Square
Foot of Humor: group show. 5-7 pm.
SPECIAL INTEREST
516 Arts, 516 Central Ave. SW, Alb. 505-
242-1445. ISEA2012 Albuquerque—Machine
Wilderness: conference and exhibitions.
Through Sun., Jan. 6. isea2012.org
 
Albuquerque Museum, 2000 Mountain Rd.
NW, Alb. 505-242-4600. Miniatures and More 2012:
group show. Through Wed., Dec. 12. cabq.gov
Center for Contemporary Arts, 1050 Old
Pecos Trail, Santa Fe. 982-1338. Dust in the
Machine: group show. Through Sun., Nov. 25.
Stitch Thought: installation by Tamara Wilson.
Through Sun., Dec. 9. Lunafest: short films
by, for, and about women. Sat., Nov. 3, 4 pm.
Recitation: talk by Jesse Vogler. Thurs., Nov. 1,
7 pm. Conversation: talk with Jesse Vogler. Sat.,
Nov. 17, 4 pm. ccasantafe.org
Collected Works Bookstore, 202 Galisteo
St., Santa Fe. 603-5677. The Seed Bank: book
release party for poet Gabe Gomez. Mon., Nov.
5, 6 pm. gabegomez.com
David Richard Contemporary, 130 Lincoln
Ave., Suite D, Santa Fe. 982-0318. Michio
Takayama: Paintings and Works on Paper. Richard
Faralla: Action Figures and Wall Sculptures. Abstract
Expressionism: 1945-1965. to Nov. 17.
Dixon Studio Tour, various locations in
Dixon. 505-927-3432. Dixon Studio Tour 2012.
Sat., Nov. 3 and Sun., Nov. 4, 9 am-5 pm.
dixonarts.org
30 | THE magazine
New work by Wes Mills on view through December 8 at James Kelly Contemporary,
550 South Guadalupe Street, Santa Fe.
Doña Ana Arts Council at Young Park, Las
Cruces. 575-523-6403. 41st Annual Renaissance
Art Faire. Sat., Nov. 3, 10 am-5 pm; Sun., Nov. 4,
10 am-4 pm. las-cruces-arts.org
Elizabeth Hahn, 227 E. Coronado Rd., Sanata
Fe. 690--5166. Showing of new paintings in her
new studio on Friday, Nov. 16, 6-9 pm.
Lannan Foundation at the Lensic, 211 W. San
Francisco St.,
Santa Fe. 988-1234. David Suzuki
with Clayton Thomas-Müller. Wed., Nov. 7, 7
pm. Kevin Young with Colson Whitehead. Wed.,
Nov. 14, 7 pm. lannan.org
Metallo Gallery, 2856 State Hwy. 14, Madrid.
471-2457. Fête les Femmes: group show.
Through Sat., Nov. 10. metallogallery.com
New Mexico History Museum, 113 Lincoln
Ave., Santa Fe. 476-5200. Red as a Lotus—Letters
to a Dead Trappist: poetry reading by Lisa Gill.
Sun., Nov. 4, 2 pm. museumofnewmexico.org
Phil Space, 1410 2nd Street, Santa Fe. 690-
6255. Question of Power: photography exhibit
and fundraising event. Fri., Nov. 9, 5-8 pm.
questionofpower.org
Richard Levy Gallery, 514 Central Ave. SW,
Alb.
505-766-9888. Weird Science: group show.
Through Fri., Nov. 30. levygallery.com
Santa Fe Community College, 6401 Richards
Ave., Santa Fe. 428-1776. 4th Annual Clay Club
Ceramics Sale. Wed., Nov. 28 and Thurs., Nov. 29.
Santa Fe Convention Center, 201 W. Marcy
St., Santa Fe. 983-5220. 2012 SWAIA Winter
Indian Market. Sat., Nov. 24, 10 am-6 pm; Sun.,
Nov. 25, 10 am-4 pm. santafeindianmarket.com
Santa Fe Convention Center, 201 W. Marcy
St., Santa Fe. 603-0558. Recycle Santa Fe Art
Festival. Fri., Nov. 2, 5-9 pm; Sat., Nov. 3, 9 am-5
pm; Sun., Nov. 4, 10 am-5 pm. recyclesantafe.org
Santa Fe Soul, 2905 Rodeo Park Dr. E. #3,
Santa Fe. 603-5646. Medicine Song Ceremonial
Circle: with Elizabeth Clearwater. Mon., Nov.
12, 2-4 pm. newmexicowomeninthearts.com
Seton Gallery, 133 Seton Village Rd., Santa Fe.
995-1860. The Eye of the Naturalist—Observation
and Personal Transformation: drawings and
paintings by Ernest Thompson Seton. Wed., Nov.
14 and Wed., Nov. 28. aloveoflearning.org
Turner Caroll Gallery, 725 Canyon Rd.,
Santa Fe. 986-9800. Contemporary Terrain:
group show. Sun., Nov. 4 through Thurs., Jan.
20. turnercarroll.com
Yraceburu EarthWisdom Learning, 119 Mira
Sol Dr., Santa Fe. EarthDream Unity: shamanism
workshop. Tues., Nov. 13 and Wed., Nov. 14,
10 am-5 pm. yraceburu.org
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 and Recent Works: glass
installations by Michael Petry. Through Fri., Nov.
23. zanebennettgallery.com
PERFORMING ARTS
Greer Garson Theatre at the
 Santa Fe
University of Art and Design,
1600 St. Michael’s
Dr., Santa Fe. 988-1234. Count Dracula: play
directed by Shepard Sobel. Fri., Nov. 30 to
Sun., Dec. 2; Fri., Dec. 7 to Sun., Dec. 9. Fri.
and Sat., 7 pm; Sun., 2 pm. ticketssantafe.org
National Hispanic Cultural Center, 1701
4th St. SW, Alb. 505-724-4771. Latin Diva Series:
Handle with Care—a national invitational exhibition of handled cups and mugs.
Santa Fe Clay, 545 Camino de la Familia, Santa Fe. Reception: Friday, November 2, from 5 to 7 pm.
singer/songwriter Magos Herrera. Fri., Nov. 9,
7:30 pm. nhccnm.org
New Mexico School for the Arts at Cross
of the Martyrs and Hillside Park, opposite 395
Kearney Ave., Santa Fe. 982-6124. All At Once:
dance performance. Sat., Nov. 3, 4 pm; Sun.,
Nov. 4, 3 pm. nmschoolforthearts.org
Santa Fe Playhouse, 142 E. De Vargas St., Santa
Fe. 986-1801. Catherine Donavon Sings the Patti Page
Songbook: with the Bert Dalton Trio. Sat., Nov. 10,
7:30 pm; Sun., Nov. 11, 2 pm. starsneverfade.com
Scottish Rite Masonic Theatre, 436 Paseo de
Peralta. Sacred Sensuous Dance on Sat., Nov. 10, at
7:30 pm for a benefit for Orphans of the World.
Silent auction: Tickets: 984-1234 or ticketssantafe.
org. orphansoftheworld.com
Sunshine Theater, 120 Central Ave. SW,
Alb. 505-886-1251. Collie Buddz with New
Kingston and Los Rakas. Wed., Nov. 7, 8 pm.
holdmyticket.com
The Lodge, 750 N. St. Francis Dr., Santa Fe.
886-1251. Love, Loss and What I Wore: play by
Nora and Delia Ephron. Sat., Nov. 10, 7:30 pm;
Sun, Nov. 11, 3 pm. holdmyticket.com
Warehouse 21, 1614 Paseo de Peralta, Santa
Fe. 982-6124. Ciconia Ciconia: play by Elizabeth
Wiseman. Wed., Oct. 31 through Sat., Nov. 3.
CALL FOR ARTISTS
516 Arts, 516 Central Ave. SW., Alb. 505-242-
1445. Flatlanders and Surface Dwellers: group
show. Deadline: Wed., Dec. 19. 516arts.org
Georgia O’Keeffe Museum, 217 Johnson St., Santa
Fe. 946-1000. Flowers: photography competition.
Deadline: Wed., Dec. 19. okmphotocompetition.org
MasterWorks of New Mexico, P.O. Box 3055,
Alb. 505-260-9977. MasterWorks of New Mexico
Spring Art Show. Deadline: masterworksnm.org
December and January is a double issue. All calendar
listings are due by Friday, November 16. Email to:
themagazinesf@gmail.com
Ceramic work by Posey Bacopoulos
november 2012
 Zachariah Rieke
Opening Reception 4 0 9 C a nyo n R o a d
Fr iday, November 2n d, 2012 Santa Fe, NM 87501
5pm - 7pm ph: 505. 660. 4393
www.wadewilsonar t.com
on view through Wednesday, Januar y 2nd, 2013
image above: “Painting 8” acr ylic on canvas
64 x 81.5 inches, 2011
previews

Remix: Then & Now

Hills Gallery, 217 Galisteo Street, Santa Fe. 98
November and December 2012
Reception: Friday, November 16, 5-7 pm.
While New Mexico’s singular quality of light and landscape has attracted artists for over a century now, Santa
Fe wasn’t always the high-end contemporary art market it is today. During the 1940s, Canyon Road was a
workaday lane, lined with grocery stores, barber shops, and dry-cleaners. But over the next ten years, as artists
like Agnes Sims and Andrea Bacigalupa began to make homes and studios on Canyon Road, they drew more
and more art collectors to the area. One of the first galleries to put Santa Fe on the map was Hill’s Gallery,
opened in 1970 by cofounders Megan and Jim Hill. Holding monthly exhibits until 1981, Hill’s Gallery was one
of the first to welcome more experimental New Mexico artists at its location on San Francisco Street. By 1980,
Art In America hailed the gallery as “the best place to see a broad sampling of good contemporary New Mexico
work.” In its eleven-year history, Hill’s gallery hosted over a hundred and sixty-five artists, including painter
Raymond Johnson, sculptor Charles Mattox, photographer Thomas Barrow, and ceramicist Betty Woodman.
This November and December, those who are relatively new to Santa Fe will have a chance to revisit the early
days of our city’s art market. An exhibition of art from the gallery’s golden years, selected by Megan Hill, will be
on display, including work by Helen Beck, Jim Hill, John Connell, Jean Promutico, Megan Hill, and Doris Cross.

Doris Cross, Emergence, mixed media, 46” x 18”, 1985

Zachariah Rieke
Through Wednesday, January 2, 2013
Wade Wilson Art, 409 Canyon Road, Santa Fe. 660-4393.
Reception: Friday, November 2, 5-7 pm.
Two years ago, artist Zachariah Rieke told THE, “‘Meaning’ is not something that occupies me while I am working.
My paintings are not about something—they are something.” Preoccupied by philosopher Søren Kierkegaard’s
“leap of faith”—an action taken with complete trust in the desired result, despite evidence to the contrary—
Rieke allows fate to have a hand in the evolution of his work. His paintings are created by thinning gesso paint
and washing it across a raw canvas, allowing it to spread in unpredictable, rough, organic-seeming movements.
Rieke, who has been an artist for over forty years, has compared his work to cartography in that he is actively
exploring the potentiality of his medium as he paints. There are echoes of sumi-e paintings in his monochromatic
works, but Rieke’s paintings have an independent vitality that extends beyond the limits of representational
art. Selected for the Acclaimed Artist Series of the New Mexico Arts in 2006, Rieke has also been featured in
museum collections throughout New Mexico, and in collections worldwide.

Zachariah Rieke, Painting 35, acrylic on canvas, 64” x 81½”, 2011

32 | THE magazine november 2012

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MONROE GALLERY
of photography

MARK SHAW
The Kennedys

Jackie sits at JFK’s senate desk in 1959

November 23 - January 27, 2013

Opening reception November 23, 5 - 7 PM
Exhibition continues through January 27, 2013

Open Daily

112 DON GASPAR SANTA FE NM 87501 992.0800 F: 992.0810

e: info@monroegallery.com www.monroegallery.com

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

Dying Infant Found by American Soldiers in Saipan, 1944

photograph by W. Eugene Smith

Photographers who document war have become nearly as valuable as soldiers—without them we could only imagine the
acts of heroism, the war crimes, and the terrible battles. Though their work is often controversial and dangerous, war
photographers have risked their lives to inform the public since the Mexican-American War. Without them we would not
have seen the screaming girl fleeing a napalm bomb in 1972, nor would we have seen the soldiers raising the American flag
on Iwo Jima in 1945. This November, the Museum of Fine Arts, Houston, will mount an exhibition of nearly five hundred
war photographs chosen from a massive pool of images dating as far back as 1846. The photographs will be presented
“according to the progression of war,” states the press release, “from the acts that instigate armed conflict, to the fight, to
victory and defeat.” War/Photography: Photographs of Armed Conflict and Its Aftermath will be on view from November 11,
2012 to February 3, 2013 at the Museum of Fine Arts, Houston, 1001 Bissonnet Street, Houston, Texas. mfah.org D

november 2012 THE magazine | 35

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Rosalind
f e at u r e

Krauss
in the 21 st
Century:
Does she still matter?
by Diane Armitage
The “death of modernism” did not mean that the new abstract painters had any less admiration for modernist artists. What they opposed were the critical theories summed up [as] “reductivist modernism,”
a compound of Clement Greenberg, Michael Fried, Rosalind Krauss, and Yve-Alain Bois…. All of these writers made different arguments, but they seemed to share the belief that what defined the avant-garde
was the struggle to uncover the essential qualities of art. The simplicity and clarity of the reductivist model gave it tremendous authority…. But it turned out this privileged position was actually a prison cell.
—Pepe Karmel, from the essay “Still Conceptual After All These Years”

I was given the slender volume

well-known art historian and theorist Rosalind Krauss, and I was asked whether Rosalind Krauss still mattered. I said yes, even if her reputation were to rest
Under Blue Cup, published
in 2011 and written by the

on the contents of a single book. Not this new one, but Bachelors, published in 1999. Bachelors is still essential reading on the importance of nine single-minded
women artists, but I’ll come back to this text later. The task at hand is to tackle Krauss’ most recent investigations and find their relevance to contemporary art in
the twenty-first century. After reading Krauss’ new book, it became clear to me that this notoriously brainy and extremely influential writer, editor, cofounder of
October magazine, and professor at Columbia University, seemed hopelessly stuck in the past century.

0
Krauss appeared mired at the point where “reductivist modernism” met a is established at the beginning of the book,
bifurcating path in the road, and she sat there in disbelief while the many-headed Krauss proceeds with her narrative about Francesca Woodman, New York, 1979-8

beast of Postmodernism gave birth to varied incarnations of itself—incarnations that suffering a brain aneurysm in 1999 and the
went spinning off and away from the French post-structuralists that Krauss had helped challenges she met trying to regain her
to introduce into the lexicon of contemporary art theory. But Postmodernism wasn’t short-term memory and the same fluid
going to stop in its tracks under the Freudian/Marxist sway of Jacques Derrida, Michel use of language she previously enjoyed.
Foucault, and company. Krauss wrote in her acknowledgments page in Under Blue Under Blue Cup becomes at once a
Cover of Bachelors, MIT Press, 1999. Image:
an.

Cup, “Incited by over a decade of disgust at the spectacle of meretricious art called simple stratagem for memory and verbal
Collection of Betty and George Woodm

installation, this book was made possible by fortuitous encounters with what I saw association and a treatise on her ideas
as its strong alternatives…” and she goes on to list artists such as William Kentridge, about the “aesthetic medium”—or as I
James Coleman, and Sophie Calle whose work she champions. began to understand her thesis, the rather
After her dismay with installation art—also known as “relational aesthetics”— straight-laced scaffolding that surrounds

continued on page 38
november 2012 THE magazine |37
Video stills, from A la rencontre de l’art contemporaine, Catherine David et la Documenta X.” Aired on Arte, August 20, 1997
the concept of truth to materials. Krauss’ idea of aesthetic medium can be seen
as “the specific support for a given practice [italics hers]—the recursive source
of the object’s meaning.” And the authority of the physical support became, in
the Greenbergian trajectory of opinions on Modernism, an absolute. It was as
if Krauss equated the universal systems of cognition in the brain—which are
fairly strict and inviolate in their tendencies—with a universal pathway that
represented aesthetic tradition; as if avant-garde art (i.e., Modernist art) had at
its center essential qualities and recursive tendencies that were also absolute and
inviolate. However, in the heavy-breathing air of the many-headed postmodern
beast, trying to tell art what it can and cannot be is like whistling against the wind.
Enter the Dragon Lady.
The highly regarded French curator Catherine David, who at one time worked
at the Centre Georges Pompidou, was chosen to be the artistic director of documenta
X in Kassel, Germany, in 1997. Given that this was to be the last documenta of the
twentieth century—a century marked by devastating ruptures, intense economic
expansions and contractions, and seismic cultural shifts that we are still dealing
with—David used documenta X as a lens to focus on history and a density of social/
cultural themes that reflected a global perspective. Bearing in mind the ascendancy of
site-specific work in contemporary art, David’s documenta was awash in installations
that emphasized relational aesthetics. In David’s view, politics and visual culture were
Metaphorical blood drips from Krauss’ pen…
bound together in complex ways that continued to pose questions about what was
art, what was life, and how each was strengthened by a series of arranged marriages
to the other. The union of the two could produce variations of form and content
conceivably without end, and were completely relevant to contemporary society, not
to mention contemporary art. Here is where one could almost envision the origin of
Krauss’ brain implosion as she proceeds in her book to catalog her hatred of David’s
curatorial stance.
Under Blue Cup is, in part, an attack against David’s aesthetic imperative to merge art,
life, politics, economics, materials, history, as well as critical thinking, into a kind of filmic
flow of events that recreates the leading edges of a new avant-garde. And in her critiques
of David, Krauss resorts to a decidedly snarky tone. She mocks the curator by calling her
Kha-tee, mimicking David’s assistant Hortensia Voelker’s pronunciation of David’s informal
name, Katy. I found this Kha-tee name-calling shtick to be the most irritating aspect of
Krauss’ book—as if Krauss could categorically reduce David’s importance by pushing
her into a zone of extreme derision. It was like a stick of dynamite thrown at her every
time Krauss resorted to this petulant, perverse behavior. Here is Krauss’ description of
Voelker: “To be Catherine David’s double seems like a distant dream; she visualizes Kha-
tee’s French elegance as she picks her way through the materials in the studio of the artist
she is visiting, dressed, as she always is, in her black pants suit, her tightly sheathed legs
deliberately extending below its jacket like the talons of an exotic bird.”

Metaphorical blood drips from Krauss’ pen because, in her eyes, David has
committed the biggest sin of all: putting the finishing nails in the coffin of the Great
White Cube of the gallery or the museum space in favor of showing art as, say, a pig
hut or as plants growing in the spaces of the railroad tracks that lead in and out of
Kassel. David herself stated, “Unless you are naïve or a hypocrite, or stupid, you have
to know that the white cube is over.” Krauss, for convoluted philosophical reasons,
sees David’s acceptance of the death of the holy of holies, the modernist white
cube, as symptomatic of “the ‘loss of desire,’ of the post-medium condition’s ‘refusal
of bliss.’” When everything is admitted into the game of art, the concept of art’s
“essential qualities” comes off as quaint, and David’s political and aesthetic moralism
and relativism appeared to amputate Krauss’ theoretical upper hand. At the fulcrum
of Krauss’ railing against relational aesthetics is the following paragraph: “Under Blue
Cup is a polemic, adamantly shouting ‘fake’ and ‘fraud’ at the kitsch of installation.
The effect of the genuine is not lost to memory, not swept away. A polemic is a call
to remember, against the siren song of installation [art] to ‘forget.’” Forget what?
That a sea change in contemporary art has already occurred? Forget that
the motivations behind an artist’s complex configuration of materials, spatial
refinements, and textural, as well as textual, epiphanies do matter, as in the works
of Ann Hamilton, for example? The visual, historical, and often political associations
that Hamilton embeds within her intensely beautiful installations are so much more
than kitsch.
Under Blue Cup is an odd and unsatisfying diatribe against the wide-open nature
of contemporary art in all its fertile and infinite possibilities. On the other hand, her
november 2012
f e at u r e
Catherine David, video stills, from A la rencontre de l’art contemporaine
provocative book Bachelors is one of the best scholarly investigations into criteria
by which to evaluate contemporary women artists. Writing on Dora Maar, Claude
Cahun, Louise Bourgeois, Agnes Martin, Eva Hesse, Cindy Sherman, Sherrie Levine,
Louise Lawler, and Francesca Woodman, Krauss considers the ideas these women
grappled with as they invented their own singular visual logic. Hence, the authoritative
empowerment within their work is key to a more lasting sense of self-determination
and provides a set of controls through which to assess the meaning of their work. It
must be said, though, that Krauss is not an easy read. Bachelors is a book born of an
intellectual feminism tempered in the fires of Krauss’ rigorous study within multiple
disciplines—Freudian analysis, Marxism, and all those thorny French philosophers like
Jacques Lacan and Georges Bataille. Nonetheless, this is a book worth all the effort it
takes to plumb its depths.
One might think that Krauss’ near-death experience and intense period of
recuperation, described in Under Blue Cup, might have made her a more generous
writer in her assessment of art’s evolution; made her more open to the vitality that
exists everywhere in today’s art world, to art’s continual rebirth. That Krauss’ recovery
seemed to make her more stingy, sarcastic, and entrenched in her thinking is unfortunate.
And that she should be defined as the heir apparent of Clement Greenberg—who has
been soundly deconstructed himself for his extremely doctrinaire thinking—is a weird
case of reductio ad absurdum; a case of a writer writing herself into the confines of a
sleek white box with no doors or windows or even a mirror. D
Diane Armitage is a video artist, free-lance writer, and art history teacher at the Santa Fe
Community College.
THE magazine | 39
Chaos to Complexity:
Artists and Scientists Share Insights Into the Creative Process
As part of the recent extensive
series of events and exhibitions associated
with the International Society for
Electronic Arts (ISEA), the Museum of
Contemporary Native Arts, celebrating its
fortieth anniversary this year, presented
a panel discussion featuring theoretical
physicist Geoffrey West and artist Mateo
Romero, who currently has an exhibition
in the Museum. The panel was moderated
by Valerie Plame Wilson. The idea for this
cross-disciplinary exploration came from
political anthropologist Paula Sabloff, who
has a particular interest in the integration
of qualitative and quantitative methods.
West, Sabloff, and Wilson are associated
with the Santa Fe Institute.
In daily life we alternate intuitively
between operating on quantitative (this
product costs less per pound) or qualitative
data (that party has some interesting people
invited, it could be fun). Society grapples
with the distinction between these two
modes of describing the world. (How do
we measure what students are learning in
schools; does the presidential election boil
down to whoever seems more likable?)
In 1959, C. P. Snow named a fundamental
divide between the “two cultures” of
science and the humanities, finding it
detrimental to Western civilization.
Efforts to bridge them have been with
us ever since. ISEA tries to demonstrate
the dissolution of this gap. The advent
and surge of computing power has meant
that artists and scientists now share a
major tool. Seeking common ground, this
discussion focused on creativity, which
can be a vague, overly broad concept.
40 | THE magazine
Discovering DNA or painting the Sistine
Chapel ceiling are both creative acts, but
the lengthy preparation for them involves
acquisition of very different knowledge and
skill sets. Nevertheless, meaningful human
enterprises involve a deep curiosity about
the world.
Curiosity, said West, is at the heart
of his enterprises, asking good questions
at the right level. “How does this work?
If I discover a rule about how something
works, can that be applied to something
totally different and still be valid?” This
involves processing massive amounts of
data. Shifting from physics to biology,
West has made forays into universal
scaling laws that pervade biology from
molecule to ecosystem levels. Out of that
work, he zeroed in on metabolism. Using
the quantitative models thus developed,
he extended studies to cities. Metabolic
rate is connected to questions of global
consumption (not to mention distribution)
of resources. We might take it up as a
metaphor in this context. I believe that
attention is our most precious resource;
humanity’s rapacious use of the earth’s
resources stems partly from a lack of it.
Romero, sustained and inspired by the
ideas of balance and harmony in Native
tradition, spoke of paying attention and
digesting the world in order to produce
work that is unique and authentic. West
and Romero are both familiar with the
experience of inhabiting several worlds.
Romero has lived and grown up in urban
settings, but is native to Cochiti Pueblo.
West is British, but has lived in the USA
Museum of Contemporary Native Arts
since 1961. Moderator Wilson generated
some passionate, complex replies by asking
“how does money affect your work?” West
believes science is distorted by the current
funding processes. We could say the same
of art and other fields. The majority of
artists struggle while a few superstars are
massively enriched. Romero responded
personally and philosophically about our
relation to need and “enough.” Process,
even one’s own, remains something of a
mystery. Romero relies on intuitive powers
in his art process. West confessed, perhaps
proudly, that his process can include
channel surfing. Sometimes the discursive
mind has to be temporarily switched off
for imperceptible knowledge to float into
awareness.
The Santa Fe Institute is an
environment where highly accomplished
people in a variety of disciplines are given
offices and allowed to interact intensively—
as much informally in hallways and at coffee
stations as formally via papers and talks. (It
somewhat resembles Xerox’s Palo Alto
Research Center, up to the late 1990s.)
Mathematical models are designed and
utilized to simulate and reiterate processes
of change, development, or disruption
in the evolution of biological organisms
and, by extension, anything from literary
genres to linguistic drift, from warfare to
demographic change over time. Analyzing
the causes of instability in systems such
as financial markets, disease vectors,
or societies can be seen as a quest for
explanations, if not solutions—the solace of
knowledge in a world where even curable
diseases ravage vulnerable populations,
wars rage like brushfires around the
108 Cathedral Place, Santa Fe
globe, and things, from the nation-state
to the earth’s climate-sphere, seem to be
disintegrating in threatening ways.
Cultural beliefs about the roles of art
and science affect how they are practiced.
In a classical model, the artwork embodies
eternal forms, the scientific quest is for
knowledge of sacred or eternal laws.
The post-modern view emphasizes the
reception of the artwork or the use-value
of knowledge to society. The Romantic era
(late eighteenth through late nineteenth
centuries) focused on the artist’s struggle
to express inner vision and the scientist’s
wresting of knowledge from intractable
nature. Despite today’s de-emphasis on
the individual in science (most research
projects are collaborative; most science
papers are multi-authored), despite mash-
up and the “death of the author” in the arts,
that heroic construct is still with us. The
picture can be balanced by acknowledging
two other disciplines. Design and
engineering mediate what art and science
invent or discover. Designers, influenced
by art, shape our daily lives via clothes,
furniture, housewares, product colors,
logos, and media; engineers apply scientific
data to make the bridges, airplanes,
electronics, cars, and buildings we rely on.
Thus do the visions and prototypes of art
and science percolate to the vernacular.
MoCNA did a courageous thing in setting
up such a dialogue despite its ambiguities
and potential pitfalls.
—Marina La Palma
Mateo Romero, Pray for Rain, plaster figures,
3” x 3” x 8.5” each, 2012
november 2012

Dancing with the Dark—Joan Snyder Prints: 1963-2010
The dark here is internal because
what the visitor sees is color, glorious color.
Organized by the Zimmerli Art Museum at
Rutgers University, Dancing with the Dark is
the first major retrospective of Joan Snyder’s
prints, and presents over sixty works, and
every imaginable nuance of pink.
Snyder is no stranger to prints, having
worked in the medium for over forty-five
years. But it’s her approach that grabs the
viewer. Part abstraction and part personal
narrative, her art expresses her views on
sexuality, death, feminism, and social slights.
Symbolism abounds, with flowers, seedpods,
lace, outright words, and all those pinks.
The exhibition hangs in the museum’s
second-floor Clinton Adams Gallery. When
the elevator door opens we are pulled into
a wall painted in rich, dark rose. It’s one of
the colors in Snyder’s Wild Roses (color
lithograph, etching, and woodcut) that greets
us. There are seven pink roses with silvery
centers and seven black, lacy seedpods.
The wall color pulls hard at the identical color
in the roses, making them dance. Just peeking
out between the flowers and pods are the
words “Oh Mary” and “Oh Boogie.” Both
are references to the death of Snyder’s friend
Mary Hambleton, which adds an element
of friendship tribute to the obvious nature
tribute. It is very difficult to stop looking and
move on to the other prints.
Snyder’s Madrigal series gives us
more pink and introduces equally vibrant
purples, greens, and oranges. The exhibition
includes seven monoprints (color lithograph,
november 2012
monotype, and color woodcut) from
the thirty-three-piece series. Snyder was
inspired by a group of madrigal singers at a
recorder workshop she attended. Each print
has a central circle—some with flowers,
some looking like photos of the earth from
space, some reminiscent of fishbowls—
surrounded by ten smaller, unevenly spaced,
colored circles. These are the singers, some
standing closer than others, and their music
is the central flowers and shapes, and the
petal-like spots of color surrounding each
performer. Snyder began the series in 2001
after the events of September 11. “This,
I suppose, is my attempt to bring order and
beauty to ever-increasing times of great
disorder,” she says.
Easy to bypass in a side hallway off the
Adams gallery and across from the Enyeart/
Malone Library and Archive are Cherry Tree
II and Cherry Tree III. It would be a shame
to miss them. Here Snyder combines the
perfect teal with the perfect fuchsia with the
perfect pale green. She creates an Asian feel
in these trees with her contrast of dark and
light tones. And there are cherries hanging,
falling, and juicing everywhere.
In the center of the gallery are examples
of Snyder’s woodcuts and etchings. The most
striking among them is Red Horse (1964). This
two-color woodcut depicts said red horse,
head lowered as it grazes. Its body is angular
and its neck bones protrude from its shoulders,
and yet it has a surprisingly lifelike quality where
it really ought to appear two-dimensional.
critical reflections
University of New Mexico Art Museum
UNM Center for the Arts, Albuquerque
There is a sense of refuge when
wrapped in Snyder’s colors, especially her
overdose of fuchsias, oranges, and reds, but
the effect is oddly comforting. And when she
needs to, she delivers actual words in splashes
of color. “I never write on a print or painting
unless there is an urgency,” she explains. In
one case a print features the names of all of
the women in the Old Testament, and of the
women in her own family. In another, she
presents a passage from one of Henry David
Thoreau’s journals, and in another are the
words of an Eliza Griswold poem. Most of
the word paintings are grouped together in
a sort of alphabet corner of the exhibition.
In Serene Cries (color digital print,
lithograph in green and carborundum plate
in red and light green with chine collé)
Snyder eases us away from the alphabet, but
not quite. Sometimes the pale, stringy grass
clearly forms the word MOM and that starts
us looking for other words spelled out by the
tall grass, but there aren’t any. The effect is of
pale pink and green with a fleeting message
blowing through. And just when you stop
looking for missives in the blades of grass,
four icons appear, all fertility figures either
open-mouthed or grinning.
Almost as hard to pull away from as
Wild Roses is Snyder’s Souls Series installation.
Compliments to the curatorial team at UNM
for their beautiful presentation of these
twenty-one woodcuts, hand-inked with
oil paint onto various fabrics and papers.
They are presented in their own corner on
two walls, painted in that same gorgeous
rose paint we saw at the beginning of the
exhibition. Here Snyder presents elegies for
the dead, for loss of parents, and for deaths
from AIDS. It is hard to resist touching
the fabrics. There are several flower
abstractions painted on velvet, but most of
these souls are ghostly faces with prominent
lips. In one case a piece of sheer peach silk
floats in front of a sheet of handmade paper.
The features—lips, ears, nose, eyes, and
neck—appear on the paper and are also
over-painted on the silk. Slight breezes in
the gallery rustle the fabrics and animate the
faces, but not enough. I blow gently until the
faces shimmer.
Accompanying the exhibition—in a
side gallery with seating—is a short video
by TalkingPointFilms called In the Studio:
Joan Snyder and Painting 1998, which shows
Snyder at work and being interviewed in her
studio. We watch her pull a canvas off the
wall and place it on the floor, the better to
dab at it while bent double, smudging and
smearing until she has exactly the effect she’s
after. “For some reason,” she says, “I knew I
always wanted to paint.”
—Susan Wider
Joan Snyder, Wild Roses, color lithograph, etching,
and woodcut, 2010.
Joan Snyder, Madrigal X from 33 Madrigals, monoprint
(color lithograph, monotype, and color woodcut), 2001
Photos: Peter Jacobs
THE magazine |41
Kenneth Noland—Mysteries: Full Circle
Celebrated American artist Kenneth Noland
(1924-2010) was never attracted to
representational or figurative painting.
He was drawn to knock-your-socks-off
color, working it into deceptively simple
geometric arrangements with exultant
precision. There’s too much warmth and
too much unselfconscious interest in the
viewer’s response for Noland’s works to
be called minimal. And they don’t easily fit
into the category of Abstract Expressionism,
with its tendencies toward free-wheeling
rebelliousness. He is most often associated
with Color Field painters like Morris Louis
and Barnett Newman, with their unrelenting
emphasis on form and color. This exhibition,
however, with its sharp, clean lines
and painstaking precision, is marvelously
iconoclastic. Noland was a color wizard, and
on canvas he advanced the power of pure
pigment with an alchemical know-how that
appeals equally to instinct and intellect.
Noland’s 1953 visit to pal Helen
Frankenthaler’s studio has become the
stuff of art history legend; he was so
impressed with the twenty-four-year-old’s
process of saturating and staining areas of
unprimed canvas that he began painting
directly onto a raw cloth surface, allowing
color to take center stage. Throughout the
course of his career, Noland experimented
with stripes and chevrons, and shaped his
canvases into triangles and diamonds. He
began painting circles in the 1950s, but
this series, called Mysteries, was created
between 1999 and 2002. The humble
circle—a baseball, an orange, a coin—seen
through the eyes of Kenneth Noland is
something strange and special.
Noland is known for bold, unexpected
color combinations, and this exhibition is
brilliant proof. Here, color is the main event,
and form is decidedly secondary. In describing
these works, it’s tempting to say they vibrate
or pulse, which of course they cannot, but
it’s only in ascribing movement to them
that one can begin to approximate what
they’re like to stand in front of. According
to Noland’s whim, a circle is a radiant bulls-
eye, a shining eyeball, a fantastic planet, or
any number of bemusing things. Most of the
eleven works in this neatly curated exhibition
are multicolored concentric circles painted
on square canvases, wherein alternating
rings of color surround a solid-hued orb.
Yares Art Projects
123 Grant Avenue, Santa Fe
Each painting has a personality. There is
something urgent and noisy about one, while
the next is bristling and prim or inky blue and
melancholic. Sometimes they’re naughty—
a wash of hot pink on unprimed canvas is like
a cherry Kool-Aid stain on white linen; a tipsily
soaked square the color of Manischewitz
wine is weirdly and wonderfully anchored by
a priggish circle of emerald green.
Golden Glow is a shock of color.
A background of fuzzy ochre frames a circle
that’s made of foxglove-purple. The central orb
is fire-engine red, disrupting the coolness of the
outer rings but magnificently complementing
the outlying gold. Despite its intensity, the
piece is somehow endearingly vulnerable:
it looks tender, sensitive to the touch. Tiny,
how-did-he-do-it bits of iridescent glitter
are infused throughout, so that when you
move slightly in front of the piece, disparate
parts of the composition coalesce, assuming
a united, shimmering vibrancy. Magic Theater
is shadowy and mostly blue, and it appears to
hover above the canvas or else just beyond it.
Its crimson central orb is surrounded by rings
of cobalt and cornflower blue, and outwardly,
by a watery aquamarine. It feels oceanic and
still, an impression augmented by the sense
that darkness is fast approaching. Viewing this
work, one has a disarming sensation of being
underwater, looking up at the underside of an
un-tethered and enigmatically spherical vessel.
Noland maintains a simple, even
formulaic, shape, but utilizes a fantastic
range of color, imbuing even basic forms
with a thrilling intensity. The hazy, mint-
green Dreams to Follow is offhandedly
subdued—it seems sure of itself. Its colors,
for me, have a specific relationship to
sunlight, or more specifically, to sunlight
hitting concrete. The circle’s light jade rings
are vaguely reminiscent of the ubiquitous,
bleached-turquoise color of the bowl of
a public pool. The center orb is a crisp
yellow, like the yolk of a hard-boiled egg.
Rings of white and cucumber radiate
outward leisurely, forming a fantasy—a
constructed landscape seen through a filter
of hot sunshine. Perhaps because the circle
is so earnest and so humanly practical,
it appeals to our most basic pleasure
centers. Kenneth Noland’s late work, so
cunningly drafted and so quietly intellectual,
challenges and delights the eye. Though this
exhibition includes works that are crucial
to understanding this pioneering artist’s
career, Mysteries is fresh and exciting and
deeply enjoyable. If this is American art
history, sign me up.
—Iris McLister
Kenneth Noland, Golden Glow, acrylic on canvas, 60” x 60”, 2001
 critical reflections

Ecumene: Global Interface in American Ceramics

 Santa Fe Community College Visual Arts Gallery
6401 Richards Avenue, Santa Fe

The Santa Fe Community college

chose thirty-two works of art out of a group native cultural meaning. With something so
are engineered; an archeological dig often
finds handmade pieces that are ruined—
buried in soil, not cement. Edwards’ piece
porcelain punching bags that look curiously
like bombs. Neptune’s Daughter was made
in response to the Gulf oil spill. The female
of seven hundred images for their recent earthbound, so grounded, it seems difficult sits on a pedestal completely detached from figure stands intently with wind whipping
show at the Visual Arts Gallery, Ecumene: to pull pottery from its indigenous home and any cultural identity. This sample could be around her and mud drenching her feet. She
Global Interface in American Ceramics. into a global cultural movement. After a few from any major city. The porcelain offers is life-size and swaddles a pelican. She looks
Organized by the National Council on thousand years, the vessel is reimagined and little evidence of place and its encasement strong, like she just extracted something
Education for the Ceramic Arts (NCECA), redecorated but never overthrown. suggests an anachronistic time when deep from the earth. Van Gogh’s iconic
the show ran in conjunction with the forty- Thomas Edwards answers directly overdeveloped cement roads are the sites chair emerges monochromatic from the
fifth General Assembly of the International to this fate in his porcelain and concrete of history past, not undeveloped land. It is collective conscious with degenerating legs
Academy of Ceramics. The NCECA was sculpture, Ridge. It looks like a slab of perhaps haunting that in an age known for in Lauren Mayer’s Untitled. The back legs
founded in 1966 as a non-profit to foster pavement that’s been perfectly preserved its overabundance of information, the piece slump down while the front one buckles
global education and appreciation for the from an unknown urban underground. in Ecumene that is most compelling is this under pressure and the fourth drifts off to
ceramic arts. It is run out of Colorado, and Centered inside is a stack of seven extremely intensely vacuous one. the side in disinterest. Mayer’s chair is white
one of the ways in which it tracks the ceramic spotless pale gray porcelain bowls. They are Otherwise Ecumene offers its fair and slumped with paint peeling off. It’s an old
arts is through juried competitions, such carefully inset with pieces from the front and share of pottery, mostly new takes on withered item that suggests The New World
as the one that resulted in Ecumene. The the back cleanly shaved off to reveal their the long tradition, alongside a surprising of Art’s global reference library is dogged
International Academy of Ceramics is just insides. Remaining is a simple pattern formed amount of unsettling animal representations and somewhat slippery.
that, an international academy consisting of by the bowls’ stacked curved bottoms. Ridge and larger sculptures that dare to break —Hannah Hoel
artists, writers, curators and the like from offers quite a change from the shards of the mold. Virginia Scotchie’s Seven Deadly
fifty-five nations, who host biennial General mismatched pottery found in New Mexico’s Sins—Punch is a reused shopping cart that
Installation view. Neptune’s Daughter in foreground by Lisa Reinertson
Assemblies around the world. Their latest soil, for example. Porcelain and concrete overflows with forty-seven silver slip-cast Photo: Adele Devalcourt
one happened to be here in Santa Fe at
La Fonda Hotel and Ecumene was cleverly
curated to coincide with this major event
in the international ceramics community.
The world, art included, is becoming
increasingly globalized. Almost everyone
has access to a tremendous amount of
information. SFCC calls this the “New World
of Art,” citing America as a full partner in this
“trans-global cultural movement.” Indeed,
ecumene refers to the known part of the
inhabited universe and proffers notions
of a bustling new world at the peak of an
information revolution. Be it the Roman
Empire or 2012, ecumene is the entirety
of the known social sphere, and today that
happens to stretch physically and virtually.
SFCC therefore proposes a charming
situation where their Visual Arts Gallery
hosts thirty ceramicists who were curated
by NCECA Exhibitions Director Linda
Ganstrom, SFCC’s Director of Exhibitions
Clark Baughan, SFCC’s Associate Professor
of Ceramics James Marshall, and guest
curator Jane Sauer of the Jane Sauer Gallery
here in Santa Fe. These artists represent the
chosen few of America’s top ceramicists
whose work comprises a modest survey of
the present American ceramic practice in
light of globalization.
So what happens to ceramics in
the New World of Art? That often-aloof
medium—loyal for centuries to the vessel—
is inherently clannish. Clay sculptors
habitually gather their material locally and so
their finished product is resolutely bound to a
specific terrain and is further embellished by

november 2012 THE magazine | 43

Walking at the Edge
The magnetism of Rulan Tangen’s passion for
revitalizing her indigenous culture brought to
the stage not only New Zealand’s multi-talented
Maori choreographer and dancer, Jack Gray, but
a remarkable group of seventeen dancers, from
twenty-one tribal identities, to her Dancing
Earth Creations, which had its world premier
at the Lensic Performing Arts Center. Housed
at the Santa Fe Art Institute (SFAI) for a month,
the performers collaborated at co-creating a
vivid story-dance, Walking at the Edge of Water.
Gray, from Auckland, credited as dramaturge,
co-directed the workshop and production with
Tangen, and performed as Tangen’s partner in a
riveting duet.
Of her work, Tangen says, “Our objective
is always to open doors; open the pathways for
others.” Since speaking with indigenous elders over
many years, from many tribes in many countries,
Tangen repeatedly heard the phrase, “It’s sacred
water.” The dancer in Tangen wanted to set those
thoughts about water to choreography. Still, she
made certain to edit out parts of stories that elder
mothers had asked her to keep secret. The work
had, like Tangen’s last opus, Of Bodies Of Elements,
both a chronological and mythical timeline. The
program described the first act as “Creation, in
the Realm of the Sacred.” After an intermission,
the second act, “Koyaanisqatsi to Transformation,”
depicted schmutz—the pollution of earth, drilling
and fracking, in body and spirit. Beauty returned
with the Ancestors and a graceful purification
ritual. A video cast on the back scrim helped to
clarify the natural world topics the dancers were
representing—a dry riverbed, sparse marshes,
and parched land.
A curandera blessed the gathering: that
included drums, didgeridoos, Robbie Robertson’s
lyrics and melody, contemporary indigenous music,
Sacajawea and child, and the voices of women
of Water
from Vanuatu. Shamanic chants accompanied
water maidens, water goddesses, and warriors
in their contemporary powwow, break-dance,
and aerial movements. Imaginative costumes
represented clean and polluted water and the land.
The dancers in Act One wailed and
summoned, each in their tribe’s language, the
name of Water, a high desert prayer. Poetry
excerpts from Sherwin Bitsui provided words
for water in many indigenous languages. The
words were shouted as a cacophony of sound and
energy. The dancers and their words appeared
separate enough to suggest that before chemical
elements in the universe merged to become
cohesive matter, the cosmos consisted of
individual elements—Cosmic Chaos.
A koan: how does a choreographer
show chaos through performance qualities of
beauty?  The structure for this section wasn’t
revealed with a clarity that brought a sense of
aesthetic beauty or designed chaos. Three men
flew through their in-place, bent-knee jumps, and
spun with wild control. All three had adequate
break dance moves—shoulder spins, flips, and
cartwheels that didn’t touch the ground. Deollo
Johnson descended on two lengths of fabric.
Javier Fresquez showed an ability not all of the
dancers had evolved—being able to move in
space with ownership that included extending
his movements with presence and grace during
pauses and silence.  Eric Garcia Lopez danced
and acted the shamanic bringer of blessing, with
ferocious male demeanor—leaping and shaking
his rain stick over the company.
Another theme threaded through the
performance, the divine feminine, which was
expressed as source of water and soft, sensual,
creative power.  In the first act, women danced
strong, graceful motions of water, aided by a
length of shaken blue-green silk and undulating
Lensic Center for the Performing Arts
211 West San Francisco Street, Santa Fe
bodies, especially arms and hands that reached
and soothed. A third theme involved the
external blending and mating of male and female
energies through water... “To bring rain and
fertility, creativity, magic, love, joy and pleasure.”
The powerful singing voice and strong body sway
of Sina-Aurelia Soul-Bowes represented and
carried the eternal feminine theme.
A pas de deux between Tangen and Gray
concluded the first half of the program.  They
intertwined and morphed like the cloud form
of water they represented. Tangen, translating
undulant water wisps, almost evaporated into
Gray’s raging powerhouse of a storm cloud,
sucked up and integrated into the saturated gray
rumble to which Gray ferociously gave his breath.
Was the fulminating dancer a satyr, a Dionysian
spirit, an ancient Maori warrior—or all of the
above? Gray and Tangen danced phenomenally—
he hissing, growling, and pawing the air with
lowered shoulders, his limbs less like arms than
forepaws; she, like a boneless vapor, moved as
though wrapping her flesh into and around him.
 The rituals related to water were the most
lucid of all the stories, interwoven throughout
the concert, and conveying many meanings. A
comely group of women performed a purification
ritual, each holding large vessels, offering the
precious fluid to others. When four quartets each
shared water at the four corners of the stage—
each cluster arranged like a staircase—the slow
outreach of arms toward each other soothed
and united. Sina Soul’s strong shamanic song and
undulant movements spoke of water’s power
and beauty. A women’s jingle dance started the
second act.  Particularly lovely was how energy
rose in each body, from the rapidly shifting angles
of the toes and heels, keeping contact with the
ground but swiftly moving up through the knees
and into the sedate upper trunk. The jingles oiled
the wheels for the much darker, post-apocalyptic
sequences. Goggle-eyed dancers wore jumpsuits
of shiny charcoal, schlepping garbage and smoke
through the dark forces of a world drought-
plagued and out of balance. 
Passages of great beauty, interspersed
with many themes and rituals—each worthy
of a concert to itself—were such that the inner
soul of the work often appeared hermetic, often
only known internally by the deeply committed
indigenous artists who have expressed a longing
for community among themselves. The dancers’
varied levels of technical skill, combined with
the many stories and ritual threads, some as
transparent as the beauty and necessity of water,
some as the dark struggles and oppression of
those powerless to protect their water, created
a roughly-woven, bold blanket of a production.
The threads of this design rarely matched up. The
warp of its ideas was solid and fascinating. The
woof of expression needed time to clarify the
choreographic ideas and execution.     
The challenge for the audience throughout
was to unite all of these themes, which in theory
seem to have a unity, but in practice were
experienced by this viewer as abruptly pulling
apart with the choreography changing directions
so often. Still, the ambitious production holds the
promise of melding into a significant contribution
to indigenous contemporary dance arts.
The concluding section was outstanding, with all
dancers on stage repeatedly and simultaneously
slicing the air, their bent elbows at shoulder height,
adding the Maori sizzle sound.  The Lensic vibrated
with unreserved enthusiasm that met the explosive
energy of the company.  
—Janet Eigner
Right: Rulan Tangen and Jack Gray as Ancestors
Left: Nichole Salazar in Purification scene
Photos: Paulo T. Photography

Dust in the Machine
The Ghost in the Machine: It would be fitting
if the title of the current group show at
CCA—Dust in the Machine—were an
allusion to the “Ghost in the Machine,”
coined in 1949 by British philosopher Gilbert
Ryle to characterize what he found to be
the faulty logic of the Cartesian mind-body
dichotomy, one that denies the mind’s role
as the organizing principle of the body.
Alas, the phrase’s import is not evident in
Dust’s attempt to convey the complex man-
machine symbiosis of contemporary society
with its mechanized environment. That
omission serves to reinforce the sense that
Dust in the Machine falls short in its claim
to provide “a spectrum of interpretations
of the industrialized West.” Two of the
artists are engaging; the six others are,
at best, interesting. Dust in the Machine
underwhelms.
CCA is one site for the multi-venue art
exhibition launched this fall in conjunction
with ISEA2012: Machine Wilderness. ISEA’s
Eighteenth International Symposium on
Electronic Art featured a conference
“exploring the discourse of global
proportions on the subject of art, technology,
and nature.” The symposium comprised
outreach art exhibitions, public events,
performances, and educational activities
in Santa Fe and Taos and throughout the
region. Founded in the Netherlands in 1990,
ISEA is an international non-profit “fostering
interdisciplinary academic discourse
and exchange among culturally diverse
organizations and individuals working with
art, science, and technology,” largely through
its annual symposium. This year the theme
was Machine Wilderness: Re-envisioning
Art, Technology, and Nature. Its advocacy
of a more humane interaction between
technology and environment reflected ISEA’s
overall mandate of humanizing technology
for the survival of the species. The Machine
Wilderness exhibition venues drew upon
several subthemes: radical cosmologies,
econotopias, trans-species habitats,
dynamobilities, and gridlock.
ISEA is a potent force for the
environment in its focus on a humanistic
science achieved by the intersection of art,
science, and technology. But what you can
get as well with an academic intersection of
art, science, and technology is just that—
or at best a pastiche, a mixed bag of three
distinct disciplines—aptly captured for me
by the clever mechanized owl (Escape)
perched on the ISEA2012 program cover.
november 2012
critical reflections
 Center for Contemporary Arts
1050 Old Pecos Trail, Santa Fe
Symposium executive producer Suzanne Chris Ballantyne’s acrylics and watercolors
landscape as “necessary and destructive” and
then purporting a range of interpretations
of its status. It offers prosaic installations
Sbarge rightly notes that “crossing the divide are no less scathing for their wry depiction that—much like those of the 2011 Earth
between the arts and science opens up a of the follies of urban development, while Now exhibition at the New Mexico Museum
vast realm of collaboration and possibility,” the eerie nocturnal beauty of Jamey of Art—fail to capture the current risk
but I’d pause before her unqualified claim Stillings’ archival prints, documenting the of mechanization to the environment or
that “art and science, when combined, construction of the Hoover Dam bypass challenge the viewer’s passive response to it.
de-mystify each other and become more bridge, also captures the promise of Dust approached the question of our role in
mutually accessible….” As often as not, a responsible technology at its best. technology as if we were already the Ghost
selective grasp of technology linked with But overall, Dust in the Machine in the Machine.
a limited command of art will more likely offers neither powerful statements nor —Richard Tobin
muddle than de-mystify. critical commentary on the juncture of
ISEA’s goal is commendable, but the natural landscape and technology. It begs
Jamey Stillings, Arizona View, March 5, 2009, archival
transformative potential on a regional the question by positing the mechanized pigment ink print, 44” x 31”, 2012
community of an annual conference is
problematic (recall similar ambitions of SITE
Santa Fe’s biennial exhibition: Lucky Number
Seven). It can be realized only to the extent
that its audience is truly versed in science
and the arts—what ISEA encourages.
In short (too late), if Dust in the
Machine falls short of its claim to explore the
intersection of landscape and technology,
it is in part a function of the enormous
demand on the artist to harness artistic
expression with technical concepts to form
an aesthetic that engages the viewer. Much
of the work in Dust shows a postmodernist
tendency to fall back on text to validate a
flat presentation. Few of Dust’s artists really
“explore” the confrontation of landscape
with technology—in the sense, say, that
Monet explored the effects of light on Rouen
Cathedral, or Sigmar Polke explored the
relevance of postmodern painting. They just
“document” it, mistaking aesthetic distance
or detachment for “objectivity,” as if the
mere invoking of the issue either suggests
a critical stance or leaves it for the hapless
viewer.
Shirley Wegner’s chromogenic prints
are just visually attractive. Adriane Colburn’s
Just Below (sewer to bay) ink drawing on
paper is more blueprint than commentary.
Lisa K. Blatt’s looped videos of cloud
pollution from a copper mine and a power
plant reprise conventional clips about the
beauty-and-the beast irony of a toxic source
vis-à-vis its striking visual effect. Bethany
Delahunt’s life-size wooden Watchtower
and Jesse Vogler’s installations of industrial
materiel are worn allegories of corporate
assaults on the environment. China Town,
Lucy Raven’s fifty-minute video, could have
made its point in fifteen.
Two artists really explored diverse
effects of the dystopian brave new world
of global technology on the landscape.
THE magazine | 45
Cause & Effect
The public benefits when seasoned professionals
work together. That’s certainly true in the
collaborative efforts of artist Nora Naranjo
Morse in her latest exhibition, Cause & Effect,
curated by Chiaroscuro’s gallery director John
Addison. These two old pros brought their
A-game, and the results are splendid. Naranjo
Morse works with a freedom that only an
artist with years of sure-handed practice
behind her can do. Addison brought out the
art’s elegant and otherworldly characteristics
through his judicious utilization of placement
and lighting. Together, they produced an
exhibition that is well-grounded and airy.
The exhibition announces itself to the
visitor before he enters the gallery: The show’s
largest piece, Gatherings, a monumental wire-
and-hoop concoction, hangs in front of the wall
outside Chiaroscuro on Gypsy Alley, where
it beckons discerning viewers from Canyon
Road. The play of shadow, line, and color
presents the thesis of Cause & Effect—that clay
as a medium is not limited to its functionality,
nor are found objects necessarily limited to the
garbage bin. The exhibition subtext lies within
the artist’s roots as an indigenous woman.
Naranjo Morse has, for years, dug clay from a
sacred site near Santa Clara Pueblo. In a real
juxtaposition of the sacred with the profane,
she found herself fascinated by a trash heap
next to the clay, and began mining both for
their rich, earthy resources.
Naranjo Morse shares her lineage with
generations of highly regarded Pueblo ceramists.
Her work is, however, highly conceptual for
an artist whose foundations are built upon
an art that is primarily functional and often
figurative. Known as an artist who investigates
“the changing social landscape of Native life,”
according to gallery press, she is a sculptor who
also uses poetry and film. In the entry gallery
at Chiaroscuro, three micaceous-clay pieces,
Squash Pods I, II, and III, are good examples of
a sensibility that emerged out of its native roots.
Hand-dug clay lends an organic weight and
tactility to the vessels—they beg to be picked up
so that their heft can be experienced. As such,
they suggest a relational aesthetic that is very
much a defining quality of Naranjo Morse’s art.
Outer-space discs, like something straight out
of Jane Jetson’s jewelry box, perch on the necks
of the pods, lending a cool, retro-modern look
Chiaroscuro Contemporary Art
702½ Canyon Road, Santa Fe
to what might otherwise be simple autumnal
gourds. A clay tip inserted into the rim of the
largest squash pod, fired black, insinuates the
naughtiness of bare genitals. Near the squash
vessels, Moon Orchids wave their thin stalks in
shades of yellow, chartreuse, and purple, as
delicately animated as underwater sea creatures.
The artist has developed in her ceramics a
droll take layered onto serious overtones; the
contrast is quite pleasing. In the same room,
and above the Orchids, floats the wire armature
of Swimmer, narrow and long as a gar fish. Its
abstracted needle-like effect was spoiled,
I felt, by the too-literal figure of an outstretched
swimmer poised inside the armature. Naranjo
Morse is at her most effective when she allows
generalized forms to stand in for ideas of the
mysterious mundane. Uncovering the tiny
swimmer within the piece spoiled the effect of
its overall swooping lyricism.
In the next gallery, the artist’s imagination
is fully exposed to, and supported by, the
elements of recycled trash. Her County Road
series tends toward smaller, open-ended pieces
that strive to become architectural structures,
like tiny geodesic domes for birds. Fine as gems,
the directness of their wirework renders them
approachable. The bright yellow doll-sized hut,
My African Neighbor, made of clay with mixed
media, is a fine example of this type. Still, on
their own, the preceding pieces would be nice,
but hardly outstanding as a body of work. It is
the series of four tall, slim totemic forms, From
the Bottom Up, which affords the exhibition its
outstanding qualities. Satisfyingly tall and slender,
these painted wire and mixed-media works are
hung very effectively. Addison’s lighting prompts
a dialogue between each piece and its own
shadow, adding substance to the elusiveness of
art made from the flotsam of rubble. The four
sculptures are spiny and evanescent as the dried
husks of cholla in the arid, high desert. And they
are as solidly present as the clay pieces, seeming
like animated stills that depict the frozen
gyrations of a hoop dancer.
The last piece in the exhibition, Untitled,
began as a totem in the above series. As the
artist had become freer with her medium, the
long, thin shape folded into itself like a doughnut.
Here, we witness the artist’s confidence in
herself and in the artworks, with the happy
results translated into an uncamouflaged
generosity of spirit. This artist knows who she is
and where she comes from, and her art moves
out unshakably from this center.
—Kathryn M Davis
Nora Morse, From the Bottom Up 4 (detail),
mixed media and clay, 100” x 17” x 17”, 2012
 critical reflections

ISEA2012 Albuquerque: Machine Wilderness

Various Venues in New Mexico

This fall in the Southwest,

artists and scientists are working on their writer, filmmaker, and “outsider” librarian
sustainability, and more. For example,
as a participant in the panel discussion
Technotopia: The Colonization of the Body
mm, and 8 mm films and video, reminding
ISEA2012-goers that technology is not a
new idea. And during the ISEA2012 gala
relationships with technology and, in Rick Prelinger. He presented his in-process as the Ultimate Frontier, performance at the Anderson-Abruzzo Albuquerque
turn, using technology to examine their film about fossil fuels and the end of travel artist and educator Coco Fusco, joining International Balloon Museum, Miwa
relationships to the environment, culture, as we know it, created from appropriated a host of renowned researchers who Matreyek presented Myth and Infrastructure,
and more. From September 19 to 24, materials in the Prelinger Archive and challenged assumptions of border issues a live multimedia projected animated
with additional outreach days in Santa Prelinger Library. and the body, spoke eloquently and boldly performance that portrays her silhouette
Fe and Taos, Albuquerque’s 516 ARTS in Festival favorite invitees Fritz Haeg about the aestheticization of bodily harm, as an electronic shadow puppet, of sorts,
partnership with the Albuquerque Museum and Laurie Anderson each brought violence, and peer-to-peer abuse during moving lucidly through imagined cityscapes
of Art and History and the University a familiar warmth to the often cold, and after the Iraq war. Additionally, and fantastical environments, colorful
of New Mexico presented ISEA2012 alienating nature of technology. Haeg the panel for What We Learned: The experiences, and dynamic situations.
Albuquerque: Machine Wilderness, launching spoke in his signature informal and Changing Landscape of Curatorial Practices, Not all ISEA2012 conference
a season-long schedule of activities that endearing way about his garden project moderated by Albuquerque Museum of activities and related artworks were
features connections among art, science, Edible Estates and native animal housing Art and History Curator of Art Andrew groundbreaking or breathtaking.
technology, and the environment. initiative Animal Estates. It is debatable Connors, brought together SITE Santa But as artists and scientists navigate
Sandwiched between ISEA2011 in whether Haeg can be considered someone Fe Director Irene Hofmann and a roster the technological wilderness, a few
Istanbul and ISEA2013 in Sydney, ISEA2012 who intentionally works with technology; of arts professionals who discussed the necessary repetitions and less-than-
marked the first time in six years that the however, the ecological side of his art role of curating in a global art market, perfect experimental creations are to
symposium has been hosted in the United practice is so strongly rooted in elements with an underlying question of the cultural be expected. What ISEA2012 was able to
States. An advantage of ISEA taking place in a of design that his projects would not be relevance of exhibition-making. do was offer locals and visitors a specific
different location each year is that it adopts nearly as successful without it. Conversely, The conference was punctuated with reason to navigate the city with intention
the inherent characteristics of its host city, Anderson is a name synonymous with exhibitions and performances at multiple and purpose and to meet groups of people
highlighting local and regional interests. technology. During her conversation venues throughout Albuquerque, with with similar interests. Albuquerque can
Fittingly, the Albuquerque title theme, with CalArts Art & Technology Program many artists attempting to insert feeling, be proud to be counted amongst the ISEA
“Machine Wilderness,” is concerned with Director Tom Lesser, she brought a human materiality, and genuine communication cities that have hosted artists, scholars,
creative solutions for how technology and face and a gentle voice to the electronic where only electronic components seem and symposium attendees as they engage
the natural world can coexist in anticipation buzz around her lifetime of performance to now exist. A common thread running in creative solutions to global issues
of a positive, sustainable future. work. through the exhibitions was the inherent within specific regional contexts.
In order to make ISEA2012’s big Featured panel discussions took on physical nature of art-making, much of —Nancy Zastudil
ideas easier to absorb, the more than one the arduous task of addressing technology’s which is made possible through technology.
hundred artists and four hundred presenters role in politics, geography, information For example, Basement Films presented
were organized under themes, as well sharing, creative economies, extinction, an old school-style mash-up of 35 mm, 16 Miwa Matreyek, Myth and Infrastructure, multi-media
animated performance, 2010
as incorporated into the Latin American
Forum and the Education Program. Each
day, conference attendees were introduced
to varied ideas about how technology
functions in our daily lives. Presentations
addressed everything from seed sharing
to Twitter, while workshops and scholarly
papers engaged issues that have particular
relevance to New Mexico, such as water
conservation, land use, and education.
The most notable moments of
ISEA2012 were when technology was
shown to be inherently necessary in
order for a project or research to be
effective, not when it was separated out
as a novel attribute. For example, keynote
speaker Mark Hosler spoke about his
involvement with the culture-jamming
group Negativland to challenge issues of
art, ownership, and the law. The group
is considered a pioneer in the realm
of sampling, with their performances
reminding the public that media is available
for the taking and its purpose is up for
debate. Also harnessing the power of the
media in subversive ways was archivist,

november 2012 THE magazine | 47

Eddie Dominguez: Where Edges Meet
Lucy R. Lippard: You’ve said that the elements of your work were the landscape, the object, the domestic, pop culture, and the
environment. Landscape particularly interests me. How would you define it?
Eddie Dominguez: How would I define landscape? As a beautiful thing, something that’s nurturing, something that’s growing, something
that’s harsh, something that’s comforting. Nature has so many elements to work from….
—From the catalogue Where Edges Meet, “A Solstice Conversation,” Eddie Dominguez and Lucy R. Lippard, June 20, 2012
The retrospective of Eddie Dominguez
comes at a perfect time in the celebration
of New Mexico’s long cultural history
because the artist is a native son and his
career has been particularly successful
in New Mexico and nationally. Born
and raised in Tucumcari, Dominguez—
primarily known as a ceramic artist—has
been influenced by all things local, and yet
he has traveled a great deal and lived in
other parts of the country. He studied at
the Cleveland Institute of Art, followed
by graduate school at Alfred University;
he has taught in Montana, done countless
workshops all over the United States, and
now the artist divides his time between
life in Roswell and Lincoln, Nebraska,
where he is a professor in the Department
of Art and Art History. Dominguez’s
horizons have always been expanding,
but he is also an artist who has embraced
his roots, digging into early influences
for inspiration, and then transforming
memory into arrangements of form,
color, texture, and content that are
unique and stylistically recognizable as his
work. The artist’s vision has always been
distinctive and informed by his personal
history and his sensitive relationship to
the land—whether in the Southwest or
the Midwest.
Roswell Museum and Art Center
100 West 11th Street, Roswell
one’s visions into an ongoing and coherent
body of work, the possibility of inner
weather and uneven terrain brings with it
both excitement and a sense of reservation,
even ambiguity.
In the piece Rain Cloud, the artist
rendered himself as a life-giving storm
cloud that connects both heaven and the
Years ago, when I first saw a ceramic way of anchoring his own history and the
land below. Dominguez takes on the guise
of an all-seeing deity, but I don’t mean to
suggest that he appears as a persona with
piece by Dominguez, I was struck by the landscapes that reside both inside his head and an inflated sense of importance. In this
work’s visual exuberance and its unique outside his window. work, Dominguez radiates both pain and
presentation of landscape, similar to One of the most stunning of Dominguez’s resignation and perhaps an admission of time
Landscape Vase. The work was like a painting pieces in this retrospective is his suite of passing, and his inner landscape is watered,
that came to life in high relief—with its eight large plates called Landscape Platters. In cultivated, weeded, and harvested in an
textured surface, made from cut marks in this work, the artist has painted landscapes ongoing, cyclic engagement with life and
thick slabs of clay and then glazed in saturated of New Mexico and Nebraska. Using his the artistic process. But no matter how
colors that carried the hint of cultural signifiers signature richly hued palette, Dominguez much free play the artist allows himself as
with them. Dominguez’s ceramics have been depicts atmospheric skies and expanses of he branches out into new technologies and
called unorthodox, but perhaps what this Midwestern and Southwestern grasslands, and performance art, Dominguez always seems
means is that in the art world in which he roads that lead to and from home. The artist’s to find a way to bring everything back down
came of age, he didn’t hesitate to reveal an first love of painting comes full circle in these to earth.
unabashed joy in the making of art; in its way, poignant vistas that symbolize an individual —Diane Armitage
the artist’s work probably seemed at odds who lives in two places at once. However,
with the milieu of a prevalent and dour sense there is a more somber, reflective quality in
Left: Eddie Dominguez, Rain Cloud, ceramic,
of minimalism. Dominguez’s exuberance is this series—a feeling of longing for something 21¾” x 21¾” x 3”, 2009
seductive and giving, his embrace of color and that the sky or the land can’t quite provide.
Right: Eddie Dominguez, Landscape Vase, ceramic,
texture is expressive and stimulating, and yet Or maybe it’s the realization that maturity 24” x 18” x 8”, 1987
the artist can also pare down his elements brings with it a deepening
and create an almost medicinal quality as in sense of responsibility.
the work Desert Rose. This is a more formal In this quest
piece, soothing to look at and devoid of to translate
attempts to heat up an interior environment
by radiating intense color. Instead, the artist
pulls the viewer into a sublimated world of
white against white, shadow against shadow,
and the overall mysterious effect more than
equals the sum of its parts.
Desert Rose is a seven-foot-high white
cabinet full of plates, cups, pitchers, and bowls
that, while a paragon of domestic symbolism,
is also an homage to Louise Nevelson,
whose work Dominguez admires. In
the same way that Nevelson would
unify her disparate pieces of wood
by the application of a single color,
Dominguez does the same with
his use of white. The subtle art-
world reference is bracketed
by the artist’s equally subtle
sense of humor as he brings
together personal influences
and sets them in the context
of domesticity; by inference,
Dominguez is suggesting what it
means for a contemporary artist to
be at home with himself. Herein lies the
artist’s strong sense of place and his stylized

Christopher Felver: The Importance
We have such a hard time determining why
we’re here on the planet. Speaking here not
so much of the cosmic why of why does the
universe exist with us in it, but more toward
finding an answer to “Why are we here?” in
the sense of what are we really supposed to
be doing with our time? It seems that if we
had that answer, then pursuing it would give
life more meaning. What is being for, what are
you supposed to be doing with it? What is the
“importance of being?” What is our raison d’être?
Recent discoveries in astro- and
metaphysics have made it abundantly clear
that getting an answer to the ultimate why
of the existence of everything is not really
an achievable task. The resultant bounce
back from this wall of impossibility is
toward human-scale meanings, and in this
sense all human knowledge and intellectual
constructs qualify as being derived from
a melding of purely human subjectivities;
subjectivities that are both collective and
highly individualized yet participate in the
cooperative thinking, painting, sculpting,
writing, acting, dreaming, singing, playing,
discovering, and polemicizing that is culture.
You can get all academic about it and
discuss art in erudite terms as a “site for
november 2012
of Being
cultural meaning,” or you can shave your
beard and remove your reading glasses and
just face the real reason we’re here—that the
common element in all our cultural activities
is, quite simply, human connection. Ipso
facto, your purpose in life is to be human, to
have a body bound to this particular planet
and to do those most important of human
things—to cooperate, communicate, and
connect. “People who need people” and all
that, like the song says.
Christopher Felver’s photographic
portraits of contemporary poets,
priestesses, painters, and thinkers put
the emphasis right where it belongs,
though Barbra Streisand doesn’t make
an appearance. Felver’s greatest ability
is to put his famous sitters at ease, even
to capture some quintessential aspect of
each unique individual’s character. Anjelica
Huston is stately and regal, with just a
glimpse of good humor and sensuality in
the curling corners of her mouth. Hunter
S. Thompson looks as sublimely paranoid
as ever in his aviator glasses, while Gerhard
Richter maintains the Teutonic distance and
reserve that typifies his best work. Felver’s
critical reflections
435 South Guadalupe Street, Santa Fe
first cultural heroes were the Beats, and
Felver’s images of Gregory Corso and
Allen Ginsberg are both outstanding.
In fact, as far as portraiture goes, and the
requirements of presence it imposes,
Felver is masterful. The shots themselves
are clean, cropped, and composed for the
most part. Nearly every sitter looks directly
into the eyes of the viewer. Face to face,
human to human, there is a primordial
power in Felver’s pictures of people.
And when they are people who have
achieved the iconic status of celebrity, our
voyeurism kicks in. Is that what she really
looked like? Is his head really so round?
What made Roy Lichtenstein smile so
broadly at the photographer?
Jasper Johns, John Chamberlain,
Helen Frankenthaler, John Updike, Noam
Chomsky, Joan Mitchell, Yayoi Kusama,
Georg Baselitz, Richard Serra…the list goes
on and on. Some key players are MIA, but
for the most part this exhibition reads as
a current Who’s Who in the realms of art,
poetry, and philosophy. This is the current
intelligentsia on pictorial parade. Larry Rivers
becomes a collage element in one of his
Above: Robert Rauschenberg
Left: Louise Nevelson
 Zane Bennett Contemporary Art
own paintings. Johns is slightly turned away,
demonstrating the elusive reclusiveness that
is his hallmark. The pleasure of seeing your
favorites depicted exactly as they ought to be
is matched by the surprises. Louise Nevelson
always worked the dramatic eye shadow,
but who knew she could look so much like
a tragic, homeless gypsy? The Rauschenberg
shot looks strikingly sanitized, like an over-
produced Hollywood headshot. Where is
Rauschenberg drunk and disorderly like we
like him? Still and all, Felver has a remarkable
gift for the poetry of portrait making.
The only solid criticism of this show is
that the quality of the prints themselves seems
to be somewhat compromised. These are all
old-school, made-in-the-darkroom gelatin
silver prints, and as such they really ought to be
displayed in frames, under glass. I’m not sure
if the print quality is not great to begin with or
if exposure to light and air has caused them
to fade somewhat. Truly white whites and
deep, rich blacks are hard to find in this body
of work, which despite this one technical
concern is quite extraordinary, just like the
individuals depicted, all of whom along with
Christopher Felver have found and forged
incredible human connections.
—Jon Carver
THE magazine | 49
jennifer esperanza
photography
505 204 5729
new mexico
california
 GREEN PLANET

Jim
Hightower:
National radio commentator, writer, public speaker,
and author of Swim Against the Current: Even a Dead
Fish Can Go with the Flow.
LO CA L I Z E  
Pass your own local and state laws
to stop the wholesale corporate
purchase of our government. 
These include outlawing any
corporate claim of personhood
in your area, providing the
alternative of public financing for
your local and state elections, and
banning campaign donations
by corporations that try to
get government contracts and
subsidies. 

Remember, the Constitution

plainly says “We the People,”
not “We the Corporations.”

jimhightower.com
PublicCampaign.org  
ReclaimDemocracy.org

photographed in
santa fe, new mexico

by Jennifer Esperanza

november 2012 THE magazine | 51

 With these hands. . . I will build you
picture frames & furniture of uncommon value.

Randolph Laub Studio

2906 San Isidro Ct
505 473-3585

MARK Z. MIGDALSKI, D.D.S.

GENERAL AND COSMETIC DENTISTRY
“DEDICATED TO PREVENTION,
SERVICE & EXCELLENCE”

In our December/January Double issue:

BEST BOOKS 2012

BEST BOOKS 2012
BEST BOOKS 2012
Advertising Reservations: Thursday, November 16
Camera-Ready Art Due: Monday, November 19
All Calendar Listings: Wednesday, November 14

Reserve
Your Space
Now!

Lindy Madley: 505.577.4471

Judy Bell: 505.819.9357
THE magazine: 505.424-7641

themagazineonline.com
 A R C H I T E C T U R A L D E TA I L S

On the Wire
image by Guy Cross
november 2012 THE magazine | 53
WRITINGs

HOW TO APPRECIATE ART

by E rik C ampbell

Firstly, find the most beautiful

Person in the room, choose
Based on how their face
Translates when they see
A certain painting.

Secondly, follow them

From room to room, mindful
Of what they pause for,
Where they find awe.

Do this enough times

That someone can follow you,
Until everyone’s a spy
With a sublime agenda

Roving about the gallery.

Erik Campbell’s poems and essays have appeared in The Iowa Review, Tin House, The Virginia Quarterly Review, Gulf Coast, and Rattle, among other journals.
“How to Appreciate Art” is from Arguments for Stillness (Curbstone Press, $13.95).

54 | THE magazine november 2012

 Santa Fe art auction
The Southwest’s Classic Western Art Auction House Since 1994

Live auction | noveMBer 17, 2012 | 1:30pM MSt

Santa Fe Convention Center | Previews: November 16th from 5pm - 8pm & November 17th from 9am - 1pm
view HigHLigHtS & regiSter onLine at SantaFeartauction.coM

Presented by Gerald Peters Gallery ©

Santa Fe Art Auction | P.O. Box 2437, Santa Fe, NM, 87504-2437
Tel 505 954-5858 | Fax 505 954-5785 | curator@santafeartauction.com
PleASe viSiT Santafeartauction.com FOr MOre iNFOrMATiON
Clockwise from Top Left: Charles M. Russell (1864-1926) INDIANS ON HORSEBACK, 1894, watercolor, 16 7/8 x 22 5/8 inches
G. Harvey (b.1933), WINTER HAZE, 1982, oil on canvas, 24 1/8 x 30 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
Howard Terpning, ADVANCE OF THE LONG KNIVES, 1980, oil on canvas, 30 x 46 inches
© 2012 courtesy, Santa Fe Art Auction
 Andre w Beckham
“The Lost Christmas Gif t” Images and Artifacts
In conjunction wit h the national release of the acclaimed s torybook
creat ed, written and illus tr ated by Andre w Beckham

Andrew Beckham, The Tree, 2012, m/m print, 16 X 19

“The Los t Chris tmas Gif t”
published by Prince ton
Archit ectur al Press, 2012

Nov ember 23 - December 29, 2012

Opening Recep tion: Saturday, Nov ember 24, 5-7 pm

Holiday Group Show

Rebecca Bluestone, Diptych #1, 2010, Silk, 50 x 37

Jay Tracy, Blast #38, 2012, m/m on panel, 23 x 24

c h i a r o s c u r o
702 1/2 & 708 CANYON RD AT GYPSY ALLEY, SANTA FE, NM 505-992-0711

w w w . c h i a r o s c u r o s a n ta f e . c o m