Santa Fe Roundup
by AJ Nadel
In recent years, this has changed as dealers and institutions have brought in the works of outsiders, and local artists have gained a wider reputation. Still, there is little video art, few installations and no political art. There is nothing "sensational." Contemporary art is comfortable. On view in those galleries which promote modernist art (Linda Durham, James Kelly, Lewallen Contemporary, Karen Ruhlen, and the more recent Chiaroscuro and Evo) are abstract works which are reminiscent of the patterning and decorative styles seen earlier in New York. Some of these, like Elaine Holien’s, have a unique quality gained by the use of wax and attention given to the surface while others, like Leo de Gordi’s are dependent upon wood grain to contribute to a more random topographic patterning. Some of the abstract artists – Sammy Peters, Robert Kelly and Sharon Booma – gain their emphasis by using the harsh and intense colors of the landscape. There are other abstract works more muted, suggestive and atmospheric (Gary Patterson at Chiaroscuro, Guy Ambrosino at Van de Griff/Marr and Vicki Colombet at Evo which seem reminiscent of the photograms of Adam Fuss, shown earlier at the Whitney.
Among non-abstract works with an historical place in Santa Fe are those shown at the Charlotte Jackson Gallery. From Florence Pierce (who was the youngest member of the Transcendentalists in the 1930s-1940s) to Lisa Kraal, currently on exhibit, these works are dependent on sensuous, rich colors with only an occasional variation or disruption of the surface. Their richness is in direct contrast to the spareness and bleached quality, also part of the landscape, seen in the work of Agnes Martin who lives in Taos.
What else in the galleries besides abstraction and minimalism are there which might be of interest to a New Yorker? Among some figurative works were photographs by Mischa Gordon one of which shows a population of bald heads, presumably of monks, with wrinkles in the backs of their heads mimicking those in their robes. Portions of figures could be seen in weaving by Lia Cook who uses both photography and digital processing to guide her hand. When folds are included or the works are viewed in different lighting, the skin becomes a mysterious changing world. Figures, faces at least, also appear on paper in works of August Garufi but they are surrounded and invaded by the tools of their creation, oil and silver leaf. Odd, blurred and sometimes "stricken" figures also can be seen in the photographs of Robert Stivers. Cartoonist figures and animals can be seen in the paintings can of Brad Kalhamer. This New York artist whose heritage is Native American has an energy and social commentary which is as suitable to New Mexico as it is to multi-ethnic communities in the East.
Fortunately, in addition to galleries interested in sustaining contemporary art (including the establishment of New York locations such as Linda Durham’s in Chelsea), Santa Fe has been blessed with non-profit organizations which have introduced global artists to the local community. Foremost among these has been SITE SANTA FE, housed in a warehouse in the rail yard district. In existence since 1995 and now under the directorship of Louis Grachos, SITE has sponsored four biennials. These have brought artists like Mona Hatoum, Pipilotti Rist, Shirin Neshat and others to the attention of locals and visitors with stylistic experiments not generally seen in Santa Fe. It is the intention of Mr. Grachos to function as a "Kunsthalle" and to bring innovative artists with diverse backgrounds to the community. Alternating with the biennials are exhibits of individuals artists. A forthcoming show includes Janine Antoni (seen at the Whitney in 1993) whose artistic investigations pursue the relationships of person, body and gender, and Monika Bravo. Interspersed are scheduled lectures and talks by the artists. Also planned this fall is a guided trip to James Turrell’s "Roden Crater" in Arizona.
A second and important non-profit organization is the Museum of New Mexico. The Fine Arts branch has the opportunity to deal with contemporary themes but also to place them within the context of a New Mexican heritage. This is done very nicely in a small show organized by the new curator of contemporary art, Laura Addison. The show, dealing with craft and gender, has an origin in the 1970s feminist movement. In the show, "Mind over Matter: Reworking Women’s Work," Ms. Addison displays works of outside as well as local artists, men as well as women, to deconstruct the notion that crafts are women’s activities by virtue of culture or material. Weaving, in fact, was done by men in medieval Europe and sometimes by men in Pueblo and Navaho cultures. Why not knitted pieces by a man, Stuart Netsky, of "Cezanne’s Earth and Cezanne’s Sky" to poke fun at lofty art? Why not metal to fashion a quilt? Or Samplers quoting Shakespeare on gender and role reversal? How about a giant metal Victorian hoopskirt which can be a teepee, a womb or cage of our own making? Is it male or female? This show encourages thinking about gender issues and may be a fitting complement to the work of Janine Antoni.
Santa Fe also has the Center for Contemporary Art which has been re-organized several times in recent years but has been able to show the work of young artists, particularly Hispanics.
With the thrust provided by these non-profit spaces and by the small but energetic dealers, Santa Fe can present a broader range of contemporary art. Will it be as credible as New York? Will it be a stopping place for new techniques and new ideas? Will its artistic heritage make its art and artists so unique that work will originate there, not in the East? The next few years of more gallery shows, particularly those devoted to individual artists, of more biennials and curated museum shows, and of annual fairs should prove whether Santa Fe has the mettle to be a legitimate center of modernism.
