Dan's Papers -December 19, 2008 - The Art Scene Near and Far - Authentic Art in Albuquerque, New Mexico

Last week's "Art Scene" featured New York environs where public art by East Enders abounds. An abrupt change of scenery finds me in Albuquerque and its surrounding area, where public art includes an odd assortment, all of which is subjectively selected: diverse architecture, geographic features and man-made artifacts. It's important to note that the following observations do not include any visits to public galleries or museums. After all, this is a vacation from the ordinary.

We can't help but start with architecture that is, the 1950s, Route 66 kind rather than the traditional Native American and Spanish type. Anyone who has seen the award-winning No County for Old Men will know we mean the motel where Josh Brolin got killed. It looks exactly like it was depicted in the film. While the building will never quite become an icon like the Bates Motel in Hitchcock's Psycho, it's important because this death trap is real and not a movie set.

Of course, the adobe houses that predominate the area are based on authentic Native American designs. Some are more elaborate than others, and some are rather simple, like those existing in the "projects," housing for the less fortunate, as the saying goes. Yet such communities seem welcoming with their indigenous exterior decorations and gardens.

Albuquerque's Old Town is a tourist mecca, but charming, nonetheless, as far as architecture goes. Developed in 1706, the area evokes a traditional Spanish pattern, including a central plaza and church (San Felipe de Neri) surrounded by homes and shops. Architectural features from long ago are apparent; so are winding brick paths and hidden patios.

The Sandia Mountains, named for the watermelon red that characterizes the terrain at dusk, is the dominant geographic feature. Its beauty is one we can't deny or ignore, as we begin to envision it as a natural, all-encompassing art installation of sorts. A distant mesa, seen from homes in the nearby hills, also appears to be an art object, especially at sunset, which goes to prove, once again, that nature is the most magnificent creator of all art.

Even so, man-made objects positioned in the surrounding mountains can also be perceived as public art installations. Then again, some observers may see these objects as trash that is ruining the environment. A casual ride through the area reveals a stunning composition of old car tires dumped on the ground. Is it art? A lot of people would say no, but we've seen similar conceptual works in New York galleries.

More controversial, however, are the shacks where societal outsiders live, derelict cars and trucks scattered around the property, along with old stoves (one was from the 1940 and quite valuable) and other junk or collectables, depending on how you look at it.

How could anyone describe these places as public art? It's easy if you have an open mind and eye for design. (Speaking of dilapidated settings, we passed an old hippie commune where, supposedly, people like Dennis Hopper once hung out.)

We can't help but go inside for a visit to a friend whose collection of Native American folk art is not only authentic but arresting as well. And although his objects are not public art, they are just as historically insightful. We realize that such artifacts are available at museums, but seeing them first-hand in someone's home is a treat.

First there is the Kachina doll, which I had only seen as subjects of paintings and drawings. The bows, arrows and ceramic bowls are outstanding, too.

Most unusual, however, are the stuffed turkeys that my friend has in his residence, birds he had hunted himself as part of the Sierra Club. Not only did they look like beautiful sculptures, but they even recalled the wild turkeys we have in the Hamptons. Almost, but not quite.

This weeks cover by Michael Paraskevas marks 20 years of work by the artist in Dan's Papers. Paraskevas has contributed about 40 covers to the publication.