international artist mecca â€˘ author q+a: Peter Heller â€˘ native arts insert
RIK ALLEN New Glass and Metal Sculptures, August 31 – September 15, 2018 Artist Reception: Friday, August 31st from 5 – 7 pm
Untitled Blown glass, silver, and steel base 16.5" h x 13" w x 9" d
544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
S H E L L E Y M U Z Y LOW S K I A L L E N New Works in Glass, August 31 – September 15, 2018 Artist Reception: Friday, August 31st from 5 – 7 pm
Bird of Passage Blown, hand-sculpted and engraved glass, mixed media, steel 25.5" h x 25" w x 12" d
544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
Solo Exhibition 2018
September 21 – 30 • Reception: Saturday, September 22 • 5 to 7 pm 102 E. Water Street Santa Fe NM • 505.988.2727 • email@example.com • joewadefineart.com
Solo Exhibition 2018
August 24 – September 2 • Reception: Friday, August 24 • 5 to 7 pm 102 E. Water Street Santa Fe NM • 505.988.2727 • firstname.lastname@example.org • joewadefineart.com
TH E ART O F L IVING
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32 CAMINO DE LOS MONTOYAS $2,485,000 NEW PRICE. Sophisticated grand adobe compound with lush gardens. Gary Bobolsky | 505.470.0927 | 32CaminoDeLosMontoyas.com
20 HOLLYHOCK CIRCLE $2,400,000 Spacious four-bedroom, five-bath Las Campanas hilltop home with a pool. Darlene Streit | 505.920.8001 | sothebyshomes.com/1092743
71 JACINTO ROAD $875,000 Classic single-level Pueblo-style home on 20 acres with equestrian facilities. Cindy Sheff | 505.470.6114 | sothebyshomes.com/0566283
27 OCEAN VIEW DRIVE $795,000 Passive-solar 2,325-square-foot home on nearly 65 acres off the Turquoise Trail. Skye Smith | 505.470.1150 | sothebyshomes.com/0566183
SANTA FE BROKERAGE | 231 WASHINGTON AVENUE, SANTA FE, NM 87501 | 505.988.8088 | SOTHEBYSHOMES.COM/SANTAFE Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc.
TH E ART O F L IVING
197-215 CIRCLE DRIVE $3,200,000 Exceptional 4,900 sq.ft. home and 1,025 sq.ft. casita on 2 lots covering 10+ acres. Darlene Streit | 505.920.8001 | sothebyshomes.com/0566012
23 VISTA REDONDA $2,500,000 Elegantly-appointed 3BR, 3BA, 5,143 sq.ft. home on just over five acres. Darlene Streit | 505.920.8001
42 CALLE SAN MARTIN $998,000 Spacious 3BR contemporary strawbale home and casita, sited on 2.5 acres. Katherine Blagden | 505.490.2400 | sothebyshomes.com/0576038
653 CANYON ROAD, #4 $925,000 Exclusive Eastside bungalow with A/C in a lush, gated and secure compound. K.C. Martin | 505.690.7192 | sothebyshomes.com/0565684
112 VIGIL LANE $748,000 Beautiful 2-bedroom, 2-bath Pueblo-style home down a quiet Eastside lane. Lois Sury | 505.470.4672 | sothebyshomes.com/0576162
650 NM HIGHWAY 512, NEAR CHAMA $735,000 Large mountain home on the Brazos River with spectacular river and cliff views. David Dodge | 505.690.5108 | sothebyshomes.com/0576168
SANTA FE BROKERAGE | 231 WASHINGTON AVENUE, SANTA FE, NM 87501 | 505.988.8088 | SOTHEBYSHOMES.COM/SANTAFE Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc.
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Consis t e n t ly t h e be s t Designing and building the finest homes in Santa Fe for over forty years. Proportions, indigenous materials, abundance of natural light, attention to detail and classic, timeless style define a Woods home. wo o ds d e s i g n b u i ld e r s 302 Catron street, santa Fe, new Mexico 87501
photography : © Wendy McEahern | Architectural Design and Construction : Woods Design Builders | Interior Design : Violante & Rochford Interiors
We’ve been opening doors in santa fe for 29 years. Dougherty Real Estate Co., LLC has been a small, personable, local and information- based real estate brokerage for 29 years… And we still are! Now we are also connected to like-minded brokerages in places like San Francisco, New York City, Palm Springs, Orlando, Chicago, Dallas-Fort Worth, Portland and even Tokyo, Tel Aviv, Lisbon, London and Shanghai. Joining Leverage Global Partners, allows us to give our clients the same care and attention in other parts of the country, or even the world, that they get from us here in Santa Fe. We can promote listings to an international audience. We can find a home for you ANYWHERE. We have the ability to be an international resource for all your future real estate needs.
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Visit us today, in person or on the web at 433 W. San Francisco St., Santa Fe, NM 87501 tel: 505.989.7741 • www.dresf.com A Full Service Real Estate Brokerage
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1482 Bishops Lodge Road. Elegant, secluded, 7,911 sq. ft., 3 bedroom, 5½ bath entertainer’s delight with gym, game room, theater, office, adjacent to the Tesuque River. $2,495,000
41 Vista Hermosa. 5,319 sq. ft., 5 bedroom, 51⁄2 bath home with specular mountain views on 5.7 acres in Vista Redonda. A 500 sq. ft. portal is delightful with its own fireplace.$1,425,000
www.dresf.com or www.LeverageRE.com.
831 El Caminito 6 Beds 7 Baths 10,180 sqft 1.74 Acres MLS ID 201504586 • $3,600,000
820 Camino Atalaya 6 Beds 8 Bath 8,100 sqft 0.89 Acres MLS ID 201802202 • $2,900,000
52 Lodge Trail 3 Beds 3 Bath 4,000 sqft 1.08 Acres $2,650,000
1322 Camino Corrales 5 beds 6 baths 5,230 sqft 2.9 Acres MLS ID 201801903 • $2,625,000
7 Vuelta Susana 6 Beds 9 Baths 11,700 sqft 18.166 Acres MLS ID 201802649 • $2,350,000
1045 Stagecoach Road 4 Beds 3 Bath 3,083 sqft 1.31 Acres MLS ID 201802952 • $1,500,000
14 Millers End 5 beds 5 baths 6,107 sqft 5.0 Acres MLS ID 201601879 • $1,495,000
1112 Calle Catalina 4 Beds 3 Bath 3,200 sqft 2.154 Acres $1,375,000
Over 40 years combined experience! The Bodelson-Spier Team A w a r d e d 2 0 1 7 To p P r o d u c e r s , S a n t a F e P r o p e r t i e s
Listing with us connects you to Luxury Portfolio. As the luxury division of Leading Real Estate Companies of the World®, we are connected to the very best independent property brokerages in cities around the globe. Over $372 billion dollars in property sales are handled within this network each year.
$55 BILLION MORE HOME SALES THAN OUR CLOSEST COMPETITOR Volume shown in billions of dollars
Licensed for 30 years in Santa Fe, Deborah has been Awarded Realtor of the Year in 2015, Deborah is a past President of the Santa Fe Chapter of the Women’s Council of Realtors, Chair of the Luxury Marketing Group and the Santa Fe Board of Realtor’s Community Services Committee.
Leading Real Estate Companies of the World® RE/MAX Keller Williams Coldwell Banker Berkshire Hathaway Home Services Century 21 Sotheby’s International Realty ERA Exit Realty Realty Executives Better Homes & Gardens HomeSmart
$372 $317 $298 $250 $181 $121 $116 $26 $25 $22 $20 $12 0
For informational purposes only. Based on available data for average sales units per agent and average sales prices per firm. In compiling this report, LeadingRE relies on third party sources including REAL Trends National Network 2018 Totals Final Report and REALTOR® Magazine 2017 Franchise Report. LeadingRE is not responsible for the accuracy of third party data.
View these listings and more at
sant afe homesnm.c om Santa Fe Properties Office: 505.982.4466
Cary Spier is a high-energy Broker, fully committed to providing the highest level of service to every costumer. She is tenacious, a savvy negotiator, attentive to detail and offers a sophisticated understanding of the Santa Fe real estate market. Cary is also a Certified Negotiation Expert (CNE)
B R E AT H TA K I N G V I S TA S ENCHANTING MUSIC
Leonard Bernstein CANDIDE Giacomo Puccini MADAME BUTTERFLY John Adams | Peter Sellars DOCTOR ATOMIC Gioachino Rossini THE ITALIAN GIRL IN ALGIERS Richard Strauss ARIADNE AUF NAXOS
NM first-time buyers can save 40%. Call 505-986-5900 for details.
June 29 â€“ August 25
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Dr. Mark Botwin Dr. Jonathan Botwin Dr. Jeremy Botwin Dr. Micayla Fisher-Ives
505.982.2020 125 W Water St | Santa Fe, NM 87501
505.438.2020 444 St Michaels Dr | Santa Fe, NM 87505
2 0 1 8
S U M M E R
S E A S O N
ASPEN SANTA FE BALLET: AN EVENING WITH PIANIST JOYCE YANG September 1 | 8:00pm NRITYAGRAM DANCE ENSEMBLE September 27 | 8:00pm
w w w . a s p e n s a n t a f e b a l l e t . c o m BUSINESS PARTNER
GOVERNMENT / FOUNDATIONS Melville Hankins
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: SHALINI JAIN
Sun of Lebanon • mixed media on canvas • 25 x 39
O C T O BER 1 8 – 2 1 I D EL M A R F AI RG ROU NDS
RETNEC NOITNEVNOC EF ATNAS
ROOD EHT TA DNA ENILNO ELBALIAVA STEKCIT
CELEBRATING YEARS OF CONTEMPORARY ART
SHOW HOURS FIRST LOOK FREE FRIDAY | MEDIA DAY Friday, Oct. 19 | 1 - 6p.m. | Free Admission
COLLECTORS' OPENING NIGHT PARTY
Friday, Oct. 19 | 6 - 9p.m. | Ticket Required
Del Mar Fairgrounds - Wyland Center 2260 Jimmy Durante Boulevard Del Mar, CA 92014
Saturday, Oct. 20 | 12–8 p.m.
Sunday, Oct. 21 | 12–5 p.m.
Photo: Eric Swanson
Divided Tide, acrylic on canvas, 48” x 28”
CAROL KUCERA GALLERY www.carolkucera.com
112 W. San Francisco St., Suite 128, Santa Fe, NM 87501 Conveniently located in Plaza Mercado Open 10–4 Daily, Closed Tuesday
Santa Fe Wine & Chile FieSta
September 23 - 30 2018
Grand TasTinG saturday, september 29th at the santa Fe Opera
FeaTurinG 75 extraordinary santa Fe restaurants & 100 World-Class Wineries Guest Chef Luncheons & demos daily Wine seminars nightly Wine dinners auction Luncheon with david ramey
Fearing’s Restaurant, Dallas
Lola, new York
sFWC Honorée of the Year
rosé all day Guest Chef Walkaround reserve Tasting Piper-Heidsieck Champagne Brunch Gruet Golf Classic sFW&C Gran Fondo sFW&C Film Fiesta Mark kiffin
The Compound, santa Fe
eloisa , santa Fe
Coyote Cafe, santa Fe
sazon, santa Fe
arroyo Vino, santa Fe
Terra restaurant, santa Fe
snake river Grill, Jackson Hole
dr. Field Goods, santa Fe
sPQr, san Francisco
restaurant Martin, santa Fe
author, san Francisco
Blue Heron, santa Fe
HARRIS - “Mirror Image” • 20" x 8" x 6" • Bronze Ed. of 60 EVANS - “Pending Moment” • 48" x 48" • Acrylic SILVERWOOD - “Shiprock No. 2" - Tribute to John Nieto • 21" x 29" • Pastel
MARY SILVERWOOD COLOR FIELDS Opening Reception • Friday, September 7, 2018 • 5 to 7pm •
DICK EVANS & MARK YALE HARRIS SURFACE AND VOLUME • Two Person Show • Friday, September 28, 2018 • 5 to 7pm
VENTANA FINE ART 400 Canyon Road
Santa Fe, NM 87501
inspiration lighting • tile • hardware • fans
621 Old Santa Fe Trl #5 Santa Fe, NM 87505
August & September 2018 Exhibitions
Six O’Clock Cliffs | 24" x 24" | acrylic
Cold Creek Water | 24" x 24" | oil
Crowned Nun with Marmoset | 30" x 24" | oil
Gee Bee Diner | 13" x 13" | acrylic
August 3 - August 10, 2018
September 14 - September 21, 2018
August 17 - August 24, 2018
September 28 - October 5, 2018
Each year Meyer Gallery is privileged to host a series of exhibitions by gallery artists. Artist receptions are held at the gallery on Friday evenings between 5-7pm. For a complete listing of 2018 exhibitions visit meyergalleries.com/exhibitions. 225 Canyon Road | Santa Fe, New Mexico 87501 505.983.1434 | 800.779.7387 | email@example.com | meyergalleries.com
It’s show time. All the time.
From street festivals and local clubs, to symphony orchestra and world class opera, the music scene in Santa Fe is a vivacious blend of sights, sounds and sheer emotion. Discover The City Different at santafe.org 2 0 1 7 W O R L D ’ S B E S T AWA R D S 15 Cities in the U.S. #11 #2 Top
World’s Top 15 Cities
City of Folk Art, Craft & Design
07/03/2018 3:31:03 PM
Full Moon Over Abiqiui Lake
30 by 36 inches, oil on canvas
OPENING AND BOOK RELEASE September 21st 2018
Evelyne Boren Retrospective Book - A career capping look at a half century
Acosta Strong Fine Art
of brilliantly crafted work, and details Boren’s uniquely exciting life as well as her techniques, travels and teachings. 640 Canyon Road • Santa Fe, New Mexico 87501 505-982-2795 • acostastrong.com
32 the arts + culture issue
August / September 2018
Peter Heller answers questions about his novel The Painter
40 Performing Arts
mark white fine art
The city’s stages are full with summer productions, upcoming fall seasons, and the first Santa Fe Music Week
45 International Artist Mecca
It’s not just Southwestern anymore: have a look at Santa Fe’s international art and artists
28 Publisher’s Note 32 City Different
HIPICO, shows of art and antiquities, Santa Fe Wine & Chile Fiesta, and other goings on around town
A home in Casas de San Juan puts its owners closer to the opera and everything Santa Fe has to offer
Chef Johnny Vee takes on Tumbleroot and auditions Luminaria’s new chef
Meet painter Katrina Howarth, designer Valentín Arrellín, and beadworker Ali Launer, and read about upcoming shows
WINNER OF HISTORIC PRESERVATION AWARD
116 CALLE LA PENA Exquisite Historic Eastside Estate, Home + Guest House, 3,833 square feet, 4 bedroom, 5 baths, mls 201801450. Offered at $ 2,550,000.
Award-W inning Broker, Certified Residential Specialist Member of the Santa Fe Historic Foundation LINDAMURPHY.COM • 505.780.7711 • LINDA@LINDAMURPHY.COM • SANTA FE PROPERTIES - 505.982.4466
INTERNATIONAL ARTIST MECCA • AUTHOR Q&A: PETER HELLER • NATIVE ARTS INSERT
arts+culture ON THE COVER Marina Font, Untitled (the eye), archival pigment print on canvas, gesso, and cotton-hemp yarn, 35 x 35" Courtesy Edition One Gallery
THIRTY YEARS AGO, when I first got to Santa Fe, the month of August was defined by Indian Market. Seemingly every art event—and almost every other event during the month—was somehow connected to this world-class gathering of spectacular Native American artists. To an extent, this is still true. Be sure to see Native Arts magazine within this issue of Santa Fean. While Santa Fe Indian Market continues to be a force in our community, and we acknowledge the extraordinary craftsmanship and creativity on display, it is now one of the many incredible events that make Santa Fe so special. As the city continues to grow, more artists and other creative types are arriving to excite locals and attract visitors. International artists are alive and well in Santa Fe, not just during the International Folk Art Market in July but all year, showing at many of our premier art galleries. In this issue, we introduce you to several artists from all over the world who have brought their extraordinary talents to our city. We have come a long way from the days when all you saw in Santa Fe were landscapes and cowboys. Clearly, we now hold our own with other major art cities around the world. Santa Fe’s creativity does not end with visual art. You also have a wonderful opportunity to experience our world-renowned musical offerings such as The Santa Fe Opera, Santa Fe Chamber Music Festival, Desert Chorale, ProMusica, Santa Fe Symphony, and many more. Special concerts at The Opera, after their season ends, include popular artists like The Mavericks and Robert Earl Keen. And there’s more. You will see a beautiful home in which a talented team of design and building professionals used their individual and collective creativity to bring out the best in an old world–style hacienda. We also introduce you to novelist Peter Heller, who applies his creativity to the written word. Welcome to Santa Fe’s most vibrant time of the year. Prepare your senses and relax. Whether you live here or are visiting, our little city becomes very large during this magical time.
In order to take your Santa Fean experience to the next level, we have added videos to our website that enhance our editorial content, as well as expanded offerings from select advertisers. Make sure to like us on Facebook to see new content, videos, and promotional material.
Live Plaza Webcam on SantaFean.com
BRUCE ADAMS Publisher
For up-to-the-minute happenings, nightlife, gallery openings, and museum shows, visit SantaFeanCalendar.com You can also sign up for Santa Fean’s E-Newsletter at SantaFean.com
Seen photographs by Around Lisa Law
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AUGUST 3 – 19, 2018
amanda n. pitman lisa j. van sickle FOOD & DINING EDITOR john vollertsen EDITOR
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New Beginnings, 2018, acrylic on canvas, 60 × 60 inches
Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 hunterkirklandcontemporary.com
Copyright 2018. Reproduction in whole or in part without permission is prohibited. Santa Fean (ISSN 1094-1487), Volume 46, Number 4, August/September 2018. Santa Fean is published bimonthly by Bella Media, LLC, at Pacheco Park, 1512 Pacheco St, Ste D-105, Santa Fe, NM 87505, USA, Phone (505) 983-1444. ©Copyright 2018 by Bella Media, LLC. All rights reserved. CPM# 40065056. Basic annual subscription rate is $14.95. Annual subscription rates for Canada and Mexico is $24.95; other international countries $39.95. U.S. single-copy price is $5.99. Back issues are $6.95 each. Subscription Customer Service: Santa Fean, P.O. Box 16946, North Hollywood, CA 91615-6946, Phone 818-286-3165, fax 800-869-0040, email@example.com, Monday–Friday, 7 am –5 pm PST. santafean.com
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photo Â© Wendy McEahern
HIPICO Santa Fe
EVENTS Don’t miss the last two weeks of HIPICO Santa Fe’s exciting summer series! The A-rated competition features hunters and jumpers, along with the Sandia BMW/MINI Cooper Ride-&-Drive Challenge on August 4, the $30,000 Santa Fe Fiesta Week City of Santa Fe Grand Prix on August 5, the Santa Fe Waldorf Summer Breeze golf tournament on August 6, the Chorizo Wiener Race for dachshunds on August 11, and the big finale—the $40,000 Grand Prix de Santa Fe—on August 12. The Grand Prix de Santa Fe, Inc., (GPSF) is a nonprofit 501(c)3 dedicated to supporting, advancing, and showcasing the equestrian community of New Mexico. Since its inception in 2004, the GPSF has raised more than $150,000 for New Mexico nonprofits. September 1–2, HIPICO hosts the New Mexico Polo USPA Congressional Cup.—Amanda N. Pitman
HIPICO Santa Fe, Santa Fe Fiesta Week, August 1–5 and Grand Prix de Santa Fe, August 8–12, venue open approximately 8 am–4 pm, free for spectators, VIP tickets available, 100 S Polo Dr, hipicosantafe.com
the buzz around town
Left: Jessica Harries aboard Bravo (owned by Valentina Diemer) is all smiles after her win in the $2,500 National Hunter Derby, for which she also earned the HIPICO Santa Fe silver buckle.
Objects of Art Santa Fe
The Antique American Indian Art Show Santa Fe
Once again, Kim Martindale and John Morris bring 70+ exhibitors to El Museo Cultural in the Railyard. Carrying everything from fine art to fashion to books, this show’s exhibitors come from as nearby as Albuquerque and Santa Fe and as far away as Lebanon and Japan. Three special exhibits are available to attendees. Furniture by George Nakashima Above: A bronze Chinese hat knob. (1905–1990) and his daughter Mira Assistance Dogs of the West receives Nakashima will be displayed, with some 20 percent of the proceeds of the sale of pieces for sale. G. Nakashima designed the dog-themed items. Benedictine Abbey of Christ in the Desert in Abiquiú. Martindale has curated a display of Germantown weavings made between 1870 and1900; when Navajo weavers first acquired brilliantly colored yarns from Germantown, Pennsylvania, they made stunning use of them. A third exhibit celebrates the centennial of the first showing of Maynard Dixon’s paintings in Santa Fe.—Lisa J. Van Sickle
Sixty exhibitors, mainly from the Western United States, fill El Museo with a huge assortment of pre-1950 Native American antiquities. Basketry, silversmithing and lapidary, weavings, and other art forms are among the offerings. The show includes artifacts from tribes across the United States and Canada. The show is produced by Kim Martindale and John Morris, as is the Objects of Art show a few days prior. The three exhibits mounted for Objects of Art continue through the antiquities event—George and Mira Nakashima’s furniture, Germantown weavings, and a look at the art of Maynard Dixon.—LVS
Objects of Art Santa Fe; cocktail benefit and opening night party 5–9 pm August 9, $125 per person for the benefit, $50 per person for the party; show August 10–12, 11 am–5 pm, $15–$25; El Museo Cultural de Santa Fe, 555 Camino de la Familia, objectsofartsantafe.com
The Antique American Indian Art Show Santa Fe; opening night benefit August 14, 6–9 pm, $50; show and sale August 15–17, 11 am–5 pm, $15–$25; El Museo de Cultural de Santa Fe, 555 Camino de la Familia, antiqueindianartshow.com
bryan birdman mier
jon eric riis
Above: Kim Martindale has assembled a spectacular collection of Navajo Germantown weavings for the show.
ShowHouse Santa Fe 2018 The ShowHouse theme for this year—A World of Taste—hints at the exciting new treats in store for the visitors to the 2018 ShowHouse, a property offered by The Bodelson & Spier Team from Santa Fe Properties. The opening night gala on Friday, October 5, highlights the talents of 14 designers in conjunction with delicious bites from fabulous local chefs. Under a beautifully decorated tent, these tidbits are presented with an inspired tablescape that correlates with each designer’s chosen room. Tickets are bound to go fast—pick yours up now! Proceeds go to benefit Dollars4Schools, which funds numerous classroom programs within the Santa Fe Public Schools.—ANP EVENT/FUNDRAISER
ShowHouse Santa Fe 2018, opening night gala October 5; public tours October 6–7 and 13–14, additional information and details can be found at showhousesantafe.com 32
Wheelwright Museum Benefit Auction FUNDRAISER
h. malcolm grimmer
The Wheelwright Museum of the American Indian opened in the fall of 1937, a joint effort of Mary Cabot Wheelwright, an heiress from Boston, and her Above: The benefit auction for the Wheelwright Museum is an close friend Hastiin Klah, a opportunity to pick up contemporary and vintage jewelry. Navajo singer. Klah, who did not live to see the museum open, feared that traditional Navajo religion would soon be lost to assimilation, so the museum was dedicated to the preservation of ceremonial art and objects. A later revival of traditional Navajo ways spurred the museum to repatriate much of its collection in 1977. Its current focus is on supporting and presenting the art and traditions of Native peoples. To further this goal, the museum holds silent and live auctions of contemporary and historic Native art. Look for jewelry, pottery, textiles, and other donated items.—LVS
Above: From H. Malcolm Grimmer Antique American Indian Art, this Crow tobacco bag and stem carrier dates to ca. 1880.
Whitehawk American Indian & Ethnographic Art Show A Santa Fe tradition, the 40th annual Whitehawk show brings to town some of the finest American Indian and ethnographic art available in North America. Over 100 dealers set up in the Santa Fe Community Convention Center for this three-day event. The variety of fine and historic art, baskets, weavings, beadwork, carvings, tribal art, masks, and more will amaze even the most seasoned collectors. On Friday night, check out the preview party with live music, wine, cash bar, and hors d’oeuvres and enjoy the opportunity to purchase items before the show opens to the public.—ANP SHOW
Whitehawk American Indian & Ethnographic Art Show, August 10–13, opening party August 10, 6–9 pm, $85; August 11–13, 10 am–5 pm, $15–$25, Santa Fe Community Convention Center, 201 W Marcy, whitehawkshows.com
Santa Fe 500 CAR EVENT
Start your engines! The Santa Fe 500, established in 2011, is a four-day, three-night scenic back road tour with approximately 90 participants and 50 sports cars or motorcycles. The tour is not timed or competitive, and is open to all types of cars, from 1950s Morgans to modern Above: Sports cars old and new take the scenic route from Santa Fe Porsches, Corvettes, and exotics. to Aspen during the Santa Fe 500. This year, the tour begins at the Four Seasons Rancho Encantado— after breakfast, of course—and ends 300 miles later in Aspen. The route goes over Independence Pass in Colorado, 12,095 feet above sea level. The tour is designed to show off the fall colors in the Rockies.—ANP The Santa Fe 500, September 17–20, begins at 8 am, $350 per person (not including hotel and other expenses), Four Seasons Rancho Encantado, 198 NM-592, santafe500.com
Santa Fe Wine and Chile Fiesta The highly anticipated Santa Fe Wine and Chile Fiesta, now in its 28th year, begins in late September with all of the wine and events—tastings and seminars, chef luncheons, golf classic, film fiesta, and more—that visitors and locals alike have come to expect. This year, an all-star lineup of celebrity chefs including Dean Fearing, Michael Ginor, John Tesar, and favorite local chefs, provide the luncheon for the annual auction on the 26th (tickets $150 per person). The Grand Tasting takes place on Saturday, the 29th, with tickets on sale now ($175 per person). Sunday, September 30, the Champagne & Dirty Boots Brunch at Terra Restaurant wraps up the week ($125 per person). As usual, no one under the age of 21 is allowed at any of the events.—ANP EVENTS
Santa Fe Wine and Chile Fiesta, September 26–30, times, prices, and locations vary, santafewineandchile.org 34
Wheelwright Museum of the American Indian Benefit Auction, August 16–17, free to attend, Wheelwright Museum of the American Indian, 704 Camino Lejo, wheelwright.org/auction
Santa Fe Music Week
Bob Schneider plays the Railyard Saturday, August 25, the last show in this year’s Levitt/AMP Concert Series. Joe West opens.
sing one more song by Lisa J. Van Sickle
ALL GOOD THINGS eventually come to an end. By late August, staples of the summer music scene in Santa Fe—including the opera, Bandstand, chamber music festival, and Desert Chorale—have folded up their tents. This year, Santa Fe Music Week aims to keep the music coming just a little bit longer with a combination of free and ticketed events. Between piggybacking on already-scheduled events and adding many more to the calendar, the City of Santa Fe has designated August 24–September 3 the first Santa Fe Music Week. Plenty is scheduled for the 11 days, with more to be announced. From August 24–31, mariachis perform on the Plaza from 2:30–3:30 pm, and various groups play during the early evening. Grateful Dead fans can catch Detroit Lightning the 29th; The Rifters bring folk and Americana down from Taos the 27th; and Jimmy Gilmer and the Fireballs, New Mexico’s first rockers to hit the big time (in 1958), play the Plaza August 28. AMP Concerts has two events scheduled at The Santa Fe Opera: Robert Earl Keen and The Flatlanders August 27, and The Mavericks in a benefit concert for NDI-NM on Labor Day, September 3. Juan Siddi Arte Flamenco Society takes the Lensic stage August 24, and Aspen Santa Fe Ballet with pianist Joyce Yang is at the Lensic September 1. At least two more Lensic shows are in the planning stages. The New Mexico Music Commission presents the second annual Platinum Music Awards August 30 at the Lensic. The awards are given for lifetime achievement. This year’s honorees are Antonia Apodaca, for an 80-year career in traditional New Mexico music; Dr. William Clark, director of bands at NMSU; Thomas Guralnick, founder and executive director of the Outpost, Albuquerque’s venue for jazz and more; Nacha Mendez, Latin music powerhouse; Malcolm Yepa (Jemez Pueblo), leader of the Black Eagle Powwow Drum Group; and the fine folk from Hummingbird Music Camp, now in their 60th year of operations in the Jemez Mountains. Santa Fe Music Week celebrates the depth and richness of the city’s musical life. From the local cantinas that offer live music every single night of the year to the stages of the Lensic and the opera, go hear an old favorite or find something new.
Left: The Flatlanders have been playing their brand of country since 1972. See them at The Santa Fe Opera August 27.
Santa Fe Music Week, August 24–September 3, times, prices, and locations vary, see website for details, santafe.org
Above: Known for his stories as well as his songs, Robert Earl Keen is a longtime favorite around Santa Fe. He plays at The Santa Fe Opera on Monday, August 27.
STAR LIANA Y OR K
“Chuckles” | Bronze, 16” x 18” x 15” “Skeptial” | Bronze, 16” x 13.5” x 5.5”
“Big Score” | Bronze, 15” x 17”
“Board Meeting” | Bronze
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Peter Heller the writer
with Amanda N. Pitman
Peter Heller has written travel and adventure books, memoir, and fiction. The Painter, his 2014 novel, is set in Northern New Mexico. It has been made into a screenplay, and Heller hopes to see it filmed soon.
You do such a thorough job discussing Stegner’s artwork in the novel and delve a bit into the art world in general. Are you a painter yourself? No, I don’t paint. Jim, the real Jim, was my fishing buddy for 10 years up in Colorado, in the North Fork Valley. I used to watch him paint. And my mother was a painter, and my father paints. His wife is a master, as was my grandmother. I absorbed a lot just being around these people. But there’s something else: I write about painting a lot in the book, and it always seems to be an analogy to writing. Jim Stegner approaches a canvas the way I approach a book—often not knowing what’s going to happen, or even what the subject will be. And he paints every day with immense discipline, and has learned
John Burcham NY Times Paonia
Peter, thank you for talking the time to talk to us at Santa Fean. Your novel, The Painter, is set in Santa Fe, after the main character, artist Jim Stegner, absconds from Colorado. What is it about Northern New Mexico that makes a fitting backdrop for this type of story? The backdrop is in Northern New Mexico because a) Where better place to set a modern Western about beauty and art and loss and violence? and b) It’s where much of the real story actually happened. The secret of The Painter is that the protagonist, Jim Stegner, is based closely on my dear friend, the New Mexican artist Jim Wagner. The backstory, the character, are all him. The fiction pretty much begins when he [Stegner] kills a guy with a rock. I always start a novel with a first line, and I don’t plot or outline. I always want to be as surprised as my reader. So, I began The Painter and a few pages in I thought, whoa, this character is a lot like Wagner. And, the voice sounds just like him. But then I told myself it couldn’t be, because Jim Wagner is still alive and the liability issues would be too great. A few weeks in, I knew I had to call him. I said, “Hey, Jim, I’m writing this new novel about an expressionist painter from Northern New Mexico.” “Oh, cool!” he said. “Yeah,” I said, “and he shot a guy in a bar just like you did, for making a comment about his kid.” Silence. “And he spent a year in [New Mexico State Penitentiary] just like you. He talks like you, and kinda looks like you—he’s big, broad shouldered, salt and pepper beard, paint spattered cap with dry flies stuck in it. And he loves to fish like you, and they call him Hemingway down at the river, just like you . . ..” I went on and on. After a long pause he said, “Damn, that sounds fantastic. Let me know how it goes!” When I finished the book I sent him [Wagner] the first copy. A few days later he called and said, “I read the book.” I held my breath. “I loved it!” he said. “It’s awesome. I’m walking around the house wondering if I killed a guy!” So there was really no other place to set this novel. I’ve spent a lot of time in Santa Fe. I was a contributing editor for years at Outside Magazine, so I’d come down to meet editors. And my dad lived in Santa Fe for 25 years. The place, the light, the topography, the smells, are in my blood. How it changes through the seasons. The country breaks my heart.
the crucial balance between controlling the piece and letting go, having faith. And it’s a very physical act for him, it’s rhythmic, it has momentum, and flow, which are all things I feel about my writing. There has been a rumor going around that a film is in the works for this story. Can you tell us a little about that? Any actors come to mind that you’d like to see in the main roles? I think it would be difficult for any actor to pull off all of Stegner’s idiosyncrasies. Yes, we have a beautiful script written by Paul Tamasy, the screenwriter who wrote The Fighter (2010), among others. I’d like to see an actor whose passion and existential struggles—and struggles with their art— always seem to come through. Great actors like Josh Brolin, Matthew McConaughey, Christian Bale come to mind. Bradley Cooper, too. It would be great to see any one of these in the grips of loss and all-consuming art.
ON THE PLAZA
The Painter is such a rich story to condense into an hour or two for a film. Your descriptions of the sky, landscape, and fishing scenes simply feel alive. Anything in particular from Santa Fe or the surrounding area that you’d really like to see incorporated into the film to stay true to this feeling? I think Santa Fe excites people because it feels balanced between an ancient past and a future where anything is possible. It’s in the rhythms of the hills and the creeks and rivers. It’s in the smell of sunblasted rock and piñon, the thing that happens when that relentless sky runs behind yellowing aspen, flaming cottonwoods—the openness of the valley and the exacting light that painters rave about. The place has existed since the beginning of time. People have lived here forever, their ghosts linger. And yet everything about the landscape and the disposition of the town suggest that at any moment anything can happen: the most brilliant art, a spark of violence, the deepest love. If the filmmakers can capture that, they will certainly be worthy.
The Painter, by Peter Heller, Knopf Publishing Group, paperback from Vintage, $15
Above: The Painter won many awards for Heller, who holds an MFA from the Iowa Writers’ Workshop in both poetry and fiction.
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performing performingarts arts filling the city stages filling the city stages by Lisa by J. Van Lisa Sickle J. Van Sickle
Aspen Santa Fe Ballet Aspen Santa Fe Ballet
Aspen Santa Fe Ballet Aspen Santa brings Fe Ballet brings dancers from Indiafrom and India Sri Lanka dancers and Sri Lanka to the Lensic September 27 for a 27 for a to the Lensic September program ofprogram ancient,ofclassical ancient, dance classical dance from the other sideother of theside world. from the of the world.
Saturday, September 1, Aspen Santa Santa Fe Ballet Saturday, September 1, Aspen Fe Ballet reprises its collaboration with pianist Joyce Joyce reprises its collaboration with pianist Yang. Yang. Sharing the stage, the ballet company Sharing the stage, the ballet company performs to Yang’s playing. Repertoire includes performs to Yang’s playing. Repertoire includes Half/Cut/Split, a piecea in which Finnish choreogHalf/Cut/Split, piece in which Finnish choreographerrapher JormaJorma Elo worked with Yang develop Elo worked with to Yang to develop Carnaval, by Robert Schumann, into a into dance; Carnaval, by Robert Schumann, a dance; ReturnReturn to a Strange Land, by Czech choreograto a Strange Land, by Czech choreographer Jirř í Kylián with music by Leoš pher Jirří Kylián with music byJanácek, Leoš Janáček, also Czech; and Where We LeftWe Off, with by also Czech; and Where Left Off,music with music by PhilipPhilip Glass and by Nicolo Fonte.Fonte. Glasschoreography and choreography by Nicolo Later in the in month, Nrityagram DanceDance Later the month, Nrityagram Ensemble, India, India, collaborates with Chitrasena Ensemble, collaborates with Chitrasena DanceDance Company of Sri of Lanka in a program titled titled Company Sri Lanka in a program Samhära. The Indian troupetroupe performs Odissi,Odissi, Samhära. The Indian performs a type aoftype classical dance dance more than years years of classical more2,000 than 2,000 old. The Lankans are Kandyan dancers. Both Both old.Sri The Sri Lankans are Kandyan dancers. dance dance forms forms include elaborate costumes and and include elaborate costumes jewelry. A troupe of instrumentalists and singers jewelry. A troupe of instrumentalists and singers provide the music for this unforgetprovide the music forsure-to-be this sure-to-be unforgettable evening of classical dance dance from South Asia, Asia, table evening of classical from South September 27. 27. September Aspen Santa Ballet, September 1 and September 27, Aspen Fe Santa Fe Ballet, September 1 and September 27, 8 pm, $36–$94, Lensic Performing Arts Center, 8 pm, $36–$94, Lensic Performing Arts Center, 211 W San Francisco, aspensantafeballet.com 211 W San Francisco, aspensantafeballet.com
Santa Fe Pro Santa Fe Musica Pro Musica
santafean.com august/september 2018 40 santafean.com august/september 2018
The National for The Endowment National Endowment for the Arts has notice of notice of the taken Arts has taken SFPM’s programming, including including SFPM’s programming, the work the of female work ofcomposers female composers in the majority their concerts. in the of majority of their concerts. Jane Chu,Jane former of Chu,chairman former chairman of the NEA, the willNEA, speakwill in October speak in at October at the Lensic. the Lensic.
With roots back toback 1977, ProFe Musica (SFPM) has always been inbeen the in the Withstretching roots stretching to Santa 1977, Fe Santa Pro Musica (SFPM) has always capablecapable hands hands of Thomas O’Connor, executive director, and Carol associate music music of Thomas O’Connor, executive director, and Redman, Carol Redman, associate director. O’Connor put away oboe favor the of baton a few years heand is curdirector. O’Connor puthis away hisinoboe inof favor the baton a fewago, yearsand ago, he is currently rently lookinglooking to hand some the of conducting chores.chores. tooff hand off of some the conducting O’Connor conducts the opener, September 22 and22 23,and with Anne-Marie O’Connor conducts the opener, September 23,pianist with pianist Anne-Marie McDermott as soloist. HavingHaving exhausted the Beethoven concertos, McDermott movesmoves McDermott as soloist. exhausted the Beethoven concertos, McDermott to Mozart this time. bringsbrings an all-Mendelssohn concert, with Ruth to Mozart this November time. November an all-Mendelssohn concert, with Reinhardt Ruth Reinhardt conducting and Ariel violin violin soloist.soloist. O’Connor leads all six all Brandenburg concerconducting and Horowitz, Ariel Horowitz, O’Connor leads six Brandenburg concertos in tos December, then cedes podium to ErictoJacobsen, Lina Gonzalez-Granados, and and in December, then the cedes the podium Eric Jacobsen, Lina Gonzalez-Granados, Gemma New for thefor remainder of the of season. The always-popular Baroque Christmas and and Gemma New the remainder the season. The always-popular Baroque Christmas Baroque Holy Week series will again Loretto Chapel, and the Stringworks series brings Baroque Holy Week series will fill again fill Loretto Chapel, and the Stringworks series brings three quartets in earlyin2019. three quartets early 2019. NoticeNotice anything about about the guest In oneIn ofone the of fewthe fields almost entirely anything the conductors? guest conductors? few still fields still almost entirely male, SFPM is indeed bringing in three conductors. In recent years, Redman and and male, SFPM is indeed bringing in female three female conductors. In recent years, Redman O’Connor have programmed work by several femalefemale composers, and SFPM has launched O’Connor have programmed work by several composers, and SFPM has launched the Women of Distinction initiative to further these efforts. October 21, Jane the Women of Distinction initiative to further these efforts. October 21,Chu, Jane Chu, Chairman of the of National Endowment for thefor Arts keynote addressaddress at the at Lensic in Chairman the National Endowment thegives Artsagives a keynote the Lensic in recognition of SFPM’s leadership. recognition of SFPM’s leadership. See website for dates, locations, sfpromusica.org See website fortimes, dates,prices, times,and prices, and locations, sfpromusica.org
ON THE PLAZA
Above: The Danish String Quartet are first-timers at the Santa Fe Chamber Music Festival. They can be heard in a Beethoven quartet and a piece by Hans Abrahamsen, a fellow Dane.
Santa Fe Chamber Music Festival
August programming at the Santa Fe Chamber Music Festival (SFCMF) covers the range of what the festival is about. FLUX Quartet premieres pieces by three young composers the evening of August 3, and the 11th brings artistin-residence Alan Gilbert and members of his extended family in a program of Bach, Handel, and Vivaldi. Gloria Chien and Shai Wosner both give solo piano recitals—on the 8th and the 15th, respectively—and the festival amasses a chamber orchestra on August 13 to perform Mahler’s Das Lied von der Erde with Sasha Cooke, mezzo-soprano. The Danish String Quartet, who assure concert-goers they are “perhaps a touch more harmless than our Viking ancestors,” make their SFCMF debut August 7 with the Beethoven String Quartet in A Minor, Op. 132, and Hans Abrahamsen’s String Quartet No. 2. In another debut, the New York Philharmonic String Quartet plays Mendelssohn’s final chamber work, the String Quartet in F Minor, Op. 80. With concerts almost every day until the festival closes on August 20, anyone interested in chamber music can find one—or several—that will appeal. Santa Fe Chamber Music Festival, see website for dates, times, prices, and locations, santafechambermusic.com
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Right: The resonant acoustics in area churches add to the glorious sound of massed voices. Santa Fe Desert Chorale will perform in the Cathedral Basilica of St. Francis of Assisi, the Church of the Holy Faith, and Cristo Rey Church.
Santa Fe Desert Chorale
Since 1982, Santa Fe has boasted a professional choral ensemble, made up of singers from across the country who come to New Mexico to perform both summer and winter. Santa Fe Desert Chorale (SFDC), under the direction of Joshua Habermann, is alternating between three programs this summer. SFDC has maintained a commitment to performing music from the Hispanic and Native American communities. This year that takes the form of The New World: Journey From the Inca Trail. Made up of Baroque compositions from 17th- and 18th-century Latin America, the singers will be accompanied by instrumentalists from Caminos del Inka. The program will be given at Cristo Rey Church. The other programs for the summer are Twentieth Century American Masters, music of Leonard Bernstein, Samuel Barber, and William Bolcom, held at the Church of the Holy Faith, and Sure on This Shining Night, compositions celebrating the beauty and power of nature, performed at the Cathedral Basilica of St. Francis of Assisi. Santa Fe Desert Chorale, through August 9, see website for dates, times, prices, and locations, desertchorale.org
Costumes, lighting, music, and the intensity of flamenco make for a dramatic evening of dance. Entreflamenco performs six shows a week, featuring Estefania Ramirez and Antonio Granjero.
Up the stairs at the corner of Palace and Grant lies a whole different world. Five nights a week, Wednesday through Sunday, plus a Sunday brunch matinée, El Flamenco de Santa Fe is alive with swirling skirts, shoes pounding out rhythm, and a troupe of musicians from Spain, Italy, and Cuba. Entreflamenco was founded by flamenco dancer Antonio Granjero in his native Spain 20 years ago. He and codirector Estefania Ramirez moved the company to Santa Fe in 2011, where they perform, teach, and make their home. This summer they are joined by guitarist Angel Ruiz, Marco Topo on bass, singer and percussionist Francisco Orozco, and Magela Herrera on flute, with Antonio Hidalgo Paz directing the technical aspects. El Flamenco, Entreflamenco’s venue, serves Spanish tapas, wine, and beer, opening an hour before each performance. Monday nights, flamenco/jazz fusion group Vaivén plays, with Calvin Hazen, Jon Gagan, and Robbie Rothschild. Tuesday evenings, Ronald Roybal presents Enchanted Sounds of the Southwest, a concert of music for Native flute. Entreflamenco won a 2017 Mayor’s Arts Award, given for artistic excellence, significant contributions to the arts, and a demonstrated commitment to Santa Fe. Entreflamenco, through September 2, 7:30 pm and 1:30 pm Sundays, El Flamenco de Santa Fe, 135 W Palace, entreflamenco.com
Above: Bass-baritone Ryan McKinny sings the role of J. Robert Oppenheimer in The Santa Fe Opera’s production of Doctor Atomic. The opera is an account of the events leading up to the test of the world’s first nuclear weapon, and portrays the tensions between and within the scientists responsible for the development of the bomb.
The Santa Fe Opera
No summer in Santa Fe is complete without an evening at The Santa Fe Opera. Tailgating in the parking lot, with its spectacular views across the valley to the Sangre de Cristos, is a time-honored tradition, while from your seats in the house you can watch lightning dance across the Jemez Mountains to the west. By August, all five productions will be in rotation, and the starting time has been moved to 8 pm. From August 6–10 or 13–17 you can see all five operas on five consecutive nights. Whether you prefer opera that is lighthearted and comedic or bloody and tragic, this season offers it all. The 2018 repertoire includes Leonard Bernstein’s Candide, Puccini’s Madame Butterfly, John Adams’s Doctor Atomic (with the lights of Los Alamos visible in the distance at no extra fee), Richard Strauss’s Ariadne auf Naxos, and Rossini’s The Italian Girl in Algiers. Also in August, there are two evenings of Apprentice Showcase Scenes, where for $15 you can see the vocal apprentices perform. Each year, The Santa Fe Opera chooses about 40 young singers for their apprentice program. They fill out the chorus, take small parts, and serve as understudies for larger roles. Some are no doubt destined for greatness, and you can be there at the beginning. The Santa Fe Opera, through August 25, 8 pm, $40–$295, The Santa Fe Opera, 301 Opera Dr, santafeopera.org
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Nestor Torres will give an October performance of Mariano Morales’s Concerto for Flute. Torres, who plays jazz as well as classical, gave the premiere of Morales’s concerto last April, with Guillermo Figueroa conducting.
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The Santa Fe Symphony
The Santa Fe Symphony launches their 2018–2019 season on September 16 with violinist Sirena Huang. Winner of the 2017 Elmar Oliveira International Violin Competition, she plays the J.S. Bach Concerto for Two Violins with none other than Oliveira himself. Huang also performs Samuel Barber’s violin concerto—lyrical first and second movements followed by a fiendishly difficult finale. The concert ends with Tchaikovsky’s sixth (and final) symphony, the “Pathetique.” The season is a mix of the tried-and-true and less-familiar compositions. Handel’s Messiah makes its usual mid-November appearance, as does the December Christmas Treasures concert. May brings Berlioz’s Symphonie fantastique; other symphonies for the year include Mahler’s fourth and Dvorák’s seventh. April features Brahms’s massive Ein deutches Requiem with the Santa Fe Symphony Chorus and the Eastern New Mexico Chamber Chorus. A concert of pieces by Hispanic composers on October 14 opens with a piece by Argentine composer Alberto Ginastera; includes a suite, Manuel de Falla’s The Three Cornered Hat; and presents flautist Nestor Torres in Mariano Morales’s Concerto for Flute. February 17, David Felberg will play Bruce Adolphe’s I Will Not Remain Silent. The 2013 violin concerto is based on the life of Rabbi Joachim Prinz, who escaped Nazi Germany and became an outspoken advocate for human rights. In a Christmas Eve concert, Poulenc’s Concerto for Two Pianos and Orchestra in D Minor is the centerpiece, with piano duo Anderson and Roe. All performances are at the Lensic Performing Arts Center. Santa Fe Symphony, see website for dates, times, and prices, santafesymphony.org
Santa Fe an international artist mecca
Santa Fe has long been known as a place where different cultures meet. People from all corners of the world come to Santa Fe to visit, work, and live. We enjoy restaurants serving the cuisine of Africa, India, Italy, and Persia. The art world is equally diverse. Santa Fean takes a look at the artists from around the world who show their work in Santa Fe, and the galleries that specialize in art from afar.
Above: An extraordinary 1641 world map by Henricus Hondius, Amsterdam. Courtesy William R. Talbot Fine Art.
international artist mecca the artists
Rubén Fasani Globe Fine Art 727 Canyon globefineart.com
Amazing art is frequently born out of crisis and trauma. In Rubén Fasani’s case, crisis did not create his art, but it played a role in bringing it to the world stage. In 1998, Argentina fell into a severe economic depression leading to riots, widespread unemployment, and the collapse of the government. Four years would pass before the country pulled itself out of the economic turmoil. This was the backdrop for Fasani’s bold search for greener pastures. Nine years earlier Fasani and his wife had opened a gallery in Buenos Aires called Fuego y Forma (Fire and Form). Foreign visitors to the gallery would frequently marvel at his craftsmanship in glass sculpture. As the economic crisis raged and domestic demand for handcrafted artwork waned, Fasani wondered if he would have better luck abroad. After a resoundingly successful showing at an exhibition in St. Louis, Missouri, his pieces found their way to other American cities, including New York and Chicago. His body of work includes illuminated sculptures made from float glass and stainless steel, as well as ceramic statuettes and cast glass pieces. He enjoys incorporating recycled industrial materials into his creative processes.—Efraín Villa
Left: Endless, glass and stainless steel, 53 x 12 x 50"
EVOKE Contemporary 550 S Guadalupe evokecontemporary.com
Vivid dreamscapes deconstructed from natural and synthetic elements fade into chaotic backgrounds on which Soey Milk (a pseudonym) renders sensuous, idealized representations of the female form. As part of her commitment to evolving as an artist, Milk experiments with various media and styles to produce strikingly different results. Her talents with graphite on paper leave wispy, phantom strokes that efficiently create stunning imagery of womanhood distilled to its fundamental essence. Conversely, some of her works are steeped in a dizzying palette of colors and textures that seem to float off the canvas. Her diverse interpretations of the female condition reflect the spirit of a curious artist. Sometimes the women she illustrates are only partially visible; vulnerable, disembodied faces with delicate features and timid eyes meekly glancing toward the ground. Other times, women’s bodies are positioned in somnolent, erotic poses that belie the fierce strength and alertness seen on their faces. Always willing to embrace mistakes as part of the creative process, Milk has quickly evolved to become a highly respected artist internationally, as well as in the United States, where her family moved from Seoul, South Korea, in 2000. Her artistic resume is made even more impressive by the fact that she is not yet 30.—EV
Pietro Piccoli, Castelsardo, Sardegna, mixed media on canvas, 28 x 31"
Above: Soey Milk, Fovere, mixed media on panel, 18 x 18"
Gallery 901 555 Canyon gallery901.org
Born in the idyllic hill town of Montopoli di Sabina, about 30 miles from Rome, Pietro Piccoli enrolled in art school at the age of 16 and moved to the Italian capital at 20 years old. Piccoli’s artistic evolution can be traced through two distinct phases in his career. Throughout the 1970s, he learned from the many innovative artists who called Rome home. His focus was on growing as a painter by understanding the techniques and ideas of the masters. In the 1980s, Piccoli pivoted to concentrating on creating his own unique style by melding various artistic media and methods. For a decade, he experimented with realism, abstraction, impressionism, and expressionism until finally arriving at a form of expression markedly his own. Known as an “artist of the Mediterranean world,” Piccoli works with oil on canvas to depict the seaside scenery readily accessible to him from his home studio near the Mediterranean coast. Strong geometric elements within boats and architecture are typically softened through distortion. His use of bright colors and bold textures to create abstract overlays lend a dreamy, hazy quality to his serene landscapes, almost as if seeing the world through a stained glass window.—EV august/september 2018
Rahileh Rokhsari The Longworth Gallery 530 Canyon thelongworthgallery.com
“My art is me,” says Rahileh Rokhsari. “I have my roots in Iran and everyone is fed by his roots.” Although she comes from the heart of Persia, it was while traveling in Turkey that Rokhsari connected deeply with the poetry of Persian theologian Rumi (1207–1273). Observing the rituals of Sufi mystic dancers—“whirling dervishes” who trace their practices to Rumi—she recognized the universality of Rumi’s ideals of unity and transcendence. Her Rumi on Canvas series aims to translate those teachings to the visual realm, expressively depicting the dervishes dancing amid cosmic vortices and surreal backdrops, as well as swirling glasses of wine evoking ceremony and sacrament. Rokhsari’s influences extend beyond the spiritual realm: the Tehran native studied physics before pursuing an art career, and she relates that discipline to her deep exploration of artistic subjects. “I always love to dig to the core and find out the reason of anything that sounds interesting to me.” —Dylan Syverson
Above: Rahileh Rokhsari, Moral Compass, oil on canvas, 37 x 25"
Ewoud de Groot
Gerald Peters Gallery 1005 Paseo de Peralta gpgallery.com
Above: Ewoud de Groot, Resting on Ice 2 (Trumpeter Swans), oil on linen, 39 x 39"
On the floor of his studio in the North Holland village of Egmond aan Zee, Ewoud de Groot drips and splatters oil paints atop a canvas. Working on the ground is not necessarily an artistic preference, but rather a means to a technical end. The horizontal positioning of the canvas prevents gravity from causing his thick oil applications to drip away from their intended placement. This is but one stage of his process, though. The abstract, dreamlike backgrounds he creates on the floor serve as a form of negative space that counter the realistic wildlife he paints as focal points. In this way, the subject and its environmental context contrast not just in color, texture, and light, but also in their measure of figurative representation. “I always try to find that essential balance and tension between the more abstract background and the realism of the subject,” says Ewoud in his artist’s statement. Ewoud relies on his formal training, extensive illustration experience, and love for the outdoors to create his paintings. As an avid nature enthusiast, he frequently spends time studying wildlife while exploring the Wadden Sea, a World Heritage Site known as the largest unbroken system of intertidal sand and mudflats on the planet.—EV
Guo Ming Fu
Asian Adobe 310 Johnson asianadobe.com
Set on the Mongolian steppes, Guo Ming Fu’s watercolor depictions of tribal women on horseback possess an epic, filmic quality that any American might associate with the romanticized West. Gallerist Fidelia Kirk of Asian Adobe is aware of this cross-cultural appeal, saying Guo’s Mongolia paintings remind her of “American Indians on horseback.” Kirk met Guo in his native China in the early 1990s, when she visited his and his wife’s humble retail space in a Beijing hotel basement and ended up buying a couple of original pieces for her home in Singapore. After reuniting by chance at a gallery a few years later amid Guo’s growing success at exhibitions in Hong Kong and around China—Kirk notes his art remains “very popular in Asia”—the two formed their trans-Pacific business partnership. Asian Adobe is now the sole gallery representing Guo in the United States.—DS Above: Guo Ming Fu, Conquest Into the Unknown, watercolor on paper, 72 x 68"
Gallery 901 555 Canyon gallery901.org
Javier Mulió grew up in Alcoy, an industrial city in the Spanish province of Alicante. From an early age, Mulió gravitated toward his local artist community. As an adolescent he began dabbling with painting and at 18 years old formalized his artistic pursuits by enrolling in the Mila Gómez Academy, from which he graduated three years later in 1976. By 1978 he was painting professionally and honing his distinct style, which led him to begin exhibiting his work outside his hometown. Soon, his paintings were in galleries in the Spanish cities of Granada and Logroño, as well as in Châteauroux, France. In 1997 he had his first exhibition in the United States, and his work has since become highly sought-after in many other countries. Collectors of his paintings include a Saudi Arabian prince. Mulió describes his work as realist. His oil paintings, influenced by Salvador Dalí, depict still life in vivid detail. Bowls, chalices, bottles, and goblets frequently take up a prominent space in his compositions, providing an interesting counterpoint for organic elements such as flowers and fruit. Glistening droplets of water and flickering candle flames show his mastery in rendering reflection and dimension.—EV Left: Javier Mulió, May I Have Another?, oil on board, 12 x 8"
Pippin Contemporary 409 Canyon pippincontemporary.com
Andrzej Karwacki moved from Poland to New York in 1984. Having grown up during a time of intense political and social strife in his country, he gravitated toward art as a path to peace and creative preservation. His fascination with varied forms of expression led him to explore painting, illustration, sculpture, architecture, music, and film. In his art, Karwacki constructs and deconstructs, severs and unites, roughens and smooths. He emphasizes that his process is not necessarily linear, but rather unconstrained in its development. Perhaps most significantly, he embraces the seeming incongruity of applying his extensive training by setting aside all that he has learned. His abstract paintings are an exploration of media and styles rooted in the Buddhist notion of equanimity. “In Buddhism, equanimity is one of the four immeasurables and is considered the steady conscious realization of reality’s transience,” says Karwacki. “While some may think of equanimity as dry neutrality or cool aloofness, mature equanimity produces a radiance and warmth of being.” In his Still Water series, luminous swirls and ripples of color merge in layers of undulating textures. He currently works out of his studio in Berkeley, California, his dogs nearby to help keep him balanced.—EV Above: Andrzej Karwacki, Still Water Series #4, mixed media on panel, 36" diameter
Tansey Contemporary 652 Canyon tanseycontemporary.com
Above: Nuala O’Donovan, Radiolaria Grid Subtracted 3, unglazed porcelain, 11 x 17 x 17"
Contemplating Nuala O’Donovan’s unglazed ceramic sculptures leaves the observer wondering whether the intricately assembled work is really handmade or if it is derived from an organic specimen. She loves that her art blends the line between what nature itself creates and what nature inspires us to construct. “My decision to research patterns and forms from nature stemmed from my interest in the narrative quality of irregularities in patterns,” O’Donovan explains in her artist’s statement. “The pattern records a response to random events during the making process. The result of using the characteristics of fractal geometry in making decisions regarding the form of the sculptural pieces, is that the form is resolved but retains a sense of potential change.” It is this promise of transformation within her work that most engages the observer. The uniqueness of each individually crafted component arranged in repetitive, uniform configurations encourages the viewer to consider each sculpture as a starting point for understanding. Wavy spears, thin rods, and bulbous shapes work in conjunction to create anticipation for prospective growth, healing, and transformation. This is not to say that each sculpture does not look completed, but something about the universal nature of the patterns allows us to embrace this art as a work in progress.—EV
The Longworth Gallery 530 Canyon thelongworthgallery.com Vladimir Kush trained classically in his hometown of Moscow as a child, painted propaganda posters as a conscript in the Soviet military, and made a living sketching portraits of Los Angeles tourists as a new immigrant in the early 1990s before finally settling in Hawaii—a long personal journey resulting in a surrealistic, allegorical style that carries across artistic media. Kush’s technique reflects his comprehensive art education—touches of Bosch, Leonardo da Vinci, the Dutch Masters, Dali, and Magritte are detectable in his oil paintings and drawings. He recombines those foundational elements into playful and original spectacles: a frequent theme is absurdly juxtaposing living nature with the inanimate, such as placing a pool table in the middle of an Eden-like garden scene or substituting the legs of a caterpillar with tank treads. The Longworth Gallery has represented Kush in Santa Fe for over a dozen years, and an exhibition of his paintings, sculptures, and jewelry is slated for an October 12 opening.—DS
Above: Vladimir Kush, Play for the Ocean, oil on canvas, 14 x 20"
Mark White Fine Art 414 Canyon markwhitefineart.com
Nnamdi Okonkwo’s strong devotion to his religious faith drives him to create figures that reflect the sublimity of the human spirit, particularly in its female form. He thinks of the rotund, corpulent shapes he sculpts as vessels that hold his outpourings of emotion when contemplating divine creations. Originally from eastern Nigeria, Okonkwo now lives in Fayetteville, Georgia, with his wife and three children. He began studying art in his home country and obtained a degree in painting before considering a move to the United States. At 24 years old, he was recruited by Brigham Young University to play basketball. There, he earned a BFA and MFA in sculpture. When reflecting on the trajectory of his career and his preference for sculpting the female form, Okonkwo fondly recalls that it was his mother who most ardently supported him in his artistic endeavors, even when art did not seem to be an economically practical pursuit. His large pieces can take anywhere from a few weeks to several years to bring from idea to their final renditions in bronze. The vivid colors and serene miens of his curvaceous subjects have become important elements of his signature style.—EV Above: Nnamdi Okonkwo, Seraphim, bronze, 9 x 10 x 7" august/september 2018
Pippin Contemporary 409 Canyon pippincontemporary.com
Abstract art can sometimes feel indecipherable, which is why Bassmi Ibrahim hopes people experience his work from within a subconscious, intuitive state rather than from a place of logical alertness. “I chose abstract painting to give me access to a space beyond words,” explains Ibrahim. “The viewers are invited to enter into a different area of their awareness, where the intellectual mind is silenced and the simplicity of the inner self is opened to lead them into the paintings.” Ibrahim creates his painting in a meditative state in which he channels a distilled essence of existence. His fluid bursts of color and texture are spontaneously applied to canvas in a single session. The freeforms that result then serve as a foundation for the laborintensive layering and smoothing processes that follow. The final outcome is a complex, balanced glance at ephemeral sensations and vibrations that both ground and free the viewer. From his home in Clearwater, Florida, Egyptian–born Ibrahim continues to work, honoring the artists who inspired him to express himself on his own plane of consciousness. These include Jackson Pollock, Helen Frankenthaler, Willem de Kooning, Paul Jenkins, and his mentor and spiritual leader, Mark Rothko, whom he met in New York City’s Greenwich Village.—EV
Above: Bassmi Ibrahim, Isness 154, mixed media on canvas, 48 x 48"
Obscura Gallery 1405 Paseo de Peralta obscuragallery.net
Time can be an unwieldy and challenging concept to work into art, but Coco Fronsac delights in the challenge. Her collages deal in anachronism by fusing disparate elements of past and present material culture. The end results can be both poignant and charmingly absurd. As the daughter of two accomplished painters, Fronsac started down her own formal path as an artist by enrolling in an applied arts program in Paris, France. After training as a lithographer, she began nurturing her interests in the Surrealist movement and indigenous tribal arts. She begins her works on salvaged black-and-white photographs from the late 19th and early 20th centuries that she collect at flea markets. The images, capturing bygone moments of celebration, solitude, stoicism, and playfulness, act as a historical background on which she layers and carves pop iconography, tribal art, and contemporary elements of everyday life in the 21st century. Her collages can be interpreted as social commentary on the irrationality of time constructs, but her melding of past and present artifacts also serves to solidify the connection between humans of different geographies and historical periods. In this way, her whimsical repurposing of memories acts as a global unifier.—EV
Left: Coco Fronsac, La branche d’aubepine, mixed media, 10 x 8" 52
Nedra Matteucci Galleries 1075 Paseo de Peralta matteucci.com
Working in one of the world’s most prestigious anthropology museums while apprenticing under one of Mexico’s most renowned sculptors put Felipe Castañeda on a path to greatness. Originally from the small, lakeside town of La Palma in the Mexican state of Michoacán, Castañeda grew up near ancient archeological ruins and stunning colonial art and architecture. In his 20s, he decided to follow his passion for the arts by enrolling in La Esmeralda Painting and Sculpture Academy of the National Institute of Fine Arts in Mexico City. While studying, he worked at the National Museum of Anthropology and assisted Francsico Zúñiga, a master sculptor famous for his Mexican political modern style. By his mid-30s, Castañeda was exhibiting his work throughout Mexico and drawing the attention of collectors abroad. Castañeda’s sculptures in marble, onyx, and bronze are now internationally acclaimed for their straightforward, universal evocation of the female form. His work beautifully depicts the sensual embodiment of woman as mother, protector, and lover. Polished, curvaceous figures depicted breastfeeding, embracing a partner, or simply relaxing in solitude demonstrate tremendous admiration and respect for womanhood. In addition to being exhibited in galleries, Castañeda’s work appears in many important public monuments throughout Mexico.—EV Above: Felipe Casteñada, Desnuda con Trenza, white marble, 21 x 15 x 11"
Tansey Contemporary 652 Canyon tanseycontemporary.com
The ancient Japanese art of kintsugi seeks to find harmony in imperfection through restoration techniques that draw attention to repairs rather than conceal them. Under the traditional practice dating back to the 15th century, ceramic tea bowls became masterpieces as lacquer and gold leaf finishes were applied to cracks. The resulting gilded rivulet amplified the vessels’ original beauty. The art of yobitsugi is a similar celebration of the imperfect, but unlike kintsugi, this technique utilizes fragments from various pieces as patches in the mending process. Yukito Nishinaka borrows from the kintsugi and yobitsugi techniques in order to wield his glass vessels into unique artworks that, although fragmented, appear anything but flawed. His vases utilize different textures, shapes, and colors that sometimes do not seamlessly fit together, which is part of the intentional charm that Nishinaka says derives from teachings in The Book of Tea. “True beauty could be discovered only by one who mentally completes the incomplete,” Nishinaka says, referring to a passage from The Book of Tea to describe his artistic philosophy. Nishinaka’s exhibitions have been well received in some of the world’s largest cities, including Tokyo, New York City, and London. He currently works out of his studio in Chiba, Japan.—EV Left: Yukito Nishinaka, Yobitsugi G848, glass, silver leaf, 14 x 8 x 7"
Suchitra Bhosle Meyer Gallery 225 Canyon meyergalleries.com
Suchitra Bhosle applies her characteristic stark brush strokes to a wide range of subjects, and she says this “sense of openness” in her approach was influenced by the multifaceted South Indian city of Bangalore, where she spent the first two decades of her life. Growing up in this “metropolitan melting pot,” Bhosle learned early to appreciate how cultures and religions in the city expressed themselves, especially through the spaces they created. “South India has many beautiful and old places of worship,” she says. “[T]he architecture, the old-worldliness, and the aesthetic appeal around [Bangalore] has seeped into my work over the years.” Intimate depictions of cozy church and temple interiors are recurring images in Bhosle’s work. Based in the United States since 2001, she still takes inspiration from sacred architecture, with many of her delicately light-bathed scenes hinting at Spanish missions in California or the adobe churches of New Mexico.—DS Above: Suchitra Bhosle, A Moment in Red, oil on panel, 16 x 12"
Nedra Matteucci Galleries 1075 Paseo de Peralta matteucci.com
Richard Tang, ring, 22-kt granulated gold and freshwater pearl, size 7
That Richard Tang gathers inspiration from dreams helps explain the boldness of his work. Chunky necklaces, intricately adorned rings, and ornate pendants make up part of his large collection of statement jewelry pieces. Tang was born in Hong Kong into a family of multi-generational craftsmen. His father was an expert carver and polisher of jade, and some of the antique jade samples Tang works with today are family heirlooms. Although he studied art in China, it was not until he moved to the United States in 1992 that he began to actively pursue the craft of making jewelry. Once settled in his adopted country, Tang enrolled at the Jewelry Art Institute in New York City and relocated to Santa Fe in 1994 to open his own studio. His pieces are typically fashioned out of precious stones, pearls, rare coins, and 22-kt gold and silver. He incorporates his interest in numismatics into his jewelry by embellishing items with antique coins from China and the Roman Empire. Another distinctive trait of Tang’s work is his use of the ancient technique of granulation, which creates intricate patterns out of tiny spheres of gold and silver.—EV
530 S. Guadalupe Street Santa Fe, NM 87501 505.930.5956 firstname.lastname@example.org santafehomellc.com
Furnishings • Interior Design
EVOKE Contemporary 550 S Guadalupe evokecontemporary.com
Javier Marín believes life is a collection of coincidences, that mistakes amplify our humanity. As one of the most celebrated sculptors of our time, countless recorded interviews exist of the Mexican artist waxing philosophical in his earthy, come-what-may manner. When a broadcaster asks about his unusual style, Marín languidly responds, “I just love accidents.” For an artist who wholeheartedly embraces happenstance, Marín’s career trajectory has been anything but undeliberate. For more than three decades, he has doggedly perfected his craft. His works have been featured in more than 200 exhibitions, almost half of them in solo shows in the world’s most prestigious museums. Although he can create hyper-realistic sculptures, even without the use of models, he prefers coarse abstraction to realism. Byproducts from his creative process, such as seams and discolorations, serve as celebrated tokens of his purposeful accidents. Scholars frequently compare Marín to Michelangelo and Rodin, but he is quick to dismiss his own virtuosity. “I sculpt because that’s what happens to have its grasp on me right now,” he says. “But I also paint and draw; I dance beautifully; I sing . . . in the shower; and I’m an amazing desk-drawer organizer. These things also matter.” In Marín’s art, all matters matter.—EV
Above: Javier Marín, Maqueta Reflejo VII, bronze and resin, 28 x 10 x 52"
international artist mecca the galleries
1601 Paseo de Peralta taimodern.com Japan is home to hundreds of bamboo species, appearing as anything from rows of shrubbery to colossal forests, and the sturdy-yet-flexible grass is emblematic of the island nation— still robust through the tumult of time. Traditional Japanese bamboo basketry took centuries— possibly millennia—to evolve from the strictly functional to the decorative. By the 15th century, a growing craze in Japan for Chinese tea ceremonies prompted mostly anonymous craftspeople to adapt decorative designs from China. Emphasis on artist individuality and Japanese identity didn’t arise until the mid-1800s, as Japan opened to world trade and underwent rapid Westernization. As the post-World War II period brought new manufacturing media like plastics to Japan, bamboo’s role as an everyday material diminished. Removal of bamboo vessels to the specialty market led to a focus on ornamentation, and later, an evolution into the wild, sweeping, looping designs we often see today. TAI Modern’s unique collection of Japanese bamboo pieces has been credited with boosting awareness of the art form in the West. The gallery’s exhibitions have included mind-bending geometric works by contemporary makers like Morigami Jin and Honma Hideaki, as well as designs by traditionalists like the Wada family, whose three generations of weavers created baskets from the 19th well into the 20th century.—DS
Left: Honma Hideaki, Tide, madake and nemagari bamboo, rattan, 19 x 20 x 22"
Ventana Fine Art
400 Canyon ventanafineart.com Australian aboriginal art was originally intended to be an ephemeral form of storytelling. During tribal ceremonies, both abstract and physical concepts were fleetingly captured in sophisticated iconography through dots daubed on smoothed soil, tree bark, and human bodies. This ritualistic passing on of wisdom remained largely hidden from outsiders’ eyes until the 1970s when aboriginal artists began using acrylic paint and canvas, instead of ochre, charcoal, and sand. The highly textured nature of aboriginal art makes the designs and dreamscape motifs look almost three-dimensional. Images of rivers, animals, and plants, as well as the sun, moon, and cosmos are captured through beaded swirls of paint that seem to leap off the canvas. Beautiful examples of this type of dot art are housed at Ventana Fine Art. The collection includes prominent aboriginal artists, including Malcolm Jagamarra. Although these pieces are not always on display due to limited gallery space, the collection can always be viewed online.—EV
Beya Khalifa, Association, antique photograph and digital collage, 16 x 12"
Above: Malcolm Jagamarra, Lander River Dreaming, oil on canvas, 48 x 31"
East of West Gallery
2351 Fox Rd #600 eastofwestonline.com Open for less than a year, East of West Gallery is a relative newcomer to Santa Fe’s vibrant art gallery scene. The exhibitions here feature Middle Eastern, South Asian, and African contemporary artists expressing narratives anchored in immigration, religion, gender identity, censorship, cultural dissonance, and otherness. The gallery’s mission is “to amplify artists’ voices, shift negative narratives and stereotypes, and help bridge gaps between communities.” Founder L.E. Brown discovers new talent through networking on social media. Featured artists from Syria, Bahrain, Egypt, Iran, Saudi Arabia, and other countries work with diverse media ranging from fashion and film to photography and paint. Current works include pieces from Younes Zemmouri’s Shame series and Maha Alasaker’s photography. The gallery’s exhibitions rotate frequently and the founder tries to host monthly lectures encouraging community dialogue between disparate cultures separated by vast geographic distances.—EV
“SUMMER “SUMMER “SUMMER “SUMMER SHENANIGANS” SHENANIGANS” SHENANIGANS” SHENANIGANS” Painters Painters Painters Painters with with with with aaarich rich arich rich tradition tradition tradition tradition ofof ofstorytelling of storytelling storytelling storytelling
Ruth Ruth Ruth Ruth Valerio Valerio Valerio Valerio “Chance “Chance “Chance “Chance Encounter” Encounter” Encounter” Encounter” oil oil oilon oil on oncanvas on canvas canvas canvas 18 18 18x18 xx18” 18” x18” 18”
Above: Thangka depicting two Sakya lineage holders, 18th century painting in silk brocade surround, from central Tibet, Ngor Monastery, 39 x 27"
Peggy Peggy Peggy Peggy McGivern, McGivern, McGivern, McGivern, “Twistin “Twistin “Twistin “Twistin the the the the Night Night Night Night Away” Away” Away” Away” mixed mixed mixed mixed media, media, media, media, 36 36 36x36 xx48” 48” x48” 48”
Artists Artists Artists Artists Reception Reception Reception Reception
Friday Friday Friday Friday August August August August 24 24 2424
5:30 5:30 5:30 5:30 tototo 77topm 7pm 7pmpm Continues Continues Continues Continues totototo September September September September 15 15 1515
E. E. E.Melinda E. Melinda Melinda Melinda Morrison Morrison Morrison Morrison “Boys “Boys “Boys “Boys Will Will Will Will Be Be BeBoys” Be Boys” Boys” Boys” oil oil oilon oil on onpanel on panel panel panel 24 24 24x24 xx24” 24” x24” 24”
129 W San Francisco #D peacefulwind.com Housing one of the largest collections of antique Himalayan masks in the United States, Peaceful Wind gallery also counts on an extensive assembly of Himalayan ritual objects. These include vessels, lamps, incense burners, bells, and intricately embossed medallions. The eclectic collection is sourced from many diverse regions of the Himalayas spanning from Tibet and Nepal to Northern India. Plaques and sculptures depicting Buddhist and Hindu icons date back to the 13th century. A fully functioning Tibetan iron lockand-key from the 19th century features well-preserved embellishments. Wooden manuscript covers, dating from the 13th century, showcase inscriptions and ornate Buddhist motifs, hand-carved and painted with superb craftsmanship. For the home, the gallery features handwoven Himalayan textiles and a large selection of Tibetan furniture. Vintage jewelry in gold, silver, and bronze is also available. If searching for more contemporary items, some paintings on display fuse Western pop iconography with traditional Buddhist and Hindu images.—EV
Saturday, October 27th, 10am in Scottsdale, Arizona
SEEKING FINE ART CONSIGNMENTS PLEASE SEND IMAGES AND INFORMATION TO CONSIGNMENTS@LARSENGALLERY.COM OR MAIL SUBMISSION MATERIALS TO 3705 N. BISHOP LANE SCOTTSDALE, AZ 85251 FOR FURTHER INFORMATION: 480-941-0900
Burmese marble Buddha, 19th century
James Barker Asian Art & Design
Showroom by appointment only jbarkerarts.com James Barker was raised as an international traveler, spending extensive periods of his childhood in faraway regions of the world, including East Africa and Southeast Asia. As an adult, he merged his passion for global exploration with his interest in material culture. In 1998, he started importing treasures to Santa Fe that he encountered on his journeys abroad. The city’s booming market for high-quality imports encouraged Barker to expand his business and he began introducing a larger and more diverse set of items to his trade, such as contemporary furnishings and home décor pieces from Southeast Asia, Japan, and Australia. His showroom is located in Santa Fe’s up-and-coming Rufina District, a former industrial neighborhood that is now home to art studios, community theaters, and Meow Wolf, an internationally renowned experiential art space. Although the gallery has been a well-known resource for the local designer community for years, it is open to the public only by appointment. Items in the eclectic collection of Asian art include a rare assembly of sazigyo, Burmese Buddhist ribbons used for binding manuscripts. These fragile ribbons, originally woven from hand-spun cotton, can contain pictorial elements or religious text. Antique masks, beadwork, textiles, sculpture, jewelry, and weapons can also be found at the showroom.—EV
Currently Available for sale in galler y $150,000
larsengaller y.com | larsenartauction.com
215 E Palace ellsworthgallery.com Gathering art from across the world is common practice for Ellsworth Gallery: its roster includes artists from locales like Belgium, Israel, and the Navajo Nation. However, owner Barry Ellsworth’s main specialty is seeking pieces from not only across the globe but also throughout history. Though the image of the samurai is popularly linked with medieval Japan, the feudal warrior caste’s beginnings lie as far back as 700 CE, and samurai-influenced governments dominated into the 1800s. Most of Ellsworth’s samurai collection is dated after the year 1500, around when a fledgling invention, the firearm, forced development of armor that cocooned the body, leading to a fully formed aesthetic of fearsome-faced helmets and heavy, plated suits of leather and iron. Though the focus for art consumers in Santa Fe is often on Southwestern-flavored rather than global offerings, Ellsworth Gallery’s samurai pieces still catch plenty of collectors’ eyes. “I think the truth is that nowadays almost all galleries have to market nationally if not internationally,” Ellsworth says. “We have core collectors in the United States [and] particularly in northern Europe . . . though we certainly sell to people who come to Santa Fe and come in the gallery and fall in love with the pieces, that’s not our only trade in there.”—DS
Eight-plate battle helmet with original matching battle mask, ca. 1650, iron, leather, silk, copper, gilt, wood, bear fur, 65 x 20 x 22"
Art of Russia Gallery
225 Canyon #5 artofrussiagallery.com The Art of Russia Gallery has been a Santa Fe staple since 2004, when its founder, Dianna Lennon, relocated the art space from its original site in Baltimore, Maryland. After the fall of the Soviet Union, Lennon frequently traveled to Russia to mentor emerging artists. Many of the works originally shown in the gallery were hand-carried back to the United States during the 1990s. Specializing in Russian art by contemporary and classical masters, the gallery now features a large variety of sculptures, paintings, and multimedia abstract creations. The personal histories of some of the artists represented in the extensive collection are just as fascinating as their art. Included in the catalogued works is the prolific Nonconformist painter Evgeny Rukhin (1943–1976), whose eccentric lifestyle and controversial artistic expressions in the Russian underground movement may have led to his untimely death in a mysterious house fire at the age of 32.—EV Left: A. Manaylo, The Gold of the Evening, oil on canvas, 39 x 39" 60
North Indian sitar, gourd, Spanish cedar, Bolivian rosewood, African ebony, camel bone, steel, bronze, 48 x 14 x 13"
Coyote’s Paw Gallery
By appointment only coyotespaw.com Coyote’s Paw is the partnership of luthier Alan Suits and visual artist Ann Lehman, who share a fascination with traditional crafts, especially from seldom-visited societies. Though long based in the United States—the first Coyote’s Paw Gallery opened in St. Louis in 1984—Lehman and Suits spent much of their careers seeking handcrafted rarities in Mali, Mauritania, Mongolia, Niger, Oman, Syria, and Yemen, “to name only a few,” says Suits. In addition to ethnographic works, Suits markets his handbuilt lutes, ouds, sitars, and other stringed instruments through Coyote’s Paw. “Something that is lovingly held in one’s hands, often used almost constantly for entire lifetimes, naturally will be an object that is finely made,” he says of the relationship between musical beauty and the aesthetics of instrument design. “Many instruments, for long periods, have also been simple workmanlike tools.” As to his own standards as a craftsman, he says, “My work should be good enough that maybe generations from now, a real musician will play my instruments and think ‘this maker knew what he was doing.’” While Coyote’s Paw no longer maintains a permanent storefront, Lehman and Suits can be reached online for appointments, and they show their wares occasionally at selected venues around Santa Fe.—DS
505-780-5270 821 Canyon Road at The Stables bellebrooke.net
William Siegal Gallery
318 S Guadalupe williamsiegal.com William Siegal traveled for more than 40 years to remote South American villages, researching and assembling the world’s largest collection of ancient Andean textiles, which is now housed in his eponymous gallery in Santa Fe. This art space also showcases rare pre-Columbian artifacts from Mesoamerica and South America dating from 3,500 BCE. For the first time since 2001, the Giles W. Mead and Parry Mead Murray Collection of Bolivian Ponchos is on exhibit until August 26, 2018. This compilation of exquisitely woven balandráns (cassocks) from the Aymara people, dating back to the 17th century, has only been made available for public viewing once before. Each piece in the collection represents some of the finest examples of native weaving from the Andes, featuring alpaca fleece dyed with a wide assortment of natural pigments. These include indigo and cochineal red, a highly valued dye made from parasitic insects that live on prickly pear cacti.—EV
The storefront of Casa Nova shows stunning antique and contemporary treasures from Africa.
Jesuit Poncho, ca. 17th–18th century, cotton, warp 80" and weft 62"
530 S Guadalupe casanovagallery.com The continent embracing the cradle of humanity has given the world fascinating ancient artworks, and the creations of many African contemporary artists continue to appeal to both casual and expert collectors alike. A large selection of folk, colonial, modern, and antique art from many African nations is available at Casa Nova. Specializing in pieces to adorn homes, one-of-a-kind décor items at this 15-year-old gallery include bedding, vases, baskets, bowls, and hand-carved furniture. Crafts are sourced directly from fair trade cooperatives and women’s groups that uphold artistic forms of cultural expression. For example, the traditionally beaded Namji dolls on display are made by Cameroonian refugees living in South Africa. These figurines are customarily given to young girls as playthings in order to encourage maternal instincts, and women cherish them as good luck charms for fertility when hoping to have a baby. Other available items of significance include a Malian hunter’s vest, a Pende Mbangu mask, and a Tutsi wedding basket.—EV 62
“Motive for the Metaphor”
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TAD Tribal Art
129 W San Francisco tadtribalart.com Tad and Sandy Dale have been dealing in antique international art for 31 years. Their gallery, located two blocks from the Santa Fe Plaza, curates collections of rare 19th and 20th century tribal pieces originating from Africa, the Americas, and various islands in the archipelagos of Oceania. The war shields showcased in this art space are some of the finest examples of indigenous armor from Melanesia, where the artifacts were traditionally used for ritual as well as defensive purposes. Each distinctive shield denotes tribal affiliations in its adornment, design, and materials, which include wood, hide, and plant fibers. These items continue to be used as status symbols in some Melanesian cultures. The collection of Polynesian tapa cloth, also known as kapa or bark cloth, is one of the highest quality compilations of its kind in the world. This labor-intensive artisanal textile was first introduced to Europe in the 18th century by the British explorer Captain James Cook. It is still a highly prized material on islands of the South Pacific Ocean, often used on important occasions like weddings and funerals. Although its manufacturing process varies by island, it is generally adorned by stenciling, dyeing, and stamping. The gallery also features miscellaneous tribal jewelry from various regions of the globe.—EV
Left: Papua New Guinea shield, Kar Kar Island, 19th century, 45 x 12"
18 JULY– 12 AUGUST, 2018
SANTA FE SUMMER SERIES F E AT U R I N G
BEER & WINE
SHOW FOOD HORSES ATHLETES $400K EVENTS GARDEN Admission is free and open to the public. VIP tickets available for purchase online.
WWW.HIPICOSANTAFE.COM Located at 100 Polo Drive off Airport Road
NavaJo Weaving ON THE PLAZA
Traditional Red Mesa Outline Vintage c. 1930’s 4’ x 7’
61 Old Santa Fe Trail, Santa Fe, NM 87501 505-983-9241 maloufontheplaza.com Online Shopping Available
ON THE PLAZA
Reversible Corn Maiden Necklace Sterling Silver Handmade Beads Godber Turquoise, Mediterranean Coral 61 Old Santa Fe Trail, Santa Fe, NM 87501 505-983-9241 maloufontheplaza.com Online Shopping Available
ANTIQUE INDIAN & ETHNOGRAPHIC ART SHOW One Show...Endless Treasures AUGUST 10 - 13, 2018 OPENING NIGHT PARTY Featuring Wine and Hors dâ€™oeuvres Friday, August 10 6 - 9 pm
Saturday, Aug. 11TH 10am - 5pm S unda y, Aug. 12TH 10am - 5pm Monday, Aug. 13TH 10am - 5pm
Continuing the tradition of being the longest running event of its type in the world! MORE INFORMATION AVAILABLE AT:
“Eagle Horse” • 40" x 30" • Acrylic
JOHN NIETO “HOMAGE TO PICASSO” - A New Series • Friday, August 17, 2018 • 5 to 7pm
VENTANA FINE ART 400 Canyon Road
Santa Fe, NM 87501
Navajo Squash Blossom Necklace & Cuff Sterling Silver & Gem Grade Spiderweb Kingman Turquoise
ON THE PLAZA
Richard Zane Smith
August 16th - 20th Opening Reception August 16th, 5-7 PM Demonstration August 17th, 10-3 PM
The Best of the Best
Our Handpicked Finest!
Parade of the Artists August 17th 5PM
August 13 - 31st
100 West San Francisco Street, Santa Fe, NM 87501 (505) 986-1234 www.andreafisherpottery.com
Featuring the work of:
Pablita Velarde (1918-2006) Helen Hardin (1943-1984) Margarete Bagshaw (1964-2015)
Pablita Velarde “Corn Husker” casein water color - 9” X 7” c.1935
Margarete Bagshaw “Twist and Shout” Bronze with Gold Leaf and Inlay 80” tall ed. 3
Indian Market Opening August 17, 5:00pm to 8:00pm
Helen Hardin “Kokopelli” acrylic - 8” X 6”
201 Galisteo St. Santa Fe, NM 87501 - 505-988-2024 - www.GD3Dgallery.com
NOVEMBER 10, 2018
ANNUAL LIVE AUCTION
UPCOMING ONLINE AUCTIONS
Nat Youngblood (1916-2009), Corral, watercolor, 13 1/2 x 19 1/2 inches, $1,500-$2,000
San Ildefonso Pot, ca.1890-1910, polychrome ceramic, 10 1/2 x 11 1/2 inches, $4,000-$6,500
WESTERN DECORATIVE ARTS & OBJECTS August 11-26, 2018
David Halbach (b. 1934), Cochiti Visitors, watercolor, 13 1/4 x 20 1/8 inches, $1,200-$1,800
Helen Hardin, The Arrival of the Cloud People, acrylic on board, 19 1/2 x 15 inches, $15,000-$20,000
WINTER HOLIDAY SALE December 1-9, 2018
Boasting the third-largest art market in the United States, Santa Fe has long been a destination for new and seasoned collectors. Santa Fe Art Auction brings together an international profile of buyers and sellers of Western art amid the natural beauty of the “Land of Enchantment.” For over 20 years, SFAA has brought scholarship to carefully curating and proudly showcasing artwork by the Taos Society of Artists, the Santa Fe Art Colony, Early Explorer Art, Cowboy Artists of America as well as Native artists. FOR INFORMATION CALL : 505 954-5858 | EMAIL : CURATOR@SANTAFEARTAUCTION.COM | VISIT: SANTAFEARTAUCTION.COM SANTA FE ART AUCTION, LLC | 927 PASEO DE PERALTA, SANTA FE, NEW ME XICO 87501 | STAY CONNECTED
D a n i e l Wo r c e s t e r Chickasaw Bladesmith
Left to Right: Tiger Eye, True Colors & Purple Moon, 2018
found materials • old dominoes • sterling silver old billiard balls • discarded plowshare • auto coil spring
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Arlene LaDell Hayes
Annual Market Weekend Group Show: August 17 – 19 • Opening Reception Friday, August 17 • 5 to 7 pm
102 E. Water Street Santa Fe NM • 505.988.2727 • firstname.lastname@example.org • joewadefineart.com
A R LO N A M I N G H A
STRENGTH AND EQUALITY Indiana Limestone 24” x 36” x 6” Arlo Namingha © 2017
Representing Dan, Arlo, and Michael Namingha 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • email@example.com • namingha.com •
native arts magazine
SINCE 1922, NATIVE AMERICAN artists and avid collectors of their work have convened in Santa Fe for an annual August tradition. Other communities host similar events, but no others have the magnitude or command the respect that Santa Fe Indian Market does. Indian Market has not only longevity but also attracts the most artists—almost 1,000 each year—and the most collectors. Coupled with the many local galleries that offer truly authentic Native American art, you have an event that truly is the big daddy of them all. Respect comes from the long-standing history of showing only the highest quality of art from the very best artisans. Santa Fe Indian Market artists have been very carefully vetted and judged before inclusion in the show. For the collector, this has brought assurance that what you see at Indian Market is truly authentic and is of the highest quality. The awards presented on the eve of Indian Market emphasize the focus on quality and creativity shown by these outstanding Native American artists. It’s also a wonderful time to explore the many Santa Fe galleries that specialize in the finest Native American art. You’ll know the right galleries, because many of them are right here in this issue. I strongly encourage you, collector or not, to witness Indian Market and take the time to truly appreciate the state of Native American art today. These artists are creating beautiful works of art that speak to their traditions as they constantly employ new techniques to take this beauty to an even higher level. As you explore, look for the pieces that move you. Talk to the artists. It’s very possible the deeper meaning you perceive is also part of the artist’s intent. What’s more wonderful than when those meanings translate from their heart to yours? DAVID ROBIN
courtesy museum of indian arts and culture
17 Publisher's Note 18 Up Front
Gallup Native Arts Market, a talk on human rights, events at Indian Pueblo Cultural Center, and We Are the Seeds
22 Museum Spotlight
Current exhibitions at the Eiteljorg, Autry, Millicent Rogers, Heard, IAIA MoCNA, and MIAC museums
34 Indian Market An overview of events at the 2018 SWAIA Santa Fe Indian Market
36 Ethics in Collecting
22 A bolo tie by Verna Nequatewa (Sonwai), courtesy of Heard Museum
What’s showing, where and when, in the world of Native art, plus visits with painter Patrick ‘CloudFace’ Burnham, weaver Mary E. Kee, and jeweler Kenneth Johnson
45 Gallery Highlights
beals & co. showroom
courtesy maryhill museum of art
Beadworker and restoration expert Angela Swedburg talks fakes and forgeries, and some information about an often overlooked topic—repatriation of Native art and artifacts
A look at Native art in the local galleries santa fean
native arts 2018
news and happenings
Gallup Native Arts Market
Gallup Native Arts Market, August 9–11, 1–6 pm Thursday, 10 am–6 pm Friday, 8 am–6 pm Saturday, free to attend, 215 W Aztec, Gallup, gallupnativeartsmarket.org
Left: Brian Yatsattie (Zuni) carved this rabbit fetish from atlantasite. He will be showing his work at the Gallup Native Arts Market. 18
Above: Di Nali, a pictorial weaving by Phil Singer (Navajo). Although most Navajo weavers are women, more and more men are showing their weavings.
market This year’s Gallup Native Arts Market will feature the works of about 160 Native American artists in 112 air-conditioned booths and 10 outdoor covered booths. Started last year as an initiative by local Native artists to reclaim their direct presence in regional retail, the market also reinforces the importance of strong familial traditions shared through craftsmanship and artistic practices. The Keshi Foundation is collaborating with the City of Gallup for the market this year, ensuring a strong Zuni Pueblo presence at the show. The market provides invaluable exposure for up-and-coming artists by giving them the opportunity to exhibit beside recognized artists such as Veronica and Jovanna Poblano (Zuni), Jesse Johnson (Zuni), and Harrison Jim (Navajo). The weekend will be a family affair. Look for 16-year-old Navajo painter and storyteller Penelope Joe, who will be alongside her mother, jeweler Thema Tsosie (Navajo), and other multi-generational booths including one for Jaren and Robert Cachini (Zuni) and another holding three generations of Derrick Gordon’s family (Navajo). The Gallup community is also getting involved. Volunteers from the Rehoboth McKinley Christian Health Care Services behavioral health program will be helping out. The artists are role models for many of these volunteers, who are in a treatment program to overcome substance abuse. Newly arrived teachers from Teach for America will join the volunteer team, immersing themselves in Native American arts and culture and the local experience. The indoor and outdoor markets offer a diverse selection of fine crafts and artwork, including pottery, jewelry, and carvings in wood and stone. Last year’s market, the first, had 43 artists showing. More than three times as many are coming this year, old hands and neophytes at the art of selling their wares.—Priscilla Sonnier
Above: Edmund Cooeyate (Zuni) works on jewelry for the show in Gallup. On the right, an example of Zuni petit point jewelry.
Native Arts and Policy: Resilience and Rights Talk Join Walter Echo-Hawk (Pawnee), Indigenous rights lawyer, for his discussion of Native Arts and Policy: Resilience and Rights at the IAIA Museum of Contemporary Native Arts Thursday, August 16, at 6 pm. The IAIA and Association of Tribal Museums and Archives have partnered to establish dialogues surrounding the issues of how tribal and Indigenous archives, museums, libraries, and artists can assist in implementing human rights into national policies. Hawk will explore how the United Nations Declaration on the Rights of Indigenous Peoples has affected efforts to endorse and champion rights in the policies of nations throughout the world since its inception 10 years ago. Particular emphasis will be given to the responsibilities of all Native voices—leaders, teachers, politicians, cultural institutions, activists, and artists—to shape rightful standards into lawful realities.—PS
Native Arts and Policy: Resilience and Rights, August 16, 6 pm, free to attend, IAIA Museum of Contemporary Native Arts, 108 Cathedral Pl, creativesantafe.org
Sage Creek Gallery EXPERIENCE THE WEST
I N D I A N M A R K E T O P E N I N G R E C E P T I O N F R I DAY, AU G U S T 1 7 , 5 - 7 3 0 P M Artists Scott Rogers, Ken Rowe, & Vala Ola in Gallery All Weekend 4 2 1 C A N YO N R OA D, S A N T A F E N M 8 7 5 0 1 5 0 5 . 9 8 8 . 3 4 4 4
W W W. S AG E C R E E KG A L L E RY. C O M
Above: Michelle Lowden’s (Acoma Pueblo) exhibit Turquoise Kaleidoscope opens at the Indian Pueblo Cultural Center in early August.
events Located in Albuquerque, The Indian Pueblo Cultural Center’s (IPCC) museum is a gateway to the differing arts, histories, and cultures of the 19 Pueblos of New Mexico. Its permanent collections represent a variety of traditional rare artifacts, baskets, weavings, jewelry, paintings, murals, and photography, in addition to their recognized archive and library. Exhibits rotate throughout the year to showcase extensive collections and featured installations. The museum also offers a rich selection of public programs ranging from artist talks, markets, and community festivals to cooking classes. This autumn, event highlights include The Artists Circle Gallery Exhibit Turquoise Kaleidoscope by Acoma artist Michelle Lowden. Join Lowden at the public opening on Friday, August 3, from 5–7 pm to hear her discuss the themes she explores in her work, relating to symbolic narrative and the relationships between man and nature. Throughout the summer season, the IPCC presents traditional Native dances by local groups. Performances begin in August and start every Friday at 2 pm and Saturdays and Sundays at 11 am and 2 pm with weekend times continuing through September and October. Dancers include the Sky City Buffalo Ram Dance Group (Acoma, August 3–5), Kallestewa Dance Group (Zuni, August 10–12), Laguna Corn Dancers (Laguna, August 17–19), and Acoma Dance Group (Acoma, August 24–26). Celebrate local community new and old throughout Balloon Fiesta Week, October 6–14. The IPCC holds special events all week, with special hour-long traditional dances four times a day, Native art markets featuring arts and jewelry in the courtyard, and unique pueblo-inspired cuisine for breakfast, lunch, and dinner by onsite restaurant, Pueblo Harvest. These events run 9 am–5 pm during Balloon Fiesta Week and are free for members or with your museum admission.—PS
Indian Pueblo Cultural Center, 2401 12th St NW, Albuquerque, indianpueblo.org
Left: The comedy shows at IPCC on August 16, 8:30 pm. It’s the story of a frybread championship that gets way too serious. Frybread, of course, will be served.
museum exhibitions and dances Above: The Seeds Stage hosts musicians, dancers, poets, and other performers Thursday and Friday.
We Are The Seeds event August 16–17 the Railyard will fill with Native artists for We Are the Seeds. Although the organization is based in Philadelphia, its two directors—Tailinh Agoyo (Narragansett/Blackfeet) and Paula Mirabal (Taos Pueblo)—have deep roots in Northern New Mexico. This year’s event features around 60 Native artists, showing from 10 am to 6 pm each day. Exhibitors include painter Baje Whitethorne, Sr. (Navajo), potter Brenda Hill (Tuscarora/Choctaw), jeweler Fidel Bahe (Navajo), basket weaver Sally Black (Navajo), and jewelry designer Kristen Dorsey (Chickasaw). The performance stage will be busy from 11 am– 5:30 pm Thursday and 11 am–9 pm Friday, with master of ceremonies Sherenté Harris (Narragansett) keeping things moving. Other events include youth art workshops, a women’s spoken word poetry workshop, and a fashion show of the latest from ACONAV, designers Loren Aragon (Acoma Pueblo) and Valentina Aragon (Navajo). Thursday from 6–9 pm, We Are the Seeds puts on a benefit, a picnic dinner catered by Jambo Cafe. Bring a blanket to sit on and enjoy the evening and the community. Dinner is $20, and tickets are available through eventbrite.com.—Lisa J. Van Sickle
We Are the Seeds, August 16–17, 10 am–6 pm, free, Santa Fe Railyard Park, 740 Cerrillos, wearetheseeds.org
native arts magazine
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lisa j. van sickle
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ON THE COVER Rick Bartow’s Deer Spirit for Frank LaPena is part of the exhibition Rick Bartow: Things You Know But Cannot Explain currently on view at the Autry Museum of the American West. Read more about it on page 25. Photograph courtesy the Autry Museum
by Priscilla Sonnier
Eiteljorg Museum of American Indians and Western Art
The Eiteljorg Museum, located in downtown Indianapolis, is recognized for its collections and diverse exhibitions that make the art and history of the American West accessible to all ages. The museum’s collection, donated by founder and Indianapolis businessman Harrison Eiteljorg in 1989, has grown over the years and continues to be well represented in its eight permanent galleries and featured exhibitions. The museum’s collections focus on Western and Native American art and media from 1820 to contemporary artists, with some works coming from the museum’s successful artist in residence program. Art and artifacts represent the peoples of the West throughout the United States and Canada, their cultural significance asserted through traditional practices and their subsequent impact on modern interpretations of the West. In addition to its renowned collections and exhibitions, the Eiteljorg offers numerous public programs and is a local destination for families. The museum hosts art shows and sales throughout the year, including the annual Eiteljorg Indian Market and Festival, which brings together artisans from over 100 tribes in the US and Canada. Younger visitors can explore the dynamic history of the West in The R.B. Annis Western Family Experience. Specifically designed for children, the large space includes galleries, age-appropriate activities, and a stagecoach and wigwam to explore.
Left: The Legend of Wasgo, a red cedar totem pole by Lee Wallace (Haida), is similar to an Alaskan totem pole that ended up in Indianapolis after it was exhibited in the 1904 World’s Fair. To the museum’s delight, Wallace is the great-grandson of the carver of the original pole. nativeartsmagazine.com
engaging exhibitions, diverse subjects
Above: Visitors to the Eiteljorg enjoy paintings and sculpture on display in the Art of the American West Gallery, which is currently under renovation. It reopens November 10 with new work, including pieces by African-American, Asian-American, Hispanic, and Native artists.
Numerous works by Santa Fe artist Harry Fonseca (Nisenan/Maidu/Portugese/Hawaiian) (1946–2006) are currently on view in the retrospective Harry Fonseca: The Art of Living. On view through April, 2019, the exhibition features prints, drawings, paintings, correspondence and photographs collected over the years by Fonseca’s partner, Harry Nungesser. The Art of Living highlights the versatility of Fonseca’s styles throughout his career, and provides personal insights into the artist’s life through his relationships and sense of humor. Visitors can enrich their experience with nine specialized audio tracks available on smartphone, an archived interview with the artist, and discussions with curator Jennifer Complo McNutt. In November, 2018, the Eiteljorg reopens the renovated Gund Gallery and Art of the American West Gallery, which feature significant works by Western masters Georgia O’Keeffe, Frederic Remington, Charles Russell, Howard Terpning, and an impressive oeuvre by the Taos Society of Artists from the 1920s. Indigenous works from the permanent collection are displayed throughout the Native American galleries on the second floor. Objects range from conventional tools, weaponry, clothing, and baskets, to modern jewelry design, Hopi katsinas, and Inuit sculpture. Continuing exhibition The People’s Place focuses on the rich histories and traditions of the First Nations of Indiana, such as the Miami, Potawatomi, and Delaware. The romanticized and dramatic connections between the West and Hollywood are explored in The Reel West, an exciting exhibition on view through February 3, 2019. The exhibition combines original costumes, props, art, and images from several iconic films and television programs, with related events and films scheduled throughout. The result of years of research, planning, and traveling the country, The Reel West challenges and informs established dialogues relating to the representations of Native peoples, and closely examines the juxtaposition between idealism and reality onscreen.
Blue Rain Galleryâ€™s Annual Celebration of Native American Art During Native Art Week A U G U S T â€”
S TA R R H A R D R I D G E Artist Reception: Thursday August 16th from 5 â€“ 8 pm
Untitled Acrylic on canvas 30" h x 24" w
Visit blueraingallery.com for a complete listing of shows and events 544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
by Priscilla Sonnier
Autry Museum of the American West
bringing together the stories of all peoples of the American West
Mateo Romero’s painting War Music II is included in the Autry’s Art of the West exhibit. Raised in urban California and educated at Dartmouth and the Institute of American Indian Arts, Romero’s connection to his Cochiti Pueblo heritage is strong.
Explore the soul of the American West in the heart of Los Angeles. A local favorite, the Autry Museum’s world-class exhibitions and public programming share and honor the unique experiences of the peoples and landscapes of the West. The ongoing exhibition Art of the West combines visual and material culture into a cohesive narrative, shaped by the Indigenous traditions of the Southwest and the artists inspired by its unbridled beauty. Works reflect the diversity of the American West, ranging from traditional objects, representations of Westward expansion and the railway, to contemporary reflections of a land as both “destination and home.” The essence of the exhibition is well represented in 24
Mateo Romero’s 2008 War Music. Born and raised in Berkeley, California, Romero lives in Pojoaque Pueblo. He honors his Southern Keresan Cochiti heritage through his depiction of six warriors cautiously meeting in the vast expanse of the Rio Grande. The warriors dominate the landscape behind them, their spears piercing the hazy desert sky, as the red wraps on the horses legs juxtapose the blue skies above, anchoring them to their homeland. The figures serve as the connection between land and sky, with humanity ruling the realm in between. Art of the West is the first exhibition to explore how shared inspirations and values express themselves in the works of artists across time and culture. Historical works by Thomas Moran
Noteworthy Works by Seven Pueblo Painters Exhibiting Through September 2018
Untitled - Owl and Skunk Artist: Alfonso Roybal (1898-1955) Awa Tsireh Origin: San Ildefonso Pueblo Medium: Watercolor 3-7/8” x 5-3/4” image size Provenance: Personal Collection of Martha Hopkins Struever
221 Canyon Road Santa Fe
and Frederic Remington contrast with rarely seen pieces from the Autry’s Southwest Museum of the American Indian Collection, and the work of modernist masters such as Georgia O’Keeffe, Virgil Ortiz (Cochiti Pueblo), and Luis Tapia. Rich stories of land and culture continue in Human Nature, an exhibition focusing on the diverse history of California. Divided into four narratives— Salmon, Fire, Desert, and Plants—these subjects harmoniously weave traditional subject matter with modern ecological insight to illustrate how we can learn from ancient practices and use them to care for our environment. Visual arts are paired with soundscapes and multimedia, creating an immersive and interactive exhibition to inspire and reinforce the lessons passed down from our elders. The connections between tradition and modernity are well represented in Northern Californian and Maidu/Hamowi Pit River artist Judith A. Lowry’s Dao-Lululek, 2012. Lowry’s large-scale figurative and allegorical works are inspired by the ancestral creation stories of Northern California, passed down to her by her father. Dao-Luluek is a vivid example of pictorial storytelling, as three figures emerge from the flames, captivating the viewer in a moment of excitement, fear, metamorphosis, and renewal. Contemporary Native American scholarship and art combine in the retrospective show Rick Bartow: Things You Know But Cannot Explain, on display through January 6, 2019. The work of Mad River Band Wiyot artist Rick Bartow (1946–2016) is divided into key themes such as Self, Dialogue, and Tradition. His large-scale works, like Deer Spirit for Frank LaPena, unify animal and human forms to embody a metaphysical experience through artist and culture. Things You Know also highlights Bartow’s personal growth through his art and relationships with 20th century masters Francis Bacon, Robert Rauschenberg, and Jean-Michel Basquiat.
Above: Rick Bartow’s acrylic painting, Deer Spirit for Frank LaPena, was completed in 1999. The show, Rick Bartow: Things You Know But Cannot Explain, was planned while the artist was still living. Spanning 40 years of his work, the exhibit has been widely shown.
native arts 2018
by Priscilla Sonnier
Millicent Rogers Museum the heritage of the American Southwest
Millicent rogers museum
THE COUTURE TREASURE OF TAOS, The Millicent Rogers Museum is a testament to its namesake, New York socialite and Taos transplant Millicent Rogers (1902–1953). The granddaughter of Standard Oil co-founder Henry Huttleston Rogers, she is remembered for her unique sense of style, pairing high fashion designs with Native American–made Southwest jewelry. After visiting Taos after her breakup with actor Clark Gable in 1947, she decided to stay, having become enraptured with the New Mexico landscape. Rogers’s Taos lifestyle at her custom adobe house, Turtle Walk, was documented in publications such as Vogue and Harper’s Bazaar, and Rogers continues to inspire designers such as Karl Lagerfeld and John Galliano. Rogers’s own talent as a designer has been explored in recent years, through exhibitions such as American Jewelry from New Mexico (on view at the Albuquerque Museum through October 14, 2018), which proudly showcases a silver and moonstone cuff and necklace set, and a Millicent-themed popup show at the Hayward Luxury Gallery, Manhattan. Founded in 1956 by her youngest son, Paul PeraltaRamos, in memory of his mother, the museum has one of the finest collections of locally crafted jewelry, in addition to the family’s extensive personal collection of traditional Southwestern arts. Exhibitions change frequently between the 15 galleries to represent over a millennia of regional history and culture, and to accommodate over 7,000 works in the permanent collection. Large-scale bronze sculptures such as Emergence by Michael Naranjo (Santa Clara) and Running Star by Wilson Crawford from a design by Millicent Rogers can be viewed by taking a short walk around the museum grounds. The building itself exudes a sense of familiar charm and intimacy, as the heart of the museum was originally the home of Rogers’s close friends Claude and Elizabeth Anderson. Expanded in the 1980s, the kiva fireplaces and warm adobe walls reinforce the institution’s strong connection with the local community. Left: This matching necklace and cuff, silver set with moonstones, was designed by Millicent Rogers. Pieces from her jewelry collection can be seen at the Millicent Rogers Museum.
Kevin Red Star, Crow
“Crow War Party” 2012. Acrylic on Canvas. 48” x 60” (framed 54” x 66”). Published in Red Star book.
Fritz Scholder (1937-2005)
Above: Millicent Rogers was often pictured with one or more of her dachshunds.
The Taos community is supported through the Taos Watercolor Society show and sale, August 17–September 16, 2018. The show represents 12 of the society’s signature artists, focusing on local subject matter and differing techniques. Community issues are also explored in Water That Sustains, a special exhibition running through January, 2019, which examines the thorny issue of water rights in the Southwest. On a National Scale is a remarkable exhibition highlighting the challenges surrounding the 1953 exhibition Contemporary American Indian Painting at the National Gallery in Washington, D.C. Shortly before Millicent’s death, her mother, Mary Rogers, an accomplished painter who exhibited at the De Young, Santa Barbara, and Pasadena art museums, was inspired by her daughter’s passionate collecting of Native art. She struck up a friendship with fellow artist and former art instructor at the Santa Fe Indian School, Dorothy Dunn, and the pair corresponded to plan a major exhibition of American Indian paintings. On a National Scale features letters between Mary Rogers and Dunn, various museum directors from New York, Boston, and Paris, and the original exhibition catalogue that included 115 works by 59 artists. Ephemera is accompanied by selected works exhibited at the National Gallery from Millicent Rogers’s personal collection and contemporary works purchased through a fund in Mary Rogers’s memory. The exhibition will be on display through April, 2019.
“Galloping After Leigh” Aquatint, 44” x 63” circa ’70’s in Rome, Italy.
Three floors of Legendary Art from private collections.
Windsor Betts Art Brokerage House 143 Lincoln Ave @ Marcy • (505) 820-1234 • email@example.com santa fean native arts 2018 27 windsorbetts.com
by Priscilla Sonnier
Heard Museum advancing American Indian art
THE PERSONAL LIVES and cultural practices of the Southwest’s peoples harmonize with once-in-a-lifetime specialty exhibitions at the Heard Museum in Phoenix. The permanent collections contain over 40,000 objects, with a particular focus on contemporary Native American fine art and the historic cultural experiences of the Southwest. Spanning from pre-history to the present, Indigenous artifacts and artworks include Hopi katsina dolls, Navajo and Zuni jewelry, Navajo textiles, plus a variety of ceramics and basketry from the Southwest, California, the Northwest, and Great Basin. The museum’s 4,000 works of contemporary fine art represent the evolution and strength of the American Indian Fine Art Movement from the 20th century through today. Modern masters including Allan Houser (Chiricahua Apache)(1914–1994), Julian Martinez (San Ildefonso)(1897–1943), Linda Lomahaftewa (Hopi/Choctaw)(b. 1947), and Pablita Velarde (Santa Clara)(1918–2006) are well represented, in addition to guest curated installations by practicing Native American artists in their Masterworks Arts and Artists Series. Exhibitions and local connections are continually supported by the Heard’s diverse public programs and artist markets. Upcoming events include Indigenous Peoples Day on October 8, 2018, which includes live performances, outdoor activities, and market vendors. Veterans and their families will be honored on November 12, 2018, in the Heard Museum’s Sunset Ceremony Tribute, where former service members can enjoy dinner, free admission for themselves and a guest, coupled with an evening ceremony Right: A Central Yup’ik dance mask, ca. 1900, is on loan from the National Museum of the American Indian, Smithsonian Institution. It is from Napaskiak Village, Kuskokwim River, Alaska.
NMAI PHOTO SERVICES
Above: This bolo tie from the collection of Quincalee Brown and James P. Simsarian shows Sonwai’s classic use of colored stones set in 18-kt gold.
Pablo Antonio Milan “Master of Color” 2018 Indian Market Show Reception: Friday, August 17, 4 – 7 pm
“Blue Mirage” acrylic on canvas, 60 x 72”
A Navajo Second Phase Chief Blanket, ca. 1860–1865, is from the Fred Harvey Fine Arts Collection at the Heard.
and live performances. Visitors also enjoy free admission on the first Friday of every month and expanded experiences on second Saturdays, with differing local entertainment, outdoor programs, and an artist marketplace. On display October 6 through March 10, 2019, Sonwai: The Jewelry of Verma Nequatewa is the first comprehensive exhibition of the Hopi jeweler’s work. Nequatewa is recognized for her innovative designs and as one of the finest Native American lapidaries. Her career began through an apprenticeship with her uncle, Charles Loloma (Hopi) in 1966, and she continued working at his studio for over 20 years, developing her unique sense of design, style, and skill while creating works that revere traditional Hopi life through the stones’ physical and spiritual connection to the earth. The exhibition’s title refers to the artist’s signature, Sonwai, the Hopi feminine word for beauty that Nequatewa has put on every piece since 1989, as a reminder that beauty is found “all around.” The major exhibition Yua: Henri Matisse and the Inner Arctic Spirit goes on view from October 29 through February 3, 2019. The Heard will be the only institution in North America to display these pieces by the legendary 20th century French artist Henri Matisse and explore how Yup’ik and Inuit culture influenced and inspired his work. The exhibition includes many pieces by Matisse never before shown in the United States, and will reunite dozens of Alaskan Native masks that have been separated for more than a century. Through Matisse’s own works, traditional Yup’ik masks and objects, ephemera, photographs and film, Yua explores the unexpected spiritual connections that transcend culture, time, and talent.
native arts 2018
by Priscilla Sonnier
Museum of Contemporary Native Arts
increasing understanding and appreciation of contemporary Native arts
Above: Fritz Scholder (Luiseño)(1937–2005) taught at the Institute of American Indian Arts (IAIA) from 1964–1969. Scholder painted Native Americans as they were in the middle of the 20th century, not as romanticized historic figures. He also painted abstracts, such as New Mexico Number 1, which is included in Action/Abstraction Redefined, showing at IAIA Museum of Contemporary Native Arts.
The IAIA Museum of Contemporary Native Arts (MoCNA) is committed to progressive Native arts scholarship and challenging traditional artistic boundaries, in an effort to strengthen Native discourses nationally and internationally. Born from humble academic roots through a student honors program in the 1960s at the Institute of American Indian Arts (IAIA), the Museum’s collection now has 7,500 works dating from 1962 or later, many on display at their downtown Santa Fe location. Their 2018–2019 exhibition schedule features a powerful lineup of transcendental symbolism around the globe, ranging from midcentury modern masters, to established artists and up-and-coming talent. Action/Abstraction Redefined shows prominent works from the MoCNA permanent collection created in the 1960s and 1970s. Selected paintings, sculptures, and works on paper reflect how contemporary artists such as George Morrison (Chippewa)(1919-2000), John Hoover (Aleut) (1919–2011), T.C. Cannon (Kiowa/Caddo) (1946–1978), Alice Loiselle (Chippewa), and others responded to stereotypical expectations of Native arts through experimentation with midcentury movements such as abstract expressionism, color field, and hard-edge painting. Hank Tobin’s 1966 Northwest Design abstracts traditional forms from his Tulalip/Snohomish heritage and contrasts them against a vibrant orange background, echoing color field aesthetics from the West Coast scene in the 1960s. The result is a mysterious image, a partial recognition of an otherwise recognizable figure from the past, yet its visual impact retains its original narrative strength through expressive and modern usage of color. The exhibition will be on display in the Kieve Family Gallery through July 7, 2019. Storytelling, language, and the resonating strength of symbolic narratives are explored in Holly Wilson: On Turtle’s Back and Rolande Souliere: Form and Content, both on view until January 27, 2019. Both artists embrace different aspects of communication, Wilson through narrative figures, and Souliere by deconstructing the geometric patterns in Ojibway, Cree, and Inuit syllabics. On
Turtle’s Back, located in the South Gallery, highlights Holly Wilson’s (Delaware Tribe of Western Oklahoma/Cherokee) newest mixed media works. Installations created from bronze, wood, and encaustic present fragmented passages of the human experience. Wilson’s Bloodline from 2015 depicts waifish figures traipsing atop varying layers of earth. These humanoid figures present her stories to the audience, connecting viewer to artist through visual expressions of family history and personal experiences. Form and Content, (Hallway Gallery and Honor Gallery) is Michipicoten First Nation and Australian National Rolande Souliere’s newest large-scale wall painting exploring visual form and symbolism through language. Fields of contrasting horizontal orange stripes are spatially interrupted by interwoven lashings of blue which, from a distance, reveal a harmonious geometric design, built by chevrons, circles, and rectangles—shapes that reference cultural syllabic forms of Indigenous language and modern abstraction in Western art. Meeting The Clouds Halfway (Anne and Loren Kieve Gallery) is a unique collaboration between Tohono O’odham basket weaver Terrol Dew Johnson and Tucson/New York–based architects, Ben Aranda and Chris Lasch. The artworks, which blend contemporary basketry with architectural design combining tradition with modernity, explore the Tucson desert as a destination of inspiration and opportunity. Each basket is constructed from the natural materials found in the desert: rock, copper, wood, and grass, and is representative of Tohono O’odham practices and their place in modern living. This exhibition, organized by the Museum of Contemporary Art, Tucson, and guest-curated by Alexandra Cunningham Cameron, will be on display through December, 2018.
Above: Expanding Horizons, an exhibit of paintings by Darren Vigil Gray (Jicarilla Apache/Kiowa Apache), opens August 16 and runs through February 16, 2019. Gray’s 2018 painting Bringing the Light of Day was done with acrylic on paper.
native arts 2018
by Priscilla Sonnier
Museum of Indian Arts & Culture
premier repository of Native art and material culture
Above: Seed Jar (ca. 2005) by Les Namingha is made from clay with various pigments painted across the vessel.
The Museum of Indian Arts and Culture (MIAC) houses one of the finest art collections in New Mexico. One of eight museums and seven historic sites in the state-run Museum of New Mexico system, the MIAC, part of the Laboratory of Anthropology, provides an enriching experience to visitors and locals alike, allowing them connect and honor the Southwest through featured exhibitions, public and educational programming, and artist residencies. Long-term exhibition Here, Now and Always is an immersive multimedia experience enhanced by the inclusion of 1,300 artifacts from the museum’s permanent collections. This unique exhibition is the result of eight years of close partnership between museum professionals and local Indigenous communities, in a well-curated statement reinforcing the importance of generational storytelling in the Southwest. The voices of 50 Native American elders guide you through the exhibition hall, as their stories give life to the traditions, artworks, and treasures of their communities. Through their songs, poems, and stories, visitors can truly connect with the rich history of the objects and peoples represented before them. MIAC’s close connection with the local community is also reflected in its newest exhibition. What’s New in New: Selections from the Carol Warren Collection, located in the
ENORMOUS FORMS Pueblo Dough Bowls and Storage Jars Exhibiting through September 2018
221 Canyon Road Santa Fe
San Ildefonso Very Large Polychrome Storage Jar 17” height x 18-1/4” diameter
Lloyd Kiva New gallery, features some of the best examples of contemporary Native American pottery to be shown together in recent years. The exhibition showcases over 200 pieces of pottery, jewelry, painting, and sculpture from some of the Southwest’s most well-regarded artists, such as Dan Namingha (Hopi/Tewa), Jody Naranjo (Santa Clara), Tony Abeyta (Navajo), and Autumn Borts-Medlock (Santa Clara), among others. Carol Warren, a former MIAC volunteer, began her collection after unknowingly purchasing an original Jody Naranjo piece from a New York gallery. Within a year of her first purchase, Warren moved to Santa Fe and quickly immersed herself in developing her knowledge of Native arts and culture. She began to volunteer at the MIAC gift shop and collections department, refining her taste and appreciation over 26 years at the museum, expanding her collection and building relationships with many of the artists represented in What’s New in New. The exhibitions curators, C.L. Kieffer Nail, Valerie Verzuh, and Antonio Chavarria, wanted to reflect Warren’s passion for not only her collection, but specifically her interest in how artistic skill and talent passed and evolved through families of artists. Pieces such as Les Namingha’s Seed Jar, ca. 2005, shows the Zuni/Hopi/Tewa artist’s adherence to historic pottery traditions and Pueblo imagery, which were learned from and fostered by his aunt, Dextra Quotskuyva, at Hopi. Curator C.L. Kieffer Nail expressed the importance of exploring the “diversities and polarities in [their] artworks, influenced and learned from the older generations.” These rich family connections anchor the exhibition, as multi-generational families of artists, when viewed together, lend new perspectives to their individual works.
Historic Acomita Dough Bowl Circa 1830s 9-1/4” depth x 18” diameter
courtesy museum of indian arts and culture
Very Large Historic Cochiti Pueblo Storage Jar 21-1/2” height x 21-1/2” diameter
Above: A contemporary cast glass work from Tammy Garcia, Element III (ca. 2007). santa fean
native arts 2018
SWAIA Indian Market Overview
by Neebinnaukzhik Southall (Chippewas of Rama First Nation)
Indian Market brings people from all over the world to Santa Fe to shop, making it a people-watcher’s paradise.
SWAIA—Santa Fe Indian Market week overview of events
Pat Pruitt (Laguna Pueblo) poses with his zirconium and titanium sculpture Sentinel v1.0. Pruitt won Best in Show for the piece in 2017.
The Southwestern Association for Indian Arts (SWAIA) presents its 97th year of the vibrant Santa Fe Indian Market, featuring nearly 1,000 juried Indigenous artists from across the United States and Canada, working in a variety of media, including jewelry, pottery, sculpture, baskets, textiles, painting, photography, and more. Indian Market takes place on Saturday, August 18, from 7 am–5 pm, and Sunday, August 19, from 8 am–5 pm, on and around the Plaza in downtown Santa Fe, with many associated events leading up to and occurring throughout the weekend. The free 18th annual Native Cinema Showcase, presented in association with the National Museum of the American Indian, runs from August 14–19 and features Native films screened at the New Mexico History Museum. Saturday evening, Disney’s Coco shows for Family Night at the Railyard Park on Cerrillos Road at 8 pm. Go to swaia.org for a full schedule of showtimes. On Thursday, August 16, from 7–10 pm, the free Indian Market kick-off party commences at the Santa Fe Community Convention Center. It includes a preview of the fourth annual IM:EDGE, a curated show in the main lobby. The exhibit highlights Native
artists exploring activism and identity, corresponding with the aims of Project Indigene, a collaborative project between several of Santa Fe’s Native arts–related institutions. All work in the show is for sale. Friday, August 17, attendees will have a chance to see Indian Market’s ribbon-winning entries at the Convention Center. The Best of Show ceremony and luncheon from 11:30 am–2 pm highlights the Best of Show and Best of Classification award winners and their work (tickets $150; limited to purchase by SWAIA members). The event is followed by the sneak preview of award-winning art from 2–4 pm, with Best of Show artists present (tickets $150, $100 for SWAIA members). The general preview of award-winning art takes place from 6–8:30 pm (tickets $50). IM:EDGE is on display through the weekend events. On Saturday and Sunday, a variety of free music, dance, and performing art events occur from 9 am–4 pm at the Plaza stage, the Santa Fe Community Convention Center, and Cathedral Park. Saturday also marks the day of SWAIA’s lavish fundraiser, the live auction gala, and reception at La Fonda on the Plaza. The event begins at 6 pm with a silent auction and cocktails in the hotel’s La Terraza, followed by the live auction gala and dinner in the Lumpkins Ballroom, featuring a menu created by a Native chef. This year, a fashion show is included in the fundraiser (tickets $225–$5,000). Two special Sunday events highlight the artistry of Native-designed attire. The popular Native American clothing contest begins at 9 am and continues until noon on the main stage in the Plaza, featuring individuals of all ages dressed in gorgeous regalia and fashion. The event is free and always draws a crowd. Next up, the glamorous Indian Market Haute Couture Fashion Show from 2–3 pm at the Santa Fe Community Center, where designers Cody Sanderson (Navajo/Diné), Maya Stewart (Chickasaw/Creek/Choctaw), Sho Sho Esquiro (Kaska Dene), Decontie & Brown (Penobscot), Pam Baker (Kawgiulth/Squamish), Yolonda Skelton (Gitxsan), Adrian Standing Elk Pinnecoose (Diné/Southern Ute), and collaborators Jamie Okuma (Luiseño/ShoshoneBannock) and Keri Ataumbi (Kiowa) send their creations down the runway (general seating $25, standing room free, space is limited).
A buffalo dancer performs at the 2017 market.
Below: Dancers from Zuni Pueblo. Yes indeed, those are real pots on their heads, and the women balance them perfectly.
97th annual Santa Fe Indian Market, August 18–19, free except for special ticketed events, Downtown Santa Fe, swaia.org
The Haute Couture Fashion Show usually sells out. Here, a model wears designs by Jamie Okuma (Luiseño/ Shoshone-Bannock).
native arts 2018
ethics in collecting
a conversation with contemporary beadwork artist and restoration expert Angela Swedberg fakes, forgeries, and ethics with Amanda N. Pitman
When did you first notice an issue with fakes and forgeries in beadwork? Do you think it will continue to be prevalent? Fakes have been an issue for centuries. The beadwork forgeries (what I know best) have been out there for decades. Recently, the images on websites like Pinterest and easy-sell sites like eBay have made the internet the Wild West of fakes and foolery. There is a huge cottage industry in the United States and Europe, copying work or making new, old-style artworks that are sold as antique. There are some clever people who have dealt in the art and artifacts arena for decades, who are known to others in the business as being shady. They are pretty much given a pass, as the money and greed involved are blinding. The danger I see now is that collectors who bought items 20, 30, or 40 years ago, not knowing they actually possess fakes, put them in legacy exhibits or books, or give/sell them to institutions. Having fake works in collections of legitimate art adds provenance to the fakes. What it also does, unfortunately, is distort the historic record. 36
Courtesy of Maryhill Museum of Art
Angela, thank you so much for taking the time to talk with Native Arts. Tell me a bit about your background and where your expertise lies. I started beading when I was five years old. It is a long story as to how I got to where I am now, restoring historic Native bead and quillwork as well as being a contemporary artist. After working as a banker of all things, I quit my job in 1989 and canoed across the Canadian Arctic. I hitchhiked home (with my canoe) and just couldnâ€™t go back to that life. Local art dealers noticed I had beadwork skills and started asking me to repair items. It grew from there. I have put in thousands upon thousands of hours of academic study and hands-on examination of historic work. Having unfettered access to some impressive private collections is a learning experience few get these days. It also gives you a good sense of what is right about an item and what is wrong about it. I work for various tribes, dealers, and museums, both restoring historic items and creating new works.
What are the top ethical concerns with fakes and forgeries? There are a number of concerns, even with previous work of mine. I did commissions for people and did them well, having no idea they would end up represented as the real deal in accredited museums, or sold for major amounts of money. It made me take a very hard look at what I was doing. But what truly concerns me: Are we changing the historical record? As buyers of historic art, we drive the narrative of what is desirable and valuable. This ends up leading not only to fakes, but also to enhanced work. We come to expect something that has a modern aesthetic and is not historically accurate. This happens from the top—million-dollar war shirts—all the way down to the bottom—badly made $200 pipe bags on eBay. People believe these fakes are real, and there is an emotional toll when they find out the truth. This hurts modern Native people simply trying to make a living. It is impossible for them to compete with the beadwork that comes from Europe—illegally, might I add. Some of the makers come to the United States every year with suitcases full of quill and beadwork, and sell it for cash. They make a pretty comfortable living. Trading posts and gun shows are full of dubious work. It might be sold first as non-Native, but once it’s on the market and changes hands, sooner or later it becomes “Indian” and “old.” There also is a large re-enactor population, both here and in Europe, which gathers each year and uses these items. With use, the items acquire wear. Unless you know exactly what to look for, it’s difficult for people to determine what is real.
Glass elk ladle (detail), by Angela Swedberg, hand-sculpted, off-hand glass, antique Italian seed beads, porcupine quills, ochre painted brain-tanned hide, 28" high
What can those interested in historic works or collectors do to identify fakes and forgeries? This is the super difficult part. First, if you want to buy great historic art, work with ethical dealers with stellar reputations. They are out there. I have worked with some dealers for 30 years who never once asked for any kind of foolery when restoring artwork. They will send me photographs to ask my opinion on pieces. Sometimes they have been fooled, but they’re ready to admit it in the name of ethics. Unless one is highly knowledgeable, buying artwork at places like gun and antique shows, where you see more fakes than genuine works, is really dangerous. The supply is finite—historic works are getting harder and harder to find. Identifying fakes is fraught with problems. When making a determination, you had better know what you’re doing, because if you make accusations and are wrong, you just defamed someone’s property and lessened its value. That can be subject to legal action. The pitfalls are great, and my best advice is to work with legitimate, honest people who stand behind what they sell. santa fean
native arts 2018
ethics in collecting
by Jon Olney Shellenberger (Yakama)
taking a look at repatriation
Above: Plateau corn husk bag, artist unknown, 1930s
Ralph Sampson, Jr. (Yakama)
I WAS SITTING IN my mother’s living room, looking at Yakama family heirlooms my mother brought out, and listening to her wealth of knowledge about each piece. I began to wonder about the lengths I would go to retrieve them from an auction house or museum. I also began to wonder about this term sacred we all hear so often in reference to Native artifacts. We hear it used so often, the lines between sacred objects and secular works of Native art become blurred, especially to collectors. There doesn’t seem to be one working definition that can be easily grasped by those outside tribal communities. According to the Native American Graves and Repatriation Act of 1990 (NAGPRA), the Federal law protecting Native American human remains and sacred objects, sacred objects are defined as “. . . specific ceremonial objects which are needed by traditional Native American religious leaders for the practice of traditional Native American religions by their present-day adherents.” The 1990 Senate Committee Report on NAGPRA elaborates that the intent wasn’t to designate every object as sacred, but only those that are used in Native American religious ceremonies. That definition, however, is still too broad and unclear to outside entities. With lack of familiarity of Native American religious ceremonies, it is inevitable that many of these objects end up in private collections and auction houses despite Native American tribal protests. Lately, the relationship between auction houses and tribes has become strained. To tribes, the protection of the sacred is of the highest priority. Early in May 2018, a sacred pipe of the Lower Sioux Community of Minnesota was scheduled for auction and was immediately met with protest by the tribe. The sacred pipe was a peace offering to a United States soldier from Dakota Chief White Dog during the US Dakota War of 1862. The pipe was in the possession of a Boston family, and went up for auction with a $20,000 opening bid. An anonymous buyer bought the pipe for double the asking price and returned it to the tribe. These types of third-party benefactors are not uncommon in the return of sacred tribal objects. These exchanges are typically kept confidential, and for good reason. The monetization of sacred objects is taboo to most tribes, but with no supporting legal authority to have the items repatriated, tribes are left with little choice.
Ralph Sampson, Jr. (Yakama)
a few ins and outs of a little-discussed topic
Above: Plateau corn husk bag, artist unknown, 1930s
Native Arts: What items are typically okay to purchase at auctions? Jon Shellenberger: Items that were altered for tourists or created for a non-ceremonial purpose. For instance, some katsina dolls are altered so as to not replicate ceremonial regalia. The same standard should be applied to Native art as with Western art. If the piece is being auctioned for the sake of art, then the artist should really be a part of the appeal. If an auction house is selling a 500-year-old piece of pottery by an unknown artist, that isn’t the same standard. They are auctioning off an artifact with multiple layers of cultural identity. It is important to capture each of those layers to ensure authenticity and cultural sensitivity towards tribes.
Under NAGPRA, dealing in human remains and funerary objects is illegal. When it comes to proving an item is sacred, however, the burden of proof is on the tribe. The law is vague in its application to private collectors and auction houses. “Auction houses are really savvy about knowing what items to pull in order to avoid altercations with tribes,” says Robert Taylor, NAGPRA Coordinator for the Nez Perce tribe. “Their interests are profit-driven, and they aren’t bound by the same obligations as museums, which receive federal funding.” Taylor also adds that certain museums associated with academic institutions are resistant to returning sacred objects when there is a lack of proof or provenance. The Safeguard Tribal Objects of Patrimony Act, a bill sponsored by New Mexico Senator Martin Heinrich, has been before House and Senate committees since 2017, and it is moving through the legislative process. The bill would increase penalties for trafficking and would obligate the Department of Interior to form tribal and Hawaiian Native working groups to advise on issues pertaining to trafficking of human remains, funerary, and sacred objects. This law provides a start at increased discourse on the issue of sacred object protection at the national level.
NA: What items do buyers need to be more wary of? JS: Anything with medicine in it such as sage, sweetgrass, corn pollen. These could be medicine bags, pouches, or bundles. Those are personal items with significant spiritual value. Beaded clothing, bags, and personal jewelry have the potential to be buried with humans. Incised dentalium, shell necklaces, and moccasins with beaded soles. All of these can come from a burial context. People need to know that there is still an epidemic of items being stolen right out of Native graves to be sold for drugs.
Below: Rose Olney Sampson (Yakama) pictured with ceremonial berry baskets. Large basket, Sophia Thomas Heck (Cowlitz), 1940s; middle basket, Klickitat basket, artist unknown, date unknown; left basket, Sophia Thomas Heck, 1950s. Sampson is the granddaughter of Heck.
Ralph Sampson, Jr. (Yakama)
NA: What items should be/are off limits? JS: Katsina ceremonial masks, pipes, Kwakwaka’wakw ceremonial masks, medicine pouches, Sundance related items; Yeibichairelated items should be off limits and considered sacred. Those are just some off the top of my head. Anything related to ceremonies is not created for the sake of creating art; they had a spiritual purpose, and collectors can get hurt by the power of some of these objects. The collectors may not believe in Native spirituality, but the original owners survived according to those beliefs for millennia. NA: What can a conscientious buyer to do avoid, for lack of a better term, stepping on toes? JS: A buyer should determine where the object came from and if the source is legitimate. A good place to start would be to contact the respective tribe’s tribal historic preservation office or a member of its cultural committees. They are the ones who manage repatriation of sacred objects, human remains, and associated burial items for their tribe. Moreover, they are knowledgeable about collectors with shady pasts and can help you find out if an item is likely to stir up trouble. santa fean
native arts 2018
openings | revie w s | p e o p le
Flying Blue Buffalo installation form & concept 435 S Guadalupe formandconcept.center August 17–November 17 Reception August 17, 5–7 pm Armond Lara tackles a long and difficult chapter in New Mexico’s history through his Flying Blue Buffalo sculptures: the centuries-long practice of the abduction and enslavement of thousands of Native children. Lara’s own grandmother, who was Navajo, was taken and put into forced servitude by a Mexican family. The kidnapped children, forced to become field hands and domestic servants, were referred to as Lost Bluebirds by their grieving families. Lara combined this name with the strength and resilience of the buffalo in his sculptures. The installation consists of 75 hand-painted buffalo, cast in resin from molds made from 3-D prints of Lara’s original sculptures. Each buffalo represents a single enslaved child known to history, with oral and written accounts of these children’s stories available as part of the exhibition. On Saturday, August 18, Lara convenes a panel of historians to discuss the legacy of slavery in New Mexico.—Lisa J. Van Sickle 40
Above: Armond Lara, Flying Blue Buffalo 1, carved pine, mixed media, 10 x 22 x 15"
Above: Patrick Burnham’s mural Flutter, can be seen in Albuquerque at the Home@Uptown apartment complex.
by Neebinnaukzhik Southall (Chippewas of Rama First Nation)
Albuquerque-based Hopi/Navajo artist Patrick ‘CloudFace’ Burnham lives a life defined by creativity. His alias refers to “the constant shifting of the face of a cloud,” which expresses his need to engage in diverse artistic forms, whether painting, breakdancing, creating and producing music, or DJing. “It’s hard for me to not be active in all these things,” he states. “I feel like I get so much from being involved, that I really just wouldn’t want it to be any other way.” Burnham began painting in childhood, though he took a break when he became involved in the hip-hop scene. However, the visual impact of graffiti pulled him back into painting. He incorporates the influence of graffiti letterforms into his current paintings, adding texture and dimension with “fragments of letters” and calligraphic strokes. “At this point, I’m able to marry all the different influences that I’ve had over the years in my art.” His portraits feature skin tones in brilliant hues. “I’ve really been coming back to this place where I’m just using so much of the primary colors,” he shares, noting that he will render shadows in dark blue, or highlights in pinks and yellows. “I just feel like there’s just so much more life in using all the colors.” CloudFace depicts “animals native to New Mexico,” notably birds—many of which are sacred to the Navajo and Hopi. His frequent paintings of hummingbirds also honor his late brother Michaelis, a significant influence in his life. “My older brother was also an artist, and he really gravitated towards hummingbirds,” he shared. Recently, Burnham painted a large hummingbird in a 60-foot mural at the Home@Uptown apartments. Guests at Nativo Lodge in Albuquerque can also sleep surrounded by his hummingbirds in his artist room entitled Arrival/Departure. Burnham can also be found doing live painting at various music events, an almostweekly practice of his since about 2007. “The paintings are influenced very much by the environment that they are painted in,” he said. He described live painting as “very much a dance itself,” which is evident in the expressive, energetic quality of his brushstrokes. “When you’re performing a painting, at least for me, I don’t feel that there’s the time to sit and contemplate too much,” he said. “I’m in front of a crowd of people, so I don’t really ever stop.” Just how he likes it.
Above: Summer Nights, acrylic on canvas, 30 x 54"
Right: Between Worlds, acrylic on canvas, 30 x 54"
Patrick ‘CloudFace’ Burnham at Beals & Co. Showroom, 830 Canyon, santafeexports.com
native arts 2018
Mary E. Kee textiles, family, tradition by Neebinnaukzhik Southall (Chippewas of Rama First Nation)
Above: Navajo weaver Mary Kee stands next to her magnificent 65 x 37" Ganado textile, handwoven from commercial wool yarns.
NAVAJO WEAVER Mary E. Kee, who turned 55 on July 2nd, has been creating textiles for most of her life. Her skill shows in her precise rugs, some of which are over 3 x 5'. Taught the basics of weaving by her grandmother, Lucy Lee, and her mother, Ellen L. Billie, she wove her first rug at eight years old. However, she only became serious about weaving as a young adult. “I didn’t really get into weaving until after ’82, after my high school year and I started a family,” Kee reveals. Textiles provided additional family income. Kee lives in Arizona in the Klagetoh area near Ganado, with her husband Leon, with whom she occasionally consults for rug color schemes. They have four children—two daughters, Racheal and Stephanie, whom Mary taught to weave, and two sons, Leander and Kevin, as well as grandchildren. Kee proudly relates that when Racheal was attending Ganado High School, Racheal’s rug design was recreated in tile in the school’s pavilion. Kee predominantly weaves in the red-dominant Ganado style, as well as the Two Grey Hills and Klagetoh styles, using commercial yarn. She begins by drawing a pattern, sometimes modifying a previous design. Kee weaves a “life line” in her textiles, and about 10 years ago, she started including her initials, MK, joined together. She credits Bill Malone, who formerly ran the Hubbell Trading Post in Ganado, Arizona, as a source of stylistic input for her rugs. As she works fulltime, she reserves the evenings and weekends for weaving—a large textile may take eight months to a year-and-a-half to weave. “If I want to finish one, I just have to commit myself to sit at it,” she says. Kee’s dedication has brought her recognition: one rug appeared in an issue of Arizona Highways, and several have won ribbons in the Gallup InterTribal Indian Ceremonial. Mary and Racheal Kee were also included in The weavers way: Navajo profiles, a book by Carter Allen. When asked if her grandchildren take an interest in her weaving, Kee responds, “They just love to have them.” She recently wove her older granddaughter, Kaitlyn, a red, blue, and grey biil (rug dress) for her 8th grade graduation. Her younger granddaughter, Riley, a kindergartener, received a red, black, and gray dress. “At first she wanted pink! I told her I was scared to use different colors,” she laughs. Kee worked on two looms simultaneously to create each dress—one for the back of the dress, and one for the front. She notes, “I have to weave with the design at the same pace all the way up.” While she predominantly sells her work closer to home at venues such as the Hubbell Trading Post, visitors to Santa Fe can find several of Kee’s exquisite textiles at Malouf on the Plaza. Mary E. Kee at Malouf on the Plaza, 61 Old Santa Fe Trl, maloufontheplaza.com
Above: A highly intricate design marks this Ganado weaving by Mary Kee. It measures 65 x 44" 42
Last year, Malouf on the Plaza contracted with the television program Informed|Rob Lowe to highlight Native American arts with an emphasis on, and interviews with, the Glasses, a seven-generation Navajo weaving family, and silversmith and jeweler White Buffalo (Comanche/Navajo). Filmed during the 2017 Indian Market, the informational piece, entitled Upward Trends in Western Jewelry, can be viewed at: http://informedseries.com/informed-ptv-tra-malouf.html
Saturday, September 15, 2018 5:30–8:00 pm at SITE Santa Fe • • • • •
JOIN US FOR
$125 per person (covers the cost of one spay/neuter) Complimentary wine, beer, and hors d’oeuvres Meet our doggie ambassadors Special auction Valet parking
To purchase tickets or to become a sponsor, visit us at www.espanolahumane.org, call AJ at 505-753-8662 or email firstname.lastname@example.org.
A UNIQUE SALE OF NATIVE AMERICAN ART FROM PRIVATE COLLECTIONS pottery, jewelry, textiles, paintings, baskets, carvings—vintage and contemporary. whether you are a new or a seasoned collector, come find your own treasure! Saturday & Sunday • September 22–23, 2018 Museum of Indian Arts and Culture Museum Hill • Santa Fe
Early Birds • Saturday, 9–10 am • $25 Saturday and Sunday, 10 am–5 pm Free Admission www.nativetreasures.org Photos by Carol Franco
s t u d io
Kenneth Johnson master of metallurgy by Al ic i a In e z G u z m á n p hoto g ra p h s by Ga b r i el la Ma r k s
Kenneth Johnson (Muscogee/Seminole) recently opened Studio 411 where, for now, he’s in the process of setting up shop. The space is thus far spare, but a coffee table he designed with alternating bands of patterns based on a stamped prototype sits just across from his desk. Now represented by Manitou Galleries, Johnson once began an undergraduate degree in engineering where he learned the concepts of metallurgy. When he became a jeweler full-time, those concepts, down to the atomic behaviors of metals, became hands-on. Best known for his stampwork and engraving, Johnson recently added repoussé to his technique—hammering into the back of a piece of metal to create an intricate low relief image—after taking a workshop with master silversmith Valentin Yotkov. Embracing repoussé played into the longtime jeweler’s philosophy of metalwork; where one process may not suffice, another surely does. He recently completed crowns for the Alabama-Quassarte Tribal Town and the Muscogee (Creek) Nation pageants using the repoussé technique. Johnson has made jewelry for Supreme Court Justices Sonia Sotomayor and Sandra Day O’Connor. Justice Ruth Bader Ginsburg also owns a pair of Johnson’s earrings, which she purchased at Indian Market. This fall, Johnson will be the artist-in-residence at the Institute of American Indian Arts with his Muscogee Canoe Paddle Project— canoe paddles carved from cypress from the Everglades, then cast in bronze to honor the use of the traditional canoe. Johnson also hosts a pop-up show at the Ralph T. Coe Center for the Arts on August 16, where he was recently named as one of the organization’s board members. Johnson also chairs the Muscogee Arts Association. Kenneth Johnson at Manitou Galleries, 123 W Palace, manitougalleries.com
Left: An 18-kt gold sun and star link bracelet, tufa cast, engraved detail, set with sapphires, rubies, and diamonds.
Above: Kenneth Johnson uses a ball peen hammer against a metal stamp to add designs into silver twist bracelets.
Left: The finished pieces show his skill in creating ornate pieces by stamping and twisting the metal.
Below: Johnson uses a wide range of metals and techniques to create these silver and gold rainbow bracelets.
Pablita Velarde, Cats, casein watercolor on Crescent mat board, 10 x 11"
GOLDEN DAWN AND 3D GALLERY Pablita Velarde
Golden Dawn and 3D Gallery in downtown Santa Fe carries the work of three generations of artists: Pablita Velarde (Santa Clara Pueblo) (1918–2006), her daughter Helen Hardin (1943–1984), and granddaughter Margarete Bagshaw (1964–2015). Velarde was the first female student to study with the renowned teacher Dorothy Dunn at the Santa Fe Indian School. In a life of many other firsts, Velarde forged a painting career at a time when women were often discouraged from pursuing work outside the home. Although Velarde was widely traveled, she preferred painting images from Native culture, using pigments she ground herself.—LVS Golden Dawn and 3D Gallery, goldendawngallery.com santa fean
native arts 2018
CHIAROSCURO CONTEMPORARY ART Rick Bartow
Specializing in contemporary art, mainly abstract, Chiaroscuro carries the work of a number of Native American artists. Emmi Whitehorse (Navajo), Rose B. Simpson (Santa Clara Pueblo), and Rick Bartow (Mad River Band of Wiyot Indians) are among the immediately recognizable Native artists at the gallery. Bartow (1946–2016) is currently being honored with the traveling exhibit Things You Know But Cannot Explain. The exhibit, now at the Autry, was formerly at IAIA Museum of Contemporary Native Art. Chiaroscuro carries pastels, acrylics, and woodcarvings done by Bartow. The artist’s work is deeply personal, a reflection of his mixed heritage, his service in Vietnam, and his study of other contemporary artists.—LVS Chiaroscuro Contemporary Art, chiaroscurosantafe.com
Right: Rick Bartow, Bull Disguise, pastel and graphite on paper, 43 x 30"
FORM & CONCEPT Heidi Brandow
In the middle of the Railyard district, form & concept has become a hot spot for cutting-edge contemporary art. Multidisciplinary artist Heidi Brandow’s work is filled with whimsical characters and monsters often combined with words taken from poetry, stories, and personal reflections. Her heritage, Native Hawaiian and Diné, is visible in her work through questions of defining and redefining personal identity by challenging authority and deconstructing mainstream assumptions about Native Americans. Her work also engages personal, cultural, and historical experiences while incorporating the perspectives of critical theory.—Amanda N. Pitman form & concept, formandconcept.center
Left: Heidi Brandow, Elevated, mixed media on panel, 24 x 24"
Josh Tobey A Must See One Man Show! Meet Josh and Jojo at Santa Fe Indian Market August 16-19, 2018
Location at the Coyote Den below the Coyote Cafe 132 W. Water Street Thursday 16: 3-9pm Friday 17 thru Sunday 19: 11am-9pm Private Collector’s Party Thursday 16: 4-8pm. Contact us at 361-688-7766 email@example.com www.joshuatobeystudios.com Eat at the Coyote Cafe & Cantina 505-983-1615!!!
Joy of Life
Ed. 30 56” H x 14” D x 14” W
ANDREA FISHER FINE POTTERY Robert Tenorio
Andrea Fisher Fine Pottery has been one of the premier galleries for Southwestern Native American pottery, Mata Ortiz pottery, and select non-Southwestern Native American pottery since 1993. The gallery, in the heart of downtown Santa Fe, is one place to purchase pottery from traditional pottery masters such as Robert Tenorio (Kewa/Santo Domingo Pueblo). Tenorio is one of the foremost Pueblo potters working today, and is known for his polychrome pots with striking geometric designs, sometimes including animals, created in the traditional Santo Domingo-style.—ANP Andrea Fisher Fine Pottery, andreafisherpottery.com Right: Robert Tenorio, untitled, clay with pigment, 4 x 14 x 14"
BLUE RAIN GALLERY Lisa Holt and Harlan Reano
This year marks 25 years of incredible contemporary art for Blue Rain Gallery and founder Leroy Garcia. With a collection spanning multiple media and genres, Garcia states, “I look for refinement and innovation. Over the years, the gallery has become more diverse. Now it is a mixture of everything— contemporary, Native, regional, Hispanic, and glass art, among others genres.” Blue Rain carries the work of Lisa Holt (Cochiti Pueblo) and Harlan Reano (Kewa/Santa Domingo Pueblo). The two work together; Holt makes the ceramic forms and Reano paints them, using natural pigments. Their pieces are fanciful, but refer back to traditional Pueblo pottery.—ANP Blue Rain Gallery, blueraingallery.com
Left: Lisa Holt and Harlan Reano, Dragon, natural clay and pigments, 20 x 11 x 13"
Our newest addition!
Doylene Hardin Land
“El Camino del Milagro” 40” x 30” oil on canvas
“The Wedding Gift” 24” x 18” oil on canvas
Indian Market Opening August 17,2018 - 5:00 to 8:00 pm 201 Galisteo St. Santa Fe, NM 87501 - 505-988-2024 - www.GD3Dgallery.com
THE RAINBOW MAN
The Rainbow Man, opened in 1945, has been owned and operated by Bob Kapoun and his wife Marianne since 1984. They are leaders in the Santa Fe art and collectibles market with a wide variety of new and old works including Edward Curtis photographs, mosaic jewelry from Angie Owen, folk art from Ron Rodriquez, vintage jewelry, weavings, and other handmade works of art.—ANP
The Rainbow Man, rainbowman.com
The Rainbow Man carries both new and vintage jewelry such as these Zuni earrings from the 1940s.
Left: Artist unknown, Cochiti Pueblo, lidded jar, clay and pigment, 14 x 18 x 18"
Since 1978, the owner of Adobe Gallery, Alexander E. Anthony, Jr., has provided both seasoned and new collectors with a gallery of historic and contemporary American Indian art and a wealth of knowledge to accompany it. The gallery’s mission is to “facilitate building quality Southwestern art collections around the world and to help educate new collectors in the historic pueblo pottery market.” Located on Canyon Road, the gallery houses everything from art to pueblo pottery, baskets, katsina dolls, old silver and turquoise, and other Southwestern collectibles.—ANP Adobe Gallery, adobegallery.com
de Fe Santa Fe Rena deRena Santa Rena de Santa Fe Only in Santa Fe - Only from the Artist Only in Santa Fe - Only from the Artist
SUNWEST Only in Santa Fe -ON Only from the Artist THE PLAZA Depending on which side of Sunwest on the Plaza you enter first, you will form a completely different impression of the business. The shop is on the west side of the Plaza. The door a little farther north leads into a charming gift shop with toys for children and mementos of the Southwest for the grownups. The door to the south takes you into a gallery of some of the finest pottery and jewelry around. Sunwest carries pottery by Joy Hope Navasie (Hopi/Tewa) (1919–2012), also known as Second Frog Woman–Yellow Flower. Navasie worked in a traditional style, with red-and-black designs set against a cream background. Her elegant work has a timeless appeal.—LVS Sunwest on the Plaza, sunwesthandmade.com
Joy Hope Navasie, hand-coiled pottery with white slip and pigment
• Original paintings • signed prints
• Original paintings • Original paintings • signed prints • signed prints • limited edition figurines
• limited edition figurines
• limited edition figurines Studio hours by appointment only
Studio hours by appointment only Studio hours by appointment only
(505) 466-4665 Original Paintings
Signed Prints Limited Edition Figurines
(505) 466-4665 www.renadesantafe.com
OF SANTA FE Gregory Lomayesva
Canyon Road • Santa Fe NM 4-1688 • lamesaofsantafe.com
225 Canyon Road • Santa Fe NM • 505-984-1688 • lamesaofsantafe.com
native arts 2018
Below: Ben Nighthorse, wide triangular bracelet, sterling silver, turquoise, lapis lazuli, blue opal, sugilite, rosarita, 6 1/2 x 1 1/4"
SORREL SKY GALLERY Ben Nighthorse Campbell
You may remember Ben Nighthorse Campbell (Northern Cheyenne) as captain of the 1964 Olympic judo team, or might know him as a former representative and senator from Colorado. If you are Shanan Campbell Wells, owner of Sorrel Sky, you think of him first as, well, Dad. Nighthorse shows his exquisite jewelry solely at Sorrel Sky at both their Durango, Colorado, and Santa Fe locations. He works in both silver and gold, set with precious and semiprecious stones. Although his work is contemporary, Nighthorse often uses animal imagery and petroglyph designs, giving his jewelry a Native American flair.—LVS Sorrel Sky Gallery, sorrelsky.com
LA MESA OF SANTA FE Gregory Lomayesva
La Mesa of Santa Fe is known for their variety of home décor including dinnerware, pottery, glass art, lighting, furniture, and fine art, among other items. They represent more than 50 contemporary artists. Painter and sculptor Gregory Lomayesva, of Hispanic and Hopi heritage, creates folk art pieces full of flair, as well as stunning semi-abstract portrait paintings. He states, “I don’t identify myself too much with either culture because I don’t want to be pigeon-holed. I think that doing art based on ethnicity limits the playing field, so I try to express myself as an artist whose playing field is the world.”—ANP La Mesa of Santa Fe, lamesaofsantafe.com Left: Gregory Lomayesva, untitled, acrylic on canvas, 40 x 40"
Elmore Indian Art presents Steve Elmore Indian Art
Nampeyo and Hopi Aesthetics: 839 Paseo de Peralta • Santa Fe NM 87501 A Prelude Modernism (505) 995 - 9677 to • Elmoreindianart.com
839 Paseo (505) 995 -
Above: Arlo Namingha, Eclipse, Indiana limestone, 15 x 20 x 5"
NIMAN FINE ART Arlo Namingha
YOUR DESTINATION FOR NATIVE AMERICAN MODERN YOUR ART DESTINATION
Niman Fine Art specializes in the work of the Namingha family: internationally known artist Dan, contemporary sculptor Arlo, and mixed media photographer Michael. This family-owned-andoperated gallery has been at its Lincoln Street location since 1990, and provides a modern perspective on American Indian art. Arlo Namingha creates pieces significantly different than the work typically associated with the Namingha name. Though he grew up carving katsina dolls, in his early 20s, Arlo turned his carving knives to wood sculpture. Today, he works in wood, clay, stone, and fabricated and cast bronze.—ANP
Opening August 10, 4 - Vintage 7 p.m.Jewelry
Steve Elmore Indian Art 839 Paseo de Peralta • Santa Fe NM 87501 (505) 995 - 9677 • Elmoreindianart.com
Niman Fine Art, namingha.com
TRUE WEST Nocona Burgess
True West, which opened near the Plaza in December, 2014, shows both contemporary and Southwestern paintings, sculpture, pottery, weavings and jewelry crafted mainly by Southwestern Native American artists. Gallery owners Lisa Sheridan and Craig Allen have strong ties with their artists, including YOUR DESTINATION NATIVE AMERICAN MODERN ART Comanche painter NoconaFOR Burgess. Burgess depicts exceptionally modern representations of Indigenous men and women from various tribal nations of North America. He explores the cultural context, life story, and identity of each sitter, urging us to update our perceptions of Native people.—ANP True West, truewestgallery.com
Left: Nocona Burgess, Atlanta, acrylic on canvas, 48 x 36"
native arts 2018
S P ECIAL A D V ERTISIN G SECTION
WINDSOR BETTS ART BROKERAGE HOUSE
Alex Windsor Betts, who lends her name to Windsor Betts Art Brokerage House, knows great art. In 1988, she opened Windsor Betts Art Brokerage House after realizing that the galleries could not resell their artists work on the secondary market, due to a conflict of interest for the artists. Her business offers the largest inventory of prominent contemporary and historic art from the Southwest on the secondary market. Betts not only takes consignments from individual collectors, but from important estates as well. The inventory is constantly changing due to what Betts calls the 5 Ds: divorce, death, departure, debt, and downsizing.—ANP
Scarlett’s Antique Shop & Gallery
Welcome to Scarlett’s—a favorite shopping haven of locals and visitors alike. We feature a beautiful array of authentic, high quality Native American jewelry by many award-winning artists. Whether you prefer the sleek contemporary look or traditional Classic Revival style, you are sure to find your treasure from the Land of Enchantment at Scarlett’s! At-door parking available. 225 Canyon Rd, 505-4732861 ScarlettsGallery.com (for preview)
Windsor Betts Art Brokerage House windsorbetts.com
Little Bird at Loretto Sacred Spaces by Mary Hunt 20 x 24” Celebrating 31 years of outstanding contemporary Southwestern art, jewelry and fine art glass. Featured artists - Mary Hunt - David K .John Michael Horse - Denny Wainscott - Spencer Nutima Connie Baker -Ellen Alexander -Roark Griffin. Thursday August 16th through Sunday, August 19th 8 am - 7 pm. 211 Old Santa Fe Trail, 505-820-7413 sflittlebird.com
Shallow Water Bird, Anthony Gchachu, silk hand painted coat, photo Kitty Leaken A highly creative art-to-wear gallery, featuring one of a kind painted coats by emerging and acclaimed national and local artists. Each piece is carefully painted by hand and sewn in New Mexico. The gallery is located in Plaza Galeria on historic Santa Fe Plaza. Open Thursday through Monday 11 am - 5 pm. Native Voices an exhibit of the painted coats of Marla Allison (Laguna), Anthony Gchachu (Zuni), Lorne Honyumptewa (Hopi), David Naranjo (Santa Clara), Shelley Patrick (Muscogee), Opening Reception Friday, August 17, 3 - 6 pm. August 17 to September 8, 2018. 66 E. San Francisco St 505-699-0339 SingularCouture.com
Above: Vidal Aguilar, clay and pigment, 16 x 14 x 14"
Right: Ray Tracey,
Native American Group Show Sunburst Bear Pendant, Sorrel Sky Gallery sterling silver, turquoise, spiny oyster, 1 1/2 x 2 1/4" 125 W Palace sorrelsky.com August 16–31 Reception August 16, 5–7:30 pm Sorrel Sky celebrates the gallery’s Native American artists during the week before Indian Market. Jewelers Ray Tracey (Navajo) and Ben Nighthorse (Northern Cheyenne) and painter Kevin Red Star (Crow) are among the artists who will have work displayed. Owner Shanan Campbell Wells says of Indian Market, “The authenticity of the artwork, the sense of history and culture, it’s truly a must-see event for visitors and collectors. I’ve been attending since I was very young, and I always feel like I’ve learned something new, been taught something valuable, simply by walking through and talking with various artisans.”—LVS Below: Richard Zane Smith, Lidded Wyandot Floral, pigment on clay, 7 x 10"
Above: Maiyah King, Sanctity, acrylic on canvas, 20 x 16"
Soul of Nations Group Exhibition form & concept 435 S Guadalupe formandconcept.center August 17–September 15 Reception August 17, 5–7 pm Soul of Nations is a nonprofit that works with Indigenous communities across the Americas. This exhibit features 15 artists, ages 15–18, who were finalists in the group’s Brea Foley Art Program. The artists, from 11 different tribes, each have a piece in the exhibit, centered on the theme Honor the Earth. This year, hundreds of applicants applied to the program. From the 15 finalists chosen, three took part in a residency at New York University’s Tisch School of the Arts. The show at form & concept not only displays the students’ work, but also gives them experience in the world of galleries and art marketing.—LVS
Richard Zane Smith: New Works Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 16–20 Reception August 16, 5–7 pm Demonstration August 17, 10 am–3 pm Richard Zane Smith (Wyandot Nation of Kansas) is honored with a show during Indian Market at Andrea Fisher Fine Pottery. While the shapes and some of the designs on his vessels refer to traditional Native pottery, his work is decidedly contemporary. Echoes of 1,000-year-old corrugated pottery also are visible in his pieces, but are overlaid with intricate patterns of a color and design of Smith’s own. Along with his show of new works opening Thursday, Smith will be at the gallery on Friday, August 17, demonstrating his techniques. His demonstration will be followed by the gallery’s annual Best of the Best show, with a parade of participating potters beginning at 5 pm on the 17th.—LVS
Imprint Ralph T. Coe Center for the Arts 1590 B Pacheco coeartscenter.org August 14–March 15 Reception August 14, 5–7 pm The result of a year-long collaboration with six respected printmakers, Eliza Naranjo Morse (Santa Clara Pueblo), Jamison Ch s Banks (Seneca-Cayuga/Cherokee), Jason Garcia (Santa Clara Pueblo Tewa), Terran Last Gun (Piikani), Dakota Mace (Diné), and Jacob Meders (Mechoopda/Maidu), Coe curators Bess Murphy and Nina Sanders (Apsáalooke) present an exhibition that extends beyond the walls of the gallery. Working with Meow Wolf, Axle Mobile Contemporary, and repurposed newspaper boxes, the artists have been donating art around Santa Fe and into the hands of a diverse population. Watch social media for announcements of print giveaways and a family printmaking workshop.—LVS Left: Jamison Ch s Banks, untitled (The Bountiful South Series), acrylic serigraph, 22 x 15" santa fean
native arts 2018
Enormous Forms Adobe Gallery 221 Canyon adobegallery.com August 6–September 29 Reception August 6, 5–7 pm Adobe Gallery takes a look at exceptionally large examples of Pueblo pottery. Enormous Forms is a collection of 20 pieces from 10 different pueblos, all distinguished by their size as well as by their craftsmanship. The pieces are dough bowls and storage jars, made for personal use. Most date from the late 19th and early 20th centuries. Each is a testament to the technical skill of the person who formed it, and each piece is an example of the designs and decorative elements typical of that pueblo.—LVS Above: Poteet Victory, Shards of the First People, oil on canvas, 72 x 72"
Above: Artist unknown, Hopi polychrome pictorial storage jar, clay, 16 x 16" Below: Monte Yellow Bird, Thunder Butte Pony, oil on canvas, 18 x 24"
Indian Market Group Show Manitou Galleries 123 W Palace manitougalleries.com Reception August 17, 5–7:30 pm Just a block west of the Plaza, Manitou Galleries’ Downtown location is in the midst of Indian Market. They kick off the weekend with a show and reception for all of their represented artists, with mariachis and cocktails to add to the festivity. Native artists, including Monte Yellow Bird (Arikara/ Hidatsa) and George Rivera (Pojoaque Pueblo) show alongside non-Native painters and sculptors including Kim Douglas Wiggins and Jerry Jordan. Manitou also has a large jewelry department. Tsali Hall (Navajo), Jennifer Curtis (Navajo), and Kenneth Johnson (Muscogee/Seminole) are among the silversmiths who show their exquisite work on Palace Avenue.—LVS Nampeyo and Hopi Aesthetics: Prelude to Modernism Steve Elmore Indian Art 839 Paseo de Peralta elmoreindainart.com August 10–October 10 Reception August 10, 4–7 pm The great Hopi/Tewa potter Nampeyo (1856–1942) started out as a traditional tribal potter. Over time, she studied ancient pottery designs, such as pieces from the village of Sikyatki, and incorporated them into her work. Through her seven-decade career, Nampeyo’s pottery became simultaneously more abstracted and more her own. During her lifetime, Nampeyo was considered a modern artist, and her work was widely exhibited. While Picasso and other European artists drew on designs of faraway tribes as inspiration for their work, Nampeyo made the journey from the ancient and indigenous style of her own ancestors to become an acclaimed modern artist.—LVS Right: An assortment of pottery by Nampeyo.
Poteet Victory Victory Contemporary 225 Canyon victorycontemporary.com August 10–24 Reception August 10, 5–7 pm Poteet Victory had a few careers before turning to painting. Born in Oklahoma of Cherokee/Choctaw heritage, his résumé sports stints riding bulls in the rodeo, bartending, and running a company that silkscreened graphics onto T-shirts. A job in his teens as an artist’s model planted seeds, though, and he eventually pursued painting at the Art Students League in New York. Victory is fascinated by myth and symbol, and has studied the work of Carl Jung, Joseph Campbell, and others. His abstract paintings explore these themes along with memory and archetype. Victory’s Abbreviated Portrait Series evokes the faces of celebrities with just a stroke or two of color, allowing the viewer’s mind to fill in the rest.—LVS
Rebecca Begay SunwestHandmade.com /concho-story
AUGUST 15-19, 2018
THE HILTON OF SANTA FE CANYON BALLROOM
100 Sandoval Street Santa Fe, NM 87501
ON THE PLAZA 56-58 Lincoln Ave Santa Fe, NM, 87501 505-984-1364
HANDS-ON AND DEMO CLASSES RESTAURANT TOURS • FABULOUS MARKET
SPECIAL EVENTS AND SO MUCH MORE
125 N. Guadalupe St. • 505.983.4511
In true hacienda fashion, the outdoor spaces are lush, colorful, relaxing, and peaceful. To create a sense of history and continuity in this courtyard, landscape architect Catherine Clemens replaced old pavers with tumbled brick, extending the hardscaping out from the portal. Multiple seating areas furnished by interior designer Chandler Prewitt, a Mexican-style fountain, and planters filled with colorful annuals complete the experience.
WHEN SANTA FE GETS to you, the call to settle here is hard to resist. After visiting the City Different many, many times together—and separately, as it turns out, as children—John Haupert and Bryan Brooks finally decided the time had come. In preparing for a frenetic weekend of house-hunting, the Atlanta residents informed their realtor, Mark Banham, that they absolutely did not want a house that needed renovation. Naturally, the one house they saw that did need renovation—quite a bit, in fact—was the one that captured their hearts. The product of a recent, comprehensive renovation of the indoor and outdoor spaces, “The Hacienda,” as its new owners appropriately dubbed it, is located practically next door to Brooks and Haupert’s beloved Santa Fe Opera, with views for miles. Read on to see more of this graceful, beautiful residence, a labor of love for a couple who have fully embraced Santa Fe as their second home.
Photo ©Wendy McEahern
A A PPA ARRA AD DEE O OFF HHO OM MEESS
Santa Fe’s Best Open House! AUGUST 10-12 & 17-19 11 AM - 6 PM | Tickets are only $15
Visit sfahba.com for entry information, tickets, and to learn more Thank you to our sponsors:
SANTA FE AREA HOME BUILDERS ASSOCIATION
The Hacienda thoroughly renovated indoors and out, a home near the opera exudes gracious, old world charm
With an ornate iron chandelier, dark Saltillo tile, and painted double adobe walls, the great room is an effortless melding of Spanish Colonial, Mexican, and Southwestern elements. The antique horse blanket on the coffee table (from an auction benefiting The Horse Shelter), the buffalo hide, and sand-cast glass sculptures by the late Amanda Brisbane are treasured pieces the homeowners have acquired over the years. Inset: A welded steel sculpture of Alexander the Greatâ€™s horse by Marilyn Hoff Hansen from Houshangâ€™s Gallery. 128
The great room is enormous, so Prewitt and the homeowners decided to break it up into cozy conversation areas. Ebanista sofas, chosen for their old Spanish style, are a clean, bright focal point and keep the dark wood and tile accents from dominating the space. David Pearson is one of the homeowners’ favorite artists; his sculpture Mummy Lovers is at left.
by Am y Gr o s s p hoto g ra ph s by Chr i s Cor r i e
ONE THING YOU QUICKLY learn about Bryan Brooks and John Haupert: When these gents decide they love something, they go all in. “For places we like, we really invest,” says Brooks. “Through Restaurant Martín, we got to know the owners, and found the outlet to The Horse Shelter. Next thing you know, we’re volunteering; we sponsor a horse named Jackson. Gallery owners, the same way. If it’s an artist, and we really want to collect them and love them, we want to know as much as we can.” Brooks and Haupert have been coming to New Mexico and Santa Fe for years—not only as a couple, but as kids traveling with their families years before they ever met or married. Incredibly, their families actually went to the same dude ranch in Colorado and loved many of the same places in New Mexico. “We’re five years apart,” notes Haupert, “but that was an amazing revelation. From the beginning of our relationship, we knew Santa Fe was where we were going to retire.” Through his mother, Haupert developed a love for opera, which he shared with Brooks early on. “And now we’re patrons of The Santa Fe Opera,” he says, “and we help co-produce some of the operas as consortium members. We’ve just become more and more involved over the years.”
John Haupert (on left) and Bryan Brooks sit beneath a Poteet Victory equine painting. In addition to art, Haupert and Brooks collect Native American jewelry, which they are proudly modeling.
The Southwest-style kitchen is a clever word word word word word word blending of old world elements—painted word word word word word word tile, cheerful blue cabinets with inset word word word word word word tinwork, and wooden beams—with word word word word modern stainless appliances, Lagos Blue soapstone countertops, and a roomy, stainless steel farmhouse sink.
Being able to find a house in Casas de San Juan, then, just around the corner from the opera, was the realization of a dream. Well, okay, a comprehensive renovation was not part of the dream, but even that challenge became less daunting thanks to a series of fortuitous meetings with talented building and design professionals. A few years ago, interior designer Chandler Prewitt moved back to Santa Fe from “the other SF,” and was looking to land his first project under the banner of Chandler Prewitt Design. He met Brooks and Haupert, and the connection was instantaneous. In Prewitt, Brooks and Haupert found a kindred soul, a designer with an artist’s eye who saw in the older house its potential for becoming a graceful, elegant hacienda. Prewitt couldn’t believe his luck in finding open, imaginative clients who appreciated his expertise and offered him a gorgeous blank canvas for exploring his unique take on Santa Fe style. “I think of Santa Fe style as taking elements of Spanish and Mexican style and updating them to be relevant for how we live now,” says Prewitt. “It’s about workmanship and craftsmanship, really reflecting what nature is around us, our environment. And also incorporating cultural styles—Native American, Hispanic, Northern Hispanic, Colonial Spanish.” Prewitt likes to bring rustic elements into his projects, such as wood, clay walls, and iron, a look his clients enthusiastically supported in their hacienda with authentically Southwestern vigas and antique Mexican doors, and the primitive iron décor and religious art of artisan Jan Barboglio—a favorite of Brooks and Haupert’s—that can be found in every corner.
“I think of Santa Fe style as taking elements of Spanish and Mexican style and updating them to be relevant for how we live now,” says Chandler Prewitt. Prewitt introduced his clients to Douglas Maahs of D Maahs Construction, who masterfully engineered the comprehensive renovation of the interiors, including turning a closet in the great room into a swanky, lighted bar cabinet. Landscape architect Catherine Clemens of Clemens & Associates put her 40 years of experience in fine art, stonemasonry, and construction to work on the tired and overgrown outdoor spaces, creating beautiful seating areas all around the house and revamping the two courtyards and the pool. A primary goal in updating the house was creating a de facto gallery for Brooks and Haupert’s extensive art collection, most of which was already in hand. “They did not need my help selecting art!” laughs Prewitt. “But what we did do was really think about each one of the artists and how to best represent them, so we tried to split the pieces up according to collection.” Jim Rabby’s bold and colorful oils pop in the dining room; Inger Jirby’s colorful works adorn an entire corner of the kitchen; Poteet Victory’s lustrous, sanded pieces line the hallway to the bedroom; Jay Maggio’s striking pointillism paintings grace a lovely guest bedroom; and the master bedroom is a gallery for David Pearson’s sculptures of birds and female figures. The only space in the house left with open walls—at least initially—was the great room, a blank slate to be decorated with any new art Haupert and Brooks acquired in New Mexico. (No surprise: it didn’t stay blank for long.)
Above: Warm and masculine, the master suite is one of Prewitt’s favorite spaces. Custom doors, Moroccan pendants, and a custom Zoffany fabric duvet make the space feel timeless. Several of Taos artist Inger Jirby’s works are displayed around a corner kiva in the kitchen for all to see, and more privately in the master bath (right) along with angels from the Jan Barboglio Collection. 130
The inner courtyard (above) is accessible from three sides of the house; the open fourth side offers incredible Sangre de Cristo views. Clemens redesigned the pool decking and added a wall backsplash, which Prewitt finished with custom-painted Moorish tile from Statements In Tile/Lighting/ Kitchens/Flooring and a hand-carved bowl from Italy.
Above: A collaboration between Clemens, Prewitt, and the homeowners, a lovely seating area in the center courtyard showcases a montage of African tribal items, planters filled with annuals and bushes, and a cushioned banco.
Because let’s face it: these guys are collectors—of art, of jewelry, of memories, of meaningful experiences. The Hacienda, though it may seem perfectly appointed just as it is, will no doubt evolve artistically as its owners, now with a permanent base in Santa Fe, fall in love with the work of new artists who capture their imaginations. Haupert and Brooks remember how, during that first day of house-hunting in Santa Fe, realtor Mark Banham imparted the cautionary tale about the city’s legendary fickle nature. As Haupert recalls it, “Mark said, ‘Okay, boys, I’ve watched Santa Fe embrace people, and I’ve watched people discover—as much as they might want to be here—that it might not be their time. So be prepared for that.’” Without missing a beat, Haupert and his husband made an offer on a house that same weekend, going all in and never looking back, secure in the knowledge that Santa Fe would embrace them the way they had long embraced Santa Fe. august/september 2018
[on the market]
[on the market]
[on the market]
3005 Monte Sereno Drive
Style and charm abound in this soft contemporary–Pueblo home. Spacious indoors and out, the 3,316-square-foot home boasts three bedrooms, four bathrooms, and two portales at the back of the home. The gourmet kitchen is both chic and functional, with Wolf appliances, an oversized Sub-Zero refrigerator, and colorful accents on the backsplash and Vermont Monticello marble island. Large windows throughout frame picturesque New Mexico vistas and lend natural light to the home, from the living room to the master bedroom, where an organically shaped kiva fireplace warms the cozy area. Just steps away, a freestanding tub in the master bathroom is ideal for a long, relaxing soak. A private, quiet courtyard and outdoor living space offer serene lounging. List price: $1.658 million Contact: Sarah Said, 505-780-0024, Santa Fe Properties, santafeproperties.com
535 Camino Del Monte Sol
Sitting on 11.5 beautiful acres with views of the Sangre de Cristo and Jemez mountains, this stately compound encompasses all the best of Santa Fe living. Interior features include seven bedrooms, eight full bathrooms, a home office, and several outdoor living and porch areas. The main residence features Pueblo Revival-style architecture complete with carved wooden beams throughout, smooth adobe walls, and elegant, arched hallways. The spacious living room looks out toward gorgeous mountain views and opens to a chef’s kitchen complete with high-end appliances and two granite-topped islands. Visitors will not only be comfy in two guest cottages, but also entertained, with a 14-seat movie theater, wine tasting cellar, pool, and hot tub. Outdoors, a kitchen and dining space is just waiting for alfresco dinners, perhaps with homegrown produce from the raised vegetable gardens nearby.
Located on approximately 1.56 acres in Santa Fe’s historic Eastside, this newly remodeled 5,088-square-foot home makes a stylish move toward modern. After a complete gut rehab, the home now includes a new addition as well as five bedrooms and four full bathrooms. Architect Trey Jordan retained many elements original to the home but added modern accents—clean lines, concrete walls, streamlined cabinetry, and more—for a sleek finish. The spacious master suite artfully combines contemporary style and Pueblo architecture, with windows that capture sweeping views and a master bathroom akin to a spa. Outdoors, an oasis awaits—landscaping includes xeriscaping, fruit trees, raised bed gardens fit for a green thumb, and a private, natural rock swimming pool surrounded by foliage.
List price: $4.1 million Contact: Gary Bobolsky, 505-984-5185, Sotheby’s International Realty, sothebysrealty.com 132
224 Headquarters Trail
List price: $3.695 million Contact: Gary Hall and Meleah Artley, 505-982-9836, Barker Realty, santaferealestate.com
4/27/18 8:52 A
openings | reviews | people
John Nieto, Buffalo Crossing Bering Straits, acrylic on canvas, 24 x 30"
John Nieto: Homage to Picasso Ventana Fine Art 400 Canyon ventanafineart.com August 17–September 4 Reception August 17, 5–7 pm
For more than 30 years, John Nieto (1936–2018) painted in his signature style, distinctive in its nod to fusions of fauvist color, graphic arts techniques, and subjects depicting people and animals native to North America. After struggling in the past year with congestive heart failure, Nieto returned to the studio in early 2018 to paint. Sadly, he passed away on July 11, 2018. While Nieto resolved to retain his signature elements and continue painting the subjects that have always filled his canvases, the artist broke from expectation and introduced a clear Cubist influence in his last works. This stylish Cubist touch is homage to none other than Pablo Picasso, whose life and work have stood out most clearly to Nieto out of all the great painting masters. A realization of the late artist’s amplified creative energy, John Nieto: Homage to Picasso demonstrates the extraordinary vision of the Nieto we knew.—Amanda N. Pitman
STUD I O
Ali Launer recycled reincarnation by Amanda N. Pitman photographs by Gabriella Marks
“Where do you want me to begin?” laughs Ali Launer, as she dives into the discussion about her unusual works of art. “I must have been 22 when I moved out to Santa Fe. I worked at a couple different companies doing beadwork. I’ve been beading since I was 12 . . . and I really wanted to come up with a way to do beadwork and make money on my own.” Her solution, “to make her own stamp,” was to create stunning beaded skulls. She first began with a skull purchased at the Santa Fe flea market. It took her three months to complete and hangs in her studio to this day. Launer began her beadwork in earnest in 2001, using a variety of animal skulls that come from all over the world. Her standards are strict. “They have to be professionally cleaned and they have to be very symmetrical! I’m very picky about what I use.” She starts each skull with a cabochon in the center and works out from there. She first decides on the bigger stones around the main cabochon, and then adds four or five different sizes of seed beads. Launer says that using this labor-intensive process, the smallest pieces take her about 15 hours. The larger ones, like buffalo skulls, require around 80 hours. Recently, she has been adding leather to the skulls. She creates her own template, shapes the leather, and adds beadwork; sometimes she uses an embroidery hoop to add the beads directly to the leather. “It’s a new canvas every time for me. I am also really inspired by the stones.” Though some people may be “weirded out” by Launer’s beaded skulls, she says, “I see it as recycling the skulls, otherwise they’d be going in the garbage, so at least I feel like I am re-creating them.”
Left: An African impala skull. The finished piece is typical of Launer’s work: a center cabochon surrounded by assorted sizes and colors of beads arranged in rows moving out from the center stone.
Ali Launer at Canyon Road Contemporary Art, 622 Canyon, canyoncontemporary.com Below: Ali Launer in the doorway of her Corrales studio, wearing a completely appropriate T-shirt.
Left: The beads are tiny; the work is painstaking.
Below: Rows of intricate beading follow the contours of the skull. Launer chooses colors that complement the hues of the center stone.
Above: The slick surface of the bowl makes it easier for Launer to grab a single bead with the tip of her needle. august/september 2018
STUD I O
geometr y as art by Efraín Villa photographs by Gabriella Marks
Above: Valentín Arrellín at work in his home studio. He draws directly on the silk fabric that will eventually become a coat.
INSPIRATION CAN COME from many places on the planet, but for Valentín Arrellín the impetus to create came from underneath it. “I studied to become a mining engineer, and after graduating I worked on four underground mining projects in Mexico,” Arrellín recalls. “Then I moved to Santa Fe, where I had some family, and I inadvertently became an artist. I think art is based on what one knows, so I guess that because I knew mining, the geometric patterns I used when working with topography ended up becoming my artistic tools.” Arrellín started sketching geometric designs on paper when a few of the artists who frequented the café where he works encouraged him to express himself creatively. Privately, his sketching became more and more elaborate with practice. Eventually he worked up enough courage to overcome his timidity and show his work to café patrons. “The customers I meet at the café are really nice, even though it is probably strange to them that I went from engineer to artist to fashion designer.” To apply his designs to silk coats, Arrellín first modifies acrylic paints so they become pliable and move freely with the fabric. His says his work is founded on his fascination with the concept of “sacred geometry,” a belief that geometric designs reflect divine symbolism. “Geometry is everything,” says Arrellín. “It can be natural patterns, like flowers, or sometimes the geometry is hidden, but just because we are not always conscious of it does not mean we are not bound by the beauty of geometry.” Valentín Arrellín at Singular Couture, 66 E San Francisco, singularcouture.com Below: This design, Bloom, was influenced by the painting Arrellín made of the ten-pointed star.
Right: The decagram (10-pointed star) is often found in Islamic art and architecture. This illustration is one of the first that Arrellín put on canvas.
Katrina Howarth from home and here by Ama nda N. Pitma n
Above: Pomegranates and Tulips, oil on canvas, 30 x 24"
Born in Scotland in 1973 and having moved around the British Isles during her formative years, Katrina Howarth remembers rose-filled English village gardens and calming gray-blue Scottish skies. She would sit by the coal fireplace with the family dog, simply doodling away. It was clear that she would attend art school, and she graduated from the Glasgow School of Art in 1995. The first time Howarth walked up Canyon Road, she was only 23. She has shown her work at Alexandra Stevens Fine Art ever since. Her landscapes, rendered in a palette of the same seven colors, are no coincidence. “When I first came to New Mexico, I spent quite a bit of time [with fellow artist] Barry McCuan. We did a lot of painting trips, and that’s when Barry showed me the palette which I still use today.” Howarth notes that she likes to stick to the same colors because it is a bit “like a recipe”—the colors are familiar, but at the same time a bit magical since she never paints exactly the same color twice. Her landscapes at Alexandra Stevens Fine Art recall Howarth’s “memories from home” but with a touch of New Mexico. “In New Mexico, I’ve always loved the churches and chapels and winding roads. I’ve sort of combined that with the villages and landscapes from home.” She continues, “I miss my family, and find that I am a little closer as my paint brush dances over my canvas creating memories and stories in each whimsical piece in hopes to share with others landscapes that may appear familiar to them.” Katrina Howarth at Alexandra Stevens Fine Art, 820 Canyon, alexandrastevens.com
Above: The Hay Bales, oil on canvas, 24 x 30" Right: Emerald Farms, oil on canvas, 24 x 30"
PREVIEWS Cowboys and Cowgirls Sorrel Sky Gallery 125 W Palace sorrelsky.com August 3–31 Reception August 3, 5–7:30 pm Star Liana York’s fascination with cowgirls and cowboys comes honestly. Living near Abiquiú, York rides daily, and uses her horses and dogs to keep her small herd of cattle in line. She doesn’t hesitate to travel across state lines to help friends round up cattle on their ranches. Her firsthand knowledge of ranch life shows in her bronze sculpture. This year’s show honors the turn-of-the-century women who performed in the Wild West shows popular at the time. York accurately portrays the bonds between men and women of the West and the horses they rely on as both helpmates and companions. —Lisa J. Van Sickle
Above: Star Liana York, Cowgirls, bronze, 17 x 14 x 12" Below: Peggy McGivern, Church Picnic, mixed media on canvas, 24 x 24"
Summer Shenanigans Alexandra Stevens Fine Art 820 Canyon alexandrastevens.com August 24–September 15 Reception August 24, 5:30–7 pm Inspired by the title of a painting in the gallery by Peggy McGivern, Stevens dedicates this show to summertime fun. McGivern’s painting Shenanigans shows three high-spirited boys playing catch. Her current work is taken from images in old family photos of farm life. Many show the hard work endemic to that time and place, but others show the irrepressible high spirits of youngsters everywhere. Ruth Valerio and E. Melinda Morrison are also represented in the show. Valerio is primarily a landscape painter, and captures the beauty of a summer garden. Morrison often paints people working in restaurant kitchens or playing music. Her paintings of children swimming are a perfect fit for this late-summer exhibit.—LVS
Jammey Huggins: Mystic Vessels The Signature Gallery 102 E Water thesignaturegallery.com September 1–30 Jammey Huggins is a versatile artist. She paints both still life and wildlife. Her sculptures of animals range from the detailed and realistic to highly simplified, almost abstract forms. She also sculpts figures and portraits. Her September show at The Signature Gallery consists of a series of bronze vessels. Most are lidded jars, and most pieces incorporate animal imagery. The images on the sides of the vessel, done in bas relief, are stylized and reminiscent of petroglyph or Mimbres imagery. The lid, though, is topped with a more realistic version of the same animal. Huggins uses patinas to add lovely color to the forms.—LVS Right: Jammey Huggins, The Chosen Ones, bronze, 12 x 12 x 12" 138
Above: Roger Williams, Tradition, oil on linen, 40 x 30"
Roger Williams: Solo Exhibition Joe Wade Fine Art 102 E Water joewadefineart.com August 24–September 2 Reception August 24, 5–7 pm Roger Williams paints what he knows. Growing up in Southern Colorado, he knows the Southwest landscape and architecture. Living in New Mexico as an adult, he has a familiarity with the peoples of this area and enjoys painting portraits. Williams’s travels have taken him through Italy, Mexico, and Egypt, among other places, and scenes from any of those areas are likely to show up in his paintings Williams works in both oil and pastel, large and small. Whether the subject is gondolas along a Venetian canal, a Native American woman painting a pot, or a rusted pickup outside a mountain adobe, look for the warm colors, soft edges, and atmosphere common to his paintings.—LVS
Roger Hayden Johnson, Sunset, oil on canvas, 36 x 74"
Roger Hayden Johnson: New Paintings PREVIEWS Manitou Galleries 123 W Palace manitougalleries.com September 7–28 Receptions September 7 and September 28, 5–7:30 pm Originally inspired by Kirk Douglas playing Vincent Van Gogh in the movie Lust for Life (1956), Roger Hayden Johnson has painted since childhood. A native of Iowa, he alternated studying art around the state with sojourns in Europe where he studied, taught, and traveled. Although Johnson paints landscapes and architecture, he is best know for his oil paintings of boats. The rather humble craft float in dark water that reflects their paint. No motor, no oars or oarsmen, no people fishing or swimming, Johnson just creates quiet studies of color and composition.—LVS Below: William Coupon, David Byrne, archival pigment print on Hahnemuhle paper, 14 x 14"
Hail, Hail Rock ‘n’ Roll: Portraits of an Era 2018 Edition One Gallery 728 Canyon editionone.gallery August 31–October 19 Reception September 7, 5–8 pm Last year’s exhibit of rock ‘n’ roll photos was such a hit that Pilar Law of Edition One Gallery is doing it again. Photographers who were included in last year’s show will be back, including Baron Wolman, Lisa Law, Henry Diltz, William Coupon, Bob Seidemann, and others. Three new artists will have work in the show—Glen Wexler, known for studio portraits, Yvette Roman, and Eventyr, a Santa Fe native who photographed the music scene in the 1970s in New York and London. Some of the photos are portraits done for album covers, others are candid shots taken by people with backstage access. All give the viewer a look into the times, the personalities, and the music.—LVS
Santa Fe style senior living you can afford! Above: Stephen Buxton, Missing Polarities, mixed media on board, 16 x 12"
Between Yesterday and Tomorrow David Rothermel Contemporary 142 Lincoln drcontemporary.com August 17–29 Reception August 17, 5–7 pm Stephen Buxton presents a showing of new collages. Coming from a career as a designer of window displays, Buxton is self-taught as an artist. He incorporates found objects and non-traditional materials into his pieces— sandpaper, metal, or rubber. Taking inspiration from artists such as Le Corbusier, Marcel Duchamp, and particularly Francis Bacon, Buxton’s work has a modernist sensibility. Positive and negative space, muted colors with bright highlights, and crisp edges define his collages.—LVS
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Below: Elizabeth Hahn, Let’s Dance, acrylic on panel, 30 x 30"
SHOWHOUSE SANTA FE 2018
A WORLD OF TASTE
In Partnership With Santa Fe Properties, Showhouse Santa Fe 2018 Announces a new dynamic element to the design story, featuring fourteen of Santa Fe's top interior designers as they collectively transform a luxury Santa Fe residence into "A World of Taste", inspired by Santa Fe's top chefs.
In Living Color Pippin Contemporary 409 Canyon pippincontemporary.com September 26–October 9 Reception September 28, 5–7 pm Five artists unafraid of color are included in this group show at Pippin Contemporary. Liz Barber paints abstracts informed by shapes and colors from the natural world, particularly from around her Georgia home. Elizabeth Hahn’s hard-edged, brightly colored paintings have a midcentury sensibility, and shoes feature prominently. Andrzej Karwacki was raised in Poland during a period of political turmoil; he found Buddhism and a painting career in Northern California. Gina Rossi paints the landscape using loose brushwork and a colorful palette. Suzanne Wallace Mears adds kiln glass to the show; each piece incorporates several vibrant colors, in the saturated hues achievable with glass.—LVS
THE GALA EVENT Friday October 5
Unveiling the home and featuring a creative mash up of designers and chefs from our favorite local restaurants in Santa Fe as they present a worldly sensory feast for the eyes and taste buds. Where under one tent is celebrated the pairing of delectable bites offered from each participating chef and beautiful inspired tables-capes featuring collaborative themes.
HOME TOURS Saturday, October 6 Sunday, October 7 Saturday, October 13 Sunday, October 14 Proceeds Benefit Dollars4 Schools
Providing funding for Santa Fe public-school teachers with a local helping-hand in funding classroom programs
For Tickets & Information visit
Above: Paul Jeffrey Davids, The Old Bell Tower, oil on canvas, 28 x 22"
Paul Jeffrey Davids Houshang’s Gallery 110 W San Francisco houshangart.com August 17–18 Reception August 17 and 18, 4–8 pm Houshang’s Gallery, in business for 50 years, celebrates the milestone by opening a second San Francisco Street gallery. The inaugural exhibit for the new gallery is a show of paintings by Paul Jeffrey Davids. Davids has had a long career as a filmmaker, serving as screenwriter, director, and producer on projects for film and television. He has also written a number of books. In his spare time, Davids paints. His film career has taken him across the world and back, and his travels are reflected in his paintings. The landscapes of Mexico and Europe hang beside New York street scenes and depictions of the California coast.—LVS
Charlotte Foust and Eric Boyer Hunter Kirkland Contemporary 200-B Canyon hunterkirklandcontemporary.com August 3–19 Reception August 3, 5–7 pm Hunter Kirkland’s August pairing shows Charlotte Foust’s abstract acrylics with Eric Boyer’s wire mesh sculptures. Foust combines color field and action painting, and she considers the process of painting to be as important as the end result. Her large canvases alternate splashes of bright color with quieter areas, giving the eye rest. Boyer uses black wire mesh to create elegant representations of the human torso. As the mesh bends into his forms, areas appear lighter and darker as the woven metal takes on dimension. He portrays single male or female figures, couples, and has done a series of the Three Graces. As Boyer pushes the possibilities of his medium, he is also creating some abstracts.—LVS Below: Mary Silverwood, Golden Arroyo, pastel on paper, 22 x 30"
Above: Eric Boyer,
Silverwood—Color Fields Convergence IV, steel wire Ventana Fine Art mesh, 43 x 25 x 7" 400 Canyon ventanafineart.com September 7–19 Reception September 7, 5–7 pm Mary Silverwood (1932–2011) was a pastelist who spent the last decades of her life painting the New Mexico landscape after years spent painting Sonoma County in California. Her estate has released a new group of pastel paintings for this show. Silverwood’s pastels are softly focused and beautifully colored, portraying the landforms and flora of Northern New Mexico. She said of her work, “I don’t consider myself a sentimental person, and yet to convey the landscape to others, I must inject into the colors and designs my feelings and my response to what I see. That takes the image beyond decoration or a mere “reproduction” of an object or landscape and turns it into an idea that flows from the brain and the heart.”—LVS
Below: Donna Diglio, beaded necklace, 18-kt yellow gold, ruby, and pink sapphire, 17"
A Gem-Packed Life Tresa Vorenberg Goldsmiths 656 Canyon tvgoldsmiths.com August 10–17 Reception August 10, 5–7 pm Jeweler Donna Diglio presents a trunk show at Tresa Vorenberg Goldsmiths. Combining highkarat gold with precious and semiprecious gems, Diglio’s beaded jewelry blends color and texture into an elaborate whole. Her inventive pieces can be combined: bracelets can be linked together into a necklace, or added to a necklace to increase its length. Diglio loves what she does, and admits to having a hard time letting go of a completed item. Claiming she pays no attention to trends, Diglio says of her work, “I design original jewelry from my heart that I believe is beautiful. I enjoy designing a wearable piece of art. After all, a lady does like to sparkle.” Diglio will be in the gallery from 1–5 pm August 11–17.—LVS
225 Canyon Road Santa Fe, NM 87501 505.982.3032 karenmelficollection.com
Liquid Light Glass Above: Elodie Holmes and Enrico Embroli, Passagio, hotsculpted and gold-leafed glass, bronze, wood, and steel, 13 x 26 x 6"
Guardian Odyssey Liquid Light Glass 926 Baca #3 liquidlightglass.com Through August 31 Elodie Holmes, owner of Liquid Light Glass, learned her craft at the famed Pilchuck Glass School north of Seattle. She has had her own studio in Santa Fe for more than 30 years, and her work has been widely exhibited in galleries and museums nationally and abroad. Holmes has enjoyed a long collaboration with bronze sculptor Enrico Embroli called the Guardian Series. Their 2018 exhibit is entitled Guardian Odyssey, and is a series of boats carrying “human figures on a journey to another realm of awareness and transformation.” Their collaborative work has an ancient, ceremonial look to it, expressed in glass and bronze.—LVS
Contemporary Glass Studio & Gallery
Mon thru Fri 10 am - 5 pm Sat 10 am - 4 pm
926 Baca Street #3 Santa Fe, NM 87505 505-820-2222 www.liquidlightglass.com
Photo by Wendy McEahern
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Plata de Santa Fe Jewelry (Inside Casita Tienda Consignment) Step into a colorful Santa Fe haven, where we offer a “Tantalizing, head turning” collection of high end Turquoise jewelry, Mexican Folk Art Dove jewelry, Guadalupe items, plus more! Fashions by Roja Collection, Serape Clothing by Silverado, along with colorful tooled leather purses from Mexico! Open: Wednesday through Saturday 10 am - 5 pm, Monday and Tuesday by appointment only. 900 W San Mateo Road, 303-667-5784 platadesantafejewelry.com
Ojo Optique Elevating Santa Fe’s optical experience with refreshing and artistic independent eyewear. The world’s most exquisite and innovative designers are represented to create the most striking collection of frames available. Specializing in sun- and prescription-ready frames, precise adjustments, superior custom and Rx lenses, and unparalleled service. 125 Lincoln Ave, Ste 114 505-988-4444 OjoOptique.com
Asian Adobe Santa Fe’s complete source for exquisite, authentic antique Asian furniture and collectibles, contemporary furnishings and unique decorative items. The main showroom also doubles as the exclusive U.S. gallery for the work of Chinese contemporary artist Guo Ming Fu whose colorful and timeless work complements the Southwest perfectly. 26” x 18” watercolor on paper. Title: Warrior on Horseback. 310 Johnson Street, 505-992-6846, AsianAdobe.com
health & beauty Da Vinci Body Studio Santa Fe The Da Vinci BodyBoard program combines strength training, cardio, and stretching in just 30-minutes of HIIT training. The BodyBoard has quickly become internationally recognized with locations all over the world. The Flagship studio is in Santa Fe, New Mexico. 1512 Pacheco Street #101C, 505-983-2811 Karen@Davincibodyboard.com DavincibodystudioSF.com 142
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Share your vision with us Tresa Vorenberg Goldsmiths Welcome Back Donna Diglio! Experience Her O ne-of-a-Kind High Karat Gold Beaded Jewelry Opening Reception - Friday, August 10, 5-7 pm Meet the Artist Daily, August 11- 7, 1-5 pm Show runs through September 2018 656 Canyon Road 505-988-7215 TVGoldsmiths.com
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PREVIEWS Porsche Portraits Patina Gallery 131 W Palace, patina-gallery.com September14–October 14 Reception September 14, 5:30–7:30 pm Following up on Michael Furman’s 2016 show at Patina Gallery of photos of Alfa Romeos, September brings a show of Porsche photography by Furman. To add to the event, West Palace will be lined with Porsches, courtesy of Porsche North America, the Roadrunner Region of the Porsche Club of America, and Porsche of Albuquerque. Furman began his career as a photographer for corporate clients. His boyhood fascination with automobiles resurfaced when he was asked to shoot some vintage autos for a client. He works indoors, creating portraits of the curves and angles, paint and chrome, that give fine automobiles their irresistible appeal. Furman’s photos will be accompanied by an exhibit of rare Rolex watches from the collection of Santa Fe appraiser Todd Tyra.—LVS
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Below: Peter Schmid Atelier Zobel, Captivating Brilliance cuff bracelet, oxidized silver, 22-kt Patina Gallery and 24-kt gold, Japanese seed 131 W Palace pearls, antique amethyst, patina-gallery.com diamonds, 2 1/2" wide August 10–September 12 Reception August 10, 5–7:30 pm Each summer, Peter Schmid of Atelier Zobel in Konstanz, Germany, designs a jewelry collection inspired by a piece in The Santa Fe Opera’s repertoire. This year he has chosen Giacomo Puccini’s tale of love and betrayal, Madame Butterfly. At the time of Madame Butterfly’s 1904 debut, many European artists were enchanted with the arts of Japan and other Asian countries. Schmid pays tribute to this in both design and materials. As usual, his jewelry contrasts dark, oxidized silver with bright gold and gemstones.—LVS
Raymond Gibby, Cry of the Ancients, bronze, 26 x 24 x 23"
Indian Market Group Show: Meet the Artists The Signature Gallery 102 E Water, thesignaturegallery.com August 17–19, Reception August 17, 4–7 pm Friday, Saturday, and Sunday of Indian Market weekend, visitors to The Signature Gallery can watch some of the gallery’s artists work from 10 am–7 pm each day. Painters Charles Pabst and Kirk Randle, both of whom portray landscapes and Western scenes, and James Ayers, who paints historic Native American cultures, will be painting at the gallery during the weekend. Wildlife sculptor Raymond Gibby, Todd Paxton, who sculpts figures, and Kim Obrzut, who creates stylized figures from her Hopi culture, will also be working at The Signature Gallery. Of course, they won’t actually be casting bronze at the gallery, but visitors can still see what goes into creating their sculpture.—LVS
Left: Sandi Lear, Softly, watercolor on paper, 16 x 23"
Leather vest by Giancarlo Solimano, painted fabric skirt by Natasha Nargis
La Moda II ELOISA at the Drury Plaza Hotel 828 Paseo de Peralta natashasantafe.com August 10, 12–2:30 pm The Guadalupe Street gallery natasha SANTA FE was so pleased with its first fashion show, last March, that owner Natasha Nargis has decided to do it all over again. Nargis shows her hand-woven and shibori-dyed garments, and the other designers and jewelers she represents will also show pieces. For La Moda II, Singular Couture joins in. This shop, located on San Francisco Street right on the Plaza, sells one-of-akind, hand-painted silk coats. Working with artists from many different cultures, Singular Couture is a vibrant addition to the local fashion scene.—LVS
Double Dose of Watercolour The Longworth Gallery 530 & 532 Canyon thelongworthgallery.com Reception September 28, 5–8 pm Two watercolorists, Sandi Lear and Charles Frizzell, share the limelight at the Longworth Gallery. Other than their medium, though, the two have little in common. Frizzell’s work is classic, scenes of the West, carefully drawn, the white of the paper showing through, and so realistic you feel as though you could step out into the snowy morning he has painted or start a conversation with the Native American or cowboy portrayed. Lear’s work has a fantastic edge to it. The Australian artist began painting in her middle years, after a life-changing medical event altered her perception of light and color. She took to watercolor immediately, and now paints wildlife, set against colored and textured backgrounds. The artists will demonstrate their differing techniques at the gallery Friday from 10:30 am–1 pm and again Saturday from 10:30 am–4 pm.—LVS
Below: Jamie Johnson, Irish Travellers Girl Power, archival pigment print, 16 x 20"
Critical Mass TOP 50: A Contemporary Reference of the Human Condition Edition One Gallery 728 Canyon editionone.gallery Through August 19 Critial Mass TOP 50: A Contemporary Reference of the Human Condition highlights photographic work from the top tier of Photolucida’s Critical Mass competition. The photographers, hailing from all over the world, have each taken their own approach to the theme of our very existence in this ever-changing and challenging world. Most all grapple with one or more of these questions—how do we as an international society deal with persecution, poverty, diverging religious beliefs, sexuality, psychological transformation, and the increasing threats to the ecological system that sustains us? Their photographic answers document the human condition at the beginning of the 21st century. The photographers employ documentary, street, and conceptual photography. Some push the boundaries of photography through their use of multimedia processes. All have created images worthy of contemplation.—ANP Below: Evelyne Boren, March in New Mexico, oil on canvas, 45 x 45"
Evelyne Boren retrospective and book signing Acosta Strong Fine Art 640 Canyon johnbstrong.com September 17–October 1 Reception September 21, 5:30–7 pm Evelyne Boren, a native of Munich, Germany, has enjoyed a tremendously successful, 50-plus-year career as an artist. Her bold landscapes and impressionistic interpretations of life, people, and scenes of the Southwest, Mexico, and Europe are featured in galleries, magazines, and books. In conjunction with her retrospective exhibition, a new book by Suzanne Deats entitled Evelyne Boren: A Retrospective will be available for purchase, and both the author and artist will be on hand to sign copies. Boren has led an incredibly interesting life. She began her career as an underwater stuntwoman for television shows and James Bond films in the 1960s. In 1962, on set in the Bahamas, she began to paint. The rest is history. Don’t miss a chance to talk with her in person about her life and her beautiful work.—ANP
Nnamdi Okonkwo Woman 14 x 12 x 15 bronze e. 35
Left: Dan Bodelson, Duck Chief, oil on canvas, 6 x 6"
Annual Market Weekend Group Show Joe Wade Fine Art 102 E Water joewadefineart.com August 17–19 Reception August 17, 5–7 pm Joe Wade Fine Art opened in 1971, and has been a fixture in Santa Fe ever since. Located on the corner of Water and Shelby, the gallery carries paintings and sculpture by over 40 artists, most working in a Western or Southwestern style. The annual show over Indian Market weekend features all the gallery’s artists, from the abstract paintings by Carol Fallis, to landscapes by Rosie Sandifer and Michelle Chrisman, to scenes of Western and Native American life by Dan Bodelson and Jack Sorenson.—LVS
414 Canyon Road 505.982.2073
Santa Fe, NM 87501
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gallery ART SHOWCASE
Beaded Skulls by New Mexico Artist Ali Launer
Ali Launer, Scrolled Buffalo, faceted apetite, tiger eye, and smoky quartz stones, sterling silver beads, glass seed beads and leather. Ali Launer brings nature and design together to create elaborate designs on the skulls of noble, sanctuary-protected animals. Each animal offers unique possibilities, which Launer interprets as angular and symmetrical, or abstracted, using beads, gemstones, and leather in her creations. Canyon Road Contemporary Art, 622 Canyon Rd 505-983-0433, canyoncontemporary.com
KEEP Contemporary Katie O’Sullivan, In Her Hidden Reality Lies An Exquisite Being, mixed media, 36 x 24” KEEP Contemporary injects the Santa Fe art scene with work by artists whose raw, honest, and unconventional approaches bring new energy to this high desert town. With a focus on low brow, outsider, and pop art, founder Jared Antonio-Justo Trujillo draws from local talent and beyond. Trujillo offers an accessible no gimmicks platform to many potent underground artists who have a limited voice in an otherwise conservative art market. 112 W San Francisco St, Suite 102 505-307-9824, firstname.lastname@example.org
Joe Wade Fine Art Carol Fallis, Nightfall, mixed media, 9 x 6.5” Joe Wade Fine Art, Santa Fe’s premier art gallery since 1971, offers an extensive collection of emerging, established, and acclaimed artists’ work. The gallery, located one block south of the historic Santa Fe Plaza, in El Centro, showcases a varied selection of original paintings and bronze sculptures year-round. Open Monday–Saturday 10 am–5 pm and Sunday 10 am–4 pm. 102 E Water St, 505-988-2727 joewadefineart.com
Douglas Atwill Garden at the Second Studio II, acrylic, 48 x 36” Atwill has lived in Santa Fe for many years, painting the garden by his studio and New Mexican landscapes of Galisteo, Abiquiu and the Sangre de Cristo Mountains. He will have a solo exhibit for the month of August. New Concept Gallery, 610 Canyon Rd 505-795-7570, newconceptgallery.com
Tumbleroot serves brunch Saturdays and Sundays. Here, the shirred eggs, baked with tomato and taleggio cheese, come with a rye English muffin. A mojito or draft of one of their beers is available too.
beer, spirits, music, and more Hallelujah! Santa Fe is winning the battle to lure (and keep!) young people here by offering intriguing venues like Meow Wolf and a host of new gastro pubs and breweries that are cropping up all over town. One of the newest, Tumbleroot, has hit the ground running with a winning combination of good food, hoppy beers, tasty cocktails, and a vibrant music scene to boot! All the libations are brewed and distilled in-house. And surprise, surprise, us older folks are loving and embracing it, too. Housed in the former Club Alegria, down Agua Fria, Tumbleroot straddles the concept of nightclub, pub, beer garden, concert hall, and cocktail lounge. The sprawling, multilevel outdoor terrace is the perfect setting for cooling off on hot summer nights. The atmosphere is festive, and food trucks parked alongside add to the fun. Inside, Chef Tony Zayas
has created a large and eclectic menu, great for noshing and sharing, with light options for nibbling or full-on dining. Start with the creamy artichoke and kale dip or chips and salsa with queso, then follow it up with the hearty elk bratwurst with fig mustard and caramelized onions. Don’t miss the housemade pretzel! On the weekend brunch menu, the shirred eggs casserole with tomato and pungent taleggio cheese over house-baked English muffins is scrumptious. The paloma cocktail with agave spirits and grapefruit soda cooled us off one night, as did a zippy Moscow mule. Stay for the music and boogie down with a broad age range of groovers from hipsters to hip replacers. P.S.—bring the kids. —John Vollertsen Tumbleroot, 2797 Agua Fria, tumblerootbreweryanddistillery.com
Luminaria dining in the shadow of the spires
Halibut is served over lemon-pepper risotto, with cherry tomatoes and haricots vert adding color and texture to the entrée.
MY REVIEW OF Santacafé in the June/July issue touted the values of a longstanding restaurant. This issue, I am delighted to introduce you to a new talent who just arrived in Santa Fe. Sean Sinclair—remember that name. I predict that he will be our next great chef bringing more culinary acclaim to our city. I first met Sinclair at Farm & Table in Albuquerque, where he had taken over as executive chef after working there for only three weeks. Three years later, in a seemingly abrupt decision, Sinclair packed up his knives and headed to Virginia and the hallowed stoves of Inn at Little Washington. During his tenure as sous chef, the famous eatery earned a two-star Michelin rating, kudos that Sinclair was thrilled to be a part of. Following at stint in Vail, a job opportunity at The Inn and Spa at Loretto has brought Sinclair, not yet 30, back to our realm, and he’s ready to make his mark on the City Different. I had the pleasure of experiencing his talents again during a seven-course meal he prepared for a friend and me, even though he had only been in town for a few weeks, and was still in the throes of putting his dishes on the past chef’s existing menu. Luminaria’s outdoor dining room is one of our city’s loveliest, and a meal in the shadows of the spires of the Loretto Chapel, wafted by summer breezes, is quintessential Santa Fe dining. Fresh corn appeared in a few dishes, perhaps something Sinclair picked up in ol’ Virginny. A rich and silky corn chowder kicked off the evening, topped with an airy corn milk foam and accompanied with a basket of luscious light Tucumcari cheddar gougères—perfection!
Chef Sean Sinclair, back in New Mexico after stints in Virginia and Colorado.
Above: T-bone lamb, topped with a herb-infused crust, sits atop fregola sarda, a small pasta similar to orzo. Okra and pickled green tomatoes add varied colors and flavors to the dish.
Sinclair’s sugar-and-salt–cured himachi came next. Sliced razor thin and gently spiced with sesame, red chile, and paprika, the delicate fish is bathed in an aguachile— chilled broth, a zippy cucumber salsa with the solids strained out. Dollops of avocado mousse and tiny rounds of toasted corn tortillas finish the dish. My dining companion almost swoons. Sinclair loves making pasta. Delicate crab gnocchi swirls a butter-napped verjus sauce with the tender pillows, pearl onions, and green grapes—a successful and interesting touch. Next, hat-shaped cappelletti are tossed with charred corn and seared shishito peppers—what a fabulous celebration of chile season. The Spanish love to squeeze the best tomatoes of the season over crusty bread. Here, Sinclair reduces the tasty tomato elixir and braises halibut or sea bass in it. Served on a bed of rich lemon pepper risotto with a scatter of al dente veggies, the dish had us licking the plate. One more dish? the chef inquires. Sure, bring it on, we exclaim! Plump lamb T-bones arrive with an herby crust and tangle of okra, cherry tomatoes, and tart pickled green tomatoes. An orzo-like fregola sarda sides the lamb, and a charred eggplant purée adds a wonderful smoky note to the dish. Despite the fact there are many elements on each of Sinclair’s plates, the flavors are clean and never muddled. A sign of true gastronomic genius. Our chef recognizes our gluttony and reads us perfectly, suggesting a simple raspberry sorbet as dessert. As he shares his final thoughts and plans for Luminaria’s future we are impressed at his dedication and forethought; I like a chef who doesn’t just shoot (or cook) from the hip. I can’t wait to return to sample the entire menu, and if I were you, I would book now. Luminaria is fated to be a serious foodie destination.—JV
Above: The stellar meal at Luminaria began with bowls of corn chowder with a corn milk foam floating on top. Gougères, small cheese puffs made with Tucumcari cheddar instead of the traditional Gruyère, accompany the chowder.
Left: Cappelletti, tossed with charred corn and shishito peppers, is one of the pasta dishes Chef Sinclair enjoys offering to his guests.
Luminaria at Inn and Spa at Loretto, 211 Old Santa Fe Trl, hotelloretto.com august/september 2018
s p e c i a l a dv e r t i s i n g s e c t i o n
digestifs High summer and the Santa Fe scene is a-popping. Restaurants are packed, the opera is in full swing, art galleries boast an abundance of openings and shows, and there are concerts on the Plaza—what a great time to visit or enjoy our town as a local. We are blessed to have a multitude of options for alfresco dining, and more and more crop up every day. Whether I’m slurping oysters on the portal at 315 Restaurant & Wine Bar, sipping an Oh My Darling margarita with muddled jalapeño and cucumber under the majestic cottonwood at La Casa Sena, munching duck fat fries on the terrace at Joseph’s of Santa Fe, or relishing the wonders of our city’s hottest new chef on the lovely terrace at Inn and Spa at Loretto (see my review), I do have the best job in town! Staycations have become all the rage, and occasionally I head to Albuquerque to check out the hospitality scene there. Somehow, the North Valley seems to be 10 degrees cooler than the rest of the state, perhaps due to the thick canopy of trees that lines the seemingly rural roads. I recently snuck away from my busy work schedule for an overnight at the charming Sarabande Bed & Breakfast on Rio Grande Boulevard and became an immediate fan. The sleek and modern inn has been in business for decades, but was recently renovated and upgraded. Five rooms are tucked around a courtyard, all cozy and comfortable, there’s a pool (yeah!), and breakfast is strictly gourmet and creative. After a restful night, I enjoyed homemade blueberry strudel muffins and a deliciously exotic shakshouka, which hails from Tunisia and is a casserole of eggs baked in a mélange of tomatoes, onions, chiles, and spices and topped with feta. Wow! Sarabande also offers monthly cooking classes taught by chef Michelle MichelottiMartinez, who I know to be not only adorable, but a wonderful instructor. Sunday, August 19, is a special shapes pasta class that you shouldn’t miss. Closer to home, a unique and very special lunch can be had at The Kitchen, which is snuggled within the grounds of Plants of the Southwest. It’s a one-option, two-course menu that changes daily and is vegetarian, but I can say with confidence that you can leave your palate in the careful care of Chef Olive Tyrrell, assisted by Lily Martin, and have a wonderful meal among the flowering plants. Do make a reservation and call for the day’s menu. Make sure to show up early, as when the food is gone, they’re done. Santa Fe. . . so much great food, so little summertime left!—JV 150
taste of the town
nor t h ern new me x ico ’ s fine s t d ining e x perience s Cafe Sonder 326 South Guadalupe, 505-982-9170 cafesonder.com Located in the Railyard, we pride ourselves in submitting to you a menu wherein food is prepared simply, letting local ingredients speak for themselves. Steps from the year round Farmers Market, we strive to establish relationships with local ranchers, farmers, and foragers. We are committed to crafting a menu of locally driven modern comfort food. Cowgirl BBQ 319 S Guadalupe, 505-982-2565 cowgirlsantafe.com For 25 years, the Cowgirl has been serving up Authentic Comfort Food and Fabulous Pit BBQ to fun loving locals and visitors. Saddle up to some killer burgers, great steaks, carefully sourced seafood, creative salads, New Mexican specialties and exceptional seasonal specials. Nightly our restaurant transforms into a rockin’ Western Honky Tonk with Live Music, creating the best small club scene this side of Austin. Don’t miss our soulful week end brunch. Featuring 24 Award Winning Craft Brews on tap and a vast selection of Tequilas, Mezcals and Craft Distilled Spirits. Enjoy the Best Margaritas in Santa Fe on the Best Patio in SF! Open daily at 11 am and serving food and drink til late. Award Winning Caterer! The Compound Restaurant 653 Canyon, 505-982-4353 compoundrestaurant.com Selected as one of the nation’s finest restaurants and highly regarded for its award-winning seasonal American cuisine, The Compound Restaurant has been a Santa Fe institution since the 1960s. Chef Mark Kiffin, James Beard Award–winning “Best Chef of the Southwest 2005,” has revived this elegant Santa Fe landmark restaurant with a sophisticated menu, an award-winning wine list, and incomparable private dining and special events. Beautiful outdoor patios and private dining available for up to 250 guests. Lunch is served noon–2 pm Monday through Saturday; dinner is served nightly from 6 pm; bar opens 5 pm. Reservations are recommended. El Flamenco 135 W Palace, 2nd floor 505-209-1302, entreflamenco.com El Flamenco de Santa Fe offers the best of Southern Spain in Santa Fe! Authentic Spanish Tapas, a great wine selection and resident flamenco company Antonio Granjero +
Entreflamenco. This restaurant/cabaret is the 2017 Mayor’s Arts Award winner to the City of Santa Fe. Come and enjoy an unforgettable evening of Tapas, Wine and live performance at El Flamenco! Open nightly during high season from 6:30–11 pm. Doors open for Tapas at 6:30 pm, shows start at 7:30, Sunday brunch-matinee at 1:30 pm. 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 classic 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 saffroninfused 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. Full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Musical entertainment and dancing. Dinner is served Tuesday–Saturday 5–11 pm. La Casa Sena 125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in downtown Santa Fe in the historic Sena Plaza. We feature New American West cuisine, an award-winning wine list, and a spectacular patio. We are committed to using fresh, local, and seasonal ingredients whenever possible. La Casa Sena has been one of Santa Fe’s most popular restaurants for more than 30 years. Our bar, La Cantina, is open for lunch and dinner.Let La Cantina’s singing waitstaff entertain you nightly with the best of Broadway, jazz, and much more. Open daily 11 am until close. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open Monday–Saturday 11 am–6 pm, Sunday noon–5 pm. Plaza Café 54 Lincoln Ave, 505-982-1664 santafeplazacafe.com The famous Plaza Café, on the historic Santa Fe Plaza, has been serving locals and visitors alike for over 110 years! We are Santa Fe’s oldest restaurant and serve authentic New Mexican cuisines and flavors that span the globe for breakfast, lunch, and dinner. We are the home of fine food and the friendliest folks in town! Open daily from 7 am to 9 pm, we hope you come visit us for a bite to eat!
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Rancho de Chimayó 300 Juan Medina Rd. in Chimayó on the scenic “High Road to Taos” 505-984-2100, ranchodechimayo.com Winner of the 2016 James Beard Foundation America’s Classics Award! Rancho de Chimayó Celebrating more than 50 Years! A New Mexico treasure and “A Timeless Tradition,” Rancho de Chimayó is woven into the tapestry of the historic Chimayó Valley. Since 1965, serving world-class, authentic New Mexican cuisine from recipes passed down for generations, Rancho de Chimayó is like coming home. Try our Carne Adovada - a Rancho specialty. Open daily from 11:30 am to 9 pm (May-Oct), Tues-Sun 11:30 am to 8:30 pm (Nov-Apr), closed Mon. Breakfast served weekends. Shop our online store.
35˚ North Coffee 60 E San Francisco St, 505-983-6138 35northcoffee.com 35˚ North Coffee is made up of a small crew of passionate people who love good coffee and the hard work that goes into every cup. The people and landscape of Santa Fe inspires us to produce coffee that’s both adventurous and creative. We take a hand-crafted approach to sourcing, roasting and brewing our coffee because we care about what we’re drinking and we love sharing it with you. We also serve fresh pastries, beignets and a handful of breakfast classics. Located in the Arcade building on the Plaza, we’re open daily from 7 am to 5 pm.
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Santacafé 231 Washington, 505-984-1788 santacafé.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 35 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 town! 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. For specials, photos, video walk-through, and menus, please visit our Facebook page: Santacafé Restaurant Bar. Open all holidays. We are now on Open Table!
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Center, 201 W Marcy, whitehawkshows.com.
August 14–17 Antique American Indian Art Show Pre-1950 pottery, baskets, beadwork, and more. Opening night August 14, 6–9 pm, $50, show August 15–17, 11 am–5 pm, $15–$25, El Museo Cultural de Santa Fe, 555 Camino de la Familia, antiqueindianartshow.com.
Through August 9 Santa Fe Desert Chorale Three varied programs of choral music, performed by the professional chorus. Various times and locations, $20–$75, desertchorale.org.
August 14–19 Native Cinema Showcase Film festival celebrating films made by Native American filmmakers. Free, various times, New Mexico History Museum, 113 Lincoln, swaia.org.
Through August 20 Santa Fe Chamber Music Festival Pre-formed and ad hoc groups and soloists perform music from the past five centuries. St. Francis Auditorium, 107 W Palace, and the Lensic Performance Center, 211 W San Francisco. $15– $90, santafechambermusic.com.
August 16 Wheelwright Museum’s Annual Benefit Auction Contemporary and historic Native American and Southwestern artifacts. Free, 3–5 pm, Wheelwright Museum of the American Indian, 704 Camino Lejo, wheelwright.org.
Through August 10 Santa Fe Bandstand Most Tuesdays–Saturdays. Musical acts of all stripes play on the Plaza Bandstand and SWAN Park. Free, 6–8:45 pm, sfbandstand.org.
August 18–19 Santa Fe Indian Market The biggest of them all, now in its 97th year. Upwards of 900 artists show and sell their arts and crafts. Free, 7 am–5 pm Saturday, 8 am–5 pm Sunday, the Plaza, swaia.org.
Through August 25 The Santa Fe Opera Five different productions featuring some of the world’s finest singers, conductors, and musicians. The Santa Fe Opera, 301 Opera Dr. $15–$300, 8 pm, santafeopera.org.
August 24–September 3 Santa Fe Music Week Free and ticketed concerts on the Plaza, in the Railyard, at The Santa Fe Opera, and other venues offer something for all tastes. Prices, times, locations, and dates vary, santafe.org.
Through September 2 Entreflamenco Spanish flamenco dancer Antonio Granjero, featured artist Estefania Ramirez, and Entreflamenco, appear Wednesday–Sunday. El Flamenco. 135 W Palace, $25–$50, 7:30 pm, 1:30 and 7:30 pm Sunday, entreflamenco.com.
August 31 The Burning of Zozobra Old Man Gloom is expelled from the city for the 94th time in flames and fireworks. $10, children 10 and under free, gates at 3 pm, Zozobra burns around 9:30 pm, Fort Marcy Park, burnzozobra.com.
August 9–12 Objects of Art Furniture, books, art, jewelry, and fashion. Opening night August 9, 5–9 pm, $50–$125, show August 10–12, 11 am–5 pm, $15–$25, El Museo Cultural de Santa Fe, 555 Camino de la Familia, objectsofartsantafe.com. August 10–13 40th Annual Whitehawk Antique Indian and Ethnographic Art Show Dealers from across the continent bring antique Native artifacts to show and sell. Opening night, $85, 6–9 pm, Saturday–Monday, $15–$25, 10 am–5 pm, Santa Fe Community Convention
September September 1–2 Outside Bike & Brew Festival celebrating cycling and craft beer with rides, an expo, concerts, food trucks, and plenty of beer. Various prices, times, and locations, outsidesantafe.com. Sep 1–3 Kewa (Santo Domingo) Pueblo Arts and Crafts Each Labor Day weekend, Kewa (Santo Domingo) Pueblo opens its plaza, where artists and craftspeo-
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ple sell their original works to visitors. Free, Saturday and Sunday, 8 am–5 pm; Monday, 8 am–4 pm, Kewa (Santo Domingo) Pueblo, santodomingotribe.com. September 7–9 Fiestas de Santa Fe Fiesta week is full of arts, crafts, music, and culture, culminating in the traditional Fiesta Weekend, September 7–9, with food booths, art, and music on the Plaza. The September 7th, 6 am, procession marks the anniversary of the return of Don Diego de Vargas to Santa Fe in 1692. santafefiesta.org. September 15–16 Pojoaque River Art Tour For the 25th year, artists along the Pojoaque River open their studios for a show and sale. Free, 10 am–5 pm, Rancho Jacona, 277 County Rd 84, pojoaqueriverarttour.com. September 15–16 Santa Fe Renaissance Fair Music, jousting, a unicorn to pet, vendors, food, magicians, and children’s activities. $10–$12, 10 am–5 pm, El Rancho de las Golondrinas, 334 Los Pinos, golondrinas.org. September 16 Santa Fe Thunder Half marathon and 5k runs plus a one-mile walk. The courses begin at Ft. Marcy. $30–$55, 7:30 am, 490 Bishop’s Lodge, active.com. September 26–30 Santa Fe Wine and Chile Fiesta Five days celebrating the food, wine, chefs, and restaurants that make Santa Fe memorable. Films, lectures, demonstrations, tastings. Various locations, $30–$350, santafewineandchile.org. September 29–30 Northern New Mexico Fine Arts and Crafts Guild Juried Show This juried exhibit features work from around New Mexico. Free, Saturday and Sunday 10 am–5 pm, Cathedral Park, downtown Santa Fe, artsandcraftsguild.org.
Copyright 2018. Reproduction in whole or in part without permission is prohibited. Santa Fean (ISSN 1094-1487), Volume 46, Number 4, August/September 2018. Santa Fean is published bimonthly by Bella Media, LLC, at Pacheco Park, 1512 Pacheco St, Ste D-105, Santa Fe, NM 87505, USA, Phone (505) 983-1444. ©Copyright 2018 by Bella Media, LLC. All rights reserved. CPM# 40065056. Basic annual subscription rate is $14.95. Annual subscription rates for Canada and Mexico is $24.95; other international countries $39.95. U.S. single-copy price is $5.99. Back issues are $6.95 each. Subscription Customer Service: Santa Fean, P.O. Box 16946, North Hollywood, CA 91615-6946, Phone 818-286-3165, fax 800-869-0040, email@example.com, Monday–Friday, 7 am–5 pm PST. santafean.com
ERIN CURRIER Las Meninas, September 14 – 29, 2018 Artist Reception: Friday, September 14th from 5 – 7 pm
American Women Dismantling the Border III (aer Delacroix’s Liberty Leading the People), acrylic and mixed media on panel, 60" h x 72" w
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