This is Part 2 of the August/ September 2011 Santa Fean Magazine
This page: rafting down the Rio Grande, just outside of Pilar; opposite page: not rafting down the Rio Grande, but lazing about in its still waters of the Lower Gorge.
| ADVENTURE |
on the water
co oling of f in t he hig h-de se r t s umme r
by Ste ve n Horak
SANTA FE and the surrounding area has much in abundance: art galleries, green chile cheeseburgers, ristras, and striking mountain vistas, to name just a few examples. What it doesn’t have in excess, however, is water—―specifically, the bodies of water one dreams about on sun-scorched summer days. The region is landlocked in the middle of the high desert, of course, which presents certain unvarnished truths: Santa Fe’s namesake river is often reduced to a dry creek bed, the Pacific Ocean is more than 800 miles away, and the nearest natural lake of any considerable size―—and a saline one at that―—lies in another state. All of this can prove challenging to area residents craving to get in and on the water, but it needn’t be so. The region holds a number of great options for water-based summer fun, from canoeing on a lake to world-class whitewater rafting, and, yes, lazing on a sandy beach to the sound of lapping waves. Rio Chama flow, corralled by Abiquiú Dam, forms the region’s largest and most impressive body of water, Abiquiú Lake, about 60 miles northwest of Santa Fe. First glimpses of the lake, after an approach punctuated by sandstone mesas and customary aridity, can be somewhat jarring. The waters seem entirely too emerald and stretch too far—―the lake covers more than 4,000 surface acres—―to actually be before you. The imposing backdrop of Cerro Pedernal, made famous in paintings by Georgia O’Keeffe, adds to the scene’s grandeur and also lends it corporeality: there is no need to pinch yourself. Managed by the U.S. Army Corps of Engineers, Abiquiú Lake is a prime spot to canoe or kayak, if not for its translucent waters then for the numerous tucked-away inlets that invite exploration. Though the lake is popular with jet skiers and motorboat owners, it’s an altogether more intimate experience to paddle through the water, gliding between shore visits and picnics in the quiet sage- and juniperlined recesses. With easy entry from the reservation area’s main boat ramp and no fees to put in a canoe or kayak, there’s nothing to get in the way of gaining a
unique, waterborne perspective of the heart of O’Keeffe Country. About 45 minutes west of Santa Fe, Cochiti Lake also falls under the auspices of the U.S. Army Corps of Engineers, who erected a dam here to maintain flood control for the surrounding area. Smaller and less geographically nuanced than Abiquiú Lake, it nonetheless has a few things in its favor, not the least of which is that it’s the largest beach in north-central New Mexico. It’s a relative claim, yet the wide sandy shore off the access road is ample enough for plenty of beachgoers to spread out their towels, which they do in droves on summer weekends. Aside from sheltered picnic tables, shade is in short supply, which makes the cool waters that much more enticing for the occasional swim. A no-wake policy enforced on the lake effectively deters most motorboat enthusiasts, and serves, in part, to foster an ideal setting for activities like windsurfing. The real draw for windsurfers, however, is the steady breeze that buffets the water’s surface and creates conditions fertile for beginners and experts alike. Even if you’d rather not try your hand at it, the spectacle of the colorful sails darting across the waters is enough to forestall a deep slumber on the beach. If you’re looking for the water to do most of the work for you, the Rio Grande, which bisects New Mexico north to south
en route to the Gulf of Mexico, offers some of the best rafting in the country, and all of it is within easy reach of Santa Fe. Though diminished snowmelt shortened peak times for some of the spring runs this year—―including the legendary 17-mile-long Taos Box―—it has much less of an impact throughout the summer months, when the water levels are more constant and there are plenty of outings to consider. One of the more popular trips is the Racecourse, an adrenaline-packed, half-day adventure near the small town of Pilar. A succession of Class III rapids with names like The Maze and The Narrows, it will test your mettle and your ability to follow the instructions shouted by your guide over the roar of the river. If you prefer to keep your rafting thrills to a minimum, there are more laid-back options too, particularly in the Lower Gorge, where your biggest concern is the timely reapplication of sunscreen as you float along a serene stretch of river. Water fun aside, a jaunt along the Rio Grande also offers an excellent opportunity to see wildlife, such as bighorn sheep, muskrats, and various bird species, including rare golden eagles. These trips and other Rio Grande outings are led by one of the Southwest’s finest river outfitters, Kokopelli Rafting Adventures (505-983-3734 or santafeadventure.com), based in Santa Fe.
| S A N TA F E A N S A L U T E S |
match.net former fashion mogul Eleanor Brenner raises the net high for Santa Fe kids photo by Ann Murdy
Who: Eleanor Brenner. Past life: A hard-driving born-and-bred New Yorker, Brenner, 75, traveled the world while running her own women’s clothing business. Her aha moment: On the final day of one of her first visits to Santa Fe with her husband Richard, a former Bloomingdale’s executive, “I looked up at the mountains, and they went from color A to color G,” recalls Brenner. “I had an epiphany: I’m going to end my life here.” Paying it forward: “I was brought up that we were blessed to live in America and that it’s our responsibility to give back,” says Brenner. After bearing witness to too much apathy while volunteering at various area public schools, “I made up my mind to start a program. Tennis became the hook.” First facts: Entering its ninth year and part of a national nonprofit, First Serve receives no city or state funding (its budget comes from fundraising events), and it involves two days a week of tutoring and two days of tennis with eight kids per tutor and instructor. “You’re not going to change a kid’s mindset just with tutoring,” insists Brenner. “I wanted a rounded kid.” On the line: Brenner goes to each of the program’s seven schools (from elementary to high school) every weekday. “I am the grandmother,” she says. “This is not my ego. This is my calling.” Game, set, matched: “The goal is the success of every kid—to get them into college on a scholarship, if they can,” says Brenner. “It’s putting a desire and a conviction into these kids that they want to be at the top of the ladder.”—Devon Jackson 100
Always Beautiful. Always One-of-a-Kind. Always Authentic. A
Necklace handmade by Shawn Bluejacket (Loyal Shawnee)
Heard Museum Phoenix 602.252.8344 • Heard Museum North Scottsdale, at the Summit 480.488.9817 • heardmuseumshop.com august/september 2011
CLASSIFICATION IS IN SESSION WHERE IT ALL GOES AND WHY AT INDIAN MARKET By
John Torres nez
WHEN INDIAN MARKET DEBUTED in 1922 (as Indian Fair), classifying what went in it was not the focus. Back then, the aim of its organizers—the Museum of New Mexico and its two biggest proponents of Native arts, Edgar Lee Hewett and Kenneth Chapman—was to save Indian arts and crafts. Their goal was preservation—preservation of the art of the Pueblo peoples’ crafts, preservation of their way of life, preservation of them and their culture. Not that they were oblivious to the benefits of categorizing the various objects on display, but when you’re trying to save your most precious possessions from a burning building, taking the time to separate the pottery from the moccasins from the drums, well, time was of the essence in 1922. First you host (the Fair), then you hope the artists come, and if all goes well, if all goes well enough to do it again the following year, then you’ve got something to build on, then you can really begin distinguishing this type of pot from that type of pot. And if you’re really successful, if the Fair’s still going strong 90 years later, then you’ll have the luxury of classifying to your heart’s content. The challenge to that, though, is twofold: not to overclassify, for one, and yet at the same time, to not become so set in one’s classification ways, so beholden to the system, so rigid that your Market hardens to what’s new and different and excit-
ANN MURDY, SWAIA PHOTO ARCHIVES
Because it is the artists who lead, SWAIA is always trying to catch up, although the lag time is getting shorter.
Ryan Singer, Cutting the Tension, acrylic on canvas, 24 x 30"—Classification III
ing. So it’s a balancing act. An act that the Fair’s first organizers recognized early on. The Fair’s first classifications were simple: pottery, moccasins, and clothing. Arranged not unlike the typical state fair, they were created as a way to judge and award prizes to the best in pottery, drums, and weaving. Chapman selected the best representative crafts from each of the Pueblo villages. Those artists’ work would then be placed on view at the Santa Fe Armory, where the first Indian Market took place. This was the birth of the Santa Fe Indian Market classification system. As proof of how far Indian Market and its artists have evolved, only one of those original classifications still exists (Pottery: Classification II), the other two having been absorbed into other divisions and categories. However, not only were those early classifications limited to a few art forms, but as part of the save-the-Indian mentality, they were also Pueblo specific. For example, instead of the best micaceous pottery, it was best Taos pottery. Today, many New Mexicans pride themselves on their ability to identify a Santa Clara pot or an Acoma pot, but these distinct differences resulted from a deliberate effort on the part of the Indian Market judges to make those distinctions. So when people think of San Ildefonso Pueblo nowadays, they think black-on-black pottery. In the pre–Indian Market years, however, it was all polychrome, like its neighbors. The same is true for the carved black pottery from Santa Clara, rain gods from Tesuque, turkey patterns at Zia. The Market helped steer the art forms because it was that important an outlet for bringing Indian art to the world. To some extent this still happens today. For instance, this year a record number of Hopi kachina carvers applied for Indian Market— a response to Stetson Honyemptewa winning best of show in 2010. It’s a phenomenon that happens frequently, as after Dallin Maybee 106
(beadworker) won in 2007, and after Sarah Paul Begay (weaver) won in 2006. They were all followed by record numbers of beadwork entries and textile entries, respectively, in the following years. While an observable pattern, it is still small compared to the long-term trend. Indian Market is no longer about preservation and hasn’t been for a while now. That’s because Indian art, due in no small part to the effects Indian Market has had on Native arts everywhere, is now a legitimate and important part of the larger art scene. While many artisans continue the important centuries-old traditions, many others are pushing the envelope of what is Indian art. However, this is not a new trend. It’s been happening since the first Market, and it’s because of the inability to “contain” the artists that SWAIA has not only had to increase the number of classifications, but also expand its notions of what the future of classifications may be. Many traders and dealers have been an important part of Indian Market, especially after the Museum of New Mexico stopped hosting Indian Market, and it’s through their influence that many of the newer classifications have come about. The established trading-post system on the Navajo Nation and the influence of the Gallup Ceremonial (which was the most influential Indian art show until the 1970s) helped bring Southwest jewelry (Classification I), Hopi kachinas (Classification IV), and Navajo textiles (Classification VI) to Indian Market. Similarly, the Indian School system brought other non-Pueblo tribes to the area, and the influence of the Dorothy Dunn school brought studio painting to Market (Classification III). While there are some obvious outside influences one can point to—the establishment and growth of the Institute for American Indian Arts (IAIA)—it’s primarily the artists who’ve continued to raise the bar. Like when Bob Haozous entered a sculpture for the first time. The judges didn’t know where to put it. First, it was with the kachinas, then with the Cochiti monos figures. Other than Zuni fetishes, sculpture was a new thing to Indian arts then. Now it’s known as Classification V—and Haozous is the one who brought about that change. Over the past 90 years there has been the appearance of a schism between Indian Market’s roots (and the “preservation” of Indian arts) and the new contemporary Native artists. It’s an “appearance” because there has always been a continuum from the past to the present. Even black-on-white Pueblo pottery was something new and innovative to the Chacoans of ad 600. (Just like when Maria and Julian Martinez introduced black-on-black to Indian Market in 1926.) There are no contemporary Native artists who don’t fully acknowledge the shoulders upon which they sit. Whether you call it fine craft or fine art, it’s all Indian art.
SWAIA PHOTO ARCHIVES
Because it is the artists who lead, SWAIA is always trying to catch up, although the lag time is getting shorter. Like in 2003: it was becoming obvious that beadwork was overtaking everything else in its Diverse Arts Class (Classification VII is where all the cultural items from the beginning have been moved, including drums, moccasins, regalia, etc.). So, in three “short” years Classification VIII-Beadwork and Quillwork was created. More recently, in 2010, two different events helped bring us to the current 11 classes. One was the recognition of the importance of storytelling to Native cultures. Storytelling as an art form has come to express itself most popularly as a moving art—through motion pictures. Hence, filmmaking became the 10th classification (Classification X). Brought about by the increasing popularity of filmmaking, the affordability of equipment, great film students coming out of IAIA, and the New Mexico film incentives program, Native cinema exploded. Therefore, a new category made sense. At the same time, a group of basket weavers petitioned SWAIA. As a very traditional art form that has seen a recent resurgence, it, too, just made sense. So, Classification XI was born. So, what’s next? What will be Classification XII? That’s hard to say. But there are requests for everything from the performing arts to pre-Columbian arts to an Art without a Class. Art for art’s sake without awareness of sales or categories. Maybe there can be a classification just for innovation? What if there were a class any artist could enter any art form he or she wants? While someday, there may be an art show without classifications like the rest of the art world, and maybe this is a way to get there? Maybe. Who knows. What’s certain is that with or without classifications, people will always be making things. Some of it will be known as art, some known as something else. Whatever it’s called, if it’s something SWAIA responds to, it’ll most likely find a place at Indian Market.
So how did the current list of entry classifications come to be and what is its future? Classification X, for example? What is that? Is it related to Generation X? To a hip underground scene? Actually, while SWAIA’s new film class may be that, in reality it stands for Classification 10 (in Roman numerals). And yes, Classifications I, II, III, IV, V, VI, VII, VIII, IX, and XI also exist. Since the beginning, a big part of Indian Market has been entering artwork for judging (for ribbons and prize money). These classifications represent the types of artwork categories that an artist can enter. (Classification IV is two-dimensional work, Classification VII is Diverse Art forms, etc.) Additionally, within each classification there are divisions, and within each division there are categories. Therefore, if an artist wants to enter a digital landscape photograph, it would be in Classification III (2-D), Division E (Photography), Category 1404 (Digital). It can get a little overwhelming at times, but it’s more straightforward than it seems.
| Q + A |
designer cinema costumer Pilar Agoyo cuts a path for herself in the world of film i nte r vi e w by G abe G ome z
IT SHOULDN’T SURPRISE anyone that some of our most talented individuals in Santa Fe, secretly or otherwise, are deeply involved in the film industry. After all, filmmaking is a collaborative endeavor, and it seems that everyone is in on it. Whether you’re the type to scour scenes or the ending credits for familiar names, it will do little to explain the profundity of local talent contributing to these film projects. One such name—familiar to some—is Pilar Agoyo. A cursory click of her name on the Internet Movie Database (IMDb) brings up Terminator Salvation, Gamer, and 3:10 to Yuma—all of which credit her simply as “seamstress.” On other films, Indiana Jones and the Kingdom of the Crystal Skull, she’s listed as “costumer.” If you’re anything like me, the words seamstress or costumer don’t exactly evoke images of semiautomatic camera flashes at a red-carpet premier, much less an explanation of what that means in the scheme of a film production. Regardless of reductive film credits, Agoyo (Ohkay Owingeh) has quickly established a name for herself as a fashion designer. Her work embodies Native imagery with a re-contextualized edge. The result is a clean but clearly shaped aesthetic that invites yet confronts the romanticism and preconceptions of what Native art is supposed to be. To the Native-art initiated, Agoyo’s designs are synonymous with worldly influences, richly tethered to her Pueblo roots. As her work in film continues to evolve and influence her work, there is no limit to her capacity as one of the leading voices among Native fashion designers.
How long have you been involved in the film industry? I’ve been involved in film for years, but I’ve devoted more time to it recently with the upsurge in film projects. How did you become involved in film? I’ve always been interested in fashion and movies. I’d make dresses for my dolls or alter my clothes when I was little. I first came to film as an actress but switched to my role behind the camera. It was a way to combine my love for fashion and film. They are both so glamorous. What are some of the films you have worked on? Passion Play, Swing Vote, Wild Hogs, The Astronaut Farmer, Seraphim Falls, Into the West. As a designer, has working in film influenced your designs? Everything is on deadline when you’re on set, and it’s guaranteed that you will have 16- to 18-hour days. It advanced my technical knowledge greatly. I’m much more efficient with plotting out and producing my designs, so my production has increased too. Has film changed your artistic outlook in any way? It changed my aesthetic and made my design much simpler. Do you feel you can tell stories through your design and costumes? Of course. Each piece has a story, and it changes with whomever is wearing the piece. From your point of view, how have Native people benefited from the film industry in New Mexico? Jobs, for one thing, but also access to the art form. Native filmmakers are beginning to make their mark, and it can only get better. Most people may not realize that there are a lot, if not more, Native people behind the camera than actors. Is this a good time for Native people to get involved in film? I would say that this is a crucial time for Native film and for Native people wanting to get into the film industry. The doors are open, and we need to make sure that whoever wants to be a part of it does.
There tends to be a lot of hype built around filmmaking. Do you ever get caught up in it? I’ll never stop loving film.
Your son is also involved in film. What has been his experience? Totally positive. He’s been meeting all kinds of people and having experiences I could only dream of when I was his age.
on the plaza in santa fe NEW MEXICO MUSEUM OF ART EARTH NOW: AMERICAN PHOTOGRAPHERS AND THE ENVIRONMENT 505.476.5072
NEW MEXICO HISTORY MUSEUM/ PALACE OF THE GOVERNORS HOMELANDS: HOW WOMEN MADE THE WEST 505.476.5100
on museum hill in santa fe MUSEUM OF INDIAN ARTS & CULTURE A RIVER APART 505.476.1250
MUSEUM OF INTERNATIONAL FOLK ART MULTIPLE VISIONS: A COMMON BOND
Gala Auction at your bidding
SINCE 2001, INDIAN MARKET’S GALA AUCTION has been a showcase for collaboration. Artists in similar—and dissimilar—media would team up for the good of SWAIA as a way of giving back to the organization that puts on the Market each summer. (The money raised at each Market’s Gala Auction covers roughly one-sixth of the nonprofit’s $1.3 million annual operating budget.) In that first collaborative year, for instance, Dan Namingha painted the exterior of a 1976 Triumph TR6 sports car, while various other artists (Marcus Amerman, Teri Greeves, Jamie Okuma among them) spiced up the vehicle’s interior. In 2009, Ryan Singer, Marla Allison, and Mateo Romero created a unique triptych (comprising five-by-five-inch squares with interchangeable pieces). Among the many donated pieces at this year’s auction (over 75 silent and live auction pieces from over 50 artists), jewelers Robin Waynee and Keri Ataumbi teamed up for a stunning necklace. In addition to that collaborative work, there were 16 bolo ties created exclusively for the silent auction, designed and crafted by artists such as Maria Samora, Sheridan MacKnight, Alfred Joe, and Cippy CrazyHorse. As CrazyHorse himself puts it, “It’s important for the efforts of SWAIA. We all benefit from the outcome in the end, and it shows community.”
SWAIA Live Auction Gala—dinner and auctions August 20 5–9 pm, La Fonda on the Plaza Tickets: swaia.org or 505-983-5220
This page: 1–Marla Allison; 2–Larry DesJarlais Jr.; 3–Martine Lovato; 4–Mark Stevens; 5–Sean Rising Sun Flanagan; 6–Jason Quigno; 7–Paul and Dorothy Gutierrez; 8–Maria Samora; 9–Benson Manygoats; 10–Babe and Carla Hemlock; 11–Kevin Pourier; 12– Aaron Brokeshoulder; 13–Vincent Kaydahzinne; 14–Sheridan MacKnight; 15–Cippy CrazyHorse; 16–Aloysius Chandler Good Strike
11 15 6 1 8
5 3 Opposite page: 1–Kathleen Wall; 2–Dominique Toya; 3–Allen Aragon; 4–Troy Sice; 5–Upton Ethelbah; 6–Shawn Bluejacket; 7–Nocona Burgess; 8–Jake Livingston; 9–Keri Ataumbi/Robin Waynee; 10–America Meredith/Melissa Melero; 11–Dolores Garza; 12–Jeremy and Eileen Rosetta
10 13 august/september 2011
Inspired by the coppery sand and desert flora of the Southwest.
Items featured : Copper Canyon Ice B ucket w / Tongs, Wine Chiller, Wine Coaster and Divided Ser ver
104 West San Francisco Street • 505.988.3574 • Mon.-Wed. 9am-5pm, Thurs.-Sat. 9am-7pm, Sun. 11am-5pm 924 Paseo de Peralta (free parking) • 505.988.5528 • Mon.-Wed. 9am-5pm, Thurs.-Sat. 9a -6pm, Sun 11am-4pm 90 Cities of Gold • 505.455.2731 • Mon.-Wed. 10am-6pm, Thurs.-Sat. 10am-7pm, Sun. 11am-4pm In New Mexico over 60 ye ars. N ambé is locally owned and oper ated with f ive ret ail stores, administr ative of f ices and global distribution, all within the st ate of New Mexico.
concorso_santafean half 02 6/24/11 10:25 AM Page 1
The Santa Fe Concorso
is a premier gathering of rare and exotic cars, which will be held at the exclusive La Mesita ranch in the scenic Nambé Valley. The Concorso will celebrate race cars, MercedesBenz: 125 Years of the Automobile, vintage motorcycles, and “The Need for Speed.”
September 23, 24, 25, 2011
V I P R E C E P T I O N • M O U N TA I N T O U R • J U D G E D C O N C O R S O
www.santafeconcorso.com Tickets available through The Lensic: 505-988-1234 or at www.ticketssantafe.org
March 3 & 4, 2012 ◆
Honoring Signature artiSt: Dan namingha
tiCKetS: advance tickets on sale
January 1, 2012.
For more information call 602.251.0209 x6414 or visit us online at heard.org. TRANQUILITY, Acrylic on canvas, 48"x 84" Dan Namingha (c) 2011 114 santafean.com 1 august/september 2011 11_HeardSantaFeFair.indd
6/9/11 9:53:46 AM
MAPPING THE MARKET by
THERE’S NOTHING LIKE INDIAN MARKET. And then of course there are and have been many things like Indian Market. In actuality, though, there’s nothing similar to it in terms of its influence, in the way it evolved, in the way its presence led to the creation of other groups, other events—either as phenomena inspired by Indian Market (the Eiteljorg Museum Indian Market, the Heard Museum Indian Fair) or as phenomena formed in response to Indian Market (the Institute of American Indian Arts). One way of gauging Indian Market’s impact is by imagining the landscape without it having ever existed. Surely something would have emerged in its stead. But would it have had the family flavor and the generational and geographical relationships that make Indian Market unique? Would its participants have had the same level of autonomy and exposure and been able to assert themselves in it organizationally as much as they have artistically and culturally? Indian Market, then, set the template for many other events, but not merely structurally. “We set the pace,” says Bruce Bernstein, the executive director of the Southwestern Association for Indian Arts, Indian Market’s organizer. “We’re still the industry standard.” Nevertheless, it’s worth a shot at trying to measure, if only visually, Indian Market’s causes and effects. So, herein, a kind of genealogical map, a bit of graph theory (known among mathematicians and computer scientists but increasing in popularity among social scientists and others of the softer sciences as well), showing where Indian Market came from and what it has helped create.
Nampeyo Gallup Inter-Tribal Indian Ceremonial
Maria + Julian Martinez Edgar Lee Hewett Kenneth Chapman Museum of NM
Lab of Anthropology
Indian Arts + Crafts Board Indian Arts Fund Collection Fred Kabotie
8 Northern Indian Pueblos Council Arts + Crafts Show American Indian Arts + Crafts Act YOUR RIGHTS AS A CONSUMER If you think a business or individual is selling a non-authentic art or craft item as an American Indian product, the action may be a violation of both the federal and State laws regulating the industry. For more information or to file a complaint(s) contact: Oscar Howe, Yanktonai Sioux, Sioux Council, 1950
STATE According to South Dakota statutes (SDCL ch. 37-7), individuals and businesses are prohibited from distributing, selling, or offering for sale any article similar to American Indian art or craft which was not manufactured by an American Indian. The only exception is if the individual or business places a clear and legible label on the article and posts a sign immediately above the items for sale that explicitly states the products are not genuine American Indian art or craft. Furthermore, it is illegal for any person to distribute, sell, or offer for sale any article of American Indian art or craft which is mislabeled or misbranded as to the place of manufacture. For example, it would be a violation of South Dakota State law if the label or brand was not clearly and legibly marked on the product, and if there was any false or misleading statement, design, or graphic representation on the product regarding the place of manufacture.
Mitchell Zephier, Lower Brule Sioux, Buckle, 1984
Indian Arts and Crafts Board U.S. Department of the Interior 1849 C Street, NW, MS 2528-MIB Washington, DC 20240 1-888-Art-Fake or 1-888-278-3253 www.iacb.doi.gov
Indian Arts and Crafts Act U.S. Department of the Interior
Take Home a Treasure from Indian Country: Buy Authentic South Dakota Indian Art
South Dakota Office of the Attorney General 1302 East Highway 14 Suite 1 Pierre, South Dakota 57501 1-605-773-3215 www.state.sd.us/attorney SHOP WISELY…. TIPS FOR BUYING • When purchasing from a dealer, choose one with a good reputation • Request a written guarantee or written verification of authenticity • Get a receipt that includes all the vital information about your purchase, including price, maker, and maker’s Tribal affiliation • Familiarize yourself with the different materials and types of American Indian arts and crafts, as well as the indicators of a well-made, handcrafted piece • Realize that authentic handmade pieces may be expensive … if a price seems too good to be true, be sure to ask more questions about the item and its maker.
Publication of the Indian Arts and Crafts Board/ U.S. Department of the Interior
Charles Chief Eagle, Oglala Sioux, Traditional Dancer, Doll, 1991
SWAIA, UNITED STATES DEPARTMENT OF THE INTERIOR: BUREAU OF INDIAN AFFAIRS, PD-USGOV, CHRIS CORRIE/SWAIA, SAFFRON BLAZE, US PUBLIC DOMAIN, UNIVERSITY OF SOUTH DAKOTA, GILCREASE MUSEUM, UNIVERSITY OF NEW MEXICO PRESS, DARYL CUSTER/CEREMONIAL.COM,
Kiowa Six San Ildefonso Easel Painters Silver Horn
Angel De Cora + Carlisle Indian School
Bacone College Santa Fe Indian School/ Dorothy Dunn Acee Blue Eagle John + Elizabeth DeHuff
Allan Houser Philbrook Museum of Art
Gathering of Nations
Heard Museum Indian Fair & Market Native Treasures Eiteljorg Museum Indian Market & Festival
All Connected Indian Market: First held in 1922, when it debuted as the Southwest Indian Fair & Industrial Arts & Crafts Exhibition, this annual event was developed as the ethnological arm of the Santa Fe Fiesta. In 2010, Market brought in an estimated $140 million to the local economy. SWAIA (Southwestern Association for Indian Arts): The official developer, sponsor, and promoter of Indian Market. In 1932, the New Mexico Association on Indian Affairs took over Indian Market; in 1959, the group changed its name (and broadened its mission) to the Southwest Association on Indian Affairs (charging itself with the added objective of the cultural heritage preservation of Pueblo and Native arts and culture). In 1993, the organization again changed its name—to SWAIA, in order to more accurately reflect its work.
Nampeyo (1860–1942): The country’s first commercial Native (Hopi) potter whose work others sought out specifically, Nampeyo led the revival of Sikyáktistyle pottery and devised a way for Native people to create marketable pottery for non-Natives that spoke deeply of the values of the culture. Silver Horn (1860–1940): Kiowa ledger artist and painter, showed at the 1904 Louisiana Purchase Exhibition. He bridged the pre-reservation and first generations of the Kiowa people. He took the idea of making art for non-Kiowans and elevated it to cultural preservation and presentation for the Kiowa. Maria (1887–1980) + Julian Martinez (1879–1943): San Ildefonso Pueblo wife and husband artists who revived their tribe’s unique matteon-glossy blackware pottery style. Without Market, the Martinezes might not have happened; but without the Martinezes, Market never would’ve happened either. Kenneth Chapman (1875–1968): Founder of the Laboratory of Anthropology and grandfather of Market (having worked it since its debut), Chapman served as a Museum of New Mexico founding staff member and was instrumental in steering Pueblo potters away from making tourist-trinket pots and into pottery as an art form.
Blue Corn, 1974 118
Edgar Lee Hewett (1865–1946): Archaeologist and anthropologist who founded the Museum of New Mexico, and hired the Martinezes to reproduce pottery of the Pajarito Plateau, but the pair serendipitously created their watershed “black-on-black”-style pots. Interested in saving Indians and in developing Market as a touristic event. Indian Arts Fund Collection: Established as the Pueblo Pottery Fund in 1922, by the same group who formed the first Indian market, it’s today known as the Indian Arts Fund and is currently housed at the School for Advanded Research. Museum of New Mexico: Established by Hewett in 1909, three years before New Mexico achieved statehood, in order to preserve and protect the state’s resources, such as the Palace of the Governors buildings. As part of Hewett’s and the Museum’s educational programs, founded the Santa Fe Fiesta as a community celebrity. Lab of Anthropology: Founded in 1927 as a home for the Indian Arts Fund Collection and as a model for future generations of Indian artists., the Lab was essentially created in opposition to the Museum. MNM and the Lab merged in 1947. San Ildefonso Easel Painters: In the early 20th century, Crescencio Martinez, Alfredo Montoya, Julian Martinez, Tonita Royal, and Alfonso Roybal all worked with Hewett, Chapman, and MNM and established a unique style and showed how aret could serve simultaneously as cultural maintenance and economic boom. A model for the Kiowa Six. Kiowa Six: In 1932, these six artists from Oklahoma (the uncle of painter Stephen Mopope was Silver Horn, and orphan potter Jack Hokeah was adopted by Maria Martinez) participated in the Venice Biennale, a fact not lost on Dorothy Dunn, who deemed the Six’s exhibit the most popular “among all the rich and varied displays assembled.” Bacone College: In 1932, Chickasaw professor Mary Stone McClendan “Ataloa” founded the school’s Native American Arts center on its campus in Muscogee, Oklahoma (the onetime “Indian Capital of the World”), and developed a distinctively Native Flatstyle movement. Richard “Dick” West, father of W. Richard West, Jr. (founding director of NMAI), attended and taught at Bacone, as did longtime Market artist Ruthe Blalock Jones.
SWAIA, JOHN BARRY, PALACE OF THE GOVERNORS PHOTO ARCHIVES
Angel De Cora (1871–1919) + Carlisle Indian School: Ho-Chunk artist who served as director of the Native art program at Pennsylvania’s Carlisle Indian School. Despite Carlisle’s assimilationist policy, it allowed for De Cora’s teaching her students about their own art and culture.
Santa Fe Indian School/Dorothy Dunn (1903–1992): Founded in 1890 as a boarding school for Native children from the state’s Indian Pueblos. In 1932, Dunn, who, like De Cora, believed that her Native students had an innate artistic ability, established The Studio. Among her students (some who espoused her approach, some who resisted it): Allan Houser, Pop Chalee, Oscar Howe, and Geronima Cruz Montoya. Montoya, who later replaced Dunn as head of The Studio, said her style “did a lot for us”; while Houser claimed her style “lacked originality and creativity.” John and Elizabeth DeHuff: While John oversaw the Santa Fe Indian School as superintendent, his wife Elizabeth took under her wing a group of students (Fred Katotie, Velino Shije Herrera, Otis Polelonema, and others) who all participated in the first Market and went on to illustrious careers. Oscar Howe (1915–1983): Yanktonai Sioux painter who attended Dunn’s SFIS Studio. Forced Tulsa, Oklahoma’s Philbrook Museum to change its painting competition guidelines when, after having his 1958 entry rejected as not traditionally Indian enough, he wrote, “Are we to be herded like a bunch of sheep with no right for individualism . . . dictated to as the Indian has always been . . . ?” Acee Blue Eagle (1909–1959): Creek-Pawnee artist and educator, Blue Eagle studied at Bacone, then later—inspired in part by Market’s success and the ability of San Ildefonso potters at making a living as full-time artists—set up their art department, and created the Bacone style of painting. Pals with Gilcrease Museum founder Thomas Gilcrease. Indian Arts & Crafts Board: Created in 1936, its first board largely came from Santa Fe; established five museums in the West. Fred Kabotie (1900–1986): Hopi painter, silversmith, and educator; sent to attend SFIS, he developed a lifelong relationship with Hewett while working on excavations for MNM. He later worked with the Indian Arts & Crafts Board. He also participated in Market, as did his son Michael, and his grandson Ed. Allan Houser (1914–1994): A Chiricahua Apache sculptor from Oklahoma, Houser studied with Dunn at her SFIS Studio, then taught at IAIA since its founding in 1962. Without Houser, both IAIA and IM would’ve been very different from what they are now; his students (and his son Bob Haozous) and influences are still seen at Market, even though he never was. American Indian Arts & Crafts Act: Covering all Indian and Indian-style traditional and contemporary arts and crafts produced after 1935, this 1990 congressional act is a truth-in-advertising law prohibiting misrepresentation in marketing of American Indian arts and crafts.
Heard Museum Indian Fair & Market: In 1958, Phoenix’s museum hosts its first annual Indian Fair & Market, which features Arizona tribes and a healthy mix of Indian Market artists. Institute of American Indian Arts (IAIA): Founded in 1962 by Lloyd Kiva New (through an executive order of President John F. Kennedy), IAIA still offers the country’s only fine arts degree devoted to contemporary Native American and Alaska Native arts. Its faculty has included Houser, Fritz Scholder, and Charlene Teeters; its graduates: T.C. Cannon, Earl Biss, Dan Namingha, and Roxanne Swentzell. Philbrook Museum of Art: Onetime home of Tulsa oil baron Waite Phillips, this Nativeart-heavy museum opened in 1939. Indian Market and the Philbrook spearheaded the acceptance of traditional and modernist Indian painting. 8 Northern Indian Pueblos Council Arts & Crafts Show: Founded in 1972, in part as a reaction to the success of IM, this show celebrates the arts and cultures of Northern New Mexico’s eight Pueblos. Venice Biennale: Begun in 1895 and held every two years, this major contemporary art exhibition brought in the Kiowa Six in 1932; coincidentally, in 2011, six IAIA students attended as invited participants. Gallup Inter-Tribal Indian Ceremonial: Begun in 1922, the Gallup InterTribal is more a cultural than artistic event (given the rodeos, the competitive dancing, and the parade), but it does have an art market element, and its influence in the Native community has been significant. Gathering of Nations: If it seems a stretch to tie IM to GoN, this 28-yearstrong (and growing stronger every year) powwow of tribes who descend on Albuquerque from all over the U.S. and Canada every fourth weekend in April, and which features dance competitions, a Miss Indian World competition, and plenty of Native arts and crafts, consider its location, its emphasis on family and relationships, its inclusiveness, and the way it encourages Native people to proclaim their Nativeness—all aspects long upheld by Market. Eiteljorg Museum Indian Market & Festival: Started in 1992 out of Indianapolis’s museum of American Indians and Western art, this annual event also models itself on IM. Native Treasures Indian Arts Festival: Born in 2004 as a benefit to the Museum of Indian Arts & Culture, and as another venue for Native artists, this Santa Fe–based show plays like a junior if no less classy version of Market. National Museum of the American Indian (NMAI): The 16th museum of the Smithsonian Institution, it’s the first national museum dedicated to the preservation, study, and exhibition of Native American arts and culture. Opened in 2004. august/september 2011
PRESERVE, PROSPER, AND PROMOTE by
THE IDEA IS SIMPLE: SAY A TRIBE wants to promote itself and the businesses it owns under its development corporation. Theoretically, if the tribe does a decent job of promoting those entities the endeavor will lead to financial prosperity. In turn, that prosperity will enable the tribe to reinvest in itself culturally and in whatever projects it deems worthy of backing. Now let’s say this idea was put into action 10 years ago and that the tribe that set it in motion—the Santa Clara Pueblo—has become a model of sorts for other tribes hoping to intertwine its cultural obligations (to its people, to its history, to itself) with its tribal development (its economic growth). And to do all this with integrity and all the while maintaining autonomy over itself. In addition to the efforts of the Santa Clara Development Corporation, this formula has also been put into place by the Pueblo of Pojoaque (see: Buffalo Thunder Resort & Casino), southeast Alaska’s Sealaska Corporation (a Native entity owned by more than 20,000 member shareholders that through its Sealaska Heritage Institute seeks to, in its words, “perpetuate and enhance Tlingit, Haida, and Tsimshian culture”). There are other tribes fighting the good financial-cultural fight out there, but the SCDC is of particular interest not only because they’ve adhered to the basic idea—and incorporated it as a sort of tribal slogan: Preserve, Promote, and Prosper—but because of their ties to Indian Market. Santa Clara Pueblo has participated in every one of the 90 Indian Markets and today, approximately 10 percent of Indian Market artists hail from Santa Clara. Santa Clara Pueblo, located about 20 miles northwest of Santa Fe, is one of 19 Pueblos in the state of New Mexico. Like their Pueblo brethren, they speak their traditional language, Tewa (tey-wuh), practice their traditional religion, and perform traditional ceremonies. These linguistic, religious, and ceremonial aspects comprise the “preserve” angle of their slogan. The second angle, prosper, came into play when Santa Clara created the SCDC as a way to wean itself off the government handouts while working its way toward self-sufficiency. (Like their Pueblo brethren, they’d long relied on federal and state money to help pay for services like health care, education, and infrastructure.) The SCDC began with a small casino and 24-lane bowling alley. Today, it’s made up of everything from its new hotel and casino to the tribe’s most celebrated piece, the Puye Cliff Dwellings. The corporation has also started an aggressive marketing campaign, including advertising in magazines, on the Internet, and a cosponsorship of the 90th Annual Santa Fe Indian Market. That’s where the “promote” piece comes in. It’s a three-pronged approach that has helped support programs dedicated to the preservation of the Tewa language and to various agricultural programs and cultural projects—all of which help the tribe preserve its traditional roots. Roots that go back to at least 900 ad when the tribe’s ancestors settled at or near the Puye Cliff Dwellings. For a number of reasons—drought, food, protection—those ancestors left Puye in the late 1500’s and settled at the present-day Pueblo. “Because of that ancient connection, Puye is our heart and soul,” says Tina Whitegeese, Puye Cliff Dwellings’s assistant manager who was raised at Santa Clara. “Our culture began there, so it’s important that we preserve it for ourselves and to educate others about who we are.” The tribe opened Puye to the public in 2008 after convincing tribal leaders that it was a good idea to let visitors into their ancient homelands. After nearly three years, the biggest problem has been finding the perfect balance between operating a successful business and preserving the sacred site. “We don’t 120
One of the ladders leading into the cliff dwellings at Puye.
previous experiences with other visitors to the Pueblo, particularly with people who’d never had any sort of encounter with Native America. “I’ve been asked, ‘What do you wear when you go home?’ Some visitors are surprised that we speak English.” Still other callers have left a more negative impression on some Santa Clarans. Some tourists have been caught removing arrowheads or pottery shards from the site, not only a definite no-no at Santa Clara and other Pueblos but also an act in violation of federal law. But like anything else, Whitegeese believes it will take time to educate, and the work being done at Puye Cliffs is a step in the right direction. Next to the dwellings, the tribe’s other main readily available resource for promoting the Pueblo resides in its artists, many of whom will be showing at Indian Market. “They’re on the front lines,” says Whitegeese. “They meet and greet hundreds, if not thousands, of people a year. They get people interested in coming to Santa Clara.” When those visitors come, some will stay at the tribe’s newest venture, the Santa Claran, the 124-room hotel featuring a casino, a bowling alley, and a restaurant. Cynics may scoff at the Santa Claran as yet another Native-owned casino—especially one opening up so close to Pojoaque Pueblo’s two properties, the Camel Rock Casino and Buffalo Thunder Resort. But to reverse engineer Freud’s famous quote about a cigar just being a cigar, sometimes a Native casino isn’t just a Native casino. In fact, it’s rarely just a casino. It’s a cultural site as well. Stealthily, savvily, the SCDC gleaned back at the turn of the century an opening through which a tribal enterprise could be used not just for financial autonomy and for the economic good of the entire Pueblo, but it could also function
SANTA CLARAN, JULIEN MCROBERTS
want to see every visitor to New Mexico,” says Whitegeese, “just enough to educate, promote, and sustain ourselves.” Toward that end, managers of the site are now trying to bring in handfuls of people at a time (as opposed to welcoming in the passing tour bus or taking in whichever carload of folks happens to drop in), visitors who seem more intent on gaining something more lasting and tangible from their experience and who might come away feeling truly touched by what they’ve seen and felt at Puye. The goal is not that Puye serve as a recreation ground where just anyone can go, but to have it focus on smaller crowds in order to control traffic and regulate visitation. The reasons are as much practical as they are cultural: the 1,200-year-old site is so fragile that motorcycles aren’t allowed on the nearby scenic loop, for fear that their engine vibrations could harm the property. At last count, the site attracts a little over 10,000 visitors annually. This year, the tribe has initiated a more in-depth, “otherwise-unavailable-tothe-everyday-guest” experience, as Whitegeese puts it, called “Earth and Sky.” For an extra fee, visitors experience art demonstrations, make traditional dance rattles from gourds, tour the dwellings, taste Native foods, and watch Native dance demonstrations. The fee includes a two-night hotel stay with meals and a wine-and-cheese tasting. “We kept hearing from visitors and tour operators that they want more; they want to know about clothing, food, and our art,” adds Whitegeese. “The art projects they participate in wipe away any misconceptions that what we do is ‘easy.’ They learn firsthand that our traditional art supplies come from Mother Earth, not from Hobby Lobby.” The tribe’s emphasis on educating outsiders comes from the tribe’s
In one Puye guest experience, visitors “learn firsthand that our traditional art supplies come from Mother Earth, not from Hobby Lobby.”
as a means of exporting its culture to others while at the same time preserving, developing, and furthering itself culturally and in general. Internally as well as abroad. In the same way, then, that Indian Market has helped its participants better themselves culturally and financially—and do it all largely on their own—so has the SCDC and these other tribal enterprises learned how to fend for themselves while also promoting and preserving their cultures. Also, the business entities aren’t merely entertainment stops for those who visit; they also play an important role in helping tribal members provide for their families. As Whitegeese puts it, “We are no longer hunter-gatherers. We have to earn a living the same way the rest of the world does. And one of those ways is through tourism or one of our other entities.” For every success story under the SCDC umbrella of business, there is even more reason to celebrate at the Pueblo. That’s because profits from the corporation are largely responsible for funding additional programs that otherwise wouldn’t exist. For example, the SCDC regularly contributes to local basketball and Little League teams, and it recently helped sponsor the Rio Arriba County Rodeo. Another way the SCDC gives back is through language and agriculture. As part of the curriculum at the Pueblo’s elementary school, Tewa language classes are taught. To further enhance the experience, a field trip is planned for each class to Puye. Between 30 and 50 students, K–6, are brought to the cliff dwellings at various times throughout the school year. Whitegeese says these efforts are important, not only to show the kids where they come from, but to give them incentive to learn and to inspire them to use their native language outside the classroom. Tribal members, both young and old, are also getting lessons in farming, too. Many of them may be familiar with traditional crops, but some have never planted them, much less used traditional methods for growing like terrace irrigation. Those ideas are also being taught with the same hope: that students will go on to teach a new generation the centuries-old tradition. And behind every one of these projects is the financial backing of the SCDC. A silent partner, if you will. And the three Ps at work. august/september 2011
CARRYING ON A DESIGN-FAMILY TRADITION
FOR THE LAST THREE decades, master silversmith Cippy CrazyHorse, who was born to renowned jewelers Terecita and Joe H. Quintana, has carried on his parents’ use of classical traditional Pueblo design in his own work, creating strikingly bold pieces that are as collectible as they are wearable. CrazyHorse, 64, found his way into his current line of work following an injury he sustained in 1974, while working on the construction of Cochiti Dam. “I started producing silver chains after that accident left me disabled for a few months,” he says. “From there I progressed. I got my inspiration from watching my dad work, and from visiting museums and seeing all the beautiful handwrought pieces that were produced using the tools that were available.” CrazyHorse’s process begins with melting scrap metal into an ingot and then, he says, rolling out the silver according to whatever it is he’s making. “Most of my designs are chiseled, stamped, or created with repoussé work, and most of them are derived from everyday patterns. For example, the design for my ‘radial’ bracelets came from a radialtire tread pattern.” In addition to selling his wares via his website (crazyhorsesilver.com, which is managed by his wife, Susan), CrazyHorse’s work is featured in a number of galleries and museum shops. He also participates in two annual shows: SWAIA’s Indian Market (which he calls “the world series”) and the Heard Museum’s Indian Fair. This year, for the former event, he and his son, Red Dakota, are the proud designers of a pendant that will serve as the the market’s 90th Anniversary Piece. CrazyHorse will be at booth 544 on W Palace. august/september 2011
FIRED UP THE POETRY, THE POLITICS, THE PRESSING PLACE OF POTTERY AT INDIAN MARKET By
Bruce Bernstein, PhD, Executive Director, SWAIA
POTTERY, WE ARE TOLD, IS LIFE ITSELF. Again and again, the refrain among potters is: Pots are my children. They are alive. And without Indian Market, pottery might amount to little more than ethnography and curios. Without that first Indian Market, itâ€™s doubtful pottery would have survived. And without Maria and Julian Martinez, it is certain there would not have been a first Indian Market at all. So how did we get here from there? How has pottery changed? Has it changed? To the casual Indian Marketgoer, a San Ildefonso pot may appear not all that different from a Santa Clara potâ€”or all that different from the pots found at Pottery Barn or Pier 1 Imports. But they are different. They are unique. Culturally. Individually. Artistically. And pottery as an art form, one that is simultaneously ancient and contemporary, stands at the core of Indian Market.
One of Cherokee potter Mel Cornshucker’s works
This past spring, over the course of several weeks, photographer Gabriella Marks spent nearly every day with acclaimed Santa Clara potter Linda Tafoya-Sanchez, the 49-year-old granddaughter of Margaret Tafoya (aka Corn Blossom and the “matriarch of Santa Clara Pueblo pottery”) and an Indian Market recipient of best of division and first place awards, and her son, Jeremy Oyenque. While the sequence of the photos is not scientific (the shot of the volcanic ash being pulverized with a hammer, for example, is one of the first steps in making a pot), it does convey two crucial facts: one, the time, care, attention, and detail that go into the creation of each and every pot; and two, the family-affair nature involved in just about everything that’s brought to Market, as this isn’t just TafoyaSanchez and son who made this pot; her other son, Antonio, and Jeremy’s wife, Stephanie, also pitched in. Working out of her Northern New Mexico home/studio, 128
SWAIA PHOTO ARCHIVE, GABRIELLA MARKS
ottery has been a constant for Pueblo people for millennia: always present, forever evolving to reflect the historical and cultural circumstances of Pueblo people’s lives. At today’s Indian Market nearly 400 Pueblo potters participate. They are from all of the villages, from Hopi to Taos, and while most have learned to make pots from their relatives, others have worked with teachers at venerated training programs, such as those at the Poeh Center and Zuni. Potters work in a variety of styles, most evolving in the 20th century in response to the changing circumstances of their own lives and the world around them. These styles incorporate myriad ideas, from ancient design iconography to new tools and materials. But one of pottery’s core purposes is to accurately present the values and principles of Pueblo cosmology. When we speak of traditional pottery, we are hearing these values: the principles of honoring the creation through the way lives are lived. “I am prayerful when I gather my clay,” says one potter friend. “My mother and grandmother dug their clay here, as did their aunties and mothers, so I am prayerful, respectful of this place, and I bring only good thoughts.” Another potter tells me how once the clay is prepared and ready to be used it is alive—equally of both newborn life and ancient lives. “Our clay is ‘Mother,’ or ‘Clay Mother,’” says another potter. The fertility is palpable in the room, heated and humid, the potter’s hands ready to give birth. Soft and sensuous, hands coated with the rich earthy textures, the new pot is begun. Each successive coil of clay is built upon the last. A philosophical tone is present, “like so many of our ancestors, each round built upon the lives that have gone before us. The water carries their spirits,
it puts their lives into each pot I make.” Such is the approach, the mantra, silent or spoken, of most if not all Pueblo potters. The final step in making traditional pottery is firing outdoors. (Certainly there is nothing inherently wrong in using electric kilns. For centuries, potters have warmed their ready-to-be-fired pottery by setting it by the fire or warming it in an oven—whether it’s an horno or General Electric.) Firing outdoors, though, in an open fire is the way centuries of potters have worked; it adds a level of exponential complexity because of the vicissitudes of combining weather, wood, manure, and fire. It is here at this state where contemporary potters might more often than not diverge from their ancestors. No doubt the market for pottery at Indian Market is partially to blame for short-circuiting the making of traditional Pueblo pottery. With so much at stake in terms of selling their work, artists have had to make tough choices when given the option of taking a shortcut— firing in an electric kiln, for instance, instead of on a traditional kiln. Also, decades ago, potters fired several pots together; today, potters fire a single pot at a time to reduce risk of a pot exploding and destroying the others during the firing. There are other factors at play here, too. Being a potter is now a full-time occupation; people rarely have farming or other work to fall back on if they are not making sales. The marketplace is also culpable by its demand for perfection—no fire marks or clouds, a
demand for symmetrical forms and a perfection of painted or incised designs. Defined like this, perfection is a foreign idea that has been incorporated into potterymaking to help create pots more salable to non-Pueblo people. During the last great pottery revival, in the 1920s, artistic values from the arts and crafts movement and primitivism permeated Santa Fe, helping to incorporate dominant society ideas about man’s hand in nature and man guiding the perfection of one’s understanding and place in nature. This translated into demands of the marketplace for pottery perfection. Influences from both within and outside Pueblo cultures have always swirled around their pottery. At each historic turning point in Puebloan history, pottery changed to reflect new ideas and the rejection of older ones. Such was the case when Puebloan ancestors left Chaco in the 12th century; blackand-white pottery traditions alive for over half a millennium virtually disappeared until revived in the 19th century. New innovations of the 14th century such as glaze wares waxed and waned with the arrival of Spanish colonization, finally being discarded for good with the dismissal of the Spanish settlers from New Mexico in 1680. Upon the Spanish return over the
Tafoya-Sanchez and Oyenque first mix up the clay, which they’d previously gathered from a pit accessible only to members of Santa Clara Pueblo and knowledge of the location of which (somewhere near Pojoaque Valley) has been handed down through the generations. They also break down the temper (the gray volcanic ash), which is used to give the pot more strength. After sifting the ground-down temper into a fine sugary mix, Tafoya-Sanchez mixes up the slip—the thin liquefied suspension of clay particles in water (here, the mole-sauce–colored
His intention was to have the Martinezes make work that manifested the purity of their aboriginal style before European influences. This task was impossible because the premise is absurd. Suggesting that anything pre-1500 was purer and less subject to change and evolution is a stultifying artistic concept. When the Martinezes tried to please Hewett and reconstruct the past, they made uninspired and often awkward replicas. Once freed from his art direction, however, they began in 1915 a period of artistic innovation that continues today. First and foremost, they created an entirely new style of pottery that combines fresh ideas with ancient ones. Their pottery blended contemporary designs with Julian’s reinterpretation of 1,000-year-old Mimbres pottery and that of contemporary neighboring villages of Acoma and Hopi. The black-on-black is a new idea that the artists created and was nothing like the pottery of that time— the runny black designs painted on a soft creamy slip that Hewett was excavating from their ancestors’ villages. The husband-and-wife team began experimenting with the new style in 1916 to 1917; four years later, they achieved a successful but still nascent form of highly polished black ware with matte designs. They experimented throughout the 1920s, finally creating a unique iconography because, quite simply, the old ideas did not work on the new pottery style. The pottery we see today is the outcome of these historic circumstances. Indian Market continues to be where Pueblo pottery can be purchased from makers and therefore where we are able to appreciate how pottery efficiently embodies who potters are as people. Pottery won a number of the first best of show awards: Margaret Tafoya (Santa Clara) twice for her magnificent storage jars; her granddaughter Nancy Youngblood (Santa Clara) for her precise melon mixture)—that will be applied like paint to the outside of the pot. The clay is also strained and then mixed in with the temper, where it looks as yummy as chocolate-cake batter, before being tossed onto the floor and kneaded by foot (and hand) into a one-cubic-foot block. The goal is to get as close to a 50/50 ratio of clay to temper as possible—all-clay pots tend to crack, while too much temper makes the pot too brittle. Tafoya-Sanchez then molds the base of the pot and fashions the coils—all done by hand, all without use of a wheel. After putting the final touches on the lip of the pot, she carves her design onto it (a design that’s rarely sketched out beforehand), then lets it dry. She then sands
next half-century, Pueblo people incorporated new crops as well as suffered new injustices—all of which can be read through the people’s pottery, from new jars and bowls that incorporated new design iconography to the diminishment of pottery in favor of manufactured goods at the turn of the 20th century. These then are the circumstances of Pueblo pottery in the years leading up to 1922 and the first Indian Market. Pottery was collected as ethnography—old pottery that signified an aboriginal lifestyle as well as cheap tourist souvenirs (pinch pots for ashtrays and play). The demise of a centuries-old pottery tradition seemed eminent. We need to pause here and imagine the world without Pueblo pottery. It would be empty. Nowhere would there have been such ordinary but extraordinary devices to carry forward values, principles, and worldviews so carefully modeled into every piece. Pueblo life perhaps would have found ways to fill this void, but nowhere would we, as non-Puebloan people, have access to the cosmologies of Pueblo people. That pot on your shelf, made of fertility itself, is decorated with designs that tell of some of the origins of a people—rainclouds, mountains, plants, and the avanyu (water serpent). The San Ildefonso Pueblo potters Maria and Julian Martinez were indeed handed a potsherd by anthropologist Edgar Hewett, but the issue is not a white man enlightening Native people about their own archaeological past, it’s what the Martinezes did with that potsherd after Hewett gave it to them.
jars; and Lois Gutierrez Cruz (Santa Clara) for her revival of classic shapes with meticulous narrative mural-style paintings. Jody Folwell (Santa Clara) and Bob Haozous (Chiricahua Apache) won best of show in 1984 for their pot, Cowboys and Indians. Folwell crafted an elegant water-jar form and Haozous incised it with cowboys and Indians chasing one another around its surface, the Indians upright and the cowboys upside down and falling from their horses. The pot aroused plenty of controversy that year because although it was from Santa Clara it was not a black or red pot, nor were its realistic designs thought to be â€œtraditional.â€? The judging room cleaved between those who only viewed black pottery as traditional and
it down and applies the slip (that reddish molesaucelike substance). After the slip has dried comes the all-important burnishing of the pot with smooth river stones. In Santa Clara pottery, what usually distinguishes their Pueblo’s pottery from all others is this burnishing (or polishing) stage. In Tafoya-Sanchez’s case, she uses stones passed down to her from her family’s ancestors, and, now in her 28th year as a potter (a vocation she took up while pregnant with Oyenque), she has gotten her pots so well burnished that they not only shine, they shine like glass. Once it’s been burnished to her satisfaction comes the equally critical firing stage. Oyenque stokes
those who understood innovation as the lifeblood of Pueblo pottery. A few years later, Elizabeth Trujillo (Cochiti) won best of show because the judges specifically sought to reward a traditional potter, admiring the large size and understanding the difficulty it represented to its maker—and, not unimportantly, the chances Elizabeth took in making the dough bowl. And just a few years later, Indian Market judges were again split when Lonnie Vigil (Nambé) entered his graceful micaceous jar. The jar relied on the essence of Pueblo pottery making, with its attention to materials and craft. There was nothing to draw your eye around the pot except its glistening surface and sumptuous form. Other art forms have of course won best of show awards, but nothing recites the Pueblo narrative as well as pottery. Nine decades of changes are built into pottery: pre– World War II pottery reflects the aesthetic and self-sufficient life of the villages, the potters steeped in their grandparents’ wisdom of pre-Americanization and statehood; postwar, potters in the burgeoning United States worked through issues of identity and belonging, whether locally or nationally; and as interest grew in Native cultures in the post-hippie and environmentalist movements of the 1960s and 1970s, Pueblo pottery flourished. Its reputation grew because of its loyalty to its roots; it was authentic and genuine; it stood for a dynamic and vibrant way of life, as well as a set of principles and values that people could find out about in talking to potters and learning about the ancient art form. Tradition is a slippery word but does possess some functionality if we understand it as a set of values. These are lodged in collecting one’s own clay and paints and their preparation and use and the outdoor firing of pottery, while designs will continue to evolve to reflect modernity and narrative. We no longer ask potters to travel only by foot or horseback, so why not in cars or airplanes? While I appreciate how we willingly and unquestioningly accept change, I am concerned how a 20th-century lens of pottery understanding is used to comment on what has come before and what will come in the future. The marketplace demand on perfection over innovation and invention is antiPueblo in its origin and, today, hurts the market. We need and want potters to emphasize what is Pueblo about pottery rather than what immediately sells. Those potters that go the longer and more difficult route of making
Indian Market’s history and reputation best positions the organization to work across the many groups involved with pottery to encourage improvement and change. Pueblo pottery without shortcuts need to be rewarded for their attention to continuing to give breath to pottery. It is conceivable that without intervention the remaining innovation will be stripped from pottery with nothing more than tourist and souvenir wares remaining. With few exceptions, potters and the market have some culpability in the decline; both groups need impetus to work together. Indian Market’s history and reputation best positions the organization to work across the many groups involved with pottery (potters, sellers, collectors, scholars) to encourage improvement and change. The first Pueblo Pottery Improvement project took place over 90 years ago; the results led to the establishment of Indian Market and a century of stupendous pottery achievement. But it is time for a new project to engender quality and engage potters in creating a future for pottery. Indian Market is neither potter nor gallery, but with its considerable reach and authority, it can help facilitate change. Moreover, with its established awards and status as the singular venue of the Indian arts year, Indian Market has an unprecedented influence on potters, pottery production, and buyers.
the fire with cedar wood at the base. The pot is then encased in a metal basket and a metal milk crate—its kiln. Surrounding the little structure—and the red pot inside—with split pine logs, Tafoya-Sanchez and her son will let the wood get to a high burn before quickly burying it in shovelfuls of dried horse manure, which sits in piles along the aluminum-sided walls. If all goes as planned, this reduction-firing method will suffocate the pot, depriving it of oxygen, and it should emerge intact. And black. (In this method, all pots go in red, come out black.) The pot acquires its ebony hue courtesy of the smoky soot emitted by the manure. This is a make-orbreak moment not just because of the desired color but because of the potential of the pot to explode. Potters can spend one to two months working on a single pot, only to see it blow up at this stage. Good potters can still lose four out of ten pots during this firing process; Tafoya-Sanchez tends to lose only one in ten. This one made it out intact. And with the desired color. Once it’s cooled off, she’ll buff it and clean it. And then it’s ready for Market. To see more of Linda Tafoya-Sanchez’s work, visit her at Indian Market booth 265 PAL-S
SWAIA HONORS — The History Makers —
This year’s winners of SWAIA’s Lifetime Achievement, Povika, and Fellowship awards—who were honored at a reception and dinner at La Fonda on the Plaza on June 9—comprise an extraordinary group of Native artists who have contributed to their culture and community with their talent and vision, and whose work and legacy will inspire generations to come.—The Editors
BORN AT SANTA CLARA PUEBLO IN 1932 to potters Camilio Sunflower Tafoya and Agapita Silva, Joseph Lonewolf would listen to his grandparents telling him creation stories of the Tewa people. He would hear stories about avanyu, the water serpent that separated the water creatures from the land animals. He would hear stories about how to respect all creatures, like insects and animals, the dragonfly, the wolf, the bear, and Mother Earth. Images from these stories would eventually appear in his work. Often referred to as “pottery jewels,” Lonewolf ’s creations and approach to pottery would transform the Pueblo ceramic world. He would be among the first to incorporate the sgraffito and bas-relief techniques in his miniature pieces and seed pots, while meshing traditional methods with contemporary artistry to cultivate a style all his own. He would be the first to develop red-and-black or two-toned pottery, created in a single firing. He would be noted for his integration of Mimbres designs and the use of natural polychrome slips. As a boy, he created miniature pots incised with simple designs for his family and friends. In 1975, Lonewolf was one of the first Native Americans to have his own book featuring his work, The Pottery Jewels of Joseph Lonewolf. In addition to countless gallery showings and numerous awards, Lonewolf has had exhibitions and permanent collections housed at the Heard Museum, Wheelwright Museum of the American Indian, and Eiteljorg Museum of American Indians and Western Art. In 2009, Lonewolf received the New Mexico Governor’s Award for Excellence in the Arts for pottery. right:
Joseph Lonewolf’s daughter, Rosemary Lonewolf, his son, Greg Lonewolf, and great-granddaughter Mia Speckled Rock.
LIFETIMERS august/september 2011
Popovi Da (1923–1971) ANTONIO MARTINEZ was born at San Ildefonso Pueblo in 1923. He legally changed his name to Popovi Da, which means Red Fox in Tewa. The son of Maria and Julian Martinez, Da began his life as an artist by helping his parents gather clay and fire pots. At the Santa Fe Indian School, he would eventually expand his talents into watercolors, jewelry, and painting. Some of his most notable work can be seen on his mother’s pots, which he began to paint after returning home from World War II. Da held a keen interest in supporting and promoting Native arts and culture. Together with his wife, he owned and operated the Da Studio of Indian Art at San Ildefonso Pueblo, where he marketed and sold his mother’s work and other Indian arts and crafts. In addition to his many accomplishments (he served as a SWAIA board member and board chair, he and his wife opened the city’s first Native art gallery, and he governed his community and helped rebuild its church), his impact and legacy can best be represented in the finer points of his creative practice. Da experimented with polychrome pottery and helped to revive the method at San Ildefonso Pueblo. In 1961, through a two-firing process, he developed a new color, sienna. Da also developed duotone, a technique of achieving two colors on a single pot. In addition to color, Da also created the gunmetal finish and was the first potter to add turquoise inlay to his pots. As an artist, businessman, and arts progenitor, Da’s influence on Pueblo pottery and culture is incalculable. His voice and vision can be felt everywhere.
Above: artist Popovi Da, San Ildefonso Pueblo, New Mexico, 1971; left: Joyce Da O’Dell, daughter of Popovi Da
T. HARMON PARKHURST
BORN TONITA VIGIL at San Ildefonso Pueblo in 1893, Tonita Peña was known by her Indian name, Quah Ah, or White Coral Beads. When her son Sam Arquero would come home from the day school in Cochiti Pueblo, she would still be painting and sketching exactly as she had been doing when he left home earlier that day. Peña would encourage him to sit down next to her and help. Arquero knew that his mom was well known throughout the community for her artwork; later, he would realize how famous she really was. As the first woman of her Pueblo to take up easel painting, Peña’s vivacious work depicted Cochiti village life and pottery designs. More importantly, she was the first Pueblo woman to paint, which, at that time, was usually done by Pueblo men. Peña did not have extensive formal art training, although she did study at St. Catherine’s Indian School in Santa Fe. By the age of 21, Peña was selling and exhibiting her paintings, and by 25 her work was being shown in museums and galleries. La Fonda on the Plaza, in downtown Santa Fe, bought her paintings and pottery to decorate their suites in the 1920s. In addition to selling her work, Peña used her talents to teach at the Albuquerque and Santa Fe Indian Schools. “She would paint all day long,” Arquero says, “but she always took time to be a loving mother, and she really loved all of us. We come from a big family, and she was a mother who cared for all of us.”
Above: Tonita Peña and baby, Cochiti Pueblo, New Mexico, circa 1935 ; right: the Peña clan— Peña’s son Sam Arquero, with cane, and his sons and daughters.
Tonita Peña (1893–1949)
WHILE IN HIGH SCHOOL, Jeri Ahbe-hill (Kiowa/Comanche) vowed to dignify the works of Native people and make it her lifelong career. Once, when she was working at the Southern Plains Museum shop as a cashier, she saw an elderly Indian woman trying to sell her miniature cradleboards, but the shop manager didn’t have enough money to buy them. Later, when Ah-be-hill went to eat at a local café near the museum shop in Anadarko, Oklahoma, the cradleboards were there. It broke her heart. “They were among the gum, candy, and cigarettes. I really got a lump in my throat,” Ah-be-hill recalls. “I thought, if I ever had a chance, I was going to put together a place with decent lighting and lots of room where I could sell beadwork.” Ah-be-hill’s plans became a reality when she purchased a café on the Eastern Shoshone and Northern Arapaho Reservation in Wyoming. She changed the old building and for the next 25 years operated the Fort Washakie Trading Company. After closing the trading post, she moved to Santa Fe in 1989 and continued working as a trader. Ah-behill has remained deeply committed to the Native arts community. For 17 years she worked as a volunteer for SWAIA and served as the chair for the Native American Clothing Contest. Her commitment to Native arts and culture serves as a model for generations of artists and advocates alike.
Agnes Dill A LONGTIME EDUCATOR, businesswoman, and advocate for women and health, Agnes Dill has spent her life trying to help improve the lives of Native people. At nearly 98, Dill (Laguna/Isleta Pueblo) is still going strong. She would learn the value of a solid education at an early age. With the encouragement of her parents, she attended and graduated from New Mexico Highlands University in 1937. Upon graduation, she was a teacher at the BIA (Bureau of Indian Affairs) schools in Oklahoma until 1948, when she met her husband, Clarence Dill. The couple operated a business, the Fort Cherokee Indian Museum and Trading Post, in Vinita, Oklahoma, which they owned for 17 years. In 1965, the couple moved to Isleta Pueblo. It was around that time when women’s groups and the civil rights movement were gaining momentum. In 1971, Dill was among several women who formed the New Mexico chapter of the North American Indian Women’s Association (NAIWA). Two years later, she became NAIWA’s national president, a post she held for two years. She also developed a job and talent bank for Indian women. In 1975, President Gerald Ford appointed Dill to the National Advisory Council on Women’s Educational Programs. In 1991, she became president of the New Mexico Indian Council on Aging and attended the White House conference on aging. She has also served on several boards, including the Indian Pueblo Cultural Center and those that promoted genuine Indian arts and crafts. In 2010, the University of New Mexico bestowed upon her an honorary doctorate degree for her longtime service to Indian people and her work on the New Mexico Geriatric Education Center’s Council of Elders, where she has been an advocate for Native elders being able to access quality and culturally sensitive health care.
Lisa Hageman Yahgulanaas ONLY A LITTLE MORE than five years ago, textile weaver Lisa Hageman Yahgulanaas sold fine home décor in her two stores in British Columbia. Traveling around the world, she bought handmade items or fine wares (such as velvet throws, bedding, or chandeliers from Paris or Italy) for inventory. Finding the beauty and precision in such exquisitely crafted items allowed her to gain an appreciation for an artist’s vision and expertise. Thinking about the arts and her own Haida heritage, Yahgulanaas soon began to learn about the raven’s tail style of weaving from her cousin, master weaver Evelyn Vanderhoop, who revived raven’s tail in their homeland of Haida Gwaii in 1991. This style, which predates Chilkat blankets, is one of the oldest forms of weaving in the world. There are no looms. Loose wool strands hang over a box frame. To weave a full chief’s robe can take up to a year. When she completed her first full robe, Yahgulanaas, who comes from a family of artists, held a potlatch, which is not customary for women. But when a robe is completed it is tradition that the robe be danced. At the potlatch, her cousin stood up and said that Yahgulanaas had reached the master level. “It was an honor for her to do that in front of the chiefs,” Yahgulanaas says, “especially when you see her work.” Now Yahgulanaas continues to weave on commission. In 2009, she created the first entirely Z-twist warp-and-weft robe on Haida Gwaii in more than 150 years. (The Z-twist warp, weft, and weave are defining traits of Haida textiles.) As part of her SWAIA residency, Yahgulanaas would like to weave a textile using colors indicative of the Southwest, an idea she got while hiking through the mountains in New Mexico. (Traditionally, raven’s tail textiles are always black, white, and yellow.) “When you weave enough, you can get to the point of incorporating ancestral designs, but you can also create new ones because you know the rules of raven’s tail,” says Yahgulanaas. “I think I am very firmly grounded in what makes a raven’s tail piece a raven’s tail piece. I can now branch out in terms of color and in terms of design.” ravenweaver.com
DURING THE RUMBLING, roughly 30-minute commute to his job in downtown Chicago, Chris Pappan pulls out ledger paper and begins to make creations that stem from a form of expression born in the 1860s. Plains tribes created what’s known as ledger art after being given pages from accounting ledger books by soldiers, traders, and missionaries. Using pencil, pen, and watercolors, they transferred pictographs that were painted on animal hide to ledger paper and, in the process, captured the tribes’ soon-to-be dying daily life. Remembering that history, Pappan, 40, uses similar tools but portrays chiefs, elders, and others in a sometimes mirrored or slightly warped, three-dimensional form. Calling his method 21st-century ledger art, Pappan says that he uses drawings or photographs from his own tribes—―the Osage, Kaw, and Cheyenne River Sioux―—or indigenous people from the Great Lakes area to deconstruct or reconstruct his own interpretations. “[My art conveys] a distorted image because modern society tends to distort images of Indian people, and Indian people tend to distort images of themselves,” Pappan says. “Or it’s two images coming together to create something new, or it can be seen as one person pulling him or herself apart in two different directions.” Pappan, who grew up in Flagstaff, Arizona, and is also of mixed European decent, works full time at an art gallery as an assistant warehouse manager. If he’s not drawing on the train, the Institute of American Indian Arts (IAIA) graduate is working in his home studio. A 17-year Windy City resident, Pappan followed fellow IAIA colleague Debra Yepa to Chicago, where she grew up. The couple are now married and have a nine-year-old daughter. Pappan is the winner of numerous awards, including the Heard Museum’s Indian Fair 2010 Best of Class and Best of Division, as well as second place in the drawing category at the 2010 SWAIA Indian Market. As part of his SWAIA fellowship for exploration and enterprise, Pappan says he’s now researching maps created in the late 1880s and the early 1900s to visibly show how Native people have been displaced and disfigured. chrispappan.com
Orlando Dugi ALTHOUGH HE’S BEEN beading his entire life, it was only three years ago (after being encouraged by his partner) that Orlando Dugi, 32, entered an Indian art show. He wound up winning second place in the Cherokee Art Market for contemporary beadwork and also selling three pieces. Exhilarated by the response, Dugi―—who has always been interested in fashion—―began beading full time and incorporating silk, chiffon, satin, furs, exotic leathers, peacock feathers, and silver into his work, producing unique, handmade couture items. To capture light and symmetry in his pieces, Dugi (Navajo) uses tiny vintage beads ranging in size from 13 to 22. He even incorporates the smallest beads that aren’t being produced anymore (24). The tiniest beads measure roughly two to a half millimeter or smaller (about the size of a grain of sugar). Dugi uses a single-stitch method, which involves attaching each bead to the base. “I’m interested in detail and I like to capture as much detail as I can,” he says. “The only way I could start doing that was to do one bead at a time.” Using this method places Dugi within a group of beaders who are advancing the craft to an art form. “We are really trying to push the limits of what is done with beadwork. It’s exciting to know that I’m able to contribute to that.” With his parents being active in the Native American church and selling beadwork at powwows, Dugi learned his profession from his family while growing up in Gray Mountain, Arizona. Envisioning beauty, elegance, and luxury in each composition, Dugi, whose honors include the Heard Museum’s Indian Fair 2011 Conrad House Award, hopes his pieces will eventually land him in the fashion world. “That’s something people have always said: that these are things that belong on the red carpet—and it did happen,” says Dugi, who had actress Kateri Walker wear one of his handbags to the 2011 Academy Awards. “This is the the first step. But it’s only the beginning.” orlandodugi.com
DESPITE INCORPORATING atypical materials into her traditional Navajo weaving, Melissa Cody—who calls her work eclectic and uses shredded yellow police tape and neoncolored spray paint to color her wool, for example—says she is holding true to the art form. Having grown up in the ’90s in Leupp, Arizona, Cody, 28, draws upon her childhood experiences for her inspiration, like the geometrics from one of the first home-video-game systems (Atari) and the New Wave fashion and music of the ’80s. She also recently developed an interest in street art and skateboarding. Cody says that each artist has a story to tell in her weaving, and that these are her stories. “Right now textiles are almost getting stagnant with the way that patterns are being reused, and it’s losing its individual artistic nature,” notes Cody. “Now people are labeling themselves as Navajo weavers as opposed to saying, ‘I’m Melissa Cody, who is a Navajo weaver. I really want to make it a point that my style is very individualistic, and I want that to come across in the work that I create.” Having learned the Germantown style of weaving from her mother at age five, Cody, who is a graduate of the Institute of American Indian Arts, is a fourth-generation weaver. Adhering to style characteristics, it was only last year that she started incorporating synthetic materials. She believes that adding extrinsic extras will not only aid in her expression but also help move Navajo textiles forward. “To keep Navajo weaving from being stagnant, we need to look at other ways of doing things,” Cody says. As part of her SWAIA Discovery Fellowship, Cody, who is intrigued by hieroglyphics, plans to buy more materials and travel overseas to study Egyptian art and culture.
Pam Lujan-Hauer USING VARIOUS CLAYS, firing methods, and metals, Taos Pueblo potter Pam Lujan-Hauer has been making vessels, sculptures, and jewelry full time for the past 22 years. Her interest in pottery took root in 1976, when she attended the Institute of American Indian Arts, and she also learned the craft from her great aunts Josephine Ortiz and Anita Lujan. Lujan-Hauer, 52, uses four clays, including a native red and a white mica found in northern New Mexico; striving for innovation, she fires with both an electric kiln and a traditional pit lined with cedar wood. Most of her works are created from micaceous clay, which, due to its durability, Pueblo people use to construct cooking pots and water jars. While firmly based in tradition, Lujan-Hauer often experiments with clay and firing techniques, which led her to develop a method of firing pots with inlaid silver. Metals are embedded into the clay, sealed with different types of glazes, and then fired in a kiln and pit. Combining with the liquid silver, the minerals are embraced by the heat, forming a rainbow effect to create a one-of-a-kind, fine-art piece. In addition to creating art, Lujan-Hauer likes to share her knowledge and talents. She has taught pottery courses at the University of New Mexico, as well as youth pottery classes at the Southwestern Indian Polytechnic Institute’s Upward Bound program, the Harwood Art Center, and the Maxwell Museum’s summer programs in Albuquerque. She has also been awarded several artist residencies at various New Mexico schools. She is the first recipient of SWAIA’s Jeanne Shutes and Jill Melick Fellowship, created last year in honor of artist, educator, and community leader (and last year’s poster artist) Geronima Cruz Montoya. taosindianpottery.com
THE FIRST POP ART piece Diné artist Ryan Singer made was a three-foot-tall drawing of Kiss lead singer Gene Simmons on the front door of his home when he was only four or five years old. Since then, Singer, 38, has been fusing sci-fi, Native American imagery, and iconic American culture to produce his vivid and vibrant creations. “I really like to put stuff [into my art] that has maybe some kind of social commentary, maybe something that [could make you think] about Native history, a stereotype, or just being a modern-day Native; you know, just almost a paradoxical way of living,” Singer says. While growing up in Tuba City, Arizona, Singer, who is Todichi’ii’nii (Bitterwater Clan), born for Kinyaa’aanii (Towering House Clan), would be dropped off at the family ranch where his artist uncle had a studio and encouraged him to draw. Singer later enrolled in college and worked for the U.S. Forest Service on the Navajo Nation. While he loved the outdoors, he got tired of political red tape and was continually encouraged by friends and family to take up art as a profession. Returning to school at Arizona State University after transferring from Northern Arizona University, it was there that he would create his famous Navajo mutton stew images, a play on Andy Warhol’s Campbell’s soup can series. This Native twist to popular convention would continue to be part of his work, as in his parody of the Morton Salt image, in which he replaced the little girl holding an umbrella with an elderly Navajo woman from the Salt Clan. Now taking a break from school and living in downtown Albuquerque, Singer paints full time and has received numerous honors, including the 2008 Adult Smile Award at Santa Fe Indian Market, the 2008 Judge’s Choice at the Heard Museum’s Indian Fair, and the 2009 Eiteljorg Artist-in-Residence, among others. Another highlight in Singer’s career includes a partnership with Santa Clara Pueblo potter Jody Naranjo. The two paired up last year to create a series of clay images for Legends Santa Fe gallery. Continuing to transcend his talents, Singer says he plans to use the SWAIA Discovery Fellowship for further exploration in clay. ryansingerart.com
AFTER GRADUATING with a BFA from Baylor University and attending the University of New Orleans to work on an M.A. until Hurricane Katrina hit, Ryan Lee Smith moved to his birthplace in the Cherokee Nation’s capital in Tahlequah, Oklahoma. Among the myriad jobs he’s held over the years (which have included trailer mover, tattoo artist, and machinist), it was one that Smith landed in Tahlequah that, he says, allowed him to find his true self. Smith, who is of Cherokee and Choctaw lineage, worked with the Cherokee Nation’s community development office, which provides funding for nutrition and exercise programs, community centers, and other necessities. While there, he had the chance to work with Charlie Soap, the husband of former tribal chief Wilma Mankiller, which gave him perspective as he learned about his culture and about how he could give to the Cherokee people. “It was life changing,” says Smith, 38. “I found out who I was and what I was missing. Although right now I’m making a separation from my good job and from providing for my community, I’m going to be doing what I’ve wanted to do since I was a little kid, which is to paint and have people hang my paintings on the wall. It’s truly eye-opening.” Smith’s innate passion and intensity comes through in his work, whether it’s creating piercing mustangs or roaring grizzlies. He describes his style as abstract, nonobjective, and expressionistic. “I have a lot of artists tell me you have to do one style or another,” he says. “You have to do something identifiable like a wolf or horse or buffalo, or you have to do nonobjective abstract art. You can’t do one and the other. That’s what has inspired me to do both.” Smith’s drive to nurture his artistic nature also comes from his desire to provide the best for his family, which consists of his wife and his four- and five-year-old boys. In addition to making his art, Smith, who has studied under the Tamarind Institute’s master printer Frank Janzen, runs a limited-print T-shirt business that features his sketches. ryanleesmithart.com
Ryan Lee Smith
AS A TRIBUTE TO THE 90TH ANNIVERSARY of the Santa Fe Indian Market, and as a way of recognizing and pointing toward the future of both Indian Market and Native art overall, SWAIA decided to search for an artist 15 years old or younger to design the image for its 2011 poster. That search led not just to one talented teenager but to two. Brother and sister Tulane John, 12, and Myleka John, 13, (both Diné) not only represent the youngest artists ever to be selected for this task, they’re also the first artists to collaborate on an Indian Market poster. And they’re legacies, of a sort: their father is renowned sculptor Alvin John, a 2006 SWAIA Santa Fe Indian Market Winter Showcase winner. Lastly, and more to the point of SWAIA’s forward-looking mindset, the siblings, who are both painters, created a mixed-media work on a single canvass. Tulane came up with a three-dimensional Yei Be Chei using colored Legos, while Myleka painted four masks in blue, black, white, ocher, and gray (the colors allude to early Diné sand paintings, while the masks reference the four directions.) “The youth is always ahead in a lot of things that we do,” says Alvin, who believes that any work of art must come from the mind as well as the heart. Interestingly, and perhaps evident of the influence he’s had on his children, the exact representation of a Yei Be Chei is forbidden; but Tulane’s use of Legos, as a way of recognizing the Yei Be Chei without inciting controversy or disrespect, is a great example of how today’s artists incorporate new materials while honoring traditions and cultural mores. “I just wanted to create something abstract with circles and lines,” says Myleka, who’s been working on smaller pieces, ones similar to her poster-art piece. Excited about this year’s Indian Market (and hoping to have her braces off by then), she already has a number of collectors waiting for her new work. Tulane, meanwhile, plans on bringing smaller mixedmedia works to Market as well. Inspired by his father, he also gravitates to his uncle, David K. John, an award-winning painter and mask maker and the 2003 SWAIA poster artist. “I’m really proud of them and encourage them to find their own style,” says David. “I want them to do large pieces.” As will, no doubt, many others.
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Tulane and Myleka John
CHEROKEE ART MARKET OCTOBER 8 & 9, 2011 OKLAHOMAâ€™S PREMIER NATIVE AMERICAN ART SHOW
2010 Best of Show Winner, Bill Glass, Jr. - Healer
For artist registration or attendance information, visit CherokeeArtMarket.com or call toll-free (877) 779-6977 11010_TOUR_CAM_7.875X4.75_SF.indd 1
santa fean 145 6/17/11 10:50 AM
LONGTIME LISTENERS, FIRST-TIME OWNERS HOW THE FIRST NATIONS ARE TAKING OVER THE FOURTH ESTATES
THE WORLD OF NATIVE MEDIA is expanding. There are changes that have occurred, and more changes loom on the horizon. The latest census shows that more than five million people identify themselves as at least part Native American. They are hungry for information on Native issues, and this interest extends beyond Indian Country. To lay the foundation of why Native media is important, let me start by saying that tribal sovereignty, for virtually all Native people, is the bedrock of tribal existence. It is at the core of the unique relationship we have with the U.S. government and the unique political status we have within U.S. borders. For most American media, historically and in the present, thereâ€™s debate about tribal sovereignty. But because of Native journalists and our dedication to educating others about tribal rights, history, and culture, many media outlets are now quick to point out that Native Americans do have a special standing in this country. Another reason Native media is important is that many Americans think we no longer exist, and when we are mentioned we are seen through a historical lens. Again, this viewpoint is beginning to change. These two reasons are, in fact, a big part of why a new Native television station, FNX: First Nations Experience, is being developed. It is a 24/7, high-definition, digital channel dedicated to providing programming and content about Native American and indigenous communities. This new venture is a result of a partnership between KVCR and the San Manuel Band of Serrano Mission Indians (both located in San Bernardino, California), who together committed $6 million dollars over three years to launch the effort. FNX is housed and will broadcast from the studios of PBS member station KVCR. â€œIt is the vision of FNX to accurately educate
Indian Country Today, which has existed in print form since 1981, when founder Tim Giago originally titled it The Lakota Times, has gone from its newspaper format to a magazine and now can be found online as part of the Indian Country Today Media Network. Owned by Native American Ray Halbritter, its independence and its adaptability show that Native media and Native media owners—from ICTMN to the radio show Native America Calling to the First Nations Experience television station—can be just as savvy as their non-Native counterparts when it comes to surviving and thriving in the ever-changing media industry.
the general public about Native realities,” says FNX Executive Director Charles Fox. “FNX will have a profound impact enhancing public understanding of the Native American experience.” FNX content will be available on a website currently in development, while over-the-air, cable, and satellite broadcast service will launch in the fall of 2011 in KVCR’s Southern California market. According to Fox, within a year of that local launch, FNX is projected to begin expanding its service nationally and internationally through a network of electronic media services, including TV, Internet, and iPhones. The goal of this unique project is to change public perception and ultimately change public actions and policy. Another media outlet that is changing the landscape is Indian Country Today (ICT) magazine, which is part of the Indian Country Today Media Network (ICTMN). Originally published as The Lakota Times and founded in 1981 by Tim Giago (now editor of Native Sun News) in Rapid City, South Dakota, ICT was until this past January a weekly newspaper. The magazine version was dreamed up by owner Ray Halbritter, who has operated ICT out of upstate New York for the past 10 years. “ICTMN owners have a mandate to influence the image of indigenous people in the eyes of the dominant society—to help them to learn more about indigenous people through presenting accurate information and perceptions of the news and events that impact us,” says Ray Cook, ICTMN opinion editor and a citizen of the Mohawk Nation. “We chose the magazine format for ICT because it is a much longer-lasting medium than a newspaper format. The magazine design is savvy, hip, and easy to mail and keep track of (as opposed to all those loose sections the old ICT had). But remember,” he adds, “since our real stock-in-trade is what is on the website, even a magazine format is archaic. The magazine is only a snapshot of what goes up on our website 24/7. We are gaining audience, and fast, from around the world. Much of it has to do with the original material we generate through our expansive reporter/contributor network and our sophisticated mechanism to aggregate material wherever and whenever it pops up.” When I first started working with my radio talk show, Native America Calling, we had 14 radio stations carrying our program—all tribal stations. Today, we have 45 stations that carry our program, which includes public radio stations and community stations, and at least 20 more tribal stations are in some stage of being built. “Radio is a vital source for information, especially for those remote communities that still do not have Internet access or electricity,” says Burt Poley, network manager for Native Voice One (which distributes Native America Calling) and a citizen of the Hopi Nation. “Whether it is announcing weather reports, tribal news, sports, birthdays, the time of day, community events, or a lost pet, from my experience, this is all-important for the communities they serve.” Other emerging outlets in the Native media world are regular video webcasts out of Wisconsin called News from Indian Country, a soon-to-be established educational TV station by the Cheyenne-Arapaho Tribe (out of Oklahoma), and an upcoming Navajo Nation TV channel. Also, the New Media Arts program at the Institute of American Indian Arts in Santa Fe recently revealed a 24-foot domed video screen and a moving-image studio that will allow students to revolutionize the growing field of commercial arts. “We are positioning IAIA as a leader in innovative applications of technology toward the betterment of our Native communities,” says Carlos Peinada, chair and faculty of the New Media Arts program. The success of the Santa Fe Indian Market in attracting folks to Indian arts, lifestyles, and culture certainly laid the groundwork for many of these new media ventures. The national and international audience that attends the market each and every August is always a reminder and an inspiration to those of us forging ahead to show the world who we are as Native peoples. Harlan McKosato is the host/producer of Native America Calling (nativeamericacalling.com) and a columnist for The Santa Fe New Mexican. august/september 2011
THE FAMILY A FATHER/SON TEAM OF JEWELERS COLLABORATES FOR SUCCESS
JARED CHAVEZ BEGAN his jewelry career when he was 10 years old, bored and eager to find something to do with his summer afternoons. His father, Richard, already a well-established jeweler, said he would teach his son some skills, but only if the boy applied himself. “I told him I always stressed having quality work, so he picked that up and really started paying attention to detail,” says Richard, 62, who, along with his son, hails from San Felipe Pueblo. “That made me feel like he had a lot of potential.” Potential, in fact, is something Jared, 28, had in spades. Over the years, he has always maintained high quality and simple, elegant lines in his work. “The idea that less is more is always there. Say what you’re saying but not too much; don’t overdo it,” he notes. According to Richard, almost half of his and Jared’s sales come from special orders; otherwise, their designs are sold through galleries or at Indian Market, where he has shown since 1976. Jared’s training in digital media (thanks to a degree in studio art from Georgetown University) could soon catapult their work to a much larger audience, however. Jared takes photos of his and his father’s jewelry, designs their website (chavezstudio.com), and is the first contact for media relations. An upcoming section of their site highlights works-inprogress as a way to “bring clients into the studio,” Jared says. “Anyone who visits the studio has a much deeper appreciation of what goes into the work.” At this year’s Indian Market, the Chavezes are sharing a booth in the middle of San Francisco Street, facing the Plaza.
special thanks to all of you who help make Indian Market possible, including our corporate and foundation supporters, award sponsors, members, and numerous volunteers
Live Auction Gala Presenting Sponsor Carolyn Pollack Jewelry Squash Blossom Sponsor Jeff Branch Concho Sponsor American Indian Graduate Center Eve & Fred Simon Simon Charitable Trust Mesa Sponsor Charmay Allred Susan Jacques Barry Markl Dr. Jenny Auger-Maw & Dr. Gil Maw Gary, Brenda & Harrison Ruttenberg Gala Chair Dr. Jenny Auger-Maw Auctioneer Doak Lambert Award Sponsors Eric & Barbara Dobkin Jim Egan Alan Kazan Richard Buckley Relios Jewelry Co. Inc. Mike & Juanita Eagle Terry & Becky Rader Gary, Brenda & Harrison Ruttenberg 150
Taubman Family Janet Hoffmann Randall & Teresa Willis Joyce Davis Stephen & Lynda Nacht Frank & Betty Ottesen Austin Box Beth Extract Lynne King Roberts Maureen Hamilton Andrew & Judi Finger Native American Collections Joanne Greenspun Don & Kay Fowler Douglas McNicol Simon Charitable Foundation Ruth Caldwell Helmut Horchler Steven & Tracy Rosenberg Mike Wahlig Donald Neely Paul & Barbara Weiss Bob & Margot Linton Susan McGreevy Charmay Allred Stephen & Tracey Blumberg Anna Brown Leo Krulitz Sidney & Ruth Schultz Susan McGreevy Uschi Butler David Sontag Barbara Morgan Nancy Florsheim Marilyn Eber Mary Lynn Oliver School for Advanced Research Richard Herz Rev. Raymond O’Donnell Dexter (Alice) Cirillo Elie Abemayor, M.D. Kenneth Doeg Jeanne Heyerick Eileen Holmes Marianne Kah Diane Imai Alan Rolley Mark Sey Sharon Ritchey John Kersh Warren Schimpff Edward Snyder Sheila Gould Bidtah Becker Patricia Skigen Rick Nelson
Barbara Sanger James Baker Catherine N.H. Lewis Richard & Elaine Binder Arthur Anstine John Schaefer Barbara Reber Ann Johnson Marilyn George Christine Johnson DeLynn Hay Charles Batka James Williams Christine Johnson Ursula Munoz Jane Sauer Gallery John & Barbara Berkenfield Robert Kenny Robert Kirkpatrick Harris Barber Carole Schragen Sharrill Dittmann Elisa Phelps Jorg Bieri Robert Jacob Neil Berman Sheldon Stock Betsey Venitt Anne Lilly Margret Lohfeld Sustaining Sponsors Eric & Barbara Dobkin Jim Egan Alan Kazan Richard Buckley Gary, Brenda & Harrison Ruttenberg Mike & Juanita Eagle Ralph & Becky Rader Relios Jewelry Co. Inc. Taubman Family Janet Hoffmann Randall & Teresa Willis Joyce Davis Frank & Betty Ottesen Stephen & Lynda Nacht Austin Box Beth Extract Lynne King Roberts Supporting Sponsors Maureen Hamilton Andrew Finger Native American Collections Joanne Greenspun
Kay Fowler Douglas McNicol Simon Charitable Foundation Charmay Allred Donald J. Neely Helmut Horchler Luvaghn Brown Margot Linton Mike Wahlig Paul Weiss Ruth Caldwell Stephen Blumberg Steven Rosenberg Susan McGreevy Barbara Morgan David Sontag Leo Krulitz Marilyn Eber Nancy Florsheim Sidney Schultz Susan McGreevy Uschi Butler Sponsors Mary Lynn Oliver School for Advanced Research Rev. Raymond O’Donnell Richard Herz Rev. Raymond O’Donnell Dexter Cirillo Elie Abemayor, M.D. Kenneth Doeg Alan Rolley Diane Imai Edward Snyder Eileen Holmes Jeanne Heyerick Jill Schimpff John Kersh Marianne Kah Mark Sey Sharon Ritchey Sheila Gould Bidtah Becker Arthur Anstine Barbara Sanger Catherine N.H. Lewis James Baker Patricia Skigen Richard Binder Rick Nelson Friends John Schaefer Barbara Reber Ann Johnson
Charles Batka Christine Johnson DeLynn Hay Marilyn George Christine Johnson James Williams Ursula Munoz Jane Sauer Gallery Carole Schragen Christel Bieri Elisa Phelps Harris Barber John Berkenfield Robert Kenny Robert Kirkpatrick Sharrill Dittmann John Berkenfield Neil Berman Robert Jacob Sheldon Stock Betsey Venitt Anne Lilly Margret Lohfeld Annual Fund Barbara Witemeyer Martha Thomas Chris Kemper Eric Dobkin Richard Morehead Marc Appelbaum Helen Sayers Diker Management LLC Richard Moluson Fran Mullin John & Linda Comstock Relios Jewelry Co. Inc. Susan Jacques Business & Foundation Gifts Things Finer Claudia Stromberg Nezhoni, LLC Heritage Research Company Denver Art Museum Palms Trading Company The Santa Fe Collection Museum of Indian Arts & Culture Celeste Corporation Any Occasion, Inc. Grandfather’s Spirit Center for Indigenous Arts & Cultures Southwest Passage LewAllen Contemporary
SWAIA PHOTO ARCHIVE
Official Market Sponsors Santa Claran Hotel & Casino Hotel Santa Fe La Fonda on the Plaza National Museum of the American Indian Santafe.com Carolyn Pollack Jewelry Andrea Fisher Fine Pottery Sealaska Heritage Institute Keshi Allan Houser Inc. Century Bank The City of Santa Fe Arts Commission New Mexico Department of Tourism
Southwest Childrenâ€™s Theatre Prod. The Courtyard Gallery Indian Arts & Crafts Association Canyon Country Originals Peabody Essex Museum Santa Claran Hotel & Casino Shiprock Trading Tom Taylor, Inc. Dragonfly Native American Jewelry Bruce Hartman American Indian Art Dealers Directory Eve Dorfzaun Foundation Inc. Morning Star Gallery Heard Museum Library Indian River Gallery San Diego Mus. of Man Sci. Lib. Judicial Arbiter Group, Inc. HUB International Insurance Services Aboriginals: Art of the First Person Casas De Santa Fe Waddell Trading Company Native American Art Appraisal Audi, Mercedes Benz, Porsche of Albuquerque Pace Pacific Corporation Sandbar Trading The Nelson Museum of the West Santa Fe Cats Rainbow Man, Inc. Roberts Psychotherapy Diker Management LLC Desert Son of Santa Fe Adam Zoldessy, PC Fine Pueblo Pottery Museum of New Mexico Foundation Santa Fe New Mexican Native Trade Frits & Leonardson PLLC Native Jackets Senor Murphy Candymaker Andrea Fisher Fine Pottery Platinum Circle Robert & Marsha Bailey John & Lynn Benson Robin F. Ballenger Mr. & Ms. Richard Teerlink Fran Mullin
Gold Circle Jim Boswell Elizabeth M. Holcomb Teresa & Randall Willis Kim Obrzut Helen & Pennington Way III Anne Marion Dr. Angela Templeton & Dan C. Downs III Gretchen W. Hoover Mark & Maria Chase Richard & Vickie Van House Debbie & Jim Holcombe Steven & Tracy Rosenberg Joyce Davis John & Ann Marion Eric & Barbara Dobkin Lloyd & Reta Scherwinski Rick Nelson & Carolyn Gibbs Lisa Pendrys David Rashin & Ardith Eicher Gilbert Maw & Jenny Auger Maw Silver Circle Brenda Porter Ms. Susan Thickett Katherine Moon Mr & Mrs Robert Neathammer Scott Seligman Art & Susan Peinado Ursula & Stephen Gebert Nanacy Polikoff Elizabeth Kidd Patricia Pratt Ms. Shirley J. Fiske Paul & Jill Grimes Margo Atkins Donna Krahenbuhl James Fothergill Charles Stringfellow Carla Tourtellotte Amy Wachsner Raphael Canallaro Robert & Tamora Miller Peggy & Tom Hubbard Donald & Phyllis Seeger Howard & Joy Berlin Lynne King Roberts William Mahon Mary Ellen Gordon Micheal & Brenda Walsworth Ellen & Bill Taubman Larry & Christy Willman Helmut & Hilde Horchler Gerald Stiebel &
Penelope Hunter-Stiebel Karen & Richard Ford William & Bonnie Nagy James & Barbara Denny Richard & Della May Moluson Anna & Luvaghn Brown Tim & Kelly Coppedge Drs. Aaron & Leslie Kern Erika & Chad Burkhardt Turquoise Circle Ms. Marsha L. Serre Lawrence & Roberta Colin Richard I. Peterson Charlotte M. Blain, M.D. Melissa Coleman Barbara Flood Louis C. Krueger Michael Mahaffey Courtney Taylor Dr. John Torres-Nez Jim Manning Shannon Denny Rick Michod Michael Lapsys Virginia Mattern Libby & Wyck Pattishall James Kelly Gerald & Georgianna Ignace Simina Farcasiu Christine Bernick Joan Olson Roland Aversano Robert Brockman Stephanie Bergsma Hugh Rogers John Price Stuart Early Richard Jack Koji Okumura Helaine Fisher George & Sheila Ross Peter & Donna Hathaway Paula & William Baitinger Lori & Shields Goodman Ruth & Milton Ratner Ed Aldworth & Maria Southwick Mr. & Mrs. John Gould Norman & Nilene Finn Steven Stapakis & Joanne Kootsikas Kathryn Morsea Robert P. Jr. & Barbara Hunter Mr. & Mrs. Freimark Brooks & Wanda Price Mr. & Mrs. Douglas Tewes
Mr. & Mrs. Tomasz Michael Bouris & Janet Harrison Betty S. & Norton Melaver Michael & Joann Van Buskirk Aggie Damron-Garner Debbie & Mark Ray Juanita Bronstein Stephen Maisel Linda S. Heist Patricia Ramsay Mark Haney Philip Johnson Eulojio Sanchez Jeffery Perlman Hal Smith Stephen Martin Mary Costello Nancy O. James Ms. Sylvia Strobach Gayle. L. Wexler Newton Bartley Lyle & Geri Ignace Lee & Gail Bush Earl & Donna Bell Lynn & Ronald White Tom & Lynne Schaefer William Escalera & Francisco George Mr. & Mrs. Glassman Mr. & Mrs. DeSalvo Mr. & Mrs. Edelson Mr. & Mrs. Hoffbuhr William & Hazel Hough Jeffrey & Jeanette Heinel Marcia Berridge Lauren Ames G. Nicholas Smith Bekah D. Stratton Linda Griego Ed M. & Eugenia W. Farrow William & Joyce Ann Deihl Kathryn Koch Elizabeth Stiers Frederick Simon Roy Mainger & Gordon Rosier Terri Richer Barbara C. Tilley Brian J. Sesack Jeff Fog Gerald Himmel John Alexander Cheryl & Larry Nelson Charles Pease, Jr. & Cynthia Vann Judith Markarian Marie Moore
Gwenellen Janov D. Delores Logan Gayle & Jim Bradburn Diane D. Matarazzo Terry Oertli Rachel Wohl Blank Joanne Kootsikos Steven F. Coleman Martha Braniff Mary E. Hedge Whitcomb Hayslip Susan Hagen Karen & James Johnson Henry & Elizabeth Fischer Larry & Sharon Combest John & Fran von Schlegell Mr. & Mrs. Michael G. Ashmore Art & Linda Staubitz Richard Buckley Roxanne Decyk Sallyann Paschall Kathy & Steve Burley Samuel Levy Erin Newbrand Dudley & Leila Collmann Frank Stephen Kwedar Linda Alongi Nancy Zaro Fred & Pam Underwood Sara & David Lieberman William & Carolyn Stuber Richard & Laurie Meyer Tom Mauter Martin Knoester Delores Brandon Carol Nasif & Walter Eisenberg Sidney & Ruth Schultz Al Qoyawayma Ann Fallon Dr. & Mrs. James Hamous William & Kay Crawford Diane Bandy Pamela Bernstein Karen Larson Bruce B. Donnell J. Kenneth Lucius Carolyn Thon Andrew & Judith Finger Melodie & David Anderson Marc & Lynn Appelbaum Beth Beloff Richard Herz & Frances Lancaster Debbie Fleischaker C.A. Wen & David Garlow
continued on page 200 santa fean
Houston’s first international modern and contemporary art fair featuring galleries from the US, Latin America and Europe
September 16-18, 2011 George R. Brown Convention Center Preview September 15 benefiting The Museum of Fine Arts, Houston Glassell School of Art Core artists’ and critics’ residency program
ope n i n g s | r e v i e w s | p e o p l e
Chris Morel, Distant Chapel oil on canvas, 11 x 14"
In this dual exhibit, David Mayer + Chris Morel: Two–Person Show, August 6–28, reception August 6, 5–7 pm, Taos’s Total Arts (122A Kit Carson Road, 575-758-4667, totalartsgallery.com) brings landscape lovers one subject with interpretations by two artists, both of them adroit at communicating in oil on canvas the high contrast of the high desert. Plein air impressionist Mayer, formerly a watercolorist, chronicles the multifaceted terrain of the West, from the Rocky Mountains to the Pacific Coast and everywhere in between. He vividly captures, for example, the complementary autumnal aspen ochres and arid sky blues of his native Colorado. Taoseño Morel focuses a bit closer to home, with his hollyhock-adorned adobes and sandy arroyos set against the red-greens (and green-reds) of Northern New Mexico.—Eve Tolpa august/september 2011
eye of the beholder
photo gra phe r Donald Wo odma n’s e cle ct ic por t f olio by Amy He ga r ty
WITH MORE THAN 40 YEARS behind him as a professional photographer, Donald Woodman has amassed a strikingly original archive of work, which, over the years, has been on display in series as diverse as The Therapist (an intimate exercise in self-exploration) at the New Orleans Museum of Art and The Rodeo and the West at The Art Gallery of Calgary. In July, rather than present a unified set of Woodman’s work, Zane Bennett Contemporary Art launched the solo exhibition Attractions . . . Addictions . . . and Other Kodak Moments in order to celebrate the vastness of his style and subject matter―—both of which have contributed to his status as one of New Mexico’s premier photographers. “This exhibition reflects the eclectic aspect of my personal vision, and it also shows the humorous side to a lot of my work,” says Woodman, 65. In addition to showcasing photographs that have never received public attention due to their lack of affiliation with any particular show, Woodman, when assembling Attractions, was also inspired to avoid the limitations that can sometimes be an unexpected downside to creating a well-received series. “I felt as though I was being pigeonholed,” he says. “For example, when I had my exhibition of rodeo photos in Calgary two years ago, even though those photos were shot in the early 1980s, all of a sudden that’s all people thought I did.” If any artist’s career defies pigeonholing it’s Woodman’s, thanks to a trajectory that began in the late 1960s while he was earning his B.S. in architecture from the University of Cincinnati. While there, he was taught in both the Beaux Arts and Bauhaus traditions, which, Woodman says, “provided a good grounding in drawing and 2D and 3D design.” Another advantage of attending Cincinnati was the hands-on knowledge he gained through a co-op work program. “Through that I realized I didn’t want to be an architect, mainly because the opportunities to work as a designer were very limited,” he says. Thanks to the encouragement of one of his design professors, John Peterson, Woodman began to consider a career in architectural photography. After poring through various architecture journals, Woodman discovered that Ezra Stoller was the master of that field, so he set
off to meet him. “I literally went to his studio outside of New York and knocked on his door,” he remembers. “It took some convincing, but I started working for him for nothing, and that led to a job as his assistant.” Woodman eventually went on to work for Minor White at MIT in Cambridge, Massachusetts. After serving as his assistant for more than two years, White one day took Woodman aside and told him he needed to go out and find his own creative voice. At the same time, Woodman was offered a job at Sacramento Peak Observatory, “and I instantly made the choice to pick up and move to a mountaintop in New Mexico,” he says. While for some the leap from commercial to scientific photography might seem jarring, for Woodman it underscored what could be considered the essence of his art. “I don’t compartmentalize my life or my photographic work,” he says. “Working at the observatory allowed me to hone my technical skills, and it exposed me to a whole new set of tools that I was able to use in innovative ways. It’s all a part of a whole. It’s bringing all of my creative energy to bear on finding the best image to express the idea and content.” Having lived in New Mexico since 1972, much of Woodman’s work has been inspired by his adoptive home state. As a result, Woodman is one of three local photographers who recently bequeathed their archives to the Palace of the Governors’ permanent collection―. “It’s exciting because the Palace’s photo archive is the largest one in New Mexico,” says Woodman, who lives in Belen with his wife, Judy Chicago. Dozens of Woodman’s photographs—shot in various formats and focusing on subjects from a sunset in southern New Mexico to the Empire State Building to a gay rodeo in Albuquerque—are on view in Attractions, which includes images from as early as the 1970s and as recently as this past July. “I like to pick and choose techniques or equipment I need to express the content I want to work on,” Woodman says. “I like to be uncomfortable. It stimulates my creative juices.” Attractions . . . Addictions . . . and other Kodak Moments, Zane Bennett Contemporary Art, 435 S Guadalupe, 505-982-8111, zanebennettcontemporary.com, through Aug. 26
Left: Cowboy Up or Go Sit in the Truck; right: God Is Just a Prayer Away; both works are unique archival digital prints 154
pa in te r Pote e t Victor y re inve nt s minimali sm by De von Jack s on
SPEND ANY AMOUNT OF ENGAGED TIME with Poteet Victory and you’ll soon realize it’s not unlike the feeling you get when taking in his paintings. What initially strikes you as simple, straightforward, and down to earth gradually deepens, increasing in complexity and nuance. His paintings, most of them decidedly abstract, aim for and explore the spiritual, primarily through color and form at their most essential. And Victory himself, once you get past the soft Sooner twang, the aw-shucks demeanor, and the ranching and rodeo background, is as sophisticated and informed an artist as you’ll ever meet. Get him to talking about his most recent and ongoing series, Abbreviated Portraits, for instance, and he’ll reference everything from the latest neuroscientific takes on the way the brain processes and remembers images to Joseph Campbell’s iconographic studies of mythology to Marcel Proust’s insights into the way smell triggers memory. Not that he puts any of this across didactically, or that it’s at all striving or trying to impress. Quite the opposite. And that’s what’s so disarming and what warms you up to both Victory and to his paintings. His art exudes its creator’s humility as much as his intellect. In a life of turning points, one of the first and deepest for Victory, who grew up in a family of roughnecks in cowpunching Idabel, Oklahoma, was his encounter, at age 15, with fellow Idabellan Harold Stephenson, an accomplished painter who’d moved to New York City and so charmed Andy Warhol that the Pop artist named his first film after him. “I’d been rodeoing bulls and riding horses bareback,” recalls Victory, now 64. “After one of the rodeos Stephenson came up to me and asked if I’d pose as Alexander the Great. He needed someone who could sit on a horse in his studio. So I posed for him over the next two summers. He’d talk about art and the philosophy of art. That really stuck with me.” After serving in the Army, learning silkscreening in Maui, and then founding and, in 1980, selling off a successful T-shirt business, Victory lit out for the Art Students League in New York, where he again hooked up with Stephenson (who introduced him to Warhol and to Robert Rauschenberg) and honed his emerging skills as a fine artist. Fifteen years later, after having returned to Oklahoma (and after his wife asked him for a divorce), Victory moved to Santa Fe, where, within weeks, he was bartending at Vanessie. “It was the perfect thing for a person like me,” he says. “I didn’t know anybody and through that job I got to meet everybody.” The owner soon hung up some of his works, which quickly sold. By 1991, he was painting full-time. Since then, Victory (who’s 3/8 Cherokee and Choctaw) has abandoned realism and Native imagery almost entirely. And brushes. “I’m a lot more comfortable with a knife than a brush,” he says, “so I paint everything on the knife. And I actually don’t paint; I sculpt.” Lately he’s been “sculpting” away on his potentially groundbreaking series Abbreviated Portraits, wherein he has distilled a person down to his or her archetypal essence. Having come up with the idea from texting (and the way people abridge their words when doing so), these pieces are as much about surface and color as his other works have always been coveted for. (Madonna, Robert Plant, and Anthony Hopkins are among his collectors.) This series’ abbreviations of Paul Newman, John Wayne, and Dolly Parton, however, reflect not only our ADD-ish times, but also gibe with Victory’s creative and spiritual pursuits. His premise is that our brains store information consciously and subconsciously mostly in basic shapes and forms, and therefore we share the same references for certain images—for Newman, Wayne, Cher. “So when I come up with these abstract shapes and forms,” says Victory excitedly, “I see them, and I know you’re seeing them, too.” Subliminally, or cosmically, they inspire a connection between Victory and viewer, which is probably why they’ve caused such a ruckus at McLarry Modern on Canyon Road—and with Stephenson and others. “They’ve become a phenomenon here at the gallery,” marvels Victory. “And after Harold saw them he told me, You have got to keep pursuing this. This destroys modern art.”
Top: Poteet Victory, Haiku, oil on canvas, 24 x 20"; middle: Night Guardian, oil on canvas, 60 x 60"; bottom: Paul Newman, oil on canvas, 48 x 48"
New Works, August 19–September 15, reception August 19, 5:30–7:30 pm, McLarry Modern, 225 Canyon, 505-983-8589, mclarrymodern.com august/september 2011
Tom Chambers: Dreaming in Reverse photo-eye Gallery, 376 Garcia 505-988-5152, photoeye.com August 5–September 25, reception August 5, 5–7 pm Chambers’s newest series of photographs was created during his recent travels in Mexico, a place he fell in love with 25 years ago. Chambers has noted that the Mexico he first encountered in the 1980s was strikingly different from the Mexico he experienced this time around, thanks to pressing political and economic issues. Dreaming in Reverse, he says, expresses “both my concern for cultural loss, as well as my appreciation for the inherent loveliness of Mexican life.” Using magical realism, Chambers creates stunning and hauntingly beautiful images that, in his words, “seem true and believable, but also perhaps improbable.”—AH
Wendy Higgins, A Crown for Maria, oil on canvas, 20 x 30"
Wendy Higgins: One-Woman Show Greenberg Fine Art, 205 Canyon 505-955-1500, greenbergfineart.com September 16–29, reception September 16, 5–7 pm Acclaimed still-life artist Wendy Higgins presents 15 new oil paintings in this solo exhibition. The power and energy of her work belies the inanimate nature of some of her subjects (or supporting subjects), from vessels to textiles, thanks to the dramatic and evocative way she plays with light and shadow. Having earned a B.A. in fine arts, Higgins worked as a landscaper in Iowa before moving to New Mexico to paint full time. Her pieces often reflect her love for and knowledge of gardens, as revealed in her elegant and particularly popular depictions of flowers.—AH
Tom Chambers, Two Chairs, archival pigment ink print, 20 x 20"
Indian Market Group Show The Gallery at 822 Canyon Road, 822 Canyon 505-989-1700, gallery822.com August 19 through the fall reception August 19, 5–8 pm Gallery 822’s annual Indian Market exhibition features new works by Native American painters Robert Taylor and K. Henderson, as well as works by wildlife artists Joshua Tobey (sculptor) and Trevor V. Swanson (painter), both of whom will be at the opening-night reception. Other artists in the show (many of whom will also be at the reception) include painters Carol Swinney, Nori McConnaughhay, Peter Krusko, Sandy Keller, and Jami Tobey; sculptors Carol Gold and Brent Lawrence; mixed-media artist James Moore; basket weaver Jane Chavez; and jeweler Robert Rogers.—AH K. Henderson, Morning Light, oil on linen, 30 x 40" 156
822 CANYON ROAD SANTA FE, NM 87501 505.989.1700 www.gallery822.com
Indian Market Group Show
Exhibiting new works by all artists Artistsâ€™ Reception - Friday, August 19, 5 to 8 pm
K. Henderson august/september 2011
Julian Jackson: Afterglow Karan Ruhlen Gallery, 225 Canyon, 505-820-0807 karanruhlen.com September 2–17, reception September 2, 5–7 pm Rothko meets Mondrian in Julian Jackson’s gorgeous grid-oriented color-field paintings. Then there’s that element that elevates these oil-on-panel pieces, rendering them unique: the uncanny quality of the colors themselves, which manage simultaneously to be diffuse and self-contained, with a translucent clarity that’s almost jarring. There is also a paradox at play in the Brooklyn-based artist’s spatial relationships. Strong verticals and horizontals create restfulness, while the illusion of advancing and receding shapes gives the paintings a sense of motion. The interaction of color and composition conjures up the world as seen by uncorrected myopics (at least from the POV of this Coke-bottle lens wearer); checking out Afterglow, viewers blessed with 20/20 vision will find that it is a mesmerizing one.—ET Julian Jackson, Zone Plum I, oil on panel, 79 x 24" 158
Aaron Karp, Indra’s Pearls, acrylic on canvas, 60 x 72"
Aaron Karp, Lucy Maki, Tim Prythero: More Is More New Concept Gallery, 610 Canyon 505-795-7570, newconceptgallery.com August 5–28, reception August 5, 5–7 pm Playing against the idea of “less is more,” artists Karp, Maki, and Prythero—all of whose works are widely shown and collected—display pieces (from paintings to mixed-media constructions) that are striking in their complexity and attention to detail. Maki has described the exhibition as “exploring the integrative function of art, and the process of fusing everything into one.” And then there’s the process of fusing one into everything—as in the way the works of these three come together.—AH
Dennis Wojtkiewicz: Uno, Due Peterson-Cody Gallery, 130 W Palace 505-820-0010, petersoncodygallery.com August 5–31, reception August 5, 5–7:30 pm Wojtkiewicz’s new work can be likened to that of his greatest influence, Vermeer—if, instead of painting domestic interior vignettes, the Dutch master had painted gargantuan fruit and flower still lifes. Wojtkiewicz’s 10 new paintings are a sublimation of his earlier, more traditional paintings in the genre. Employing similar classical painting techniques of the Northern European masters that he esteems, Wojtkiewicz intricately layers semi-opaque and transparent oils to create his photorealistic ruminations. Minimalist compositions in the scale of O’Keeffe’s famed flower series, Wojtkiewicz’s rosettes are more akin to stained-glass panels in their interior glow than traditional studies of inanimate subject matter.—Elizabeth Lake
Sheridan MacKnight Chippewa/Lakota
paintings and jewelry Santa Fe Indian Market Booth 420W-WA represented by Morning Star Gallery sheridanmacknight.com 310.488.1796
Dennis Wojtkiewicz, Citrus Series #20, oil on canvas, 43 x 67"
Alan Soffer, Linear II, encaustic on panel, 31 x 40"
Alan Soffer: Now, Pippin Contemporary Fine Art Gallery 125 Lincoln, Suite 114, 505-795-7476, pippincontemporary.com through August 19; August 6, 1–2 pm, Soffer discusses his vision and the process of encaustic painting An ardent disciple of the mythologist and writer Joseph Campell, Soffer’s encaustic abstractions explore the concepts of monomyth and space “from the microscopic to the galactic.” With titles like Microcosm VI, In My Own Language, and State of Being, Soffer’s encaustics are dreamlike abstractions of Rauschenberg drips meet Chagall’s softedge color-pastel swaths. Hazy, often ochre backgrounds yield clouds of pop color whimsically scumbled and blurred. Influenced by the abstract expressionist zeitgeist, the artist’s multilayered translucent paintings of hot-pigmented wax are vehicles for mining, burying, and exposing the “images and sentiments infused” in his work.—EL
Photographer: Jennifer Esperanza • Hair & Makeup: Charlet Riddell
SantaFean - PM Waterlily Indian Mkt 1/3pg SQ Adv:Layout 1 6/28/11 6:02 PM Page 1
www.pmwaterlily.com email@example.com firstname.lastname@example.org Design Studio: 1337 Gusdorf Rd. #D Taos, NM • 87571 During Indian Market: 612-965-0522 After Indian Market: 575.779.5322
Laurie Archer, Ryuijie + Josephine Sacabo VERVE Gallery of Photography, 219 E Marcy 505-982-5009, vervegallery.com September 9–October 29 reception September 16, 5–7 pm This three-person show features new solar-plate etchings from Santa Fe artist Laurie Archer, platinum contact prints and ice forms from Monterey, California-based Ryuijie, and work by New Orleans resident Josephine Sacabo from her series Óyeme con los Ojos (Hear Me with Your Eyes).—AH Laurie Archer, In the Wood VI, solar-plate etching with stitched-in string, 7 x 10"
CJ Wells: Graffiti Grill GF Contemporary, 707 Canyon, 505-983-3707 giacobbefritz.com, August 19–September 2, reception August 19, 5–8 pm Wells’s second solo exhibition at GF Contemporary shows off considerable stylistic and thematic progression. Known for her series of Native American warrior portraits, her work here is again informed by her Spanish and American Indian heritage. Inspired by Al Gore’s An Inconvenient Truth, Graffiti includes 10 new abstract paintings focusing on the relevant environmental theme of climate change and people’s relationship to the earth. Gone is the warrior as subject; nevertheless, the presence of Native peoples can still be felt here, perhaps in the outlook of these “holy people [and their] vision,” and in their understanding of the earth. Stylistically diverse, the artist’s current paintings are a bold exploration of color and of constructed compositions of pattern (many with cubist undertones). Graffiti Grill reflects its other meaning, too: that of an animated all-over image comprising tribal-like designs overlapping and intertwining in a writhing carnival.—EL 160
CJ Wells, Mange-Moi Cru, oil on canvas, 34 x 44"
Morten Olrik, Gudhjem Bornholm (from the City by the Sea series), oil on panel, 24 x 41"
Morten Olrik: Landsbyen (The Village) + Byen ved Havet (The City by the Sea), MOAA Contemporary Art + Architecture, 54 ½ W San Francisco 505-470-8478, mortenolrik.com August 19–September 5, reception August 19, 5–7 pm Olrik’s Danish and architectural roots are as palpable as his predilection for flattened perspectives, rooftops, and cubism. Often combinations of towns, cities, and buildings he’s lived in or visited—from Copenhagen to Cape Town, Truchas, New Mexico, to Newport, Rhode Island—no painting is entirely one place, yet every painting seems to evoke, for most viewers, memories of home, say, or a European farm or a childhood village. But not unlike the moody landscapes of Hopper or Cézanne, or a scene out of an Ingmar Bergman movie, there’s only the faintest whiff of nostalgia or plaintive longingness. A little melancholy, maybe. But alluring, tensile, and evocative.—DJ
coo coo ca choo
Robert Minervini, Sunken Dreams, acrylic and oil on canvas, 48 x 72"
Robert Minervini + Scott Anderson Eggman + Walrus Art Emporium, 130 W Palace, 2nd floor 505-660-0048, eggmanwalrus.com September 2–October 2, reception September 2, 5:30–9 pm Two young, contemporary artists—both searching, in some way, for an authenticity of identity, whether by rebuilding one’s existence after annihilating outdated paradigms or finding it within the world of one’s own imagination— showcase their work at this new gallery, tucked away in a hip, second-floor spot on West Palace. Anderson, who has an MFA from the University of Illinois, Urbana-Champaign, says his paintings “contain narratives that waver between fantasies of escape and post-apocalyptic meltdown,” while Minervini, who earned his MFA from the San Francisco Art Institute, paints “desolate, dreamlike, non-places . . . alluding to the making of a utopian and/or dystopian environment.”—AH
A whimsical blue walrus beckons you to wander off Palace Avenue and into one of Santa Fe’s newest, most intriguing art spaces. After winding up and around a flight of stairs (wrapped in scrawling text and with surreal illustrations of animal-headed, lingerie-clad ladies by Taos artist Elizabeth Haidle), you then fall into the phantasmagoric world of Eggman + Walrus Art Emporium. Visiting this second-floor spot in the Palacio building is akin to visiting the carnival: You don’t know what’s on the bill, but you know it will be entertaining. Like Alice stepping through the looking glass or Gulliver waking up with that Brobdingnagian feeling in Lilliputia, E+W envelops you into its small, warm, wooded room. From here, you step into a larger, light-filled space with Spartan white walls, dryer-duct lighting, and painted floors. The emporium’s interconnected rooms weave together, each housing a sideshow of its own—be it Haidle’s intricate Lewis Carroll-like murals or Claire Ashley’s neon, inflatable effusions jutting up from the ground and out from the wall: color and wonder explode into every available space. The man behind the curtain is owner Evan Glassman, a Chicago transplant who moved to Santa Fe more than three years ago after falling in love with the state’s landscape and culture. An accomplished artist and mosaicist (and founder of Studio E, a multimedia studio arts company with an impressive list of corporate clients), Glassman, 44, decided to switch it up and venture down the path of emerging and experimental art. “I saw a niche that I wanted to jump into: to facilitate good exhibitions and provide a venue for emerging artists and the inventive process,” he says. “I want to shake it up a little bit and challenge people’s perceptions.” With his public art background, Glassman is particularly interested in pursuing public installations and mural projects in and around Santa Fe. Still finding his footing in the sands of the Santa Fe art scene— fighting the good-fight “issues of provincialism”—Glassman offers former New Mexico Governor Lew Wallace’s words as his parting statement. “All calculations based on experience elsewhere fail in New Mexico,” he says with a grin. “But it sure is beautiful here.”—EL
Arturo Chavez, Navajo Buttes, oil on linen on panel, 32 x 40"
Tony Angell, Arturo Chavez, Steve Kestrel, James Morgan + Jeri Nichols Quinn: Romantic Contours, Modern Terrain Gerald Peters Gallery, 1011 Paseo de Peralta 505-954-5700, gpgallery.com, through September 24 In this group show featuring five Western-based landscape and wildlife artists, the terrain that makes up their respective oeuvres is far more romantic—actually, romanticized—than it is modern. Which means their works can exude and possess a technical daring yet still be entirely safe. Safe from criticism, safe from judgment, safe from the grayer realities that can sometimes intrude upon the simple beauty of a Wind Hover in bronze (by Angell) or the majestic power of the outdoors (Chavez’s Navajo Buttes). These are five artists at the top of their game. And if they’re making any sort of statement— individually or collectively—it’s about beauty, the decorative beauty of nature, and our duty to respect, appreciate, and nurture it.—DJ
Scott Anderson, Mourners’ Village, oil on canvas, 40 x 50" august/september 2011
Beyond the expected The finest contemporary American Indian art for today’s collector. Joe Feddersen, “Urban Vernacular: Cul-de-Sac”, 2008 Blown and Mirrored Glass
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Peggy McGivern: Legends and Myths Act I Gallery, 218 Paseo del Pueblo Norte, Taos 575-758-7831, actonegallery.com August 6–September 6, reception August 6, 5–7 pm In this one-woman show, McGivern, who’s been exhibiting her paintings in galleries for 30 years and has said that she hopes her work is always evolving, offers what’s been described as her “personal interpretation of the emotional realm of everyday life.” Using powerful brush strokes and a warm and vibrant palette, McGivern provides a glimpse into the rituals and daily events of Native Americans as well as of hardworking, ordinary people in South America (inspired by recent travels to Chile and Argentina).—AH Peggy McGivern Rainmaker oil on canvas 36 x 24"
Michael Bergt: About Face, Jane Sauer Gallery, 652 Canyon, 505-995-8513, janesauergallery.com August 12–September 6, reception August 12, 5–7 pm About Face, Bergt’s solo show of new twodimensional figurative work, is a continuation of his intricate and controlled tapestries of subtle texture and pattern. His classically rendered and fastidious portrait studies evoke a magical realism and narrative through metaphor and mood. By integrating classical methods and aesthetics with contemporary subject matter, Bergt creates psychological portraits as much as visual ones. Drawing from stylistic and narrative traditions of classical European art, and Eastern pattern and design mores, Bergt’s attention to surface detail is dictated by his media. His egg tempera paintings on panel, as well as his color pencil and gouache renderings on paper, necessitate precision. Bergt’s controlled marks build a complex web of subtly crosshatched multilayers, creating a pleasing visual cohesion.—EL
Michael Bergt Life Preserver color pencil and gouache on toned paper 22 x 15"
J OSHUA MADALENA J OSHUA J OSHUAMADALENA MADALENA
(13”H X 14”W) (13”H Xof (13”H 14”W) X 14”W) Madalena’s revival of the lost process black on white Jemez Pottery is nothing short of remarkable. His dedication to this ancient hasJemez brought hisnothing pottery to Madalena’s Madalena’s revival revival of theoflost theprocess lost process of black of black on white on art white Jemez Pottery Pottery is is nothing the cutting edge of technology, science, shortshort of remarkable. of remarkable. His dedication His dedication to thistoancient this ancient art has artbrought has brought his pottery his pottery to to cultural history. the cutting thechemistry cutting edge edge ofand technology, of technology, science, science,
chemistry chemistry and cultural and cultural history. history. Be awed and inspired by his creations. Be awed Be awed and inspired and inspired by hisbycreations. his creations.
(505) 659-5577 www.blackonwhitepottery.com Booth 403 WA-E (505)(505) 659-5577 659-5577www.blackonwhitepottery.com www.blackonwhitepottery.com Booth Booth 403 WA-E 403fean WA-E 163 august/september 2011 santa
Red Dot Gallery
Leslie Tejada, Satranji, mixed media on canvas, 36 x 42"
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Joan Bohn + Leslie Tejada Hunter Kirkland Contemporary, 200B Canyon 505-984-2111, hunterkirklandcontemporary.com September 2–18, reception September 2, 5–7 pm Houston-based mixed-media artist Joan Bohn is, by her own admission, constantly seeking balance, and this elusive quality manifests itself in her Asian-influenced pieces as much through the process of subtraction as addition. She mixes colors directly onto her wood-panel “canvas,” and, using a ritualistic practice of layering and scraping away paint, reveals abstractions that allude toward landscape. Leslie Tejada also cites an Eastern influence in her work; the Oregon artist’s latest oil-on-canvas series takes its inspiration from kilim motifs. Her signature use of overlaid glazing and metallic pigments results in intricate woven textures that stimulate the viewer’s eye—and imagination.—ET
Kate Rivers, Blue Valentine mixed-media collage, 34 x 36"
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215 S. 3rd St. Gallup, NM 87301 Phone: (505) 722-5992 Fax: (505) 722-5994 Mon-Fri, 9am-6pm 164
Kate Rivers: Pastiche Matthews Gallery, 669 Canyon 505-992-2882, matthewsgallery.com August 5–18, reception August 5, 5–7 pm In this striking collection of recent collages, mixed-media artist Rivers uses fragments of cancelled stamps, old books, maps, recipes, advertisements, tickets, and other found materials to, she says, “reflect memories.” Intentionally culling items that have been thrown away or discarded, Rivers movingly weaves together a “tapestry of experience . . . to form a complex, dense structure that reflects a life lived.”—AH
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Carol Kucera Gallery Julian Coriz, Santo Domingo Pueblo, Water Jar, 6 x 6"
Julian Coriz is a young master potter from Santo Domingo Pueblo whose exquisite hand-built pottery demonstrates his creative approach to traditional tribal motifs. We are proud to include his work in our stable of contemporary artists whose works include abstract paintings, neon and steel sculptures, porcelain, glass, hand-turned wood vessels, and photography. Many of the works exhibited are inspired by the elegance of nature and the wonders of the physical universe. Daily 10–5, closed Tuesday. 112 W San Francisco, Suite 107, 866-989-7523 email@example.com, carolkucera.com
gallery ART SHOWCASE
Bobblehead Collection: Sculptured, Kinetic Art by Jonathan Loretto Little Joe, mixed clay/paints, kiln/traditional firing figure: 13 x 10", drum: 3 x 5"
"As I continue my journey as an artist, I am humbled by all who support my endeavors—angels, both living and spiritual." PO Box 126, Cochiti Pueblo, NM 87072, 505-231-6046 firstname.lastname@example.org; work also available at Case Trading Post Wheelwright Museum, Santa Fe
Gallery 822 Robert Taylor, The Great Mystery, acrylic on canvas, 60 x 48"
Our Indian Market group show opens Friday evening, August 19, from 5–8 PM. There will be new work by Native American artists Robert Taylor and K. Henderson. Join them and all of our gallery artists at the reception and during Indian Market weekend. Gallery 822 - Barbara and Sara, 822 Canyon, 505-989-1700, gallery822.com august/september 2011
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Pablo Milan Gallery Pablo Milan, Journey at Sunset, acrylic on canvas, 36 x 60"
The gallery will host a special reception from 5–8 PM on Friday, August 19 for the 2011 Indian Market. Artists Pablo Milan, Don Brewer Wakpa, and Denny Champlin will be in attendance. 209 Galisteo, 505-820-1285, email@example.com thepablomilangallery.com
Doug Adams's Sculptured Bells are made from recycled, scrap, and found materials, and have a decidedly aesthetic appeal, in addition to sounding amazing when rung. Adams spent 30 years working at a steel mill in Utah before embarking on bell making full time. The bells range in size from table top to major outdoor statement pieces. Pictured here is Stone Circle, which is 76" high. Come give them a ring! 202 Canyon, 505-982-1494 gvgcontemporary.com
Mark White Fine Art
Join us here in Mark’s calming, meditative kinetic garden to experience bliss. These wind-driven sculptures welcome you through to his gallery. Inside you will find his exquisitely patinaed, engraved metal canvases and bronzes. We look forward to your visit. 414 Canyon, 505-982-2073, markwhitefineart.com
Frank Howell Gallery Jammey Huggins, Bearer of Gifts, bronze vessel
Bronze artist Jammey Huggins will be having an opening on August 5, 5–7 PM. Come by and meet Jammey. 166
103 Washington, 505-984-1074, frankhowellgallery.com
Hunter Kirkland Contemporary Eric Boyer, Ascension X, steel and wire mesh, 39 x 28 x 8"
Among contemporary sculptors working with wire mesh, Eric Boyer stands out for the beauty of his male and female figures and for the sophistication with which he explores a medium that consists as much in open, empty space as in the solid strands that contain it. Hunter Kirkland is pleased to feature Eric Boyer in a twoperson exhibition with Charlotte Foust, showing August 12–28. 200B Canyon, 505-984-2111 hunterkirklandcontemporary.com
MOAA Contemporary Art + Architecture Morten Olrik, Untitled (The Village series) oil on panel, 36 x 48" (92 x 122cm)
Morten Olrik’s paintings combine the cultural elements and imagery of the many and varied places he has lived and visited. His current studio show, Landsbyen (The Village) and Byen ved Havet (The City by the Sea), highlights his architectural background. 54½ E San Francisco, 505-470-8478 mortenolrik.com
Krasnoff Studios Kevan Krasnoff, Harmonic Traverse, acrylic canvas, 44 x 70"
Krasnoff Studios is home to ceramic-amor wall sculptures and vessels, fabricated and forged-steel totems and sculpture, and the multidirectional abstract paintings of Kevan Krasnoff. Situated at the base of Boulder’s Flatirons, the Marine Street Sculpture Garden is an oasis featuring Krasnoff’s work as well as work by select artists. By appointment. PO Box 932, Boulder, CO, 80306, 303-444-0693, krasnoff.com
Greenberg Fine Art Wendy Higgins, Grace, oil, 12 x 24"
Wendy Higgins’ work is anything but “still.” Her oils consist of dynamic arrangements of vessels, flowers, fruit and textiles, all illuminated by the artist’s exquisite use of light and shadow. Her paintings sing with life. Their originality of design and her superb handling of textures and surfaces create a total aesthetic experience for the viewer. Come view the new still life paintings of award-winning, OPA Signature Member, Wendy Higgins. Opening night reception with the artist on Friday, September 16, 5–7PM. You can preview the show beginning September 1 at www.greenbergfineart.com. 205 Canyon, 505-955-1500 firstname.lastname@example.org greenbergfineart.com august/september 2011
photo-eye Gallery Tom Chambers, Ring of Fire/Aro de Fuego archival pigment ink print, edition of 20, 19 x 22"
Specializing in contemporary fine-art photography, photo-eye Gallery represents local and internationally recognized artists working in a range of processes. Dreaming in Reverse, mysterious images inspired by photographer Tom Chambers’ travels through Mexico, runs from August 5 to September 25. A limited edition portfolio is available. 376 Garcia, Suite A, 505-988-5159 x202, photoeye.com/gallery
Sage Creek Gallery
“Artist in Residence” Scott Rogers sculpts on site throughout August. Landscapist Marilyn Yates unveils new creations August 12. Indian Market, August 19–21, opens a show featuring painters Sue Krzyston, Jay Hester, and Hyrum Joe and sculptors Ken Rowe, Vala Ola, Lincoln Fox, Scott Rogers. 200 Old Santa Fe Trail, 505-988-3444, sagecreekgallery.com
POP Gallery: POP Goes To The Dogs 2011 Lynden St. Victor, Love, acrylic and oil on canvas, 43 x 65"
This 5th Annual Benefit for Assistance Dogs of The West features original works by Clifford Bailey, Lynden St. Victor, Diego Lukezic, and Trevor Mikula during Santa Fe's 21st Annual Wine & Chile Fiesta. Show opens September 16 and runs through October 31. Art raffle, wine tasting and hors d'oeuvres will be served at the artist reception on Saturday, September 24, 6–9 PM. 133 W Water, 505-820-0788, email@example.com, popsantafe.com
Wheelwright Museum of the American Indian Necklace from Santo Domingo Pueblo, circa 1935 turquoise, gypsum, and plastic
The Wheelwright Museum celebrates a popular New Mexican folk art tradition with Thunderbird Jewelry of Santo Domingo Pueblo, through April 15, 2012. Featuring more than 300 whimsical, innovative creations made from found materials, dating circa 1920s–1950s. Museum Hill, 704 Camino Lejo, 505-982-4636, wheelwright.org 168
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Andrews Pueblo Pottery & Art Gallery Sheldon Harvey, sculpture: wood, 15 x 15", painting: oil on canvas, 48 x 36"
In Old Town Albuquerque: authentic Native American art, including works by award-winning artists, past and present; pottery from all working New Mexico pueblos, the Hopi and Navajo reservations; katsinas; baskets; fetish carvings; and the paintings and sculptures of Sheldon Harvey. 303 Romero NW, Albuquerque 505-243-0414 or 877-606-0543, andrewspp.com
Karan Ruhlen New Mexico Influence: Color and Nature
Featuring New Mexico artists: Elaine Holien, Vanita Smithey, Jinni Thomas, Pauline Ziegen. The exhibition focuses on the artists' unique approach to nature and their use of color. Opening artist reception: August 19 from 5–7PM, Indian Market weekend. Show runs August 19–September 1. 225 Canyon, 505-820-0807, firstname.lastname@example.org, karanruhlen.com
Torres Gallery Robert Rivera, Turtle Storyteller, gourd, 9 x 12"
Robert Rivera is able to challenge the boundaries of gourd art by continually evolving and creating new and innovative art pieces from the lowly gourd. His masks, pots, figures, wall hangings, etc. are his interpretations of ancient and present cultures. 207 W Water, 505-986-8914, email@example.com
Liquid Light Glass Elodie Holmes, blown glass and metal, tallest 28"
Elodie’s Aurora Sculptures are hollow, organically shaped sculptures held by black forged-steel bases. Her studio/gallery, Liquid Light Glass, is located in the Baca Street Art District. Come and watch Elodie make world-class glass art that's represented in national and international galleries and museum shops. 926 Baca #3, 505-820-2222, liquidlightglass.com august/september 2011
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Taos Sacred Places
Just over an hour north of Santa Fe—discover authentic Taos. Be transformed by the land, light, and legend of Taos. Visit our world-class museums, galleries, local artists, unique shops, and 1,100-year-old Taos Pueblo, a UNESCO World Heritage site. 877-587-9007, TaosSacredPlaces.com
showcase ARTS + ENTERTAINMENT
Rory Wagner, 1950–2010 The Huron, acrylic on canvas, 38 x 30"
Rory painted rich, realistically rendered figures mostly of Native American heritage. His style mirrored that of master painter Jan Vermeer. His passion for perfection often resulted in the destroying of a canvas, only to start anew. Creating 6–12 canvases a year, each one glows with a magical presence that depicts his unmistakable style. Wilder Nightingale Fine Art, 119 Kit Carson Road Taos, NM 87571, 575-758-3255, wnightingale.com
Please visit us at Bryans Gallery to view our large selection of fine, old pawn and estate jewelry. Take advantage of 30 years experience in the business and enjoy our personalized service in a relaxed, friendly atmosphere. 121 Kit Carson Road, Taos, NM 87571 575-758-9407 or 800-833-7631 bryansgallery.com
Taos Blue Gallery Duane O'Hagan Zuni Alter Revisited 18 x 14 x 4"
Taos Blue Gallery presents an extensive collection of Duane O'Hagan's contemporary works, including masks and figures that are inspired by earlier forms held in museums around the world. Fine hand crafts, jewelry, ceramics, fiber & metal arts. 101 Bent Street, Taos, NM 87571, 575-758-3561 taosblue.com
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Act I Gallery Peggy McGivern, The Leader, oil on canvas, 8 x 10"
Peggy McGivern’s Second Annual Exhibition: Legends and Myths Celebrate McGivern’s experiences in Chile and Argentina, documenting the hard-working people and their joys of daily living. Her exuberant brushstrokes and vibrant palette beckon us to enjoy storytelling through painting. Her recent Native American work has become more grounded, bringing the viewer to an eye level of thoughtful understanding with her personal, sensitive interpretations. Opening reception: Saturday, August 6, 5–7 PM. Show continues through September 6. Act I Gallery, 218 Paseo del Pueblo Norte, Taos, NM 87571 575-758-7831, firstname.lastname@example.org, ActOneGallery.com
Toast of Taos Arts and Wine Festival August 18–21, 2011
Inviting you to experience and enjoy the blending of fine dining, fine wines, wine seminars, fabulous art, and events throughout the historic district of magical Taos. 575-758-3911, email@example.com, toastoftaos.com
Featuring the largest, most exciting array of cutting-edge works by internationally recognized artist Gregory Lomayesva. We've represented this exceptional, contemporary mixed-media sculptor and painter since the beginning 20 years ago. Visit Bryans Gallery to see Lomayesva's new works and that of our other fine southwestern artists. 121 Kit Carson Road, Taos, NM 87571, 575-758-9407 or 800-833-7631, bryansgallery.com
5 Incredible Museums for only $25 • E. L. Blumenschein Home & Museum • La Hacienda de los Martinez • The Harwood Museum of Art • Millicent Rogers Museum • Taos Art Museum & Fechin House
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Packard’s on the Plaza James Kallas Jewelers Carved Lotus Flower: 22k gold granulation with pink coral, diamond, and turquoise, 22k gold granulation with opal, diamond, and green tourmaline, and South Sea: 22k gold granulation with golden pearl, diamond, and red coral Specializing in one-of-a-kind handmade pieces. We are an eclectic all-in-one shop featuring fine jewelry, jewelry repairs, and jewelry restoration. We can make and fix just about anything. Well worth the 10-minute drive from the Plaza. 2801 Rodeo, Suite B8, 505-986-1955, jameskallasjewelersinc.com
Pam Springall Castle Dome turquoise petals with handmade signature sterling clasp Sassy and sophisticated stones, beads, pearls, and gems in every color of the spectrum. Drape, string, coil, or snake on one of the necklaces in your favorite hue to wear to lunch or to the opera, only at Packard’s on the Plaza. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241 shoppackards.com
Boots and Boogie The Golden Eye Jewels for the king and queen in all of us 18k gold rings set with fine colored gems and diamonds Available only at The Golden Eye, where creativity reigns and the possibilities are endless. Design your own unique statement from our collection of jewels set in 18k gold. One or many, mix, and match. 115 Don Gaspar, 505-984-0040 or 800-784-0038, goldeneyesantafe.com 172
Boogie Knows Boots Santa Fe’s premier gallery of fine handcrafted boots. Elegant while still being comfortable. Owner Roy Flynn will personally and expertly size you in the finest and most beautiful alligator boots—both belly and hornback, in myriad colors and at the most competitive prices in the industry. Boots and Boogie utilizes five bootmakers and is committed to style, elegance, customer comfort, and satisfaction. Whether it’s the classic alligator or any of the hundreds of other designs available, Boots and Boogie outfits you with style. 102 E Water, in the El Centro Mall one block southwest of La Fonda Hotel, 505-983-0777
Rippel and Co. Gregory P. Segura, award-winning precious metals artist Santa Fe Pearls, necklace with ruby and ruby ziosite, 65” opera length with one-of-a-kind, 4.5 x 3.5” hand-stamped silver cross A collection of original and expressive designs handcrafted to adorn the most discriminating of collectors. Come see the newest works in sterling silver from one of Santa Fe’s own. Created from the heart and soul of Santa Fe. 111 Old Santa Fe Trail at La Fonda on the Plaza 505-986-9115, johnrippel.com or santafesilverworks.com
The HatSmith of Santa Fe, Inc.
Cowgirl duster made of hand-loomed, cotton saltillo sarape. Ankle-length, lined, pockets, and silver conch button Sarape Girl designs are all made of handmade traditional saltillo sarapes loomed in cotton by our weaver in mainland Mexico. They are sewn in our factory in Baja California, Mexico. Each is unique, with woven diamond pattern on back and various linings. Christina Duwell, Box 1255, Florence, OR, 97439 541-997-5127, sarapegirlstore.com
A one-of-a-kind Santa Fe experience featuring affordable personalized hats for men and women, and gallery walls filled with work by local artists. Handmade leather, silver, and beaded hat bands, silver jewelry, and luxurious leather bags and accessories are also available. During Indian Market come see the work of Diné painters Andersen Kee and Carlis Chee. 228 Ortiz, 505-995-1091 thehatsmith.com
Traders’ Collection A must-see collection of vintage and contemporary Native American and Western art, jewelry, pottery, weavings and accessories. Traders’ Collection’s beautiful shared space is also the permanent showroom for Lyn A. Fox Pueblo Pottery, David, Wayne Nez and Connie -Tsosie Gaussoin and The Brown Cow Western Boutique. 219 Galisteo, 505-992-0441, traderscollection.com
Desert Son of Santa Fe Henry Beguelin Fall Collection at Desert Son of Santa Fe is all about new textures, soft tones, interesting neutrals, and great prints. The new boots, belts, and handbags are superb!! Shearling vests and jackets on the way! 725 Canyon, 505-982-9499, desertsonofsantafe.com august/september 2011
Heidi Loewen Porcelain Gallery Bamboozled, smoked fired porcelain platter, trompe l’oeil oil painted bamboo by Braldt Bralds, D: 24” and Golden Glow, smoke fired and carved porcelain platter with 22 karat gold by Heidi Loewen, D: 24” View Heidi’s large smoked fired porcelain vessels. Watch her throw and carve in her gallery. She will create any work to your specifications. Choose size, shape and smokey tones for your platter or sculpture. Add 22 karat gold leaf to glow. Heidi also teaches privately to any age, at any time. Openings: August 5th, 5–8 PM; August 19th, 5–8 PM. 315 Johnson, 505-988-2225, heidiloewen.com
Ojo Caliente Mineral Springs Resort & Spa Just north of Santa Fe, you’ll find Ojo’s secluded sanctuary. Deemed sacred by Native Americans, these legendary waters have been soothing body, mind, and spirit naturally for centuries. Full-service spa. Enchanting lodging. Restaurant and wine bar. Open every day 8 am–10 pm. 50 Los Baños Drive, Ojo Caliente 505-583-2233 or 800-222-9162, ojospa.com
Karen Melfi 33.70 karat aquamarine pendant surrounded by rosecut natural color diamonds, set in 18 karat yellow gold and oxidized sterling silver For 20 years the Karen Melfi Collection has been representing the finest local and national jewelry, wearable art, and contemporary craft artists. Located on Canyon Road, KMC offers a wide selection of high-quality, handcrafted items in all price ranges. 225 Canyon, 505-982-3032, karenmelficollection.com
Laura Sheppherd Laura Sheppherd has beautiful textiles from all around the world made into jackets, shawls, and dresses for her store. She also has exquisite collections of jewelry from Masha Archer and Belle Jewelry. Visit her and be wowed by the selection that you will surely want to take home! 65 W Marcy, 505-986-1444, laurasheppherd.com santafean.com
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Sign of the Pampered Maiden Charlotte Santa Fe Interchangeable jewelry This uniquely designed jewelry system from Germany can be interchanged by the customer based on her mood and budget. It can be worn as a ring or on a bracelet or pendant, with matching earrings. Ring with stainless-steel ball and diamonds, $850. On the Plaza, 66 E San Francisco, 505-660-8614 charlotteshop.com
Pretty blouses abound at the Pampered Maiden This silk top, made exclusively for us by local designer Bucko, is enhanced by a belt from Streets Ahead, a cotton cardigan, and gorgeous jewelry. A unique selection of current fashions awaits you at this true Santa Fe favorite for over 30 years. 123 W Water, 505-982-5948, pamperedmaiden.com
Recollections Fine Consignments With more than 5,000 square feet of inventory, Recollections Fine Consignments is the knowing shopper’s boutique for antiques, fine furnishings, and accessories. The showroom features a rapidly moving assortment of high-end designer merchandise and extraordinary, one-of-a-kind pieces. “We’ve had clients furnish their entire house from our inventory for less than half of what it might cost at traditional retail shops,” says owner Kateryna VanHeisch. “This place is GREAT! The inventory changes almost daily, and the best stuff goes fast!”—yelp.com 1225 Cerrillos, 505-988-4775, recollectionssantafe.com
Elysee Jewelry Conveniently located at the entrance to Canyon Road, Elysee showcases an elegant collection of fine designer’s jewelry handcrafted in precious metals. Choose from classic 18k and 22kt gold designs set with an array of precious gems to eclectic contemporary silver creations... 223 Canyon, 505-820-9229 elyseefineart.com
Packard’s on the Plaza
Mike Thompson Sterling silver and spiney oyster medallion necklace and post earrings set Young Navajo artist Mike Thompson creates traditional silver jewelry which highlights each hand-selected stone with detailed craftsmanship. Pieces in turquoise, coral, and spiney oyster tell the story of vision and dedication to the art. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241, shoppackards.com
Packard’s on the Plaza Michelle Tapia, She Dreamt She Was a Ballerina, silver, 14k gold, fossilized ivory, and peridot The dreams and whimsical imagination of Michelle Tapia bring a new perspective to the fine art of scrimshaw. Cats, dogs, mermaids, dragonflies, and Day of the Dead motifs painstakingly wrought in fossilized ivory, silver, and gold enchant the wearer. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241 shoppackards.com
Packard’s on the Plaza
Packard’s on the Plaza Walt Doran, Sterling silver, 12-piece, leather-backed, second-phase concha belt with brown strap Decades of experience in blacksmithing and making his own silversmithing tools are evident in the work of Walt Doran. He creates concha belts, bracelets, and silver objects the old fashioned way—with many layers, hand-carved and hand-finished. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241, shoppackards.com
Hal and Margie Hiestand Turquoise Mountain and Emerald Valley turquoise necklace, matching bracelet, and earrings The beat of the ancestral dance in tribal sands echoes in exquisite jewelry. 2,000-year-old beads, stones, and coins are fused with gold and silver to build medallions and opulent designs for necklaces, belts, earrings, and bracelets. Select your piece of ancient history at Packard’s on the Plaza. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241 shoppackards.com
Santa Fe Arts Festival October 14-30, 2011
Two weeks of special art, film, music, and cultural fun! An annual celebration of the many years and artforms found in Santa Fe and Northern New Mexico
Artist: Ruth Valerio Canyon Road: GVG Contemporary
Canyon Road Festival and Paint Out October 15 Local artists take their easels into the street to paint in the fresh fall air. Come watch as they practice their craft in celebration of Santa Fe’s past and Canyon Road’s heritage. Join us for a 10 am kick-off event at Winterowd Fine Art, 701 Canyon Road; enjoy live music from 2–5 pm in the city parking lot across from El Farol.
Watch santafeartsfestival.com for complete details on
Santa Fe Film FeStival Santa Fe Symphony FriendS oF Santa Fe Jazz GaliSteo Studio tour M usic
festival raising support for Music in the
schools prograMs and other wonderful events .
Sponsored by Santa Fean Magazine
Santa Fe Film Festival October 20-23 Set against the Sangre de Cristo Mountains in autumn, the 12th annual Santa Fe Film Festival presents a curated selection of 40 film programs from the best in world and independent cinema. Celebrate and explore the cinematic arts in this intimate and relaxed setting October 20-23 at SFFF screenings, panels, gallery installations, workshops and parties.
EntErtainmEnt SyStEmS • Audio & Video • HomE tHEatEr LigHting ControL • HomE automation • motoriZED SHaDES & DraPES FLat PanEL tELEviSionS • ProgrammED rEmotE ControLS
215 North Guadalupe, Santa Fe NM open Tuesday—Saturday 10
505.983.9988 • constellationsantafe.com am—6 pm • Monday by appointment •
lifestyle | design | home
A flagstone-rimmed fountain made of Chinese basalt rock dominates the rotunda of this elegant home in Santa Fe’s northwest Las Campanas neighborhood, which is currently listed with agents Marion Skubi and Johnnie Gillespie of Sotheby’s International Realty. The floors are Indian slate, and the walls feature (from left to right) the painting Red Number 7 (1994) by Fritz Scholder, a Crow beaded blanket strip (circa the 1880s), two weavings by Ramona Sakiestewa (circa 2005), and a Navajo eye dazzler weaving (circa the 1890s). The owners wanted artwork that heavily features the color red, and they also wanted to showcase weavings that were created roughly a century apart.—Amy Hegarty august/september 2011
| LIVING |
a place apart
c r e ating a n at -home me dit at ion space TO REACH A MEDITATIVE depth, Zen Buddhist teacher Thich Nhat Hanh has advised that it’s helpful to go to a place apart from the everyday world, a place where the mind and heart can find stillness. That Americans are striving to add a more contemplative dimension to their lives is not a surprise to anyone who has observed the increasing number of people attracted to Buddhist practices, or to those who’ve turned to the older, more mystical traditions of Christianity and Judaism. In an effort to incorporate contemplative and meditative practices into their daily lives, many Santa Feans have created special rooms or spaces in their homes for such a purpose, spaces that may affectionately be called “Zen Dens.” Tonia Prestupa, owner of the design company Tonia Prestupa Interiors, created a traditional tea-ceremony space in her South Capitol home 12 years ago, when she first started studying the ancient Japanese ritual. “I needed a place to practice,” she explains. In a 12-by10-foot room, she installed two tatami straw mats and created a tokonoma alcove, a niche for spotlighting things like special artwork or an example of nature’s beauty. When preparing her tea she uses kettles called “summer hearth” and “winter hearth.” A busy wife and mother as well as a businesswoman, Prestupa says she began the tea ceremony study as “something that was necessary to bring my consciousness into the present and stop rushing around all the time. It helps me slow down and be in the moment.” A dozen years later, the 51-year-old is a certified teaceremony instructor who teaches privately and to small groups, and conducts a public tea ceremony each month at Sunrise Springs, a resort and spa south of Santa Fe in the village of La Cienega. Prestupa says her home’s tea-ceremony space has proven to be invaluable in developing her abilities. “The Way of Tea is a way of living,” she says. “It’s taught me to be much more present in everything I do. It’s not a meditation, although it is a spiritual practice. I think of it as a kind of meditation in motion.” For Sharon Fernandes, a Tanzania-born American citizen whose family hails from Goa, India, contemplation and meditation have been part of her life since childhood. “In India we have altars everywhere, acknowledging the presence of the Divine,” she says. However, Fernandes, 49, never had a home meditation space until she bought her own house in Santa Fe’s Casa Solana neighborhood nearly five years ago. She had lived in the city for 15 years at that point, having reached the City Different on a cross-country drive 180
Tonia Prestupa prepares for a tea ceremony by mixing powdered green tea (matcha) with a bamboo whisk. Sweat pea flowers displayed in an open weave basket alongside a scroll written by a monk in Kyoto, Japan, that reads “Every day is a good day” create a welcoming atmosphere.
by Kate McG raw
Winner of Best Furniture Store Midwest and Southwest
Fine Furnishings & Accessories 620 Cerrillos Rd, 984 0955 â€˘ 53 Old Santa Fe Trail, 982 1296 www.accsantafe.com â€˘ www.facebook.com/accsantafe
This page: Gary Grimm and Jim Fickeyâ€™s meditation room blends Japanese and Native American elements, from tatami mats and bamboo grate windows to Indian rugs and pillows. Opposite: details that define the room include a statue of the Buddha (wearing a jadeite bead from Belize) that Grimm and Fickey bought in Thailand, tall lamps covered with rice paper, a Tibetan prayer wheel, prayer sticks, a set of feathers bound with string, a bowl of incense, and a scroll that Grimm and Fickey found in the room when they bought their home. 182
and realized that she was home. “It’s the same old story,” she laughs. A skin-care expert and aesthetician who trained with the renowned Irma Lasky, Fernandes, like Prestupa, believes that her meditation practice serves her vocation. “It’s not about just a facial,” she says. “It’s about a person’s spirit, their entire being.” Fernandes works in a studio in a converted backyard guesthouse, and she meditates in a room inside her home that she painted a soft, pale, sage-y green. She had a carpenter build a low bed with a shelf extension that wraps around the entire space, eventually becoming an altar with the addition of an architectural fragment from India. A custom-made meditation bench sits in front of the altar, and pictures that are significant to Fernandes are on the altar and the walls. “I spent a lot of time and energy getting the room just the way I wanted it,” she says.
It’s helpful to go to a place apart from the everyday world, a place where the mind and heart can find stillness. The meditation practices Fernandes uses are a combination of ones she’s put together from nearly 30 years of study of several different traditions. “It works for my body, mind, and spirit,” she says. Her room, she adds, is “where I go to just shut down and connect with the Divine. If something’s come up, if I need to think about something, I go there. It’s not just meditation; it’s about contemplation at this point.” Having moved to Santa Fe from Evergreen, Colorado, 25 years ago, Gary Grimm, 53, and his partner, Jim Fickey, 65, today run a thriving local practice called Lambda Psychotherapy. Twelve years ago, while looking for a home with an outbuilding where they could continue their work, the couple found a property on Old Santa Fe Trail with an unexpected plus: an already built and designed meditation room. “The previous owners were Buddhist practitioners, and although Jim and I aren’t Buddhist, we do meditate every day, so this really beautiful space was perfect for us,” Grimm says. Floored with tatami mats, the meditation room is traditionally Japanese in feel. The walls are a pale, clear-yellow Venetian hard plaster and there’s a low shelf that holds an effigy of the Buddha and the occasional flowers. “It’s just very appealing, very soothing,” Grimm says of the space. He also notes that the time he and Fickey spend in their room is relevant to the kind of work they do. “We encourage our clients to develop a meditation practice in order to stay more sustainably centered in a changing world,” he says. Michael Percy Grant, who designs “high-perforSantaFeBeautifulHomes.com mance, customized, energy- and spatially efficient” residential spaces, is no stranger to the idea of a “Zen Den,” having grown up in New York and Connecticut with a father who, Grant says, meditated daily and “was always creating beautiful little meditation spots.” Grant’s own mediation room came about serendipitously while remodeling his family’s 1930s adobe on Agua Fria Street. “In the midst of construction, I suddenly saw this small space for a deck over the head of the stair,” he recalls. Grant had his builder install the deck, which holds a shoji screen, a tatami mat, a meditation cushion, and an Asian-style lamp. The results, he says, have gone beyond enhancing his home. “My meditation practice has improved my whole life.”
Simplify Your Search
Reservations for a tea ceremony with Tonia Prestupa can be made at 505-919-9277 or firstname.lastname@example.org. Sharon’s Skin Care can be reached at 505-983-7470, Lambda Psychotherapy at 505-986-8688, and Percy Home Design at 505-438-2699 or percyhomedesign.com.
Alan & Anne Vorenberg One Number Direct 505.466.0927
and/or Toll Free 888.257.6750
326 Grant Avenue Santa Fe, NM 87501 505.988.2533
What’s green, recycled and environmentally responsible?
ROCKY MOUNTAIN! Featuring their tile, lighting, hardware, and bath accessories See it all at:
AllBright&LockWood Tile Lighting Hardware Bath Accessories Fans 621 Old Santa Fe Trail Santa Fe, NM 87505 Tel: 505.986.1715 Fax: 505.986.1518 Monday - Friday • 9 a m - 5 p m T RADE DISCO UN T S
Over 100 Galleries Boutiques & Restaurants
CANYON ROAD S A N TA
Experience fine art, great shopping and exquisite dining on Canyon Road Stroll the magical Historic District In the foothills of the Sangre de Christo Mountains
MLS #201102202 Vigas and old world plastered walls, wood and brick floors, kiva fireplaces, colorful gardens, private courtyards – a jewel – all within walking distance of the downtown Plaza. $685,000
expect more. t e l : 5 0 5 . 9 8 9. 7 74 1
simple design changes help welcome a new season •
IF YOU’RE LOOKING to shake up your living space (in a good way), ACC (at 620 Cerrillos), with its elegant and sophisticated lines of home furnishings and accessories, offers Santa Feans an inspiring range of items for every season. “We are loving rich, saturated color for summer at ACC, whether it’s a frame, a pillow, a piece of art glass, an ottoman, or a chair,” says Leslie Livingston, vice president and merchandise manager. “That spot of warmth really revitalizes your home.”―—Amy Hegarty
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inspiration ideas resources
Design Tip: Choose Your Rug First
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When taking on a home-decorating project, it’s easy to feel unsure about where to begin. Many design experts agree that you should start the process by choosing a room’s rug first. Robin Gray, owner of Robin Gray Design in Santa Fe, recently told Su Casa magazine: “A quality, hand-crafted carpet is a critical first step in amplifying a room’s spirit and function. Too many people select a rug as an afterthought and end up choosing it to match a color in a sofa or a pillow or something else innocuous. The rug can be the starting place for the process of design and selected on the basis of how the client would like the room to look or feel.”
in the neighborhood
We Listen We Care
t wo lo ca l a r t i s ts wr ite a bout ( a nd i l lu s t rat e ) a un ique a r e a of dow ntown Sa n t a Fe INSPIRED BY THEIR LOVE of and appreciation for their storied McKenzie neighborhood, longtime Santa Fe residents Victoria Rogers and Cal Haines turned their artistic eye to the buildings that make up the unique and somewhat anomalous part of the City Different they call home. Filled with restrained yet vibrant prints of the residences found within this small downtown area, Rogers and Haines’s book Santa Fe’s Historic McKenzie Neighborhood: A Contemporary Look at Old Architecture (Sunstone Press) showcases both the architectural beauty of their surroundings as well as its architectural diversity. In the introduction, Stuart Ashman, the former secretary of the Department of Cultural Affairs for the State of New Mexico, notes that “the diversity of brick and adobe buildings, pitched and flat roofs, and elegant porches on cottage and territorial style homes . . . are not typical of the Santa Fe streetscape.” Indeed, as David A. Rasch, from the city’s Historic Preservation Division, notes in a section called “Historical Perspective,” the McKenzie neighborhood “embodies the pressures placed on Santa Fe to look more American during the Statehood Period.” Rogers and Haines have made the images of the homes the centerpiece of their book, but they also provide historical information―—from the year of construction for each of the residences (the earliest ones date back to the late 19th century) to the stories behind the individuals for whom McKenzie’s streets were named. Taking this approach, the authors write, opens up their book to a wide-ranging audience: to “lovers of art, Santa Fe, historic architecture, guidebooks, and books as art.”–―Amy Hegarty
“Where Building Is Art”
An Award Winning Builder
2009 Parade of Homes
“People’s Choice Award” & “Green Building Award” Manifesting Our Client’s Dreams while providing The Quality and Peace of Mind They Deserve Custom New Homes – Design/Build – Historic Restoration – Remodels
Santa Fe, NM
Santa Fe’s Eastside w h e r e ce n tur ie s -old hi s tor y a nd mode r n -day c ultur e m eet
The Setting: This historic neighborhood is roughly bordered on the west by Paseo de Peralta and meanders up into the foothills of the Sangre de Cristo Mountains. It’s just a few minutes’ walk from Santa Fe’s downtown plaza and the Randall Davey Audubon Center, and roughly five miles from the Santa Fe Ski Basin in the Santa Fe National Forest. The Santa Fe River cuts through the area on the northern side. The Price Points: A highly desirable neighborhood, the Eastside has the price tags to prove it. According to Bob Cardinale of Sotheby’s International Realty, homes typically list from $595,000 to $3,700,000. The average sale price is $1,239.429, reflecting a cost of $439.11 per square foot. The Homes: Eastside homes favor traditional Territorial- and Pueblostyle architecture and run the gamut from large estates and compounds to smaller historic adobe homes and apartments. The Amenities: While primarily a residential area, the Eastside includes two art-lovers’ meccas: Canyon Road and Museum Hill. Museum Hill is an international draw for its four world-class museums, while Canyon Road is home to more than 100 galleries and studios in addition to various shops and cafés (including the popular Teahouse). Delgado Street also has a number of galleries, while Garcia Street is well-loved for its eponymous bookstore and bustling coffee shop, Downtown Subscription. One of the biggest lures of the area, however, is its proximity to the Plaza, which offers excellent shopping and dining options in addition to galleries, museums, and topnotch cultural events. The Randall Davey Audubon Center (with numerous hiking trails and sweeping views around Nichols Reservoir) is at the end of Upper Canyon Road, and snowshoeing and skiing are available at the Santa Fe Ski Basin.
Linda Stone Tate (right ) began coming to Santa Fe in the ’70s and moved here in the ’90s. She lives on Acequia Madre and walks her Australian Shepherd, Annie, every day along Canyon Road. “The neighborhood is so pedestrian (and dog) friendly,” she says. “It’s beautiful walking here—the air is cool, and it’s so green in the spring and summer and so golden in the fall.”
707 East Palace Ave No. 34 Peggy Conner
536 Garcia Street Kathy Abeles
Santa Fe Properties 1000 Paseo de Peralta 505-982-4466 505-501-1327 Mobile email@example.com
In the La Vereda Compound on Historic Palace is a real treasure. Stunning contemporary condo with a state-of-the-art kitchen, 4 fireplaces, beams, an upstairs deck with mountain views, and lots of Santa Fe Style. 3 br, 3 ba, 3050 sq.ft., 2-car garage. MLS#201005646, OFFERED AT $900,000
Located privately off Garcia Street, this beautifully renovated gem offers all the charm and ambience of the Historic Eastside. The 2 bedroom, 1 ½ bath home, with gated and walled patio courtyard, is very close to the famous Plaza and Canyon Road. MLS#201100512, OFFERED AT $680,000
505-470-3720 Mobile 505-577-5112 Mobile Santa Fe Properties 505-982-4466 THE
SPECIAL ADVERTISING SECTION
The Views: Homes in the foothills offer stunning vistas of the Sangre de Cristos and the Santa Fe cityscape, while those closer to town may also have views of the mountains as well as of galleries. The neighborhood is lined with charming, meandering paths and streets that are filled with stunning homes, quaint cafés and shops, bountiful gardens, and mature trees.
The Eastside is Santa Fe’s oldest neighborhood, with it longeststanding home dating back to the 1700s. Originally a farming community, early Spanish residents drove sheep to pasture high up in the Sangre de Cristo Mountains and burros (carrying bundles of split piñon firewood) down steep paths along the “Road of the Canyon,” toward Burrow Alley (just west of the Plaza). They also built a stonelined canal parallel to Canyon Road called Acequia Madre (Mother Ditch), which drew water from the mountains and continues to flow today. (The street along which it runs now bears the canal’s name.) Many original Spanish farmhouses remain in the neighborhood but have been remodeled and expanded over the years. Artists began to flock to the Eastside in the early 1900s, and in 1915 Gerald Cassidy was the first person to buy a house on Canyon Road. In the early 1920s five artists—Joseph Bakos, Fremont Ellis, Walter Mruk, Willard Nash, and Will Shuster, who became known as Los Cinco Pintores (The Five Painters)—moved to Santa Fe and built adobe homes, all in a row, along Camino del Monte Sol. Soon thereafter other artists built residences in the area, yet as late as the 1940s this neighborhood retained its rural roots. It wasn’t until the 1950s that the first art gallery opened on Canyon Road. Within the next decade, however, more galleries were established, and the rest, as they say, is history.—Cynthia Whitney-Ward
Close to the Plaza and home to Canyon Road, Santa Fe’s vibrant Eastside neighborhood enjoys some of the best the city has to offer.
The Historic Eastside The Historic Eastside The Historic Eastside We Sell Mud Huts Worth Millions
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4 Bedroom 2 Bath 3500 sq./ft. 4 Bedroom 2 Bath 3500 sq./ft. 4 4Bedroom Bedroom2 2Bath Bath3500 3500sq./ft. sq./ft.
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530 Guadalupe 530S. Guadalupe|| Santa | SantaFe, Fe,NM. NM.87501 87501|| (505) | (505)982-9836 982-9836 530 S.S.Guadalupe Santa Fe, NM. 87501 (505) 982-9836
2 0 1 1 S U M M E R S E A S O N
ASPEN SANTA FE BALLET
SEASON PRESENTING SPONSOR
Aspen Santa Fe Ballet
July 8th 8pm
Special Gala Evening with Silent Auction
“Stark, sleek, and chock-full of moves that skirt the edges of contemporary movement” – Karen Campbell, The Boston Globe
Alonzo King LINES Ballet ONE NIGHT ONLY August 5th 8pm
“a vision that remains inscribed in memory.” – France’s Le Monde
Aspen Santa Fe Ballet ENCORE!
A repeat presentation of July’s performances
September 3rd 8pm
“Dynamic, virtuostic, endurance testing, fullthrottle dancing and up-to-the-minute ballet choreography.” – Michael Wade Simpson, The Santa Fe New Mexican
All performances are held at The Lensic, Santa Fe’s Performing Arts Center.
Tickets: 505-988-1234 s
GOVERNMENT / FOUNDATIONS
OFFICIAL AND EXCLUSIVE AIRLINE OF ASPEN SANTA FE BALLET
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. PHOTO: MARTY SOHL
Santa Fe - Los Angeles
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governor of the Palace When Taos chef Joseph Wrede graced the cover of Food & Wine magazine in 2000, announcing his inclusion in the list of the top 10 chefs in America, it catapulted Taos and his restaurant, Joseph’s Table, into the national culinary spotlight. Recently, to the benefit of us foodies, Wrede moved south and signed on to head up the kitchen and the rejuvenation of The Palace Restaurant. Funded and cocreated by local businessman David Bigby, the new incarnation will honor the site’s history by incorporating elements of decor and theme that harken back to the days when La Doña Tules ran a saloon at the same address. Wrede’s food celebrates his love of world flavors with a focus on Italian sensibilities, French technique, Asian clarity, and a good dose of norteño know-how thrown in. Sautéed rainbow trout with golden roe pico de gallo and tarragon butter (pictured) shares the menu with seared foie gras with piñon mole, chicken diablo on greens, and much more. The Palace is back!—John Vollertsen The Palace, 142 W Palace, bar, lunch, and dinner august/september 2011
fragrance free but flavor full When Oscar Wilde wrote, “The only thing worse than being talked about is not being talked about,” he perfectly captured the two-sided conundrum of fame in modern society. Similarly, in the hospitality scene, talk is better than no talk. But when what you are being talked about far overshadows the reasons folks should be chattering about you, that great unbalance can be a buzz kill. Take Trattoria Nostrani, for example. At some point, owner Eric Stapleman’s wonderfully and consistently delicious restaurant developed a reputation less for its stellar culinary sophistication and more for its zero-tolerance no-fragrance policy. I’m glad to say—more than glad, actually—that there’s been a thawing in Stapleman’s stance on scents, while at the same time rave about chef Nelli Maltezos. This lovely restaurant has always had plenty of fans, and now that Stapleman has a new second business to promote (the terrific Noodle Bar Shibumi, next door), he seems to have softened his approach and gone from big bear to teddy bear. (Though I would never tell the controversial restaurateur this, I think a little bit of that ole Santa Fe spirituality has tempered his in-your-face New York moxie.) And when I recently enjoyed a meal that was so
Diners enjoying the food and the intimate ambience at Trattoria Nostrani. 194
extraordinary in preparation and creativity, I decided I couldn’t wait to write about it. What made the dishes stand out were the subtlety of flavors and the delicateness of seasoning that signify Maltezos’s style. The dining room of Nostrani’s cottagelike building is handsome and stylish with a tin ceiling, red banquettes, and dark-wood floors reminiscent of the trendy out-of-the-way places so popular at the beginning of New York’s SoHo district’s fame in the late 1970s (think Lucky Strike). Service is crisp and professional (definitely not the hi-my-name-is-Michael-and-I’ll-be-your-waiter ilk), yet attentive and caring. The baby-faced staff belies their years with their proficient knowledge of the wine list and menu. So many restaurants nowadays hit you over the head with aggressive spice and salt—and believe me, I like it loud and full of pizzazz. The first bite of a heavenly smoked venison carpaccio, though, required me to make a slight adjustment to my saline sensibility, and once I did I enjoyed Maltezos’s “less is more” approach throughout the meal. Her allowing the capers and nutty parmesan to supply the salty savorings was testimony to the level of sophisticated cooking evident in every dish that comes from her kitchen. Maltezos’s gift is cookery finesse: it challenged my palate to admit that bigger isn’t always better. She knows when to turn up the seasoning and when to taper it back and let the ingredients speak for themselves. However, by saying that the food here is subtle I don’t mean under-seasoned or plain. On the contrary, the small and wispy Maltezos is a powerhouse of nuance, with a firm handle on her
by John Vollertsen
What made the dishes stand out were the subtlety of flavors and the delicateness of seasoning that signify Maltezos’s style.
flavors. A dandelion soup with caramelized onions and parmesan was the most aggressively salted dish of the evening (we slurped it up like dogs on a hot day). Shrimp and calamari fritti were crunchy and virtually greaseless. I loved how Maltezos let them stand on their own with a simple squirt of lemon—no need for an overpowering aioli here. An antipasti of roasted pork belly with arugula and apricot vinaigrette could only be described as sexy, due to the perfectly rendered fat-to-meat ratio that left the belly both slippery soft and crispy—sweet from the dressing and peppery from the greens. (My mouth waters at the memory of it.) In true Italian form, pasta dishes are offered in a primi portion, meant to be enjoyed prior to an entrée, as well as coming in an entrée size (bending to the American custom of having pasta as the main meal). It would be foolish to miss the entrées or the pastas, as both courses provided knockouts. My table of four sampled six different pastas, each was dramatically different and delicious from the other, which made it impossible to pick a favorite. Ethereal potato gnocchi with a delicate basil cream made me forget the heavy doughy ones I’ve had elsewhere. Ricotta-stuffed agnolotti sported smoked mozzarella and a zippy grape tomato, relishlike mostarda that lent a lusciously tart counterpoint of acidity to the creamy cheeses. The bolognese that sauced a tagliatelle is the best in town. If I had to choose, the chitarrini (pasta cut on a guitarlike device made up of strung wires on a box) with a fried egg was my personal favorite by virtue of its simplicity: butter and parmesan-kissed noodles with a runny-yolk egg on top that when pierced lent its richness to the dish. Perfection.
Main courses varied from the classic to the sublime. Veal scallopine with sautéed potatoes was fork-tender and straightforward, napped in a white wine-and-tomato reduction. Cabbage rolls stuffed with duck confit and sausage came sitting on a white bean ragu—an interesting blend of Italian and French that shows off Maltezos’s comfort with and love of both cuisines. A chicken dish with balsamic and shallot sauce was a celebration of the agrodolce, a sweet-and-sour sensation Italians adore. (We did too.) Vegetarians will enjoy the grilled asparagus and zucchini salad or roasted beet, watercress, and gorgonzola pairing. The fabulous pastas are mostly vegetarian, and the risotto of the night often is too (but, oh, the memory of that sweet crab version that had so motivated my return! How that memory tortures me! Alas.). The voluminous wine list runs the gamut of prices, but happily there are options in every range (from $50 to $5,000). Spirits are also available by the glass. (I may have champagne tastes with beer-bottle pockets, but when my ship comes in I fully intend to sample the $900 Amarone.) In the meantime our waiter’s recommendations for a full-flavored Campogrande Orvieto Classico satisfied my yen for Sauvignon Blanc during our first courses, while a Vietti Dolcetto d’Alba Tre Vigne was lush with the meats and dessert. Speaking of dessert, the almond layer cake with lemon and raspberries heralded the arrival of summer in delectable fashion. Just as summerlike (and just as delish) was the caramel espresso budino—the Italian answer to butterscotch pudding. Trattoria Nostrani is still fragrance-free, but in my mind that aspect is more a footnote than a headline. (It’s really just a footnote to a footnote.) Stapleman and Maltezos take their business very seriously. As a food reviewer I can’t ignore talent. Food this great is worth honoring the proprietor’s edict for. So I’ll splash on the Old Spice on a night I’m not heading over to savor Maltezos’s wonders. Better yet, maybe I’ll just apply a dab of sweet risotto behind each ear and see what that brings in. 304 Johnson, 505-983-3800, trattorianostrani.com, dinner Tuesday–Saturday 5:30–10 pm august/september 2011
the summer’s Top Ten foodie bits ‘n bites There is great chow to be found all over our food-fabulous city, and summertime is no exception. In fact, it might just be the best time to throw caution and calories to the wind and hunker down and chow out. Besides, it’s way too late to worry about that swimsuit fitting, and with all the outdoor activities filling up your calendar you’re gonna need some fuel. Below is our late-summer list of don’t-miss goodies to tickle your taste buds during the longest days and nights of the year. Some are from well-established eateries, others are spanking new, all are delicious. And remember, extra daylight means extended noshing time. So eat up!—John Vollertsen
Aztec Café They say breakfast is the most important meal, and the whopper machacha burrito at this cozy locals’ café will really get you going. Tender shredded ribeye steak is tossed with cheddar, fried and chopped organic eggs, and kicky jalapeño-laced pico de gallo, all wrapped in a warm flour tortilla. Il Piatto’s Matt Yohalem has lent his expertise to this popular joint in the Guadalupe District, so expect more delicious dishes to follow as he plays with the menu. azteccafe.com, 505-820-0025 21st Annual Santa Fe Wine & Chile Fiesta September 21–25. The Big Daddy of all foodie events, the SFW&C Fiesta rules during these five days of happenings, which include wine dinners, cooking demonstrations, tastings, seminars, and auctions involving almost 100 vintners from around the world and almost 70 local restaurants. The grand finale happens Saturday afternoon at the gorgeous Santa Fe Opera. If you take wine, food, and chile as seriously as you take the other pleasures of life, do not miss this event. ’Nuff said! santafewineandchile.org, 505-438-8060
The soups and sandwiches at Slurp are perfect examples of fabulous street food. 196
Slurp There is something quintessentially American about buying your breakfast or lunch from a vintage trailer. It has become such a trend, in fact, that there are coffee-table books and TV shows that celebrate it. The soups and sandwiches at Slurp, in a parking lot at 444 Galisteo, a stone’s throw from our state capitol, are perfect examples of fabulous street food. Drop the tailgate and heat up your palate with the aggressively chili-fied tortilla soup, rich with spices, shards of pulled chicken, crunchy tortilla strips, and fragrant cilantro. You will find it impossible not to . . . slurp. On Facebook under Slurp.
Sugar Nymphs Bistro It’s always fun to “get outta Dodge” for brunch, and the huevos sopes rancheros at this bucolic roadside bistro makes the hour’s ride worth it. Homemade buttermilk biscuits will be coming fresh out of the oven as you arrive, and the huevos come tucked into a crispy corn masa-potato boat filled with cheddar and jack cheeses, green chile sauce, and crumbled hickory-smoked bacon. The rural setting belies the city cooking: this dish will carry you through the afternoon. sugarnymphs.com, Peñasco, 575-587-0311
Maria’s New Mexican Kitchen Ever since New Mexico chef Bobby Olguin (of Manny’s Buckhorn Tavern) beat TV celeb Bobby Flay in a burger throwdown, it seems the world has gone mad for green chile cheeseburgers. (An interactive Green Chile Cheeseburger Trail map is available at newmexico.org/burgers.) I cast my vote for the cheddar-stuffed version at Maria’s. This bad boy is a two-hander and slightly resembles a torpedo that’s packed with sharp melting cheese and served with the best fries in town. Wash it down with one of the more than 100 margarita varieties and you’ve got a perfect summer meal. marias-santafe.com, 505-983-7929 315 Restaurant and Wine Bar Though 315 has long been one of Santa Fe’s most popular and romantic French bistros, the recent acquisition of a full liquor license and addition of a comfy bar has given diners more to love. This summer, nibble on small plates from the bar menu, such as the luscious sole tempura with lump crab salad, lemon basil aioli, and wonton crisps, while imbibing cocktails prior to dining on a breezy outdoor terrace. Modern fish and chips from a classic boîte. 315santafe.com, 505-986-9190 Supper Club at Real Food Nation In a new, upscale dining room, Real Food Nation chefs Kim Muller and Andrew MacLauchlan employ the same creativity and dedication to quality with a more elegant spin on dishes like tagliatelle with fava beans, pancetta, baby artichokes, crispy shallots, garlic, lemon, and piment d’espelette. MacLauchlan’s desserts, like polenta cake with red beet ice cream, are unsurpassed. realfoodnation.biz, 505-466-3886 The Compound Though its origins are often mislabeled as coming from the Mongolian Tatar horsemen, steak tartare probably got its start as chopped raw beef accompanied by an early version of tartar sauce. One bite at this Canyon Road spot of chef Mark Kiffin’s beef tenderloin tartar with dijon, capers, Worcestershire, parsley, Taos farm egg, and tavern toast will make you feel like a Mongolian conqueror. compoundrestaurant.com, 505-982-4353
boutique inn fine dining live entertainment
Junction at the Railyard The folks behind Catamount have upped the ante with their new endeavor in the former Railyard Saloon location. Partnering with Amavi’s Megan Tucker, the Junction boasts a menu of sports-bar goodies including buffalo wings with three sauces (chile Sambal, Thai peanut, and hoisin BBQ). Big-screen TVs, a full bar, and pool tables give you something to do between courses. Food Tours New Mexico Sample Santa Fe This edible walking tour features delectable samples from downtown food destinations. Offered Monday through Saturday, rain or shine, stops include Santa Fe Olive Oil, San Francisco Bar & Grill, Kohnami Japanese Cuisine, Upper Crust Pizza, Señor Murphy Candymaker, and The Ore House. $43 (plus tax) per person. foodtournewmexico.com, 800-979-3370
427 west water st. santa fe, nm 87501 reservations inn: 505-984-1193 dinner: 505-982-9966 vanessiesantafe.com
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taste of the town
NORTHERN NEW MEXICO’S FINEST DINING EXPERIENCES The Bull Ring 150 Washington, 505-983-3328 santafebullring.com Serving Santa Fe since 1971, the legendary Bull Ring is “the prime” steakhouse in Santa Fe. Voted “Best of Santa Fe” year after year, it also offers fresh seafood, chicken, chops, an extensive wine list, a saloon menu, and patio dining. If there’s one thing New Mexico’s politicians can agree on, it’s where to eat in Santa Fe. Conveniently located one block north of the Plaza in the courtyard of the New Mexico Bank & Trust building. For a quick bite after a stroll at the nearby Plaza—or for a late-night snack—the lounge’s bar menu is sure to satisfy. Lunch 11:30 am–2:30 pm, Tuesday– Friday; dinner nightly starting at 5 pm. Patio seating. Also Spanish guitar music Thursday, Friday, and Saturday nights. Underground parking available on Washington.
El Mesón 213 Washington, 505-983-6756 elmeson-santafe.com A native of Madrid, Spain, chef/owner David Huertas has been delighting customers since 1997 with family recipes and specialties of his homeland. The paella is classic and legendary—served straight from the flame to your table in black iron pans; the saffron-infused rice is perfectly cooked and heaped with chicken, chorizo, seafood, and more. The house-made sangria is from a generations-old recipe with a splash of brandy. The ¡Chispa! tapas bar offers a fine array of tapas. The full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Occasional musical entertainment and dancing. Dinner is served 5–11 pm, Tuesday–Saturday.
Chocolate Maven Bakery 821 W San Mateo, Suite C, 505-982-4400 chocolatemaven.com A long-standing local favorite, Chocolate Maven does it all: breakfast, lunch, dinner, high tea, brunch, and every type of pastry, cookie, and cake imaginable! We create delicious, eclectic menus using local, organic produce, meats, and cheeses, helping to support local farmers while bringing you the freshest, most flavorful food possible. Don’t miss this hidden gem on your next visit to Santa Fe. Open seven days a week. Dinner Tuesday–Saturday 5–8:30 pm; breakfast and lunch Monday–Friday 7 am–3 pm; high tea Monday–Saturday 3–5 pm; brunch Saturday and Sunday 9–3 pm.
Galisteo Bistro 227 Galisteo, 505-982-3700 galisteobistro.com Chef-owned and “made by hand,” featuring eclectic, innovative international cuisine known for its open kitchen, quality menu offerings, and attentive service in a casual, comfortable downtown setting. Just a short walk to the historic Santa Fe Plaza, the Lensic Performing Arts Center, hotels, and museums. “I admire a restaurateur who says, Hey, I want to cook the foods I love, like a musician who says, I want to play the music I enjoy. He would have made a great conductor; his orchestra of a staff is playing lovely food in perfect harmony. If music be the food of love—long may the Galisteo Bistro play on.”—John Vollertsen, Santa Fean. Wednesday–Sunday 5–9 pm.
The Compound Restaurant 653 Canyon, 505-982-4353 compoundrestaurant.com Recognized by Gourmet magazine’s Guide to America’s Best Restaurants and the New York Times as a destination not to be missed. Chef/owner Mark Kiffin, the James Beard Foundation’s “Best Chef of the Southwest,” pairs seasonal contemporary American cuisine with professional service in a timeless, elegant adobe building designed by famed architect Alexander Girard. Extensive wine list, full bar, picturesque garden patios, a variety of beautiful settings for wedding receptions, social affairs, or corporate events for 12 to 250 guests. Private parking. Seasonal specialty: tuna tartare topped with Osetra caviar and preserved lemon. Lunch 12–2 pm, Monday–Saturday; bar nightly 5 pm–close; dinner nightly from 6 pm; full lunch and dinner menu available in the bar. Doc Martin’s at the Historic Taos Inn 125 Paseo del Pueblo Norte, Taos 575-758-1977, taosinn.com An award-winning, fine-dining establishment located in a registered historic landmark, Doc Martin’s is a true Taos tradition. Executive chef Zippy White specializes in organic foods, with chile rellenos being his signature dish. Our worldclass wine, with more than 400 selections, has earned Wine Spectator’s “Best of” award of excellence for 21 consecutive years. The Adobe Bar features complimentary live entertainment nightly. Patio dining as weather permits. Featured dessert: the chocolate-lover’s pie—a rich, silky chocolate mousse, whipped cream, sweet cookie crust. Breakfast is served daily 7:30–11 am; lunch 11:30 am–2:30 pm; dinner 5:30–9 pm; Saturday and Sunday brunch 7:30 am–2:30 pm.
Geronimo 724 Canyon, 505-982-1500 geronimorestaurant.com Señor Geronimo Lopes would be pleased if he knew how famous his 250-year-old hacienda on Canyon Road has become. The landmark adobe is now home to a cuttingedge restaurant—elegant, contemporary—serving the highest-quality, most creative food. Award-winning executive chef Eric DiStefano serves up a creative mix of French sauces and technique with culinary influences of Asia, the Southwest, and his own roots in Italy, blended to bring taste to new levels. Geronimo is New Mexico’s only restaurant with both Mobil Four Star and AAA Four Diamond awards. Dinner seven days a week, beginning at 5:45 pm.
India Palace—Santa Fe Downtown 227 Don Gaspar at Water (in the city parking lot) 505-986-5859, indiapalace.com Voted “Best Ethnic Restaurant” in Santa Fe. Located in downtown Santa Fe, just one block from the Plaza, India Palace specializes in the dynamic, complex cuisine of northern India and uses ayurvedic (the science of longevity) cooking principles. Homemade cheese, yogurt, ghee, and kulfi (pistachio ice cream), and tandoori-fired traditional breads complement the extensive menu, which includes chicken, lamb, seafood, and vegetarian dishes. Entrées may be ordered mild, medium, or hot. No artificial flavors or MSG. Vegan and gluten-free meals also available. Open seven days a week. Lunch 11:30 am–2:30 pm; dinner 5–10 pm. Inn of the Anasazi 113 Washington, 505-988-3030 innoftheanasazi.com New Mexico’s only Mobil Four Star, AAA Four Diamond hotel is also home to Santa Fe’s most highly acclaimed culinary destination. The Anasazi Restaurant features a welcoming and rustic Southwestern atmosphere. Chef Oliver Ridgeway offers seasonal menus, with fresh local ingredients, to celebrate creative American cuisine. Open seven days a week—serving breakfast, lunch, dinner, brunch on weekends, and bar menu. Breakfast Monday– Friday 7–10:30 am, Saturday 7–11 am; lunch Monday– Saturday 11 am–2:30 pm; dinner daily 5:30–10 pm; Sunday brunch 11 am–2:30 pm. Josh’s Barbecue 3486 Zafarano, 505-474-6466 joshsbbq.com Voted Top 3 Caterer of 2010! Savor the flavor of classic American barbecue created with a special New Mexican twist. Chef/owner Josh Baum, with his manager Rodney Estrada, dishes up a huge fresh daily selection of slowsmoked, mouth-watering meat choices, including tender brisket and succulent natural ribs, served with a choice of
featured listing Coyote Cafe 132 W Water 505-983-1615 coyotecafe.com
Coyote Cafe continues to be Santa Fe’s most famous and celebrated restaurant, feted by critics and return visitors alike. Executive chef/owner is world-renowned Eric DiStefano, who brings with him his contemporary global style of cooking that has French-Asian influences accompanied with Coyote Cafe’s known Southwestern style.
Il Piatto 95 W Marcy, 505-984-1091 ilpiattosantafe.com Locally owned Italian trattoria located one block north of the Plaza. Nationally acclaimed and affordable, Il Piatto features local organic produce and house-made pastas. Prix fixe three-course lunch, $14.95. Dinner, three courses $29.50, or four courses $37.50 (anything on the menu, including specials). No restrictions. Lunch Monday– Friday 11:30 am–2 pm; dinner seven nights a week at 5 pm. “Everything is right at Il Piatto, including the price.” —Albuquerque Journal
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Lunch 11:30 am–2:30 pm; cantina menu 2:30 pm–close; dinner 5:30 pm–close.
featured listing Terra Restaurant at Encantado Resort 198 State Road 592 505-946-5700, encantadoresort.com
Terra, the signature restaurant for Encantado, an Auberge Resort, features majestic views of the surrounding mountains and offers an inventive interpretation of American cuisine. Having achieved Wine Spectator’s coveted “Best of” excellence award, chef Charles Dale’s modern rustic cuisine exemplifies a passion for simple yet refined menus that maintain a connection to regional influences, which is evident in all of his dishes, such as his signature boneless beef short ribs with poblano-mushroom mac-n-cheese. Terra is open seven days a week, 365 days a year. Breakfast 7–11 am; brunch/lunch 11:30 am–2 pm; dinner 5:30–10 pm. sides, sauces, and desserts, all house-made. Special regional dishes like smoked-chicken taquitos and greenchile brisket burritos have made this eatery a local favorite, with additional chef’s specials offered daily. Also available: beer and wine, dine in or take out, full-service catering for all occasions, and a small private dining room for special events. Located next to Lowes and Regal 14 cinemas off Cerillos at Zafarano. Open for lunch and dinner. Summer hours: 11:30 am–9 pm Tuesday–Saturday and 11:30 am–8 pm on Sundays; closed Mondays. La Casa Sena 125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in downtown Santa Fe, in historic Sena Plaza. We feature modern, sustainable cuisine; an award-winning wine list; and a spectacular patio, and we are committed to using fresh, local, and seasonal ingredients whenever possbile. La Casa Sena has been one of Santa Fe’s finest and most popular restaurants for over 27 years. For a more casual dining experience, visit La Cantina and be entertained by our singing waitstaff performing the best of Broadway, jazz, and much more nightly. Lunch is served 11 am–3 pm Monday–Saturday; dinner 5:30–10 pm nightly. Sunday brunch in a beautiful patio setting is available 11 am–3 pm. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open 11 am– 7 pm Monday–Saturday. La Plazuela at La Fonda on the Plaza 100 E San Francisco, 505-995-2334 lafondasantafe.com Experience Old World Santa Fe while dining at La Plazuela at La Fonda on the Plaza. The menu showcases old favorites with New World twists. Our wine list is award-winning, our service is impeccable and, according to the reviewers, you’ll be dining in the “best of Santa Fe style.” La Plazuela hours: breakfast 7–11:30 am daily; lunch 11:30 am–2 pm Monday–Friday, 11:30 am–3 pm Saturday and Sunday; dinner 5:30–10 pm daily. Luminaria Restaurant at the Inn and Spa at Loretto 211 Old Santa Fe Trail 800-727-5531 or 505-984-7962 innatloretto.com Luminaria introduces Matt Ostrander as executive chef. Chef Ostrander is no stranger to local Santa Fe foodies. A quintessential City Different chef, Ostrander is self-trained, gaining his experience as a true Santa Fe chef in some of the great
culinary establishments in the area. Luminaria menus focus on chef Ostrander’s sustainable approach to his cuisine and feature an abundance of fresh, locally grown ingredients with the perfect Southwestern twist. Breakfast 7–11 am; lunch 11:30 am–2 pm; dinner 5–9 pm. Early-evening dinner at Cena Pronto, 5–6:30 pm; Sunday brunch 11 am–2 pm. Maria’s New Mexican Kitchen 555 W Cordova, 505-983-7929 marias-santafe.com We wrote the book on margaritas! The Great Margarita Book, published by Random House. Maria’s features more than 160 margaritas, chosen “Best Margarita” in Santa Fe 14 years in a row. Each is hand poured and hand shaken, using only premium tequila, triple-sec, and pure, freshsqueezed lemon juice (no mixes, no sugar). A Santa Fe tradition since 1950, specializing in old Santa Fe home-style cooking, with steaks, burgers, and fajitas. You can even watch tortillas being made by hand! Lunch and dinner 11 am–10 pm Monday–Friday; noon–10 pm Saturday and Sunday. Reservations are suggested. Ore House at Milagro 139 W San Francisco, 505-995-0139 orehouseatmilagro.com The Ore House tradition continues its 35 years of history at its new Milagro location (where Galisteo meets San Francisco), under its skylight roof and on its outdoor entry patio. The Ore House at Milagro is Santa Fe’s live music, chile, and margarita headquarters. The restaurant serves great New Mexico cuisine in an exquisite setting, with chile prepared in many traditional and new ways. Specialties include the savory, signature Red Chile Relleno and Milagro’s wonderful Chiles en Nogado. Open seven days a week.
Rancho de Chimayó Santa Fe County Road 98 on the scenic “High Road to Taos” 505-984-2100, ranchodechimayo.com The restaurante is now open! Serving world-renowned traditional and contemporary native New Mexican cuisine in an exceptional setting since 1965. Enjoy outdoor dining or soak up the culture and ambience indoors at this century-old adobe home. Try the Rancho de Chimayó’s specialty: carne adovada—marinated pork simmered in a spicy, red-chile-caribe sauce. Come cherish the memories and make new ones. Rancho de Chimayó is a treasured part of New Mexico’s history and heritage. A timeless tradition. Open seven days a week, May to October 11:30 am–9 pm. Online store is open now! Rio Chama 414 Old Santa Fe Trail, 505-955-0765 riochamasteakhouse.com Located just south of the Plaza next to the State Capitol building, Rio Chama has been a favorite for locals and visitors for more than 10 years. Chef Russell Thornton focuses on contemporary American cuisine with Southwestern influences, featuring the finest dry and wet aged steaks, prime rib, wild game, and fresh seafood. Our wine list features over 900 labels and 28 wines by the glass, earning us the “Best of” award from Wine Spectator. It is sure to excite the oenophile in anyone. Rio Chama offers a mix of intimate dining spaces, two beautiful patios, and a bustling bar. Open daily from 11 am to close. Santacafé 231 Washington, 505-984-1788 santacafe.com Centrally located in Santa Fe’s distinguished downtown district, this charming Southwestern bistro, situated in the historic Padre Gallegos House, offers our guests the classic Santa Fe backdrop. Step into the pristine experience Santacafé has been consistently providing for more than 25 years. New American cuisine is tweaked in a Southwestern context, and the food is simply and elegantly presented. Frequented by the famous and infamous, the Santacafé patio offers some of the best people watching in Santa Fe! During high season, our courtyard, protected by a sun canopy, becomes one of the most coveted locales in Santa Fe. Open daily for lunch and dinner.
featured listing Max’s 403 1/2 S Guadalupe 505-984-9104 maxssantafe.com
Max’s has undergone a transformation, and now offers dinners of cutting-edge foods with contemporary presentations prepared by new executive chef/partner Mark Connell. The menu highlights local, sustainable, and seasonal ingredients from a tantalizing selection of confit, house smoked-sturgeon, sous vide pork to Wagyu beef, and a lovely assortment of house made desserts. Most nights find chef Mark and Maria “Max” Renteria attending their guests on the patio or in the dinning room. Open Tuesday–Saturday 5:30–9:30 pm. www.santafean.com august/september 2011
Suzanne Bocanegra I Write the Songs
Pae White Material Mutters Through September 18, 2011
1606 Paseo de Peralta Santa Fe, New Mexico 87501 505.989.1199 www.sitesantafe.org This announcement is made possible in part by The City of Santa Fe Arts Commission and the 1% Lodgersâ€™ Tax.
continued from page 151 John Reininghaus Elinor Schrader & Stu Patterson Cynthia Bryant James Burba Nancy Harris Carolyn & Carl Trinca Sharon Ritchey Sarah Crane Earl Kern John Gajda Marlane Scott Gloria Milanowski Terri Parsons Mary Kay Tamasi Diana Coles Ronald Lushing Dr. Diane Smith Judith & Bob Sherman James & Beverly Dorst Scott & Joann Mackenzie Quinn & Judith Hollomon Paul & Joanne Marois Kathleen & Phillip Lemos Kenneth & June Pankey Dr. & Mrs. Lamar Meadows, Jr. Dexter & Dennis Cirillo John Mattox & Janet Post Mr. & Mrs. David K. Ingalls Mary Lynn & Bill Oliver David L. & Pamela S. Johnson JaneAnn & Jasper Welch Charles & Sara Lister Dr. Donald & Noel Neely 200
Robert & Judith Fultz Ronald Davis Rev. Raymond Oâ€™Donnell Ralph Rader Lucian Morrison Nancy Waldman Eve & Fred Simon Jurg & Christel Bieri Judy Steinfeld Leslie Dashew Arnold Tenenbaum Anthony Banham Perry Andrews Ruth Ellen Saarinen James & Marina Calfee Betty Becker Barbara Morgan Jeri Ah-be-hill Robert Jacob Mike & Juanita Eagle Susan & Deane Penn Terry & Renee Kershner Howard & Susan Goldsmith Deanna & Hirschell Levine Marcia Feszchak Margaret Detweiler David Groce John Moores Mary Covington Sally Vernon Stephanie Arnett Robert Dunn Janie Kasarjian Deborrah Himsel & Jerri Frantzue
Ben S. Brann & Kathleen Brann Kathy Patrick Charlie Hauber & Ellen Premack Kit Carter-Weilage Clayton & Margi Braatz Cyndi Branch Elie Abemayor, M.D. Stephen & Lynda Nacht Joe & Bunny Colvin William & Tunia Hyland Martha & Stuart Struever John & Edith Lauer Leonard & Barbara Bernstein Ronald Balbin Karen & David Seidler Bob & Judy Lawrence David Siedler Mary Nielsen & Joseph Wilson Linda Donnels Dorothy Bracey Markeeta Brown Carl & Marilynn Thoma Dr. Mark & Merle Sey Adel Kheir-Eldin Diane Powers Joan & Larary Lemmon Katharine & Arthur Kilmurray Kent & Elaine Olson Mary & Thomas James Elizabeth Raspolic Ari & Lea Plosker Jean Michele & David Rippey James TenBroek Terry Pechota Merrily Glosband
Jo Lynn Wilson Mrs. Charles A. Polster Keith & Frauke Roth Stock & Jan Colt Glenn & Rae Cooper Kirk & Sheila Ellis Marianne & Peter Westen Dr. & Mrs. Kenneth Woodsides Robert & Roberta Buchanan Kathleen Hartnett Ruth & Lee Caldwell Amador B. Lucero Dennis & Jean Rainoshek Ann G. Anderson Gisele Galante Broida John A. Duda Charmay Allred Uschi & William Butler Mike & Jody Wahlig Bill & Jane Buchsbaum Harry Miller & Susan Hancock Marshall & LeeAnn Hunt John & Ann Stewman, III Robert & Cecilia Hawk Kathi Renman Rita Carroll Maria Celeste Edgar Feinberg Raffael & Hemmie Cavallarro Doug & Twig Johnson Alan Kazan Lynne Withey Catherine N.H. Lewis Susan Jacques Susan Steinhauser &
Daniel Greenberg Donna M. Aversano Robin S. Cloyd DeLynn Hay Nick Smith Charles & Karen McKelly Susan Kennedy Zeller James B. Baker Bob Esselstein Marianne Kah Sharon & Barry Markl Ricki & Scott Kresan Donna & Michael Szymanski Robert Clarke James Hutson-Wiley Kathryn Marczak Coral Circle Dr. Eugene & Phyllis Gottfried Leonard & Evelyn Coburn Cheston & Ramon Dalangyawma John Kirk Mr. & Mrs. Karl Urda Fred Bailey Janet K. Ridenor Mr. & Mrs. Lawrence Levinson Mr. & Mrs. G. Smith Robert Steinbrook Mr. & Mrs. Sexton Michael Mudd Sharon Lurton Elaine Clemons Larry Dewett Mary Lamy
Rudolph & Lauren Aragon William Osgood & Margaret Davis Joseph Jakub Karen Sue Clarkson Robert McKinney David Francis & Cynthia Coulbourne Barbara Price Betty Lou Dent R. Bruce Ricks Mary Temchin Joyce Walpole Jamienne Studley Sue & Ron Murphy Joan Jackson Larry Smetana Willa Leah Kier Diana Cravey Kathy Wolfe Diane LoRusso Carol Carlson Stephanie Tannenberger Katherine Brittin Patricia Lentz Robert Shepherd Celeste Alleyne Mark Boddy Lida L. Coleman Dan Crane Andrea Booth Kathy Hagen Venita Gralow Dennis & Dean Feeley Anne & Christopher Bertrand Bill & Julie Overbaugh Gary & Ann Bradley Peggy Pickle & Don Cook Donald W & Kristanya Griffin Charles & Sharon Aberle Dr. & Mrs. Howard Resin Kenneth & Paula Marks Cecilia Schmider D. Sentell & M. Linda Fox Joan Fortune Thomas & Jerilyn Cannon Diane Klein Sharon Folger P S Perls Eliza Wells Smith Nancy Salo Clayton Lee Ann Adams Dr. Deborah Valdez MaryAnn Funk Ramona Bond Sam & Donna Belcher Mr. & Mrs. Eker Steve LaRance M. Bridge Phyllis DeMark Mr. & Mrs. McKearnan Stuart Sigman Allan Nelson Gayle Glasser Daniel J. Garland Alice Kelly Mr. & Mrs. Jeffrey Kahn Richard Becker Mike Mullaugh D. Petitfils Alan Hedien Jennifer Owens
6817 Snider Plaza
221 Galisteo Street ● Santa Fe
c ic adac olle c tion.c om ElizabethTelles Margie Harper Amanda Alley Anne-Marie Lamarche Janice Bouchier Joleen Roe Christopher Burchard Jeanne Cunningham Coleman Tharpe David Roe Dianne M. Altobelli Robert & Janet Paullette Judy Mikkelsen Harry & Gwenlynn Frommer Teresa Lyons & Anthony Foltman Phil & Luella Brown Philip & Glenda Spencer Mr. & Mrs. James Copeland JK & RL Frenkel Stanley & Joan Schiff Charles & Betty Slater Charles & Marylou Weber Nancie & Sanford Garfinkel Robert & Madeleine Kania Mrs. Alfred King Angelisa Dayan Arlene & Harvey Caplan Terry Finkelstein Phyllis R. Gordon Daniel Mowrey Dianne Parotte Gary Asteak Peter & Chris D’Onfro John Sherfesee Lynn Bartsch
Jim Jones Bonnie Cox Toni Rivera Becky & Tommy Grimes Brian Mullaney & Renee Garlardy Harvey & Christina Lapides Jerry & Debi Tepper Rita & Kent Norton Alan & Nancy Cameros Mr. & Mrs. Steve Cowgill Janet Draper & Phil Lujan Kay & Skip Edwards Pat Danloe Ruth Ann Marshall Deirdre & Jim Mercurio Babe & Carla Hemlock Paul A. Coker & Rosemary Smithson Elaine Fisher Ms. Deborah B. Hyndman Scott & Blanche Harrison Herbert S. Thomas Caryn Deevy Carolene Herbel Hilary Tompkins Susan Caldwell Martin & Trish Rosenberg William & Ulle Clark Carol & Doug Gerard Charles Loharmann Gail Hornsby Ron & Ron Mason John Hogg George Harding Katherine Keener
Free iPhone and Android app The Best of Santa Fe
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Glenn Anderson, Jr. Dyanni Hamilton-Youngbird Cliff Bregstone Daniel Arrington Michael Sharber Pam Parfitt J. Bruce Ehrenhaft Beth Cadigan Philip Ayala Larry Smith Paula Ashen Elizabeth Brenner Pekka Soininen Rhonda & David MacFarland Michael & Elisabeth Smith Nicole & Philip Eiker Anne Severine & Gary Hein Jorg Bieri Dr. & Mrs. George Ashman Joe & Tami Jaudon William & Debbie McBrearty Janis Moffat H.B. Harris Richard & Cynthia Lucangioli Mark Peterson Delia Zisman Bob Proctor Dr. & Mrs. W. L Kitchens, Jr. Millicent Tallard Jeffrey & Susan Cole Joyce Price Betty & Vern Story Warren Stretke Roland Wagenbach
Nolan & Helen Holt Mary Jane & Jeremy Wilson Debbie Maloney Jennifer Kimball Laura A. Kroschewsky Gerald & Karen Eagans Warren Genett & Bill Duncan Sandra Kerin & John Filbert Lorraine Zensen Brad & Mary Perkins Lynn Bickley Charles King George Farris Sallie Bingham Nada & Harmon Graves Les & Pat Berryhill David Cunningham Beth Extract & Ross Altshuler Gerald & Yara Pitchford Max Balter Kay Fowler Marsha Stanley Margaret Branch Celeste Egan Mrs. Orcilia Z. Forbes Stacie Hornell-Mason Bruce Hartman Simone Nicholson Kenneth Reiter Ms. Bidtah Becker David Doty Norman & Ellen Galinsky Harold & Joan Gordon Lloyd & Betty Van Horn
David & Linda Schmidt Sheila & Gerald Gould Inez & David Gomez Bob & Marge McCarthy Mary Gayle & Ernie Stromberger Lee Yager & Joy Gibson-Yager Sharon & Willie Lyon Ron & Mary Lee Hull Kay & Rich Haddaway William & Susan Ouren Autumn & Jeremy Medlock Martin & Linda Rosenthal Barbara & Gene Sanger Dawn Jackson Teresa Bremer Jack Montgomery & Leon Natker Sarah Smith Orr Kenneth Jones Karen B. Freeman Colin Cumming Penny Tetter Karen & Rick McMichael Mr. & Mrs. Dieter Weissenrieder Jude Byrne Mary Walshok Robert Harris & Mary Jo Lane Carmen Smith Joan Affleck Melvyn Klein Joe Bisagna Maureen McCarthy Ross Rocklin Stephen & Julia Wall Renee Logan
Toadlena/Two Grey Hills TexTile by James sHerman; son of Clara sHerman, C. 1980; 31” x 50”
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Charlotte & tipit Desires espana Y Mas espresso De arte Feathers oF heaven
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For a FistFul oF Dollars · GuateMaYa iMports · historiC Walks oF santa Fe · inDian native spirits · MaYan art ·
native JaCkets the passionate eYe shalako stephen’s Clara’s ColleCtables
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exposure GallerY DreaM Cakes brain Freeze subWaY the ChoColate sMith the oxYGen bar
The Plaza Galeria Merchants are geared up and ready for the 90th annual Indian Market. Located on the Historic Santa Fe Plaza, all vendors are preparing for the thousands of visitors that will be ascending the Plaza. The Plaza Galeria offers a variety of unique shops from gourmet cupcakes, clothing boutiques, Bronze Sculpture Galleries and more.
FOR LEASING INFORMATION PLEASE CONTACT ADELLA LOGGAINS AT GREER ENTERPIRSES, INC. (505) 983-6504 x-111 202
Estelle Meskin Larry Croslin Connie Hart Yellowman Bette Booth Joyce & Tom Allen Peter & Sandra Lai Carole Anderson Bernard & Melinda Ewell Carolyn Rodde Mary Linke Ava Haymon Jeri & Don Balick Sheldon K. Stock Ben & Brenda Gooden Barbara & Jim Allamian Sara & Ron Selfridge Stephen & Suzanne Watkins Lorran & Charlotte Meares Lynn Godfrey Brown Eleanor & Michael Peters Hiroumi Imai Herbert Neirick Scott Libenguth & Mark C. Ottesen Carol & Jerome Lamet Leo & Donna Krulitz Sharrill Dittmann Upton Ethelbah, Jr. David L. Finney James & Judy Neece Anthony & Susan Hannah Sanchez Bob & Betty Stott Marolyn Carlin Kathryn Larsen Betty Schneider David & Jane Merrill Janice & Dick Albro Carole Schragen Drs. Kathleen L. & William G. Howard Phyllis & Stanford Lehmberg Marney & Stephen Field Kay Wille Marlys & Harry Stern James T. Bialac George & Carol Burleson Frank & Betty Ottesen Ms. Jennifer Berkowitz Jane McCarthy Dot Fuller Gregory & Barbara Kok Malcolm Goodman Alfred Bush Marilyn George Maureen Hamilton Ms. Lynne Bono Ms. Shelly Foote Robert & Shirley Kenny Gary Ruttenberg & Brenda Harrison Anne & Edward Lilly Janet Koval & Paul Franklin Marjorie & Michael Engber Suzanne Mendonsa John Zuendt & Patricia Hansbury-Zuendt Peter Clout & Marlene Jackson Mavis Shure & Lanny Hecker
Marilyn & Don Miller Annette Kelley Edward & Deb Donovan Frank C. Sabatini Alex LoRusso Dr. Kenneth Doeg Joseph & Mechele Hesbrook Margot & Robert Linton Frank & Judtih Sabatini Rick & Frances George Vivian Arviso & Philip S. Deloria Ann & Don Byron Mr. Allan Coe & Ms. Rose M. Coslett Arthur H. & Mary K. Anstine Robert Kirkpatrick Michael & Joan Snader Stanley Robb Sheryl & Michael DeGenring Patricia Skigen & Gary Guttman Lawrence Bardawil & Karen Green Bardawil David Harris Jeff & Carole Katz John & Barbara Berkenfield Carol Warren Collette Baylson Helen Williams Barbara Vellrath Daniel Prall Linda Duritz Carolynn Kearby Muriel Zuehlke Larry & Suzy Gekiere Brian & Kitty Wood Jill & Warren Schimpff Ruth & Bertram Malenka James & Cindy Williams Charles & Jennie Batka Marc & Linda Chorney Bruce Nussbaum & Leslie Beebe Dr. Larry & Jane Hootkin Lois McNicol Sharon & Steve Loewenkamp Catherine Carlozzi Lapis Circle Claudia Huson Fabrizia Marcus Sylvia Collins Alberta Hill Sandra Gladstone Patricia Rosenberg Jeanne Jacobson Ross Chaney Carol Franco Marilyn Pyle Jeanne Cotter MaryAnn DePietro Eric Weber John & Karen James Donna Morrison Linda Dickson Kathleen Crandall Annette Smarrito Michelle Balon Kitty Curran
Laurie Bogosian Lynda D. & Donald Brown Kate & Steven Oldroyd Alison Tallard Rosemarie Rosen Jim Wheat Shirley Fitzpatrick Michael J. Cavanaugh David Melamed Anne Michels Carol Maloney David Showe Marshall Segal Harold & Margaret Slusser Leona Zastrow, Ph.D. Sally J. Cammon David R. Schell & John Aab Patricia Evans Margaret A. Olson Brendelle Walden Jon Mallard Tina Traficanti Martha Nichols Elisa Phelps Norman Sandfield Ellen Cheek Forrest McVicar Barbara Reber Gordon V. Scott Barbara Briggs James Baily Joan Borinstein Lore Thorpe Margery Settler Eslee Kessler Karen Green Mary Alice Waugh Karyn Gitlis Michelle Serra & Brad Tompkins Lou Diekemper Sandy Perez Emma Jane Evangelos Helen Manderville Linda Fisk Penny Teehee Jurhee Curtis Selena Chino Larry & Renee Stevens Russ & Ann Morton Jim Gorman & Mary Jo Sharp Joan Kwit & Rober van der Maaten Ron & Judi Acre Barbara & Larry Good Jamie Earles Robert Stern John Casillas Leah Thedford Drs. John & Pamela Martin Beth Kaminski Robert Herrmann Kirsten Schlenger E. David Greer Danielle Battaglia Nyira Gitana Kathy Belgeri Alan Berkenfield Linda Hunt Ray Hardin
Arlene Strumor Jan Bugge James Meem Lynda Winter Martha Schlenger Malcolm Kottler Karen S. Gatto Wendy Dunaway Dancing Eagle Teresa Seamster Joan Lester Eric Tack, M.D. Charles Gekiere Barbara Chatterjee Laura Center Carole Sandoval Karen & Richard Countiss Bob Kelly & Clara Heironimus Rebecca & Richard Benes Gary & Karen Kott Robert & Mary Lou Faggella Deborah & John Green Elizabeth Boeckman Elizabeth Love Marlene Scholsohn Kathy Jane Chambery & Marilyn Haring Leon Redenbacher Dana Johnston Ernest Kraus Ed Lent John Mullican Natalie Wells Patricia Gelles Jerry Cowdreu Barbara Wells Donald Grieg Henry Sanger Jack Fine Stephen Kwan Richard Maltzman Katherine Mansfield Bruce Mead Donna Henningsen Eric Walters Janet Tenery Katharine Hummer Pia Welch Janet Gagne Noble Jeff Weza Betsy Brenner Cheryl McChesney Charles Franklin Sarva Rajendra Wolfe Rudman Charles Shannon Ramon Lantz Marlene Scott Janice Hardy Joan Warner Elaine Rose James Reed Marilyn Snowball Jane Goldberg Lisa Sapenkopf Larry Nance Sandra Stern Gloria Portela Shirley Ross Davis Gail Kemp
Anna Marie Loughead Ruth Belikove William & Julie Uher Dani Hanohano Sandra Kibby Shelley King William Poggenburg Barb MacDonald Sandy Weinstein Sandra Finley Charita Carter Patricia Buffler Denise Bates Greg Pollack Teresa Reed Joe Nowalk Merrill Blasdel Marjorie Forster Kerry Sweeney Steve Onstott William Scott Nichols James Graves Lynette Rogers Roslyn Tunis Lambert Wilson Patricia Ann Rudy-Baese Pamm Wiggin Ellie Hartgerink Mildred Vega Tony Millman Abby Kent Flythe Dan McFarland
James Galloway John Benfatto Deborah & Patrick Allender Sandy Nachman Valerie Vishno Alex Padilla Marilyn Lee Betty Coull Dan Thorpe Edward Helminski Jeff Eckel Barbara Engle Susan Tinkl Deborah Saxon Deanne Dallo Georgia Larson Bob Torgny Barbara Johnson Sandra Mano James Ainsworth Jim Yellowhawk Barbara Walzer Kristen Haswell Patricia Klock George & Sandra Cady Becky & Lance Dell Vicki & Bob Wolfson Fred & Lori Kolb Barbara & Paul Weiss Lee & Ann Welsh AnnMarie & Joe Matteson Cabell Robinson
Anthony Rivera Nancy Greiner Kim Vanderholm Wolfgang Stoeckl Andy Kramer Sherry Puig Corinna Gneri Jack Eiteljorg Kimberly MacLoud Bryan McCarty Susan & Lee Berk Gomeo Bobelu Kathleen Manley Margret Lohfeld Dr. Charlene Harrison Marcia Krystyniak Dora Williams Owen Youngman Nathan Cobb Glenn Westfall Barbara Pascale Otto Harrassowitz San Diego Museum/Man Scientific Library Andy Schultz Susan Selbin Robert & Marcia Gillette Suzann Mohr Mary Douglas Reed Edward Lewis Betty & John Davis Barbara Witemeyer
For more than 35 years, American Indian Art Magazine has been the premier magazine devoted exclusively to the great variety of American Indian art. This beautifully illustrated quarterly features articles by leading experts, the latest information about current auction results, publications, legal issues, museum and gallery exhibitions and events. American Indian Art Magazine, continuing to bring you the best in American Indian Art.
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Darlene Norton Paula Lozar Elaine Tuttle Ina Miller Sofia Stefatos Ronald Reiter Sandra L. Pearce David Wright Wendy Kistler Eugenia & Jerry Flickinger J. Steve & Marta Davis Manuel Weahkee Sharon Weahkee Sandy Heydt JoAnna Naumann Janet Hoffmann & Tilden Edmonston Rita Adler Larry Crow Chris Kemper Anselm G. Davis Barbara & Jack Bishop Frances Diemoz Judy Costlow & Mark Bolsterli Joan Brookshire Joan Goldstein Mike Gerteisen Thomas & Linda Doll Patricia & Robert Cozart Christine Ertle Bob & Shiiko Alexander Margaret Pojawa Elizabeth Rose Penelope Gregory Diane Burchard John Berry Mr. Paul Wilken Nancy McCoy Presley Hatcher Terri Tipping & John Enderle Barbara Rifkin & Leslie Lipschutz Amy Sommer Jared Gann Margaret Osterhus Anne Phillips Aloysius Chandler Good Strike Helen Frederickson Walter Sondheim Bettye Vaden Guy Henry Leslie Liebesman Alice & Ken McElhose Gloria & Marvin Lieberman Anne & Kevin Gover Michael Tyers Helen Sayers Melanie Dean Penny Bartnicki Diana Lautens Linda Hathaway Bunza Dianne Czahor Christine Ertle Geraldine Moss Marybeth Burnside Bob & Linda Off Charmayne Marsh Ray Tracey Melissa Melero Ann P. Johnson
Elizabeth Davis Kathie & Sam Serrapede Ann Sage Michael Garcia Walter Beckham Margaret Murphy Jeanne Morrel-Franklin Ms. Jill Feldbaum Marilyn Eber Bonnie Lisle Barbara Kittle Jeanne Heyerick Marc Kramer Dale & Donna Schrage Walter Maier Helen Joan Holt Richard Morehead & Kenneth Knight Jill & Mike Green Alfred Parks Elisabeth & Brett Challener Michael & Maryann Petrowsky Hal Sterling Tannis Eberts Mr. Chase Earles Ms. Stephanie Richmond Jesse Leinfelder Judy Burkhardt Cherryl Busch Antonios Gonis Ms. Cheryl Perry Deborah Japp Joan Frisbee Les Garrison Peter & Elaine Liebesman Carol Candler & Andrew Dobelstein Christine Johnson Helene & Lawrence Lasky James Parks & Donna Behnke Richard Oestreicher Steven Stwertka & Alexis Norelle Stephen & Sarah Weld Laurel C. Myers Diane Pistole Joyce Krause Andrew Mitchell Jeannine Germano Bev Rabinowitz Alex Jacobs Jack Tankersley Gayle Louisiana William Chilson Tonia Bennett Robb Lucas Martha Kate Thomas Duane & Jean Humlicek Neil & Sarah Berman Dr. William & Patricia Ann Lundak B. Anderson & W. Schiller Charles & Carol Gurke Richard & Suzanne Molnar Ann & Louis Rubenzahl Marilyn & Neil Kutin Dale & Margaret Vanderholm Alberta Valentini Mrs. Donald F. McCann
300 Years of Romance, Intrigue & History. Your stay becomes extraordinary at the Hilton Santa Fe Historic Plaza. Originally the hacienda of the influential Ortiz Family who settled in Santa Fe in 1694, we offer luxury guestrooms, private casitas and thoughtful touches for the leisure and business traveler alike. For the start of the day, lunch, or a lite dinner El Cañon offers fabulous fare morning, noon & night. Just steps from Santa Fe’s Historic Plaza with fine art galleries, museums and shopping—a unique experience in a unique destination.
open nightly for lite dining and spirits
100 Sandoval St., Santa Fe, NM 87501 | 800-336-3676 | HiltonOfSantaFe.com
Governors Award for Excellence in the Arts 2011
objets ‘n’ art SOFA WEST returns to the Santa Fe Convention Center August 4–7 for its third annual showing of sculptural objects and functional art. This year features lectures by gallery owners and collectors, plus The Intuit Show of Folk and Outsider Art. Tickets: $15 general admission, $25 four-day pass; 800-563-SOFA; sofaexpo.com FAIR
renaissance days Put on your best medieval gear and head to El Rancho de las Golondrinas for the annual Santa Fe Renaissance Fair, whose proceeds go to both Las Golondrinas and Open Hands. This fun-for-the-whole-family event, held September 17–18, allows you to experience medieval village life by cheering on sword fights, drinking a pint of mead, browsing (and buying) wares such as cloaks, jewels, and shields, and much more. Live entertainment includes flamenco and belly dancing. 10 am–6 pm. Tickets: $8 adults, $5 seniors (62+) and teens (13–18), $3 children (6–12), free for children under 6; sfrenfair.org
fired up M U S I C On August 19, the world-renowned Music from Angel Fire chamber music festival kicks off its 28th season, which features concerts in Taos, Raton, and Las Vegas in addition to Angel Fire. Performers include pianist Anne-Marie McDermott, cellist Peter Wiley, and violinist (and the festival’s artistic director) Ida Kavafian. Tickets: $20–$35, plus free events; 575-377-3233; musicfromangelfire.org 206
PABLO MASON, JEAN LEHMAN, JOE MAES, BRAD LORBACH, ROBERT HORWITZ
salon treatment The intimate, two-day Salon des Arts program (held August 20–21 and co-sponsored by the Harwood Museum, Music from Angel Fire, and Fine Art Services) celebrates the visual and performing arts with lectures and demonstrations at the Harwood Museum, studio time with David A. Leffel and Sherrie McGraw, performances by Ida Kavafian and other musicians from Music from Angel Fire, and a wine-and-cheese reception. Saturday 9 am–5 pm, Sunday beginning at 4:30 pm. Tickets: Saturday $150 per person, Sunday $75 per person, two-day pass $195; 575-751-0647; fineartservices.info CONVERSATION
BEETHOVEN November 12-13
A BAROQUE CHRISTMAS
December 18, 20-24
THE BRANdENBURG CONCERTOS December 29-30
Brahms, January 27 Lizst & Chopin, January 28 Mendelssohn, January 29
QUARTETS! February 25
THE COMPLETE BACH SONATAS & PARTITAS FOR SOLO VIOLIN
Tickets: 505.988.4640 800.960.6680 Lensic Theater: 505.988.1234 www.santafepromusica.com
angels on the rocks Kitchen Angels, whose mission is “to provide nutritious, prepared meals to homebound individuals living with life-challenging conditions,” hosts Margaritas and Sculpture . . . on the Rocks, a one-day event (held on Saturday, August 27) that includes a tour of an unusual-looking, cliffside home in historic Lamy with a beautiful view of the Galisteo Basin, a lesson from bronze artist Fran Nicholson on how to make a cast of your hand, and, of course, margaritas. 5:30–8:30 pm. Tickets: $95; 505-471-7780; kitchenangels.org ART
wedding photography 505.204.5729
The 2011-2012 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
Major underwriting support for our 30th Season is provided by The Eugene V. and Clare E. Thaw Charitable Trust
ad design by:
JenniferEsperanza.com august/september 2011
2011 SANTA FE INDIAN MARKET WEEK OFFICIAL SCHEDULE OF EVENTS AUGUST 15–AUGUST 21 VISIT SWAIA.ORG OR CALL 505-983-5220 FOR MORE INFORMATION AND UPDATES
New Native Photography 2011 August 12, 5:30 pm New Mexico Museum of Art, 107 W Palace, Free Hosted by the New Mexico Museum of Art in partnership with the Southwestern Association for Indian Arts (SWAIA) and juried by Kate Ware, curator of photography at the Museum, Larry McNeil, Boise State University, and Hulleah Tsinhanahjinnie, director of the Gorman Museum at UC–Davis, this competition and exhibition are designed to encourage Native American artists working with photography to share their recent work. Class X Film Screenings August 15, 6:30 pm New Mexico History Museum, 113 Lincoln, Free This special evening of film screenings features work from the winners of Classification X, the moving images category, which comprises four divisions: Narrative Short, Documentary Short, Animation Short, and Experimental Short. Native Cinema Showcase August 15–21 New Mexico History Museum, 113 Lincoln, Free SWAIA and the Smithsonian’s National Museum of the American Indian (NMAI) present the 11th Annual Native Cinema Showcase, a celebration of films and videos by and about indigenous peoples in connection with the Santa Fe Indian Market. SWAIA and the Museum of Indian Arts and Culture Present: Breakfast with the Curators August 16, 8:30 am Museum of Indian Arts and Culture 710 Camino Lejo, $25 per person, or $20 for MNMF members (museum admission included) Learn all about the history, splendor, and future plans of the 90th Annual Santa Fe Indian Market over breakfast with SWAIA’s Executive Director, Bruce Bernstein, PhD. Janet Marie Rogers and Alex Jacobs August 16, 6 pm Collected Works Bookstore & Coffee House 202 Galisteo #A, Free Mohawk spoken-word performance about living away from their homelands while maintaining Indian identity. Robert Mirabal Presents: Po’Pay Speaks August 16–September 4 The Lodge at Santa Fe, 750 N St. Francis, Tickets: $45 Two-time Grammy Award winner Robert Mirabal (Taos Pueblo) performs Po’Pay Speaks, a new one-man show highlighting the history of Po’Pay, leader of the 1680 Pueblo Revolt, and his continuing influence today. Information: contact Danette Lovato at 505-242-8355 or visit mirabal.com Welcoming reception at Patina Gallery August 18, 9 am Patina Gallery, 131 W Palace, Free Based on the Navajo Beauty Way, this audio-visual presentation, led by Tom Maguire, former director of arts and culture tourism for the city of Santa Fe, and continental breakfast provides a welcoming orientation to Santa Fe. Simon Ortiz and Sara Maria Ortiz August 18, 6 pm Collected Works Bookstore & Coffee House 202 Galisteo #A , Free Readings by poet Ortiz (Acoma Pueblo) and his daughter, who’ll be reading from her manuscript Red Milk: A Requiem in Three Acts. SWAIA Presents Music on the Plaza Bandstand August 18, 6 pm Downtown Santa Fe The final day of the inimitable Santa Fe Music Bandstand Series sponsored by SWAIA features Clan/Destine (Native Soul Operation Peace) and Levi & the Plateros (Native high-powered rock and blues).
Best of Show Ceremony and Luncheon August 19, 11:30 am–2 pm Santa Fe Convention Center, 201 W Marcy This exclusive event showcases the Native art world’s most prestigious prize and is the only time during Market weekend where Indian Market’s best artists and best art can be found together in one place. State of Native Art Symposium August 19, 3 pm Santa Fe Convention Center, 201 W Marcy, Free Schedule of events to be announced. Sneak and General Previews August 19 Santa Fe Convention Center, Sneak Preview, 5:30–7:30 pm General Preview, 7:30–9:30 pm, Santa Fe Convention Center 201 W Marcy The Sneak Preview gives SWAIA members the early opportunity to see the best of Indian Market art after the Best of Show awards ceremony. The General Preview that follows opens the doors to the public for a glimpse at the award-winning artwork. The 90th Santa Fe Indian Market August 20 and 21, 7 am–5 pm The Plaza, Free The 90th annual Santa Fe Indian Market, the preeminent Native arts market in the world, opens with more than 1,100 artists from 100 tribes and is the largest cultural event in New Mexico, attracting 100,000 visitors per year. SWAIA Live Auction Gala, Dinner, and Auctions August 20, 5–9 pm La Fonda on the Plaza As SWAIA’s largest fundraiser of the year, the Live Auction Gala is the most glamorous and exciting event during Indian Market Week. Bid on dozens of Native art pieces while enjoying a fabulous evening of gourmet food and entertainment. Sealaska Corporation and Sealaska Heritage Institute Stage August 20–21, 7 am–5 pm Cathedral Park, 213 Cathedral Schedule of events to be announced. Lifetime Achievement Allan Houser Legacy and Povika Awards Presentation August 20, 12–1 pm The Santa Fe Plaza Stage The Houser Award is the highest honor that SWAIA bestows upon a Native artist, recognizing the contributions by a distinguished Native American artist to Native arts and Native culture. The Povika recognizes service, leadership, and support that Native and non-Native people provide to the annual Santa Fe Indian Market and to Native artists and their communities. Native American Clothing Contest August 21, 9 am–12 pm The Santa Fe Plaza Stage Among the many cherished traditions at the Santa Fe Indian Market, the Native American Clothing Contest (NACC) is one of the most beloved and anticipated—and photographed—events. The contest includes categories for traditional and contemporary Native American fashions, features children and adult participants, and awards prizes in over 20 categories. Open Studio Santa Fe Art Institute August 25, 5:30 pm Santa Fe Art Institute 1600 St. Michaels, Free Every month, the Santa Fe Art Institute hosts an Open Studio for the Artists & Writers in Residence to show their work to the public and to give folks a sneak peek into the closed-door world of studio practice. The artists in residence for August will be: Ryan Lee Smith: painter, Lisa Hageman Yahgulanaas: weaver Lenka Novakova: video and installation Priscilla Hollingsworth: ceramicist Alyssa Phoebus and Murad Kahn Mumatz: mixed media Marylin Waltzer: botanical illustrator, Judith Stein: writer
Steven Arviso is an award-winning Navajo silversmith who creates traditional oldstyle Native American jewelry. Using rare turquoise cut prior to 1950, he enhances his works with the look and feel of a past age, making them sought after by serious collectors who demand only the highest qualit quality. Contact Steven today for more information, and to place your order!
Gary Gutierrez Gary ◆◆ multi-award winning potter ◆◆
(505) 879-4788 • firstname.lastname@example.org www.rvsojewelry.com P.O. Box 547, Gallup, NM 87305
Indian Market Booth # 254 PAL-S Plan Your Trip to Los Angeles!
At the AUTR Y Southern California’s Largest American Indian Arts Market November 5 and 6, 2011 Autry National Center Artists’ Juried Competition Friday, November 4 Preview Sale for Members Saturday, November 5, 8:30 a.m. Marketplace Open to the Public Saturday and Sunday, 10:00 a.m.—5:00 p.m. Weekend Events: Seminars for collectors, Native Voices at the Autry staged readings, and artist demonstrations For more information, visit TheAutry.org. Sponsored by
4700 Western Heritage Way Los Angeles, CA 90027-1462 Detail from 2010 Jackie Autry Purchase Award winner Emma, Iroquois traditional outfit with raised beadwork by Niio Perkins (Akwesasne Mohawk). Photo by Susan Einstein
Haciendas Home Building Santa Fe Style
PA R A D E
H O M E S
Santa Fe’s Best Open House
August 12-14 & 18-21, 2011 This self-guided tour of new and remodeled homes celebrates the best in design and construction, including sustainable, “green” technologies, allowing visitors to explore the unique use of materials, techniques and philosophies that define “Santa Fe style,” from traditional to contemporary. Homes will be open for two weekends — Friday, Saturday & Sunday from 11:00 am to 6:00 pm and from 4:00 pm to 9:00 pm on Thursday, August 19. Free admission to the Twilight Tour on Thursday the 18th from 4 pm to 9 pm. For up-to-date information on the parade please visit haciendasmagazine.com and sfahba.com Tickets available at the Lensic Box Office 505.988.1234 The official magazine will be available for free at builder homes and sponsor locations. SANTA FE AREA HOME BUILDERS ASSOCIATION A driving force for quality building in Santa Fe.
1409 Luisa Street, Santa Fe • 505.982.1774 For more information visit sfahba.com • haciendasmagazine.com
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allowable 1. Carvings must be of the tradition of the carver. 2. Traditional carvings, Division A, made only with traditional materials. a. Hopi carvings must be carved from the root of the cottonwood tree. b. Zuni carvings must be carved from the root and/or limbs of the cottonwood or pine trees. allowable with disclosure 1.Traditional carvings, Division A, (Artificial) fixatives can be used to stabilize pigment, but must be disclosed. Termitebored or aged wood must be non-infected and disclosed. SWAIA reserves the right to examine and refuse. 2. Contemporary carvings, Division B, can be carved from woods other than cottonwood, but wood must be identified. 3. All feathers used must comply with all current laws and regulations of state and federal agencies. Feathers not allowed include those listed with the Eagle Feather Act and the Migratory Bird Treaty Act. 4. All decorative stone, shell, or metal elements (such as turquoise and coral cabochons), and shell, glass, or metal beads must be properly identified and comply with the same Standards established for allowable materials and non-allowable items for jewelry. non-allowable 1. Feathers not allowed include those listed with the Eagle Feather Act and the Migratory Bird Treaty Act. For more info: atada. org/Legislative_Alert.html sculpture Sculpture, beyond kachinas and the totem poles of the Pacific Northwest, is not a medium traditionally associated with American Indians. Yet today’s artists are masters in the field. Modern sculptors employ a wide range of materials, including alabaster, bronze, marble, glass, wood, and ceramics. SWAIA limits sculptural editions based on size: The larger the work, the lower the number that can be sold in the edition. allowable 1. All handwrought materials, such as stone, metal, ceramic, paper, cloth, etc. 2. Cast bronze sculpture in numbered editions not to exceed any dimension: 10 for 6’ (73”) and up; 20 for up to 6’ (72”); 30 for up to 4.5’ (54”); 40 for up to 3’ (36”); 50 for up to 1’ (12”). Measurement will apply to greatest dimension of casting and includes bases. All must be signed, numbered and marked by the foundry. It is recommended that a certificate of authenticity be provided
BOOTH #719 LIN-W
COMANCHE ARTIST AND SCULPTOR
THURS, AUG 21st
ARTIST RECEPTION 6 – 8 PM @
110 W. SAN FRANCISCO NEW CHARACTER “Hites” My Friend
NATIVE AMERICAN ART APPRAISALS, INC. Los Angeles / Santa Fe Tulsa / New York
Shakespeare Booth # 792 LIN-W (575) 973-1084
Native, Western, Latin, and American Fine Art, Artifacts, & Photographs
Cynthia J. Hale ISA AM • USPAP
Scott W. Hale ISA AM • USPAP Appraisals & Consultations West: (505) 490-9992 East: (918) 524-9338 email@example.com www.naaainc.com august/september 2011
allowable with disclosure 1. All decorative stone, shell, or metal elements (such as turquoise and coral cabochons) must be properly identified and comply with the same Standards established for allowable materials and non-allowable items for jewelry. 2. Decorative stands that are handwrought and are an integral element to the original sculpture. Stand must not dominate the work. non-allowable 1. Cast resins. 2. Cast miniature sculpture intended for use as jewelry. 3. Production cast open editions. 4. Commercially manufactured stands or props. textiles Cleanly finished edges, a balanced design, and the harmonious use of color are key factors. For textiles (primarily weaving), the best rug will be one that is tightly woven, as stitch count and evenness determine quality. Ask about wools and dyes. Many talented weavers buy their wool and dyes commercially, while some raise and shear their own sheep and create their own colors. SWAIA allows both. Only acrylic yarn is banned. allowable 1. Weavings may be done on vertical looms (Division A) or horizontal looms (Division B) 2. Weaving, finger weaving, knitting, crochet, sprang, and embroidery are acceptable techniques. allowable with disclosure 1. All attached buttons, conchos, beads, leather, and tin tinklers must be properly identified and comply with the jewelry Standards for allowable and non-allowable items. 2. All feathers must comply with all Federal and New Mexico regulations. non-allowable 1. Commercially made items (such as shirts, jackets, purses, etc.). 2. Liquid embroidery, hot-glue, or iron-on appliqué. 3. Items made from kits, including baskets. 4. Plastic beads, buttons, or other plastic parts. 5. Manufactured or non-Indian–made, die-struck metal buttons, or conchos. 6. Stands or other display items. basketry Baskets are one of the most ancient art forms in the Americas. Tribal styles still flourish along with contemporary work. Buyers can distinguish great from good by looking at the tightness of the weave (unless the design calls for a loose one), the number of stitches per 212
inch in the weft, and the coil count per inch in the warp. Cleanly finished edges, a balanced design, and the harmonious use of color are also key factors. allowable 1. Baskets should be made of plant materials of the tribal tradition of the artist; yucca, willow, three-lobed sumac, honeysuckle root, cottonwood, redbud, split-ash, devil’s claw, fern, etc. 2. All basket materials must be collected, harvested, and processed (split, cleaned, dyed) by the artist. allowable with disclosure 1. All attached buttons, conchos, beads, leather, and tin tinklers must be properly identified and comply with the jewelry Standards for allowable and non-allowable items. 2. All feathers must comply with all Federal and New Mexico regulations. 3. Baskets made of non-plant materials, such as horsehair, yarn, thread, metal, wire, mixed media, raffia, and purchased plant materials. non-allowable 1. Items made from kits, including baskets. 2. Plastic beads, buttons, or other plastic parts. 3. Stands or other display items. diverse art forms A variety of media fall under SWAIA’s Diverse Art forms category, including furniture, stained glass, hides, leather goods, drums, and musical instruments. allowable 1. Purchased glass beads. 2. Commercially processed hides (deer, elk, cow, rabbit, etc.). 3. Handmade items are encouraged, although sewing-machine work is acceptable. All sewn items must be designed and sewn by the approved artist. 4. All sewn clothing must be labeled, in editions not to exceed five. allowable with disclosure 1. All attached materials, including buttons, collar tabs, beads, leather, and tin tinklers must be properly identified and comply with the same Standards as established for allowable materials and non-allowable items for jewelry. 2. Allowable findings for Indian Market are defined as “an ingredient part of the finished product that adapts the product for wearing or use.” Examples are functional buttons, hooks, etc. 3. Nickel and/or brass beads or buttons not made by the artist must be disclosed. 4. All decorative stone, shell, or metal elements (such as turquoise and coral cabochons), and shell, glass, or metal beads must be properly identified and all items that conform with all current laws and regulations of state and federal
to the consumer. 3. Hand-blown and fabricated glass. 4. Fabricated fiberglass.
Indian Market is a special occasion for many people. Not just among the many artists, most of whom have been working all year on what they end up bringing to Market, but it’s also as significant an experience for the collectors, who’ve often waited all year to see what’s new and to connect and/or reconnect with the Market’s artists. Basically, whether the two sides are first-timers or veterans, there’s a protocol involved. Herein, then, some tips from local jewelers and awardwinning Market participants Pat Pruitt and Cody Sanderson on what to do and not do at this annual get-together. For Artists Be courteous. The collectors buying your pieces want to know that much more about you. A lot of people are traveling thousands of miles just to be there for that day. Be on time. Don’t start selling before 7 am on Saturday. Be (and look) professional if you’re going to have those professional prices. Just because your piece may have won an award does not mean its value has increased. If you are on a break visiting other artists, be mindful of their time. If friends visit you while you’re busy, put them to work while they talk! For Collectors Don’t occupy too much of the artist’s time, especially Saturday morning. The prime selling time for any artist is that first few hours on Saturday; sales made then can justify the extra-long hours they put in. Ask before touching or handling any of the artwork, especially pottery. These are fragile items and can get damaged very easily. Do not critique the artwork. These artists put their soul into the work and the judging has already taken place. Do not impose your opinion on their hard work. If you have children, please keep a mindful eye on them.
agencies and non-allowable items for jewelry. 5. All feathers must comply with all federal and New Mexico regulations and with standards for pueblo wooden carvings. 6. The use of commercial sewing patterns, such as Folklore, Vogue, Simplicity, etc., must be disclosed. 7. Chip inlay is allowable as long as it complies with jewelry standards. non-allowable 1. Plastic or synthetic parts of any kind, for example: beads, buttons, hair, hairpipe, polymer clay (for example, Sculpey). 2. Manufactured or non-Indian– made, die-struck metal charms, buttons, conchos used for ornamental purposes. 3. Commercially made items such as jackets, shirts, and purses. 4. Liquid embroidery kits, hot-glue, or iron-on appliqué. 5. All items that conform with the standards established for non-allowable items for jewelry. beadwork and quillwork Beadwork, especially on dolls and clothing, tends to be popular at Indian Market. All sizes of beads are welcome, but generally, larger beads recall early-19th-century styles, while today’s artists demonstrate their virtuoso skills by using ever smaller beads. SWAIA allows only glass beads. Consider the level of detail in any beading work. Artists may incorporate larger beads into a design, although smaller beads should still dominate the pattern. Quillwork, undergoing a resurgence, is generally made from the quills of a porcupine, taken from the neck area. They are then washed and flattened before being incorporated into a design. allowable 1. Purchased glass beads. 2. Commercially processed hides. allowable with disclosure 1. Nickel and brass beads that are not made by the artist must be disclosed. 2. Commercially produced objects that are transformed into a work of art by the hand application of beadwork or quillwork such as tennis shoes, bottles, etc. 3. All feathers must comply with all current laws and regulations of state and federal agencies and for pueblo
wooden carvings. 4. All attached materials, including buttons, collar tabs, beads, leather, and tin tinklers must be properly identified and comply with the same standards as established for allowable materials items for jewelry. non-allowable 1. Plastic or synthetic parts of any kind. 2. Commercially beaded and manufactured items of any kind. 3. Plastic or synthetic materials of any kind, such as beads, hair, hairpipe, polymer clay (for example, Sculpey). 4. All items that conform with the standards established for non-allowable items for jewelry. youth This division will be guided by the same standards or rules that govern other Indian Market Classifications. The intent is to encourage youth to create a piece of art without the active participation of adult family members. Please contact the SWAIA office for the specific “Classification Definitions and Guidelines” that relate to the items you wish to enter for judging. There are separate rules for each. For example: “All paintings, drawings, photographs must be framed, shrink wrapped and wired for hanging.” OR “Plastic beads or parts are not allowed.” Division A: Ages 12 And Under Division B: Ages 13 Through 17 moving images Film is a new classification at Indian Market this year, in acknowledgement of the growing popularity and access of filmmaking equipment. allowable 1. Due to time limitations, only one moving image entry can be entered. Work needs to be no more than 30 minutes in length. 2. Two(2) copies must be submitted for the jurying/judging process. 3. No less than 50% of your creative team (directors, producers, writers, screen writers) must be Native American of a US Federally Recognized tribe. division a: narrative shorts Short subject narrative moving images are non-commercial motion pictures that are substantially shorter than the average commercial
that participating artists be members of federally recognized tribes and nations in the United States and/or Canada. In order to maintain equitable Standards, SWAIA strives to be consistent in all media for all artists. SWAIA also recognizes the artistic influences of tribes outside the Southwest, the contemporary art market, and the influence of new materials, techniques, and ideas of artists. Therefore, the Standards are a continually evolving guide for both artists and consumers, which recognize and encourage both traditional and non-traditional handmade arts.
feature film, no longer than 30 minutes. division b: documentaryshorts A documentary short is a broad category of visual expressions that “document” reality in 30 minutes or less to include video and film. division c: animation Animation shorts are the rapid display of a sequence of images of 2D or 3D artwork or model positions in order to create an illusion of movement. Entries can only be of one story and must be no longer than 30 minutes. division d: experimental Experimental film or experimental cinema describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking. Often characterized by the absence of linear narrative, the use of various abstracting techniques (out of focus, painting or scratching on film, rapid editing), the use of asynchronous (non-diegetic) sound or event the absence of sound track. Must be no longer than 30 minutes. promotional materials allowed for sale 1. Fiction or poetry must be the work of the artist. 2. Tapes and CDs must be the work of the artist. allowed in booths for promotional purposes only (not for sale) 1. Books and videos must be of cultural, historical, or educational content, pertaining to the artist. 2. Magazines or artist portfolios featuring artwork may be in the artist’s booth. not allowed in booths or for sale at market 1. All photo-mechanically reproduced items, such as note cards, postcards, posters, and jewelry. 2. Commercially produced T-shirts, caps, and non-handmade items. general standards SWAIA Indian Market Standards and Judging criteria reflect the traditional standards and styles established by the tribes of the Southwest, specifically those regarding jewelry, pottery, textiles, and culture-related crafts. Currently, SWAIA requires
standards for selling work at Indian Market Exhibitors must comply with the New Mexico Indian Arts and Crafts Act for labeling and sales. All items offered for sale must be properly represented. For their own protection, artists should obtain receipts from suppliers that state that raw materials are natural. All artists must follow the Jewelry Standards regarding use of materials. If feathers are used, they must comply with all current laws and regulations of state and federal agencies. It is recommended to the artist that a receipt or statement identifying materials and techniques used to create the finished product, as well as identifying the maker, be given to the consumer. Collaborative pieces are allowed provided the artists are current SWAIA approved. Youth artists should follow the standards established for their classification. Artists must be present in their booths during Indian Market weekend. Everything for sale at Indian Market must be produced by the approved artist(s) in the booth, or their children 17 years and under. Only approved Indian Market vendors and their family members are allowed to sell. No mass production of any kind is allowed. SWAIA requires every item for sale at Indian Market to be identified by having a signature, trademark, tag, or label affixed to it. SWAIA Santa Fe Indian Market uses a rigorous process to invite artists who produce high-quality works of art to sell. However, we remind you that all purchases are between the buyer and artist. The artists set their own prices and receive all proceeds from their sales. Any sales that are promised for future delivery are not guaranteed by Santa Fe Indian Market..
| H I S TO R Y |
desert nuns the open-sandaled world of the nuns at the monastery of Carmel of Santa Fe and St. Teresa
the portress will direct you to a parlor to one side. SimNOT FAR FROM THE INTERSECTION of Old ply furnished, it contains chairs facing a curtained grille. Santa Fe Trail and Camino del Monte Sol, a rather From the room beyond, quiet steps will be heard to enter, narrow street opens off Monte toward the east. In a quiet voice will say, “Praised be Jesus Christ,” and the this neighborhood of gated mansions, big old trees, curtain will be drawn aside for the appointment to begin. and sky-wide views, there’s nothing very remarkableIf the weather is chilly, the sister may turn on the heatlooking about it. er, which only affects the visitor side of the double room. Looks can deceive. The street leads to a place with She may wear a parka or jacket over her brown-androots thousands of miles away and 800 years back in white, black-veiled time: the Roman habit during winCatholic monaster but will always tery of Carmel be in open sandals, of Santa Fe and or discalced. St. Teresa. The unseen Here, not far inner monastery from the comis equally simple. mercial bustle of There is the sisCanyon Road, the ters’ side of the energetic presence small chapel, of Santa Fe Prepathrough which ratory School and they pray and sing St. John’s College, (usually Gregoand the exhibits rian chants) at of Museum Hill, Mass, unseen by timeless worship the congregation. abides. Here, a There is a refecsmall community tory, or dining of professed Disroom, where they calced Carmelite eat their vegetarinuns spend their an meals in silence days in contemwhile listening to plation, prayer, religious readings. and work, closed There is a small off from the kitchen, a laundry, world but open to workrooms, and heaven. offices. And there From the outA Catholic register ceremony circa 1950 at Carmel of Santa Fe and St. Teresa are the cells, or side, where it shares small bedrooms, with their very simple furnishings. Here grounds with the Archdiocese of Santa Fe’s Immaculate the sisters spend their time in prayer when not involved Heart of Mary Retreat and Conference Center, the in group activities. monastery projects simplicity. The long wall, all of the Silence is kept through most of the day, though there enclosure that’s visible, contains a number of curtained are periods of recreation when talk is permitted. The windows, an entrance into the public chapel, and another sisters have six acres of grounds (part of which contains into the foyer of the nun’s cloister. a vegetable garden) where they work as well as walk There, as in any enclosed monastery—―be it Benedicfor exercise. Their sparse diet becomes even more lean tine, Carmelite, Ursuline, or Dominican―—you will find during the annual monastic fast, from mid-September The Turn, a revolving cylinder with an opening in the through Easter. side, in which goods or papers can be placed and then If necessary, the nuns may travel outside the monastery twirled so it opens into the convent proper. A bell beside for medical treatment or to attend conferences or meetit summons the unseen portress, or doorkeeper. ings relevant to their mission. They support themselves If you have an appointment with one of the sisters, 214
PALACE OF THE GOVERNORS PHOTO ARCHIVE
by Craig Smit h
Mother Mary Teresa had entered Carmel of Tulancinthrough alms, and, in many monasteries, bake altar bread go, Mexico, in 1923, but was not able to stay in her chosen for churches. house for long. In 1928, during the notorious persecution Historically, the Carmelite Order traces its beginnings to the prophet Elijah and his followers, who lived in caves of Catholics by president Plutarco Elias Calles’s adminisin the Mount Carmel range. During the Crusades, travel- tration, she fled to Texas with a few companions. At Carmel of Santa Fe, as around the world, the ers inspired by the Bible, as well as firsthand encounters monastic habit of the Divine Office guides the sisters’ with the hermetic tradition, became Christian hermits schedule. A usual day would include: rise at 5:40 am; living solitary lives. St. Albert, Patriarch of Jerusalem from 1204 to 1214, brought the hermits into a single com- prayer at 6; liturgy at 7; Holy Mass at 7:15; liturgy at 8; munity and wrote their coffee and spiritual reading Rule, the set of guidelines at 8:15; manual work at 9; by which they lived. liturgy at 11; examination of The order soon spread conscience at 11:15; dinner at back into Europe, with the 11:25, followed by one hour church granting formal of recreation; manual work approval to the Carmelites at 1 pm; liturgy at 2, followed in the 13th century. Women by quiet period; manual were allowed to join the work at 3; liturgy at 4:45; order formally in 1452, prayer at 5:15; supper and though many had been recreation at 6:15; liturgy at living in obedience to the 8; free time at 8:30; liturgy Rule on their own at 9:30; spiritual reading for decades. at 10:15; and retire at 11. Over time, lapses crept Repeat the next day. into the strict practices and It’s a schedule that often some monasteries became causes people to ask, In places of a permissive, easy today’s iPad, Internet, and life rather than devotion. global-communication age, The Spanish Carmelite nun why would anyone want to Teresa of Avila (1515–1582) immure herself behind walls revitalized the order in and grilles for dedication 1562 through her reforming to a faith, an idea, and a life energy, founding 32 conof seeming deprivation? vents in her lifetime. (Oddly enough, I’ve heard Teresa’s life was filled Santa Feans ask that queswith challenges—―spiritual tion about orders like the ones from her own inner Carmelites, while they see struggles to achieve true nothing odd in Buddhist prayer and contemplation or Taoist monks and nuns and worldly ones from entering a similarly contemthose who were suspicious plative life.) of her reforms and disbeliev- Top: the monastery’s small chapel circa 1950; bottom: artist Dean Holt The simple answer working on a mosaic in the chapel in 1963 ing of her many visions. comes down to concentraOne of Teresa’s sayings was, “Oh Lord, no wonder tion of power in the purest and most selfless sense. “An you have so few friends, when you treat them like this.” enclosed order is like a kind of powerhouse,” observes When a bishop who had asked her to establish a conPhillipa Talbot in Rumer Godden’s famed In This House vent changed his mind and ordered her out into the rain of Brede, a 1969 novel about an order of enclosed Beneinstead, she mused, “And the weather so delicious, too.” dictine nuns in England, based in part on the real-life She was canonized in 1622 and made a Doctor of the Stanbrooke Abbey. “A powerhouse of prayer; you proChurch in 1970. tect a powerhouse, not to enclose the power, but to stop The Carmelite order reached the U.S. in 1790, when unauthorized people getting in to hinder its working.” the first foundation was established in Maryland. Think about that the next time you drive by that plain, Carmel of Santa Fe came into being almost 66 years ordinary street off Camino del Monte Sol. ago, in October 1945, when a group of sisters headed Carmel of Santa Fe is not open to the public, though anyone is welcome by prioress Mother Mary Teresa came from Dallas to to attend Mass in the public portion of the chapel. Carmel of Santa Fe, establish the monastery. 49 Mount Carmel Road, 505-983-7232. august/september 2011
| D AY T R I P |
Southern Museum SouthernUte UteCultural CulturalCenter Center and Museum photo by Scott Smit h
Directions: U.S. 285 N/U.S. 84 W to U.S. 84; left onto U.S. 64 W/U.S. 84 W; continue to follow U.S. 84 W; left onto U.S. 160 W; left onto CO 151 W; right onto CO 172 N/ Goddard Ave.; continue to follow CO 172 N; right onto County Road 517; the center will be on the right, at 77 County Road 517. Summer hours: Tuesday–Friday 10 am–6 pm; Saturday 10 am–4 pm; Sunday 1–5 pm; Monday closed Overview: Set on eight acres in the country’s storied Four Corners region, the new Southern Ute Cultural Center and Museum in Ignacio, Colorado, features permanent and temporary galleries, a library, a museum store, an herb garden, hiking trails, and more.
Fee: adults $7, museum members $6, Southern Ute Tribal Members free, seniors (65+) $4, children ages 3–14 $3, children under 3 free. 216
Details: Opened in May, the Southern Ute Cultural Center and Museum tells the story of the Southern Ute people in their own words, honoring their rich history and celebrating their present-day achievements. At the heart of the state-of-the-art complex―designed by architect Johnpaul Jones, of Smithsonian National Museum of the American Indian fame,―are the interactive, multisensory exhibitions within the museum’s permanent gallery. Highlights throughout the site include early rock art, a reconstructed camp scene, oral records in the archives, and horse events in the corral.
S a n ta F eâ€™S P l ayg r o u n d
e n t e r ta i n m e n t
t $ 20
Three Dog Night August 13
Join now and Win up to $500
29 Prix Fixe
Monday, Tuesday & Wednesday
877.848.6337 â€˘ buffalothunderresort.com New member program can be modified, changed or cancelled without notice. Management reserves all rights
TA M M Y G A R C I A Annual Pottery Sale: Friday, August 19th
130 Lincoln Avenue, Suite C, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
PHOTO BY ERIC SWANSON