A Cowboy in Winter | Martin Filler
Among the most memorable interactions I’ve ever had with artists occurred during a trip I made to New Mexico in August 1992 to interview Susan Rothenberg for a Vanity Fair profile. It had been three years since she wed her fellow artist Bruce Nauman and moved from New York City to New Mexico, where he’d resettled from Pasadena a decade earlier. Together they bought a seven-hundred-acre spread in Galisteo, a half-hour’s drive south of Santa Fe, and built a compound with a ranch house, corrals, stables, and separate studios. At the time they were the contemporary art world’s golden couple, not least because this unexpected midlife second marriage for both of them was an attraction of opposites so extreme that those who knew them deemed it perfect. Even more remarkably, it lasted three decades, until Rothenberg’s death in 2020 at age seventy-five. She was petite, Jewish, voluble, and a quintessential livewire New Yorker. Nauman is tall, Gentile, taciturn, and a classic self-contained Midwesterner. He’s also a genuine cowboy, having raised cattle and trained quarter horses for resale as …