Heritage Hotels & Resorts Summer Fall 2018

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Life. Love. Laughter. Rhythm. An exhilaration born centuries ago feels as new as now. Moments stretching into memories that last a lifetime.


SUMMER/FALL 2018 Published by Heritage Hotels & Resorts, Inc. 201 Third St. NW, Ste. 1140 Albuquerque, New Mexico 87102 Phone: 505-836-6700 contactus@hhandr.com hhandr.com

DEAR GUESTS, In this issue of the magazine, we explore the artists and events that make New Mexico special. We introduce you to La Emi, Flamenco’s rising star in New Mexico. La Emi learned under legendary flamenco performer Maria Benitez and also studied in Spain with Carmela Greco, daughter


JIM LONG Heritage Hotels Publication Editor

MOLLY RYCKMAN Heritage Hotels Publication Art Director

SARAH FRIEDLAND Cover Photograph

PAULINA GWALTNEY paulinagwaltney.com

of Jose Greco. You will not want to miss her exciting first season this summer at the Benitez Cabaret at the Lodge at Santa Fe. In “Art Without a Frame” we explore the technology-driven exhibition by Artechouse. Located in the emerging Sawmill District of Albuquerque just east of Hotel Chaco, this exhibition combines interactive technology with art. It is perfect for all ages. New Mexico is home to many extraordinary art markets. Spanish Market, Folk

Editorial, Production & Design by:

Art Market and Indian Market are the best of their kind. This fall, a fourth market

e-squarededit.com Project Editor


joins the lineup: Artisan Market which will be held at Hotel Albuquerque. This market will celebrate our artists and artisanal makers of New Mexico. The show will be juried by New Mexico’s best tastemakers and has the potential to become another


great market.

This one-of-a-kind tour led by stylist Tonia Prestupa, a former fashion designer and international model now residing in Santa Fe, will provide visitors with insider shopping secrets. Heritage Hotels and Farmer’s Daughters have collaborated to introduce our guests to delectable farm-to-table cuisine. Ashley and Chantelle are daughters of the Wagner brothers of Corrales, New Mexico, who have grown and sold incredible produce for decades. Guests will enjoy fantastic seasonal cuisine under a beautiful wisteriacovered pavilion at Hotel Albuquerque. There is much to see and do in New Mexico. We invite you to discover these great experiences.

A great way to discover Santa Fe’s many unique treasures and off-the-beaten


path shopping experiences is through the

Jim Long Founder/CEO Heritage Hotels & Resorts, Inc.

Heritage Inspirations Fashionista tour.



TAOS EL MONTE SAGRADO RESORT AND SPA 1-855-846-8267 ElMonteSagrado.com

Pictured is Eldorado Hotel & Spa

PALACIO DE MARQUESA 1-855-846-8267 MarquesaTaos.com

SANTA FE ELDORADO HOTEL & SPA 1-800-955-4455 EldoradoHotel.com INN AND SPA AT LORETTO 1-866-582-1646 HotelLoretto.com

ALBUQUERQUE HOTEL CHACO 1-866-505-7829 HotelChaco.com HOTEL ALBUQUERQUE AT OLD TOWN 1-800-237-2133 HotelAbq.com

HOTEL ST. FRANCIS 1-800-529-5700 HotelStFrancis.com


HOTEL CHIMAYO DE SANTA FE 1-855-752-9273 HotelChimayo.com

HOTEL ENCANTO DE LAS CRUCES 1-866-383-0443 HotelEncanto.com

We l c o m e t o S a n t a Fe ’s p r e m i e r n i g h t l i f e v e n u e for Heritage guests and members. Experience expertly curated cocktails and music a t t h e m o s t v i b r a n t s o c i a l s c e n e i n S a n t a Fe .

Fridays: Cocktails from 5pm-7pm (open to the public), DJ 8pm-1am, Saturdays: DJ 8pm-1am Casa EspaĂąa is located at 321 W. San Francisco St., Santa Fe (directly West of Eldorado Hotel & Spa)

505-988-4455 | CasaEspanaSantaFe.com

Features 24 30




Cultural mavens shaped this artistic town’s

Hotel Chaco staff don Taos designer Patricia Michaels’

past and present.

fashion statements.



Santa Fe style isn’t just squash blossom necklaces and broomstick skirts anymore; discover the city’s contemporary style turn.

ART IN MOTION by Steve Larese Lowrider culture is still cruising.


BOUNTIFUL BEAUTY by Steve Larese Autumn in New Mexico is a cornucopia of Feast Days and harvest festivals. Discover how to join in.




Also in This Issue


Owner Jim Long shares the treasures of this issue.


Culture takes the stage at these performance venues.

9 LA EMI by April Goltz New Mexico–based dancer La Emi journeys through the state’s flamenco landscape.

12 ART WITHOUT A FRAME A high-tech art gallery arrives in Albuquerque’s Sawmill District.

16 SHOP THE MARKETS by Steve Larese Markets showcase Native American, INSIGHT FOTO FOR SANTA FE OPERA, 2016


Spanish Colonial, and folk art.

46 A FARM FAMILY’S LEGACY Farmer’s Daughters present new dining experiences.

52 DINING EXPERIENCES ROOTED IN LOCATION At Agave and Level 5 ambiance helps make the meal.

56 LIGHTING UP THE MENU AT LUMINARIA by Ellen Mather A nationally acclaimed chef is now behind the burners of this Santa Fe restaurant.

58 DESERT OASIS The Heritage guide to hanging out poolside.

60 CULTURALLY DISTINCT RESTAURANTS AND HOTELS Plan your next New Mexico trip—explore


Heritage restaurants and hotels. HHANDR.COM


The Santa Fe Opera is as renowned for its dramatic architecture as for its stage performances.

New Mexico’s colorful culture comes alive at these performance venues.


EW MEXICO’S ARRAY OF OUTDOOR CONCERTS AND INDOOR VENUES make it easy to experience live music, theater, and dance all year round. Here’s a sampling of what’s on tap for summer and fall in New Mexico communities.

Albuquerque KIMO THEATRE

It’s easy to get distracted from what’s on stage by the interior décor of this 1927 movie palace in downtown Albuquerque. The design— called Pueblo Deco—fuses Native American motifs and art deco architecture. Touches include faux cattle skulls with glowing eyes and chandeliers shaped like war drums. Don’t freak out about the swastikas; they were Navajo symbols before the Nazis found them. The venue hosts live theater, film 6


screenings, live music, and dance. Many performers leave items at a shrine in the basement to appease the resident ghost and ensure the show goes well. www.kimotickets.com NATIONAL HISPANIC CULTURAL CENTER

An indoor venue for most of the year, from June through August, the National Hispanic Cultural Center (NHCC) hosts Domingos en Arte, a summer music and dance series featuring live music, drinks and delicious Latin cuisine. This family-

friendly summer event takes place on Sundays in NHCC’s charming Fountain Courtyard. The NHCC’s newest on-campus restaurant, La Fonda del Bosque, offers unique themed dinners before each concert and provides a cash bar and tapas throughout the night. The NHCC also hosts regular film screenings, live music, community events, live theater, and dance performances. www.nhccnm.org SALSA UNDER THE STARS/ JAZZ & BLUES UNDER THE STARS

From June through August, Albuquerque’s New Mexico Jazz Workshop hosts salsa concerts and dancing most Friday nights and jazz/blues

concerts most Saturday nights at Albuquerque Museum’s outdoor theater in Old Town. It’s an intimate setting with a mix of tables, seating in regular chairs and grass for spreading blankets. The musicians often represent a mix of talent from both New Mexico and elsewhere. Multi-show passes are available for the summer. www.nmjazz.org TABLAO FLAMENCO

In partnership with the National Institute of Flamenco, Tablao Flamenco Albuquerque, located in Hotel Albuquerque, hosts worldclass flamenco performances every weekend. Derived from the term tablado or floorboard, a tablao is a stage meant to host flamenco


New Mexico On Stage

The Rio Grande Theatre is a cultural hub in downtown Las Cruces.



Art and History. dance and music in an intimate setting. Just as tablaos in Spain offer opportunities to thousands of tourists each year to see flamenco up close, Albuquerque’s tablao will give visitors an authentic flamenco and truly New Mexican experience. Along with innovations in sound and lighting designed for flamenco in the space, Tablao Flamenco hosts a week of special performances of some of the best Spanish performers in the world as part of the Festival Flamenco Internacional de Alburquerque during June. www.tablaoflamenco.org

Jewelry to sculpture. Folk art to fine craft. Paintings, prints, and photography.


Originally built in 1926, the Rio Grande Theatre in downtown Las Cruces is owned by the city and holds a spot on the National Register of Historic Places. It offers classic film series, a children’s matinee program, literary events, and an array of live music and performing arts. www.riograndetheatre.org

The Lensic Performing Arts Center is a venue and architectural landmark.

Experience the unique artistic juncture of Native, Hispano, and Anglo cultures on exhibit at Albuquerque Museum.

Albuquerque Museum 2000 Mountain Road NW Albuquerque, NM 87104 Located in the heart of Old Town 505-243-7255 Top to Bottom: Luis Jiménez, 1940 El Paso, Texas – 2006 Hondo, New Mexico Howl, 1986, cast and patinated bronze (1/5), Museum purchase, 1987 General Obligation Bonds, 1988.27.1 Tom Palmore, born 1944 Ada, Oklahoma; lives Santa Fe, New Mexico Survivor, 1995, oil on canvas, Museum purchase, 1993 General Obligations Bonds, 1995.30.1 Tonque Pueblo Jar, Rio Grande Glaze Ware, ca. 1450–1600 Clay, slip, glaze paint, Gift of Richard A. Bice via the Albuquerque Archaeological Society, PC1974.33.9 Cultural Services Department, City of Albuquerque One Albuquerque: Many Experiences


Left: Dancers perform at Flamenco Tablao Albuquerque. Below: The Lensic shows off its Moorish and Spanish influences. Bottom: Pre-show picnicking is a Santa Fe Opera tradition.




One of the best places to experience summer in Santa Fe, this season’s SFO lineup includes beloved standards like Madame Butterfly and Candide, as well as Dr. Atomic, about the creation of the atomic bomb in nearby Los Alamos. Bring a fan and a blanket. Summers can be hot, but if monsoon rains show up, temps can cool significantly. The theater is covered, but open sides and the back of the stage offer spectacular sunset views. Come early with some wine and a picnic to tailgate by your car or at one of the many picnic tables before the show. Dress as fancy or casual as you like. Expect to see people in gowns and tuxes mingling with folks in boots and jeans. After the opera season ends in late August there are usually a few big-name concerts in September. www.santafeopera.org.

This downtown Santa Fe theater boasts a mélange of vaguely Moorish and Spanish designs. Built in 1931 as a movie house and vaudeville venue, the Lensic was renovated and restored in 2001. Today the venue hosts an array of performances, including the Aspen Santa Fe Ballet and the Santa Fe Symphony Orchestra, as well as numerous touring theatrical and music performances and HD broadcasts of the National Theater and Metropolitan Opera. www.lensic.org BENITEZ CABARET

Called “The Carnegie Hall of flamenco in Santa Fe” by the Santa Fe New Mexican, the venue is named for Maria Benitez, Santa Fe’s legendary performer. The cabaret is a must-experience entertainment venue when flamenco stars are performing. The venue is located at the Lodge at Santa Fe. LodgeatSantaFe.com




Taos hums with tons of music in the summer, especially

outdoors when the nights stay cool in the mountain town. Enjoy free music every Thursday evening through August on Taos Plaza, Music in the Park outdoor concerts

throughout the summer at Kit Carson Park, and Music on the Mesa in June at Taos Brewing Company’s outdoor band shell. www.taos.org

La Emi New Mexico’s Next Flamenco Star By April Goltz

“MY DREAM HAS ALWAYS BEEN TO DO WHAT I LOVED WITH THE PEOPLE I LOVE, IN THE PLACE WHERE I’M FROM. AND THAT’S WHAT’S HAPPENING.” A lifetime devoted to the art of flamenco is bearing fruit for Santa Fe, New Mexico–based dancer La Emi. A prominent performer, teacher, and organizer in the city’s flamenco scene, the twenty-seven-year-old New Mexico native is experiencing one of life’s full circles, as she prepares for a summer residency on the same stage where she witnessed her first flamenco show as a child. La Emi recalls her formative impressions of local flamenco icon Maria Benitez and company, performing at the Benitez Cabaret at the Lodge in Santa Fe in the mid-1990s. The intense sights and sounds of flamenco consumed La Emi, and she was enrolled in Maria Benitez Institute for Spanish Arts by age four. Her father managed ticketing at the Lodge for Benitez’ shows throughout La Emi’s early childhood, and at ten, she performed there with the Institute’s youth company, Flamenco’s Next Generation. This year, she is mounting her own show onstage at the Lodge, in collaboration with the National Institute of Flamenco. HHANDR.COM


José Encinias, the younger generation of the Encinias flamenco family, performs with La Emi.

La Emi has dedicated herself to an art form whose aesthetic, sound, and sensibility have found resonance and expression in New Mexico since at least the early 1940s. Originating in Gitano (Spanish Gypsy) communities in Andalucía, flamenco in its recognized form emerged at the end of the nineteenth century. Most American audiences first saw it from touring companies of Carmen Amaya and Pilar Lopez, aided by Hollywood’s exotification of early global flamenco stars in the post-WWII American imagination. In central and northern New Mexico, the seeds of flamenco germinated in receptive soil, ultimately producing a vibrant, thriving, home-grown flamenco culture. Like many of her colleagues, mentors, and predecessors, La Emi feels that flamenco expresses something intrinsic to New Mexican identity: “Flamenco is an expression of the people, for the people. In our culture in northern New Mexico, we can tell our story through this art form.” Flamenco’s strong local presence highlights a profound kinship between Chicano and Gitano, Hispano and Spanish cultural and aesthetic values. And in keeping with the artform’s tradition in New Mexico, Spain, and beyond, La Emi’s relationship to flamenco is born from and reinforced by family, community, and landscape. Even on the global scale, flamenco is a small, tightly knit world, and it is important to acknowledge upon whose shoulders one stands. La Emi comes out of a complex historical tangle of regional and global flamenco figures that, when 10


La Emi at Benitez Cabaret.

unraveled, casts her personal and professional trajectory as something akin to fate. Among the earliest flamenco artists in Santa Fe was a dancer named Vicente Romero, born in 1939. As a teenager, Romero was inspired by the film Sombrero featuring Italian-born,

American flamenco dancer Jose Greco. Greco had gotten his start dancing with Pilar Lopez in the 1940s before forming his own company. Vicente Romero toured with Greco for several years before returning to Santa Fe in the 1960s, where he was part of a burgeoning scene that included La Emi’s future first teacher, Maria Benitez. By the 1990s, Jose Greco’s son, Jose Greco II, had taken up the mantle, and was touring internationally with his own company. Vicente Griego, New Mexico’s now critically acclaimed cantaor (flamenco singer) and La Emi’s longtime mentor and collaborator, was just beginning his study of flamenco cante while stage managing for Greco II. Griego had grown up near La Emi’s family, and became her godfather when she was a baby. Twenty years later, when La Emi was ready for an extended period of study in Spain, Griego sent her to Jose Greco’s daughter, the celebrated dancer Carmela Greco. Carmela took La Emi on as her student, acting as her maestra ever since. On her relationship with Carmela, La Emi is reverent: “Carmela is amazing … She has takThe performances run en me in, and not only is July 13 through August she teaching me about the 26, Wednesday through dance, but she’s teaching Sunday evenings, at me about my camino in life the Lodge at Santa Fe. … She has such a big heart, and with every single stuLa Emi’s company, dent and audience memFlamenco Youth de Santa ber, she gives everything Fe, will perform Sunday she has. I aspire to follow in matinees each week. that way.” La Emi is thrilled and For more information visit awed at what she sees as a HHandR.com/Flamenco divine plan for her, and she overflows with gratitude for her community that has provided vital support in manifesting it. In 2014, she launched her own dance company, EmiArteFlamenco, and in 2017 she founded both EmiArteFlamenco Academy, a school for students of all ages, and Flamenco Youth de Santa Fe, a children’s company that performs for communities all around New Mexico. La Emi glows when she speaks about her work with children. Giving back to the community is at the root of her life’s work, and her connection to home. La Emi’s upcoming summer show at the Benitez Cabaret is meaningful beyond her own circular journey. She will be collaborating with the National Institute of Flamenco, another New Mexican flamenco entity whose roots span at least four generations,

AnacondLa Emi’s work with children, including her Youth de Santa Fe performers, is central to her mission.

beginning with Clarita Garcia de Aranda, a flamenco dancer active in Albuquerque from the 1930s to the ’60s. Her daughter Eva Encinias and grandchildren Marisol and Joaquín Encinias founded the Institute in 1987 and have since developed flamenco education and performance in Albuquerque to global acclaim. Alongside La Emi, fourth generation dancers Nevarez Encinias and José Encinias will be featured soloists at the Benitez Cabaret, accompanied by a rotating corps of other dancers from Albuquerque. The Encinias brothers have blossomed into incredible dancers, having performed weekly at the Tablao Flamenco at Hotel Albuquerque for the last two years. Vicente Griego will be joined by singer José Fernández and guitarist Chuscales, both globally acclaimed flamenco artists and natives of Granada, Spain. By incorporating her students and collaborating with the National Institute of Flamenco, Griego, Fernandez, and Chuscales, La Emi is doing essential work bridging flamenco families, communities, and histories while creating space in which new relationships and ideas can grow. Don’t miss the next generation of flamenco stars in New Mexico as they make their debut at the legendary Benitez Cabaret. HHANDR.COM


Art Without a Frame An interactive gallery showcases technology-driven, museum-quality works.



In XYZT—Abstract Landscapes, ten installations respond to visitors organically. Visitors aren’t just viewers; they can play with the light in a landscape of lines, points, and letters.


HE STARS ALIGNED in Albuquerque for high-tech art gallery owners Sandro Kereselidze and Tatiana Pastukhova. In search of locations to expand their Washington, D.C.–based gallery, Artechouse, they stumbled upon the Sawmill neighborhood, where Hotel Chaco is located. Sandro discovered there was interest in bringing an art space to the neighborhood and that Artechouse would be welcomed. Their needs were specific: a large open space with

high ceilings to accommodate many projectors for Artechouse’s digital installations. As it turned out, Heritage Hotels and Resorts CEO Jim Long owns the Sawmill building across the street from Hotel Chaco and is part of the effort to redevelop the neighborhood into a unique artisan district. It was a perfect fit. Artechouse, which first opened in Washington, D.C., last June, is a strictly 21st century art gallery—there, visitors don’t stare passively at paintings hung on walls. Instead, the innovative art space showcases experiential and technology-driven works by pioneer artists who combine technology and visual approaches. The first exhibition, XYZT—Abstract Landscapes (through October 21), allows visitors to engage with each part of ten digital installations in the exhibition, walking on floors that react to footsteps, manipulating light particles within a giant digital cube and blowing into glass boxes where virtual letters assemble and disassemble as if by magic. One installation feaHHANDR.COM



Top: Artechouse founders Sandro Kereselidze and Tatiana Pastukhova are bringing groundbreaking installations to Albuquerque, the first of which aims to exist in the landscape between visual and performance arts.

tures what looks like a stream of 10,000 dandeli- in art. The public doesn’t want to be passive viewon seeds swirling in a breeze that respond to the ers. They want to be involved.” user, quickly gathering into a quivering silhouette Interactivity is also at the center of Sandro Kereof the visitor’s shadow. selidze and Tatiana Pastukhova’s mission at ArtecThe creativity and the coding behind XYZT house. The pair started their journey running Art come from performance artist and computer scien- Soiree, a Washington, D.C., pop-up gallery devoted tist Adrien Mondot and graphic designer Claire Bar- to curating and realizing contemporary art exhibidainne, both from Lyon, France. Their internation- tions, festivals, and projects. As many as 15,000 ally renowned digital exhibitions company, Adrian people came to the soirees, which showcased artM & Claire B, has developed projects that combine ists whose work might not be seen elsewhere. The dance, augmented reality, light, events’ popularity encouraged and sound. Their work creates them to think bigger: When VISIT imaginary territory that stradthey opened Artechouse—a ARTECHOUSE: dles the gap between visual 15,000-square-foot, three-level, and performance art. The BBC underground space—it was an 1904 Bellamah Ave. NW called the exhibition, which immediate and sustained hit. Wednesday–Monday, has been shown at the BrookTheir model is more museum 10 a.m.–10 p.m. lyn Academy of Music and the than gallery; they show exhiVisit Artechouse.com Peabody Essex Museum near bitions from some of the most for tickets and details. Boston, a “visually stunning art innovative digital artists in the project.” world, they rotate every three Hotel packages with With a mission to inspire, to six months and the work tickets available at educate, and empower the creis not for sale. Says Tati, Arhotelchaco.com/artechouse ation of new, experiential, and techouse’s founder and manand hotelabq.com/artechouse exploratory art forms, Artecaging director: “Bringing the house hopes to connect visitors Artechouse experience and to the limitless possibilities of XYZT exhibition to other cittechnology, science and creativity. “It’s a different ies, we hope to redefine the relationship of auditype of experience,” says Sandro. “We are at the be- ences to the creative arts and introduce them to ginning of a new era, and this is how we will engage the world of art and technology.”


Artists showcase elaborate pottery and jewelry at Santa Fe Indian Market.




Shop the Markets New Mexico’s markets showcase generations worth of cultural creations. By Steve Larese



EW MEXICO HAS BEEN AN ART CROSSROADS FOR MILLENNIA. The world-renowned skills of the region’s artists have been perfected through many lifetimes of work, with one generation passing techniques, experience, and spirit on to the next. Be it pottery, jewelry, weavings, flutes, drums, painting, carving, music, or sculpture, Native American and Spanish artists honor their ancestors and their cultures through their intricate creations. Today, New Mexico’s large annual art markets draw tens of thousands of collectors from around the

world to the state in search of one-of-a-kind art and opportunities to meet the artists. From traditional works made the way they have been for centuries, to contemporary art that pays homage to the past while incorporating new techniques and influences, New Mexico’s artisan markets span eras and connect people from all walks of life.

Tradition meets contemporary at the Santa Fe Indian Market.




Top and far right: Wood carvings and retablos (oil paintings on tin or wood) are plentiful at Traditional Spanish Market. Right: At Indian Market, you can find traditional jewelry. Below: The Folk Art Market features global art.



For every third weekend in August since 1922, the Santa Fe Plaza has been the site of the world’s largest and most prestigious organized sale of Native American art. An estimated hundred thousand people peruse the booths of more than 1,100 Native artists from the United States and Canada whose work has been juried into this competitive market. New Mexico’s second largest event after the Albuquerque International Balloon Fiesta, Indian Market brings tens of millions of dollars into the state. Many artists work all year creating pieces for Indian Market and make their year’s living during this single weekend. In addition to artist booths, Santa Fe Indian Market has a Native American Clothing Contest in which children and adults model culturally representative clothing they have made. Native American dance and music performances also take place throughout the weekend on the Plaza and its main stage, bring-

ing a celebratory festival atmosphere to the market. Native American art was originally utilitarian. Pottery was primarily created for cooking and food storage, jewelry for trading, and weaving for clothing, with artistic flourishes becoming more elaborate with each passing century. The arrival of American goods in the late 1800s via railroad and the increasing use of currency decreased the need for such items and put many indigenous art forms in jeopardy of being forgotten. Concerned that these works of art and traditions would be lost, several people, including archeologist and first director of the Museum of New Mexico Edgar Lee Hewett and assistant director Kenneth Chapman, wanted to create an economic outlet for Native American artists. In 1922 they organized the Indian Fair as part of the Fiestas de Santa Fe to promote Native American art and create an incentive for the artisans to continue to create high quality work. Among the artists who benefited from the fair was famed San Ildefonso potter Maria Martinez, whose black-onblack pottery commands hundreds of thousands of dollars today. As the popularity of Native American art increased, more families rediscovered the art of

oct. 19-21

live music on two stages

harty SPORTS complex las cruces, new mexico



dancing Country Fun lccountryfest.com STEVE LARESE

their ancestors. The event grew to be so large that it was eventually separated from the Fiestas de Santa Fe and today is a stand-alone event organized by the Southwest Association for Indian Arts (SWAIA). Also organized by SWAIA, Winter Indian Market provides artists and buyers another opportunity to sell and shop right before the holidays. Smaller but with the same quality juried work, the winter market is held indoors at the historic La Posada de Santa Fe hotel just off the Plaza.

MARKET DATES International Folk Art Market July 13–15, 2018 (Museum Hill, Santa Fe) www.folkartmarket.org Traditional Spanish Market July 28–29, 2018 (Santa Fe Plaza) Winter Spanish Market December 1-2, 2018 (National Hispanic Cultural Center, Albuquerque) A Traditional Spanish Market is slated to debut in Las Cruces in 2019. spanishcolonial.org/spanishsummer-market-santa-fe/


Great amounts of skill, patience, time, and talent go into creating weavings, baskets, and other heritage art forms.

Contemporary Hispanic Market July 28–29, 2018 (Lincoln Avenue just off the Santa Fe Plaza) www.contemporaryhispanicmarketinc.com Santa Fe Indian Market August 18–19, 2018 (Santa Fe Plaza) Winter Indian Market December 15–16, 2018 August 17–18, 2019 (Santa Fe Plaza) The event celebrates its 100th anniversary in 2022. www.swaia.org Artisan Market November 23-25, 2018 (Hotel Albuquerque) www.NMArtisanmarket.com


PROMOTING TRADITIONAL SPANISH COLONIAL ART With a similar mission as the Santa Fe Indian Market, the Traditional Spanish Market promotes colonial Spanish art. Also held on the Santa Fe Plaza, two hundred fifty juried New Mexico and Colorado artists demonstrate and sell their work that includes woodcarving, tinwork, weaving, straw appliqué, furniture making, ironwork, retablos, and other traditionally made Spanish art spanning utilitarian and religious needs. The first Spanish Market was held in 1926 by a group of concerned Santa Feans including authors Mary Austin and Frank G. Applegate. This group would go on to establish the Spanish Colonial Arts Society in 1929 to preserve New Mexico’s mission churches and religious and colonial art and items. The group saved several rural adobe missions, including Chimayó’s famous Santuarío de Chimayó. The 2018 Traditional Spanish Market is July 28–29 on the Santa Fe Plaza; Winter Spanish Market is December 1–2 in Albuquerque at the National Hispanic Cultural Center. A Traditional Spanish Market is slated to debut in Las Cruces in 2019.

MODERN INTERPRETATIONS OF HISPANIC ART Coinciding with Traditional Spanish Market, Contemporary Hispanic Market showcases work by Hispanic artists whose modern mediums include photography, painting, sculpture, printmaking, and other art forms. Celebrating its thirty-second year in July, the Contemporary Hispanic Market was created by a group of artists to complement Traditional Spanish Market by providing exposure for Hispanic artists whose work is not necessarily tied to the colonial creations of the 1600s and 1700s. The market is held on Lincoln Avenue just off the Santa Fe Plaza.

THE WORLD’S LARGEST FOLK ART MARKET Hosted by the International Folk Art Museum since 2004, this July event is the largest folk art market in the world. More than 150 artists from sixty countries visit Santa Fe to sell their unique art and cultural crafts on Museum Hill. These master artists demonstrate their skill in weaving, pottery, beading, painting, carving, and all other manners of traditional art from around the world.

Detail, The Blessed Gamer by Patrick McGrath Muñiz. Photo by Blair Clark.

May 4 – November 25, 2018

Rooted in Tradition, Reaching for the Stars: 20 artists who stretch the boundaries of New Mexican art as we know it with new materials and twists on classic imagery. Spray paint, street signs, tattoos, skateboards, and superheroes make up a show like you have never seen before.


On Museum Hill, Santa Fe | 750 Camino Lejo | 505.982.2226 Open 10 am – 5 pm, Tuesday – Sunday | spanishcolonial.org

ten, artists use the money they earn at the market to help improve infrastructure and education in their home communities. In addition to these annual market events, artists make and sell their creations throughout New Mexico year-round. On any given day, Native American artists can be found selling their work under the portale of the Palace of the Governors on the Santa Fe Plaza and in Albuquerque’s Old Town Plaza. Santa Fe’s Canyon Road has the most art galleries in one square mile in the nation, making Santa Fe one of the top three art markets in the United States. At New Mexico’s nineteen pueblos, artists sell directly to visitors from their galleries and home studios.

Wooden sculptures of saints, called bultos or santos, are a traditional Spanish Colonial art form.

Artists also share their communities’ food, dancing, and music. The market supports the artists by providing them with an economic audience of twenty thousand shoppers throughout the weekend. Of-

NEWEST ARTISAN MARKET IN NEW MEXICO For the first time in New Mexico, Heritage Hotels and Resorts—a hospitality organization dedicated to the preservation and advancement of the cre-

Give Gifts. Get Thanks! CELEBRATE LOCAL ARTISANS New Mexico’s exclusive holiday shopping event! Curated over three days. Showcasing local artisans. High quality, handcrafted products. Nov. 23rd | 11am-5pm Nov. 24th | 10am-5pm Nov. 25th | 10am-5pm

VISIT | NMArtisanMarket.COM Apply TODAY to be a vendor! follow us @nmartisanmarket

Located at Hotel Albuquerque | 800 Rio Grande Blvd NW, Albuquerque, NM 87104



ative culture that has shaped the identity of New Mexico for centuries—will introduce an exclusive artisan market created for New Mexican artists, trade and craftsmen. The New Mexico Artisan Market will be another Heritage Hotels endeavor that promotes artisans while growing the state’s creative economy. The market will debut in fall 2018 at Hotel Albuquerque at Old Town –– a landmark resort in Old Town Albuquerque, and a focal point for the artisan community of New Mexico. This three-day event, which will take place during Thanksgiving weekend, will feature a select roster of curated vendors, many of whom are recognized internationally as experts in their craft. Prominent influencers from New Mexico’s artisan community have been charged with carefully selecting only the most authentic vendors to showcase their goods, and share with the world their dedication to New Mexico’s artistic heritage. Visit NMArtisanMarket. com for more information.

TIPS ON BUYING AUTHENTIC ART Thanks to efforts of such groups as SWAIA, fake pottery and jewelry sold as Native American-made has drastically decreased in recent years. The skill, patience, talent, and time that go into a true piece of Pueblo pottery, Navajo weaving, or silver and turquoise jewelry are reflected in the price of the art. Some pots that are sold are molded in a factory, then painted by a skilled Pueblo artist. While these are still valid works of art, their price should be much less than a handmade pot. The dealer should also state up front when pieces are not hand coiled. Similarly, the artists should make clear that weavings and jewelry are handmade and whether turquoise stones are natural or immitation. It is not customary to negotiate the price of artwork unless the artist offers first. Artists know the time and skill that goes into the creation of their work, and don’t often want to part with less than they are asking. If the price of a piece of art is drastically reduced, it may not be handmade or authentic.



THE Remarkable women of Taos These larger-than-life women paved the way for arts and culture in New Mexico. By Kelly Koepke 24



OW DOES A TINY MOUNTAIN VILLAGE TRANSFORM INTO A DESTINATION FOR ARTISTS, WRITERS, PHOTOGRAPHERS AND OTHER CREATIVES? Here’s a recipe. Add one part dramatic high-desert landscape to two parts Hispanic and Native American cultural traditions. Sprinkle in a dash of turn-of-the-20th-century restless zeitgeist and a pinch of undefinable New Mexico magic. Mix in some larger-thanlife characters who found their ways to northern New Mexico searching for new inspiration. Simmer and wait. In the late 1890s, painters Bert Geer Phillips and Ernest L. Blumenschein visited Taos on a western United States tour and ended up settling in the village. Blumenschein’s “exotic” drawings of Taos Pueblo life appeared in Harper’s Weekly in 1898. This lured others to the so-called Taos Art Colony, where they formed the Taos Society of Artists, a group that infused modern artistic aesthetics and energy into the town. Art collectors and patrons soon arrived to support these pioneers, whose own influence attracted a second wave of abstract artists (the equally influential Taos Moderns) into the 1950s and beyond. These nurturers of the arts also brought with them their desire for a broader cultural life. Many of these artists, cultural patrons, and philanthropists were women whose remarkable personalities shaped the small, sleepy hamlet, making it a destination for visitors from around the world. Taos now boasts more than eighty galleries, museums, and cultural attractions that reflect this vibrant history. Who were these women? Where did they come from? What made them special?

Mabel Dodge Luhan No Taos roster would be complete—indeed, no roster could even begin—without Mabel Dodge Luhan, a name synonymous with Taos’ reputation as an artistic colony and destination. Lois Rudnick, retired professor of American studies at the University of Massachusetts, has written several books about Luhan, born in 1879, whom she describes as a seeker and collector of people. “Mabel grew up wealthy in upstate New York, wanting to get out of her rule-ridden life that made it impossible for her to express her individuality. With her second husband, architect Edwin Dodge, she created a literary, music, and art salon in Italy, styling herself a cultural catalyst to bring creative people together,” says Rudnick. She did the same in New York in 1912, where she became involved in the art scene and extremist politics, got rid of her husband, had an affair with radical journalist John Reed, and went back to nature.

Mabel Dodge Luhan, Library of Congress, Prints & Photographs Division, Carl Van Vechten Collection, [reproduction number, e.g., LCUSZ62-54231]

Mabel and post-impressionist painter Maurice Sterne, who would become her third husband, moved to Taos in 1917. There, she found her place, and the man who would become her fourth husband and love of her life, Tony Lujan. Lujan, a member of the Taos Pueblo, was charismatic, handsome, and to Mabel, an exotic representation of a world foreign to her, a world where beauty, simplicity, art, music, and nature were interwoven into daily life. After Tony and Mabel married, she changed the spelling of Lujan to Luhan. “As much as she loved Taos, Mabel needed to give herself the intellectual nourishment that comes with large urban environments. So, she brought the people to her—an astounding number of people. And she spent about a third of her time outside of Taos,” says Rudnick. “Think about how hard it was to get to Taos at that time. There were few paved roads, no hotels, and nothing for visitors. Yet she would just write and invite them. A tremendous amount of creativity came out of that house just a ten-minute walk from the heart of Taos. She put Taos on the map.” Though not herself an artist (she was a nationally syndicated columnist for Hearst Corporation and author of manuscripts and books), Mabel preferred to inspire creation in others, right up until her death in 1962. Her influence on the development of Taos as a center for creativity has become legendary. Guests to the Luhans’ home, a rambling twelve acres that encompassed the main house of twenty rooms and several smaller guesthouses, were a who’s who of artists, writers, photographers, musicians, and designers. Authors Willa Cather, Aldous Huxley, and D.H. Lawrence, painters Marsden Hartley, Dorothy Brett, and Georgia O’Keeffe, and photographer Ansel Adams were frequent guests. In fact, Luhan, Brett, and Lawrence’s wife, Frieda, became close friends, and often included socialite and designer Millicent Rogers in their circle. (See related story on p. 30.) HHANDR.COM


Dorothy Brett and Frieda Lawrence Dorothy and Frieda’s many acquaintances within the literary and artistic world drew others to visit and experience Taos’ creative influence. Born to British aristocracy, Dorothy Brett was the eldest daughter of one of Queen Victoria’s closest advisers. Dorothy’s independent spirit led her to art school (against her parents’ wishes), and to the Bloomsbury Group of artists, writers and thinkers that included George Bernard Shaw, Virginia Woolf and E.M. Forster, and D.H. and Frieda Lawrence. Partially deaf, Dorothy placed the cause on her associates. “My deafness began at the time when I did begin to meet the engagingly frightening intellectuals who made up the world of painting and literature,” she wrote in her memoirs. In 1924, at Luhan’s invitation, Dorothy accompanied the Lawrences to Taos. They lived in cabins on what is now the D.H. Lawrence Ranch, part of the property once owned by Mabel (and deeded to Frieda). There, Dorothy created brightly colored paintings inspired by the dances and rituals of Taos Pueblo. Lawrence used Dorothy in his short stories, and she painted several portraits of him. It was Dorothy’s New Mexico works that would make her career; two of her Taos paintings are in the Tate Museum in London and her work has been shown at the Smithsonian and other institutions world-wide. Her painting, My Three Fates (see previous page), which pictures the three women at the kitchen table with Lawrence writing in the background, reflects the relationship between Frieda, Mabel, Dorothy, and D.H.

Millicent Rogers Though she died in Taos in 1953 at just 50, Millicent Rogers lived a lot of life. The granddaughter of and heiress to Standard Oil tycoon Henry Huttleston Rogers, she was stylish, statuesque and glamorous. Vogue and Harper’s Bazaar featured her in both the society pages and as a fashion model. Her wild spirit led to romantic relationships with famous men. It is said that a shattering affair with the actor Clark Gable brought her to Taos in 1947. “She was depressed—she was used to being the star of the show wherever she went,” says Cherie Burns, author of the biography Searching for Beauty—The Life of Millicent Rogers, the American Heiress Who Taught the World About Style. “Gilbert Adrien and his wife, actress Janet Gaynor, invited her to go to New Mexico as a change of scene. Immediately, Millicent’s spirit picked up. They had dinner at Mabel Dodge Luhan’s. Mabel was hoping to entice Adrien and Gaynor to buy some property in Taos. Millicent bought it instead, seeing the potential in the old fixer-upper adobe,” Burns explains. New Mexico’s aesthetic enchanted Millicent. She became a collector of Native American baskets, jewelry, rugs, and artwork. And her unerring eye led her to purchase the best examples. She also attended Taos Pueblo ceremonies, something that bonded her with Georgia O’Keeffe and Tony Lujan. In Taos she now had gal pals, says Burns. Millicent, Mabel Luhan, and Dorothy Brett often dined in each other’s kitchens. In Millicent’s case, her adoption of what is now considered Southwest style (think broomstick skirts, silver-buttoned blouses, and concha belts), brought Taos to the world. Today, the Millicent Rogers Museum houses an enormous collection of her jewelry, art, rugs and fashion.

Opening page: Dorothy Brett, My Three Fates 1958. Oil on canvas. Albuquerque Museum, Gift of the Albuquerque Museum Foundation, from the Lucia V.B. Batten Estate. The painting features Mabel Dodge, Dorothy Brett and Frieda Lawrence, with DH Lawrence in the background. Left: Cady Wells, The Three Graces (Mabel Luhan, Frieda Lawrence and Dorothy Brett), 1938. Gelatin silver print. Collection of the New Mexico Museum of Art, Gift of the Cady Wells Estate, 1982.




THE PALACIO’S ROOMS draw inspiration from the women who made their marks on Taos, and whose work is reflected in the furnishings, colors, and artwork that make each room unique. In addition to Georgia O’Keeffe, Mabel Dodge Luhan, Agnes Martin, Dorothy Brett, and Millicent Rogers, two notables in fashion and printmaking lend their unique essence to their namesake rooms. Martha Reed, a fashion maven with a reputation for being the life of any party, brought the Navajo (Dine) designs of broomstick skirts and velvet shirts with silver buttons to the world. Her clients

included actors, politicians,

female American printmaker to

philanthropists, and royalty.

receive a full membership in the

Alice Geneva (Gene) Kloss

National Academy of Design. Her

first became fascinated by the

work is featured in collections

people and rituals of Taos Pueblo

around the world, including

while visiting on her honeymoon

Taos’ Harwood Museum. The

in 1925. During her long career

stylish Palacio de Marquesa was

she developed new printmaking

designed by interior designer

methods, becoming the first

Adriana Long.

Georgia O’Keeffe and Agnes Martin Herself a style icon for her minimalistic dress, architectural and artistic aesthetic, Georgia O’Keeffe is likely the most wellknown of the Taos women. She had a long and successful career as a painter, creating thousands of abstract and decidedly modern paintings, sketches, and watercolors that have become iconic art of the Southwest. These works often depicted the landscape, flora, and objects of the northern New Mexico

Heritage Hotels commissioned artist Audrey Bell to produce portraits of these extraordinary women (Left Dorothy Brett).

desert and mountains. The area around Abiquiu and Ghost Ranch is often called “O’Keeffe Country,” because the area’s pink- and red-striated cliffs, blue skies, and plant life are the subjects of many of her landscape paintings. Beginning in the late 1920s, Georgia was also among the frequent guests at both the Lawrence and Luhan homes. A notable work, Lawrence Tree, depicts the large pine in front of the Taos cabin where D.H. Lawrence spent hours writing; the tree also appears in Brett’s aforementioned My Three Fates. Georgia moved permanently to Abiquiu from New York afHHANDR.COM


HOME AWAY FROM HOME FOR TRAVELERS SEEKING A LUXURIOUS RESORT IN TAOS, visit Palacio de Marquesa’s sister property El Monte Sagrado. El Monte Sagrado means “The Sacred Mountain.” The word “Sagrado” also means “sanctuary.” The name of this AAA Four-Diamond property reflects its lush sanctuary setting, which nurtures mind, body, and spirit. Experience the harmony of the lavish grounds, soothing waters flowing from an indoor waterfall, indoor pool, a world-class spa, and 7,000 square feet of event space. The elegant and practical guestrooms feature decor to meet anyone’s style from the magic of the American West and mystery of the Eastern influences, to the charm of Old World Europe to the luxury of the southwest. El Monte Sagrado is the perfect retreat for any visitor.



ter her husband, photographer, and gallery owner Alfred Stieglitz, died in 1946. In 2014, twenty-eight years after her death, her painting, Jimson Weed, sold for $44.4 million and still holds the record for the highest price paid for a piece by a woman artist. Today, the Georgia O’Keeffe Museum is the most visited museum in Santa Fe. Georgia and Agnes Martin certainly knew and respected each other as artists, but they didn’t exactly get along, says Kathleen Brennan, director and co-producer of the film Agnes Martin: Before the Grid. “There was jealousy between them, being women artists and both in New Mexico, but they were on very different tracks professionally and personally. O’Keeffe came from the upper class and was well-known in the art scene. Agnes was poverty-stricken and lived in a one-room adobe with mud floors. She barely had heat. Yet both were determined to create work and make their mark on the art scene. They were two very rare women living in the same area being successful,” she says. A child of Saskatchewan, Canada, Agnes studied art at the University of New Mexico in the mid-1940s, and like many, fell in love with the Land of Enchantment. She settled in Taos in 1952, but soon moved to New York to further her painting career. In the late 1950s, the lure of New Mexico drew her back. She lived in Cuba, northwest of Albuquerque, and in Galisteo, near Santa Fe, until moving to a retirement home in Taos in 1993. But, “most people in New Mexico and Taos at the time didn’t know about Agnes’ success as a painter,” Brennan says. “She found a receptive audience for her abstract, minimalistic, and expressionistic works in Europe, and had an exhibition at New York’s Guggenheim in the mid-1960s. While men doing similar work—Agnes’ friends Mark Rothko and Cy Twombly, for example—were lauded as contemporary masters, Agnes has only since her death in 2004 received recognition in Taos for her artistic achievements. Her work is featured in a gallery at the Harwood Museum built and named for her works—and in part for her community philanthropy. Agnes’ legacy in Taos goes far beyond painting. “For those who knew about her, she’s a cult figure,” says Brennan. “She walked in Taos every day, had a standing lunch date every day in a local restaurant. She was reserved but would talk if approached—with a great sense of humor. She wanted but didn’t care about money; she wanted to be famous as an artist.”

Georgia O’Keeffe, Gray Cross with Blue, 1929. Oil on canvas, Albuquerque Museum; museum purchase, 1983 & 1985 General Obligation Bonds, Frederick R. Weisman Foundation, Ovenwest Corporation, and The Albuquerque Museum Foundation.

No one knew until after her death that Agnes had funded her eponymous gallery at the Harwood and donated seven of her paintings to fill it. Nor did people know she had also funded playgrounds and parks and given $1 million to refurbish the Taos Community Center. “Agnes loved New Mexico—the outdoors, the vast landscape that fed her soul and work. Loved looking out across horizon and seeing one diagonal line,” says Brennan. Beginning in the 1920s, these remarkable women, and others like Gene Kloss and Martha Reed (see sidebar, previous page), turned the small village of Taos into a destination for those seeking creative inspiration. That legacy continues today, as creatives seek the same inspiration—the beauty of the physical landscape, the cultural traditions and dynamics that are uniquely Taos.



A new Take on SantA Fe Style Today’s version of Santa Fe style takes the city back to its roots in a most contemporary way. by Ellen Mather


NCE CHARACTERIZED BY CONCHA BELTS, turquoise squash blossom necklaces, broomstick skirts, fringe, and cowboy boots, Santa Fe style has taken a contemporary turn that’s more culturally inclusive and more global than ever. With its colorful history as a trading mecca for travelers along the Santa Fe Trail, El Camino Real and Old Spanish Trail, Santa Fe’s architecture, design, and fashion have evolved to include an eclectic mix of Hispanic, Native, and Anglo design influences, with the occasional cowboy, Mission, and Southeast Asian accents woven in.


Left: Shoppers enjoying an outing in Santa Fe; Tonia Prestupa helps a shopper find treasures.

Canyon Road Arts, a Santa Fe visitors’ magazine, defines Santa Fe style as “a set of values about design that are inspired by the unique qualities of this place...we believe that the celebration of local cultures remains the core of Santa Fe style.” For a city that prides itself on celebrating diversity, the latest trends are simply a reflection of Santa Fe’s uniquely sophisticated values and vibe. The concept of blending styles to create something uniquely chic can be largely attributed to Millicent Rogers, the heiress to Standard Oil and a fashionable socialite who came to New Mexico in the mid-1940s. Her eclectic taste in clothes defied the norms of the day, where women tended to stick to a particular design or style. By combining items like turquoise jewelry with broomstick skirts and vests, Rogers established a trend that continues to thrive decades later. (See “The Remarkable Women of Taos,” page 24). Proof positive of Santa Fe’s status as an emerging fashion destination can be found in June at Santa Fe Fashion Week, which celebrates its seventh year in 2018. The event provides emerging designers with a forum to showcase their work while celebrating the diversity, individuality and natural and cultural beauty that defines the city. When it comes to clothing, Western couture and museum-quality collectible Native American-inspired jewelry paired with leather, fur, and silk creations can be found on the Fashion Week runway. HHANDR.COM



A growing number of shops throughout the city are also SHOPPERS TO DISCOVER THEIR showcasing this unique blend of clothing, accessories, jewOWN SANTA FE STYLE elry, home décor, and furniture from around the world, No matter where you fall on the shopping enthusiasm a trend that lends strength and support to the indigenous spectrum and regardless of your budget, a day spent on arts market. one of Heritage Inspirations’ Fashionista Tours is a true “While the rest of the world is presenting fashion trends, insider experience. Fashionista and tour guide Tonia the more contemporary version of Santa Fe style guarantees Prestupa leads shoppers to the trendiest boutiques, you can create your own authentic look, whether that invintage shops, and collectibles hideaways, with perfectly cludes eclectic, globally chic, timeless, Bohemian, or ethnic timed stops for lunch, chocolate, and and tribal couture,” says Tonia Prestupa, style wine at the end of the day. consultant and Fashionista Tour guide at HerSANTA FE Prestupa’s wealth of knowledge comes itage Inspirations. For visitors who want to FASHION WEEK from her years as a local historian. A “shop the look,” Santa Fe offers a plethora of June 21–23, 2018 professional style consultant and personal boutiques, consignment stores, and internationshopper, her rapport with local store ownal markets (see “Shop the Markets,” page 16). This year’s lineup features ers lends exclusivity to the tour, making The broad appeal of contemporary Santa Fe celebrity designers it a must for design lovers, trendsetters, style attracts well-traveled shoppers and people StevieBoi, Richard and cool hunters from all over the world. associated with the fashion industry who are Hallmarq, and others, “Santa Fe’s casual yet sophisticataccustomed to finding authentic, high qualias well as Ava Capra from ed atmosphere really allows people to ty pieces. But treasure hunters with an eye for America’s Top Model. bloom and discover dressing in a way budget-friendly wearable art and accent pieces For more information, visit that embraces their own unique sense of can also strike gold. Local boutiques like the one santafefashionweek.com. style,” she says. Shoppers will discover owned by Hollywood designer Randolph Duke treasures from around the globe, as well and partner Irene Salas combine world textiles, as local creations. Each stop is designed trims, and accessories into mash-ups of global to support local designers, artisans, and shops, engaging style and cross-cultural influences. Known for his bold eveninvisitors in Santa Fe’s colorful origins as a trade route and gwear, swimwear, and sportswear designs, Duke’s furniture, a fashion culture that continues to thrive. décor, and accents, as well as ready-to-wear pieces that are hand-dyed, eco-printed and embellished in unique trims from around the world can be found at the eponymous store, The Duke and I. Other shops aim to heighten the exposure of different cultures while preserving the traditional crafts from countries like Brazil, Haiti, Indonesia, Mexico, Nepal, Peru, and Vietnam. Shop owners like Jonathan Williams offer a vast array of folk art they’ve collected themselves as a way to preserve the artisans and traditions in the developing corners of the world. “By supporting the traders who will in turn support the people who create these unique pieces, we are empowering women and men in third world countries to continue their craft. Santa Fe’s culture and emphasis on style plays an important role in preserving those traditions,” Prestupa says. When it comes to fashion, today’s expression of Santa Fe style is a far cry from turquoise: It takes the city back to its global and diverse roots.



Choose Your Tour Fashionista Tour ($249) Visit luxurious high fashion and jewelry ateliers and small unique gift shops. Stop for gourmet lunch and wine at one of Santa Fe’s most chic restaurants. Cool Hunter Tour ($225) Head off the beaten path to BILL CURRY

explore trendy boutiques and the Traveler’s Market, filled with well-curated global textiles and clothing, ethnic jewelry, and oneof-a-kind finds. Enjoy lunch at a hip café in the warehouse district. Vintage, Designer Consignment, Bargain Hunters Tour ($199) Experience vintage boutiques and small unique gift shops. Stop for lunch at a popular Santa Fe food

Wearable Art From the Runway Taos designer Patricia Michaels has the freedom to create.

truck. Details: All tours include a pick-me-up at Kakawa Chocolate House, and end-of-day wine flight at Hotel St. Francis’ Gruet Wine Tasting Room. Tours run Fridays and Saturdays, 10 a.m.– 4:30 p.m. All tours begin at the fireplace at Inn and Spa at Loretto. Receive exclusive discounts at shops, Hotel St. Francis, and Inn and Spa at Loretto. Bonus Offering ($75): Professional photographer Paulina Gwaltney shadows you throughout the tour and captures beautiful PAULINA GWALTNEY

candid moments from your most complementary angle. paulinagwaltney.com

by Ellen Mather


AISED IN SANTA FE but deeply connected to Taos Pueblo through her grandparents, Patricia Michaels’ fashion career has taken her around the world. As the first Native American designer to appear on the reality show Project Runway, Michaels’ fashion is inspired by traditional Taos Pueblo artists and by the women of the Taos artist colony, such as Millicent Rogers, Dorothy Brett, Agnes Martin, and Mabel Dodge Luhan (see related story on p. 24). From her Taos studio, Michaels creates high-end, limited-edition apparel and casual lines for both men and women. Her one-of-akind couture features organic materials whenever possible and she hand-dyes and -paints her fabrics, often using patterns that are reminiscent of Pueblo art, yet distinctly modern. Today, Michaels’ wearable art can be seen in its full glory on the staff members at Hotel Chaco, the newest addition to Heritage Hotels and Resorts’ collection of culturally distinct New Mexico properties. Her work is also on display in the Chaco Gallery located at Hotel Chaco. Michaels recently shared her story with Heritage magazine.



Clockwise: Patricia Michaels draws her designs directly on fabric. Hotel Chaco staff in Michael’s designs.



HONORS AND AWARDS Peabody Essex Museum Show Native Fashion Now Smithsonian National Museum of the American Indian: Arts and Design Award First Native American designer on Project Runway reality show 2016–Closing speaker at the Bill and Melinda Gates Foundation reception for scholarship recipients 2017–First soft interior design collection with Amy LaSalle

In what ways has your background most inspired your work? My mother is Taos Pueblo and my father is full-blooded Polish. The house I grew up in had wall-to-wall Navajo rugs on the floor and I was surrounded by beautiful jewelry, paintings, and weaving—the traditional Native arts. I grew up around pots and I loved the design but didn’t want to be a potter. I grew up around Indian Market but couldn’t see myself doing any of those things. I was the youngest child, so I got hand-me-downs and my outfits never matched. That was actually a blessing. I cherished all the articles of clothing I had because I also had stories of whatever relative had owned each piece. I got really good at altering, re-altering, and hemming dresses so they would fit me. I made my own textiles for doll garments using tissue, paper, leaves, petals, food coloring, Avon powder makeup, glitter, ash, coal, anything that was a color. As I got older, I wanted to create contemporary garments because non-Native people wanted to buy our outfits, but they would look ridiculous wearing buckskin dresses or other traditional Native American clothing. I thought, “Why don’t I start creating things that non-Native people can wear?” That approach allowed me to pay tribute to both patrons of our art and to our ancestors who have used these materials in ceremony. How did Project Runway find you? They saw my name on the Model Mayhem website and asked me if I would consider signing up. At the time, my companion and I were living at the pueblo and had forty dollars to our name. I lied to everybody so that I could disappear for three days; I took eight dollars so I could buy and watch all the Project Runway seasons in a day and a half and I fell in love. Once I had been accepted, I packed a suitcase of clothing and shoes, one suitcase of sew-

Handwoven Originals ®

ing supplies, and one big carry-on of Native American jewelry to wear. My first assignment was to create a dress for Heidi Klum. What did you learn about yourself from the experience? Having the patience to see your vision come true is so important. I’m a Native American designer but I’m not pigeonholed into making things that reflect Hollywood or anthropolitical views of what Native clothing should look like. I have a wonderful support group of followers and people who are successful artisans. I’m so glad I’ve been able to create opportunities for other Native American designers. How did you first connect with Heritage Hotels? Hotel Chaco approached me about designing their uniforms, and, because they are a Heritage Hotel, I thought it was beautiful that they were hiring people in the community to represent our local culture. That summer at Santa Fe Indian Market I had done some paintings on canvas, garments that featured subtle, earth tone colors. I showed them to Jim Long [CEO] and Liz Robinson [General Manager, Hotel Chaco] from Heritage, then the three of us visited a company that makes Native American designs for commercial enterprises. I took the garments with me and the company tried to talk me into making just a small icon [instead]. But I had created an overall theme. Jim and Liz completely backed me, insisting that the uniforms be made the way I had designed them. They were amazingly supportive.


What did you want people to see in your designs? I want them to see the strength and the power of Native design and know that it doesn’t always have to be the same. There are so many avenues where Native American design can be pushed in a modern way. Heritage encouraged me to pursue my creative vision and I am honored to be part of what they are doing.

Since 1976


Exceptional Woven Creations and Unique Handmade Accessories 211 Old Santa Fe Trail

INN & SPA AT LORETTO 505.982.4118


What pieces or projects are you most proud of? The finale dress I created on Project Runway had more than 350 sequins made of dollar-sized silver rings and mica. We pounded out the sequins in freezing weather in my father’s blacksmith workshop. When our ancestors were given new materials and tools, they went full forward. I think that heart and soul really shows in that final product. What are you working on now? I am using a revolutionary new process that will be great for photos, the stage, film; it’s a whole new couture look and I’m very excited to present it. As a Native American contemporary fashion designer, I have the liberty to change things, and that’s what I’m doing.


“The owner is a warm gracious lady who offers excellent service in her lovely store filled with unique and beautiful clothing. I highly recommend Artemisia Artwear!” — Linda O. ««« »»» • 117 Bent Street, Taos, NM 87571 One block north of Taos Plaza on historic Bent Street

575-737-9800 • www.artemisiataos.com

EXPERIENCE THE ARTS, CULTURE, AND HISTORY OF NEW MEXICO on the New Mexico PBS Arts & Culture Channel N ow av ai l ab l e o n t he Heritage Hotels & Resorts T V C hannel

The Springtime Rainbow, 1923 - Jozef Bakos Courtesy the NM Museum of Art

Refer to your hotel channel guide for the channel number. Visit nmpbs.org/heritage for more information on NMPBS arts and culture programs.

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211 Old Santa Fe Trail, Santa Fe 505.984.7997 HotelLoretto.com/Spa

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Lowriders are works of art. Right: Fred Rael’s Chevy.

Fred Rael

Art in Motion WHO KNEW A CAR COULD BE SO COOL? Photos and Story by Steve Larese


hey’re mechanical marvels and kinetic art celebrating family and community. They speak to individualism and precise craftsmanship, but also to whimsy. Lowriders have stoked the passions and imaginations of generations of New Mexicans, and, more than ever, they are being recognized as cultural icons. They are celebrated at Hotel Chimayó’s Low ’n Slow Lowrider Bar in Santa Fe with its lowrider photographs, hub cab accents, and chain-link steering wheel tables. The specialty cocktail “La Familia” honors Sonnie Jaramillo and his son, Gabriel, who restored their 1948 Chevrolet Fleetline together before Gabriel passed away in 2011. That silver-andblack classic is now a moving memorial to Gabriel. It was also one of many lowriders featured in the 2016 New Mexico History Museum exhibit Lowriders, Hoppers and Hotrods that combined photos with oral histories from northern New

Mexico car enthusiasts. “Back when I started out in the ’70s there was no history,” says Fred Rael of Española, a town 26 miles north of Santa Fe. “It was just a bunch of people with similar interests building lowriders and cruising and having a good time. But so much time has passed and there are so many stories that there is an interesting and fascinating history now that needs to be preserved.” Indeed, plans are underway to establish a permanent lowrider museum in Española, the “Lowrider Capital of the World.” Rael is chairman of the Española Lowrider Coalition. He and his group are working with the State of New Mexico and Rio Arriba County, as well as charitable organizations Chicanos Por La Causa and the McCune Charitable Foundation, to open the museum in Española hopefully by the end of 2018, Rael says. “Lowriders have always been about creativity for me,” Rael says. “They’re art in motion.”

From California to New Mexico Lowriders captured the attention of New Mexico’s youth in the 1970s, mostly through friends and family who had spent time in California. In the optimistic years following World War II, Americans of all backgrounds embraced car culture. America’s pent-up youth saw cars as a way to freedom and expression, and began to define themselves through customized hot rods, muscle cars, and dragsters, all set to a rock ‘n’ roll soundtrack. James Dean, Marlon Brando, and Steve McQueen drove fast and furious on the big screen, and those images ignited automotive passion that still defines America. Young Mexican-Americans in Los Angeles further bucked the status quo by going low and slow. MexicanAmerican kids establishing their identities in post-war American culture cut suspension springs to give a new look to late-1940s makes inherited from grandparents or saved from salvage yards. Bright colors and paintings added to the look as kids cruised the streets of Los Angeles. When California passed laws establishing a minimum distance between the body and pavement, kids added hydraulics from truck lifts to lowrider suspensions to cleverly raise the vehicles when necessary, ushering in a new dimension to the art form. Lowriders received their cultural blessing with War’s 1975 hit “Low Rider.” “Low rider don’t use no gas now/The low rider don’t drive too fast.” In New Mexico, the arid climate preserved forgotten classics, and many wrecks left to rot in fields were hauled into garages or under shade trees and given new life. “My dad was a car guy, but he was not into lowriders,” Rael says. “I had a cousin who was into lowriders; back then they were kind of frowned upon, thought of as trouble makers or outlaws. A lot of it was probably the way we looked. You’re fifteen or sixteen, wearing baggy clothes, and the style was pretty different. But over the years my family saw that lowriders probably kept me out of trouble, just putting all of that time and effort into my cars. So, it was kind of something I figured out on my own, and it turned into an obsession, and then you start meeting people and going to car shows. If you see my house it’s like a lowrider museum with pictures and trophies.” Rael still has the first car he dropped, a 1971 Super Beetle, as well as ’64 and ’67 Impala convertibles, and a ’94 Cadillac Fleetwood. He explains that the older cars are best suited to turning into lowriders because enthusiasts can work on them themselves, they have lots of chrome, are rear-wheel drive, have a longer body that makes for a sleeker look, and—most importantly—they have plenty of steel and solid frames that can accept modifications such as hydraulics. HHANDR.COM


“They just look better as lowriders,” he says. “There’s a nostalgia to them. You see an older car, and you think of your family and friends and your youth. New cars are good, but they’re plastic. They don’t have metal bumpers anymore. The last cars made that make good lowriders are Cadillacs and Lincolns from the early 2000s.” Bobby Chacón of Chimayó, a town 28 miles north of Santa Fe, bought his first car, a royal blue 1951 Chevy Deluxe, when he was seventeen in 1997 after completing Army basic training. “I would work on cars with my dad, and my brother was into lowriders, so I was just always surrounded by cars,” Chacón says. He has a stable of other lowriders, most of which have already been claimed by his three young daughters. Scores of battered classics sit on his rural property awaiting resurrection or parts transplants into other cars. His website, www.losguyscc.com, has photos of his cars and those of members of the Los Guys Car Club. Many of these cars are entered into car shows throughout the Southwest, but for Chacón, Rael, and other lowriders, cars are for cruising.

A family tradition “The stereotypes of the past are long gone, I think,” Chacón says. “Lowriders used to be associated with gangs and stuff, but for us it was always about family here. You work on cars with your

family, and then you cruise them in town and see all your friends. I go to car shows with my girls and it’s just one big family.” Rael agrees: “Lowriders got a bad rap in the 1990s, I think through a lot of movies, because they would always put the gang bangers in lowriders, and drugs were a bad problem in rap music and rappers wanted that image of being from the streets of L.A. and lowriders were a great visual for that,” he says. “But for those of us who have always been involved, it’s always been about the cars.” In a small town like Española everyone has a pretty good idea of what you’re up to and how you make your money, Rael says. “If all of the sudden someone’s sinking thousands into a car and never working, people would know if you’re doing anything illegal, and you can bet that would get back to your whole family,” he says. “My dad didn’t know what to think at first, but then he saw how focused I was and how hard I worked and realized it was a good thing. You take pride in your car, and you can’t do that if you didn’t earn it.” Rael says the increasing scarcity of suitable cars and their prices is lowriding’s main challenge. “As far as young people doing it, there aren’t as many because it has become very expensive to build a lowrider,” Rael says. “When I first started out, you could buy a ’64 Impala for five hundred dollars. Now, they’ve gotten very expensive. And if you find any sort of car that is suitable for a lowrider you’re

One of Pamela Jaramillo’s works. The arid climate preserves these classics.



going to be looking for parts because of the age of the vehicle. Add in the paint job and other customization, it gets really expensive. In the day if someone had ten thousand dollars into their car, they had the nicest ride in the state. And now, there’s people with upwards of a hundred thousand dollars into their car. The cost of parts and labor have gotten very expensive; it’s not as do-it-yourself with friends as it was.” Pamela Jaramillo, Chacón’s girlfriend and mother of their three girls ages five, eight, and eleven, shows that lowriding isn’t just for the boys, either. “My family was always into lowriders, and it was just something we always did,” Jaramillo says. “And now Bobby and me and the girls all go to car shows and everything, and they’re really getting into it.” Jaramillo says some of her high school friends in the ‘90s asked her why she was into lowriders, but quickly figured it out. “When I first started driving everyone was like, ‘how can you drive those ugly cars,’ she says. “But then they saw all of the attention I was getting. No matter where you went you would just stand out and people would talk to you. Now I see a lot more women drivers, even though it’s really hard without the power steering and disc brakes.” Jaramillo says being female seems to make her more approachable than male drivers. “People everywhere come up to me and ask about my [’65 Impala],” she says. “The guys are really nice, too, but people seem intimidated by them at first. But they come up to me, and we all start talking and that’s how we make new friends.” Rael says that he’d like to encourage younger generations to continue the lowrider tradition. “It’s changed since the mid2000s or so,” he says. “It used to be about everyone building their cars and cruising them; that was our social life. But I think over the years the presence of lowriders on the street has diminished because kids are more into gaming and stuff, everyone’s social life is online now, it seems. And us old guys are with our families or at work or going to car shows.” Still, he says, more “old guys” such as himself are making the time to take their prized lowriders around town with their families more now, and that’s inspiring younger generations. “We’re still cruising, even if we can’t stay up til midnight anymore,” he says. “And it’s always something we do as a family. We go cruising, we go to car shows, we go as a family. And the friends you meet along the way, they become part of the family, too.”

Hydraulics and lifts are classic lowrider customizations.

TWO BOOKS ARE A MUST FOR LOWRIDER ENTHUSIASTS: LOW ‘N SLOW: LOWRIDING IN NEW MEXICO by Carmella Padilla, Juan Estevan Arellano with photography by Jack Parsons. Museum of New Mexico Press, 1999 ¡ÓRALE! LOWRIDER: CUSTOM MADE IN NEW MEXICO by Don Usner. Museum of New Mexico Press, 2016





nspired by Jack Parsons and Carmella Padilla’s book, Low ’n Slow: Lowriding in New Mexico, this unique hotel bar and lounge is the ideal spot for relaxing with authentic New Mexican food and drinks. The distinctive lowrider style is evident in the diamondtuck upholstered seats, hub caps, and creative photos, while tables made of chromed chain-link steering wheels decorate both the outdoor patio and indoor dining area. Specialty cocktails crafted by professional mixologists add to the atmosphere and



help create an unforgettable car-themed experience. You may see lowrider cars parked in front of Hotel Chimayo as the only free parking zone in downtown Santa Fe that is exclusive for lowriders. The sign in front of the hotel says “Exclusive Lowrider Parking. If it doesn’t scrape the pavement, it is just another car with rims.” Heritage Hotels & Resorts worked with the community of Chimayo to create a hotel that honors the unique cultural identity of this village, including featuring lowrider culture.

Three big lowrider shows take place this summer: JUNE LOWRIDER MAGAZINE ALBUQUERQUE SUPER SHOW, Albuquerque Convention Center, 505-433-2702; newmexicosupershow.com JULY 14 SUMMER HEAT CAR, BIKE, TRUCK SHOW AND CONCERT, Downs at Santa Fe, www.facebook.com/ SwPromotionzNM/ JULY 22 ESPAÑOLA LOWRIDER DAY, Plaza de Española

Left and below: The lowrider-themed Low ’n Slow bar at Hotel Chimayo (above) features photos of lowriders, hubcaps and steering wheels for decor, and vinyl seating. Top: Lowriders gather in Santa Fe.



A Farm Family’s Legacy Farmer’s Daughters Present New Dining Experiences

by Andrea McNeely

Ashley and Chantelle Wagner

from a fourth-generation New Mexican family that has been farming in Corrales, north of Albuquerque, for KENNETH LYTLE PHOTOGRAPHY



over a century. The two have always had a passion for

sustainability and the preservation of local farmland. Over the years, Ashley and Chantelle began noticing that local produce was not being used in restaurants, breweries, and food trucks. They decided to create a platform for sharing the importance of using local ingredients. With this in mind, their company, Farmer’s Daughters, was born.

Guests enjoying a Farmer's Daughters fundraising dinner for Save the Space Farmland Preservation using produce sourced from Corrales farmers.

Farmer’s Daughters has a mission to maintain, preserve, and protect New Mexico’s agricultural heritage, through the cultiva-

fresh, and clean eating. They will collaborate with Hotel Albuquer-

tion of the land, offering its bounty to others, hosting community

que’s executive chef, Gilbert Aragon, to develop dynamic menus

events, and providing educational opportunities to the public. The

that incorporate farm fresh produce in harvest throughout the year.

cousins host numerous events and experiential dinners showcasing locally grown food, most recently in partnerships with Meow Wolf and the Save The Space farmland preservation initiative. Now they are launching a series at Hotel Albuquerque at Old Town with exciting surprise activities and themes, while keeping true to the farm-to-table concept. Ashley and Chantelle hope these special dinners will transport people to the farm to develop an appreciation for local, 46




Central New Mexico Round Trip Tickets are only $10

Ride comfortably and venture out with FREE bus connections at select stations. Plan your trip at: riometro.org Call us at: 866.795.7245

A Navajo woman dances in the cloud dance ceremony at San Juan Pueblo.



bouNtiful beauty Ancient traditions are celebrated during feast days. by Steve Larese


HEN THE SPANISH ARRIVED in New Mexico in the 1500s, they assigned a Catholic patron saint to each of the nineteen pueblos. Over time, the pueblos have blended this European influence with their traditional religion, culminating in feast days that honor both. “The feast tradition began long before the Spanish conquest,” says Jon Ghahate, museum cultural educator with the Indian Pueblo Cultural Center in Albuquerque. “It was always something pueblo people did as a way of giving back to the environment, to the creator, to people in the community as a way of collective recognition of all the things they received, and the environment provided,” he says. Today, the dances and songs passed down through the ages are prayers akin to what happens during a church service. Most feast days will begin with mass in a mission church and processions, followed by traditional dances. While pueblos hold many ceremonies throughout the year that are for

tribal members only, most generously welcome visitors to some elements of their feast days. Many of the dances focus on corn, a sacred food to pueblo people and a key part of the pueblo diet predating the Spanish. Other traditional foods might include roasted corn, corn pudding, and corn bread, as well as squash and beans. These dances are open to the public, and guests are often invited into pueblo households to partake of feasts that include horno bread, cooked in the domed, “horno” oven seen behind pueblo homes, green chile pork stew, red chile stew with beef, deer or elk meat, enchiladas and desserts that include fruit pies, and “pink stuff,” a mix of whipped cream, Jell-O and marshmallows similar to ambrosia. The dances are hypnotic, subtle, and intricate. A drummer will flip his drum without missing a beat to produce a higher pitch at just the right time. Dances tend to go from early morning through the afternoon regardless of weather and are a testament to the pueblo dancers’ endurance and dedication.

WHAT’S A KOSHARE? Taos Pueblo holds its annual feast day in the fall, in honor of San Geronimo. The day’s activities include food races, dances, a large market with artisans from many pueblos and tribes, and the traditional clowns, or koshares. Visitors beware: Koshares are tricksters, designed to keep people—both native and non-native—humble by poking fun at them, says Ilona Spruce, director of tourism for Taos Pueblo. Painted in white and black stripes, the koshares also climb poles topped with gifts.



2018 FEAST DAYS These feast days are generally welcoming to visitors.



Nambé Pueblo

San Augustine Feast

Waterfall Ceremonial

Day at Isleta Pueblo

and Bow, Buffalo, Corn and other dances

SEPTEMBER 2 San Estevan Feast

Cochiti Pueblo Feast Day

Day at Acoma Pueblo


(Corn Dance)

San Buenaventura Feast


Day and Corn Dance at

San Augustine Feast

Cochiti Pueblo

Day at Isleta Pueblo


(Harvest Dance)

Santiago Feast Day


and Corn Dance

San Ildefonso Pueblo

at Taos Pueblo

(Corn Dance)



St. Anne Feast Day

San Geronimo Feast

at Santa Ana and

Day at Taos Pueblo

Taos Pueblos Harvest Dance at Laguna Pueblo villages

AUGUST 2 Nuestra Señora de Los Angeles Feast Day Corn Dance at Jemez Pueblo

AUGUST 4 Santo Domingo Pueblo Feast Day and Corn Dance

OCTOBER 4 San Francisco Feast Day at Nambé Pueblo (Corn and Elk)

OCTOBER 17 St. Margaret and Laguna Pueblo

NOVEMBER 12 San Diego Feast Day at Jemez and Tesuque pueblos (Buffalo,

San Lorenzo Feast Day

Comanche, Corn,

at Acoma and Picuris

Deer, Flag dances) For more information


about visitor etiquette

Santa Clara Pueblo

and pueblo contact

Feast Day

information, visit

AUGUST 15 San Antonio Feast Day at Santa Clara Pueblo (Buffalo, Comanche, Corn dances)


native—humble by poking fun at them.

Mary Feast Day at



Koshares are tricksters, designed to keep people—both native and non-

Albuquerque’s Indian Pueblo Cultural Center, (505) 843-7270, www.indianpueblo.org.

The full meaning of pueblo dances is only known to tribal members. And even then, sometimes only selectively shared with particular clans within the tribe, so visitors shouldn’t ask questions about the meaning of the dances. It’s also a good idea to understand etiquette when you visit a pueblo community. Remember that these are ceremonies and sacred religious traditions, not performances. Respect the rules of each pueblo, which usually include no photography, no talking to the dancers, no clapping, no touching the dancers, and staying within the permitted attendance area. While community members often open their homes, wait to be invited, and don’t assume you can stay for a long meal, especially if there are many people, says Illona Spruce, director of tourism for Taos Pueblo. Also keep in mind that some pueblos—such as Acoma and Taos­—are more accustomed to tourists. Acoma may see as many as ten throusand visitors on feast days.

REAPING THE HARVEST AT NEW MEXICO’S FALL FESTIVALS Autumn in New Mexico is hard to beat. The scent of roasting

array of rescued wildlife you can meet as well, such as foxes,

green chile suffuses the air, temperatures are slightly cooler,

bears, coyotes and raptors.

and opportunities to celebrate New Mexico’s various harvests abound. Throughout the state, fall festivals celebrate the

September 29–30, the village of Corrales north of Albuquerque

state’s rich agricultural history.

partners with Casa San Ysidro, an historic building turned into


features local produce, wine tastings, a pet parade and the

During Labor Day weekend, Hatch, New Mexico, about forty

selection of a pet mayor, as well as live music and hay rides.

miles north of Las Cruces, kicks off the festival season with a variety of events. The annual Hatch Chile Festival gives visitors an opportunity to get up close and personal with one of New Mexico’s most important crops, both economically and culturally. Bring home a bag of fresh-roasted green chile, buy a red chile ristra, sample an array of chile-themed concoctions, enter a chile eating contest, and watch the Chile Queen be crowned. Music by mariachi groups and folklorico dance performances will keep you entertained. When you’ve had LEX NICHOLS/ALAMY STOCK

enough heat on your taste buds, head over to the Harvest Wine Festival where you can sample local produce along with the growing list of wines from southern New Mexico. About forty miles east of Albuquerque, the Wildlife West Nature Park in Edgewood also holds its Harvest and Fiber Festival over Labor Day weekend. There’s locally grown produce, a tractor parade and hay rides, and live music. The barn on the site now houses the Pinto Bean Museum and you can eat some beans or take a bag home. The park has an

a ranch house, to host the Corrales Harvest Festival. The event

OCTOBER At El Rancho de las Golondrinas, a living history museum south of Santa Fe that recreates eighteenth century life in New Mexico, the Fall Harvest Festival on October 6–7 features a pick-your-own pumpkin patch, a cider press, and a burro-driven sorghum mill that makes syrup. Kids can make cornhusk dolls and stomp grapes among the area’s golden cottonwoods. Taos celebrates northern New Mexico’s rich fiber heritage with its annual Taos Wool Festival in Kit Carson Park, October 6–7. Load up on wool for all those winter evenings of knitting sessions and see some of the region’s outstanding wool and fiber artisans. On October 13, the city of Albuquerque’s BioPark hosts a Cider Festival at its heritage farm, followed by a Harvest Dinner featuring local food and wines from D.H. Lescombes Wines and St. Clair Winery. ­—Megan Kamerick

Left: Green chile growing near Hatch, New Mexico. Visitors to the annual Harvest Festival at El Rancho de las Golondrinas enjoy hay rides and other activities.




Level 5 cuisine showcases local, regional, and specialty ingredients from partner farmers and growers. The bar features a creative selection of specially crafted cocktails and sparkling wines from Albuquerque’s Gruet Winery, served from an eye-catching “bubble bar.”

Dining Experiences Rooted in Location Layered textures and light give Agave and Level 5 a contemporary organic feel. by Susan Moore


HE DESIGN OF A RESTAURANT can evoke as much emotion and connection with a diner as the cuisine. Level 5, the rooftop restaurant and lounge that opened at Albuquerque’s Hotel Chaco in 2017, is an integral part of the hotel’s overall culture and experience, reflecting a connection between earth and sky. “You’re transcending to this elevated location both physically and emotionally,” says Adam Gumowski, design director for Gensler, the global architecture and design firm that designed the hotel. “Once you’re in the space, you have expansive views of the Sandia Mountains, but you have a view down to the [hotel’s] garden space, as well.” For Gumowski, the striking cantilevered canopy trellis that extends over the southern patio dining area is the restaurant’s defining architectural feature. The canopy offers a feeling of protection like

the cliffsides into which structures at Chaco Canyon—the overall inspiration for the hotel—were built. But it also defines the views. “The framed views that you get where you feel like you’re still part of a human-scale space, but you have these expansive views beyond, creates this interesting foreground and background that you don’t feel very often,” he said. Guests sense the emotional effect from within the restaurant but also from afar; the canopy cues visitors that something is happening on the roof and draws them up to it. The 360-degree views of the Sandia Mountains, the city and the western mesa give this rooftop restaurant its “wow” factor. But the choice and placement of rock (inspired by horizontally striated rock at Chaco Canyon and vertical striations where cliff faces have broken away from the canyon’s rock walls), the earth-tone colHHANDR.COM



AGAVE’s inventive dishes and hand-crafted cocktails center on fresh, local ingredients. Shared plates (think dynamic salads, ceviche, and guacamole flights) are the perfect complement to the restaurant’s fun and communal atmosphere.



or palette (including green succulents for balance) and the natural materials (live-edge wood tables and woven seating) give it something more. “We never wanted anything to become boring over time,” Gumowski says. “That layering of experience, of materials and textures, gives the space much greater depth.” Those attributes also give AGAVE, the restaurant and lounge in Santa Fe’s Eldorado Hotel, an earthy, hip feel. Designer Lisa Samuel reenvisioned the Old House restaurant to match the chic, hip vibe of the adjacent AGAVE Lounge. Two standout pieces capture that feeling particularly well. The chandelier in the center of the room features a lens made of mica—a shiny layered silicate stone found in New Mexico—rather than glass. This, along with stamped tin light fixtures, helped Samuel achieve complex layers of light. Layering is also evident in the plaster art on the fireplace and bar columns. Samuel also designed the striking iron dividers she calls “desert seaweed,” which give an airy but defined sense of privacy. Another inspiration was color scheme of Navajo woven Two Grey Hills rugs—the wool used to make them is tan, brown, gray, and black. One hangs in the Eldorado, and it inspired color scheme and feel of the newly refreshed space. Eldorado’s art archive informed the use of tin and iron. “Playing with texture was something that we did to give it more visual interest and contrast,” Samuel says. The redesign also increased the restaurant’s seating capacity; the addition of community tables creates a more hip and urban feel.

So close, you can taste it.

Just steps away from Hotel Albuquerque & Hotel Chaco in Old Town

OLD TOWN ALBUQUERQUE 2031 Mountain Road NW 505.766.5100 SeasonsABQ.com

Lighting Up the Menu at Luminaria Chef’s classic training and New Mexico roots add shine to the menu. By Ellen Mather


HEF SEAN SINCLAIR has worked in notable kitch- a pretty good relationship.” ens across the United States. His skills have taken him When the executive chef position at Luminaria opened, to culinary school in Oregon, a Michelin two-star Long approached Sinclair, who was working at Sweet Basil in restaurant in Virginia, Colorado’s most popular restau- Vail, Colorado, about the opportunity. rant according to Zagat, and back again. He now serves as exec“Being closer to family is definitely important to me but beutive chef of the Luminaria Restaurant & Patio at The Inn and ing able to cook food the New Mexican way is, too,” Sinclair Spa at Loretto. says. Sinclair believes Luminaria has the potential to be the best Sinclair’s early passion for learnrestaurant in Santa Fe and ultimately, ing family recipes carried him to the best restaurant in New Mexico. culinary school at Le Cordon Bleu “I think it’s got all the right things in Portland, Oregon, where his in place: right size, right location. Befondness for locavore cooking— ing a native New Mexican, I’ve eaten which focuses on locally grown and all over Santa Fe and I think maybe produced food—took root. After a it’s time to shake things up a little bit. five-year stint working in some of Luminaria may be a good place for Portland’s top restaurants, Sinclair me to show what I’ve learned and returned to New Mexico to lead Aldemonstrate the refinement of cuibuquerque’s Farm & Table. Under his sine I can bring to the table,” he says. leadership, USA Today ranked Farm Sinclair’s vision for Luminaria & Table number one for “Adventurdraws on his classic French training ous Eating in Albuquerque.” fine-tuned as sous chef at The Inn at SINCLAIR’S PERSONAL MANTRA: Striving to perfect his craft, SinLittle Washington and his imaginaclair then moved to rural Washington, tive takes on seasonal cuisine honed “THERE ARE NO PROBLEMS, Virginia, for a position as sous chef at at Sweet Basil and Farm & Table. ONLY SOLUTIONS.” The Inn at Little Washington’s highly His personal take on New Mexican acclaimed restaurant. The intimate cuisine also influences his palate. dining spot has a long history of acco“I have my own vision of what lades—including the Michelin Guide two-star rating. New Mexican food is to me,” he says. “There are some really “The Inn at Little Washington Restaurant is the longest fantastic farmers, and the produce in New Mexico is shockingstanding five-diamond, five-star hotel and restaurant in the ly good for a food desert. Using locally sourced, indigenously world, so it was a pretty cool experience to work there,” grown ingredients is definitely going to be a cornerstone to he says. what I do at Luminaria. I want to give it a new light and bring Sinclair met Heritage CEO Jim Long during his stint at Farm in some of my classic techniques.” & Table, where Long was a regular guest. So what’s on the menu? Sinclair has a few specific dishes in “I cooked for him many times during the two-and-a-half years mind, including a modern presentation of green chile gougère I was there,” Sinclair says. “I got to know him a little bit and obvi- with corn chowder, a sweeter version of duck tamales with red ously I knew of Heritage. When I was preparing specials, I’d have chile, and some lamb dishes. But he’s committed to taking it him taste them to see what he thought and over time we formed slow, creating one new dish at a time.




Santa Fe Little Bird Gallery Featuring:

David K John & Michael Horse Inside Inn at Loretto Hotel 211 Old Santa Fe Trail Santa Fe, New Mexico 87501 505.820.7413 info@littlebirdatloretto.com


for more info visit our website

sflittlebird.com Painting by: David

K John

Albuquerque’s LARGEST Indian Showroom in the Heart of Downtown


Indian Handcrafted Dream Catcher with this ad

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Desert Oasis The Heritage guide to hanging out poolside.

Hotel Encanto de Las Cruces



Hotel Chaco in Albuquerque

Taos EL MONTE SAGRADO 317 Kit Carson Rd., 505-758-3502, ElMonteSagrado.com

Santa Fe AT INN AND SPA AT LORETTO 211 Old Santa Fe Trail, 505-988-5531, HotelLoretto.com ELDORADO HOTEL & SPA 309 W. San Francisco St., 505-988-4455


El Monte Sagrado in Taos. Inn and Spa at Loretto in Santa Fe.

HOTEL CHACO 2000 Bellamah Ave. NW, 505-246-9989, HotelChaco.com HOTEL ALBUQUERQUE AT OLD TOWN 800 Rio Grande Blvd. NW , 505.843.6300, HotelAbq.com

Las Cruces HOTEL ENCANTO DE LAS CRUCES 705 South Telshor Blvd., 575-522-4300, HotelEncanto.com



de la Tierra

CULTURALLY DISTINCT RESTAURANTS New Mexico is world renowned for exquisite culinary offerings.

at El Monte Sagrado 317 Kit Carson Rd. Taos, NM 575.758.3502 • ElMonteSagrado.com Enjoy a taste of the local, seasonal flavors that make the region unique. De la Tierra’s menu features healthier options including vegetarian, vegan and gluten-free.



LEVEL 5 @LVL5ABQ @lvl5.abq

AGAVE LOUNGE @AgaveLoungeNM @AgaveLoungeNM LUMINARIA RESTAURANT & PATIO @luminariarestaurant

ESTEVAN RESTAURANTE @estevanrestaurante 60





at Inn and Spa at Loretto 211 Old Santa Fe Trail Santa Fe, NM 505.988.5531 • HotelLoretto.com

at Hotel Chimayo de Santa Fe 125 Washington Ave. Santa Fe, NM 505.930.5363 • EstevanRestaurante.com

at Eldorado Hotel & Spa 309 W. San Francisco St. Santa Fe, NM 505.988.4455 • EldoradoHotel.com

Luminaria Restaurant and Patio is

Estevan Restaurante is New Mexican fusion with

Enter a world of celebrated culinary delight and

recognized by locals and visitors alike

a French flare, where Chef Estevan Garcia has

libations at the Agave Restaurant & Lounge.

for its tranquil, inviting setting and inventive,

created a menu using favorite traditional

globally inspired menu. We invite you to dine

Northern New Mexico dishes including Chimayó

and discover the flavors of Santa Fe.

red chile, chicos, posole, and calabacitas.

Agave is a chic, casual dining experience with bold, clean flavors and fresh, local ingredients.

All items are organic and locally purchased.




at Hotel Chaco 2000 Bellamah Ave. NW Albuquerque, NM 505.247.0708 • HotelChaco.com

at Hotel Albuquerque at Old Town 800 Rio Grande Blvd. NW Albuquerque, NM 505.843.6300 • HotelABQ.com

at Hotel Encanto de Las Cruces 705 S. Telshor Blvd. Las Cruces, NM 575.522.4300 • HotelEncanto.com

Enjoy beautifully layered flavors and

Enjoy authentic regional New Mexican

Savor the distinctive flavors of Southwestern

outstanding panoramic mountain views

and Mexican cuisine in the inviting

cuisine during your Las Cruces visit. Delight in

at Level 5, the rooftop restaurant and lounge

hacienda-style interior or the lush outdoor garden

traditional New Mexican and Mexican favorites

at Hotel Chaco. Savor craft cocktails

patio. Garduño's offers an extensive selection of

and modern twists on the classics at our own

and an unforgettable culinary journey.

tequila, wine, liqueurs, and world-class margaritas.

Garduño's of Mexico Restaurant & Cantina. . HHANDR.COM


Hotel Chaco


2000 Bellamah Ave. NW Albuquerque, NM 505.247.0708 • HotelChaco.com This new hotel is a contrast of ancient

Each of our hotels and resorts in New Mexico celebrates the rich, multicultural heritage of the Southwest, drawing from its unique blend of Native American, Mexican, Spanish, and Western cultural and historical influences. Through architecture, interior design, original artwork, landscaping, entertainment, and cuisine, Heritage Hotels & Resorts provides guests with an authentic cultural experience in Santa Fe, Albuquerque, Taos, and Las Cruces.

and modern elements. Hotel Chaco is the first New Mexico property designed by legendary global design firm Gensler, which drew inspiration from the Ancestral Puebloan people and the ruins of Chaco Canyon.

CONNECT WITH US @HeritageHotelsandResorts @HeritageHtls HeritageHtlsandRsts @heritagehtls @heritagehtls newmexicotravelblog.com

Heritage Hotels & Resorts, Inc. 201 Third St. NW, Suite 1140 Albuquerque, NM 87102 HHandR.com Email: contactus@hhandr.com




El Monte Sagrado

Eldorado Hotel & Spa

Inn and Spa at Loretto

317 Kit Carson Rd. Taos, NM 575.758.3502 • ElMonteSagrado.com

309 W. San Francisco St. Santa Fe, NM 505.988.4455 • EldoradoHotel.com

211 Old Santa Fe Trail, Santa Fe, NM 505.988.5531 • HotelLoretto.com

Condé Nast Traveler’s 2017 readers’ choice

Condé Nast Traveler’s 2017 readers’ choice

Immerse yourself in a world of serenity and

winner for Southwest and West, Eldorado Hotel &

winner for Southwest and West, this iconic hotel

wellness at El Monte Sagrado, the premier luxury

Spa is conveniently located near the historic Plaza.

is just steps away from the historic Santa Fe Plaza.

resort in Taos. The hotel features the award-

Guests experience luxury amenities including an

The architecture is modeled after Taos Pueblo

winning Living Spa, De la Tierra restaurant,

on-site restaurant and bars, rooftop pool, world-

and the property features an award-winning spa,

Anaconda Bar, and exquisite indoor and

class Nidah Spa, and more than 22,000 square

outdoor pool and Santa Fe’s only penthouse suite.

outdoor event and meeting space.

feet of indoor and outdoor event space.

The hotel has 12,000 square feet of meeting and event space.

Hotel St. Francis 210 Don Gaspar Ave. Santa Fe, NM 505.983.5700 • HotelStFrancis.com

Hotel Chimayó de Santa Fe

Hotel Albuquerque at Old Town

125 Washington Ave. Santa Fe, NM 505.988.4900 • HotelChimayo.com

800 Rio Grande Blvd. NW, Albuquerque, NM 505.843.6300 • HotelABQ.com

Hotel St. Francis is on the National Register of

A boutique hotel in the heart of downtown,

Offering historic grandeur and comfort,

Historic Places and sits just one block from the

Hotel Chimayo is conveniently located steps

Hotel Albuquerque at Old Town exemplifies

Santa Fe Plaza. This historic hotel embodies

away from the historic Santa Fe Plaza and

Albuquerque style and features an on-site

Santa Fe and is named for the city’s patron saint.

celebrates the culture of Chimayó, a distinctive

restaurant and bars, outdoor swimming pool,

The décor features authentic wood furniture

Northern New Mexico community. The hotel

romantic wedding chapel, and more than

hand-crafted by local artisans. It also features

features the Low ‘n Slow Lowrider Bar

62,000 square feet of indoor and outdoor

Secreto Lounge and a Gruet tasting room.

and Estevan Restaurant.

meeting and event space. HHANDR.COM


Hotel Encanto de Las Cruces 705 S. Telshor Blvd. Las Cruces, NM 575.522.4300 • HotelEncanto.com A unique hotel that reflects New Mexico’s Spanish and Colonial traditions, Hotel Encanto has a beautiful resort pool lined with palm trees and 35,000 square feet of meeting and event space. Hotel Encanto features Garduños Mexican


Restaurant & Cantina and Azul Ultralounge.

Palacio de Marquesa 405 Cordoba Rd. Taos, NM 575.758.4777 • MarquesaTaos.com Palacio de Marquesa is conveniently located near the historic Taos Plaza.The design pays tribute to the remarkable women artists of Taos. This inn offers custom made-to-order daily breakfast.



Nativo Lodge

Lodge at Santa Fe

6000 Pan American Fwy. NE Albuquerque, NM 505.798.4300 • NativoLodge.com

750 N. St. Francis Dr. Santa Fe, NM 505.992.5800 • LodgeAtSantaFe.com

Nativo Lodge is inspired by the vibrancy

On a hilltop overlooking downtown, the Lodge at

of Native American culture and traditions.

Santa Fe is just five minutes from the Santa Fe

The hotel features artist rooms designed

Plaza and minutes from Ski Santa Fe and the

by contemporary Native American artists.

Santa Fe Opera. Experience rooms furnished in

It was named “Artiest Hotel in America”

custom Southwest décor, with an outdoor pool

by World Property Journal.

on site and beautiful mountain views.

Heritage Inspirations Immersive Cultural & Active Guided Tours

Adventure Photography by Paulina Gwaltney www.paulinagwaltney.com

Chaco Canyon Tours | Taos Day Tours | Santa Fe Day Tours Custom & Private Tours from Santa Fe to Taos Overnight Glamping Tours

WHAT IS GLAMPING? Glamping is where our stunning nature setting meets modern luxury. It’s a way to experience the untamed and completely unique parts of the world like here in Chaco Canyon—without having to sacrifice creature comforts.

575.779.5516 | HeritageInspirations.com

At Hotel Chaco, you’ll cross paths with the soul of an ancient civilization while unwinding in modern luxury and discover so much more than a mere change of scenery. A Her itage Hotel s & Res o rts p ro p erty

2 0 0 0 B e l l a m a h Ave N W phone 505 2 4 6 998 9

Alb uque rque WE B hotelc hac o.c o m


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