News & Market – Art & Antiques Magazine For Collectors of the Fine and Decorative Arts Tue, 05 Feb 2019 18:04:04 +0000 en-US hourly 1 News & Market – Art & Antiques Magazine 32 32 South by Southwest Tue, 10 Jul 2018 01:10:44 +0000 Continue reading ]]> This summer, Santa Fe beckons collectors of virtually every kind of art, from ancient American to international contemporary.

Robert Koch, Three Spheres, 2018

Robert Koch, Three Spheres, 2018, mild steel, 32 in. diameter each

Featured Images:(Click to Enlarge) John Yoyogi Fortes, Hell2pay Maynard Dixon, The Palominos, 1941. Walt Gonske, Samovar with Roses, 2012 Robert Koch, Three Spheres, 2018 Dan Ostermiller, Melba; Peter Sarkisian, Registered Driver Flat Series: RED 1963 Ford Pick-Up

There’s no place like Santa Fe, N.M. It’s been a haven for artists and art lovers for a century, and it shows no signs of slowing down. In summer, the Santa Fe scene fills with gallery shows, museum exhibitions, and events that draw tens of thousands of visitors. Here’s an overview of what 2018 will bring.

In addition to being a major art market (the third largest in the U.S., in fact), Santa Fe boasts a museum scene of great depth and vitality. Kicking off the summer exhibition season, “GenNext: Future So Bright” opened on May 5 at the Museum of Spanish Colonial Art (750 Camino Lejo) and continues through November 25. It features 50 works by 20 contemporary artists who have found fresh ways to explore historic art forms. Several of the artists have appeared at past editions of the Traditional Spanish Market, which is run by the Spanish Colonial Arts Society, operator of the museum. Works on view include Patrick McGrath Muñiz’s Holy Combo I, which depicts Christopher Columbus and the Burger King, both shirtless and feasting on fast food.

This summer, the Georgia O’Keeffe Museum (217 Johnson St.) will be mounting the latest exhibition in its “Contemporary Voices” series, “The Black Place: Georgia O’Keeffe and Michael Namingha” (on view through October 28.) Namingha was born into a local artistic family with Hopi and Tewa ancestry and earned a graduate degree from Parsons School of Design in New York. The show examines how the two artists each explored the Black Place, a rugged, forbidding spot about three hours west of Santa Fe. O’Keeffe, who visited the area about a dozen times between 1936 and 1949, had to camp overnight in order to have enough time to capture the Mars-like, nearly colorless landscape. In 2017, Namingha had an easier time getting to the Black Place, which remains pretty much as it was in O’Keeffe’s day, but he had to pass multiple natural gas and oil extraction outposts along the way. Instead of a paintbrush, he brought a drone camera and transformed his images by printing them onto metallic sheets, mounting them on Plexiglas, and shaping and polishing them.

The museum is proud to display a new O’Keeffe acquisition, a 1931 oil on wood painting titled Kachina. The artist made the image of a katsina (kachina) doll relatively early in what would become a long relationship with New Mexico. When she painted it, white people had little awareness of the religious significance that the Hopi and Pueblo communities placed on katsinam. While the Georgia O’Keeffe Museum presents Kachina as an O’Keeffe painting, and while the doll it depicts appears to have been created for the tourist trade and not as a sacred object, the institution is taking care with its presentation. “It does demonstrate her interest and curiosity about the region. We’re walking a line in understanding the object as a Georgia O’Keeffe and portraying objects that are culturally sensitive,” says Cody Hartley, Senior Director of Collections and Interpretation. The work will likely stay on view until October, at least.

On May 29, the O’Keeffe Museum hired Ariel Plotek as its new Curator of Fine Art. Most recently, Plotek was Curator of Modern and Contemporary Art at the San Diego Museum of Art. Also in May, the museum debuted its new Welcome Center in Abiquiú, N.M., about a four-minute bus ride from the artist’s home and studio. The 4,000-square-foot facility offers a retail store, a video room for screening movies about O’Keeffe, a classroom that seats 28, and a reading area. The center will be open seven days a week, even when the O’Keeffe home and studio is not. “We thought Georgia O’Keeffe deserved better, and Abiquiú deserved better,” says Hartley. “The facility welcomes folks to the museum, and it even welcomes people who might be passing through and want to know more.”

The multifaceted arts institution SITE Santa Fe (1606 Paseo de Peralta) starts its summer with “Michael Rakowitz: Ongoing” (through August 18). The show, mounted in SITElab 10, comprises five works, but several of them contain multiple individual pieces. Among the most striking is The Invisible Enemy Should Not Exist, a project that began in 2007. For the Invisible Enemy project, Rakowitz, an Iraqi-American artist, creates full-scale replicas of objects and artifacts that were once part of the Iraqi National Museum. After the U.S. invasion of 2003, more than 7,000 pieces left the museum. Some were stolen, some were destroyed, and some were lost. With the help of assistants, Rakowitz creates the replicas from recyclable materials that include Arabic newspapers and regional food packages. He’s finished 850 to date; about 30 will appear at SITE Santa Fe. Rakowitz gives The Invisible Enemy Should Not Exist’s dates as “2007–Ongoing” in recognition of the fact that he will probably go to his grave without refashioning everything that was lost. Also on view is May the Obdurate Foe Not Stay in Good Health, a similar ongoing project that he started in 2016 that reconstructs objects looted or destroyed in the current Syrian civil war.

“SITElines.2018: Casa tomada,” the institution’s biennial, debuts on August 3 and continues through January 6, 2019. It takes its inspiration in part from Casa tomada, a 1946 short story by Argentine writer Julio Cortázar, in which a pair of siblings are gradually but decisively ousted from their ancestral home by a mysterious force. (The name of the story translates as “house taken over.”) Irene Hofmann, Phillips director and chief curator at SITE Santa Fe, explains that the Cortázar tale “has the feeling of a horror story but serves as a broader metaphor for many of the ideas curators address in the exhibition—ownership of history, ownership of land, ownership of culture… it’s turning into a timely show, with many complexities in it.” One of the more literal takes on the theme comes from two Venezuela-born artists, Ángela Bonadies and Juan José Olavarría. Their photographic project La Torre de David (David’s Tower) captures scenes of squatters in Caracas, Venezuela, who have commandeered an unfinished high-rise tower that was intended to be a bank. “SITElines.2018: Casa tomada” is co-curated by José Luis Blondet, curator of special projects at LACMA; Candice Hopkins, an independent curator based in Albuquerque; and Ruba Katrib, a curator at MoMA PS1 in New York.

“Frederick Hammersley: To Paint Without Thinking” is on view at the New Mexico Museum of Art (107 West Palace Ave.) through September 9. It’s an ironically-named show in that it provides ample evidence that Hammersley, who lived in New Mexico for more than four decades, thought a great deal before he picked up his brush. Hammersley would first plot his artistic compositions in notebooks, “working out postage stamp-size geometric abstract patterns, moving the color around until he got something he liked,” says James Glisson, a creator of the Hammersley show. The late artist also recorded an astonishing amount of information about his process in his “painting books,” from the date that he stretched a canvas to the date he applied the finishing touches. “There was a real interest on his part with channeling and shaping his creative process with rules,” says Glisson. “What this exhibit does is pair paintings with sketchbooks deposited at the Getty Research Institute.”

Included in the exhibition are nine computer drawings that Hammersley did in the late 1960s. Glisson cannot definitively say that Hammersley was the first digital artist, but he was certainly one of the first. It was a lot more difficult to do digital art then (Hammersley had to use punch cards), and his artistic choices were severely limited. He could make a few basic shapes, and use all the letters of the alphabet and some punctuation, and that’s all. “Within these constraints, I think Hammersley was able to create some beautiful images,” Glisson says. Also on view at the New Mexico Museum of Art is “Patrick Nagatani: Invented Realities” (through September 9). Nagatani, who died last year, was a proponent of what is called the directorial style of photography, which acknowledges the artificial aspect of photographs.

The Center for Contemporary Arts (1050 Old Pecos Trail), which calls itself “an arts and culture hub for northern New Mexico’s diverse communities,” opened “Ricardo Mazal: A 15 Year Survey” on June 15, and it will remain on view through September 23. The Mexican abstract painter and multimedia artist tackles big ideas—life, death, transformation, and the natural world. The first work that visitors encounter on entering the exhibition is Bhutan Abstracto (Bhutan Abstractions), a work comprising paintings, photographs, and a video installation that draws inspiration from the prayer flags of Bhutan. Visitors can write down prayers and dreams on iPads and watch them become part of the show. Another series of abstract works from 2016, Noche Transfigurada (Night Transfigured), is based on photographs of branches taken at night. Having used the color violet in his work for the first time with that series, Mazal was moved to launch another series that showcases and explores the hue. He will debut five large-scale new Violeta (Violet) works in the CCA show.

As always, the gallery scene in Santa Fe will be very lively and diverse this summer. The exhibition “Beginnings II,” which opened on May 11 and continues through August 10 at OTA Contemporary (located at 203 Canyon Road), started on the internet, in a way. Kiyomi Baird, the gallery’s founder and an artist herself, came across sculptor Robert Koch (pronounced Cook) online. “He hadn’t sent a submission. I searched the web. I wanted something that works well with my work,” she says. “It just resonated with me when I saw it. It was really fitting.”

“Beginnings II” pairs about 30 of Baird’s canvases, monotypes, and digital works with a dozen of Koch’s steel and bronze sculptures. The show occupies a significant portion of the gallery’s 3,000 square feet of internal space and spills into its outdoor sculpture court. Koch’s spheres play nicely off Baird’s pieces, which celebrate the circle and its symbolism. “In this show, I try to work with peace and calm—the opposite of what’s going on in the world today,” Baird says.

On May 26, a retrospective of work by sculptor Dan Ostermiller, an artist on the roster of Nedra Matteucci Galleries, opened at the Santa Fe Botanical Garden (SFBG). “Gardens Gone Wild!” which continues through May 11, 2019, features more than 20 of Ostermiller’s bronzes arranged across two and a half acres. Nine months in the making, it builds on shows staged in Kansas City, Mo., in 2014 and Omaha, Neb., in 2015, and contains sculptures created between 1988 and 2016. Dustin Belyeu of Matteucci Galleries and Clayton Bass of SFBG co-curated the show. “The process was fairly easy and pieces really just fell into place,” Belyeu says. One placement that he is particularly happy with is American Gold, a 12-foot bronze from 1988 that depicts a soaring eagle. “It’s placed at a high point in the back of the garden,” he says. “It looks like it is flying right out of the Sangre de Cristo mountains.”

At its gallery location at 1075 Paseo de Peralta, Nedra Matteucci presents “The Art of Walt Gonske: A Retrospective” (through July 21). It’s the gallery’s third one-man show for the painter, 76, who selected the works from his personal collection. The exhibition spans four decades and includes the 2012 oil-on-linen Samovar with Roses. “This painting, a classic floral still life infused with Walt’s unique awareness and expression of color and form, is painted with a keenly developed eye for composition and the skilled technique of experience that is still exploring,” Belyeu says. “It’s a classic that still bursts with creativity.”

Gallery FRITZ (540 South Guadalupe St.), a new, 5,000-square-foot gallery in the Railyard district, started its season on June 8 with a group show simply titled “Grand Opening” (through July 6). It will feature more than 100 works by 15 artists, working in media that range from steel to acrylic paint to felted wool. Participants include Karen Hampton, an African-American textile artist, mixed media artist John Yoyogi Fortes, and gouache painter Jordan West. The show also features Gary Goldberg, who created a series of works that transforms photographs of architecture in Oaxaca City, Mexico, into textiles, and it showcases watercolorist Victoria Carlson, who has created depictions of quirky real people and real landmarks in images that look plausible, but which never happened.

Gallery 901 (555 Canyon Road) hosts “Celebration of the Season,” a show of around a dozen works by Debbie Gold, from June 8–11. Gallery owner Sherry Ikeda is a friend of Gold’s and a collector of her paintings. “She’s constantly evolving,” she says. “I’ve been able to watch her shift. These [the canvases in the show] have a softer quality than earlier works, which had heavier impasto.” A major goal of “Celebration of the Season” is raising funds for ARTsmart, a 25-year-old nonprofit that provides visual arts programs, art supplies, and scholarships to more than 9,000 students annually in northern New Mexico. A percentage of all sales will go to the organization.

“Color Them Wonderful” will take place from October 19–November 9, and will showcase 8 to 10 pieces by R. John Ichter, who works in pastels and acrylics and likes to concoct images of imaginary forests. “There’s a mystical, whimsical feeling in his art,” says Ikeda. “Not abstract, and not realism. It’s in a dream kind of state.” “Moving Into Stillness,” which will have the same dates as “Color Them Wonderful,” will focus on artist Cynthia Reid. Horizons have captured her interest of late. The show will contain 8 to 10 of her oils on canvas. A former oncologist, Reid retired from medicine to return to painting, a pursuit she first took up as a child. Ikeda is also planning a to-be-named October show of roughly 15 oils on canvas by Spanish painter Giner Bueno, an artist in his 80s who depicts scenes of everyday life in Valencia, Spain.

Among the exhibitions at Gerald Peters Gallery (1005 Paseo de Peralta) this summer is “Cross Currents: Peregrine O’Gormley, Penelope Gottlieb, James Prosek” (June 15–July 14). Why put these three artists together? Director of Naturalism Maria Hajic explains, “All deal with the natural world, coming from different angles.” Each artist is contributing six works. Prosek is offering Sockeye Salmon, a piece that will delight his longtime fans. “He’s a darling among fly fishermen. In that community, he’s kind of like a god,” says Hajic.

Charlotte Jackson Fine Art (554 S. Guadalupe St.) bounds into summer with “Color Bites: A Group Exhibition,” which runs from June 29–July 29. It features 15 artists and between 20 and 25 works, all in primary colors. Joining the show as a guest artist is Peter Sarkisian, whose Registered Driver Flat Series: RED 1963 Ford Pick-Up, Large Version (2009) resembles an old-fashioned red pickup truck. “When you walk up to the piece, you see someone driving the truck, and it’s Peter,” Charlotte Jackson says, explaining that a video of Sarkisian is mounted inside the truck’s passenger side window so that he appears to be driving. “On the wall, it’s fabulous. I borrowed it for an art fair in February and crowds were standing in front of it.”

Jackson will follow “Color “ with “Heiner Thiel and Michael Post: The Colorful Side of Things,” which will take place from August 3–September 3. The gallerist has paired the two German artists, who tend to sculpt colorful shapes in metal, three times in the past. “I put them together because they’re best friends,” she says, adding, “we always sell their shows out.” She anticipates showing 30 works in all, with equal numbers from each artist. At the very end of the summer the gallery will present “John Beech: Outside the Drift” (September 7–October 7). Among the 20 works on view will be a so-called “floor piece” sculpture dubbed Utile #5, which is mounted on casters and stands more than 100 inches tall. Jackson says Beech’s floor pieces “are very irreverent, not meticulously painted and made.”

Through July 22, TAI Modern (1601 Paseo de Peralta) is presenting “Three Generations of Wada Waichisai,” which unites 16 bamboo works by the Japanese father, son, and grandson, whose careers spanned the 19th and 20th centuries in Osaka, where modern bamboo art sprang into being. “Wada Waichisai I is known, but appreciated for having students who founded substantial lineages of their own,” says Margo Thoma, director of the gallery. “The second and third were well-regarded in their time but are almost forgotten about today. We wanted to shine a light on their work.”

The gallery has also planned shows for two contemporary Japanese bamboo artists. “Honma Hideaki” will be held from July 27–August 25, and “Morigami Jin” takes place from August 31 through September 23. “Honma Hideaki” is the gallery’s first solo show with the artist, whom it has represented since the early 2000s. “It’s an important show for him. He wanted to have it to mark 30 years as an artist,” Thoma says, adding that Flowing Pattern, a large sculpture from 2016, is “immediately recognizable as a Honma Hideaki work. He uses a certain type of bamboo that grows on the island where he is from. Many of the shapes in his work seem to reference the ocean in some way.”

Morigami Jin weaves his mesmerizing bamboo works entirely freehand, with no help from computers. “His works tend to have a light, almost airy quality,” Thoma says. “No armatures are used. With Galaxy II [a 2014 sculpture in the exhibition], he probably started with the cylinder in the center and formed the shape around that.”

Around July 18 —the local holiday known as Raymond Jonson Day—Addison Rowe Gallery (229 E. Marcy St.) will open “Raymond Jonson & Ed Garman: Abstraction in the Southwest” (through August 31). It will contain about 30 works, primarily from Jonson and Garman, but a few from their compatriots, as well. While the two men overlapped at the University of New Mexico in the 1930s, Jonson as a teacher and Garman as a student, they were always peers. Both artists remained interested in abstraction throughout their careers. As gallerist Matthew Rowe explains it, “There are a lot more patterns and repetitions in Garman’s work. Jonson is more asymmetrical. His lines cut across the canvas in unexpected ways.” Rowe hopes that the show will clarify and distinguish the contributions of Garman, who sometimes found himself in Jonson’s shadow. “They’re two guys standing next to each other rather than leaning on each other,” he says. “This exhibition gives us the opportunity to really show the contrasts, visually showing the difference between the artists and what was unique about them.”

“Refined Design, Aesthetics, and Details in Plains Art” opens at Morning Star Gallery (513 Canyon Road) on August 8 and continues through September 3. It represents a departure of sorts for the gallery. Instead of focusing on a group of similar objects or pieces from a specific tribal community or time period, “Refined Design” revels in the beauty and the details of each piece. It features about 35 objects created by unknown craftswomen from Plains tribes between 1850 and 1880. “Often, when I look at an object and present an object to a client, or we discuss an object, we talk about the little details that make a big difference,” says Henry Monahan, director of the gallery. “The small details are what I focus on when I look at something. Why not share that with everybody else?”

The show includes an Upper Missouri matching knife case and belt pouch set from the 1860s that boasts two different types of quillwork—plaited and wrapped—which Monahan says represents “a lot of work, and a lot of painstaking work at that” and is among the best he’s ever seen of its type. It also has a circa-1870 Lakota toiletry bag, used to carry a mirror, which is beaded with a striking four-color checkerboard design. “This is one of my favorite pieces of beadwork of all time,” Monahan says. “It’s like contemporary art, in a way. The powerful graphic of the bag is mesmerizing.”

And it contains several Southern Plains strike-a-light bags, or bags that would have held devices that are the ancestors of the Zippo lighter. Every Plains woman would have worn one on a belt around her waist. Decorated with buttons, tin cones, beading, and fringe, the strike-a-light bags, which date from circa 1875–80, become even more interesting when you realize that women made them for themselves or other women to wear, and not to provide status symbols for their husbands. “There’s a lot of pride in the manufacture of these things,” Monahan says. “They wouldn’t want a sloppy article. They’d want it to look good.”

Monroe Gallery (112 Don Gaspar Avenue) has a 50-print retrospective of the work of the late photographer Bill Eppridge up through September 16. Eppridge captured some of the most gripping events of the 20th century, including the Beatles’ 1964 arrival in New York City and the presidential campaign of Senator Robert F. Kennedy, which he covered for Life magazine. It was Eppridge who took the June 1968 photograph of the fatally wounded Kennedy lying on the floor of the Ambassador Hotel’s kitchen as a busboy, Juan Romero, cradles the candidate’s head. Kennedy was the last politician Eppridge chose to cover. “I could never find another Bobby,” he explained. Eppridge died in 2013 at the age of 75.

The 2018 edition of Art Santa Fe takes place from July 12–15 at the Santa Fe Community Convention Center (201 W. Marcy St.). At least 50 exhibitors will participate, including Contemporary Art Projects (CAP) of Miami, Fla., which will showcase the work of Ricardo Cárdenas. The Mexican artist left a career as a construction engineer for art, but not completely; he makes building materials his medium, and he made some of his more recent works from the rubble of earthquakes that hit his country. “When we first saw his work three years ago at Art Santa Fe, CAP had just picked him up at that point. He’s really developed since then,” says Linda Mariano, managing director of marketing for the Redwood Media Group, which stages Art Santa Fe. “He was at Red Dot Miami in December and all his works sold out. He’s definitely in demand.”

Mia Feroleto and New Observations Magazine of Manhattan will make their Art Santa Fe debut with a display centered around industrial hemp art, and it promises to be memorable. One of the artists who has confirmed that he will conduct demonstrations, Terrence Boyd, creates embroidered hemp paper works with a bow and arrow. “He threads a specially constructed arrow, fires it at the stretched material, and brings it back again and again,” Mariano says. “I’ve not heard of anybody who does anything quite like this. You could call it, at least, innovative.”

Other galleries that will appear include Sammoun Fine Art of Quebec, Canada, which will show post-Impressionist canvases by Samir Sammoun, and Gallery Edel of Osaka, Japan, which will offer works by the legendary Japanese contemporary artist Yayoi Kusama. New for 2018 is the [SOLO] Project, a selection of 18 independent exhibitors chosen by the show’s internal curation team.

The 15th annual edition of the International Folk Art Market is scheduled for July 13–15 at Museum Hill in Santa Fe. Billing itself as the world’s largest folk art festival, it will feature more than 160 masters from more than 50 countries. Among them will be Porfirio Gutiérrez, an expert weaver from Mexico who favors natural dyes and sustainably sourced materials. Last year, dyestuffs from his family were added to the Forbes Pigment Collection at Harvard Art Museums in Cambridge, Mass.

Another great Santa Fe summer tradition, the Traditional Spanish Market, returns to Santa Fe Plaza on July 28–29. About 250 woodcarvers, potters, weavers, jewelry- and furniture-makers, tinworkers, ironworkers, and other masters from New Mexico and southern Colorado will participate. On July 27, El Museo Cultural de Santa Fe (555 Camino de la Familia) will host the Market Preview, where the award-winning artwork for 2018 will be revealed. Market artists will also attend the preview. This year marks the 67th edition of the event.

The Objects of Art Santa Fe show takes place at El Museo Cultural de Santa Fe (555 Camino de la Familia) from August 10–12, with a gala benefiting New Mexico PBS on August 9. More than 70 exhibitors will appear, as well as two special exhibitions, one devoted to George and Mira Nakashima and the other to Maynard Dixon.

“An Exhibition of George and Mira Nakashima Furniture” will feature 25 to 30 works, about half by Mira and half by her late father, George. All will be for sale, according to Objects of Art Santa Fe show co-producer John Morris. Furnishings on display will include an extraordinary Tsuitate sofa, which has a backboard made from a plank of Oregon maple root. Mira, who took over the Nakashima studio following George’s death in 1990, designed the sofa in 2013. She explains that tsuitate is a Japanese word that translates to “standing piece” and denotes something used to divide a space within a Japanese home.

“Maynard Dixon’s New Mexico Centennial” takes place 100 years after the artist’s work was first shown in the state. It will feature at least 75 pieces, some of which will be for sale. Works include The Palominos, a magnificent 1941 study for the last mural Dixon ever did, which is in a post office in greater Los Angeles. “We put together two great artists who never actually met each other, but who are very similar,” says Morris. “George and Mira’s furniture and Maynard’s paintings will go very well together. They’ll fit amazingly.”

Shortly after Objects of Art Santa Fe finishes, the 2018 edition of the Antique American Indian Art Show will open in the same venue, El Museo Cultural de Santa Fe. The opening gala, set for August 14, also benefits New Mexico PBS, and the show itself is scheduled for August 15–17. More than 65 dealers and galleries specializing in art and artifacts by Native Americans will appear at the five-year-old show.

Its special exhibition, “Germantown Weaving: First Modern Art—1870–1900, contains about 20 exceptional Navajo textiles, all of which are for sale. Co-producer Kim Martindale says he has been assembling the display for about 10 years. Germantown weavings represent a happy collaboration between east and west. Around 1870, trading posts offered the best Navajo weavers dyed yarn imported from America’s East Coast. The material provided the weavers with a broad new color palette, and they seized it with the excitement of a child given a huge new box of crayons—except they had the talent and the discipline to make the most of it. “It was an explosion of self-expression by the Navajo weavers,” Martindale says. “All of a sudden, they had every color in the rainbow.”

The weavers, all of whom were women, integrated new colors into traditional patterns and invented other geometric patterns that caught the eye and held it. “This is the time period when the Impressionists were painting. They were not playing with geometry the same way, with colors the same way,” Martindale says. “When the Navajo got these colorful yarns, they started doing all this stuff. It’s incredible what they were making in 1870.” The white consumers who bought the textiles may not have held them in the same regard as the art of the day, but it’s clear that they realized they were special. “I very rarely see pictures of early Germantown weavings on the floor. They’re usually used as wall hangings,” Martindale says. “They had a certain status from the very beginning.”

On August 11, the Santa Fe Art Auction will conduct an online-only sale on its Bidsquare platform. The online auctions, which began last year, focus on lots with estimates of $10,000 and under and are themed. The August auction, which closes on August 26, is devoted to Western decorative arts and objects. It will contain at least 150 lots of furnishings, textiles, works on paper, paintings, and pottery, including Cochiti Pueblo Storyteller with 11 Children, a circa-1973 ceramic figurine by the late Helen Cordero and estimated at $5,000–7,000.

The annual live Santa Fe Art Auction will be held November 10 at 1011 Paseo de Peralta. Among the 250-or-so lots is Taos Maiden, an oil on board by E. Martin Hennings, estimated at $80,000–120,000. The auction marks its public debut; Hennings painted it as a wedding gift for his daughter, and it has remained in the family ever since. The auction will also include paintings by Clark Hulings, Richard Schmid, and Henry C. Balink, as well as a stone sculpture by Allan Houser.

The 97th annual Santa Fe Summer Indian Market, presented by the Southwestern Association for Indian Arts, will be held August 18–19 in and around Santa Fe Plaza. Almost a thousand North American native artists will appear, and roughly 120,000 visitors are expected. The artists include Hubert Candelario, a San Felipe Pueblo member who makes modern-looking ceramic works; Michael Two Bulls, an Oglala Sioux printmaker who comes from a large family of artists; and Kwani Povi Winder, a Santa Clara Pueblo member who paints plein air landscapes and images of Native American people. The event will be proceeded by a Best of Show ceremony and luncheon, along with a preview of award-winning art, on August 17 at the Santa Fe Community Convention Center (201 E. Marcy St.).

By Sheila Gibson Stoodley

Top of the Rock Thu, 26 Apr 2018 01:24:12 +0000 Continue reading ]]> Christie’s auction of the Peggy and David Rockefeller collection opens a window on elite collecting tastes in the 20th century, while providing an opportunity for today’s collectors to follow in the Rockefellers’ footsteps.

Claude Monet, Nymphéas en fleur, circa 1914-17

Claude Monet, Nymphéas en fleur, circa 1914-17,
oil on canvas, 63.375 x 71.125 in.;

Featured Images:(Click to Enlarge) David and Peggy Rockefeller on May 13, 1979 John Singer Sargent, San Geremia, 1913 Selections from a Sevres Porcelain Dessert Service from the “Marly Rouge” Service made for Napoleon Iere Willem de Kooning, Untitled XIX, 1982 Henri Matisse, Odalisque couchée aux magnolias, 1923 Claude Monet, Nymphéas en fleur, circa 1914-17 Pablo Picasso, Fillette á la corbeille fleurie, 1905

David Rockefeller was the last surviving grandson of John D. Rockefeller, Sr., the founder of the Standard Oil Company and one of America’s first billionaires. David, who was born in 1915, died last March at 101 with a fortune that Forbes estimated at $3.3 billion. During his lifetime, he served as chairman and chief executive of the Chase Manhattan Corporation and formed the Partnership for New York City. The banker also served as director to the Council on Foreign Relations, helped form the Council of the Americas, and had strong political ties—he had connections with the CIA and frequently met with foreign rulers and American presidents (John F. Kennedy was a Harvard buddy, and Rockefeller even dated Kennedy’s sister Kathleen). He married Margaret “Peggy” McGrath in 1940, a union that lasted 56 years and produced six children.

The marriage also generated an incredible collection of fine and decorative art representing a large array of interests. David’s mother, Abby Aldrich Rockefeller, helped found the Museum of Modern Art in 1929, and David inherited a strong passion in Impressionist, Post-Impressionist and Modern painting from her (he continued to support the institution, giving, for instance, $100 million in 2005). A trip to China in 1917 ignited Abby’s enthusiasm for Asian art, a taste David also acquired after an excursion to the country in the early 1960s. Peggy’s love for art was bolstered by a deep appreciation of the natural world—she wrote the six-volume Wild Flowers of the United States and was an avid gardener, farmer, and staunch supporter of conservation causes. Said David of their collection, some time after Peggy’s death, “My late wife Peggy and I really bought things together. We both felt, wisely, that if we should live with things we should both like them.”

The Peggy and David Rockefeller collection is being auctioned at, appropriately enough, Christie’s Rockefeller Center Galleries in New York. The auction house will hold a series of sales dedicated to the collection on May 7–11 and will stage concurrent online sales with some estimates starting as low as $200. The sales’ many highlights, however, boast much bigger price tags—and appropriately so, as many rank in the top tiers of their respective collecting categories. A Matisse in the sale, for instance, Odalisque couchée aux magnolias (1923), is expected to vanquish the celebrated French artist’s current world auction record. With sterling examples of Impressionist, Post-Impressionist, Modern and American paintings, as well as pieces of English and European furniture, Asian works of art, European ceramics and Chinese export porcelain, silver, and American decorative arts and furniture, the Rockefeller cache not only features a roster of future record-setters but also reads as a guide to what the American elite considered good taste in the 20th century.

The Collection Yves Saint Laurent et Pierre Bergé, which achieved over $400 million at Christie’s Paris in 2009, holds the title for most valuable collection offered at auction. The Peggy and David Rockefeller collection is poised to achieve similar results. As with the Parisian sale, the money generated from the Rockefeller auction will be used for philanthropic purposes. Rather than donating pieces of the collection to museums or, as is the vogue now, creating a stand-alone institution for the collection, the Rockefellers decided to sell their collection and direct the earnings to causes including the American Farmland Trust, Americas Society/Council of the Americas, Council on Foreign Relations, Harvard University, Mount Desert Land and Garden Preserve and the Museum of Modern Art.

Many of the pieces in the collection went on public view in advance of the sale. Early highlights were revealed in Hong Kong, and beginning in February, Christie’s toured different groupings of works at their flagship galleries in London, then Paris, Beijing, Los Angeles, and finally Shanghai. The collection went on view in New York on April 28 and will remain up through May 11.

The aforementioned Matisse, which was painted by the artist in his Nice studio in 1923, had pride of place in the living room of the Rockefeller’s Hudson Pines home. The vibrant nude is a representation of the artist’s favorite model, Henriette Darricarrére, languidly reclining in a sunlit room. The work is a feast of vibrant color and light—the artistic equivalent of a ripe, juicy orange. The Rockefeller’s acquired Odalisque couchée aux magnolias from Leigh Block, a Chicago-based modernist collector, in 1958, likely with some influence from Alfred Barr, the director of MoMA and a beloved advisor. Thought to be one of the finest paintings by Matisse in private hands, it is currently the highest estimated work by the artist ever to come to auction (estimate on request).

Barr and his wife, Margaret Scolari Barr, were instrumental in the development of the Rockefellers’ taste in modern art and their acquisitions of works. For instance, in 1966 Barr guided the Rockefellers into the purchase of Eugéne Delacroix’s Tiger Playing with a Tortoise (1862). Delacroix, who was fascinated by tigers, would often watch them at the Jardin des Plantes zoo in Paris and represented them several times in his work. The rendering of the animal here, with its restless brushstrokes and incredible coloration, shows the artist at the height of his powers. The painting, which had its own wall in the couple’s Upper East Side townhouse, is estimated at $5–7 million. With Barr’s encouragement the Rockefellers purchased a cache of important Impressionist, Post-Impressionist, and Modern paintings. Several are featured in Christie’s sales, such as Claude Monet’s Nymphéas en fleur (circa 1914–17, estimate on request), which the Rockefellers purchased from Parisian dealer Katia Granoff in 1956 almost immediately upon seeing it.

David and Peggy inherited Lilas et roses (1882), a petite, 13 x 10-inch oil on canvas by Edouard Manet, 10 years after Abby’s death. It was during this time that the matriarch’s furnishings were being redistributed, and David and Peggy drew lots for the painting, of which they were “especially fond.” The painting had been purchased at the New York gallery M. Knoedler & Co. and subsequently hung in Abby’s private sitting room. The painting, which depicts two roses among sprigs of lilacs, was painted within the last six months of the artist’s life. Manet was in the habit of painting still lifes of flowers or fruits to gives as gifts to friends; Lilas et roses was a gift for the daughter of his doctor, Ginevra Hureau de Villeneuve. It is estimated at $7–10 million.

The Rockefellers’ acquisition of a Rose Period Picasso is owed in part to luck. Fillette à la corbeille fleurie (estimate upon request) was painted by the artist in 1905 and purchased the same year by siblings Leo and Gertrude Stein. After Gertrude’s death in 1946, the painting remained with her partner, Alice B. Toklas, for 21 years—the remainder of her lifetime. In 1968, a group of art collectors convened in order to acquire Stein’s collection. When a felt hat with numbered slips of paper was passed among the collectors, David drew the first pick. Fillette à la corbeille fleurie, which would go on to hang in the library of the Rockefeller’s New York townhouse, was naturally his first selection.

The Rivals, a large-scale oil on canvas in the sale, marked the beginning of the Rockefeller family’s relationship with Diego Rivera. The painting was commissioned by Abby and finished by Rivera while he and Frida Kahlo were on a boat sailing to New York in 1931. It was featured in Rivera’s landmark solo exhibition at MoMA that same year but has rarely been exhibited since the 1930s. Instead, it was passed down to David and Peggy in 1941 as a wedding present and subsequently hung in their home in Ringing Point, Maine. Soon after the completion of the painting, Rivera and the Rockefellers began a storied history. In 1933, Rivera started work on Man at the Crossroads, a fresco planned for the lobby of 30 Rockefeller Plaza. However, after Rivera refused to remove images in the fresco of Vladimir Lenin and a Soviet Russian May Day parade, his commission was revoked. The fresco was removed from the wall in 1934. The Rivals, a richly colored representation of a local Oaxacan festivity, is estimated at $5–7 million. Having been exclusively in the Rockefeller family collection, this will be the painting’s first time on the market.

The sales include several important American paintings, as well, such as John Singer Sargent’s San Geremia (1913), estimated at $3–5 million, and Edward Hopper’s Cape Ann Granite (1928), estimated at $6–8 million. Another highlight, Georgia O’Keeffe’s Near Abiquiu, New Mexico, was painted in 1931, just two years after the artist’s first trip to New Mexico. The Rockefellers acquired the stunning Western landscape in 1997 (a smaller version, painted in 1930, is in the collection of the Met). David spent his 11th birthday in Taos during a family railway trip across the Southwest in the summer of 1926. Perhaps a stronger connection to the painting, however, was forged through his mother, who frequently acquired work from The Downtown Gallery, which was owned by her friend Edith Halpert. The dealer was an early proponent of O’Keeffe’s and was the first to sell the painting. Near Abiquiu, New Mexico is estimated at $3–5 million.

Untitled XIX (1982, oil and charcoal on canvas), a late-period work by Willem de Kooning, entered the Rockefeller collection in 1996 after the passing of Peggy that year. Following a spell of ill health, de Kooning returned to the studio in 1981 in a burst of turbulent creative energy. The result was a series of paintings, including Untitled XIX, with free and expansive—almost calligraphic—gestures. The works are now considered a high spot in the career of the artist, who was in his 80s when he made them. David’s acquisition of the Untitled XIX shows a continued interest in challenging, avant-garde work. The painting is estimated at $6–8 million.

The decorative artworks in the sales are just as exciting as the paintings. The Rockefellers amassed an incredible collection of Chinese export porcelain. Some pieces were inherited—David’s mother and his aunt, Lucy Truman Aldrich, were both avid collectors in the field, and David’s father, John D. Rockefeller, Jr., was fond of porcelain from the Ming and Kangxi dynasties (his first major art purchase was 65 pieces of Kangxi porcelain from J.P. Morgan’s significant collection in 1916)—and others were acquired by the couple over the years. A circa-1775 Chinese export “Tobacco Leaf” service passed through several members of the Rockefeller family: it belonged to Lucy Truman Aldrich, was acquired by Nelson Rockefeller in the ’60s or ’70s, was sold by Nelson before his death in 1979 to his younger brother Laurence, and then purchased from Laurence by David and Peggy in 1990. The service, which is painted in the traditional chrysanthemum version of the “tobacco leaf” pattern, is estimated at $150,000–250,000.

David’s father had an eye for “palace ware,” a pattern richly decorated with Chinese court scenes—each scene being unique—and intricate gilt borders, and began acquiring examples of the pattern in the 1920s from London dealer Alfred Rochelle Thomas and New York dealers J.A. Lloyd Hyde and Yamanaka. Through American scholarly publications, the pattern began to go by the moniker of “Rockefeller porcelain.” In 1955, David inherited several pieces of the pattern from his Aunt Lucy, and five years later, he acquired a portion of the service from his father’s estate. David and Peggy also purchased eight pieces featuring the pattern from the New Orleans auction house Morton’s. The Jiajing Period “Rockefeller Service” (circa 1805) is estimated at $100,000–150,000.

A Sévres “Marly Rouge” dessert service (circa 1807–09) is also coming on the block. The service was made for Napoleon I and was so beloved by the military leader that he insisted on taking it into exile with him in 1814. The following century, Abby acquired the largest single collection of the “Marly Rouge” service, and many pieces have not been on the market since (for context, only one dolphin-footed compote and six plates are in the collection at Fontainebleau). David’s brother Laurence inherited the service in 1948, and David acquired it in 2004. It is estimated at $150,000–250,000.

David also acquired a pair of Meissen porcelain models of hoopoes from his brother Laurence’s estate in 2004. Johann Kändler, the greatest European porcelain artist of his period, modeled the hoopoes in 1740. The birds, which were displayed in the dining room of the Rockefeller’s New York townhouse, are estimated at $20,000–30,000. Peggy spotted a pair of Chelsea porcelain plaice tureens in 1963 at the New York showroom of the Antique Porcelain Company. David bought the tureens, which were made around 1775 by the Chelsea Porcelain Factory in London, for Peggy as a Christmas present. The knobs on the lids of the playful trompe l’oeil fish-shaped tureens are pieces of seaweed, and their ladles are eels with scallop shells in their mouths. Fewer than 10 examples of the dishes survive (The National Trust, the British Museum, and the Victoria and Albert Museum all have examples). The Rockefellers’ examples are estimated at $80,000–10,000.

Several works of fine Asian art will be featured in Christie’s sales. A gilt-bronze figure of Amitayus made in the Imperial workshops by order of the Kangxi Emperor (reigned 1662–1722) leads the Chinese works of art. The Kangxi Emperor, a devout Buddhist established the tradition of Tibetan-style Buddhism in China. The bronze, which was likely a gift to a family member, depicts Amitayus, a god of long-life, seated in dhyanasana (meditation pose) on a double-lotus base with his hands held in dhyanamudra. He is adorned in intricate jewelry and wears an elaborate tiara. The piece is estimated at $400,000–600,000.

By Sarah E. Fensom

Carlos Almaraz: Solo Project Mon, 28 Aug 2017 20:11:05 +0000 Continue reading ]]> A long-overdue retrospective of the California painter Carlos Almaraz is on view at LACMA.

Carlos Almaraz, Sunset Crash, 1982.

Carlos Almaraz, Sunset Crash, 1982.

Featured Images:(Click to Enlarge) Carlos Almaraz, Mr. and Mrs. Rabbit Go to Town, 1982; Carlos Almaraz, Magic Green State, 1982. Carlos Almaraz, Echo Park Bridge at Night, 1989. Carlos Almaraz, Two of a Kind, 1986 Carlos Almaraz, Sunset Crash, 1982.

Nearly 30 years after Carlos Almaraz’s death in 1989, the narrative of this complicated Los Angeles artist remains overly simplified. Today Almaraz—who was born in Mexico but moved with his family to Southern California in 1951 at the age of 10—is known almost exclusively as a Chicano artist. Indeed, he was heavily involved with the Chicano movement both artistically and politically throughout the 1970s. However, by the end of the decade, Almaraz consciously pulled away from the movement and from the Chicano art collective he co-founded, Los Four. Instead, he developed a rigorous and highly personal studio practice that focused on his own fascinations, Surrealist influences, and the landscape of Los Angeles. “Playing with Fire: Paintings by Carlos Almaraz” (through December 3), now on view at the Los Angeles County Museum of Art (LACMA), showcases Almaraz as a notably independent and complex painter.

As a solo artist, Alamaraz was successful, showing frequently with gallerist Jan Turner, who sold his work to fashionable collectors in L.A. There was a survey of the artist’s paintings and drawings at the Los Angeles Municipal Art Gallery in 1984 and an exhibition of drawings and prints at the UCLA Grunwald Center for the Graphic Arts in 1991, but there hasn’t been a major survey of Almaraz’s paintings since his death. “Playing with Fire,” with its focus on large-scale painting, is the first major museum survey to take up the mantle. It features some 65 works, mostly paintings and a few important pastel works, and deemphasizes the artist’s popular editioned works (though they can be found in many high-profile collections in L.A.’s Westside). Eschewing the traditional chronological organization schema for a thematic one, the survey focuses on tropes seen frequently in Almaraz’s work, such as dreams, car crashes and fires, domestic scenes, the cityscape, and sexuality. The show is part of the Getty’s Pacific Standard Time: LA/LA initiative, which puts hundreds of exhibitions devoted to Latin American and Latino art on view at over 70 cultural institutions in Southern California this fall.

Howard N. Fox, LACMA’s emeritus curator of contemporary art (he served in the position from 1985 to 2008), was, as he puts it, “brought out of mothballs” to curate the show. It was, in fact, a phone call from Cheech Marin (of Cheech and Chong fame)—an avid collector of Chicano art who had previously worked with Fox on an exhibition—that brought the curator to the project. “I’m probably one of the only curators in town who has met Almaraz,” says Fox. The curator had two studio visits with the artist in the ’80s, and though he didn’t develop a close relationship with him, Fox was struck by Almaraz’s charisma and presence. “He was,” says Fox, “a legendary figure.”

After moving to California, Almaraz’s family settled in East Los Angeles. The artist studied at Loyola University of Los Angeles, California State College, Los Angeles, the Otis Art Institute, and the University of California, Los Angeles. Returning to L.A. in 1970 after several stints in New York throughout the ’60s, Almaraz plunged headlong into the political and cultural issues of the Chicano movement in Southern California, writing manifestos and taking to the streets to proselytize. He painted banners for the farmworkers’ cause, led by Cesar Chavez, and sets for Luis Valdez’ Teatro Campesino (Farmworkers’ Theater), in efforts to expose the slave-like work conditions of migrant agricultural laborers. He painted murals in the social-realist style on buildings throughout East L.A. His murals (very few, if any, of which are still extant today) depicted the area’s Mexican residents as they lived and dressed—not in traditional Mexican garb—as a way of bringing attention to the reality of a group that had long been invisible to mainstream America and marginalized by Mexicans living in Mexico.

In 1972, Almaraz formed Los Four. The group—one of the first Mexican American art collectives of its kind—included Gilbert “Magú” Luján, Frank Romero, and Roberto “Beto” de la Rocha. The group adapted a shared interest in muralism and graffiti to create a distinctive style of street art. Their work was the subject of a 1974 exhibition at LACMA titled “Los Four: Almaraz/de la Rocha/Luján/Romero.” The group amicably disbanded in 1979, after which Almaraz reengaged with a studio practice, making paintings, pastels, prints, and sketches in his notebooks.

“Almaraz’s return to the studio is where this exhibition picks up,” says Fox. “He becomes a private, almost mystical painter, influenced by Surrealism, European masters, and Mesoamerican traditions. His studio art from ’77 and ’78 isn’t really Chicano-oriented at all, it’s more distinctly personal.” Fox theorizes that Almaraz felt constrained by the very movement he helped establish and turned away from public art completely to pursue his own vision.

Out of this vision came what amounts to a love letter to L.A., Echo Park in particular. “Almaraz paints Echo Park as a paradise,” says Fox. “In reality, when he was painting it, it was sort of a mangy, dusty place, but he idealizes it.” The artist’s 24-foot-wide, Echo Park Lake nos. 1-4 (1982), is a highlight of the exhibition. The painting’s four panels, which recall Monet’s languid depictions of Parisian parks, haven’t been together since 1987.

Almaraz’s depictions of Los Angeles extended to the freeway, which is featured coursing through the city in works such as Growing City (1988). With beauty and spectacle, Almaraz frequently painted cars on the freeway on fire. Longo Crash, a 1982 painting, shows one car turned over and two ablaze, with puffs of gray smoke drifting into a bright blue sky. Crash in Phthalo Green (1984) also shows multiple cars almost completely obliterated by flames on a green freeway ramp, while a piece of flaming detritus nearly falls onto cars driving below. Sunset Crush (1982), which comes to the show from Marin’s collection, depicts two enflamed cars on an upper freeway ramp exploding like fireworks or rockets before a hot yellow sunset. “He’s showing these almost apocalyptic explosions, yet they’re so sumptuous,” says Fox. “They are layered with buttery impasto, and you almost want to lick the painting.”

Almaraz, who openly had sexual relationships with men and women (he ultimately married the photographer Elsa Flores and had a daughter with her), created work, such as The Muffing Mask (1972) and Siesta (1984) that acknowledged both heterosexual and homosexual intimacy. Though Almaraz’s sexuality was by no means a secret, few pieces of scholarship on the artist acknowledge it. Fox believes that his sexuality was “whitewashed” from catalogue essays, and in particular the Chicano literature. “This show,” says Fox, “while it does not turn Almaraz into a gay artist or gay activist, makes no bones about discussing his sexuality.”

Fox theorizes that Almaraz’s sexuality influenced his non-sexual themes as well. “He was attracted to images of shoot-outs, trash fires, cars exploding, and he’s painting them over and over again, and I see this as a reflection of leading a double life.” Fox notes that the artist was gay or bisexual during a time when it was customary to keep it quiet, which was undoubtedly stifling. This reading of his work is new ground for the scant and typically one-sided scholarship on Almaraz, which has rarely acknowledged his sexuality or deeply examined his solo painting practice. “I was not trying to make a revisionist exhibition,” says Fox, “but it’s a de facto revisionist exhibition, which shows the artist moving away from the Chicano movement, into the studio, and considers his sexuality and the reflection of it in his art.”

Almaraz was diagnosed with HIV in 1987. In the two years between his diagnosis and his death, the artist continued to paint, doing so until the night before he died. During this period, Almaraz continued to pursue the themes that had long enchanted him, but his style and rendering became more subdued and serene. Deer Dancer (1989), one of the artist’s final paintings and a highlight of the show, is thought to be a self-portrait. In it, a half-animal, half-human figure moves through a dreamscape surrounded by washes of intense color, symbols, and animal and mythical figures and heads. In the lower right corner, there is a cartoonish skull. It feels almost like an apotheosis.

In addition to “Playing with Fire” at LACMA, Almaraz’s work will be on view at Craig Krull Gallery this month. The Santa Monica gallery mounts “Carlos Almaraz and Elsa Flores Almaraz: Domestic” on September 9 (through October 14) with an opening reception that evening.

By Sarah E. Fensom

Expanded View Mon, 28 Aug 2017 19:41:37 +0000 Continue reading ]]> A new exhibition showcases the 18th-century masters of “view painting,” who combined news reportage, political propaganda, and sumptuous cityscape.

Michele Marieschi, Doge Pietro Grimani Carried into Piazza San Marco after his Election, 1741

Michele Marieschi, Doge Pietro Grimani Carried into Piazza San Marco after his Election, 1741, oil on canvas, 56.5 x 113 cm.;

Featured Images:(Click to Enlarge) Canaletto, Venice: Feast Day of Saint Roch, about 1735 Michele Marieschi, Doge Pietro Grimani Carried into Piazza San Marco after his Election, 1741 Giovanni Paolo Panini, King Charles III Visiting Pope Benedict XIV at the Coffee House of the Palazzo del Quirinale, 1746 Francesco Guardi, The Nocturnal Good Friday Procession in Piazza San Marco

Let’s return to an age before photography, before even the Jacquard loom, the ancestor of the computer, let alone Instagram. An age when self-fashioning necessarily involved the hand of an artist to communicate just how exciting, celebrated, and influential were high society’s entertainments. Over the course of the 18th century, a number of virtuosic painters in Italy, and later abroad, transformed the acts of portraying and of being portrayed.

A new exhibition, “Eyewitness Views: Making History in the Eighteenth Century,” at the Minneapolis Institute of Art from September 10–December 31, documents the rise of these painters and the over-the-top spectacles they masterfully detailed, whether for an elite dignitary who was audience to (and usually played lead in) the event, or to provide visual records of ritual festivities and the changing urban landscape. These paintings represent a sort of proto-photojournalism with artistic license, a level of theatricality, and political messages both clear and highly nuanced. While the exhibition feature paintings and some supporting works on paper, its breadth is impressive, providing valuable insight into the architecture, sculpture, decorative arts, costume, and especially social customs of the period.

The exhibition is accompanied by a monographic study by Peter Björn Kerber, who was recently appointed Curator of the Dulwich Picture Gallery in England and was formerly Assistant Curator at the J. Paul Getty Museum in Los Angeles, where the exhibition opened in May (it will travel to the Cleveland Museum of Art from February 25–May 20, 2018). Kerber has restored significance to these “reportorial views,” as he calls them, which have been historically misunderstood. In doing so, he has also rejuvenated public interest in the masters of the Settecento. Once removed from the context of the domain of their original patrons, these paintings occasionally lost their significance, sometimes almost immediately, to be inventoried only a few years after completion as simple urban vedute (view paintings). The frequency with which meanings were so quickly forgotten is a testament to the exhibition’s success in translating for modern audiences not just the history behind the making of these canvases (some of which have never been seen stateside), but also their changing historiography decades and even centuries later, which takes the viewer right up to the present day and allows one to look for him- or herself.

Making oil-rendered fiction a reality seems to have been the main draw of these painters, and Kerber notes the importance of artistic liberty in enhancing true events: “In a genre that prided itself on the ability to convey reality or at least a plausible version thereof, the painter had to navigate a course between its faithful reproduction, a stage-managed improvement upon it that was often more convincing than reality itself, and the patrons’ desire to commemorate a specific perspective on reality.” As the late art historian John Berger pointed out, the Old Masters knew how to exploit oil paint’s singular properties, which can “suggest objects possessing colour, texture and temperature, filling a space and, by implication, filling the entire world.” Even during these artist’s lifetimes, critics were in agreement over their abilities; Pietro Guarenti, a contemporary of the great Venetian vedute master Canaletto, wrote that the artist painted “with such accuracy and cunning that the eye is deceived and truly believes that it is reality it sees, not a painting.”

While Berger’s reference to temperature has little to do with the actual weather, you could easily make the connection in studying a Canaletto or a Giovanni Paolo Panini. In these works, everyone, including the viewer and even the inanimate setting, has a role in the action. I challenge you not to smell the brackish water of the Grand Canal surrounding the gondola in which Canaletto has ostensibly placed us, or to taste the smoke and feel the heat of the fire consuming the Palais-Royal Opera, as depicted by Panini’s pupil, Hubert Robert. And any visitor to Rome today can identify with Panini’s throngs of spectators who line the perimeter of the Piazza Navona, eager for sunset to cool the summer evening and hopeful for a splash of water. The piazza may no longer be flooded—a tradition which occurred every Sunday in August until the mid-19th century—but getting as close as possible to the waters of Bernini’s fountain, and documenting it for social media to see, is still a must for any sightseer.

Kerber writes that urban “splendor…serves as a stage set for the quasi-theatrical performance,” and you cannot help but marvel at the expansive views containing hundreds of actors that, if mounted today, would be worthy of an Oscar for cinematography. Still, many of these views are as much about advertising a dignitary’s political agenda and creating lasting propaganda as they are about bringing civic arts and culture to life. For all the power of these images, a second sort of potency is demanded of the meticulous renderings of events honoring specific individuals, usually foreign officials. Even in the most engaging of entertainments, a noble presence was always the main event. Diplomats visiting Venice received appropriately special treatment, so it is no wonder they wished to immortalize the moments. The entries of nobility into the city were marked by at least one of three events: a bull chase, a regatta held on the Grand Canal (which still takes place annually, though to crowds of tourists instead), or a female choir from the Foundling Hospital, where orphaned girls were trained as singers. But Francesco Guardi’s 1782 scene of the concert for the Grand Duke and Duchess of Russia shows the audience entranced not by the young chanteuses—in fact, they are for the most part oblivious to the chorus—but by the Russian royals.

This publicity of the intricate rites and exaggerated excess surrounding aristocratic, ambassadorial, and senatorial visits and their subsequent description and representation is still very relevant today. Writing to Louis XIV, the French Ambassador to Venice, the Abbé de Pomponne, claimed that “the entire city is in agreement that there has never been such a grand ceremony on the occasion of the entry of an ambassador.” Although his declaration was meant to curry favor, there is some truth to it, as with his forgoing of the traditional surcoat (mantelleta) that indicated allegiance to the Republic in favor of a more “independent” garment. Luca Carlevarijs’ inclusion of this sartorial transgression makes his Pomponne unavoidable to the trained eye. In addition to this insertion of spectator-as-spectacle, painters like Carlevarijs also utilized one’s ceremonial attributes—for instance, Pomponne’s parade gondolas—as a signifier of the figure himself.

The intended significance of such scenes is in some cases nearly imperceptible to any but those who actually attended the event, but that may have been the point. Other painters catered to the larger art market and to visitors of lesser rank or no rank who might have only one chance in their lives to remember watching the entry of a new doge. In Michele Marieschi’s view of the procession in the Piazza San Marco of the newly elected Doge Pietro Grimani, we are presented with the backs of the notably non-Venetian spectators on scaffolds, but Grimani, identifiable by his golden robe and the stream of coins he throws into the crowd, is ant-like compared to those in the foreground, who were also the probable buyers of a work like this.

Such creative compositions became a requirement, witnessing glory not through the conventions of perspectival centrality but by depicting the scale of the celebrations and the number of spectators. One can imagine the purchaser showing off the canvas years later to a guest saying, “You had to be there.” The onlookers eventually point us in the direction of the real action: the people in whose honor all this grandeur is taking place. It is this multilayered and ultimately self-referential portrayal that was and remains the genius of view painters.

The sheer number of compositional variants in what could have otherwise been a rather repetitive, even stagnant, body of work among painters demonstrates the eagerness of these artists to experiment with new visual languages, as well. Carlevarijs painted the gilt gondolas of Pomponne at the bank on the left, partially in the shadows, both revealing and concealing the opulence of the vessels and their commissioners but drawing your eye across the canvas to the men themselves, while Canaletto chose to put them at a perspectival advantage front and center, with light dancing upon their glittering surfaces in the sun-drenched canal.

For Guardi, the whole of Piazza San Marco becomes the main actor on the evening of Good Friday, when each facade is candlelit in the Venetian tradition, leading the eyes of every bystander directly to the upper facade of the basilica, where torches flank the balcony containing the miniscule Four Horses. The few canvases in the exhibition not illustrating events in Italy—though still very much Italianate in their depiction—further develop this idea of cityscape-as-actor. Bernardo Bellotto depicts the townspeople gawking during the painstaking demolition of the Kreuzkirche in Dresden, and Hubert’s shell of the Palais-Royal Opera serves as Paris’ own Vesuvius. (In a pendant piece, a crowd marvels at the smoke still hanging above the palace the following day).

These painterly yet journalistic “snapshots” have outlived many of the monuments they reproduce, especially those that were not meant to stand the test of time. It’s worth remembering that what survives of this ephemeral architecture only in small-scale two dimensions today actually existed in enormous and imposing three dimensions for weeks or months at a time, from the first stages of construction until long after the associated processions. Moreover, they actually record the reuse of some architectural elements in future events, suggesting a burgeoning secondhand market in what must have been spectacles of bankrupting exorbitance.

Kerber’s insightful study looks at this particular and defining period in view painting, as foreign audiences and the painters they commissioned were among the first to understand the importance of capturing decisive moments in one’s career for posterity, and thus to capitalize on this peculiar and above all modern form of self-presentation. Such fleeting though important events were such an integral part of city life that the sense of spectacle itself became a mainstay of urban living for inhabitants and visitors alike. That peculiar culture, filled with very visible entertainments, no doubt encouraged even more travelers and transplants to these cities. Not only did these paintings record for posterity certain events for a privileged set and may have encouraged travel among those within that set, but they also record the urban fabric at that time, which was quite literally built on the anticipation of those very events.

And so we come full circle. In one sense, these patrons were the “influencers” of their own century. Just as today’s jet-setters go to great lengths to find the ideal camera angle with which to capture themselves splashing on the Cote d’Azur or doing yoga at a retreat in Bali, foreign ambassadors and senators and the painters they commissioned pointedly referenced specific minutes, even seconds, in their religious and political careers. Some elites wanted a visual record of their first significant public event, while others sought the proof knowing that it would be their last. While they didn’t have today’s luxury of capturing the moment instantaneously, they have left us with a legacy of true luxury. One could argue that the current generation of celebrities take their online photo streams very seriously, spending hours editing and reediting to perfection, but when you’re faced with Canaletto’s or Marieschi’s perspectival masterpieces, there really is no comparison.

By Martina D’Amato

Santa Fe Trail Wed, 28 Jun 2017 21:51:07 +0000 Continue reading ]]> Art & Antiques presents a complete guide to the summer arts and culture bonanza of Northern New Mexico.

Gary Niblett, Canyon Overlook, 2015

Gary Niblett, Canyon Overlook, 2015;

Featured Images:(Click to Enlarge) Rhett Lynch, HAMSA Raymond Jonson, Untitled (New Mexico Vista), 1925 Martha Rae Baker, Desert Cadence katsina figure Pard Morrison, Flower, 2017 Gary Niblett, Canyon Overlook, 2015 Nickolas Muray, Self-Portrait With Frida Kahlo Seated by Me and My Parrots, 1941

Santa Fe is an arts destination year-round, but things heat up in the summer months and stay busy into the fall. Here are just some of the gallery, fair, festival, and museum happenings in and around America’s oldest capital city.

The Georgia O’Keeffe Museum (217 Johnson St.) is a Santa Fe must-visit. The museum, which marks its 20th anniversary in the month of July, recently installed thematic galleries that explore aspects of O’Keeffe’s life and career. The section devoted to her time in New York includes 17 works by her and picturing her, as well as a few Alfred Stieglitz photographs. Stieglitz is fully intertwined with her New York life; she moved to the city in 1918 and married him six years later, only moving to New Mexico full-time after he died. But the memory of the metropolis never left her. Untitled (City Night), an oil on canvas of a skyscraper canyon that O’Keeffe painted sometime in the 1970s, testifies to that.

The Millicent Rogers Museum in nearby Taos (1504 Millicent Rogers Rd.) celebrates Native American painting in the exhibition “Picturing Home: Landscapes of the Southwest.” It contains 20th-century works by self-taught artists and artists who joined what became known as “the Studio” at the Santa Fe Indian School, a government boarding school. The Studio lasted until the 1962 debut of the Institute of American Indian Arts. Among the works on view is Deer with Yucca, by Percy Sandy, who was also known as Kai Sa. Sandy painted the watercolor in 1935, when he was a 17-year-old student at the school. “I have noticed this piece to be a favorite of visitors as they move through the exhibition space,” says Carmela Quinto, curator of collections at the Millicent Rogers Museum. “It is very well executed and creates a whimsical feeling.” The show opened on May 1 and will close precisely one year later.

Frida Kahlo once lived in the artistic shadow of her husband, Diego Rivera. Fortunately, she has long since caught up to him, and may even have surpassed him, judging by the popular interest in her life and work. The Museum of Spanish Colonial Art in Santa Fe (750 Camino Lejo) burnishes her legacy with “Mirror, Mirror… Photographs of Frida Kahlo,” which opened on May 6 and continues through October 29. More than 50 photographs of the mesmerizing Mexican artist are on show in an exhibition that originated at Throckmorton Fine Art in New York. The Museum has augmented the show with works created in homage to Kahlo as well as large-scale photographs of the Casa Azul, Kahlo’s one-time home in Mexico City, taken by William Frej.

The New Mexico Museum of Art hosts “Lines of Thought: Drawing from Michelangelo to Now: from the British Museum,” a riveting look at a fundamental aspect of art. It spans six centuries—the 15th century to now—and shows the importance of drawing by presenting works by dozens of legendary names. Michelangelo, Dürer, da Vinci, Mondrian, Picasso, Cézanne, Picasso, Bridget Riley, Henry Moore, Barbara Hepworth, and Franz Kline are just some of the artists who are represented. The exhibition opened on May 27 and continues through September 17.

New to the Santa Fe scene is OTA Contemporary (203 Canyon Road), which debuted on May 12. Its summer programming kicks off with “Surfaces,” a showcase for multimedia artist Pasquali Cuppari and digital artist Wayne Charles Roth, which runs from June 8 through July 9. Next up is “Symbols,” which takes place from July 13 through August 13 and celebrates the work of painter and printmaker Carlos Frias alongside that of painter Raul Villarreal. Summer at OTA Contemporary comes to a close with “Connections,” running from August 17 through September 17 and featuring Mario Martinez, who works with acrylic on paper, and sculptor Somers Randolph. Villarreal will contribute Ambos Mundos, a 2014 oil on linen, to “Symbols.” The Cuban-born artist explains, “Ambos Mundos pays tribute to my love of the sea. The painting alludes to The Old Man and The Sea, my favorite work by Hemingway.”

LewAllen Galleries (1613 Paseo de Peralta) starts the summer boldly with “Fritz Scholder: Figures of Paradox,” which opens on June 9 and closes July 23. Ken Marvel, the gallery’s owner, says that a Scholder show of this nature has only been attempted by one other institution—the Smithsonian. “He’s generally thought of as the most important Native American painter in art history,” Marvel says. “He completely broke the mold for how Native Americans are depicted in fine art.” “Jivan Lee: Summer Showcase” begins on June 23 and finishes on July 23, and will spotlight the work of an artist who uses kitchen spatulas and sticks to convey the paint to the canvas and shape it. New York-based painter Wolf Kahn, who turns 90 this year, receives his first solo exhibition at LewAllen Galleries from July 28 through September 10. John Fincher will also feature in a self-named show at the gallery during the same dates. The painter and mixed-media artist finds glory in meditating on details of natural Western flora, as he does in Burst, a recent painting that hones in on a cactus.

Opening on July 14 and ending on August 19, “Anthony E. Martinez” will feature five or six pieces by the 67-year-old Santa Fe native. “Peter de la Fuente: Cuentos” is the gallery’s first solo show for the Spanish-born master of the tricky medium of egg tempera. It takes place during the same dates as the Martinez exhibit. In tackling egg tempera, de la Fuente follows in the footsteps of his grandfather, Peter Hurd.

“Gorge Songs: Woodblock Prints, Watercolors and Folios by Leon Loughridge” debuts on July 14 and ends on September 30. The show has about a dozen works, some watercolors and some woodblock prints, several of which are inspired by the artist’s visits to the Rio Grande gorge. “Convergence: Stories and Territories” is a group show that explores the evolving narrative and imagery of the contemporary West. Starting on July 28 and finishing on September 30, it brings together paintings, sculpture, photography, and works on paper.

The Ellsworth Gallery (215 East Palace Ave.) unveils “Taking Wing,” an exhibition featuring a trio of artists, on June 16 and continues it through August 16. On view are the hyperrealistic visions of Arin Dineen, the sculpture of Claire McArdle, and the encaustics of newcomer Lorraine Glessner. Hallie Brennan, director of the gallery, says the three are united by their choice to use well-established, even ancient media to communicate with contemporary audiences. “Creative Nation II,” to be held from August 18 through October 20, will showcase a range of works by contemporary Native American artists. “When we started it, we hoped we could make it a tradition,” says Brennan, who adds that last year’s inaugural exhibit contained about 20 works in media ranging from sculpture to sand painting to charcoal on paper. A total of 10 percent of the gallery’s net profits from “Creative Nation II” will go to the Southwestern Association for Indian Arts (SWAIA), the nonprofit behind the beloved Indian Market.

Nedra Matteucci Galleries (1075 Paseo de Peralta) offers “William Berra: Inspired by Nature” from June 24 through July 22. It will show off Berra’s deft command of color, light, and composition with works such as The Dive, an oil on linen of a bikini-clad snorkeler who seems to hover in space. Other works in the gallery include Walt Gonske’s Talpa Chamisa, a 2017 plein air painting that expertly captures the changing seasons reflected by the landscape, as well as Gary Niblett’s 2015 painting Canyon Overlook. Niblett, who grew up in a ranching family and has earned membership in the Cowboy Artists of America, focuses on the life and environs of the working cowboy. “Gary has a familiarity and genuine passion for the role of the contemporary cowboy in the West,” says Nedra Matteucci. “His paintings capture the lifestyle through his experience, models, and photography of his subject over decades.”

The gallery also displays paintings by the much-admired 20th century artist Joseph Henry Sharp. His portrait of Hunting Son, a favorite model from Taos Pueblo, makes for a sensitive and powerful picture. “Sharp was well-trained, and paintings such as Hunting Son reveal his skillful draftsmanship,” she says. “He also captures character with an eye for color and detail, lending to the important historic significance and appeal of his paintings.”

The gallery’s sculpture garden is not to be missed. Here, Dan Ostermiller is king—or, rather, his bronze menagerie is, with as many as 10 of his works on view at any time. Ostermiller’s father was a noted taxidermist, and while he did not follow his father into the trade, he puts his knowledge of animals to good use in limited-edition sculptures such as Playful Cubs and Peacocks, a regal pair of bronze birds perched on pedestals.

Also notable are the sculptures of Michael Naranjo, who has been with Nedra Matteucci Galleries for 11 years. Though a grenade blast in Vietnam cost him his sight and the use of his right arm, he has built a strong artistic career. “Essentially, he articulates with only one arm, but has some mobility with it,” Matteucci says. “Michael literally has adapted to ‘see’ by thousands of finger touches that allow him to visualize as he works. Remarkably, he does not use studio assistants—only the occasional verbal input or extra hold on an armature from his wife, Laurie, who has also modeled for some of his figure work.”

On June 30, the Monroe Gallery of Photography (112 Don Gaspar) opens “Tony Vaccaro: From War to Beauty,” featuring more than 50 images by the 95-year-old artist. He got started by shooting photographs as an Allied infantryman liberating Europe and went on to a postwar career that included commissions for virtually every major English-language periodical of the mid-20th century. The exhibition continues through September 17.

Gerald Peters Gallery (1011 Paseo de Peralta) is typically busy during the Santa Fe summer. Harold Joe Waldrum earns the spotlight in an eponymous show of 25 works. Running from June 16 through July 22, the show includes treasures such as Adumbracion, a 1982 work named for a Spanish word that describes shade in a picture. The acrylic on canvas actually shows an adobe structure, but it is much more than that. “It’s very striking. It’s one of the reasons I chose it,” says Evan Feldman, director of contemporary art at the gallery. “It points to Waldrum’s strengths as an artist. He is able to reduce the forms of whatever he’s looking at and get abstract and beautiful compositions. At the same time, he pays tribute to New Mexico and its surroundings.”

Charlotte Jackson Fine Art (554 S. Guadalupe) offers “Power Play: A Group Exhibition” from June 30 through July 26. Works include Robert Kelly’s My Brother, Myself VII from 2014, an oil and mixed media on canvas that makes a wry comment about his siblinghood: Kelly has a fraternal twin. “It’s got two elements in it that are alike, but not identical,” says Charlotte Jackson. “Some elements are horizontal and some are vertical, but the colors are identical.” Also in “Power Play” is Charles Arnoldi’s Ironclad (06.38) a 2006 oil on aluminum from a series that the artist named after types of ships. He assembled Ironclad (06.38) from monotype plates that were discarded when they were too laden with ink to be used any longer. The show will also include a whole wall of small polyester cube boxes by William Metcalf and a large truck-hood work by Paul Sarkisian.

Following this will be a three-man show dubbed “Heavy Metal: Pard Morrison, Elliot Norquist & Jeremy Thomas,” which takes place from July 30 through August 28. Each artist works with metal, hence the title, and each will contribute at least six pieces to the show. Thomas will be represented by inflated steel sculptures; Norquist will have steel wall pieces such as Four Green Squares, a painted and powder-coated sculpture from 2016 with an eminently straightforward name; and Morrison will offer Flower, a multi-colored metal cube sculpture made in 2017. He applied pigment to the welded aluminum and fired it, baking on the color in a process that resembles the creation of enamel.

From September 1 through October 2, the gallery will host a solo show by Johnnie Winona Ross, who creates labor-intensive grid-based paintings. The exhibit will include S E E P I I, an unusually large piece on stretched linen that involves mineral pigments burnished on black gesso. Its creation spanned 2013 to 2017. “It’s the biggest size he does. We’ve never had one that big, ever. I can barely fathom how long it took him,” says Jackson. “His works are really incredibly beautiful. You feel as if you could walk into them. He creates that sensation.”

The summer schedule at the Couse-Sharp Historic Site in Taos (46 Kit Carson Road) includes the exhibition “Seldom Seen: Archival Stories,” which delves into the role that research plays in interpreting and understanding the works of the Taos Society of Artists (TSA). It opens on July 1 and continues through October 28. Among the archival items on display is a collection of material related to Sunlight (Sunshine), an E.I. Couse painting that has been promised to the Couse Foundation. The items include its original photo study, pencil sketch, sales book, and exhibition book.

“The point is that not one piece of archival information alone is necessarily significant, but that together, we are able to provide important contextual information about the artist E.I. Couse and his artistic process and his career,” says Davison Packard Koenig, executive director and curator of the Couse-Sharp Historic Site. “For example, the gridded photograph tells us that Couse worked directly from life. He would bring his model out in nature and locate the scene he wanted to depict. The photograph also captures the play of sunlight that is essential to the final painting. He would then create a pencil drawing, further working out the composition and distilling it to the essential elements, while accentuating the contrast of light. Together, these pieces of archival information give us a better understanding of the final painting, informing us that Couse faithfully reproduced this natural setting through direct observation, transforming it through his artist’s eye and skillful brush into an inspired work of art.”

Marking its 17th year is Art Santa Fe, a fair that takes place from July 13 through 16 at the Santa Fe Community Convention Center. More than 60 exhibitors will attend, slightly more than in 2016. The common curatorial theme of the fair and its slate of programming is [FUSION], which describes the creative energy that sparks from all of the artists and galleries coming together to show their work. Pieces as different as Siri Hollander’s Cinco, a monumental horse sculpture, and Rhett Lynch’s colorful and somewhat menacing work, HAMSA, connect with the theme, says Linda Mariano, managing director of marketing for Redwood Media Group, which produces the event. “The very manner in which each of them is inspired, the materials that they use, and the creative outcome of the piece of artwork is [FUSION]. Then exhibiting at Art Santa Fe fusing their creativity and their artwork in an environment for the collector is another illustration of the concept and [FUSION] theme.”

Art Santa Fe will also import a concept from a cousin fair, Artexpo New York: [SOLO], a showcase devoted to established and emerging independent artists. At least a dozen will participate in the inaugural [SOLO] at Art Santa Fe. “We received so many requests from independent unrepresented artists to be part of the show that it made sense to distinguish their exhibition under the [SOLO] brand,” says Mariano.

More than 160 artists hailing from 53 countries will attend the 14th annual International Folk Art Market, which takes place on Museum Hill from July 14 through July 16. A total of 54 newcomer-artists will join 106 returnees to greet an estimated 20,000 visitors to the market. Featured artists include Rupa Trivedi, an engineer who launched Adiv Pure Nature, a company that employs women to hand-dye fabrics using dyes derived from plants and flowers.

Addison Rowe Gallery (229 East Marcy St.) presents “Making Marks: The Painting of David Einstein” from July 14 through September 22. The show represents a sharp departure for the gallery, which concentrates on historic 20th-century American art by artists who worked in the Southwest. Einstein is a contemporary artist who dwells in Palm Springs, Calif. “I met David three years ago at the Palm Springs Art Fair, where the gallery has exhibited for the last four years, and we began an association of art talk and common art interest,” says Victoria Addison of Addison Rowe. “I have visited his studio several times since and seen the progression of his work. On my first studio visit, as I was leaving, a beautiful piece was hanging in the front room, and I had to have it. It is an amazing work from his Naissance series, and is the only work by a living artist I own. The strong colors, the movement of the paint, and the inner glow the work expresses in a simple, rich composition demonstrated the beauty of this work.” “Making Marks” will feature 35 pieces, including 12 from the Naissance series.

True West (130 Lincoln Ave., Suite F) has several events planned for the Santa Fe summer season. It will welcome Hopi kachina carver Timothy Talawepi as its artist-in-residence from July 18 through July 22, while Rosemary Lonewolf, a ceramicist, will take the artist-in-residence torch from August 4 through August 6. Painter Rhett Lynch will host a workshop that lasts from August 15 through August 17. True West will also throw parties to mark the start of Spanish Market on July 27 and Indian Market on August 17. A weekend of related events follows each.

True West events also include an August 4 appearance by Choctaw storyteller artist Randy Chitto. He will present as many as six new works and will talk about how he brings his turtle and bear figures to life. “Randy’s turtle storytellers and bears are cheerful and charming,” says Lisa Sheridan, partner at True West. “They make you feel happy and lighter. His work has evolved from being very simple in appearance and color 20 years ago to the vibrant pieces he creates today. Every piece is one of a kind.”

Owen Contemporary (225 Canyon Road) will present “Shapes and Surfaces: Martha Rea Baker and Bret Price” from July 21 to August 3. Baker is an abstract painter from New Mexico, and Price is a sculptor from California. Her works gain strength from built-up layers of paint, which provide visual texture. His sculptures turn rings and bands of metal into brightly-colored, seemingly weightless ribbons.

The Center for Contemporary Arts (1050 Old Pecos Trail) welcomes summer, and a new sculpture garden, with “Tom Joyce: Everything in Hand,” an exhibition that takes place from July 28 to December 31. Joyce, a 2003 winner of a MacArthur “genius” grant and a longtime Santa Fe resident, forges powerful, often experimental sculptures that explore his decades-long fascination with iron.

Gallery 901 (555 Canyon Road) has an intriguing show by a pair of Spanish father-son artists. Fortunately, the name of the show, “Oil & Water: The Masterful Works of Jesús Navarro & Iban Navarro,” does not describe the state of their relationship. Jesús, 65, paints with oils, while Iban, 35, favors watercolors. Both create hyperrealistic images. Between 15 and 20 works, all created between 2015 and 2017, will appear in the exhibition, which opens on July 28 and continues through August 28.

The 66th annual Traditional Spanish Market is scheduled for July 29 and July 30 on Santa Fe Plaza. Around 250 Spanish colonial artists from New Mexico and Southern Colorado will appear, showing examples of weaving, jewelry, tinwork, ironwork, retablos, filigree, colcha, pottery, and other traditional arts and crafts. The market is operated by the Spanish Colonial Arts Society, which is hosting a show of photographs of Frida Kahlo at its associated museum.

Morning Star Gallery (513 Canyon Road) will open a best-of-show exhibition of around 30 North American Indian art pieces on August 5, which will run through the end of the month. Works include a basketry degikup (basketry bowl) woven around 1908 by Dat So La Lee, a renowned Washoe artisan who was also known as Louisa Keyser. She created this particular basket for the Emporium Company of Carson City, Nevada, and it comes with its original certificate. “The degikup is a favorite form for her, what she’s known for most,” says Henry Monahan, director of the gallery. Also on show will be a pair of silver and inlaid bookends decorated around 1940 by Zuni artist Leo Poblano. Primarily famed as an inlay artist, he did not do any of the silver work but instead enhanced the large, central kachina figure on each, which is shown performing the Shalako, a Zuni winter solstice dance. Poblano used mother-of-pearl, jet, and turquoise on the figures, and highlighted the moccasins with the shells of spiny oysters. Monahan notes that both are “usually something out of my area” because they date to the 20th century and not earlier, “but they’re so outstanding, how could I not put them in the show?”

The eighth annual edition of Objects of Art Santa Fe will take place from August 10 to August 13 at El Museo Cultural de Santa Fe. Its 70-odd dealers and galleries will spotlight a broad but well-chosen range of art and antiques, from Margaret Keane paintings to Indonesian textiles to modernist furniture.

Following directly in the same space will be the Antique American Indian Art Show, happening from August 15 to August 18. About 50 of the world’s best dealers of pre-1950 American Indian art will display their wares. Both shows will have opening galas that benefit New Mexico PBS, and both will share a special exhibition in common: Homage to the Square, which places about 25 early (circa 1870 to 1950) Navajo rugs and blankets alongside modern artworks. “The whole point of the exhibit is the comparison between modern art and Navajo art, with no cross-cultural dialogue between them,” says John Morris, co-producer of the fairs.

The 96th Santa Fe Indian Market will take place on August 19 and August 20 on the city’s historic plaza. Present at one of the 700 artist’s booths will be Isaac Dial, a Navajo creator of jewelry. A 2016 bracelet that he fastened from sterling silver, red coral, turquoise, 22k yellow gold, and fossilized chocolate ivory graces the home page of the Southwest Association for Indian Arts (SWAIA), the non-profit that produces the annual event.

The 24th annual Santa Fe Art Auction will happen on November 11 at 1011 Paseo de Peralta. The 2016 sale did typically well, with an 82 percent sell-through rate, a grand total of $12.5 million, and a top lot, Frank Tenney Johnson’s 1929 canvas Mountain Meadows, which accounted for roughly 10 percent of the total, pulling in $1.2 million.

Last year’s edition also notched an auction record for artist Raymond Jonson, whose undated painting, Santa Fe Placita, fetched $128,700 against an estimate of $75,000 to $150,000. This year, Jonson, who died in 1982, will be represented by two major early works: Untitled (New Mexico Vista), painted in 1925 and estimated at $60,000–100,000, and The Night, Chicago, painted in 1921 and estimated at $80,000–120,000.

One of Jonson’s old students, Richard Kurman, will make his auction debut at the Santa Fe event this year with the undated landscape El Nevado del Toluca, estimated at $4,000 to $6,000. “El Nevado del Toluca is a superb example of the artist’s mastery of a modernist style clearly influenced by his teacher,” says Jenna Kloeppel, administrative director of the Santa Fe Art Auction. “Kurman manages to capture a landscape that is at once fragmented and geometricized but which features a clear flow of line and form.”

SITE Santa Fe is in repose for the summer as it readies to unveil its expanded premises in early October, with a gala dinner and an opening exhibition (details were unavailable at press time). The project, which broke ground in August 2016, will increase the facility to 36,000 interior and exterior square feet, adding a new auditorium, an entrance sculpture court, and a lobby with a larger store and a snack and coffee bar. The grand re-opening events will take place from October 5 through October 8.

Two new exhibitions will start concurrently on October 7. The first is “Future Shock,” a large-scale exhibition by 10 contemporary artists who will explore the impact of the ever-increasing pace of change on our lives. The second exhibit is “Kota Ezawa: The Crime of Art,” a solo exhibition by the San Francisco artist that will be shown in the new, 2,000-square-foot SITElab Project Space. The Ezawa show closes on January 10, 2018, while “Future Shock” will continue through May 20, 2018.

The Hotel Chaco, which Heritage Hotels & Resorts unveiled in Albuquerque, N.M., has the makings of a great destination property, to go along with the company’s other properties, which include the Eldorado Hotel & Spa and the Hotel St. Francis in Santa Fe, the Inn and Spa at Loretto, and El Monte Sagrado in Taos. The Hotel Chaco’s 110 guest rooms glory in the views of the Sandia Mountains or the hotel’s gardens and pool terrace. And its interior designer, HH&R favorite Kris Lajeskie, commissioned Native American artists to enliven and enrich its spaces. A notable choice was Tammy Garcia, a Santa Clara Pueblo artist best known for her bold ceramics. She contributes several key architectural features, including a glass oculus, measuring 20 feet in diameter, that presides over the lobby. “She was my inspiration when I first rendered the design for the lobby ceiling four years ago,” says Lajeskie. “Tammy has worked in glass in collaboration with artist Preston Singletary on several occasions. However, our interaction with Tammy was for her distinctive design style only. We commissioned her for her design on the ceiling to fulfill the original vision, and also asked her to submit a design for the entrance doors, which were then laser-cut in metal and inset into the doors.”

By Sheila Gibson Stoodley

Summer in the City Sun, 10 Jul 2016 17:43:37 +0000 Continue reading ]]> Santa Fe’s art scene is now in high season, offering a plethora of fairs and exhibitions dedicated to works local, national, and international.

Dean Mabe, Edge of Time;

left: Dean Mabe, Edge of Time;

Featured Images:(Click to Enlarge) Willard Clark, Santuario de Chimayó; Dean Mabe, Edge of Time; John Moyers, Interstate Through His World Logan Maxwell Hagege, The Settling Day, Don Stinson, The World Heading West from Zion, 2016 Assiniboine moccasins, 19th century. Western Plains pipe tomahawk

Cool things just happen in Santa Fe; it’s that kind of place. Last year, Game of Thrones author and Santa Fe resident George R.R. Martin agreed to bankroll a project by the Meow Wolf art collective to transform a defunct bowling alley into an art complex. Santa Fe is a year-round art destination, but it comes into its own during the summer, when it is alive with museum exhibitions, gallery shows, fairs, and indigenous arts markets.

At the Georgia O’Keeffe Museum throughout the summer (closing October 30) is “Georgia O’Keeffe’s Far Wide Texas,” devoted to a series of watercolors she painted while teaching in Canyon, Tex., from 1916 to 1918. The product of about two years of effort, “Far Wide Texas” represents the largest public display of these early O’Keeffe watercolors in a long time, and possibly ever. It looks at a period of the artist’s life that would later be overshadowed by her time in New Mexico, when she was fresh from Columbia University and “alive with the possibilities of abstraction,” says curator Carolyn Kastner. The watercolors on view include Evening Star No. VI, a sunset landscape from a 1917 series of eight that is rendered entirely in primary colors.

Car culture will be celebrated at The New Mexico Museum of Art with “Con Cariño: Artists Inspired by Lowriders” (through October 9), a show of photographs, paintings, sculptures, and videos by New Mexico artists, including Lawrence Baca, Ron Rodriguez, Justin Favela, Miguel Gandert, Alex Harris, Nicholas Herrera, Arthur Lopez, Norman Mauskopf, and El Moisés. Through images of the customized, hydraulically enhanced vehicles beloved by generations of Latino New Mexicans, they explore a variety of serious issues such as family, heritage, gender, and religion. “The works in the show confirm what we in New Mexico already know to be true, that lowriders are an extraordinary art form in their own right as well as being a significant cultural icon that ignites the imaginations of people all over the world,” says curator Katherine Ware. Also at the museum this summer is “Finding a Contemporary Voice: the Legacy of Lloyd Kiva New and IAIA” (through October 10). The exhibition features work by New, cofounder of Santa Fe’s Institute of American Indian Arts, as well as by faculty and alumni.

All summer long, Santa Fe is awash in gallery shows. The Addison Rowe Gallery at 229 East Marcy Street will host “Louis Catusco & Lawrence Calcagno: Not Famous, But Important” through August 19. Between 20 and 30 works appear in the show and include pieces such as Constellation of the Inner Eye No. 38, a 1977 oil on paper by Calcagno that captures a lush meditation in blue. Representing Catusco is Untitled No. 3, an undated multicolor mixed media with pen work. “The contrast between these two guys is very exciting,” says Matthew Rowe. “It’s really exciting to show an aspect of American art that people aren’t familiar with. It’s an opportunity to see something you wouldn’t expect.”

Through August 12, the Ellsworth Gallery on 215 E. Palace Ave. is showing “Form and Fruition: Introducing new works by Jeff Juhlin, Karolina Maszkiewicz, and Kim Piotrowski.” All three are American abstract artists, and Maszkiewicz and Piotrowski will make their Ellsworth Gallery debuts in this show. Barry Ellsworth says that Jangle, a mixed media on panel by Piotrowski, provides a fine introduction to the artist. “Her work, for me, is almost like pure, exuberant energy, like water splashing on a rock,” he says, adding, “All the pieces [in the three-person show] are strong and work together beautifully.”

LewAllen Galleries, located at 1613 Paseo de Peralta, will enjoy a busy summer season. On July 22, Bulgarian-born glass artist Latchezar Boyadjiev will make his LewAllen Galleries debut alongside glass sculptor Lucy Lyon, in show that continues through August 15. Tom Palmore’s intriguing portraits of animals and birds will remain on display until August 21. Especially charming is The Royal Family, a group of meerkats rendered in oil and acrylic on canvas. And contemporary landscape artist Woody Gwyn returns with a show that opens on July 29 and closes on September 5.

Nedra Matteucci Galleries, at 1075 Paseo de Peralta, welcomes the summer with “Natural Wonders: Paintings by Chris Morel and Sculpture by Dan Ostermiller,” which opened on June 25 and runs through July 16. It will be the first joint exhibition by the two artists at the galleries. Morel, a master of oils, fills the gallery walls with landscapes like St. Francis in Snow, a winter vista that radiates warmth and light, while Ostermiller delivers lively bronzes such as When Mama Calls, a scene of two baby elephants marching toward their unseen mother. Ostermiller will contribute a dozen new bronzes, including three that are on a monumental scale; Morel’s 30 paintings capture vistas in northern New Mexico and Colorado. “Their respective work explores the natural world, but they approach it from two very different perspectives in subject and medium that are a wonderful juxtaposition of nature itself,” says owner Nedra Matteucci.

On August 13, Matteucci will open “John Moyers and Terri Kelly Moyers: Time-honored Traditions in Painting.” It is the gallery’s fifth annual exhibition devoted to the husband and wife plein air painters, who embrace old-school techniques and pursue their own distinctive paths. The pair will create between 30 and 40 works for the show. Terri Kelly’s Afternoon At San Gabriel showcases her command of light, portraiture, and fine costume details; John’s Interstate Through His World testifies to his talent for portraying images of Native Americans with restrained emotion. “Terri enjoys a very classical, figurative style in her work that emphasizes women, and John, long a student of Western history, most often paints Pueblo Indian and includes Mexican cowboy subjects. Their plein air paintings complement each other as they paint together but even then, their unique palette and style is evident,” Matteucci says. The Moyers show will close on September 10.

136 Grant, at 136 Grant Ave., will have a full slate of seasonal programming. Its series of summer open houses began on June 30 with an event for the Santa Fe Opera House and continues on July 7 with an open house for the Folk Art Market and on August 13 with an open house for the Indian and Spanish markets. Its Salon Series, held on the third Friday of the month, features John Kania on collecting antique American Indian baskets in July and Mark Blackburn and Tad Dale on the collecting life in August. 136 Grant’s Meet the Artist series takes place on the third Saturday of the month and will feature Greta Ruiz on recent clay work at the Spanish Market in July and Caroline Blackburn on the fine art of jewelry design in August. In addition, 136 Grant will mount a show of 30 to 40 works from the late Santa Fe printmaker Willard Clark, spanning six decades of his output. Opening on the fourth or the fifth of August and continuing until the end of the month, it will also feature watercolors, paintings, works on paper maybe a wood block or two, and an original copy of his memoir of 1920s Santa Fe life that he printed on his own press. The show will appear at El Zaguan, a historic property on Canyon Road. Both 136 Grant and El Zaguan are administered by the Historic Santa Fe Foundation. 136 Grant will donate a portion of the profits from art sales at the August show to the foundation.

Gallery 901, located at 708 Canyon Road, will unveil “Adelita: Women Soldiers of the Mexican Revolution” on July 1 and continue it until July 26. Angel Wynn, who works with encaustic, or pigmented wax, and photographs, explores the phenomenon of the adelitas, women who followed men to the battlefields of the Mexican revolution and sometimes fought alongside them. In September, Gallery 901 will present another show by Wynn: “Greetings from New Mexico” will run from September 2 to September 27. The gallery will mount at least two shows in August. Eddy Shorty, a Navajo sculptor, stars in a show that opens on August 19 and closes on September 9. Landscape painter Dean Mabe will enjoy his debut outing at Gallery 901 with “Other Times and Places,” which will take place from August 19 through September 9.

The Gerald Peters Gallery, at 1005 Paseo de Peralta, always has intriguing summer shows, and 2016 is no exception. From July 29–August 20, the gallery will feature a two-man exhibition by painter Don Stinson and sculptor Randall Wilson. It came about after Stinson showed Evan Feldman, the gallery’s director of contemporary art, a cell-phone image of a sculpture that his old friend Wilson had recently finished. Pleased by what she saw, Feldman pursued a dual show of Stinson’s stirring Western landscapes and Wilson’s retablo-inspired wooden creations. “Their work is very different, but it complements each other in a nice way,” she says. Also making its debut on July 29 (through September 24) is “The Wild Bunch: G. Russell Case, Logan Maxwell Hagege, and Mark Maggiori,” which spotlights a younger generation of contemporary Western artists. The three complement each other in more ways than the obvious ones. “I wanted to put them together because they work together, they like each other, and their painting styles are all very different,” says Maria Hajic, director of naturalism at the gallery.

“The Art of Chris Maynard” runs through July 23, and celebrates the work of a unique artist. Maynard’s medium is bird feathers, and his preferred tools are many of the same implements found in an eye surgeon’s operating room. “He’s enamored with birds,” says Hajic. “He tries to capture the essence of birds. That’s what it’s about for him. I don’t have another artist like him. When people come into the gallery, his is the first piece they go to. They’re mesmerized.” The precision Maynard brings to his shadow boxes carries through to the identifying information for each: Red Racers is not merely comprised of feathers, but specifically a mute swan’s under-wing feather and the tail feather of a female red-tailed black cockatoo. “Because he is a birder, he wants to be as specific as possible, and he wants to educate people about birds,” Hajic says, adding that the artist stresses that he never harms birds in pursuit of his materials.

Charlotte Jackson Fine Art, located at 554 S. Guadalupe, meets the summer heat with “Jeremy Thomas: Grown Cold,” the artist’s fifth solo show with the gallery and his sixth overall. It will open on July 1 and close on August 1. The title refers to the cold inflation process Thomas relies on to shape his larger steel pieces such as Bijou Blue. On August 5, “Heiner Theil and Michael Post: Vicissitudes of Color” fills the gallery. Both artists are Germans with a penchant for creating brightly-hued wall pieces out of metal. Theil’s anodized aluminum shapes revel in light and handily withstand the Southwestern rays. “The orange ones are like burning embers,” Jackson says. Post’s acrylics on fiberglass over steel play with color in a different way, glowing from beneath when the light hits them. Jackson notes that both Theil’s and Post’s artworks sell quickly. “It’s exciting, it’s fresh, it’s new, and people love it,” she says. The Theil and Post show will close on September 5.

Ruhlen-Owen Contemporary at 225 Canyon Road will display “Flowers and Fields: Mary Long | Daniel Phill” from July 1–14. It is the gallery’s first duo show of the season, and each artist will contribute a dozen works. Long has favored the medium of encaustic for more than a decade, producing evocative works that seem like landscapes photographed from the air. Phill specializes in abstracts that have a distinctly botanical feel. “His colors in general are very vibrant,” says Tim Owen, the gallery’s owner. Ruhlen-Owen Contemporary will follow “Flowers and Fields” with another duo show of the works of Martha Rea Baker and Pauline Ziegen. It runs from September 16–29.

Starting on August 10, Morning Star Gallery at 513 Canyon Road shines a spotlight on the art of war with a show of the same name. Among its two dozen items, most of which were used by Plains Indians warriors between 1780 and 1875, is a Plains quilled bow case and quiver that utterly delighted gallery director Henry Monahan. “I’ve been doing this for 31 years and my heart stopped for a second,” he said of the case and quiver, which is embellished with porcupine quills and red cloth originally imported from England. “I’ve literally never seen anything like it in my life. It’s been a decade since I had one [a bow case and quiver set] and I never had one this fine.” The lack of beads and the technique used for the quill work (look for the white sections at the extremes of the quiver) point to a date of circa 1850. “The bottom of the bow case has a perfect usage patina,” he says. “It’s not beat to crap, but it’s lived a life.”

The show also features a tomahawk from a Western Plains tribe. Its patina, tack decorations, and unusually large head point to a circa-1860s date. The fact of the head itself—it had to have been made by a blacksmith, not a tribesman—and its magnificent details, such as a seven-point star decoration, speak to the wealth and trading prowess of its owner. “It’s a lethal weapon,” says gallery director Henry Monahan. “A lot of times [tomahawks] were a symbol of office and authority, but if they had to, they would use it.” “The Art of War” will remain on view through September 5.

Also on view in Santa Fe is the Messenger Art Collection, a 5,000-strong archive of artworks originally commissioned for advertising purposes. Much of it was acquired, starting in 1913, by Frank Messenger, who produced advertising in the Midwest during the 1940s and ’50s. Current owner Al Babbitt bought the collection in 2010 with the intention of restoring it and offering it for viewing and for sale. There will be an open house on Friday, July 8, from 5–7 p.m. at the collection’s showroom at 2538 Camino Entrada. Visitors may also contact the showroom to schedule a private viewing.

Among the marquee pieces on display is Century of Progress, a 1933 oil on canvas that served as the original art for a poster. Frank Robert Harper painted it to celebrate the Chicago World’s Fair as well as the first time electric lights blazed on the shore of Lake Michigan. A multi-year restoration effort returned the rare surviving canvas to its former glory. Other Messenger prizes include a complete set of 31 hand-colored etchings of scenes from Shakespeare plays, produced by the 18th-century English printmaker and entrepreneur John Boydell, and the centerpiece of the collection, a group of 21 original color separations that comprise the famous 1949 “Red Velvet” nude photo shoot by Tom Kelley Jr., that turned Marilyn Monroe into a superstar. Images from the session enlivened a 1953 calendar that sold eight million copies (not to mention countless knockoffs) and supplied Hugh Hefner with the inaugural centerfold in Playboy magazine.

Fairs are an essential aspect of Santa Fe’s summer art season. This summer Art Santa Fe returns to the Santa Fe Convention Center for its 16th edition, under new ownership. The fair, which takes place from July 7–10, now belongs to the Redwood Media Group, which also owns Spectrum Miami and Artexpo New York. Its 45 exhibitors will include Catenary Art Gallery of 616 ½ Canyon Road, which will bring lyrical images by Bulgarian-born photographer Rumi Vesselinova. They will enjoy a show that is literally larger, with bigger booths. The theme of this year’s Art Santa Fe is “horizon,” a notion explored by the Art Lab project of Jorge Cavalier, a series of oversized acrylics on silk and canvas hung from the ceiling. “Jorge’s work takes you on a journey. You walk physically toward a horizon,” says Linda Mariano of the Redwood Group. “You walk through the horizon to reach the horizon.” Another Art Lab project is aimed at younger visitors. Switzerland-based artist Kelly Fischer will create a 16-canvas mural based on her new children’s book, The Most Beautiful Color of All. The mural will also be rendered as a smaller wooden set of images that will allow children to make up their own story with them, and they can also avail themselves of art supplies and create their own murals. Art Santa Fe intends to offer this Art Lab program on afternoons from Friday to Sunday during the show. Art & Antiques will support Art Santa Fe by continuing to be the fair’s lead media sponsor.

The 13th annual International Folk Art Market returns to Santa Fe from July 8–10, located on Museum Hill. Almost 200 artists from more than 60 countries will attend, and 40 percent of the exhibitors will be newcomers to the market. Works on offer will include paintings, sculpture, glasswork, ceramics, carvings, basketry, beadwork, musical instruments, textiles, mixed media, jewelry, and more. Among the artists showing work will be Serge Jolimeau of Haiti, who makes recycled oil drum sculptures; Abdulaziz Alimamad Khatri of India, who makes bandhani dyed scarves and shawls; and Joy Ndungutse and Pricila Kankindi of Rwanda, who make handwoven sisal baskets, ikangara wall hangings, bracelets, and earrings.

SITE Santa Fe continues its SITElines series with its 2016 biennial, much wider than a line, an exhibition that features more than 35 artists from 11 countries exploring a range of border-transcending ideas that stem from the interconnectedness of the Americas. Aaron Dysart’s Preserve 2 (2015) pokes fun at man’s attempts to control and improve nature, taking it to an extreme by wrapping a section of a branch in aluminum foil. Juana Valdez’s Colored China Rags (2012), employs porcelain, a long-treasured luxury good, to replicate the shapes of mundane cleaning rags, painted to resemble a range of flesh tones. The SITE curators selected six Valdez porcelain rags for the show, which opens on July 16 and continues through January 8, 2017.

The Spanish Colonial Arts Society presents the 65th annual Traditional Spanish Market on Santa Fe Plaza on July 30–31. Roughly 250 masters of woodcarving, tinwork, hide painting, furniture, weaving, jewelry, and other time-honored arts will attend. Last year’s treasures included pots by Alfred Blea and One Hundred Madonnas by Marie Romero Cash, an intriguing and engaging take on the bulto, or carved and painted figures of saints.

Objects of Art Santa Fe will be held in El Museo Cultural de Santa Fe in the Railyard District from August 12–14. J. Compton of Wimberly, Tex., will offer a dozen paintings by the late Larry John Palsson, a Seattle outsider artist whom the gallery brought to prominence. Palsson was apparently autistic and self-taught, adorning whatever was on hand, be it cereal boxes or car brochures, with compelling, colorful visions done in acrylics that betray no evidence of brush strokes. Palsson never named or dated his paintings, but gallery owner Jean Compton has given them titles and has sleuthed out likely dates for some. She was able to pinpoint when he made Daisies, a bold abstract with a space-age starburst ringed by daisy-like blooms, by turning it over and discovering he had painted it on a brochure that touted the 1988 Lincoln Continental. “This is one of my most exciting finds,” she says of the 600-strong stash of works. “It’s been a huge process just to go through it and curate it.”

The H. Malcolm Grimmer gallery is preparing to unveil a stunning exhibition of Plains Indians moccasins at the Antique American Indian Art Show Santa Fe, which also takes place at El Museo, from August 17–19 (with an opening night celebration on August 16). Titled “The Path to Beauty: The Art of Plains Indian Moccasins,” Grimmer’s installation will feature as many as 40 pairs of magnificently decorated footwear fashioned by the women of 19th-century Plains Indian tribes. Most come from a single decades-old collection. “Moccasins are a unique object in Indian art. It’s two-dimensional and three-dimensional art, and we’re trying to build a show that explores that,” says gallery director Tom Cleary. Though Plains Indian men, women, and children all wore bead-decorated moccasins, high-ranking males donned the most resplendent pairs. One sharp-dressed man in the Assiniboine tribe in the Montana region, circa 1880, stood tall in moccasins decorated all over with beads—soles included. “They were probably seldom worn and used for special occasions, like a wedding dress in today’s society,” says Cleary. Almost as exquisite is a pair made by a Kiowa tribeswoman around 1870 in Oklahoma or Texas. Their beads display the colors that collectors want most in a Kiowa work of art (pink, crimson, and blue), and the flaps around the ankles, known as cuffs, are graced with beads and deerskin fringe. “To make a pair like that would have taken months,” Cleary says. “To acquire the beads alone would have taken time.” He and his gallery colleagues are understandably excited over the show. “It’s going to be fun to put them on a wall and see how they play with each other,” he says.

Also at the Antique American Indian Art Show, dealer Trotta-Bono of Shrub Oak, N.Y., will make a memorable debut. Among its offerings will be an exceptional veteran’s quilt dating to the World War II era and stitched by an unknown Cherokee in Oklahoma. Rather than a single, dominant image, the white-and-robin’s-egg-blue quilt contains several symbols, some Native American and some not—hearts, fleurs-de-lis, arrows, peyote buttons, bombs, and a thunderbird—that together suggest it was made for a veteran who fought in France during the war, perhaps with the 45th Armored Division, which took the thunderbird as its logo.

And for the third year in a row, the Antique American Indian Art Show and Objects of Art Santa Fe will share a non-selling exhibition: “Woven in Beauty: 100 Years of Navajo Master Weavers from The Toadlena/Two Grey Hills Region” brings together between 30 and 40 textiles woven by Navajos after 1900, the time when the design elements start to differentiate and coalesce around the trading posts in the area. Weavings on view includes a circa 1940 sheep’s wool rug that is typical of Toadlena/Two Grey Hills in its use of diamond motifs and undyed fibers, and atypical in that it was woven by a man. The exhibition runs August 11–19.

The great-grandfather among the arts events in the city, the Santa Fe Indian Market, fills the Downtown Plaza August 20–21. Produced by the Southwestern Association for Indian Arts (SWAIA), the market will stage its 95th edition in 2016. More than 150,000 visitors are expected to view and purchase works by more than 1,100 Native American artists from the United States and Canada. Standouts from 2015 included Nancy Youngblood, of the Santa Clara Pueblo, who took Best in Class for pottery with her black-on-black stone-polished pot titled Horse Running through the Lightning and Rain, and Ernest Benally, a Navajo who won Best in Class for jewelry with a bolo tie fashioned from sterling silver, inlaid gemstones and shells, and handmade leather.

By Sheila Gibson Stoodley

1953 Fiat 8V Supersonic Sells for $1,815,000 at Auction Mon, 05 Oct 2015 21:04:23 +0000 Continue reading ]]>
1953 Fiat 8V Supersonic

1953 Fiat 8V Supersonic

Featured Images: (Click to Enlarge) 1953 Fiat 8V Supersonic 1953 Fiat 8V Supersonic 1953 Fiat 8V Supersonic 1953 Fiat 8V Supersonic 1953 Fiat 8V Supersonic

At Bonhams’ automotive auction this summer, held at Quail Lodge in Carmel, Calif. (part of the Monterey Peninsula’s annual collector car week), among the standout lots was this sleek, streamlined Fiat 8V Supersonic from 1953, with body designed by the Turinese coachbuilder Ghia. The story of this vehicle begins back in 1948, when experiments aimed at making a large American-style V6 sedan led instead to the creation of a powerful V8 engine. Fiat technical director Dante Giacosa later recalled, “The idea of mounting it on a sports car for a small production run was attractive and aroused the keenest interest among the design engineers.” The result, which came out in 1952, was the Fiat 8V, a touring sports car known in Italian as the “Otto Vu,” of which about 114 examples were built with various coachwork. The most notable was done by Ghia, which produced some 30 or 40 examples. Of those, around 15 had the Supersonic body created by Giovanni Savonuzzi, a design star who was later hired away by Chrysler.

The record-breaking example sold by Bonhams, chassis number 106.000049, was exhibited at the Pebble Beach Concours d’Elegance in 1957 and had been in the same ownership for 36 years. It underwent an eight-year restoration that was completed in 2015. It has a 1,996cc OHV alloy V8 engine, a four-speed manual gearbox, four-wheel independent suspension, and four-wheel Alfin drum brakes. With its cream interior and streamlined blue-green body, this Otto Vu is a modernist classic, uniting rarity, mechanical sophistication, and Italian elegance.

Offered at: Bonhams’
Quail Lodge Auction, August 14, 2015
Sold for: $1,815,000

The Complete Guide to Santa Fe Art Shows Thu, 09 Jul 2015 17:56:57 +0000 Continue reading ]]> Art & Antiques’ complete guide to the summer season of fairs, museum exhibitions and gallery shows in the Southwest’s art capital.

Billy Schenck, Coming Down From the Mountain

Billy Schenck, Coming Down From the Mountain, 2010.

Featured Images: (Click to Enlarge) Fleur Long, Ranchos de Taos Church William Berra, Cloud Study Brian Goodman, Prismatic Exploration Woody Gwyn, El Creston Billy Schenck, Coming Down From the Mountain

Santa Fe doesn’t lack color. Mother Nature lavishes her paintbox on the landscapes of the Southwest, and countless artists have made the pilgrimage to Santa Fe and stayed, transfixed by the beauty of the hues. “At sunset at certain times of year, you can see every color there is. It’s magical,” says Carmen Vendelin, a curator at the New Mexico Museum of Art.

So perhaps it’s a bit surprising that the art world of Santa Fe hasn’t attempted to unite under the umbrella theme of color until now. The Summer of Color, formally proclaimed by Santa Fe mayor Javier Gonzalez in February, grew out of happenstance. A few of main museums in town coincidentally pursued exhibitions for 2015 that revolved around a single hue—red, turquoise, cobalt. Once city arts leaders spotted the pattern, the Summer of Color idea gained traction. While not every gallery, entity, event, and institution are explicitly joining in, it occurs anyway, by default. Pick a month, any month, and something colorful is going on in Santa Fe, from cool November, when the Santa Fe Art Auction takes place, to the busy, dizzy heights of July.

Santa Fe hosts several art and antiques fairs during the summer. Chief among them is the 15th edition of Art Santa Fe, an international contemporary art fair scheduled for July 9 to 12 at the Santa Fe Convention Center at 201 W. Marcy. (Art & Antiques is the lead sponsor of its Opening Night Gala.) Conde Contemporary, a Miami gallery that specializes in contemporary Cuban art, will bring Los Pioneros, a spooky, unforgettable kinetic sculpture by Aurora Molina, who left the island for the U.S. at age 16. Six small mechanized figures wearing school uniforms and unaccountably aged faces evoke the daily rituals of the pioneros—Cuban schoolchildren who pledged to grow up to be good Communists. Art Santa Fe will also feature an installation of the Puzzle Project, a nine-years-and-counting endeavor by Japanese artist Takashi Inaba that explores connection and disconnection, order and disorder. Inaba sends canvas puzzle pieces to individual artists around the world and invites them to do what they wish with them. None of them learn what their fellow artists are up to until the pieces are shipped back, assembled into a whole, and photographed. Don Bacigalupi, founding president of the forthcoming Lucas Museum of Narrative Art in Chicago, will give the keynote speech.

Art Santa Fe will once again participate in the Santa Fe Art Trifecta, a trio of arts events that cover 10 days in mid-July. Overlapping Art Santa Fe will be the 12th annual International Folk Art Market, held at Milner Plaza from July 10 through 12 and presented by the International Folk Art Alliance. More than 150 artists from 57 countries have been chosen to attend. In a nod to the Summer of Color theme, the market has embraced the color green.

SITE Santa Fe, the third member of the trifecta, will unveil two exhibitions on July 18. “20 Years/20 Shows: Summer” celebrates the institution’s anniversary by showcasing selected artists from its two-decade exhibition history. Narrowing the 600-odd candidates down to fewer than two dozen was easier than it might seem, as director and chief curator Irene Hofmann tells it. “It began with us looking at artists who had a very significant engagement with us early in their career. From there, it was thinking of the artists we most wanted to revisit,” she says, while noting that they also sought to capture the diversity, range, and eras of SITE Santa Fe. The summer grouping will feature creations by Janine Antoni, Amy Cutler, Ann Hamilton, Harmony Hammond, and Dario Robleto, and four of the five will work with collaborators. At least one project called for an expert that isn’t typically needed for an art installation. Amy Cutler’s presentation involves taking the visions in her paintings and realizing them in three dimensions. A hairdresser assisted with scenes of women depicted pulling things with their tresses. Wall text in all the “20 Years/20 Shows” displays make note of the artists’ previous appearances at SITE Santa Fe. “We remind our audience of what was shown here as a way of making links to the past, jogging their memories of the work and providing context for what we are now seeing,” says Hofmann.

Opening concurrently is “Unsuspected Possibilities: Leonardo Drew, Sarah Oppenheimer, Marie Watt,” which juxtaposes the work of three artists in intriguing ways. Curator Janet Dees engineered the show, which demanded some actual, no-kidding engineering: Oppenheimer’s contributions required cutting holes in two of the building’s walls. “20 Years/20 Shows: Summer” lasts until October 4, while “Unsuspected Possibilities” continues through January 3, 2016.

The 31st edition of the Annual Ethnographic Art Show is scheduled for August 13 through 15 at the Santa Fe Community Convention Center. More than 100 dealers of art, antiques, jewelry, and other precious objects by tribes and groups the world over will appear. Throckmorton Fine Art of New York will bring a 9.5-inch marble Buddha head dating to the Tang dynasty and still dusted with the earth from which it emerged. “We leave some on to show it was buried,” Throckmorton says. Following directly will be the 37th edition of the Annual Antique Indian Art Show, happening at the same venue from August 16 through 18. A broad range of museum-quality Native American beadwork, pottery, jewelry, textiles and more from tribes across North America will be on display.

Objects of Art Santa Fe, an impressively eclectic fair that includes more than 70 exhibitors, will be held August 12 through 15 at El Museo in the downtown Railyard district. Look for the late 19th–early 20th-century oversized checker board at the booth of J Compton Gallery of Wimberley, Tex. The pleasing red-and-black board, found in the New York area, retains its original painted surface and is flanked by trays intended to hold game pieces. “It’s got wonderful graphic appeal and is sturdy enough to survive another century of checker tournaments,” says gallery owner Jean Compton. The Antique American Indian Art show happens almost directly afterwards in the same place, from August 18 through August 20. Among the exhibitors will be AE Tribal Antiques of Laguna Niguel, Calif., which will bring a circa-1880 Nez Perce rifle scabbard in fine condition with handsome beadwork.

And then there are the markets, which should not be missed. The Spanish Colonial Arts Society will present its Summer Market from July 25–26 at Santa Fe Plaza, a downtown landmark, and its surrounding streets. More than 250 artists will exhibit. Last year’s delights included Luz del Cielo, an alluring tinwork pendant lamp in medieval Moorish-Spanish style by Cleo Romero and The Dance, an elegant unpainted bulto in juniper wood, stone, and copper by Carlos Barela, grandson of the legendary wood sculptor Patrocinio Barela. In the following month in the same place, the Santa Fe Indian Market will happen from August 22–23. Hosted by the Southwestern Association for Indian Arts (SWAIA), it is the largest cultural event in the southwest, showcasing more than 1,100 Native American artists and drawing more than 150,000 visitors. Among the works on show will be Cliff Fragua’s Medicine of the Bear, a traditional ursine figure richly rendered in marble, calcite, turquoise, shell, and parrot feathers, as well as Nancy Youngblood’s compelling straight ribbed 64-section black melon bowl, made in 2009.

The Red that Colored the World, on view at the Museum of International Folk Art from May 17 through September 13, was one of the museum shows that was underway before Santa Fe announced the Summer of Color theme. The museum’s efforts were sparked a few years ago when its director received a book about the history of cochineal, a red dye derived from insects. “Quite a few of our living artists use cochineal,” says curator Nicolasa Chavez, “and she [the director] thought it would be an exciting exhibit, seeing that we’re an international museum with an international collection. It was a wonderful opportunity to look at our pieces right here.”

The Red that Colored the World allowed Chavez to cast a wide net—manuscripts, paintings, clothing, textiles, and furniture from pre-Columbian times to today. Indigenous Americans in what is now Mexico and Peru valued cochineal as far back as 200, and farmed the insects for the dyestuff. The Spaniards realized its value and brought it back to the Old World, where the painter El Greco became a fan. His circa 1608–14 oil on canvas El Salvador, from his Apostles series, appears in the exhibit. “He was definitely one of the early painters to use it,” says Chavez, who notes that El Greco studied Tintoretto, who also used cochineal. While noting that El Greco wouldn’t have relied solely on cochineal for his reds, she says it “provided an extra richness, a more scarlety hue.” In El Salvador, the pinkish raiment of Christ “really looks as if it’s illuminated from behind. It’s one of the qualities cochineal is known for having.”

Synthetic reds displaced cochineal in the 19th century, but it didn’t fade entirely from the scene. Orlando Dugi, a self-taught fashion designer who has Navajo ancestry, employed the dye for an evening gown in his Red Collection. Cochineal confronted him with a learning curve; it took him three months to complete the garment, and one month of that was consumed by the process of dyeing eight yards each of satin and silk organza. Chavez and her colleagues learned about Dugi’s dress through word-of-mouth, and asked if it would be ready in time for the show. “The dress caps off the show and brings it full circle,” she says. “It starts with native use [of cochineal] and ends with a Native artist making contemporary use of it.”

The “Colors of the Southwest” exhibition, which opened at the New Mexico Museum of Art on March 6 and continues through September 20, gave Carmen Vendelin a near-perfect opportunity to immerse herself in the collection. “I only started at the museum last July, so it gave me an excuse to go through all the painting racks,” she says. “I probably could have chosen 400 favorites to put up for this,” she says, laughing. Vendelin whittled the lineup down to fewer than 100, with an emphasis on modernism. Chosen were Billy Schenck’s cinematic 1993 oil-on-canvas Coming Down from the Mountain, depicting a cowboy on horseback gazing upon a wildly colorful sunset, and Fleur Long’s 1982 watercolor Ranchos de Taos Church. Vendelin selected Long’s depiction of the oft-painted church, a mecca for artists, because “it’s so iconic, and it had strong colors. It was really representative.”

Carolyn Kastner, curator at the Georgia O’Keeffe Museum, saw the Summer of Color theme as an opportunity to present “Georgia O’Keeffe: Line, Color, Composition,” which opened on May 8 and continues through September 13. “We wanted to create a colorful, beautiful show that demonstrates how conceptual she is in her work,” Kastner says. “You simply don’t see the skill involved in it. She makes it look easy, and making it look easy is part of her skill, too.” About 60 paintings, drawings, and photographs are in the exhibit, which spans O’Keeffe’s career from 1916 to the 1960s. It includes eight sets of works that show the preparatory drawings and the finished painting that resulted; they testify to a remarkable consistency in the artist’s vision over time. “Her first drawing is often so close to the painting,” she says. “The scale and range of the composition will stay mainly the same. Where she does deviate in the final, finished work, it’s usually to accommodate something that’s new to her.”

Pelvis Series, Red with Yellow, from 1945, is especially intriguing because it shows O’Keeffe consciously moving away from the colors in nature. For this painting, based on what she saw when she held a rodent’s hipbone to her eye and looked through its ball joint at the sky, the artist initially chose a palette that was true to life—blue sky, white bone. In addition to changing the hues simply because she’s the artist and can do that if she wishes, she also chose a scale that doesn’t exist in nature. Kastner explains that the hipbone O’Keeffe looked through was maybe 2 1/2 inches in length and the aperture was less than an inch, but she rendered Pelvis Series, Red with Yellow, at 36 1/8 inches by 48 1/8 inches. “It’d be a humongous dinosaur bone if it was real,” she says.

Ram’s Head, Blue Morning Glory, a 1938 oil on canvas, shows how the best people to break the rules of are the ones who know them inside and out. O’Keeffe commits the compositional sin of dividing the canvas in half by placing the skull in the dead center, and drops the morning glory in off-center, beneath the arch of the right horn.

The symphony of whites O’Keeffe lays down, tinged with lavenders and greys to create a trompe l’oeil effect, makes it sing. “You realize a reverie of color all coming together before your eyes. She’s thought through every inch of that surface,” Kastner says. “When you see it in person, it’s so powerful.”

Running concurrently with “Georgia O’Keeffe: Line, Color, Composition” is a show of new photography acquisitions that opened in March and closes on September 13. It features 26 images, including a 1918 Alfred Stieglitz gelatin silver print that depicts O’Keeffe painting a watercolor. It’s one of only two known photographs that show her in the act of making art. This is probably not a case of male photographers showing indifference or disrespect for a female peer; it’s entirely likely that O’Keeffe wasn’t all that open to interrupting her labors to strike a pose. Kastner notes that O’Keeffe’s homes included studios that were easily sealed off from the rest of the property, and she once wrote a letter chastising her sister for entering her studio while she worked and warning her not to do it again or she’d allow no more visits.

The Karan Ruhlen Gallery, at 225 Canyon Road, is keeping sculptor Bret Price and painter Kevin Tolman extra busy this summer. Art by each appears in three shows at the gallery scheduled between May and August, including a two-man show that ran from June 5–20. The Nature of Color, a group exhibition that’s part of the city’s Summer of Color motif, takes place from August 21 through August 31. It will feature six sculptures by Price (five indoor plus one outdoor) and six canvases by Tolman. Price, who works in California and Ohio, contributes vibrant abstracts such as More Than Enough, a bright orange steel work that stands almost 17 inches tall. The colorful coil is cooled into stillness yet seems to be full of energy, caught in the act of unfurling itself. Albuquerque, N.M.-based Tolman works in different sizes, but Ruhlen’s clients have an undeniable appetite for his larger paintings. Night Zigzag/Zuni, an acrylic mixed media on canvas, combines many of his prevailing themes: a strong background color (“He loves red,” Ruhlen says), significant size (this measures 60 inches by 60 inches), and forms that encroach from the edges of the canvas, such as the patch of yellow ochre at the upper right and the oval of black at the middle left.

“Chromatic Contrasts,” which opened in May at Addison Rowe Gallery at 229 East Marcy Street and ends on August 7, showcases three artists: Beatrice Mandelman, Raymond Jonson, and John De Puy, the last living member of the Taos Modernist group. The gallery represents Du Puy as well as the estates of Mandelman and Jonson, both of whom influenced him. Matthew Rowe of Addison Rowe reports that the 88-year-old “still paints every day” but was happy to leave the assembly and the hanging of the show to Rowe and his colleagues.

Among the 35 to 40 works in “Chromatic Contrasts” is a Jonson painting from the famed series of the same name, the acrylic-on-masonite Chromatic Contrasts No. 34 (Polymer No. 4 1965). By that point in his career, Jonson was thoroughly enchanted with acrylics, which dried fast, held their colors, were so much brighter than watercolors, and worked in an airbrush to boot. The only thing that’s actually painted in Chromatic Contrasts No. 34 is the black and tan background; everything else is laid in with a technique that’s most accurately described as paint collage, a term that Jonson, an avowed collage-hater, would never abide. He would pour acrylic paint onto a sheet of glass, let it dry, then cut the dried paint into shapes and place them on the masonite.

Beatrice Mandelman was equally inventive in the mid-20th century, first laying down colorful thick brush strokes, splashes, and drips, and then adding white paint. Rowe says that her large early 1970s acrylic on canvas, White Cloud, was “very subtle within the mode she worked in. With others, almost no color comes in.” The power of John Du Puy’s Winter Scene, a 2001 oil on canvas based on a vista in New Mexico, is unmistakable. “There’s a sense of being overwhelmed and inspired by the landscape,” Rowe says.

Nedra Matteucci Galleries’ much-anticipated summer exhibit debuts on August 15 and ends on August 30. Titled “Matteucci Contemporaries—An All Artist Show,” it will grace the display spaces and the garden at 1075 Paseo de Peralta with at least 60 new works, including still lifes by Martin Mooney and Laura Robb; Southwestern landscapes by Walt Gonske and Chris Morel; and sculptures by Glenna Goodacre and Michael Naranjo.

A standout among the works on display will be Bachelor With Gifts, a 36 ½ inch tall bronze figure made in 2008 by Native American artist Doug Hyde. Like many of his bronzes, Bachelor With Gifts testifies to Hyde’s masterful use of multiple colored patinas on a single piece, from the bachelor’s red-brown shoes to the faint copper green of his shirt to the colorfully patterned bag at his feet. “Doug Hyde has been an innovative leader among Native American artists in working with a more colored patina process that can accentuate and highly differentiate aspects of a bronze,” says Matteucci. The bronze is available in an edition of 12. William Berra’s contributions include Cloud Study May 5th, a magnificent 42-by-52-inch oil-on-linen completed earlier this year. Part of an ongoing series, Berra’s deft brushwork captures cloud that seemingly shifts from light to dark before our eyes.

Herb Mignery’s 10 ½ -inch-tall 2013 bronze His Destiny Foretold, produced in an edition of 30, depicts an encounter that its bovine subject cannot hope to comprehend. The buffalo steps on a discarded wagon wheel, a piece of detrius that heralds of the arrival of the settlers who would ultimately doom the buffalo to near-extinction. Considerably jollier is Juarez Night, a 30-inch-by-15-inch oil-on-panel finished in 2015 that shows a relaxed figure leaning against a wall, holding a rifle in one hand and a cigarette in the other. John Moyers took obvious pleasure in painting the subject. “I am very interested in the history of Mexico from Colonial times up until the Mexican Revolution,” he says. “It does not hurt that the sombreros and clothes they wore at the time are really fun to paint.

Ann Hosfeld of the New Concept Gallery at 610 Canyon Road will showcase her own work alongside that of Reg Loving in Nature Diversified, which runs from July 3 through August 3. About a dozen works from each will fill three rooms of the gallery. Among the Hosfelds in the show will be Una Pianta Rossa, a 2014 acrylic on canvas of a plant that she photographed in Mexico (she works from composited photos in her studio). Here, it was the red shapes that commanded her interest. “A lot of my work in the past has been very subtle, with lavenders and greys,” she says. “I wanted to get into brighter colors.” Loving’s offerings include Algodones #7, painted in 2013 as part of a series named for the small town that it features, which lies between Albuquerque and Santa Fe.

The next exhibition at New Concept will be “Kathleen Doyle Cook: Intensity in Abstraction,” on view August 7–31. The one-woman show will feature up to 15 of Cook’s bold acrylics-on-canvas, among them Ideas of Happiness, a 48-inch-by-36-inch work completed earlier this year. “They’re very painterly, totally non-objective, occasionally inspired by landscapes,” Hosfeld says. “She calls it ‘sensory landscape.’”

Painter Chris Richter will receive the honor of a solo show at Chiaroscuro Contemporary Art in July, his second at the gallery, which is located at 558 Canyon Road. “Chris Richter” opens on July 3 and closes on August 1 and features 15 oils on linen created in 2014 and 2015, including the beguiling monochromatic Smoke Screen. August brings the gallery’s ninth annual Contemporary Native American Group Show, running from August 7–September 5. A total of 50 works by six painters, jewelers, and a ceramicist who have Native American ancestry appear in the 2015 show. Contributions from the estate of Harry Fonseca include Stone Poem 2.15.96, an energetic acrylic on canvas Fonseca painted a decade before his death.

The Barry Ellsworth Gallery at 215 East Palace Ave., will unveil “Far Reaches: New Works by Elise Ansel, Claire McArdle, and Kathryn Stedham” on July 3, closing the show on September 12. Ansel draws inspiration from Old Masters to create what Ellsworth calls “gestural abstract paintings.” Sculptor McArdle creates images of female and equine forms from Italian stone, often imparting texture by leaving expanses of it rough and unpolished. “She’s drawn to classicism and grace, but does a modern interpretation of that,” he says. Evening Approaches II and other forceful landscapes painted earlier this year by Kathryn Stedham complete the show. “She’s really a colorist with very sophisticated brushwork,” says Ellsworth, who notes that Stedham’s passions for rock-climbing and Zen Buddhism infuse her art.

Evoke Gallery’s Kathrine Erickson will never forget the experience of seeing Lynn Boggess’ work for the first time. “I ended up standing in front of a very large painting and I didn’t realize it was of anything,” she says. “I loved the way he moved the paint. As I stepped back from the painting, I realized it was a landscape. I was hooked. I couldn’t get it out of my head.” She pursued the West Virginia plein air painter for five years until she says she “wore him down” and he joined her roster in 2009. “Reflections of Summer: Lynn Boggess,” taking place from July 31–August 22, will be the artist’s fourth solo show at the gallery, which is located at 550 South Guadalupe Street. It will contain 15 to 20 works painted in 2014 and 2015 and titled with the dates when he created them. All the oils-on-canvas in this show will picture West Virginia, and many were painted on his own 120-acre-plus property; he keeps a studio deep in the woods. He works exclusively with knives and masonry trowels, and claims that he does not own a paintbrush.

LewAllen Galleries is readying a strong summer slate. Located at 1613 Paseo de Peralta, it has three solo exhibitions planned, two of which share the same running dates. Botanica: New Paintings, which takes place from June 26–July 26, showcases LewAllen stalwart John Fincher as he turns away from his close-up explorations of cactus pads, tree limbs, and other Southwestern details to paint in a more traditional botanical style. The 30 works in the show include Havisham Rose, a 2015 oil on paper that bridges his former approach and his current one, albeit in a subtler version of his color palette. “It’s a very dramatic image of just the blossom,” says gallery director Ken Marvel. “It’s like a gorgeous Renaissance painting of a human being, except it’s a rose.”

Running concurrently with the Fincher exhibition will be Nature-Nurture: New Paintings, Brent Godfrey’s first solo show at LewAllen. It will feature more than 25 intriguing works along the lines of Upstart, a 2015 image of a small girl in sunglasses planting a gloved hand on the face of a deer that threatens to steal her spotlight. “It’s that quirk that gets you to thinking and really creates significance for the work far beyond the level at which you regard it,” Marvel says.

Woody Gwyn: New Paintings opens at the gallery on July 31 and ends on September 7. Gwyn favors the challenge of egg tempera, which requires him to mix his own paints. The time-honored medium imbues works such as El Creston (2014) with vivid, luminous greens that oils and acrylics can’t match. The unusual canvas shape that Gywn favors—8 inches tall by 30 inches long—imbues a cinematic quality to his art, but that’s not why he chooses it. “He tends to see landscapes in elongated, vista-like arrangements and paints them in almost epic ways,” Marvel says. “If you asked him why [he uses long, skinny canvases], he’d say ‘That’s just the way I see things.’”

Charlotte Jackson Fine Art, at 554 S. Guadalupe, has two group shows planned for the summer months. The July show, scheduled for July 1–31 and not yet named at press time, will feature at least 10 artists from around the world, including South Africa, Japan, Korea, Venezuela, Canada, and Cuba. Paintings, sculptures, and an installation will be among the works. The August group show is dubbed “Heat Wave” for its obvious tilt to the warmer end of the color spectrum. Works by Ed Moses will headline the exhibition.

Zane Bennett Contemporary Art, located at 435 S. Guadalupe St., hosts “ZB Kids teamLab Future Park,” an exhibition aimed at children. ZB Kids, a new division of the gallery, and a Japanese company, teamLab, collaborated on the show, which opened in June and continues through July 24. The interactive video and new media exhibit includes five attractions, including the Sketch Aquarium, which allows visitors to draw a sea creature, scan it, and see their creation swimming in the digital waters of the 17-foot-long, eight-foot-four-inch screen in as little as 10 seconds.

“Impacts! II: Chinese Dragonfly” opens at Zane Bennett on August 21 and continues through September 18. The lineup of six contemporary Chinese artists is entirely different from the previous “Impacts!” show. Among the new names is Bi Rong Rong, recruited by the gallery’s director, Shinji Ochiai. Her work ranges from installations to watercolors, and she draws her inspirations from locations; a key example is Manchester CMYK 01/14, a riotous 2014 pencil and watercolor on paper done in Manchester, England.

The Monroe Gallery of Photography at 112 Don Gaspar offers a timely and moving display in “The Road to Civil Rights: From Selma to Ferguson.” It features 50 images by almost two dozen photojournalists who documented pivotal moments in the history of civil rights struggles, from Martin Luther King’s Selma March to last year’s protests in Ferguson, Missouri. The exhibit opens on July 3 and ends on September 27.

If you find Robert Buelteman’s art electrifying, you’re more perceptive than you know. “Life and Shadow: Re-imagining Nature,” opening June 26 and ending on July 25, is his first solo show at the Gerald Peters Gallery since 2007, and it’s been worth the wait. Not quite works on paper and not quite photographs, Buelteman likes to call his camera-free images “chromogenic development prints.” Evan Feldman, director of contemporary art at the gallery, explains his working method: He starts by gathering plants in his garden or on a hike, then subjects them to a process that involves an open-frame easel, a piece of sheet metal bathed in liquid silicone, and a quick, fierce hit of electricity—tens of thousands of volts for a fraction of a second. “There is precedent there, both for applying electricity to a form and putting an object right on the negative. He has combined them and developed his own method,” Feldman says. After the initial shock, Buelteman uses a strobe light or a fiber optic cable to, as Feldman explains it, “paint light onto certain areas.” His technique yields beguiling pieces such as Woodland Forest Floor from 2013, a trio of flora limned in lustrous blue against a black backdrop and offered in an edition of 25.

On view at the Morning Star Gallery at 513 Canyon Road will be “Our World: Figural Imagery in Plains Art,” an exhibition of art, beadwork, pipes, clothing, and weaponry from the Lakota, Cheyenne, Arapaho, Osage, and Northern and Southern Plains groups of Native Americans that runs from August 10 through September 5. One memorable piece in “Our World” is a Lakota deerskin pipe bag, meant to hold tobacco. Dating to circa 1870, its beadwork depicts a pair of white pipes with red bowls. The show also contains a ledger drawing, so called because it was rendered in a ledger book, from around 1875 by an Oglala Lakota warrior named Sitting Bull (a different individual who had the same name as the better-known chief). Using colored pencils, he depicts an event from his own past, when he performed what’s called a “brave heart run”— he deliberately galloped past a line of armed Pawnee to draw their fire and make them spend the single bullet in their guns, leaving them vulnerable while they reloaded. Director Henry Monahan notes that ledger drawings are a hot subcategory of late.

And for contemporary Native American art, visit the Allan Houser Gallery, at 125 Lincoln Avenue, Suite 112, which will present “Innovation and Exploration: The Ongoing Influence of Allan Houser” from August 1–31. The show will feature roughly 60 pieces of art created by the Native American master between the 1950s and his death in 1994. Several of the drawings, paintings, sculptures, and experimental works resonate with the themes of innovation and exploration. The gallery, which is located near the Plaza, will also host an open house on August 23, during the Santa Fe Indian Market.

Video Tour: The Lauren Bacall Collection Wed, 06 May 2015 17:50:48 +0000 Continue reading ]]>

The Lauren Bacall collection, which was auctioned by Bonhams New York on March 31, included works of art by Robert Graham, Henry Moore, Jim Dine, and David Hockney, jewels by Jean Schlumberger, and a vast array of decorative art and antique furniture from around the world. The sale, which can be seen as a celebration of Bacall’s eclectic and elegant taste, was a wild success, with every lot selling. Here, Art & Antiques gives a glimpse of the auction’s preview—the last time the actress’ belongings and artworks were together as a collection.


By Chris Shields

The Santa Fe Way Sat, 28 Jun 2014 00:36:46 +0000 Continue reading ]]> With a “tricfecta” of fairs and a plethora of gallery shows this summer, Santa Fe beckons art enthusiasts from all over the country and the world.

Christopher Benson, Tintagel, 2014, oil on linen, 16 x 20 inches;

Christopher Benson, Tintagel, 2014, oil on linen, 16 x 20 inches;

Featured Images: (Click to Enlarge) Christopher Benson, Tintagel, 2014, oil on linen, 16 x 20 inches; Ngalpingka Simms, Wayiyul, 2013, synthetic polymer paint on canvas, 46 x 77 inches; Gustave Baumann, Aspens, color woodblock print. John Moyers, High Mesa Horse Traders, 2014, oil on canvas, 30 x 60 inches. Gregory Botts, Jemez Mountains, Afternoon Light, 2001; Jinni Thomas, Restoration of a Tapestry I, 48 x 36 inches, mixed media on panel; Zuni Polychrome pottery water jar, circa 1875; John Moyers, The Forbidden Trail, 2014, oil on canvas, 48 x 60 inches; Lynda Benglis, Pi Tangerine, 2009, tinted polyurethane, 29 x 29 x 13.5 inches, ed. 1/3. Holly Wilson, Belonging, bronze, geode, 9.5 x 10 x 6 inches, at Art Santa Fe;

Eclecticism is the name of the game among today’s collectors, who freely mix a variety of contemporary art with classic and historical works and regional folk art. And there’s no better place to create that mix than Santa Fe, which has built on Native American, Western, and American modernist local traditions and broadened itself into one of the world’s premier markets for contemporary art and design. While the “City Different” is a year-round art center, it really comes into its own during summer, when fairs and special gallery shows welcome visitors in search of the unique merger of great art and good living that Santa Fe offers.

The Art Santa Fe boutique fair of international and contemporary art will return for its 14th edition at the Santa Fe Convention Center from July 10–13. A total of 30 to 35 exhibitors drawn from the U.S and around the world will take booths, including Galeria Gaudi from Spain; Galeri MERKUR, from Turkey; and Gallery Edel, from Japan. This is not to imply that the fair doesn’t attract galleries that have shorter commutes; the Hulse/Warman Gallery, hailing from Taos, N.M., will shine its light on the holographic art of August Muth. Art Santa Fe will help by providing the specialty lighting the gallery needs to bring out the best in Muth’s captivating works of laminated glass that contain holographic images, such as his 2014 piece Lucid. “We try to bring in art that can be purchased, but is also very visual and thought-provoking,” says Art Santa Fe organizer Charlotte Jackson. The fair also continues to reinvent itself. The space once given to the “How Things Are Made” demonstrations will go to Meow Wolf, a six-year-old Santa Fe-based collective that will create an art installation.

Art Santa Fe continues to explore the power of three. The “Art Trifecta” concept introduced last year by Jackson will return, linking the boutique fair, the International Folk Art Market, and SITELines 2014, the successor to the SITE Biennial, by staggering their July dates to create a week-long art-centric extravaganza. “We made it so they were on different days so someone could come to all three events,” Jackson says. “It has brought all of our events closer together. There’s all these different things happening and I think eventually there will be many different events and entities we’ll want to work with. So we may have to think of another title if it’s not a trifecta,” she says, laughing.

After taking three years to reconceptualize its biennale, the SITE Santa Fe contemporary art space unveils the fruits of its efforts on July 20 with “Unsettled Landscapes.” Featuring the work of 45 artists and artist collaboratives from 16 countries and continuing through January 11, 2015, it is the first entry in the SITElines series, a six-year cycle of exhibitions that will meditate on the arts of the Americas. “Unsettled Landscapes” will plumb the thorny question of land and the meaning of land—who owns it, who sells it, who depends on it, who exploits it, who draws arbitrary lines across it, who despoils it, who defends it, who holds it sacred, and why. Among the works will be gelatin silver prints from Leandro Katz’s Catherwood Series, created between 1985 and 1995. The project took Katz to the sites of Mayan ruins, which he photographed while holding old engravings of the same views before his lens. Also appearing in Unsettled Lands is Kevin Schmidt’s A Sign in the Northwest Passage. The artist painted a large wooden sign with a selection from the Book of Revelations and placed it on the melting ice of rural Canada as a portent of the oil and natural gas concerns that will descend once global warming makes the region’s resources easier to reach.

A top-to-bottom rethink of the biennale was warranted for many reasons, says SITElines director Irene Hofmann. A chief one was ensuring its vitality, purpose, and relevance in the face of growing competition. When SITE staged its first biennale in 1995, “you could count the number of biennales on one hand,” she says. “But for almost two decades, they’ve been on a pace where they’ve multiplied almost exponentially.” Another was to remind people that SITE Santa Fe does a lot more than mount a massive contemporary art show every 24 months. “We wanted to show what SITE Santa Fe was without the biennale. People didn’t realize it was a year-round art space,” she says. “Now it has a greater infrastructure at the site, and a greater network of curators. It takes time to build those relationships. That’s what we were doing behind the scenes.”

On July 18, the Gerald Peters Gallery will unveil a new initiative, Peters Projects, and launch it with “Temporal Domain,” an exhibition, up through August 24, of six contemporary artists who work, or once worked, in and around Santa Fe. Peters Projects has been given 8,500 square feet within the expansive 44,000-square-foot single-story Gerald Peters outpost at 1011 Paseo de Peralta, and executive director Ylise Kessler has put it to good use, selecting pieces by Roxy Paine, Lynda Benglis, Agnes Martin, James Lee Byars, Harmony Hammond, and John McCracken for display. (Gerald Peters also produces the Santa Fe Art Auction held this year on December 6.)

Art Santa Fe is only one of Charlotte Jackson’s concerns. Her namesake gallery at 554 S. Guadalupe, in the Railyard District, will offer a full slate of exhibitions this summer, starting with a show of Anne Truitt’s paintings and works on paper that runs from June 27 to July 27. “This is a show I’ve wanted to do for many, many years,” says Jackson, who first saw Truitt’s art in the mid-1990s. “If you look at her history, she was overlooked, frankly, until she passed away. She was known for her three-dimensional pieces and collages, but her works on paper are just spectacular.” A sterling example is an untitled 1964 piece that depicts a square of celadon green. It is not a collage but an acrylic painting on paper.

Next up is “Ditching the Cardigan,” an exhibition of metal sculptures by Jeremy Thomas, taking place from August 1–31. The title is meant to suggest a departure from the expected, and Thomas’ work definitely does that—he welds discs of steel together and then inflates them with pressurized air. He’s been with Charlotte Jackson Fine Art for the last 10 years and has produced what he calls his “inflatables” throughout that time, advancing from tabletop-sized objects to larger forms as he gained confidence with the metalsmithing technique. He initially drew his inspiration from the clusters of brightly colored farm equipment that dotted the landscape of his native Oklahoma. His 2014 piece Datsun Green reveals how far Thomas has come over the last decade by combining multiple colors (in this case a candy apple red and an iridescent green) with a rust-like applied patina. “It’s got these three elements all living together very happily,” says Jackson. “I love it.”

The New Mexico Museum of Art, at 107 West Palace Avenue, placed its “Spotlight on Gustave Baumann” on February 1, 2014, and will keep aiming it at the German-born woodblock-print artist until 2015. Baumann’s involvement with Santa Fe dates almost precisely to the birth of the museum itself, and he remained a vital member of the city’s arts community until his death in 1971. Highlights of the show include Aspen Thicket, a 1943 color woodcut in alluring blues, yellows, and greens. Over on Lincoln Avenue, the New Mexico History Museum presents Poetics of Light: Pinhole Photography. Opened on April 27 and continuing until March 29, 2015, it contains almost 225 images produced by the simplest of cameras. And the Museum of International Folk Art has turned itself into a zoo (after a fashion) with “Wooden Menagerie: Made in New Mexico,” which opened on April 6 and closes on February 15, 2015. Almost half of the 107 carvings in the show are the handiwork of the late master Felipe Archuleta or other members of the woodcarving dynasty that he founded, which includes his son, Leroy, and grandson, Ron Archuleta Rodriguez.

The Georgia O’Keeffe Museum, at 217 Johnson Street, continues to find new and fascinating angles on its headliner. A case in point is “Georgia O’Keeffe and Ansel Adams: The Hawai’i Pictures,” which continues through September 17. Organized by the Honolulu Museum of Art, it opens a window on the works that O’Keeffe and Adams produced on commission at different times for different sponsors who recruited them to explore the beauty of the islands. “O’Keeffe started with flowers,” says curator Carolyn Kastner of the artist’s 1939 voyage, underwritten by the Hawaiian Pineapple Company, which later became Dole. “She’s both challenged, but in her comfort zone. Color is a comfort zone for her, and flowers are a comfort zone for her.”

Those who want to glory in more Adams photographs need only walk to the Andrew Smith Gallery, which is next door to the O’Keeffe Museum. It is continuing with its series of non-selling exhibitions of Adams images from the David H. Arrington Collection, which the Smith gallery helped to build. Its other delights include photographs taken by the English explorer Herbert Ponting during the South Pole expeditions of Robert Falcon Scott in 1911–12.

Maestros of black and white photography reign also at Monroe Gallery, located at 112 Don Gaspar Avenue. Opening there on July 5 is “Steve Schapiro, Once Upon a Time in America,” the third solo show at Monroe to focus on the American photojournalist, who issues limited editions of 25, maximum, per image. The exhibit spotlights photographs from the 1960s and 1970s but makes room for some taken as recently as 2011. The show, which continues through September 21, ranges from images of Martin Luther King marching in Selma to shots of Andy Warhol and members of The Velvet Underground exuding industrial-strength levels of coolness to a depiction of an angry housewife protesting high grocery prices.

LewAllen Galleries at 1613 Paseo de Peralta has a series of compelling exhibitions planned, among them solo showcases for abstractionist Henry Jackson, scheduled for June 27–July 27, and painter Christopher Benson, to be held August 1–29. Assembling the 20-odd pieces in the Jackson show, the first for the artist at LewAllen, was tricky, according to gallery co-owner and CEO Ken Marvel. “It’s a challenge to gather enough work,” he says with a laugh. “His work sells as fast as we can get it, which is very unusual in this market.” He believes Jackson’s power lies in his ability to paint abstracts containing shapes that suggest the presence of a human being. A worthy example is Untitled #1088, a 2010 oil and cold wax on canvas over panel. “If you look hard in most [Jackson] paintings, you can see some reference to the human figure, usually immersed in the emotional swirl and the blood passion of his intensity,” says Marvel. “The black figure at the top is a rough allusion to the human form.” Cold wax is a favorite material for Jackson, Marvel says, because it “brings both a depth to the painting and a certain kind of reflectivity to the surface.” The contemplative interiors and exteriors of Benson will follow the nervous energy of Jackson not unlike a soothing glass of milk follows a feast of hot peppers. Marvel says Benson’s innate command of color and composition gives his paintings “a very engaging sense of quiet” and “a remarkably pleasing sense of solitude.”

The Art of Russia Gallery, located at 225 Canyon Road, gives itself over to the paintings of Yevgeni Shchukin, which is really the only way you can react to a group of Shchukins. The Kiev artist’s brain is marinated in tales from mythology and religion, and he methodically moves his visions to linen via techniques he first learned from books on how Old Masters artists approached their canvases. His 2011 piece Fairytale blurs the lines nicely. It might be a reference to Greek myth of Daphne, the nymph who escaped the ardor of Apollo by transforming into a tree, but the title, and the white cat seated in the corner, confound that interpretation. Dianna Lennon, who invited Shchukin into her gallery’s lineup 18 years ago, says, “His work always is a deep mystery. For me, probably a lifetime will not be enough to reveal it all.”

Morning Star Gallery at 513 Canyon Road showcases its strengths in August with “Pueblo Splendor, Pottery and Photography from the American Southwest.” Exquisite examples of Native American pottery include a Powhoge storage jar dating to circa 1770, from a pueblo north of Santa Fe. Powhoge pots from that time period are especially scarce, with perhaps two dozen examples surviving outside of institutions. Also included are choice examples of a Zuni water jar, dating to 1875 or so, and a Kiowa storage jar from roughly 1825. All three are colorfully painted with enduring native motifs such as feathers. Pueblo pots were typically the work of one person, start to finish, and that person was almost always a woman. She built up the pot using the so-called “coil” method, rolling out long, thin ropes of clay and forming them into circles that she would stack, and she would fire the results in a pit. “I know making any pot is a labor of love,” says Henry Monahan, director of Morning Star Gallery. “To this day, they don’t use a kiln. It’s a very complex and labor-intensive effort. Most of the time, one person does it all.”

Further along Canyon Road, Chiaroscuro Contemporary Art will stage its biennial show of Australian Contemporary Indigenous art from June 27 to August 3. Working in concert with the Vivien Anderson Gallery in Melbourne, Australia, the exhibition will contain up to 50 pieces by indigenous artists from the country. In Ngalpingka Simms’s 2013 work Wayiyul, the crescent shapes at the bottom and lower left represent people, and the circles could designate water holes, bushes, or trees. “There’s an oral tradition of how to read these paintings,” says John Addison, director of Chiaroscuro. “What happens is only parts are allowed to be conveyed. There are things they tell me and things they can’t tell me about the work. There are things a female artist cannot speak of to males, and there are ritual or sacred-type tales that are not to be told outside their circle. But people can engage with the work on a more abstract level. We don’t need to define what the narrative is. In the end, the pattern and the feel of the piece comes through. That’s how I present it.”

Karan Ruhlen Gallery, at 225 Canyon Road, will be marking its 20th anniversary this summer, and among the celebrations will be an exhibition in August of the work of two local artists, Pauline Ziegen and Jinni Thomas. Thomas, who studied Italian Renaissance art history, creates abstract works in acrylic that incorporate Venetian plaster and, says Ruhlen, “bring to mind fresco paintings.” Ziegen, who is influenced by Japanese painting, “simplifies the landscape,” adding gilding to define the horizon line. About her stable, Ruhlen says, “We’ve prided ourselves on representing regional artists; probably half of our artists live and work in New Mexico. Their subject matter is generally derived from nature even if their work is not realism. In addition, Ruhlen has devoted herself to “bringing New Mexico modernists to the forefront,” including such figures as Beatrice Mandelman and Louis Ribak.

As always, Nedra Matteucci Galleries will provide a magnificent selection of historical American art. Located at 1075 Paseo De Peralta, it will offer gems such as Jade and Ivory, a 2014 oil on canvas by Terri Kelly Moyers. The details of the clothing, the plants, and the play of light are as complex as anything in a Gainsborough portrait, but the Southwestern setting and the complexity of the composition, which places its young female subject to the right of a potted plant, is distinctly modern. The dappled light on the wall finds its match in the intricacies of the woman’s fan and shawl, and the title playfully references the dominant colors of the canvas. The Forbidden Trail, a 2014 oil on canvas painted by Moyers’ husband, John, works as a gorgeous landscape with figures and a vision that is charged with meaning. It can be read as an image of Taos Pueblo peoples following a trail through the aspens to Blue Lake, the sacred site of their origins, and it can be read as a scene of triumph. Annexed under Theodore Roosevelt’s administration in 1906, the Taos Pueblo members fought the loss and finally got Blue Lake back in 1970. Pueblo records state it was the first land that the United States ever returned to Native American peoples; today, it is open to the Taos Pueblo people alone.

Painted almost a century earlier, Joseph Henry Sharp’s Winter Morning—Crow Reservation provides an intriguing contrast to the Moyers. Sharp had an affinity for the peoples of the Plains and built a small cabin on Crow Reservation territory at the turn of the previous century. Showing an above-and-beyond devotion to the principles of plein air (a French phrase that translates as “in the open air”), he would venture out into the punishing Montana winters, set up his easel, and paint until the daubs on his palette froze. Contemporary plein air painter Chris Morel turns his gaze on Taos Mountain in winter in Closing Down, a 2014 oil on linen on panel. In this work and other recent pieces he chooses to depict the fleeting moments of twilight and how it changes the color of the snow, the chamisa (sage brush), and the stands of pinon trees.

EVOKE Contemporary, at 550 South Guadalupe Street, will stage “Re-presenting the Nude III,” a biennial exploration of the nude in contemporary art, scheduled for June 27 through August 27. Returning to curate is John O’Hern, the driving force behind the Re-Presenting Representation shows at the Arnot Art Museum in Elmira, New York, roughly two decades ago, and a champion of contemporary representational art. “Much of what I see in figurative art is either competent with no soul, or a good idea with poor execution,” says O’Hern. “I look for artists who are grounded in their medium and paint, sculpt, and draw with their own personal vision and not some imitation of the work of another.” Among the 30 or so artists chosen for the show is Lee Price, whose self-portrait Pink Cupcake, a 2014 oil on linen, belongs to an ongoing series that examines the charged relationship that women have with food. The women are always depicted from overhead to capture the sense of disassociation that can come with an episode of binge-eating—the sensation of knowing you are doing it but feeling unable to stop.

The Addison Rowe Gallery’s “Redefining Modernism” exhibition carries on through July 14, enlivened by compelling works such as Hilaire Hiler’s Gray Shadow Series: Run, a 1956 oil on board that meticulously and dynamically examines the spectrum between black and white, while puckishly setting off his color-drained lines and angles with a handful of tiny, well-placed triangles of red or orange. Hiler liberated his artwork from the limits of 2-D in a clever manner: he mounted the oil-on-paper to a piece of board with a curved back, and shaped the frame as well. “In doing that you get a play of shadow all through the frame area,” says Victoria Addison. “It’s probably one of the best pieces I’ve ever seen him do.” Following “Redefining Modernism” will be “Raymond Jonson, Post war paintings (1940s–70s), opening July 18 and closing on September 12.

The imaginations of Japanese contemporary artists run free in “IMPACTS!,” Zane Bennett Contemporary Art’s first collaboration with Mizuma Art Gallery of Tokyo. After a preview on July 25, the show will have its grand opening on August 22 and will close on September 20. The more than 50 pieces will include massive masterworks such as Ishihara Nanami’s Yama Onna. The 2012 piece, fashioned from Japanese pigment and acrylic gouache on cotton mounted on a panel, draws deeply on Japanese myths, legends, literature, and folklore, and features Yamauba, a character from Noh theater whose name means “mountain witch.” Looming on the left is an erupting volcano. Speaking in translation, the artist says: “In the main motif of this piece, the woman’s facial expression is clearly depicted. It’s as if to say, yes, there remains uneasiness, but that does not mean that tomorrow there is not hope, or there is not the vitality of life.” Kaneko Tomiyuki taps into something powerful and resonant with Red Banas Pati Raja, a 2012 piece from a long-standing series on what the artist dubs “animal gods.” Drawing inspiration from principles of Zen, Buddhist art, and a host of beliefs that simmer in the soup that makes up Japanese culture, it, too, is impressively large. Rendered in mineral pigments, transparent watercolor, pen, and foil on Japanese paper, it depicts a lion, but past works have focused on tigers, elephants, snakes, foxes, and fishes, or as Tomiyuki explains, “always creatures and animals that are slightly strange or different somehow.” As spellbinding as it is on the printed page, it is even stronger in person. “Sometimes at my solo shows, people are strongly affected by the sight of the real works,” says Tomiyuki. “They feel goosebumps, they tremble, they become dizzy, shake, or cry—in some cases they are unable even to enter the exhibition space.”

The David Richard Gallery at 544 S. Guadalupe Street offers a different take on southwestern plein air painting with “Gregory Botts, Madrid, Western Skys,” scheduled for July 18–August 23. It will be Botts’ first show at the gallery, and the “Madrid” in the exhibit’s title refers not to the Spanish capital but Madrid, New Mexico, a Santa Fe County town that has a population of 204, including the artist. For the Madrid series, he picked up his brush at different times of day, but never the mornings. Blue claims the afternoons; the warm yellows of sunset shape the early evenings; and blues, greys, and blacks define the late night. His canvas sizes are deliberately non-standard. The range of shapes and angles has a purpose. Botts likes to arrange the finished works in his studio, overlapping them and leaning them against each other in order to unite them in a painted montage. He doesn’t read as strictly figurative. That’s what I like about it,” says gallery manager David Eichholtz. “He’s not trying to be photographic.”

The granddaddy of Santa Fe must-attend art events is old enough to be a great-grandfather itself. The 93rd edition of the Santa Fe Indian Market will be held from August 18–24, with more than 600 artist’s booths spread across 14 downtown city blocks. Approximately 1,100 indigenous artists from across the United States and Canada, representing more than 220 recognized tribes, will offer textiles, baskets, beadwork, kachina carvings, jewelry, pottery, sculpture, paintings, and a wealth of related arts and crafts. The Best of Show ceremony, which bestows the most prestigious and important prize in the Native arts world, traditionally takes place the night before the market opens. Last year’s winner was Jackie Larson Bread, a member of the Blackfeet nation and a 15-year participant in the market, whose stunning beadwork portrait pieces triumphed in five rounds of secret-ballot voting among the judges.

The summer edition of the 63rd annual Spanish Market will commence at Santa Fe Plaza on July 25 and come to a close on July 27. Celebrating Spanish-inflected arts and crafts, it provides a platform for a range of artisans that include ironworkers, potters, and weavers as well as carvers of bultos, wooden sculptures on Christian themes; embroiderers of colcha, or bedcovers; and painters of retablos, or devotional images. Having continued for so long, the Spanish Market has seen generations of talented families mature and establish themselves. Bulto and straw appliqué master Felix López, a market stalwart, is the father of Joseph Ascensión Lopez, who shines as a maker of bultos and painted wood reliefs, and Krissa M. Lopez, an exceptional painter of retablos. Jimmy Madrid and his son, Nicolás, craft award-winning works in tin.

Impressively expanding the boundaries of what Santa Fe has to offer is the Objects of Art Santa Fe show, to be held August 15 to 17 at El Museo Cultural de Santa Fe in the Railyard District. In addition to tribal, folk, American, African, and Asian art, as well as paintings and sculpture, the more than 65 exhibitors will bring books, jewelry, textiles, furniture, and fashions. Santa Fe dealer John Ruddy fascinates with his vintage 19th and 20th-century kimonos decorated in kicky and even trippy patterns, while Modern 2.0, a Santa Fe-based compendium of innovative 20th century design and art, will have a Braun “Atelier last edition” HiFi system.

Following the Objects of Art Santa Fe show in the same venue will be the Antique American Indian Art Show, scheduled for August 20–21. Exhibitors include several from Canyon road in Santa Fe, such as Economos Works of Art/Hampton Galleries, which will spotlight a circa 19th-century Upper Missouri River quilled and beaded shirt fashioned from tanned hides, and Michael Smith Gallery, which will have a variety of Navajo woven works. Particularly notable is a handspun wool pictorial rug dating to 1920 or 1930 with a rare motif of a Hopi Kachina maiden.

As of 2014, the Antique Ethnographic Art Show and the Antique Indian Art Show have been united in a single event. The Antique Indian and Ethnographic Art Show, taking place at the Santa Fe Community Center from August 16–18, will combine the best of both. Exhibitors include Spencer Throckmorton Fine Art of New York, which will have a rare Mayan incensario, or incense burner, dating from 600-900 A.D., and David Cook Galleries of Denver, Colo., which will have Sioux beaded vests made circa 1880.