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Spies in Santa Fe

On the Set with Hilary Swank

Art+Design

April/May 2011

+35

LOCALS WE LOVE

Shirley MacLaine’s

terms of enchantment

BONUS:

CANYON ROAD CLOSE-UP w w w.santafean.com


59

$

A NIGHT

Call 1.877. THUNDER Mention code: CR2011

REO Speedwagon Friday, April 15

Saturday, May 14

877.THUNDER | buffalothunderresort.com Management reserves all rights.

Styx Friday, May 20


LOCAL EXPERTS WORLDWIDE

954 CERRO DE LA PAZ

  

77 FIN DEL SENDERO

               

7 BLUESTEM



SEEING IS BELIEVING



             

616-1/2 CANYON ROAD

              

               

1014 BISHOPS LODGE ROAD

               

Search for the unique 

               

  

  

 




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If the stars don’t get you the diamonds will.

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The People Issue march / april

2011

features

22 Shirley MacLaine’s Terms of Enchantment Hollywood legend and New Age leading lady Shirley MacLaine embodies (almost) everything Santa Fe is all about.

26 People Who Make It Different DOUGLAS MERRIAM

These are just some of the folks who make Santa Fe what it is (unique–in case you haven’t yet figured that out), from its models and actors to its activists and adventurers. Presenting . . . the divine Shirley MacLaine

departments

8 Publisher’s Note 14 City Different

43 38

One of the rarely seen figurative watercolors of the late Santa Fe artist Janet Lippincott, at Karan Ruhlen Gallery

Santa Fe’s model citizens

43 Art

Artists who teach art +

Santa Fe gets TEDdy, touring

gallery previews

Taos + spies who’ve lived among us

93 Living

16 Santa Favorites

Art critic Jan Adlmann’s favorite

Santa Fe’s colorful beading scene

space, hosting the perfect party +

18 A Day in the Life

how to buy a rug

William + Joseph gallerist Mary

101 Dining

Bonney gets her close-up in

Taking it all in at the

Hilary Swank’s new thriller

Inn of the Anasazi

20 The Local View

108 Hot Tickets

Growing up Smith in the

112 Day Trip

City Different

Kasha-Katuwe Tent Rocks

GABRIELLA MARKS

22


Located in the heart of historic downtown Santa Fe, Constellation Home Electronics offers a wide selection of the finest brands of electronics with a commitment to uncompromising service. 215 North Guadalupe, Santa Fe NM 87501 505.983.9988Ă&#x160;U constellationsantafe.com


|

On the Set with Hilary Swank

Art+Design

April/May 2011

+35

LOCALS WE LOVE

Shirley MacLaine’s

terms of enchantment

BONUS:

CANYON ROAD CLOSE-UP www.santafean.com

ON THE COVER Legendary actress Shirley MacLaine has called Santa Fe home since 1990. We recently caught up with the refreshingly down-to-earth star at the Villas at Bishop’s Lodge, where photographer Douglas Merriam captured this image. Read more about MacLaine on page 22.

|

Have you ever thrown a party and wondered how friends from all the different areas of your life would get along? It happens a lot here in Santa Fe, where a person’s diverse mix of pals might easily include a new age cowboy, an up-and-coming sci-fi writer, or a nationally known artist. Somehow, they all click. In this issue, our annual people issue, we invite you to our party of local Santa Feans—a celebration of the variety of impressive personalities that inhabit our town. When it comes to creative and accomplished residents, Santa Fe takes a backseat to no other city. You may have already noticed that Shirley MacLaine is one of our guests; on the pages that follow, you’ll see other faces, too—some you will recognize and others who’ll be new. You’ll no doubt find all of them fascinating. A common joke in Santa Fe is that everyone is an artist. Literally, of course, that is not true, but figuratively, we are all artists, with the canvas of our lives before us. We create the images on that canvas through the people we meet and from our own experiences. It is our hope that the personalities in this issue—the things these legendary and notso-legendary Santa Feans have created, accomplished, or worked toward—will inspire you as your create the personal painting that is your life. The food is in the back, so enjoy yourself as you mingle and get acquainted with some new friends. They’re bound to move you to see your life in a new and exciting way.

BRUCE ADAMS

Publisher

|

S A NTA F E A NS

MISSY WOLF

Spies in Santa Fe

publisher’s note

|

Q: Santa Fe is full of fascinating people. Who stands out in your mind? “Dee and Bernie Rusanowski are two of Santa Fe’s notable personalities,” says Craig Smith, an arts journalist with The New Mexican for nearly 20 years and now associate director of the Santa Fe Concert Association and a freelance writer. “Their luscious doughnuts, big breakfast sandwiches, and tasty lunch fare made Dee’s on Washington Avenue (now El Mesón) a foodie destination for years. They closed the place in 1997, supposedly to retire. But after some travel and downtime, they bought and now run Saveur on Montezuma Avenue. They’re also devoted community volunteers. Great people with big hearts.”

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“I’m keeping my eyes on the people at EcoNewMexico and MIX Santa Fe,” says freelance writer, artist, and poet Elizabeth Lake. “EcoNewMexico’s progressive mission is to develop an ecotourism industry for the state, generating economic and cultural sustainability. MIX Santa Fe, best known for their cocktail events held throughout downtown Santa Fe, is also a collaborative project providing a forum for community, economic, and cultural networking. MIX casts a refreshingly youthful energy that’s much needed in town, and I look forward to what they will do next.”

“I have had the opportunity to interview many fascinating local food personalities,” says John Vollertsen, chef and dining editor at the Santa Fean. “When I interviewed The Food Bank’s executive director, Sherry Hooper, she was so impassioned about the work The Food Bank does. Her eyes teared up as she described a program that benefits the children of our community. Before I knew it, tears were running down my cheeks as well. It was hard to capture the moment on paper. Her dedication goes above and beyond, and I toast her work.”

“My longtime friend Pierre Barrera,” says Eve Tolpa, a freelance writer and editor who moved to Santa Fe twenty years ago this past February. “He and I met when we were both young, working retail. Now he’s an actor, screenwriter, and short filmmaker who makes a living in New Mexico’s movie business. Pierre is Lakota/Klamath, originally from South Dakota, and he takes this hilarious, genre-bending approach to his work that is somehow exactly in line with the spirit of Santa Fe: boundary-crossing and subversive yet totally open-hearted.”


L E E

P R I C E | full

06 may | opening reception friday 5 - 7 pm through 31 may 2011

Butter,, Oil on Linen, 66 x 44

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EDITOR

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CREATIVE DIRECTOR

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EXECUTIVE EDITOR

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FOOD+DINING EDITOR ONLINE EDITOR OFFICE MANAGER

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SALES REPRESENTATIVES

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alicia kellogg, elizabeth lake robert mayer, kate mcgraw stephanie pearson, craig smith jose smith, eve tolpa PHOTOGRAPHERS

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santafean@pcspublink.com Copyright 2011. Reproduction in whole or in part without permission is prohibited. CPM#40065056 Santa Fean (ISSN 1094-1487) is published bimonthly by Bella Media, LLC, 215 W San Francisco, Ste. 300, Santa Fe NM 87501. Periodicals postage paid at Santa Fe, NM and additional mailing offices. Postmaster: Send address changes to Santa Fean P.O. Box 469089, Escondido, CA 92046-9710. april/may

2011


Soul or Sin? Choose.

FAUST

JULY 1, 6, 9, 15; AUGUST 1, 8, 15, 20, 24, 27

Be seduced by one of the greatest of all operas as Faust trades his soul for the chance to attract Marguerite. With melodies to die for, smoldering arias, and a red-hot ballet...donâ&#x20AC;&#x2122;t miss the temptation Gounod's masterpiece delivers as Faust joins the Santa Fe repertory for the first time! Enjoy video and audio highlights online.

800-280-4654

I 505-986-5900 I www.SantaFeOpera.org


See It Your Way T R A V E L Whether you’re an out-of-state visitor or a local looking for new ways to explore the Taos area, check out taossacredplaces.com before you go. The site, sponsored by the Town of Taos, now features more than a dozen selfguided tours and themed itineraries. Along with basic one-day and half-day tours, you’ll find one- to three-day itineraries with themes like Mabel Dodge Luhan’s Taos (including stops at the D. H. Lawrence Ranch and the Millicent Rogers Museum), the Southwest Cultural/Archaeological Tour (featuring Taos Pueblo, Pot Creek Ruins, and lectures by local experts), and the Taos Alternative Technologies Tour (see the Earthships, local solar arrays, and El Monte Sagrado’s Living Machine). Taossacredplaces.com can help you find a hotel and great local deals, too.

the buzz around town

Light My Fire M U LT I M E D I A As Oliver Wendell Holmes once said, a mind stretched by a new idea will never return to its original dimensions. Holmes likely would have loved the concept of Ignite New Mexico. A kind of cross between TED Talks and Toastmasters—and part of a national Ignite movement that started in 2006 in Seattle—Ignite New Mexico gives locals a platform from which to speak about any topic they choose, as long as they stick to the format: Each presentation must last exactly five minutes and include 20 slides (15 seconds each). “Our slogan is ‘Enlighten us, but make it quick,’” says Santa Fe–based database designer David Jondreau, who has been co-facilitating Ignite New Mexico with local graphic designer Stephen Bohannon since last summer. While the first Ignite New Mexico took place in Albuquerque, in 2009, the group’s quarterly events now alternate between the Duke City’s Central New Mexico Community College and Santa Fe’s Santa Fe Complex. Each features 12 presentations on topics from sweet (“A Simple Happiness in Roses,” by an enthusiastic gardener) to scientific (“Space Elevators,” by a Los Alamos National Laboratory scientist) to somewhat out-there (“Why the Shape of Viagra Matters,” “How Your Local Indie Porn Fest Is Saving the World”). Potential presenters and topics are posted in advance on the Ignite New Mexico website, with the final lineup determined by online voting and the curatorial judgment of Jondreau, 36, and Bohannon, 32. The guys nix anything they deem too offensive or too commercial in nature. Not surprisingly, given Ignite’s grassroots nature, the quality of the talks varies considerably. “A successful presentation is about performance,” says Bohannon, adding that storytelling abilities and comedic timing can make or break a speaker’s success. Not that attendees—about 100 at each Santa Fe event—come carrying rotten tomatoes. Beer, snacks, and a strong sense of camaraderie make Ignite evenings lighthearted community gatherings, not intellectual showdowns. “The guiding principle,” says Jondreau, “is passion.” For details on upcoming events, visit ignite-nm.com.—Dianna Delling

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ART While summer brings Indian Market to the streets of Santa Fe, spring is the season for the annual Native Treasures festival, a fund-raising event for the Museum of Indian Arts and Culture (MIAC) that will take place Memorial Day weekend, May 28 and 29, at the Santa Fe Community Convention Center. The invitational art show and sale, now in its seventh year, features museumquality pottery, glass, painting, sculpture, textiles, and jewelry by nearly 200 artists representing some 40 tribes and Pueblos—including this year’s featured artist, sculptor Roxanne Swentzell, of Santa Clara Pueblo. As in the past, proceeds from the show will help fund exhibits and educational programs at the museum. But this year they will also support “Save Our Treasures,” a campaign to raise the $2 million needed to move the museum’s collection of 10 million Native American objects to state-of-the-art storage facilities on the city’s southwest side, at the new Center for New Mexico Archaeology. Currently, reports MIAC director Shelby Tisdale, many of these museum’s pieces are “scattered in various basements and storerooms throughout the city,” leaving them vulnerable to fire, water, and temperature-related damage. In its current state, she adds, “The collection is inaccessible to scholars and Native Americans who want to study their own cultural history.” For more information on the Native Treasures festival, visit nativetreasuressantafe.org.—DD

Anderson Peynetsa (Zuni), Bird Effigy, 2009

courtesy native treasures

National Treasures


Spies Like Us Next time you’re ordering a scoop of Häagen-Dazs at the Plaza Bakery, admiring the statue of Bishop Lamy outside St. Francis Cathedral, or crossing the Paseo de Peralta bridge near East Alameda, consider this: The ghosts of the Cold War are all around you. As detailed in A Spy’s Guide to Santa Fe and Albuquerque (University of New Mexico Press, $20), by retired CIA clandestine operations officer E. B. Held, the City Different—with Los Alamos right in its backyard—was a hotbed of Soviet espionage in the 1940s. “Indeed,” he writes, “for veterans of the Soviet KGB intelligence service, New Mexico’s capital . . . qualifies as a sacred city.” In concise, no-nonsense prose (all of it reviewed by the CIA before publication), Held explains and provides context for ten “seminal events”—secret meetings, exchanges of documents, and the like—that took place at Northern New Mexico landmarks in the days when the Red Threat loomed large. KGB operatives used Zooks Drugstore (now the Plaza Bakery), for example, as a base for planning the Stalinordered assassination of Leon Trotsky; Held cites the intersection of Central Avenue and First Street in Albuquerque as the birthplace of the Cold War. He covers more recent events too, such as the 1985 defection of double agent Edward Lee Howard, who lived in Eldorado, and the controversial 1999 attempt to prosecute a Taiwanese-born LANL scientist for selling nuclear secrets to China. It’s an intriguing book about historic intrigue, and it ends on a somber note. With the continuing operations of world-renowned Los Alamos and Sandia National Laboratories, Held writes, “New Mexico is as much of interest to foreign intelligence officers today as it was in East San Francisco Street at the Plaza in the early 1940s, when Soviet spies walked among us. the 1940s.”—DD

Palace of the Governors Photo Archives

BOOKS

april/may

2011

santa fean

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| S A N TA FA V O R I T E S |

just bead it

if s tr inging’s your t hing , you’ ve come to t he rig ht place by El i z a b et h L ak e

photo graph y by G abri ella Ma r k s

The art of beading runs deep here in Santa Fe. Native Americans

were creating beads from bone and stone here thousands of years ago; they began working with glass beads in the 1500s, when Spanish explorers brought them to the region and used them for bartering. Today, you’ll find amazing beaded pieces made by Native Americans past and present in Santa Fe’s stores and museums, but you’ll also find an incredible array of beads and supplies if you want to try beading yourself. Whether you’re a veteran local beader—like Dulcinea Design’s Deborah Grossman, who creates and sells award-winning crocheted and beaded handbags (dulcineadesign.com)—or you’ve never threaded a beading needle, Santa Fe’s bead shops are tantalizing. Beading Heart, in the Solana Center on West Alameda, is unassuming on the exterior but a treasure trove of color and texture inside, with rainbow-hued vials of glass beads lining the walls. The shop carries what is arguably the largest seed bead selection in town and offers a range of classes for all skill levels. Plop down at the community table, where novice and expert alike can chat and work to their hearts’ content (bring your own materials or buy them there). Owner Barbara Butcher, a physical therapist and avid beader who’s originally from California, is enthusiastic about her craft and happy to offer tips and advice. The store’s manager, Gabrielle Thornton, is equally affable. “Beading is an obsession,” she says. “I call it the legal addiction.” Both women’s passion and appreciation for things beaded is contagious—I left the store sporting a pair of peacock feather seed bead earrings by Santa Fe designer Carol Storm. Beadweaver, on Old Santa Fe Trail, next to Ohori’s Coffee, is another one-stop shop, offering jewelrymaking tools as well as an array of Czech glass beads, seed beads, gemstones, pearls, Swarovski crystals, silver charms, and pendants. Owners Sudasi Clement and Ruthie Parrott—both beaders since childhood—also offer great gift items, from beaded Huichol gourd bowls to Ruthie’s colorful skull-bead “muerto” necklaces. Pieces by local jewelers are featured, Exquisite detailing adds to the appeal of necklaces crafted by Sudasi Clement and Ruthie Parrott of Beadweaver (above) and an evening bag by Deborah Grossman of Dulcinea Design (opposite page). and each year the owners 16

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have a show of their own miniature beadembroidered pendants, created from vintage Italian sand beads. Customers come from all age groups—including a little boy looking for beads to use for tying flies to a nonagenarian thoughtfully planning her next project. “This is a happy place,” says Clement. “People leave feeling good.” You’ll find more beading stores convenient to the Plaza. Stop at Ritual Adornments, on West San Francisco across from the Lensic Performing Arts Center, and thumb through the luscious strands dangling from the walls or root through the loose bead bins to find just the right combination. If you have an idea but lack the time or skills to execute it, the pros in the shop will make your beaded creation for you. Gloriana’s Fine Crafts, on Marcy, is Santa Fe’s oldest bead shop, around since 1970 and owned by the mother-daughter team of Gloriana and Starr Lazaen. This bead boutique’s windows display a stunning mosaic of old African trade beads. It’s the place to go if you’re sourcing one-of-a-kind, vintage, or collector pieces. Stringing things, you’ll notice after visiting one or two of these shops, is a way of life for the women who work in them, and they’re typically happy to explain the allure. As Beading Heart’s Thornton puts it, “Beading is color therapy. It’s a meditative hobby that keeps our hands and minds flowing.”  

Beading Heart 939 W Alameda 505-988-8961 Beadweaver 503 Old Santa Fe Trail 505-955-1600 Ritual Adornments 208 W San Francisco 505-982-5300

Wendy McEahern

Gloriana’s Fine Crafts 55 W Marcy 505-982-0353

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2011

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| A Day in the Life |

Hollywood calling g a l le r y ow n e r Ma r y B onne y play s a galle r y ow ne r i n Hi la r y Swa nk ’s ne w hor ror pic by Robe r t Maye r Church bells awaken Mary Bonney at four in the morning. The bells are the sweet alarm on her clock radio. They ring before the buzzer

Sleepy but nervous, Bonney dons a chocolate brown outfit, a pinkand-brown scarf, and accessories. In her car she hangs a garment bag containing three more outfits, as requested by an unseen casting director.Halfway to Albuquerque, down I-25, she notices the moon battling the rising sun. She pulls off the road and takes a picture with her BlackBerry. She does not want to arrive at the set too early. Being early to the set, she figures, is a sure sign of an amateur. Once in Albuquerque, though, she gets lost. She’s on Silver Street when she needs to be on Gold. At dawn, there’s no one on the sidewalk except a homeless man, so she asks him how to get to Gold Street. (And, yes, she is aware of the irony.) Bonney once owned a gallery in New Orleans. The day before Hurricane Katrina struck, in 2005, she packed a van with artwork, her two-year-old daughter, Lily, and Greg, her husband at the time. They drove to Santa Fe, where she had rented a gallery space over the phone. Within weeks she knew that both the gallery site and her marriage were disasters. So she made changes. In her new location on Canyon Road, across from Geronimo, business is booming. Bonney arrives, fashionably late. The trailers on Gold Street are already humming. Men are carrying lights and rolling cameras across the pavement. In a large room, she and thirty other extras sit at long tables, filling out tax forms for their promised $12 an hour (first things first). Then it’s into wardrobe, where, to her surprise, two fashionable women like what she is wearing better than the outfits she is carrying. Another, shoving her face within licking distance of Bonney’s, decides her makeup is perfect. The hairdresser loves her hair—just a bit of spray. The film adventure had begun the week before, when a phone caller identified herself as a local casting director and asked if Bonney would appear in a film. “Why me?” They had found a photo of her in their files, from 2006, the caller said. Bonney had never sent in her photo. But apparently a friend of hers had. Certain that the call was a prank, Bonney said yes. Two minutes later she received an e-mail confirming the information. Crap! thought Bonney, How can I lose ten pounds in three hours? Immediately, she went online to anthropologie.com and ordered 18

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five new outfits to be FedExed overnight. Browns and grays, because the casting director had said that for an art gallery scene, she could wear anything but black. An oddity, as black is the standard uniform for the gallery crowd. Outfit, makeup, and hair approved, she returns to the large room to wait until she is needed on the set. Sitting beside her is a tall, thin man wearing a fedora. He strikes up a conversation. He is morose, he tells her, because his partner of ten years has just broken up with him. His partner has met a new man on the Internet and is flying off to meet him. In Croatia. Finally the extras are summoned to the set, a narrow gallery crowded with lights and cameras. Bonney is paired with a man of about 50, tall, nice-looking. They are shown how to stroll through the gallery as customers. This takes more than an hour. “Ingenue!” a man with a walkie-talkie barks. Ingenue is the code word for Hilary Swank. As she is escorted onto the set, the energy level lifts. The actress smiles briefly at the extras, then turns away. On her BlackBerry, Bonney texts her friend Laura in St. Louis: “Swank slim as a pencil.” Swank and her costar, a hunk (Bonney notices) from TV’s Grey’s Anatomy named Jeffrey Dean Morgan, are seated on a sofa, where they will flirt when the cameras roll. Bonney and her partner are placed behind them. They are to look at the art on the walls and discuss it. It doesn’t matter what they say; they will not be miked. “Action!” Bonney’s partner asks what the nearest painting represents to her. Bonney blurts, “A vagina.” The man reddens and appears to be choking on his tongue. Bonney does not know if Hilary Swank heard. Told to walk across the set, Bonney stops halfway. “Move, move!” the director yells. She can’t move. Her scarf is caught on the limb of a potted tree. She feels better about this mishap only later, when a fellow playing a bartender leans against a wall and a painting crashes to the floor. Takes and retakes until eight in the evening. No more contact with the star. Bonney gives a ride home to the morose man. She speeds back to Santa Fe. As she kisses Lily, now almost six, and tucks her into bed, Bonney thinks: It was fun having a sexy date with Hollywood. But at the end of the day, I much prefer being the star of my own life. She also thinks: Shoot! Tomorrow I have to return five dresses. Postscript: It’s now one year later. Hammer Films, Britain’s legendary horror filmmeisters whose heyday came between 1955 and 1975, had hoped that The Resident would serve as their comeback film—the first of many. Alas, despite Swank’s pedigree and star power, Hammer released it only in select theaters in February 2011, shortly before putting it out on DVD.

HAMMER FILMS

on her BlackBerry. Four is much earlier than she usually gets up, but today she has to be on the set. Bonney owns the William & Joseph Gallery, on Canyon Road. She’s 39. Never before has she had to be “on the set.” The set is an art gallery in Albuquerque, where Hilary Swank is filming a new movie, The Resident. Yes, that Hilary Swank, winner of two Academy Awards (for Boys Don’t Cry and Million Dollar Baby).


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| T H E LO C A L V I E W |

the name game l ife wit h a myste riou s monike r

When I Was younger, stumbling to grasp an identity amid the chaos of my teenage years, the contradiction of my name— José Smith—only added to the confusion. (Other contradictions: being a Hispanic native with the last name Smith; being

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light-skinned and able to pass as white while also being fluent in Spanish and therefore able to understand what some Hispanics were saying about me, or about others, when they thought I had no idea what they were talking about; being Joe to some people but José to others and having a father whose last name was Chavez.) I simply wanted what my friends had, names like Ortiz, Padilla, or Lucero. Not Smith. Especially not José Smith. For a time I even considered taking my absent father’s name, Chavez, despite the fact that I barely knew the man. I felt I needed the legitimacy of a surname that did not immediately put me on the fringes of the Santa Fe I knew so well. To this day, simply introducing myself can lead to interesting (and sometimes annoying) conversations, or, in most cases, a quizzical look.  Born Joseph Frank Smith in 1976, I learned over the years to employ either of my first names, depending on the situation. For example, if I’m calling in an order to Lotaburger, I’m José; if I’m making a call to the mortgage company or a possible client, I’m Joseph. It’s a kind of linguistic natural selection as I see it, knowing what name to use when and where in order to procure the best response in each environment. In my youth, though, I wasn’t as adept at distinguishing when to use which name. I remember an encounter with a police officer when I was younger, and the question about the crime (who threw the snowball) quickly turned to whether I was lying about my name. “Tell me the truth,” the officer demanded. “What’s your real name?” Even though my “real” name was Joseph, I barely knew it. All I’d ever been called, or had called myself, was José. My grandJosé Smith parents, especially, had early on

DOUGLAS MERRIAM

by Jo sé Smit h


Summer Classics Has winter drained your intellectual curiosity?

Explore the perplexing, the rousing, and the compelling. Gather with others to read and discuss great books of Western literature. Join us for Summer Classics, an adult education program at St. John’s College, Santa Fe. WEEK I: July 11-15 WEEK II: July 18-22 WEEK III: July 25-29

For a complete schedule, visit www.sjcsf.edu (click on Outreach). For a brochure by mail or to register, call 505-984-6117 or email kwilson@sjcsf.edu.

morphed Joseph into José—more familiar to their Spanishheritage tongues. And in that heavily Spanish-speaking culture of Northern New Mexico, the other names I knew for myself were: jito (son), cuate (buddy, twin, chum, close friend), chivato (mischievous, playful, rascal), and sometimes even tonto (dumb or stupid). Joseph, though, Joseph was on the periphery of who I understood myself to be. “I’m not lying,” I pleaded with the officer. “My name is really José Smith!” But did he believe me? Because of experiences like that, of being called a liar, I sought to demonstrate anywhere I could that I belonged— even though my name did not. I ate the hottest chile. I went around using local idioms like pinche, a la verga, and chingón (despite some of their vulgarity and probable misusage on my part). I told people that my grandfather had grown up on Agua Fria Street, which was true, and that there was no clear or logical explanation for how Smith had become our surname (and I still don’t know, to my satisfaction, how I ended up Joseph Smith and not José Chavez). In short, I overcompensated. None of which seemed to matter. The contradiction of my name cast me outward, regardless of how I tried to counter its Caucasian implications. And by the time I got to high school, my name had been melded together. I was known as Josésmith, pronounced quickly and comedically, like a punch line to some absurd joke.  Eventually, it took travel and a life beyond Santa Fe for me

to loosen up and let go of some of the burdens of my name. At 18, I joined the military and quickly learned that in that culture first names don’t matter. At all. I was Smith. Just Smith. Afterward, while living in Los Angeles, I learned two other things about life outside New Mexico. One: José is widely mispronounced, a situation I soon grew tired of; and two, maybe worse, red and green chile do not exist in other places. But even when I moved to Albuquerque to attend the University of New Mexico, people—intelligent people— loved to make snide comments about someone who has the same name as the founder of the Mormon church. In that sometimes highfalutin world, I found myself reverting back to José. In name and in spirit. Joe, or Joseph, just didn’t seem to suit my identity. Today, as a grown man living and raising a family in Santa Fe with my wife, I feel I’ve come to terms with the complexity of my name, despite an awkward moment here and there. Even when I look back on my adolescence, it wasn’t as divisive as it sometimes felt. For the most part, I was accepted as José Smith, and I probably relished some of the uniqueness that came with defending and explaining my name—and who I was. Maybe it’s for that very reason, ironically, that my wife and I gave our son a Spanish moniker to go along with his surname, Smith, a conscious decision (I think) that will no doubt make his life a bit confusing at times, but also, for better or worse, a bit more interesting.

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terms of enchantment

Shirley MacLaineâ&#x20AC;&#x2122;s

by Devon Jackson

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DOUGLAS MERRIAM, POSTCARDS: COLUMBIA PICTURES

| FIRST PERSON |

If Santa Fe wasn’t made for Shirley MacLaine, Shirley MacLaine was certainly made for Santa Fe. It’s a chicken-or-egg statement that can be made about almost any of the thousands of people who (have) live(d) here. But because of MacLaine’s independent nature and her interest in spirituality and alternative healing, in other worlds, other lives, other possibilities—in short, in all that woo-woo business that makes Santa Fe unique—her presence here, her choice to live here and not in New York or Los Angeles (though she does maintain a ranch in Malibu), says plenty about what draws people here, what keeps them here, and how it’s both one of the easiest and most challenging places to be in the world. If you’re open to it. And the divine Miss M (and let’s face it, with all due respect to Ms. Midler—if there’s a supremely divine Miss M—Shirley is The One) is nothing if not open and curious. Interested. Interesting. Engaged. And as game for taking on any challenge as she is to do the challenging. It’s MacLaine’s openness, above all— which can also be read as honesty, integrity, authenticity, sincerity, and daring—that’s the key to her charisma, if not also a major reason for her 50-plus years of “success.” The funny thing is, she can be coy about it all—her commercial success, her enduring fame, her continuous appeal to people the world over—while still being completely forthright. She can also be so altogetherly self-aware (in her writing if perhaps not in person) that in response to a question about, say, what she thinks of her iconic status, her years of being a celebrity, and if she’s ever bothered to muse on such an elusively illusory phenomenon, when she demurs, when she shoots down the query with a curt Never thought about it, she comes off as not disingenuous or annoyed but the opposite. One suspects that her rapidfire Never is a cover, that the question hits close to something she has thought about; or maybe it’s really that she tries to think about it as little as possible. Because to

try to figure out that particular mystery might jinx her. Because—one suspects—a woman as curious and (self-)exploratory as MacLaine can’t not have pondered the mystery of fame. Certainly not the Shirley MacLaine who’s spent the better part of her life probing into what’s real and what’s not, peering into her own soul and from whence it came, into other universes, other realities, other peoples. Not someone who’s been famous since her first movie at age 20 (The Trouble with Harry), who won an Oscar at 50 (for Terms of Endearment), whose career spans three or more generations and three or more incarnations, whose brother, Warren Beatty, became as famous for being Warren Beatty as for being a talented and successful actor and filmmaker, and who herself has rubbed shoulders with some of the most famous and talented actors, writers, directors, politicians, healers, and celebrities of the modern era. Or maybe she never really has thought about her own fame and how that came about, what it means, what it might say about the people who’ve embraced her and why. Maybe her dismissive Never is entirely honest. Which indeed it could be—even though, again, one suspects . . . With MacLaine, whatever one suspects

becomes, well, irrelevant. She is a damn fine broad—as some of her old Vegas pals might’ve put it. She’s sexy but one of the guys. Erotic but no-nonsense. She’s witty, quick, sarcastic, doesn’t suffer fools gladly (doesn’t care to suffer them at all, really), talented, outspoken, charming, graceful, beautiful, classy, dignified, earthy, kind, insightful and inciteful, inquiring, adventuresome, and just plain fun. (And she loves animals.) “I don’t really care too much what people think of me,” says MacLaine, who turns 77 on April 24, a birthday she shares with friend Barbra Streisand. “I’m not a people pleaser. But I’m at that age where people expect me to be someone who speaks their mind and doesn’t give a damn. Even though I’ve always been that way. Only now, at my age, you can get away with it. When I was younger, though, and saying some of the things I’ve said, that I say now and believed in just as much back when I was younger—back then people would sort of write me off as wacky. But the older you get, the more people allow you to be the wise one.” It’s true. Age has given her something of a pass, but it’s also true that both the times and people’s beliefs and attitudes have

MacLaine whooping it up in 1990’s Postcards from the Edge

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shirley maclaine caught up with MacLaine. Now, whenever she brings up past lives, alternative medicine, meditation, chakras, energies, “That whole attitude of, What is she talking about?!?—that’s dissipated,” observes MacLaine. “Because more people are feeling it nowadays.” What’s frustrating, for her and for this outside witness and member of the media—and speaking of the media, rather than assuming the usual media “objectivity,” which in most if not every profile of Ms. MacLaine has that whiff of condescension if not outright dismissiveness about it (unless it’s a story in Alternative Healing, Atlantis Rising, or one of the more allowably women-friendly publications like Cosmopolitan or Vogue)—what’s frustrating is that, let’s be honest, science and Rationalism have not explained everything, for one, and who am I to scoff at her belief in UFOs or vibrational frequencies? Many people obviously share her beliefs (if only as evidenced by the fact that every one of her “alternative” books has been a bestseller). That doesn’t mean they’re right. What it

MacLaine alongside Clint Eastwood in the 1970 Western Two Mules for Sister Sara

might mean, however, is that whatever it is they’re interested in is worth further exploration, further consideration, a respectful openness to being listened to. After all, this is, in a sense, the essence of 24

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Santa Fe. It’s why MacLaine came here, why she’s stayed. It’s why conservative second homers from Tulsa and Fort Worth come here, and the socialites from Santa Barbara and Scottsdale; it’s not just for the skiing, the hiking, the sunsets. It’s a pleasure, and for some, a guilty pleasure, to talk about the vibrational frequencies of an onion seed and how that helps stave off allergies, or to be smudged by a shaman in order to ward off others’ jealousy—it’s an alternative to places where for some of them the “norm” often comes with a more judged lifestyle. Here, MacLaine’s with her people. She’s in her element. Which isn’t to say there’s no judging here, no sniping or rolling of the eyes whenever she says she saw a UFO or had a past life as Charlemagne’s lover. But MacLaine and people like her here in Santa Fe don’t have to worry so much about running into that kind of disdain, or when they do—and they do­— there’s someone right around that next adobe wall who’ll likely share their convictions. The frustration, for her and others like her (generally, Americans, and specifically, American women), comes from the hypocritical response among many of these same naysayers to someone like the Dalai Lama: whenever the Dalai Lama talks about reincarnation, the media, fellow activists, the public, nod respectfully or let the whole topic go. Rarely are these “others” challenged or derided for their beliefs or proclamations. Not so with MacLaine. Not that it’s ever stopped her either. Still a formidable tour de force, still in search of her soul if not her self, Miss M’s still working—a lot. She has a new movie coming out this month, Bernie, costarring Matthew McConaughey and the new favorite Jack in her life, Jack Black, plus a handful of other films in various stages of production or development. Her 12th book, I’m Over All That, comes out this month (she’ll be signing copies of it May 8 at the Inn and Spa at Loretto), and over the next several months she’ll be touring the country with her one-woman show, “An Evening with Shirley MacLaine.” She’ll also be appearing on various talk shows, the most notable being her April 11 sitdown on Oprah. All the while, she also maintains her website, shirleymaclaine.com, which promotes her many worthy causes, theories, and prod-

ucts, and still engages in all the other activities that have kept her as vital as she’s been since she slipped on her first pair of ballet slippers at three years old back in the verdant hills of middle-class Virginia her parents had settled into, if somewhat begrudgingly. MacLaine has not only met but spent quality time with a veritable Who’s Who of the 20th and 21st centuries: Stephen Hawking (who told her he might be the reincarnation of Isaac Newton), Fidel Castro (who gave her one of his uniforms and a glass case with a dove inside—because she was a woman of peace), Marlon Brando (who awoke in her a social and political consciousness and activism), George McGovern (for whom she campaigned), John F. Kennedy (who drove her around Los Angeles asking all about the movie business and how it worked), Alfred Hitchcock (who taught her how to eat well), the Dalai Lama (who talked to her about the Akashic Records—the metaphysical compendium of mystical knowledge), Ariel Sharon (who welcomed her to his Israel ranch and later visited her in her dressing room in New York—unannounced—after one of her shows there), Sam Giancana (who taught her how to play gin rummy), Mikhail Gorbachev (who reminded her of her father), Jimmy Carter (whose grounded but hilariously irreverent mother, one suspects, had no small influence on MacLaine’s own froward behavior—an irreverence MacLaine first picked up on and encouraged in herself while working with and befriending Dean Martin and Jerry Lewis in 1955’s Artists and Models), former President Carlos Menom of Argentina (who regaled her with his beliefs in UFOs), journalist Pete Hamill (her longtime beau who purportedly left her for Jackie Kennedy), Sweden Prime Minister Olaf Palme (with whom she carried on a long affair), Canadian Prime Minister Pierre Trudeau (with whom she had a short fling), and another longtime lover, Australia foreign minister Andrew Peacock (who went on a UFO stakeout with her near Mexico’s Mt. Popocatepetl). And that’s not even including some of her costars, celebrity friends, and colleagues: Martin, Frank Sinatra, Sammy Davis Jr., and Peter Lawford (MacLaine being the lone female in their famed Rat Pack), Danny Thomas, Robert Mitchum,


DOUGLAS MERRIAM, TWO MULES: UNIVERSAL

Jack Nicholson, Yves Montand, Billy Wilder, Nicholas Cage, Mikhail Baryshnikov, Julia Roberts, Peter Sellers, Meryl Streep, and Kevin Costner, among dozens more. (She has wondered, at times, if maybe she knew the people who’ve been most important in her life before she was born, before they were born, in order that they each might help the other understand themselves and each other more completely.) MacLaine first visited Santa Fe in 1960— for its spiritual offerings, its mountains and vistas, its people, the hiking. (Her trip came shortly after her marriage to actor-businessman Steve Parker, with whom she had a daughter, Sachi, in 1956; the two divorced in 1982.) Work kept her in New York and L.A., but she kept coming back until finally, in 1990, she figured, Why don’t I just move here? Which she did. First to Abiquiú, then in a ranch house closer to town, then to her current home, on the road toward Tesuque. “It’s the first place I’ve lived where I want to live,” she explains. “Most of the other places I’ve lived were because of work.” Other than the lack of moisture and the altitude, the biggest adjustment for her has been New Mexico’s Mañana Syndrome. “People aren’t as stressed out here, which is great, but they have no problem showing up for work on Friday at noon instead of Tuesday at noon, when you’d asked them to,” says MacLaine, still mystified by this endemic idiosyncrasy. It challenges her one very un-Santa Fean trait and overarching flaw: impatience. But she’s mellowed (some), and besides, the whole mañana thing is a great reminder of what’s so great about this state; it’s also part of the peculiar alchemy here. “Everything about Santa Fe helps you deal with polarity,” she says. “And one thing happens here more than anywhere else: The recognition of synchronicity. It makes you think, I’m creating this whole dream here. You get diverted from that anywhere else.” (To wit: While having lunch with her after the interview had ended, MacLaine changed the channel on the TV of the restaurant we were in to one of the all-hours news stations—she’s an incorrigible media junkie, constantly dialed in to CNN, Fox News, MSNBC, and keeps up with The

Washington Post, The New York Times, Variety, and The Hollywood Reporter on her Kindle, “I follow everything in the world,” she says, “in relation to prophecy, especially 2012.” Who happens to come on as one of the talking heads—speaking about the current crisis over the Governor of Wisconsin trying to boot out the unions? Ohio Representative Dennis Kucinich. Talk about synchronicity. MacLaine happens to be the godmother of Kucinich’s daughter. Not 10 minutes later— synchronicity again, seriously, you can’t make this stuff up—out walks the restaurant’s chef, Christopher McLean. MacLaine. McLean. Not related. At all. But whenever MacLaine has come into the restaurant lately, people think they’re related, and MacLaine eggs on

people’s misconceptions, telling them she’s McLean’s mother. Synchronicity and synchronicity spoofed: MacLaine in a nutshell. Among many nutshells.) Aside from devoting a fair amount of time and energy to the animal shelters in Española and Abiquiú, and to animals and animal-rescue causes in general, MacLaine also champions her home state as much as she can. In the late ’90s, she helped Republican Governor Gary Johnson set up the film incentives program, and she’s already met twice with new Governor Susana Martinez about keeping those incentives in place. “She’s very smart and very nice and I like her a lot,” says MacLaine. “But continued on page 109

“You can’t really know who you are if you don’t know who you’ve been. Which also affects your future and your future abilities to be who you want to be.”

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people who

make it

Caroline Colonna Dare To Tri

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Provenance: Raised in Paris, moved to U.S. at 16. C.V.: UC-Berkeley grad, MBA from Columbia University; Doctor of Oriental Medicine and acupuncturist. XTerra triathlete, adventure racer, tae kwon do champion. Oh, yeah: Community advocate for women’s and children’s health. Try tri again: After five previous near misses, Colonna, 46, swam, biked, and ran away—literally— with the 2010 XTerra Divisions World Championship. Split time: When not training (whenever that is) for upcoming competitions (in the Philippines, Saipan, Spain), Colonna relaxes (whenever that is) in Santa Fe and Taos with her husband and the two younger of their four kids. Core work: Mental, emotional, and spiritual equilibrium is a core principle of her work as an athlete and a practitioner of Chinese medicine. “It is all about being in tune with nature and your body,” says Colonna, who just turned pro and will compete April 30 in Extremadura, Spain at the ITU Cross Triathlon World Championships. A symphony of pain: “Training and competition is a meditation. As in life, there is an art to training. You transcend a certain level of pain and the experience becomes a symphony. I want to show people that anything is possible if you put your mind to it.”—Elizabeth Lake

Jennifer ESPERANZA

different


Jennifer ESPERANZA

Crystal Miller The Vera Wang of Hemp A born entrepreneur: Miller, a 36-year-old native of Washington state and designer of highend hemp wedding gowns (as seen on Fox News and in Bridal Guide), started selling hand-sewn creations at age five. Later, while making board bags and harnesses at a Hood River, Oregon, windsurfing factory, she sold her own line of sail covers. Kismet: She met her husband, Sapphire, a Deadhead and hemp activist (and father to her two sons), in 1989. She made prêt-a-porter hemp clothing. They lived in a teepee (in Washington, in Madrid). Why hemp?: You can pull it down and weave it. You can throw it in the compost and it’ll disintegrate. It replenishes the soil. “It’s a wonder crop,” says Miller, who started Conscious Clothing (getconscious.com) in 1996 and who also designs men’s suits made of hemp. “It doesn’t even cross my mind anymore to use any other fabric.” People tell her: They never knew hemp could look like this. Everybody seems to have this idea that it’s only good for yoga clothes and baggy pants—not a $3,000 hand-painted wedding gown. “I want people to like it first for the look and the hang of it,” says Miller. “But it’s hard to market it, especially since it’s organic.” Her clientele: “I tend to get interesting people who aren’t too princessy,” says Miller, who makes 20 to 25 dresses each summer. “The better customers have usually already been to David’s Bridal Shop or places like that. And they don’t like the feel or the drape of what they’ve seen at those places.” Nice day for a . . . green wedding: “A traditional wedding dress can be uncomfortable,” says Miller. “But everything on mine is made of natural fiber. So it feels different, it feels better. You can still breathe and move in it. And it looks just as good as a wedding dress.”— Devon Jackson


Owner of: Hutton Broadcasting (102.9, 98.1, 101.5, and 107.5 fm, and 1260 and 1400 am). Go West, young man: Hutton spent his childhood in Connecticut and New Jersey but chose California State–Bakersfield for higher learning. There, he got into doing radio ad sales, “and being really good at it. Honestly,” admits the 36-year-old, “getting into radio was a mistake.” But a fortuitous mistake: After managing 16 stations out of Albuquerque, when six in Santa Fe came up for sale in 2007, Hutton bit. “It’s been a dream come true to be here,” says Hutton, a father of two who plays for Santa Fe’s ice hockey team. “And even though the Hutton name is on the license, the stations are the property of Santa Fe. We donated about $1 million in airtime last year. It’s our duty.” His latest projects: Starting up santafe.com as an entertainment resource (“the Internet is one of the keys to our future”); starting a live, local, issue-based talk show on 1260 am; and retooling Blu 102.9 into a DJ-run dance station. Never say no: “We never say no to nonprofits. And it gives me great joy to give that back and to make that impact. I like the small community here and I love knowing who I’ll be doing business with.”—DJ 28

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CARRIE MCCARTHY

Scott Hutton Radiohead


Joan Logghe Poetry Ma’am

Jennifer ESPERANZA

Title: Poet laureate of Santa Fe. Previous honoraria: 1969’s “Class Poet” at Tufts University; first Mabel Dodge Luhan internship recipient. Spreading her words: For more than three decades Logghe, 63, has been tirelessly sharing poetry with Northern New Mexico’s young people, in the public schools, at the state penitentiary, in writing workshops and readings. Her stick shtick: A four-foot-long pencil, created from a gnarled apple tree bough by local writer and artist Kathleen McCloud. It’s now Logghe’s trademark, as well as her co-star in Joan and the Giant Pencil, a kids’ music and poetry program she created (and performs at schools and libraries) with local composer/musician Jeremy Bleich. In search of: Logghe, a Pittsburgh native, and her husband, Michael, moved here in 1973, hoping to find “raw land.” In 1976, they found it—six acres in La Puebla, just outside Española, where they built a house, raised three children, and live today. Upcoming releases: The Singing Bowl (UNM Press), and Love and Death: Greatest Hits (Tres Chicas Press). Poetry is personal: “To have poetry woven into the fabric of life and not just part of academic studies—it’s what I live for,” Logghe says. “I’m on a stealth mission. I’m a poetry activist.”—Dianna Delling

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Grant Hayunga Blues Animist

Jennifer ESPERANZA

Gigs: Artist (with Launchprojects gallery), frontman for bluesy rockabilly band Goshen. Formative years and schooling: Minnesota (at F. Scott Fitzgerald’s alma mater, St. Paul Academy), Kentucky, Rhode Island School of Design. Painterly bent: Abstract landscapes and anthropomorphic subjects done up in oil and encaustic that explore themes of duality and transience. Why here?: “Growing up, the mysticism of the West held such an allure for this naïve Midwesterner.” 20 years later: “There is magic here, for sure,” says Hayunga, 40, whose partner, Elizabeth DiCicco, also sings with Goshen, “but once you root through the wild spell of this land, you find something seedier, which can be fun in its own way. I came here as the audience to the circus and then I became the performer.” And now?: “I’ve crossed beyond the veil and can see all sides. This place afforded me that, and gave me a sense of humor.”—EL

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Jennifer ESPERANZA

Ahmed Obo Toque of the Town Chef/Owner of: Jambo Café. Souperman: Winner of the Food Depot’s annual Souper Bowl contest in 2010 and 2011. Defining dish: One spoonful of Obo’s island-spice coconut-peanut soup transports you to the Caribbean isles, from whence his menu and passion originate. Road to Jambo: Born in Lamu, an island off Kenya, Obo’s cooking journey included a stopover in New York City before landing in Santa Fe, in 1994, and putting in 10 years at the Zia Diner. Behind that toothy grin: “He’s an honest man with nothing to hide,” gushes one of his staff. “There’s love behind the grin.” Home cooking: After dishing out primarily American food at the Zia, “It’s gratifying to cook the food of my country,” says Obo, 38. “I love it. It’s like a blessing. When I wake up in the morning, I don’t have to think about what to cook. I am cooking what I know: chilies, okra, peanuts, coconut, and plantains.” Must-eat: Jerk chicken paired with Mulderbosch Rose from South Africa: hot food, dry wine. Red on red: “The heat in my cooking comes from cayenne and habaneros.” Summer of (more) love: Obo plans to add an outdoor terrace to accommodate his growing legion of fans. “I just give people love,” he says, smiling. “That’s what they really want.”—John Vollertsen

Mark Connell Culinary Kid Chef/Owner-Partner of: Max’s Inspired American Cuisine. Honed his talents: Working his way across America apprenticing at such culinary icons as Chicago’s Alinea and Thomas Keller’s French Laundry. Bumming out: “When I was 18, I wanted to be a ski bum and realized that most ski towns had great restaurants,” says Connell, who also runs and mountain bikes. “I did apprenticeships in both Vail and a resort in the Dolomites in Italy. I saw cooking as a way to travel, ski, and work.” Taking the emergency route: “My wife, Holly, applied for a position in the ER at St. Vincent’s and got the job. I felt it would be easier to break into the local food scene in a smaller town rather than in a big city. Locals and visitors here are so well traveled they have great palates.” Red or green: “I prefer green, but if I know the red is exceptional, like at Café Pasqual’s, I order Christmas. Red is so much more complex.” Red or white: “White in the summer, red in the winter.” Suckle it: Plunging a fork into the mysterious green orb of blanched chard filled with moist pulled pork on Connell’s suckling pig is a delicious surprise that reveals his ingenious way with food and shows off the 30-year-old’s use of the slow cooking su vide process. “Lime juice is my other secret weapon.” Savory advice: “Flavor is still the most important thing.”—JV

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Debra Anderson Enviro-Doc Kudos: Her 2010 film Split Estate, a documentary about natural gas drilling and hydraulic fracturing, won an Emmy for research. Painting pictures: Anderson majored in painting at the University of Colorado (in her hometown of Boulder) before pursuing a graduate degree in combined media at New York’s Hunter College. “That’s when I got into documentaries.” And into editing: Reality shows, cable TV. That Santa Fe pull: “I’d been wanting to move here for about eight years,” says Anderson, now in her 40s. “Then 9/11 happened and I got a PBS job that was portable.” Her calling: After coming across an article in the Natural Resources Defense Council magazine about gas drilling in southern Colorado (and practically in the backyard of some relatives), Anderson was hooked. “I’d edit Dog the Bounty Hunter during the day or Biography biographies or National Geographic specials and then work on Split Estate at night.” If you can make it here: “Split Estate would’ve been much harder to pull off in New York,” says Anderson. “There are amazing artists and artistic resources here. People are generous and they have the time to help. We got favors from everybody.” And as long as there’s drilling and fracturing . . .: “The issue has just exploded and so that makes work for us,” observes Anderson. “And the film changed my life. It made me obsessed with energy [the subject of her follow-up doc]. I can see doing environmental work forever.”—DJ

David Morrell Action Author Axiom: “There are no inferior types of fictions, only inferior practitioners of them.” Poe x Hemingway = Rambo: Armed with a PhD in literature, the Ontario, Canada-born Morrell broke out of his rarefied ivory tower English professorship with his 1972 debut novel, First Blood (the basis for Sylvester Stallone’s neverending Rambo franchise). Since then, he’s published 32 books—which have sold 18 million copies and appeared in 26 languages. No armchair author he: In addition to being a graduate of the National Outdoor Leadership School, Morrell, 68, has been trained in firearms, knives, hostage negotiation, and anti-terrorist driving; he’s been logging air hours to earn his private pilot’s license; and he just returned from the first USO authors’ tour to regions of conflict (Kuwait, Iraq). His no-routine routine: “It’s all about evolution,” says Morrell, who’s lived in Santa Fe with his wife, Donna, since 1993. “If you’re doing the same from day to day, something is wrong.”—EL

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Joan Tewkesbury Milagro Worker Child star: Born in 1936 and raised in Southern California, Tewkesbury made her film debut in the 1946 Margaret O’Brien drama The Unfinished Dance. Anti-child star: Though a dancer and choreographer, she didn’t like performing. “I’m an only child,” she explains. “I’m basically bossy.” And opportunistic: After serving as Robert Altman’s script girl, she adapted Thieves Like Us for the maverick director before she wrote her Oscar-nominated screenplay for Nashville. “Things really changed after that film. For a while, I was the quarter-flavor of the month.” (Sorta) Made for TV: Intent on directing feature films—but being recently divorced and needing to support her two kids—when Carol Burnett offered her a writer-director job in television, “I decided to go where I was wanted and could contribute quickly.” That was then, this is cable, and DVD, and life in Santa Fe: Having been in Santa Fe on and off since 1986, Tewkesbury’s lived in Tesuque full-time since 2003. “I’m 10 minutes from downtown but I can pretend I’m eight million miles from everywhere.” Light of her life: “Milagro [at Los Luceros, Robert Redford’s program focused on training aspiring New Mexico Native American and Hispanic filmmakers] has just been fantastic,” says Tewkesbury, who just finished a novel. “I teach a class for people to access their own stories. It’s about honoring and giving dignity to other people’s voices.”—DJ

CARRIE MCCARTHY (WISE FOOL), JENNIFER ESPERANZA

Wise Fool New Mexico Cirque de Santa Fe Roots: San Francisco puppeteers. Founded by: Former Bay Area performer Amy Christian and fellowminded women activists in May 2000. P.C. Barnum & Company: This eccentric, eclectic, and innovative circus troupe inspires social justice through stilt walking, aerial acrobatics, fire acts, juggling, and puppetry. “We embrace the medium of the circus and its revolutionary history as a positive way to effect change and foster a dialogue between diverse groups,” says Christian. Keeping all their balls in the air: Juggling performances and programming at their Santa Fe studio, the Peñasco Theatre, and throughout the U.S., Wise Fool also provides community outreach through workshops and arts programs in schools and rural communities across the state. Circus simpatico: “New Mexico’s rich folk tradition,” observes Christian, “lends itself to theater. We’ve been embraced by an amazing community here, which informs us as much as we do them.” But it only looks difficult: “Our ethos,” says Christian, “is that whatever seems impossible is possible. Never say, ‘I can’t.’ Because you can.”—EL

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Cecile Lipworth Vevolutionary Affiliation: Managing director of campaigns and development for V-Day, Vagina Monologues creator Eve Ensler’s nonprofit that’s seeking to stop violence against women and girls. Grew up: In a privileged, protected Jewish environment in Johannesburg, South Africa, before marrying fellow South African Robbie Lipworth and relocating to America in 1997. They originally aimed for life in New York: “But we couldn’t get work,” says Lipworth, 44. “And on a trip out West, New Mexico was our last stop.” Different why?: “We opened our own business, The Store Different, but had to close it in 2000. When I won my green card I wondered, why Santa Fe? Maybe it was to meet [V-Day cofounder] Willa [Shalit] and do V-Day. Which changed my life. It gave me confidence and helped me grow.” It’s also gone way beyond monologues: “The Monologues still plays a huge role,” says Lipworth, “but it’s much broader and a more global discussion. We just opened the City of Joy, a community for women survivors of gender violence in the Congo, where up to 180 women can now receive trauma therapy and empowerment and leadership training—and learn how to have a voice.” A powerful voice: “That’s the whole thing about V-Day. It’s not about sexuality and sex. It’s about empowerment. We feel like we’re building a real movement of female leaders.”—DJ

Owners of: Uncharted Outposts, a “safari company of the heart,” as Chip puts it, that arranges trips throughout Africa, as well as Australia, the Americas, New Zealand, and soon, they hope, New Mexico. Santa Feans: Off and on since 1991, but in their current home with their two daughters—“No more moving,” jokes Chip, “We have our burial plots in the back”—since 2005. Found each other: On the ski slopes in Switzerland in 1986. Chip, 50, was a 25-year-old tennis pro, ski instructor, and soon-to-be bush pilot from San Diego; Sandy, 19 then, 44 now, had grown up in southern Africa and was attending Oxford. After visiting her godparents in Albuquerque: They found Santa Fe. They honeymooned in Kenya. He taught skiing, flew for hours; she worked at La Posada. They met legendary travel operator, mentor, and Outposts’ original founder Phil Osborne, who told them, You build me cottages in Kenya, I’ll send you clients. “It’s what everybody pictured Africa to be”: The Cunninghams spent 12 months in a tent, partnered with the Masai as guides, set up bush homes and itineraries, and Robert Redford and Meryl Streep did the rest. “After Out of Africa came out,” says Sandy, “business boomed.” Eco Enchantment: Ecotourism is the most rapidly growing segment of travel, and the Cunninghams, avid supporters of conservation and wildlife awareness, hope to adapt their Africa model to their home state. Says Sandy, “There’s no shortage of amazing trips to be had right here in our backyard.”—DJ 34

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CARRIE MCCARTHY (LIPWORTH), JENNIFER ESPERANZA

Chip and Sandy Cunningham Wild Lifers


Joan Brooks Baker Viewfinder Passionate about: Photography, the Black Madonna, empowering girls, getting to one’s authentic self. Photographic subjects: Kosovo, India, walls, New Mexico churches—as seen in the books Symbols of Faith and Not Drowning, Waving and at LewAllen and Karan Ruhlen galleries. Has worked at and served on: Various nonprofits and the boards of KSFR, the Farmer’s Market, and the Girl’s School. Cactus Pete of Manhattan: Born and raised in New York City, Baker, 66, always aspired to be a cowboy, and moved to Santa Fe almost 30 years ago to work on a documentary about horses. “I was very drawn to the landscape, but there’s a spirit here—to be who you are,” observes Baker. “Anything is allowed here. There’s a real mix. Everyone I know in this town is seeking something.” Herself included: “I realized when I started telling the story about the Black Madonna [an archetypal goddess-like figure found throughout the world], I’m really telling my story, it’s about my experience,” says Baker, who’s been lecturing about the iconic figure to packed rooms the past two years and writing about it all in Joan Tewkesbury’s Milagro class. Why her?: “The Black Madonna is rooted in earth. She’s dark. What I get from her, as opposed to the Virgin Mary, is: She empowers. She’s about daring. Daring to look at yourself and to be yourself. To learn how to say, I am. And that’s very hard, particularly for women. But it’s freeing, too, because when you realize that, you know you have value.”—DJ

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john trentacosta john rangel

Theyâ&#x20AC;&#x2122;ve Got

lee berk

Rhythm

Gabriella Marks, Location: VanesSIE

by Craig Smith

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robert jones

susan abod

michael umphrey

Santa Fe may not have the population to support jazz like New York, Kansas City, or Los Angeles, but there’s still a healthy and hopping slice here of what aficionados know as “America’s music.” Here’s a look at some local movers and shakers. “I’m here going on 19 years and it’s much, much better than it used to be,” says former New York drum-set sideman John Trentacosta, who recently retired after almost 20 years as a public schools band teacher. “Being a band director has allowed me to focus in on music I wanted to play, not be a hired gun all the time like I was in New York. I worked less than others, but I did almost 100 percent music I wanted to play. Now that I’ve retired, I can put in two, three hours a day, and play more often.” Trentacosta, who has a regular jazz show on KSFR with Arlen Asher, drummed for the recent “From Broadway With Love” gala at the Lensic and has often performed for Friends of Santa Fe Jazz. And in his earlier days, drumming for “Bumble Bee Bob” Weill’s shows and Tom Guralnick’s Outpost Performance Space, he worked all the time. “That’s what was funny. I was always playing. My resume here looks way better than when I was in New York.” Jazzers often joke about female singers, but when the chanteuse is Susan Abod, humor turns to homage. The sweet-voiced vocalist, a musician’s musician, finds deepest satisfaction when communicating with a live audience. “I think I love live performance more than the studio, in terms of being a singer,” says Abod, who is working on a CD. “In terms of being a producer, because I write my own material, I love producing music, I love mixing the songs. But as a singer, being live helps keep your attention on the delivery and the meaning of the song. I love singing, and I really love scatting. That’s my most fun.” Realtor Michael Umphrey has firm roots in music. “My mother was always playing the big bands,” recalls Umphrey. “She had a beautiful voice, but she wasn’t a professional singer. My brother and sister were 10 years older than I was and they listened to rock ‘n’ roll. Then I went to military school and the Beatles came in.” Umphrey joined the New Christy Minstrels in 1971 and toured extensively with the popular ensemble. Later, while living in Los Angeles, he came to Santa Fe in 1986 for a weekend. “I went out and these fellows let me sit in with their band, and | continued on page 98


adam joaquin gonzalez

adrian castro

Living the

by Craig Smith

You see her on the street and do a double take. You trip on the treadmill when he walks into the gym. Such is the alluring mystique of human beauty, and Santa Fe has its share of those who have it. (And when you’ve got it, as Elvis once said, you may as well flaunt it.) Yet for these five models, their pulchritudinous allure does not their entire being make. Born in Russia and raised in New York and New Jersey, Julia Fullerton holds a degree in advertising from UC-Boulder and designs for Outside magazine. She’s also the model for Ojo Caliente Resort and Spa’s current campaign. “They’re showcasing everything, from hot tubs to saunas to hiking and biking,” says Fullerton, who began modeling at 14 when she won a Cover Girl contest. “It’s a wonderful assignment.” Fullerton also models for Santa Fe Weaving Company and has her own paper design company and letterpress, paperjules.com. “I was always the tall one in school, taller than the boys, and there was a little intimidation factor there,” she recalls. “But I definitely embrace it now.” A Las Cruces native, Adrian Castro came here 20 years ago as a corrections officer at the state penitentiary. An athlete from boyhood, he has a state wrestling championship and several Mr. New Mexico contest wins to his credit, besides being a former break dancer. “It’s an enormous gift to have been born into this body,” he says. “It’s an amazing vehicle to move through the world with. I want to keep it healthy.” Castro first worked as a life drawing model for Michael Bergt, who introduced him to other artists devoted to the figure. He also modeled for photographers, including Herbert Lotz and the late Herb Ritts. “I’ve met people from distant places who say, ‘I have a photo or painting and I’m sure you modeled for it,’” says Castro. Beyond modeling, his lifelong interest in health has led him to success as a personal trainer; he’s also a certified massage therapist and a submission wrestler. Drawn by the high desert, Kristiann Bushman came to Santa Fe from Berkeley six years ago. She began modeling four | continued on page 98 38

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Gabriella marks, StylE provided courtesy of SENSE Clothing and Katherine Maxwell Designs

Model Life in the City Different


julia fullerton

debrianna mansini

kristiann bushman

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Everybody’s Getting

into the Act

by Kate McGraw

david midthunder luce rains robyn reede

nicolas ballas

One of them oversees the prestigious Witter Bynner Foundation for poetry. Another manages the Cowgirl BBQ restaurant. And then there’s the one who trains employees for the state’s Medicaid program. Those are just their day jobs. Their dream jobs are what you might recognize them for. That’s because when they’re not approving grants or slinging briskets or going through the particularities of insurance options, they’re acting (thank you!). And as the film business continues to gain ground here in Northern New Mexico (we hope) and more productions move into the state, so too have these actors’ opportunities, their lines, and their Q factors (humble as they may be). Enter: stage right. Frank Bond, the bar manager at The Compound restaurant, has been an actor for 15 years, the last five in New Mexico. Scion of a mercantile family in Española, Bond came home from Los Angeles and found opportunity here. “I’ve done about 17 films and made guest appearances on four or five TV series,” says Bond, 41. “The latest was the one I enjoyed most—Tiger Eyes, based on a Judy Blume novel. But each of the jobs is special in its own right.” Robyn Reede, one of the state’s Medicaid instructors, was born in Albuquerque but grew up in Los Angeles. Now in her 50s, she’s been acting since she was 16, and has appeared in movies and TV series including The Flock,The Astronaut Farmer, Sex and Lies in Sin City, Tennessee, and Naked Fear. “It’s a lot of creative fun,” says Reede, who also serves as treasurer of the local SAG Council for New Mexico and helps organize workshops on auditioning, acting, and camera work. While working as a production assistant on a little 1988 movie called The Milagro Beanfield War, Fredrick Lopez, citing his Screen Actors Guild membership, one day brazenly asked the casting director for a part. “Everybody’s an actor here!” she exclaimed, then added, “Ask Bob.” Bob being Robert Redford, the film’s director. Unfazed, Lopez told “Bob” about his desire to perform. “Everybody’s an actor here!” said the screen icon, rolling his eyes. Nevertheless, two weeks later, there was Lopez, playing “the guy who buys the ammo.” Still unfazed, Lopez persuaded Redford to cast him yet again, this time as “the guy who starts the fight,” a role that now appears in the credits as “troublemaker.” A tag that certainly trumped the role that earned Lopez his SAG card: “Stranger No. 3” | continued on page 99 40

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fredrick lopez frank bond

Gabriella MArks, Location: The Cowgirl

debrianna mansini

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art

o p eni ngs | e ve n t s | r e vi e w s | pe opl e Funny, right? And hip? But also disarming and, as the whole, Oh-it’s-a-cheeky-artist’s-version-of-Donna-Karan thing wears off, the realization that these are Native hoopsters sinks in—if only subliminally. Which is where beadworker extraordinaire Teri Greeves works her tweaky magic. (Greeves’s beadwork will be on view at Shiprock Santa Fe, 53 Old Santa Fe Trail, 505-982-8478, shiprocksantafe.com, May 28–June 30, reception May 28 5–7 pm, with Greeves speaking after a screening, profiling her, of PBS’s Craft in America.) Having transformed other seemingly ordinary articles (an umbrella, a book, a pair of Converse hi-tops) into works of art, Greeves, of Kiowa heritage, uses personal adornment objects as avenues into deeper expression and intent: As testaments to the Kiowas’ survival; as expressions of her self, her tribe, her society, her humanity; and yeah, well, because it’s all a kick. A loaded kick, but a kick.—Devon Jackson Teri Greeves, Fancy Dancin’ B-Ballers, size 13 cut beads, size 12 cut Swarovski crystals, stamped sterling-silver shoes, 12 x 10 x 3"

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art

PROFILE

getting schooled hon or ing t he im pu lse to cre at e wit h cre ators who honor it by Steph a ni e Pe a rs on

Most of us like to think that hidden beneath our realtor, dentist, or barista exterior, there’s an inner O’Keeffe or Nauman waiting to emerge. That’s the beauty of living in Santa Fe: No matter where you fall on the spectrum of creative genius, there’s a successful artist—such as the instructors below—to teach you to tap into your potential. All you need is the courage to sign up for a class.

44

Darlene Olivia McElroy

Kevin Gorges

Work: Mixed media and web design and coauthor of Image Transfer Workshop and Surface Treatment Workshop (to be published this spring) Local gallery: The Gallery Collection at La Posada de Santa Fe What she teaches: Mixed media Where: Valdes Art Workshops (valdesartworkshops.com); Artisan Santa Fe (artisan-santafe.com) What she’ll teach you: “I’ll start with the basics, about the tools we’re using and how to get over your fear of looking at a white canvas. I try to teach my students to play and experiment. If you have more resources and more techniques, it gives you a head start on exploring what to do next.” Why she teaches: “I’ve been teaching since I was in my twenties. To me it’s like performance art. It allows me to express myself, and I learn my subject much better. Student testimonial: “What makes Darlene great is that she’s such a generous teacher. She doesn’t hold anything back, and her class changes every time, so there’s always something new to learn.” —Eileen Patterson

Work: Still life, portrait, landscape, and figure painting Local gallery: Sage Creek Gallery What he teaches: Figure drawing, figure painting, and still life painting Where: Valdes Art Workshops (valdesartworkshops.com); Santa Fe Community College (sfcc.edu) What he’ll teach you: “I taught a very rigid academic method at Florence Academy and learned pretty quickly that that method doesn’t work in Santa Fe. Here I try to get the student to see the thing that I think is missing. Instead of something subjective like, “I just don’t feel your energy,” I look for something very objective that enhances the student’s experience.” Why he teaches: “I love teaching. I love being with people. I love the challenge of trying to discover the next thing for someone to do with his work. I’m kind of like a personal trainer.” Student testimonial: “The primary reason Kevin is a good teacher is that he approaches each student on an individual basis. He doesn’t teach the entire class the same lesson. He goes to the individuals and talks with them and sees what they’re doing and makes suggestions based on that.” —Joe Chipman

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art

PROFILE

Christy Henspetter Work: Watercolor, oil, and mono painting Local gallery: Convergence Gallery What she teaches: watercolor, oil, acrylic, and mono painting Where: Valdes Art Workshops (valdesartworkshops.com); Santa Fe Community College (sfcc.edu); private classes What she’ll teach you: “I try to pass along techniques that foster confidence in order to get to what is already within the artist.” Why she teaches: “For me art is about using one’s heart or coming from a place of personal connection, trying to couple the internal search for meaning and our unique encoding to drive the creative process with one’s vision—however uncertain or unaware the artist feels.” Student testimonial: “About 10 years ago, I wanted to learn to paint, but I was intimidated by my lack of art education. Christy always encouraged and nurtured my potential as a painter with a generous and warm manner. She pushes her students to find their own personal expression, and at the same time her instructive critiques always refer back to the fundamentals necessary to build a good painting.” —Carol Adams

Michael McGuire Work: Three-dimensional modeling and animation, illustration, watercolor, and oil painting and author of the forthcoming, Mastering Design for Studio Artists Local gallery: Arlene Siegel What he teaches: Watercolor and oil technique Where: Valdes Art Workshops (valdesartworkshops.com); Santa Fe Community College (sfcc.edu) What he’ll teach you: “Technique, mechanics, how to work the brush on paper. Also languageskill development, learning how to say something behind the technique, which has to do with design, aesthetics, and the language of shapes.” Why he teaches: “I’m the one who benefits the most from the knowledge I’m dispensing. I learn the material more than anybody and am forced to put it into a broader concept of how it holistically holds together.” Student testimonial: “Most artists don’t want to share tricks, but Michael walked into class and said, ‘I’m going to teach you everything I know about being a professional artist.’” —Allyn McCray

Maggie Mae Beyeler Work: Pottery and ceramics, specializing in dinnerware and tile Local gallery: Museum of Fine Arts Gift Shop; Santa Fe Clay What she teaches: Ceramics, clay, tile, hand building, and laser-toner transfer, a new technique that allows you to put images on pottery Where: Santa Fe Clay (santafeclay.com); Santa Fe Creative Tourism (santafecreativetourism.org) What she’ll teach you: “A lot of people think they aren’t creative, but everybody has an impulse to create—they’re just afraid. I turn their fear of creating into the joy of making something with your hands. I ask people to pull from their lives and look for inspiration from what’s around them.” Why she teaches: “Being an artist is a very solitary endeavor. I need the human interaction, and I never fail to learn something from my students.” Student testimonial: “The biggest thing about Maggie is that she is so encouraging. Whenever I am stuck doing my pottery, if I just sit down and have a cup of coffee with her, I feel unstuck. There’s no good or bad thing to do. There are no boundaries to anybody’s work. She’s so technically knowledgeable and creative with her own work.” —Cynthia Lux

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PREVIEWS

Jason Appleton Gallery LouLou, 343 E Palace, 505-989-3426 appletongallery.com, three openings: April 22, 23, 24, 6–9 pm An autodidact of the best ilk, Appleton’s dexterity in aesthetic and materials is impressive in its range, execution, and prolificacy. With a Basquiat-like innate ability and compulsion to create, the conversation among his large-scale paintings (the largest being 11 x 21'), ceramic vessels, and painted clothing is one you want to overhear. The event includes live music on Saturday, wearable art, and a showcase of over 70 pieces. His cast ceramic monumental Egyptian-style vase (49 x 23") is especially impressive. Meticulously covered in miniature Picassoesque erotic line drawings, it evokes the black on white of early Fornasetti design. An ardent disciple of the Modernist giants, Appleton’s work is ever evolving—traversing subject, style, and media boundaries as the muses and godfathers Arshile Gorky and Picasso were so adept at. For having had no formal education in the arts, Appleton’s work is a forwardlooking remix of the greatest hits.—Elizabeth Lake

Jason Appleton, left: Miranda (detail); right: Miranda, glaze-fired ceramic, 24 x 7"

Don Quade: Nature’s Architecture Winterowd Fine Art, 701 Canyon, 575-992-8878 fineartsantafe.com, May 13–26, reception May 13, 5–7 pm A horticulturalist of collage and color, the simplicity and oscillation between the micro and macro in Quade’s new work is growth in the right direction. Decorative and deliberate, the mixed-media work is a meticulously cultivated garden: organic and manicured in its play between nature’s lines and patterns paired with moments of nostalgia and lyricism. Surfaces of lichen-hued oranges, ochres, and moss greens buoy architectural blocks of color and line drawing. Fern-like tendrils splash across textured, abraded canvases inlaid with wistful found objects; and aged scraps of script and scores are framed and tacked in meticulous compositions juxtaposed with deliberately primitive marks. The gestures are a dialed-down version of Cy Twombly mark-making-meets-journalentry-scrawl-of-a-bygone-era.—EL

Don Quade, 44 Days, acrylic and mixed media on panel, 36 x 36"

Barbara Meikle: The Color of Wild Pippin Meikle Fine Art, 236 Delgado, 505-992-0400, pippinmeiklefineart.com May 25–June 15, reception May 27, 5–8 pm Meikle’s “expressive impressionist” paintings, as she describes them, are an explosion of electric color—Fauvist hues reminiscent of Warhol’s Marilyn Monroe-series’ color palette (or a Tesuque sunset, where the artist lives). Best known for her exploration of the lowly burro as subject matter, Meikle’s new work extends to multiple species. Wild color meets wild animal subject matter: wet-on-wet palette-knifed oils of wolves, bear, and big cats dominate their canvases in both scale and personality.—EL Barbara Meikle, Luna, oil on canvas, 40 x 30" 46

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art

PREVIEWS

Joseph Lorusso: One Person Show Meyer Gallery, 225 Canyon 505-983-1434, meyergalleries.com May 6–19, reception May 6, 5–7 pm The mid-century American setting of Lorusso’s robust human tableaux can’t help but call to mind Norman Rockwell (minus the sentimentality, thankfully). At the same time, however, the urban venues represented in these paintings—a jazz club, a bistro—and the emotionality of the people who inhabit them are more reminiscent of Manet, whom Lorusso cites as an influence. The artist’s natural landscapes, too, nod in the direction of Impressionism, with their subtle tonalities and diffuse light.—Eve Tolpa

Joseph Lorusso, left: Calm Creek, oil on canvas, 12 x 16"; above: Natalie 1, oil on canvas, 12 x 12"

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PREVIEWS

Susan Morosky: Undercurrents Darnell Fine Art Gallery, 640 Canyon, 505-984-0840, darnellfineart.com May 24–June 12, reception May 27, 5–8 pm Moroksy’s studio was built with 25 feet of windows facing a lake. But, says the Michigan-based abstract painter, “I don’t work directly from nature.” It’s more that nature works though her: “Everything I experience comes out in my art.” Indeed, Morosky has integrated the watery elements of her surroundings into her approach to materials—the thick texture of the acrylic paint, the relationship of layering and erosion. Her landscape-inspired pieces are rhythmic and liquid, the predominance of blues and greens providing a refreshing reprieve from the eternal sage and beige of the Southwest. ���The whole idea of Undercurrents is that they are things that can’t be seen, only experienced: the underlying force and life beneath the surface, the movement and energy that travels through it.”—ET

Bill Heckel, Adobe Niche, black and white photograph, 18 x 23" (framed)

Susan Morosky, Tully Creek, acrylic on canvas, 61 x 49"

Lee Price: Full Evoke Contemporary, 130 Lincoln, 505-995-9902 evokecontemporary.com, May 6–31, reception May 6, 5–7 pm As if her photorealist paintings of women lying down surrounded by half-eaten cupcakes, pies, and pastries or sitting amidst a sea of junk-food detritus in an enclosed bathroom didn’t already push people’s buttons, Price here (with a title that’s equally coy) goes one step further into the deep end with portraits of nude women in bathtubs putting away ice cream cones, grilled cheese sandwiches, and various sweets. They’re all viewed from above—as if the Google mapsters were able to get that close and that intimate. These are ingenious tableaux, designed, I’d venture, less to say something (clichéd) about women, food, nudity, and voyeurism and aimed more at eliciting a reaction from you, dear viewer, and questioning what that reaction says about your values, your culture, you period.—DJ 48

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Steven A. Jackson/Woody Galloway/Bill Heckel: 3 Photographers New Concept Gallery, 610 Canyon, 505-795-7570, newconceptgallery.com April 1–May 1, reception April 1, 5–7 pm The strength of Jackson’s work lies in its approach to color. His artistic process begins with unmanipulated black-and-white digital photographs that are then delicately tinted, resulting in Western landscapes that possess a slightly removed surreality reminiscent of vintage postcards (“See New Mexico’s Magnificent Turquoise Trail!”) or of watching The Wizard of Oz with the Technicolor toned way down. Conversely, Galloway’s work is incredibly immediate and vibrant, capturing a contrast of hues so improbable they almost appear to have been created with pastels. Then there are Heckel’s photographs, which are landscapes only incidentally. Instead, the primary focus is on the female form, which is often treated as an element of topography or architecture. Success is achieved in varying degrees; at best the nudes evoke a Weston-esque abstraction.—ET

Lee Price, Ice Cream, oil on linen, 61 x 49"


Janet Lippincott, The Mask, oil on canvas, 60 x 60"

Janet Lippincott: The 1960sâ&#x20AC;&#x201D;Paintings & Drawings Karan Ruhlen Gallery, 225 Canyon, 505-820-0807 karanruhlen.com, May 6â&#x20AC;&#x201C;22, reception May 6, 5â&#x20AC;&#x201C;7 pm This exhibition of oil paintings, watercolors, and penand-ink drawings on paper presents another side of this longtime Santa Fe artistâ&#x20AC;&#x2122;s rarely seen figurative works. LIppincott, born in New York and raised in privilege before enlisting in the Womenâ&#x20AC;&#x2122;s Army Corps (and sustaining a not-so-mild injury), moved to New Mexico in the late 40s and, after being told by Taos artist Emil Bisttram that she lacked the goods to be an artist, became one of her generationâ&#x20AC;&#x2122;s premier modernist painters. Compositionally akin to Matisse and Picasso, but with softer contrasts, kinder hues, and an innately more fluid if gauzy way with lines and shapes, Lippincott (1918â&#x20AC;&#x201C;2007) ended up an artistâ&#x20AC;&#x2122;s artist, and created lasting images of the female form and abstract arrangements of emotionally rich and inviting shapes.â&#x20AC;&#x201D;DJ

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505.982.6260

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Janet Lippincott, Gone Child, oil on canvas, 48 x 48"

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Premier Lodging, Dining & Live Music 888.519.8267 | taosinn.com

april/may

2011

santa fean

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Sculpture Objects & Functional Art Fair + NEW! The Intuit Show of Folk and Outsider Art

Opening Night Wednesday, August 3

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santafean.com

april/may

2011

Produced by The Art Fair Company, Inc.

Jimin Kim, represented by Charon Kransen Arts

August 4-7, 2011 Santa Fe Convention Center


SPECIAL ADVERTiSING SECTION

Wheelwright Museum of the American Indian

From May 15, 2010, through April 17, 2011, the Wheelwright Museum presents Nizhoni Shima’: Master Weavers of the Toadlena/Two Grey Hills Region. This exhibition features iconic textiles dating from 1910 to the present. Included are masterworks by Daisy Taugelchee, Bessie Manygoats, and Clara Sherman. Open Monday–Saturday, 10 am–5 pm, Sunday 1–5 pm. Free admission. Donations encouraged. 704 Camino Lejo, Museum Hill 505-982-4636, wheelwright.org

the

gallery ART SHOWCASE

Gallery LouLou

Jason Appleton, Homage to the Opposite Sex acrylic on canvas, 42 x 29"

The prolific Appleton is producing work that boils up from some primeval place. Sex, humanity, the dark side, the joyful side . . . all is fodder for a rapacious and creative determination that springs forth from an insatiable need to put the brush to the canvas. The show will feature all new ceramics, painted clothes, and mural-sized paintings. April 22­–24, 6–9 pm reception.

Hueys Fine Art

Ed Natiya, Legend of the Bear Challenger bronze, 17"

Navajo artist and sculptor Ed Natiya Saxon comes from a very proud and noble heritage. His Navajo name was passed down to him from his late grandfather, Harding Natiya Negale, who served as a Navajo Code Talker during WWII. Now showing his new pre-cast and bronzes throughout this month. Opening the First Friday in April, 5–7 pm. 129 W Palace, 505-820-6063

hueysfineart.com

343 E Palace, 347-281-1332 appletongallery.com

Convergence Gallery

Christy Henspetter Walk in Leaves oil on canvas, 36 x 30"

Passages in Light, an exhibition of paintings by Christy Henspetter, opens April 22, with a reception from 5–7 pm. Henspetter, whose work is informed by Impressionism, instructs oil and watercolor—plein air and in the studio. Group classes are available through Valdes Art Workshops.

219 W San Francisco 505-986-1245 convergencegallery.com

2011 Eldorado Studio Tour Janet Shaw Amtmann, Dancing Aspens, pastel, 17 x 22"

The twentieth anniversary of the Eldorado Studio Tour showcases the work of 109 artists in 73 studios. Come meet the artists Friday night, May 13, 5–7:30 pm at La Tienda at Eldorado. Open Studios, May 14–15, 10 am–5 pm. Brochures and maps available at the Preview Gallery, open both days 9 am–5 pm at La Tienda, 7 Caliente Road at Avenida Vista Grande. For tour information and directions, see eldoradostudiotour.org

april/may

2011

santa fean

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Returning For An Eagerly Awaited Encore

Visit. Experience. Collect.

May 20-22, 2011 Opening Preview May 19 to benefit the

san francisco. art. institute. in celebration of their 140th Anniversary

Festival Pavilion, Fort Mason Center, San Francisco

From the Producers of:

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santafean.com

  swww.SFFineArtFair.com april/may

2011


Josh Simpson March 11 - April 5, 2011 Opening Reception Friday, March 11, 5 - 7 pm The artist will be present

“CORONA PLATTER” ~ Glass ~ 21" x 21" x 1 1/2"

Janice Vitkovsky April 22 - May 17, 2011

Opening Reception Friday, April 22, 5 - 7 pm The artist will be present

JANE SAUER 652 Canyon Road Santa Fe, NM 87501 505 - 995 - 8513

j s a u e r g a l l e r y. c o m info@jsauergallery.com “SATURATION” ~ Glass ~ 19 1/4" x 18 7/8" x 7/8"

GALLERY


C L A S S I C A L LY

R E F I N E D

A RT

AT THE EN TRAN CE TO C ANY ON ROAD 201 Canyon Road, Santa Fe, NM 87501 505.995.9795

info@re f l e c t i o n g a l l e ry. c o m

REFLECTION GALLERY w w w. r e f l e c t i o n g a l l e r y. c o m

REPRESENTING A DIVERSE GROUP OF


I N T E R N AT I O N A L & A M E R I C A N PA I N T E R S & S C U L P T O R S


|

publisher’s note

|

contents

BRUCE ADAMS

Publisher

missy wolf

As onE of the most famous roads in America, and arguably the most famous in Santa Fe, Canyon Road represents the soul of the city. Every time I turn from Canyon Road up to Camino del Monte Sol and drive past the Rios Firewood operation, I am reminded of the contrasts that this road represents. Here, nestled among some of this country’s most famous art galleries and restaurants, is a piece of history that the Rios family maintains to this day. Their woodyard serves as a reminder of the roots of Canyon Road, when it was a pathway for the burros bringing firewood down from the surrounding hills. Like most places, Canyon Road has evolved­—from a farming community to a home for so many of Santa Fe’s artists to an important destination for serious and not-so-serious art collectors. While the buildings, sidewalks, and trees remind us of “old” Santa Fe, the artwork in the galleries ranges from contemporary and cutting edge to very traditional. One of the great joys of my job is that I get to spend several days a week on this piece of living history. Over the years, I’ve had the pleasure of watching this road grow, and I am excited to think how the future will shape it. One thing is for sure: Canyon Road will always have a special place in the hearts of Santa Feans.

4 Publisher’s Note

8 Map of Canyon Road

10 The Art of Canyon Treasures abound in one of America’s legendary fine art destinations 14 A Trail into Yesterday The storied history of Canyon Road 18 Sophisticated Shopping Along with galleries, Canyon Road features a diverse mix of retail establishments 20 The Culinary Canyon Top chefs + elegant settings = one-of-a-kind dining experiences 22 A Walk to Remember The gardens of Canyon Road are masterpieces in themselves

Cover photograph by Douglas Merriam

4

canyonroadarts.com

ANN MURDY

32 Last Look The gardens at El Zaguán


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canyon road bruce adams

PUBLISHER

JENNIFER J. L. JONES

Serenata

anne mulvaney

ASSOCIATE PUBLISHER 

MAY 27 – JUNE 12, 2011 EDITOR

devon jackson

CREATIVE DIRECTOR

dianna delling

EXECUTIVE EDITOR

sybil watson

GRAPHIC DESIGNER

john vollertsen

FOOD+DINING EDITOR ONLINE EDITOR OFFICE MANAGER

Opening Reception: FRIDAY MAY 27, 5 – 7pm

b.y. cooper

trinie dalton

ginny stewart-jaramillo

GRAPHIC DESIGN INTERN

michelle odom

SALES REPRESENTATIVES

kate collins, patti kislak, robbie o’neill HOME+DESIGN DIRECTOR

emilie mcintyre

WRITERS

charles mann, kate mcgraw PHOTOGRAPHERS

chris corrie, charles mann julien mcroberts, douglas merriam ann murdy A PUBLICATION OF BELLA MEDIA, LLC

FOR ADVERTISING INFORMATION

215 W San Francisco Street, Suite 300 Santa Fe, NM 87501 Telephone 505-983-1444; fax 505-983-1555

Samsara, 2010, mixed media on wood panel, 60” × 60”

info@santafean.com santafean.com

Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111 www.hunterkirklandcontemporary.com

canyon road

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PUBLIC PARKING

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Canyon Road offers a beautiful half-mile walk from Paseo de Peralta to Camino del Monte Sol. Additional parking and restrooms are located at 225 Canyon.

Free Santa Fe Pick-Up to Canyon Road

how to get around canyon road

Route

The Santa Fe Pick-Up route starts and ends on Montezuma Avenue, near the Railyard, and runs counterclockwise around downtown, with stops at:

The free Santa Fe Pick-Up shuttle runs every 15 minutes. Catch it at stops marked “Pick It Up Here”—there are two on Canyon Road and one nearby, at Alameda and Paseo de Peralta. The shuttle will drop passengers off anywhere along the route (safety permitting).

The Capitol/PERA Building The Cathedral Basilica of St. Francis of Assisi The Main Library/City Hall The Santa Fe Community Convention Center/Santa Fe Plaza The Eldorado and Hilton Hotels Canyon Road Alameda and Paseo de Peralta

Shuttle Hours Monday–Friday, 6:30 am–6:30 pm Saturday, 7:30 am–4:30 pm

CHRIS CORRIE

For a map and more information,

8

canyonroadarts.com

visit santafenm.gov


2011 SHOW SCHEDULE ALL ARTISTS Spring into Summer s April 29, 2011 TAMAR KANDER Mystery of Interval s May 13, 2011 ROBERT T. RITTER Into the Wild s May 27, 2011 DEBRA CORBETT & GREGORY SMITH Classical Meets Contemporary s June 17, 2011 JOHN AXTON Where the River Takes Me s July 1, 2011 JEAN RICHARDSON Grace in Motion s July 15, 2011 DOUG DAWSON Town and Country s July 29, 2011 INDIAN MARKET John Axton, John Nieto & Rebecca Tobey August 19, 2011 MARY SILVERWOOD Desert Shadows s September 30, 2011 BARRY MCCUAN Glorious Light s October 14, 2011 ALBERT HANDELL Quiet Master s October 28, 2011 LYNNE E. WINDSOR Coming Home s November 25, 2011 TOM NOBLE Somewhere in Time s December 10, 2011

VENTANA FINE ART 400 Canyon Road s Santa Fe, NM 87501 505-983-8815 s 800-746-8815 www.ventanafineart.com


the art of canyon road by Devon Jackson

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canyonroadarts.com

DOUGLAS MERRIAM

W

hile it may never overtake New York as the country’s top art market, for a high-desert town of just over 100,000, Santa Fe is a major player in the art world. Not only have its galleries and art dealers outsold most every other city in the world (save for the Big Apple) over the past couple decades, it has also developed a reputation among artists and collectors as a creative mecca. Ranked consistently among the top three markets in terms of art sales, the City Different, as it likes to call itself, may specialize in landscapes and Western art (and Native American art) but in the past 10 years it has also become renowned for its contemporary works as well. And the nexus for all that art—and all those sales—is Canyon Road. This half-mile-long, east-west road (unpaved till 1964) now boasts more than 100 art galleries. Galleries that have made Canyon Road internationally famous. Galleries where traditional works produced by the Santa Fe and Taos artists of the late 1800s and early 1900s and contemporary art by modern masters can be found, works in everything from realism and expressionism to experimental and cutting-edge painting and sculpture, contemporary and vintage photography, and video and performance art. But there are also galleries specializing in traditional weavings, ceramics, jewelry, and kachina dolls produced by Native Americans, in Hispanic wood carvings and tin works, and in art from around the globe (Latin America, Africa, and the Far East). It’s hardly just the art that attracts so many visitors—and locals, too—to this historic avenue. Located only six blocks from the city’s central Plaza, Canyon Road features more than two centuries of historic adobe architecture as well—architecture that has also made the city famous throughout the world. Many of the adobe homes and casitas, and more than a few of the Territorial-style homes, are well over 100 years old (and have been renovated or preserved), and the entire street is shaded by leafy trees and lined with fragrant flora and aromatic fauna. Making for a half-mile-long stroll that’s as visually stunning from the outside as it is aesthetically enticing on the inside.

It’s not hard to see why professional artists from back East began pouring into the area in the late 1800s. Nationally renowned painters such as Robert Henri, John Sloan, and Randall Davey (whose house has been converted into the Randall Davey Audubon Center & Sanctuary, at the top of Upper Canyon Road), quickly solidified Santa Fe’s reputation as an important art colony. And the center of that colony was Canyon Road, where, even into the late 1930s, the neighborhood retained much of its rural character that it had had for centuries: many of the descendants of the original Spanish farmers still lived in the adobe homes and some still farmed the very same plots of land by the acequia and the Santa Fe River that they’d been tending since as far back as the 1600s, when the Pueblo tribes called the “Road of the Canyon” home. In 1962, the city legally designated Canyon Road a “residential arts and crafts zone”; and by 1964, three-quarters of the city’s 12 galleries were located on Canyon Road (and those adobes that


Hopi Katsinas

E.I. Couse

19th c. Laguna Olla

221 Canyon Road Santa Fe 505.955.0550 www.adobegallery.com

JULIEN MCROBERTS

adobe-gallery-half-horiz-Apr-2011-title-lite.indd 1

2/19/2011 9:57:49 AM

weren’t out-and-out galleries were either artists’ studios or artists’ homes). Gradually, more galleries moved into the adobes, and Canyon Road turned into the arts mecca it remains today—while retaining enough of its original bohemianness and grittiness that artists continue to flock to it and want to be a part of it. And even though the Santa Fe art world has expanded well beyond its historic roots since then, Canyon Road remains essential to one’s art experience in the City Different. Santa Fe is largely recognized as an “art destination,” and so it’s no surprise that people like to buy art here as part of their overall vacation—as a tangible “memory” that they can take home with them. And what better experience—of art, of the outdoors, of Santa Fe, of the unique cultural mix that is New Mexico—can there be aside from a walk up or down or along Canyon Road? Whether it’s during the galleries’ high season between May and October, when the weather is almost perfect every day, and the Friday-night openings are star-studded affairs, or during the colder winter months, particularly on Christmas Eve, when the farolitos light the way for thousands of people and the galleries and many of the homeowners on and around Canyon Road welcome guests with hot cider, caroling, and bonfires. It’s possible to feel like you’re visiting somewhere far far away when you first see the mountains, the skies, the unique setting, the architecture—let alone trying to take in the range of artwork on the gallery walls. Plus, there’s no need to drive from one gallery to another. Or take a bus. Or a cab. There are no elevators to get in and out of. The seasons are beautiful. And not only are the gallery owners happy to share their knowledge and enthusiasm, but more often than not, there are artists present too— sometimes even painting or sculpting right there in the street if not inside the gallery (and they’re definitely everywhere during the annual Canyon Road Paint-Out Festival on October 15). All of which add up to a unique and uniquely Santa Fe experience. All of which, too, is Canyon Road. cr

canyon road

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a trail into yesterday b y K at e M c Gr a w

14

canyonroadarts.com

JULIEN MCROBERTS

W

andering up Canyon Road, Santa Fe’s famous arts district, you might not realize you’re trekking through an old farming community, but for much of its recorded history that’s what Canyon Road was. It was an old dirt path into the mountains when the Spanish settlers first arrived, and they quickly took advantage of the area’s proximity to the Santa Fe River. Walk along the street in oh, 1750 or so, and imagine it: on the north side, there’s the river winding through a deep arroyo, and the lands running down to it planted in maize (corn) and beans. Some small adobe houses—two-room dwellings, mostly—are clustered here and there above the flood plain. In fields set aside for winter pasture, sheep and goats are grazing. Soon their owners will drive them up the trail into the higher reaches of the canyon for summer pasturing. A quarter-mile or so to the south is the long, large ditch dug in the mid1600s at the direction of the Spanish government. That’s the acequia madre, the mother ditch, that parallels the river and feeds the system of smaller acequias that the Spanish settlers used to assure a consistent and equitably distributed stream of irrigation to their land grants. Larger homes were built along the acequia madre. All summer, Santefesinos who are prudent and thrifty take their little burros into the upper canyon and cut firewood. Los lenadores, the woodcutters, bring the wood back to town in ridiculously high piles on the backs of the patient little beasts and stack it in their own yards. Often they gather enough to sell to their neighbors or other townsmen, leading the burros to—you guessed it—Burro Alley


FINE ART JEWELRY


DARNELL FINE ART In 1919, the fledgling art colony along Canyon Road got a boost with the arrival of artists John Sloan and Randall Davey . . . whose decisions to settle down in Santa Fe added needed cachet to the growing colony.

Cinnabar Mystic 84” x 16” Oil & 24k leaf on Canvas

RACHEL DARNELL

640 Canyon Road, Santa Fe, NM 87501 505 984-0840 800 984-0840 fax 505 984-0890 www.darnellfineart.com email: art@darnellfineart.com

(which still exists near the Lensic Center for the Performing Arts) to line up and wait for customers. Now it’s 1846, and the U.S. Army has arrived in Santa Fe to bring Americans, and American trade, into the Plaza. Canyon Road is still a dirt trail through a farming community, but the Army soldiers have discovered the river. Under the direction of their superior officers, they build a sawmill up in the Canyon where the Randall Davey Audubon Center is now. They bring wagonloads of the lumber they are sawing back into the city and up to the foothill northeast of the Plaza where they are building Fort Marcy. In spite of these changes, the farming community of Canyon Road will remain much as it has been for another 100 years. Once the railroad comes, in 1880, the Anglos start arriving, especially the artists. Ironically, Canyon Road as we know it—the street that in a 1980s marketing campaign would be dubbed “the art and soul of Santa Fe”—could be called “the street that tuberculosis built.” For it was Sunmount Sanatorium, established at the turn of the 19th century on property near Sun Mountain (where the Carmelite Monastery is now) that drew so many of the artists who would forever influence the character and architecture of the road. In the time before antibiotics, the dry, clean air of the Southern Rockies was a life-saving beneficence for infected Easterners. One of those artists, Gerald Cassidy, came to Albuquerque in 1890, under sentence of six months to live with TB-complicated pneumonia. He survived and thrived, making friends among the Indians at the pueblos in northern New Mexico. He married in 1912 and, according to records, in 1915 he became the first artist to buy property on Canyon Road, purchasing a house at 1000 Canyon Road for a studio and home. Formerly a commercial artist, Cassidy decided to make a serious stab at becoming recognized for his fine art, and he succeeded, distinguishing himself for his Southwestern landscapes, portraits of Indians, and depictions of pueblo scenes. He lived until 1934, most of that time in his Canyon Road house. In 1913, Sheldon Parsons arrived at Sunmount, having relapsed from TB. He was a widower and he and his small daughter lived in an apartment near the Plaza before moving into Cassidy’s house on Canyon Road (his hosts were traveling abroad). In 1924, Parsons bought a tract of land at the foot of Upper Canyon Road and built a Spanish Pueblo–style adobe home and studio, where he lived and painted Northern New Mexico landscapes until his death in 1943. The year 1916 was a stellar year for the incipient art colony, when artist and teacher William Penhallow Henderson and his wife, the poet and editor Alice Corbin Henderson, arrived so Alice could be treated for advanced tuberculosis at Sunmount. While Alice was residing at the sanatorium, William bought a small adobe house


C a ro l e

Night Sky/White Horses

Laroche

G i c l e e o n C a n va s

Gallery

40” x 60” & 26” x 40”

Also showing Jill Shwaiko, Allen Wynn, Ron Allen, Joshua Gannon and Fran Segal

ANN MURDY

Open Daily 10-5 415 Canyon Road Santa Fe, N ew Mexico 87501 505-982-1186 e m a i l @ l a r o c h e - g a l l e r y. c o m w w w. l a r o c h e - g a l l e r y . c o m

at the bottom of the road up to the hospital, called Camino del Monte Sol. By 1924, Alice was well enough to leave the sanatorium and the couple built a larger house on an adjoining tract of land, and William converted the original house into a painting studio. The two became doyens of the Santa Fe art scene, entertaining visiting pooh-bahs of poetry such as Vachel Lindsay, Robert Frost, and Carl Sandburg, as well as the artists coming in from the East. Henderson began a construction business, The Pueblo Spanish Building Company, which was devoted to recreating what he and others had designated “Santa Fe style.” A big contributor to this style, of course, was the architect John Gaw Meem, who had come to Santa Fe in 1920 to recover from TB at, you guessed it, Sunmount Sanatorium. Once recovered, Meem settled on the Camino and began devoting himself to designing structures around town in the Santa Fe style. Municipal officials jumped on this bandwagon fairly early on, as did the incoming artists. The indigenous architecture was a major draw, as far as they were concerned, and they went

canyon road

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sophisticated shopping

DOUG MERRIAM

DOUGLAS MERRIAM

Diversity. It not only defines the range of art available on Canyon Road, it determines its many different businesses as well. Whether it’s jewelry, fine clothing, fine rugs, or goldsmiths, the eclectic variety of what can be found on this historic avenue adds to its charms. One of the key components to whatever shopping you do on Canyon Road—you’re looking for that perfect engagement ring for your partner, you need a lightweight but beautifully designed dress for the Santa Fe Opera, you’re thinking of getting your parents a kilim for their living room back in Ann Arbor—is atmosphere. The weather’s perfect almost year-round. There’s very little automobile traffic to deal with. There’s the lovely garden at El Zaguán in which you can rest, relax, and literally stop and smell the roses. And the winding alleys and side streets off Canyon Road itself are as unique and funky as the stores themselves. In short, there’s hardly a road in America as easy and inviting—for strolling along, for window shopping, for shopping shopping—as Canyon Road. There are stores for your dog, for your home, for finding something to wear that’s casual yet refined. The typical Canyon Road shopping experience is personal, casual, elegant, and informed. Just the way life is in Santa Fe itself.

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to great lengths to build—or have William Henderson build—houses and studios that echoed the stylistic themes. Among edifices his building company constructed were the Wheelwright Museum on Camino Lejo, artist Fremont Ellis’s last home on Canyon Road, and the restoration of historic Sena Plaza just east of the Plaza. In 1919, the fledgling art colony got a boost with the arrival of artists John Sloan and Randall Davey and their wives. Already well-known and established in the art world, their decisions to settle in Santa Fe added needed cachet to the growing colony. Sloan mostly summered in Santa Fe for the next 30 years, living in a small adobe on Garcia Street (one of the side streets to Canyon Road); while Davey settled here permanently, buying a large tract of land where the old sawmill had been. Davey, his wife, and his son renovated the old building into a home and studio where he painted portraits, landscapes, and horse-racing scenes until his death in 1964. In the 1920s, Canyon Road began the transition from its former agrarian character to “the place where those artists live.” But it was the plump and prosperous post-WWII period that pushed Canyon Road into the commercial prominence it enjoys today. In 1962, the street was finally paved, and the artists began opening their studios to show their work. From their success grew the plethora of galleries, studded with high-end restaurants and boutique shops, that are found on Canyon Road today. But the imaginative visitor can still see vestiges of the road that was. cr

canyonroadarts.com


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the culinary canyon

G

alleries aren’t the only reason to stroll down Canyon Road. The seminal street of Santa Fe also features plenty of fine restaurants, casual cafes, teahouses, sandwich shops, and bars, among other types of eateries (to say nothing of the free spirits and en gratis edibles on offer at various gallery openings), and with menus offering everything from the finest in contemporary American to imaginative combinations of Southwestern and Asian to Spanish tapas to South African Rooibos teas and eye-opening espressos. Santa Fe, you see, has well over 200 restaurants. And while quantity doesn’t always equal quality, the City Different is as wellknown for its sophisticated cuisines and world-caliber dining as it

20

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is for its big skies, great art, and unique cultural mix. It’s only natural, then, that in a community of so many culinary masters these chefs de resistance would be constantly challenging each other if not their respective clienteles with dishes and delights as artistic and bold as some of the artwork found in the galleries. Food and art, it turns out, go hand in hand. Especially great art and great food. And when both can be found within walking distance of each other, or right next to each other—say, a warm and intimate bar ensconced between a gallery with contemporary art on one side and Native art on the other—the food, the atmosphere, the company just seems that much more sophisticated and relaxed and informed. Even the food tastes better. Why? How? Because there’s a certain creative pressure to keep up. It’s a fact: chefs in cultural epicenters feel compelled to give their guests a better overall dining experience—from the wine to the appetizers to the entrees to the desserts and aperitifs. And where can one find more art, and more different types of art, than along Canyon Road? Or more history? Or an easier environment in which to take a walk? Or friendlier gallery owners? Or artists, period? Artists at work, artists at play, artists dining right next to you, enjoying their own glass of wine or chai or their own plate of chile rellenos or smoked salmon and avocado tartar. They’re all part of the uniquely creative milieu that is Canyon Road, where there’s been a centuries-long history of the community—moms, cooks, chefs—feeding its artists, and artists in turn feeding the community. Both sides fueling each other to nurture each

DOUG MERRIAM

by Devon Jackson


other, give each other more—be more creative, find better ingredients, make more interesting dishes, mix this mole with that meat, complement the perfect venison with the perfect wine. But as much as it’s all about the food—or the fusion of art and food—it’s also about atmosphere. And ambience. And architecture. And history. Of which Canyon Road is about as rich in all these qualities as that out-of-the-way brasserie in Paris, or that off-the-map café outside Tuscany. If there’s the sensation when walking around Canyon Road of being in some other country, or in some other time period, it’s a feeling that’s only enhanced whenever you take the time to relax in almost any one of its restaurants. Because virtually all of them, like the galleries, like the homes, have been preserved and date back in construction to the 1600s, or the 1800s. And it’s not a nostalgic reaction that it elicits—these buildings rich in history and in design— it’s more a romantic emotion. It’s no wonder dining out on Canyon Road can be such a transcendent experience. Art, food, romance. What better way to spend a day, a vacation, a life. cr

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canyon road’s gardens a walk to remember

N

story and photography by Charles Mann

ear and far, Santa Fe’s Canyon Road is virtually a synonym for fine art. Just a mention of the celebrated street conjures visions of patrons and tourists alike strolling from gallery to gallery along a picturesque lane whose Old West roots date back to the 16th century. Amid all the history and architecture, another feature of the famous district adds a dimension of beauty and interest:

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canyonroadarts.com

its gardens. Art and gardening go together, and a stroll up Canyon Road reveals a botanical side that is worth more than a passing glance. Wake-up calls Seasons come and go, and as surely as geese pass overhead, the plants on Canyon Road also come and go, telling us that spring is imminent or that summer is passing. In March, following the miracle winter bloomers like hellebore and winter jasmine, doughty shrubs such as quince and pink-flowering almond appear, shrugging off the white lace of lateseason snow. Like the sight of the first robin or bluebird, there’s something enthralling about seeing colors peeking out after a long monochrome winter of browns and grays. These harbingers of spring are soon followed by explosions of yellow forsythia, white spirea, and sudden masses of tulips and daffodils that somehow endure winter’s cold to bloom another day. The colorful shrubs and bulbs are great companion plantings for the galleries’ outdoor sculptures. At the garden near Canyon Road at the corner of Paseo de Peralta and Acequia Madre, the flowers of April and May can seem a like a slow-motion fireworks display among the silently posing statues. Canyon Road is an ideal climate for apricots and especially for lilacs. A signature of spring in Santa Fe, lilacs flourish in hedgerows and yards throughout this older east side of town. In other parts of the country, these purple, pink, or white-flowered shrubs can be sparse and floppy, but the high-desert conditions here produce tight, dense branches of intensely fragrant flowers. Walk near the corner of Delgado and Canyon in mid-May and you simply can’t miss them, even with your eyes closed. Wisteria is another late spring favorite. For years an old tree standing in the courtyard of a gallery at that intersection hosted a vine that soared to its very crown, creating a showstopping mini-mountain of sky-walking purple blooms.


One Mile, Over 100 Galleries, Boutiques & Restaurants

S A N TA

F E

Experience ďŹ ne art, great shopping and exquisite dining on Canyon Road. Stroll the magical Historic District - one hundred art galleries, boutiques and restaurants in the foothills of the Sangre de Christo Mountains. www.canyonroadarts.com


El Zaguán—a niche in time Preserving the old homes and buildings saved the old plants, too. One of the most notable examples is El Zaguán, located about halfway up the gallery row at 545 Canyon Road. El Zaguán is easy to spot—just look for the picket fence and the two huge, venerable old horse chestnut trees that have been leaning out over the street ever since it was a mere livestock trail in the 1870s.They are a Santa Fe landmark. For a while, El Zaguán was the biggest and finest home on that trail after merchant James L. Johnson bought the property in the 1850s. The original garden at El Zaguán may have been planted by Mrs. Johnson. Peonies that are over 100 years old still bloom there, and in the northwest corner you can see one of the largest and . . . hmmm . . . gnarliest salt cedar trees in the state. There are also some ancient pear and apple trees that doubtless dropped fruit into the hands of many passing pioneers and their children during an earlier era. Incorrectly labeled the “Bandelier Garden” (after naturalist Adolf Bandelier, who stayed there briefly but did no gardening), this historic English-style enclave is one of the oldest and most “Victorian” garden spots in all of the Mountain West. During a 1990s restoration, the plot was repopulated with delphiniums, alchemillias, hostas, helenium, and other traditional pretties that still thrive, along with some original roses and honeysuckle bushes, in the protective shade of the gigantic chestnuts. El Zaguán is special, and, even more 24

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Charles Mann

Back to the future One of the charms of Canyon Road is that it still retains its once-upon-a-time, retro aura. Back in 1957, the Santa Fe city fathers made a visionary decision, guided by legendary citizens Irene von Horvath, author Oliver La Farge, and architect John Gaw Meem. The Historic Style Ordinance forbade buildings that did not reflect Santa Fe’s “architectural heritage.” In addition, Canyon Road was established as a Residential Arts and Crafts District, meaning that local artists could sell their work from their homes. The upshot of these guidelines, according to a travel article at santafe.com, is that “Today, dozens of old adobes and traditional Spanish [homes] have been converted into galleries and studios . . . [standing] shoulder to shoulder with restaurants and bars . . .” and “. . . the combination keeps Canyon Road lively and unique.” We can only add—Amen!


KARAN RUHLEN GALLERY

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KaranRuhlenGallery¥225CanyonRoad¥SantaFeNM87501¥505.820.0807 karanruhlen.com¥info@karanruhlen.com¥facebook.com/karanruhlen


CHARLES MANN

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special, it’s open to the public. Summertime blues, reds, and yellows When summer really begins to heat up, look for clematis vines climbing up any convenient structure. Their masses of dark purple flowers collide with tall hand-me-down orange daylilies, yellow yarrow, or popular butteryellow Stella D’Oro daylilies. These are often accompanied by fragrant pink hummingbird mint (agastache), yellow columbines, tough-as-nails purplered Jupiter’s Beard, and a rugby scrum of other summer bloomers including coreopsis, blanket flower, shrubby blue mist spirea, and aromatic blue lavender. A little exploring will result in spotting colorful locals like red pineleaved penstemon, the white trumpets of a sacred datura, or tall, orangey beardtongue (Penstemon barbatus), often accessorized with an accompanying hummingbird. In August, the sunflowers, ornamental grasses, and hollyhocks peak, along with our unique trademark shrub, chamisa. When you see this rubbery gray-green bush completely covered with bright yellow threadlike flowers, you can be sure that the end of summer is near. September brings strings of red-chile ristras and the yellow patina of changing aspen and cottonwood leaves. Meanwhile, old wooden benches, terra cotta pots, even bronze ballerinas spend the last half of summer oozing petunias, red salvias, zinnias, and chartreuse potato vines.

A Cultural Experience You Won’t Want to Miss

photo: Wendy McEahern

Then and now There are more than 100 galleries on Canyon Road, all found in the span of less than a mile. And many have garden treasures—fountains, rock gardens, sculpture, whirligigs, birdbaths, and more. Mix in world-class restaurants, a popular tapas bar, some relaxing cafes, and a wide selection of specialty shops and other businesses, and you are in for a promenade like no other in the country. Hit the Road on a Friday afternoon for some gala gallery openings and a margarita—and keep an eye out for those gardens! cr

SANTA K I L I M

Architectural Elements, Custom Upholstery, Fine Rugs & Textiles

717 canyon road santa fe, nm 87501 ~ 505.986.0340 ~ santakilim.com

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Charles Mann

Art and gardening go together, and a stroll up Canyon Road reveals a botanical side that is worth more than a passing glance. . . . And one of the many charms of this historic street is that it still retains its once-upon-a-time, retro aura.

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SPECIAL ADVERTiSING SECTION

enchanted treasures Tresa Vorenberg Goldsmiths Designer Jewelry Gallery Since 1974 Exclusively featuring Donald Wright 656 Canyon Road, 505-988-7215 or 866-988-7215 tvgoldsmiths.com

Desert Son of Santa Fe A handbag should feel great. You should want to have it with you all of the time, like the perfect dog. Henry Beguelin handbags are for sale at Desert Son of Santa Fe. The perfect dog is not. 725 Canyon Road, 505-982-9499, desertsonofsantafe.com

Karen Melfi

JANE FREESE

Oxidized silver with faceted diamond slices bezeled in 18k yellow gold dangling from gold and diamond hoops For 20 years, the Karen Melfi Collection has been representing the finest local and national jewelry, wearable art, and contemporary craft artists. Located on Canyon Road, KMC offers a wide selection of high-quality, handcrafted items in all price ranges. 225 Canyon Road, 505-982-3032 karenmelficollection.com

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SPECIAL ADVERTiSING SECTION

Hunter Kirkland Contemporary

Charlotte Foust, Undefined Element, mixed media on canvas, 60 x 48"

“What is important,” says Charlotte Foust, “is the process.” The intuitive nature of her approach evolves into an expressionistic visual language that embraces the spontaneity of action painting while investigating the fundamentals of color and structure. Each painting is a delightful discovery of things unseen.

the

200B Canyon Road, 505-984-2111 hunterkirklandcontemporary.com

gallery ART SHOWCASE

Marigold Arts

Robert Highsmith, Birch in Autumn Light watercolor, 30 x 22"

Marigold Arts is New Mexico’s destination gallery for watercolors, representing the best of fine art and craft, featuring handwoven textiles by Barbara Marigold and gallery artists, washable rag rugs by Sandy Voss, sculpture, pottery, jewelry, and turned-wood vessels. 424 Canyon Road, 505-982-4142 marigoldarts.com

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Teresa Neptune Studio/Gallery Mark White Fine Art

Join us here in Mark’s calming, meditative kinetic garden to experience bliss. These wind-driven sculptures welcome you through to his gallery. Inside, you will find his exquisite patinaed and engraved metal canvases and bronzes. We look forward to your visit. 414 Canyon Road, 505-982-2073 markwhitefineart.com

See Teresa Neptune’s acclaimed black-andwhite photography of South America, Europe, the Southwest, and wherever the road leads her in one of the town’s most charming, historic adobes, off the beaten path, directly behind Geronimo. Neptune’s photos of New Mexico’s diverse and intriguing spiritual self-expression will be featured at the New Mexico History Museum, starting in October. They are part of the exhibition Contemplative Landscape, curated by Mary Anne Redding. Call for hours. 728 Canyon Road, 505-982-0016 teresaneptune.com


SPECIAL ADVERTiSING SECTION

Adobe Gallery San Ildefonso, Painting of Zuni Pueblo Shalako Figures, watercolor, 14 x 10"

Romando Vigil (1902-1978), Tse Ye Mu (Falling Cloud). The Zuni Shalako Ceremony, held annually at Zuni Pueblo, is a most spectacular New Mexico pueblo ceremony that non-pueblo people are permitted to witness—and the only Katsina ceremony. Otherwise, Katsina ceremonies are strictly held for the benefit of pueblo residents.

221 Canyon Road, 505-955-0550 adobegallery.com

Alexandra Stevens Gallery of Fine Art

Jeannine Young, Storm’s Brewing, bronze, 33", edition of 25

Jeannine Young’s work incorporates the clean lines of art deco and the pared-down essentials of modernism. She is influenced by the British modernist Henry Moore, whom she cites for his “wonderful energy and gesture, and the volume and power of his form.” You can see Jeannine’s sculptural treasures at Alexandra Stevens Gallery of Fine Art.

820 Canyon Road, 505-988-1311, alexandrastevens.com

GVG Contemporary

GVG Contemporary presents its second annual Jewelry Show, featuring artist-made jewelry from contemporary jewelry artists. Jane Salley, a Santa Fe jewelry artist whose etched brass and enamel bracelet is shown here, will exhibit, along with Milly Haueptle and Janice Lee Ripley. GVG Contemporary is an artist-owned gallery. 202 Canyon Road, 505-982-1494, gvgcontemporary.com

The William & Joseph Gallery Carolyn Cole, #51002, mixed media, 49 x 60"

Celebrating 30 years of painting and represented exclusively in Santa Fe by The William & Joseph Gallery, Carolyn Cole is a 1977 magna cum laude graduate of Portland State University. Her work has been exhibited all over the United States, including the Seattle Art Museum, Portland Art Museum, and numerous private and public collections. Her work has been featured in Architectural Digest. 727 Canyon Road, thewilliamandjosephgallery.com

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last look

| PA R T I N G S H OT |

photo by Ann Murdy

Destination: The Garden at El Zaguán Location: 545 Canyon The Ultimate Respite: This Victorian cottage garden of herbs and roses, originally planted by its first owners in the late 1800s, and now owned and overseen by the Historic Santa Fe Foundation (housed in the Territorial-style adobe next door, which is home to a half-dozen working artists), offers an oasis of verdant serenity Hours: Monday–Saturday 9 am–5 pm Info: 505-983-2567 or historicsantafe.org

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Steven Seinberg Time to Rest 64 x 70 graphite & oil on canvas

Peter Burega

Ocean Rain 60 x 60 oil on panel

600 canyon road santa fe, nm 87501 800.992.6855 505.992.8877 selbyfleetwoodgallery.com


SPECIAL ADVERTISING SECTION

Tom Taylor Santa Fe artist Gabriel Good Buffalo’s bison bags and purses, along with his exquisite beaded belts, can be found at Tom Taylor Company. The work of many noted Southwestern buckle artists, along with the finest leathers available, are featured at our store, located in La Fonda on the Plaza. 108 E San Francisco, 800-303-9733, tomtaylorbuckles.com

Packard’s on the Plaza Swan pitcher in silver over hammered copper Exquisite servingware in silver, hammered copper, and porcelain, in the Mexican tradition from Taxco. Emilia Castillo’s designs with animals, birds, butterflies, and fleur de lis bring old-world elegance to any occasion. 61 Old Santa Fe Trail 800-648-7358 or 505-983-9241 shoppackards.com

enchanted treasures KatieO Jewelry A selection of necklaces from KatieO Jewelry’s Tapestry Collection These one-of-a-kind beauties combine materials, textures, and patterns in a delightful way. They are a feast for the eyes. Visit our website to see more from this exotic collection. 954-638-9118, katieojewelry.com

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SPECIAL ADVERTISING SECTION

Boots & Boogie

Packard’s on the Plaza Large green baroque pearls with handmade signature sterling clasp Sassy and sophisticated stones, beads, pearls, and gems in every color of the spectrum. Drape, string, coil, or snake on one of Pam Springall’s necklaces in your favorite hue to wear to lunch or to the opera. Only at Packard’s on the Plaza. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241 shoppackards.com

Santa Fe’s premier gallery of fine handcrafted boots. Elegant while still being comfortable. Owner Roy Flynn will personally and expertly size you in the finest and most beautiful alligator boots­—both belly and hornback, in myriad colors and at the most competitive prices in the industry. Boots and Boogie utilizies five bootmakers and is committed to style, elegance, customer comfort, and satisfaction. Whether it’s the classic alligator or any of the hundreds of other designs available, Boots and Boogie outfits you with style. 227 Don Gaspar, 505-983-0777

PianoWerkes of Albuquerque Discover New Mexico’s largest and most diverse selection of pianos­—from Yamaha’s exciting new hybrid, the “Avant Grand,” Yamaha acoustic pianos, Disklavier player grands and Clavinova digitals—to the finest and most sought-after European makers, Bosendorfer and Schimmel—to our vintage Steinway restorations. Visit our store to receive a grand piano floor pattern. Ask about our 100% trade-up guarantee. Delivery and service to Northern New Mexico. 4640 Menaul NE in Albuquerque, 505-338-0028, pianowerkes.com

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A new look for Spring... with our complimentary design services! ACCâ&#x20AC;&#x2122;s Design Team (from left) Larry Nearhoof, formerly Harrods Peggy Garcia Teresa White Jeff Fenton, VP Design

Fine Furnishings & Accessories 620 Cerrillos Rd, 984 0955 â&#x20AC;˘ 53 Old Santa Fe Trail, 982 1296


living

Amadeus Leitner

lifestyle | design | home

With pieces ranging from 80 to more than 100 years old, the assemblage of deer and mountain goat antlers on display in writer and art critic Jan Adlmann’s north-side Zocalo home transforms his small study into a space he calls “the jagdzimmer,” or hunting room. Mounted on hand-carved plaques commemorating the date and location of each hunt, the antlers, aka Tyrolean hunting trophies, are a common feature in Austrian and Bavarian classic interiors. For Adlmann—who’s never shot a thing—they’re an expression of his family heritage. The first set came from his Austrian-born grandfather. The others he has acquired over the past 40 years, many “basically for a song” at flea markets in Vienna, Prague, and Budapest. Adlmann, who’s lived in Santa Fe since leaving New York (and a position at the Guggenheim Museum) in the early 1990s, prizes this room for its coziness. “It evokes an especially Austrian atmospheric called gemütlichkeit,“ he says. “It’s one of those German words effectively impossible to translate.”—Alicia Kellogg

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The Remodelers Showcase & Expo Come to the Santa Fe Community Convention Center and get great ideas for your new home or remodel project.

May 14 & 15, 2011 Talk to builders, trades, and suppliers of products including green products for your home. You can also review the portfolios of remodelers and designers who have submitted their projects in the Showcase and find out who was recognized for X-Cellence in Remodeling. The official magazine will be available for free at the Expo and sponsor locations.

SANTA FE AREA HOME BUILDERS ASSOCIATION A driving force for quality building in Santa Fe.

1409 Luisa Street, Santa Fe • 505.982.1774

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ADMISSION FREE


living

house party c elebrating wit h st yle in t he comf or t of your own home By Alicia Kello g g Sometimes the ideal entertaining spot is not only close to home, it’s at home. After all, who knows your home better than you? What it’s capable of? Its strengths, its limitations, its sacred spaces, its profane spaces, and all those spaces in between. And besides, you have more control at home, and when all’s said and done, it’s you and your home that have put guests at ease and created an event that’s uniquely yours. “For most hosts and hostesses,” says Walter Burke, president and general manager of Walter Burke Catering, which has been catering to Santa Feans and Santa Fe businesses and events since 1981, “their home is an expression of who they are and how they present themselves to the world.” Here, then, are some tips from a few party-planning experts on how to best express yourself and your home.

WALTER BURKE

your home as your venue: When planning a party that’s to be in your home, remember: Your house, your rules; make that party yours. Which shouldn’t be taken as a dictum to impose your world on your guests in any sort of Draconian fashion (Enjoy yourself— or else!), but a reminder that this is your space, so it’s a chance for you to brag and show off. Also, “It’s much more personal to entertain at home—and an opportunity to share yourself with friends, from your heirloom recipes to your heirloom china,” says Marja Claire Martin, chef and owner of Marja Custom Catering. And in order to share comfortably and calmly, so that your guests are relaxed enough to feel that warmth and take it with them back to their own homes (thereby creating a sense of reciprocity and neighborliness that then comes back not only to you but to others pay-it-forward–style, which leads to a happier, more harmonious world overall—which, isn’t that the point of hosting and attending parties anyway? Good times, conviviality, giving and receiving, connecting?), there are a few basics—smallish details— that are always worth tending to, like atmosphere. Event planner Angela Reece, with Walter Burke, describes the basics as lighting, music, and furniture arrangement. So, keep the lighting low (think candles, dimmer switches, a fire in the fireplace), set the music to mellow (not so loud that it competes with guests’ conversations), and arrange the furniture thusly: If it’s a big gathering in a small space, go light on the number of pieces in the seating area. creating a memorable menu: When it comes to planning food, Martin recommends personal touches. “I think it’s special to share unusual and delicious family recipes and the stories that go with them rather than attempt to reproduce trendy restaurant menus at home,” says Martin. “Especially if you are cooking yourself.” Also, “Having guests over for dinner might not be the best time to experiment with something you’ve never done before,” cautions Glenda Griswold of Peas ‘n’ Pod Catering, which she and Catherine O’Brien established in 1996. And if a personal touch isn’t what you’re after, think of a

themed event or one that focuses on food from local, seasonal produce. Martin recalls one client who threw a tomato party—everything being centered around the golden apple. “We served three different tomato dishes,” she says, “and a tomato-water martini— delicious and beautiful.” Granted, a tomatini may or may not be your drink, but the point is, while trying to honor any possible food-related restrictions of your guests, first honor thyself. When it comes down to it, you want your fete to be a good time for all—yourself included. And the best way to insure your good times and those of everyone attending is: Be prepared. How? Organization, stresses Reece, and planning well in advance, from invitations to menu decisions.

commit, prepare, relax: Keep in mind, however, that all this planning—the event itself—requires almost more than anything an emotional commitment. “Make sure that you want to do the party,” Burke says. “Parties are celebrations and should not be obligations.” And for those of you looking for extra help for that allimportant soiree, Burke and others are always at the ready. “Plan early, allow plenty of time to set up and,” suggests Burke, ever so subtly, “hire enough staff to enjoy your party.” Whether there’s outside help or not, though, the key ingredients that just about all these event planners come back to are: simplicity, preparation, and most of all, have a good time yourself. Good food, good drinks, and a good atmosphere; you have those, and you’ll have yourself a party you and your guests will remember for a good long time. “You can have a party with six people, and if you have those three key ingredients,” says Reece, “it can be fun.” For all.

Guests enjoying themselves at an outdoor soiree

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living

keeping you covered tips on how to avoid being taken for a ride when looking for that magic carpet by alicia kello g g

Rugs and their dealers come from a world rich in history, color, and characters. Actually, to be more specific and kinder to today’s rug dealers, the world of Ye Olde World rug dealers was quite rich in history, color, and characters; today’s rugs are still well-off in history and color, but the characters of the olden days are harder to come by. (Less so in the lands whence rugs truly first originated—the so-called Far East of Mesopotamia and the old Ottoman Empire, nowadays, Iran, Turkey, and the Middle East.) Fortunately (or a tad unfortunately, depending on your endurance level and desire for popular Rug Merchants Olympics events such as haggling, bartering, swindling, fraud, chicanery, bribery, misrepresentation, and theft), we here in the United States have largely had those middlemen and their meddling ways cut out of the rug-buying equation. And here in Santa Fe, while there are plenty of wonderful rugs from way back East to choose from, because of where we are, we also enjoy the option of rugs from here in the West (Navajo rugs, in particular), as well as rugs and carpets from Europe and the rest of the world. Originally made out of animal hides and used as clothing or bedding, rugs have existed for thousands of years, and probably the first woven-pile rugs (rugs as we more or less think of them today) were crafted by the Mongolians and then perfected by the Persians. Pile-rug weaving didn’t really take off, in Europe, until after ad 1000. And by then, rugs had pretty much spread to all cultures (or had already been developed, by that time if not earlier, in cultures outside Europe and the Far East, on their own). Categorically akin to pots and baskets, rugs are an ages-old utilitarian object that almost as soon as they were woven into existence also functioned as works of art if not automatically as craft. Which explains, partly, their appeal. They’re functional, but they’re also expressions of a particular culture if not an individual, and they’re often as aesthetically appealing as any priceless painting or sculpture. Which is why it’s a good idea to be as prepared and knowledgeable as possible before buying one, especially one made by hand or made long, long ago. As Nedret Gürler put it (if a bit dramatically), “Buying a rug is like finding a mate. It needs to speak to your heart, agree with your personality,

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and provide you with what you need.” Gürler, though, knows whereof she speaks. She was born in Turkey, for one; for another, she’s been dealing in rugs since 1986; and, she not only runs her own rug business, Nedret Oriental Rugs, here in Santa Fe, she also works at Four, Santa Fe’s decorative arts and design collaborative that offers a range of rugs (from antique to contemporary). Here, she shares her vast knowledge of rugs, which she characterizes as the largest piece of art in a room, and so, an item with the kind of clout that can set the mood of a room if not an entire house and therefore shape your other design choices as well. ask questions: Approach the purchasing of a rug with the same amount of attention you’d give when buying a work of art—because most rugs are just that: works of art. That means ask good questions. Which ones? Good question. Here are some key queries to keep in mind: Where was the rug made? How was it made? Who made it? What kind of knot count does it have? What style of knots are used? What about the foundation—is it wool? Is it cotton? What kind of dyes were used? Was any child labor involved, and how can one find that out? (Gürler’s big on stamping out this heinously exploitative practice.) Why are there huge price differences in rugs? How does one take care of a handmade rug? Asking the right questions helps the rug dealer pinpoint what you’re looking for and what you need. And avoid what you don’t need. understand what you’re looking for: You might fall in love with a stunning design. As with a painting that just speaks to you, however, always consider whether the rug can stand up to the practical realities of your life. Any good rug merchant should take your environment into account and guide you toward the rug that fits your lifestyle. Pets, kids, brick floors, wood floors. The more your rug dealer knows about you and your home, the better the odds they’ll find that perfect rug for you. know your space: Be ready to explain every aspect of your room. Bring in measurements and dimensions, samples of the fabrics already in the room, a pillow from your sofa, a sample of your wall color. “Even


a snapshot of your room will guide your seller to find what you need,” Gürler says, who also recommends giving the rug a trial run. Better yet, she suggests trying out not just one rug but three. “It’s imperative to see them in your space in the daytime and,” she says, “in the evening—when the light is different.”

Creative Landscaping

prepare to buy: Here’s where things can still get Olde World—during negotiations. Keep an eye out for drastic markdowns. Red flag: If your rug dealer sharply cuts the price without an advertised sale. “Common sense is called for here,” advises Gürler. “In order to cut your income 50 percent, one must inflate prices to unfair levels.” enjoy your purchase: In the end, though, as significant a home-design purchase as it is, buying a rug should be enjoyable. “If at any time you feel that your needs are not being met,” says Gürler, a stickler for the importance of customer service, “stop the process and start with another person who will give you what you need. The buying process should be fun.” Fun. And rewarding.

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JAZZ continued from page 37

I went back to L.A. and packed my bags. In L.A., you had to pay for a club to showcase your music. Here, they paid me to play six nights a week. I think I played in every hotel and every bar. In Santa Fe, people are willing listen to each other and help each other. And respect each other.” The City Different exerted its magic on producer, pianist, and composer John Rangel and his wife not long ago. “My wife and I were in L.A. for about 13 years doing our thing,” says the New York native, “and came here to visit a friend. After about 10 days Barbara looked at me and said, ‘I’m not leaving.’ I was like, ‘All right, let’s see.’ I commuted back and forth from L.A. for a while, then closed my studio in L.A., moved here, and opened a collaborative studio with Bruce Dunlap.” (Which is now Dunlap’s GiG Performance Space.) Rangel is producing a CD for vocalist Madi Sato, working on an environmental sound recording with his wife, and has a regular gig at El Mesón with guest artists, but he also maintains his national and international collaborations. “I was working on a documentary film score last week and the final mix was done in Baltimore,” says Rangel, “and I sent them the final pro session over the Internet.” He has studied, played, and loves classical music, but his aha moment was jazz-related. “I remember hearing my first Ray Charles record and feeling, Oh, my God, I have to do this.” Clarinetist, saxophonist, and retired college educator Robert “Bob” Jones leads the Santa Fe Great Big Jazz Band, a group of 18 avocational players who come together each week to rehearse and who play fairly often around town. “The band was in existence quite a while before I moved here,” says Jones. “It’s not designed to be a dance band as such, it’s more contemporary-traditional. But we do, every year, play for the Let’s Dance event at the Convention Center. It’s an annual fundraiser for the Santa Fe Community Orchestra. “We’ve often brought in soloists, too,” continues Jones, referring to the jazz scene here. “When Chris Calloway was alive, we featured her once, and Eddie Daniels has played with us. Tiny’s, where we played this spring, is a pretty small space for us, but a long time ago, when I was new in town, they played there. It was the first time I heard them.” (For anyone wanting to stay in touch with local events, adds Jones, the site to bookmark is Irene Campo’s jazzsantafe.com.) When it comes to jazz connections, Lee Berk is plugged into every outlet you can

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imagine. An attorney by training, he was president of the Berklee School of Music in Boston—which his father, pianist Lawrence Berk, founded—from 1979 to 2004. He and his wife, Susan, have been Santa Feans for seven years now. “We moved here for the broader arts scene, and the combination of arts and nature,” says Berk. “As we became familiar with the very capable jazz figures in the area, we felt there wasn’t really a good focus on highlighting jazz performing artists throughout the year, comparable to what took place during the summer, which was Bruce Dunlap’s Santa Fe Jazz Festival.” So, seeing a need, the Berks founded the nonprofit Friends of Santa Fe Jazz. “Our mission is to highlight throughout the fall, winter, and spring, established, emerging, and national jazz musicians [by bringing them] to Santa Fe, as well as showcase the fine artists we have here.” Though himself not a performer, Berk obviously knows music from inside as well as outside, and he’s always been an advocate of helping young musicians find ways to use their skills. “I’ve always been interested in multiplying the number of ways people can be active in music. I think that’s one of the great failings for music, in the conservatory system for classical music: a tiny number of winners and a large number of losers. I think jazz musicians are more broadly trained and recognize the need to have a more enduring career, and that means you’re going to have to have a broader education. Contemporary young musicians are like architects: You apply the skills you have to package up different opportunities, whether it’s a remodel or a rebuild or a new building.”

MODELS

continued from page 38 years ago after noted bag designer Sherry Stein of S.Stein scouted her at a coffee shop where she was working. Through Peter Ogilvie, who photographed the Stein session, she soon began modeling for Sense Clothing as well. Bushmann is at ease about her modeling identity. “I understand that in merchandising you’re trying to sell an image, and that Sense would want a fit and thin person to model,” says Bushman. “But I’ve always appreciated the art element in modeling, so I don’t feel objectified. I feel good about it. And they’re great fabrics and really soft—some of the most

comfortable clothing I have!” Debrianna Mansini, who grew up in Connecticut, was working as a waitress when a patron asked to photograph her. “The next thing I knew I was on the cover of a publication similar to Pasatiempo in Connecticut,” she recalls. Then came another can-it-betrue moment: She was making a call in a New York phone booth when a man came up and asked her if she was a model. “I said, Not yet, but I want to be, and he took me to an agency.” Mansini (who’s also on the Actors page) is active in many aspects of media and fashion. She still models—she has a Dillard’s runway show coming up—and is a regular KSFR radio personality. She recently played opposite Jeff Bridges in Crazy Heart and has also appeared in Bordertown, The Burning Plain, and The Flock. Her sci-fi Web series, Cypher, is heading into its second season; her short film, Picking Up Feets, recently represented New Mexico at Women in Film and Television International’s shorts showcase; and she was one of the founders of Santa Fe’s Tin Roof Productions, which later melded with Santa Fe Performing Arts. And yes, people often ask her, Aren’t you somebody famous? “I’ve had it for years,” she admits. “I get a lot of it now on Facebook, because of Crazy Heart. I always ask, ‘Where did you find me?’” Another of Bergt’s favorite models is Adam Joaquin Gonzalez, who not only models but also has incarnations as a film actor, stuntman, fashion stylist, artist, and, with his wife, Jade, an activist both for Native youth programs and preserving America’s wild horses. Born in San Antonio, he got his first modeling gig at 10 when he accompanied his model mother to a JC Penney shoot. “I’m of Native American and Chinese blood,” he says, “so I could and can do all kinds of jobs where they want a look— Native, Chinese, Mexican, Spanish.” Adept at many sports as a child, Gonzalez served as an alternate on the Olympic rifle team in his teens while also competing as a calf roper, team roper, and bull rider. After earning a degree in fashion from UT-Dallas, and working for years in both Los Angeles and Santa Fe, he moved here officially three years ago. “I’m an expert horseman and with weapons on horseback, so I fit with a lot of the Native films coming out now,” says Gonzalez. Boy, howdy! That expertise has led to work in upcoming releases such as Cowboys and Aliens; Bless Me, Ultima; and Tiger Eyes. “I’ve gotten more acting jobs in three years here than in the 10 I spent in L.A.”


ACTORS

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(which was later upgraded to “Stranger No. 1”), in a TV movie best left unnamed. “We were Peruvian terrorists,” laughs Lopez, 54, who also plays harmonica for the group White Buffalo and deals in vintage items at the Santa Fe Flea Market, “and they realized I looked more like the real thing than the surfer dudes they’d cast beside me.” Theater is the first love for Luce Rains, aka Stephen Schwartz, who was the producer/director of Shakespeare in Santa Fe and a founder of the New Mexico Repertory Company. Although barely 50, Rains, executive director of the Witter Bynner Foundation, has by far the longest IMDb resume—and 3:10 to Yuma, First Snow, and Appaloosa are among his favorites. “I’ve had good luck,” he says, but stresses that he acts in movies because “it’s the only game in town.” Sadly, he adds, “I’ve had to face the fact that Santa Fe is not a theater town.” Nicolas Ballas, one of the partners at the Cowgirl and its manager, has been appearing on film since arriving in Santa Fe in 1984. He got his SAG card on an NBC series, Independence. Even though no one ever saw his work. “I ended up on the cutting-room floor,” shrugs Ballas, who’s 60 “and proud of it—I never thought I’d make it this far.” Still, every now and then he gets residual checks from the series. “Ten cents. Fifteen cents.” Since then he’s worked on films as diverse as Lightning Jack and The Tao of Steve, and he recently finished work on an independent movie, The Incredible Voyage of Captain Hook. He plays Captain Hook. “I love independent movies. That’s the way actors can express themselves fully,” says Ballas. “It’s an alchemical process. We actors are very lucky that we get to do that.” Tom Forrest Broadley, whose SAG name is Forrest Fyre, agrees. “Acting is a form of meditation for me,” says Fyre. “It’s a spiritual practice.” Having appeared in everything from 3:10 to Yuma to the TV series Breaking Bad, Fyre, a gemologist, owns downtown’s Earthfire Gems. Usually playing characters “from 48 up” (he’s reluctant to give out his exact age), he’ll also be seen in this spring’s Tiger Eyes, and will start filming in the independent movie Kitchen Privileges, being directed by Maura Dhu Studi (Wes Studi’s wife). “In the audition process, I always get down to the final two and then they get some guy from L.A.,” says Fyre. No matter. “It’s been a great hobby for 40 years. I like portraying the human condition. My only goal in life was to be a groovy old man. And I’m getting there.” David Midthunder, a member of the Lakota/Nakoda Sioux nation who once worked as a substance-abuse counselor on New Mexico’s Navajo reservation, started out acting here in the Land of Enchantment before a dearth of roles drove him out to L.A. Ironically, “Once I got out there,” laughs Midthunder, who’s shy of giving up his exact age, “they kept flying me back out here to New Mexico.” He’s appeared in numerous films, from The Book of Eli to The Hard Ride, but among his favorite roles were those in Comanche Moon and Into the West. “I really love being able to live here and work here,” says Midthunder. “It’s been great.”

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PROPERTIES

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The most interesting new restaurant to open this past winter boasts the simplest of concepts: exotic sakes and fabulously flavored bowls of steaming broth (chock-full of noodles and other Asian goodies), all served in sleek surroundings reminiscent of a Japanese cottage tucked into a quiet mountain village. Tender gyoza, sesame spinach, seaweed, and mushroom salads round out the menu (which is constantly expanding), but it is the intensely rich, umami-packed stocks bathing the tender ramen and intriguing flotillas that kept Santa Feans warm this past frigid winter. Though they’re filling, there is a definite lightness and finesse that make them perfect for year-round slurping. Shibumi in Japan refers to a particular aesthetic of simple, subtle, and unobtrusive beauty. Here, it is all those things—and luscious, too. (Cash only.)—John Vollertsen

DOUGLAS MERRIAM

Shibumi Ramenya, 26 Chapelle, 505-428-0077, Mon–Fri, lunch 11:30 am–2:30 pm, dinner 5:30–10 pm; Sat 5:30–10 pm


REVIEW

Anasazi days and nights by John Vollertsen

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Chef Oliver Ridgeway’s scrumptious bar menu samplers: a lamb-chop “lollypop,” a mini crab cake, a two-bite taco, and a mini buffalo burger.

staycation with my friend­—just a light dinner from the bar menu and an early movie. But after our out-of-town guests departed, my friend and I found ourselves ensconced in the dining room’s pillowed banquettes, sipping on glasses of French champagne and admiring the dramatic Chaco Canyon–style stone wall and the Native hieroglyphics painted throughout the restaurant and lounge. So much for the movie. The week before, some friends and I had ordered from the bar, and its menu was as imaginative as it was delectable. It includes gourmet versions of pizza, nachos, quesadillas, and the like, all of it given an intriguing spin that showcases Ridgeway’s skill. That night, we’d started with the tasty two-bite tacos—a trio of crispy won-ton shells, one stuffed with shrimp, one with ahi tuna, one with salmon, and all topped with a fiery mango salsa and a smooth avocado mousse. It was the perfect starter dish. After that, we dove into the clever flight of bytes, which consisted of a succulent lamb chop “lollypop,” a mini crab cake, another taco, and a mini buffalo burger. Each element had a delicious,

DOUGLAS MERRIAM

I don’t know about you, but I’ve heard enough about economic downturn, recession, depression, slump, decline, and inflation. I truly believe that living well is the best revenge—as are vacationing well and dining well. In keeping with that credo, then, a stay at the luxurious Rosewood Hotel’s Inn of the Anasazi, in downtown Santa Fe, is the perfect antidote to the fiscal blues—and it doesn’t require a bank loan, bailout, or financial recovery package. Just steps away from our historic Plaza, the Anasazi offers world-class service, delicious au courant cuisine, and location, location, location. The great service starts at the front door—and the front desk. There’s an extra helping of hospitality here, and the staff’s interaction with guests has the vibe of professional familiarity (maybe because of Anasazi’s relatively small size: only 58 rooms), much like the rapport found in any good European inn. The rooms are just as inviting; on a recent stay, our accommodations were bright and appointed with artistic touches evoking (but not going overboard with) the inn’s native Anasazi motifs, which play a big part in the design here. The big, comfy, overstuffed lounge chair begged us to read and then nap next to the fire (still welcome even in late spring), but the promise of Chef Oliver Ridgeway’s heralded menu quickly lured us to the dining room. First, we met friends visiting from the East Coast for a drink in the cozy library, just off the lobby. They’ve stayed at the Inn for decades, bragging to us that “It’s the only place we ever stay in Santa Fe.” The fireplace there was just as toasty as the one in our upstairs room, and we noticed, too, that the library was adorned with books and board games—should you really want to hide away from it all. Our touristy delight seemed to give the helpful hotel concierge the idea that we’re all out-of-towners; he checked to see if we needed any assistance. Poor man. We told him we’d traveled all of one mile to get there, before toasting ourselves with a round of perfectly tart and bracing margaritas. Often hotel dining rooms languish in the hotel-food doldrums, ignored by locals and foodies due to a lack of creativity and fabulosity on the menu. Not so the Anasazi Restaurant. It is often mentioned in the same breath with Santa Fe’s other top restaurants—Coyote Café, Geronimo, the Compound, and Restaurant Martín—and it is the British-born Ridgeway’s talent that creates this excitement. What used to be called “Southwest cuisine” in the late ’80s and ’90s has all but disappeared from our local food scene (save the authentic version that Eric DiStefano keeps reinventing over at the Coyote). But perhaps because Ridgeway is a transplant to our town (after stopovers in Europe, Australia, and the Caribbean), his discovery and exploration of our indigenous dishes and ingredients has fueled his enthusiasm, and that passion spills over into his cooking. He adds to this newfound fervor the techniques learned in his travels and discoveries. What he has created is “Santa Fe modern cookery,” and I admit, I’m a big fan. Originally, I’d planned on making this weekend at the Anasazi a


distinctive sauce and flavorâ&#x20AC;&#x201D;we wished weâ&#x20AC;&#x2122;d had more lollypops, until the assorted meze arrived. This nifty nosh, made up of a creamy green-chile hummus (with a kick), an eggplant baba ghanoush, and an appropriately salty olive tapenade, was ideal for plunging breadsticks into and smearing onto our lavosh. Finally, since summer temperatures and the thought of putting on a swimsuit still seemed months away, the parmesan truffle fries seemed like a good idea. But all that was merely the bar banquet. On the more recent visit, my friend and I dined on Ridgewayâ&#x20AC;&#x2122;s even more fabulous dinner menu. I already had this transplant pegged as a respectable interpreter of our native cuisine, and the duck enchilada mole starter further reinforced my first impression. The mole put my taste buds into a tizzy and convinced me that this chef from across the pond has as adept an understanding of the subtleties of New Mexico flavors as does any chef born across the street. Ridgeway spun this classic dish mod-Mex-style, with confit of duck, Asadero cheese, green chile, and a mole sauce boasting more than 30 ingredients. Our entrĂŠes were equally august. The seared diver scallops on a pear-and-celery mash with smoked lobster sauce was yum, yum, and yum, and the nine-spice New Mexican beef tenderloin with poblano gnocchi and coffee-piĂąon glaze further exhibited the fun Ridgeway is having with NorteĂąo flavors. The staff, and especially restaurant manager Adrian Cabral, are knowledgeable and helpful in navigating the large and worldly wine list. His recommended Bonny Doon AlbariĂąo 2009 provided a nice citrusy start to the evening. Two pinot noirs vied for first place in my favorite new pinot of 2011; the Willamette Valley Estate and the Roessler Red Peregrine were both rich and fuller flavored than Iâ&#x20AC;&#x2122;d expected from this varietal. For dessert, the simplicity of the citrus olive oil cake with pepper mascarpone and a wintry apple and cranberry crumble with white chocolate ice cream exemplified the ultimate in after-dinner comfort food. Happy that we only had steps to traverse to get to our room, we canceled our movie plans. When Cabral heard us doing so, he offered that the front desk had a great

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Rashers and eggs and more—British-born Anasazi chef Ridgeway’s full monty breakfast

selection of DVDs we could view on our room’s huge flat-screen TV. My friend and I, both fans of the Carlyle, Anasazi’s sister hotel in New York City (and from whence Chef Ridgeway came), decided on Breakfast at Tiffany’s. How perfect to drift off to sleep with the strains of “Moon River” ringing in my ears, imagining myself a young, naive George Peppard discovering the joys of the Big Apple for the first time and learning that there is “such a lot of world to see.” Breakfast the next morning paid further tribute to the talented chef’s heritage as we decided to go the full monty and share a big English breakfast of grilled tomatoes, sautéed mushrooms, bacon, sausage, eggs, fried bread, and baked beans. Fresh juices, including an interesting watermelon extraction, and jumbo cups of steaming cappuccino arrived promptly—proving once more that the Inn’s great service runs from sunrise to sunset. I sincerely hope that with the spring thaw we can all let our trepidations about the financial state of the world melt away, too. Remember, prosperity starts with a thought. And here’s what my visit to the Inn of the Anasazi got me to feeling, if not thinking: I’m a very rich man. And I am so ready to start singing, “Happy days are here again.” Aren’t you? 104

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One sure sign that spring is in the air? Food carts. Slurp, just west of the capitol on Galisteo Street, ladles out soups from its beautifully refurbished 1967 Airstream trailer. And keep your palate peeled for the salad-green Mini Vinny van, which serves up yummy dishes from the popular and health-minded Vinaigrette. Speaking of salads, you won’t believe all the fabulous olive oils, vinegars, and exotic salts on offer at Oleaceae, on Old Santa Fe Trail near the La Fonda Hotel. The stylish showroom allows foodies to sample oils infused with Persian limes, blood oranges, and porcini mushrooms, and vinegars balmy with figs, blackberry, ginger, and juniper berry. If Shibumi only whetted your appetite for Asian cuisine, join chefs Daniel Hoyer and Emily Swantner this fall for a very special tour of the fabulous foods and exotic culture of Vietnam. These two well-traveled gourmands consider Vietnam the epicenter of wonderful food and have both taught cooking classes locally for years: Hoyer at the Santa Fe School of Cooking and Swantner at Las Cosas. Swantner always travels with an empty extra suitcase— solely for bringing home indigenous ingredients with which to play—and Hoyer started his traveling company as an excuse to take culinary trips to Mexico while researching his three beautiful cookbooks: Culinary Mexico, Mayan Cuisine, and Tamales. His most recent tome, Culinary Vietnam, celebrates the edible wonders of the place he now calls home. Join these two foodies as they unlock the mysteries of this popular cuisine. (Vietnam Food and Culture Adventure, October 18–28, 2011; $1,965 per person, based on double occupancy. Details available at epicureanodyssey.com and 505466-1074.) On the rumor front, word has it that Taos’s Joseph Wrede, of Joseph’s Table, will be setting up shop in Santa Fe this spring; I hope that becomes a reality. The Pink Adobe is back in business and doling out its famous gypsy stew and green chile stew. And I can’t wait to sample more delicious goodies (and perhaps a bigger space) at Max’s, which is still my favorite small haunt for hot haute cuisine. American author Christopher Morley wrote, “April prepares her green traffic light and the world thinks Go.” I’m ready.—JV

DOUGLAS MERRIAM

digestifs

STYLE


/FX.FYJDP.VTFVNPG"SU½5ISPVHI0DUPCFS 8FTU1BMBDF"WFOVF½0OUIF1MB[BJO4BOUB'F½ ELIOT PORTER, GREEN REFLECTIONS IN STREAM, MOQUI CREEK, GLEN CANYON, UTAH, SEPTEMBER 2, 1962. © 1990 AMON CARTER MUSEUM OF AMERICAN ART, FORT WORTH, TEXAS. USED BY PERMISSION.


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taste of the town

northern new mexico’s finest dining experiences

Coyote Cafe 132 W Water 505-983-1615 coyotecafe.com

Coyote Cafe continues to be Santa Fe’s most famous and celebrated restaurant, feted by critics and return visitors alike. Executive chef/owner is world-renowned Eric DiStefano, who brings with him his contemporary global style of cooking that has French-Asian influences accompanied with Coyote Cafe’s known Southwestern style. The Bull Ring 150 Washington, 505-983-3328 Serving Santa Fe since 1971, the legendary Bull ring is “the prime” steakhouse in Santa Fe. Voted “Best of Santa Fe” year after year, it also offers fresh seafood, chicken, chops, an extensive wine list, a saloon menu, and patio dining. If there’s one thing New Mexico politicians can agree on, it’s where to eat in Santa Fe. Located in the courtyard in the corner building at Washington and Marcy Sts. For a quick bite after a stroll at the nearby Plaza—or for a late-night snack—the lounge’s bar menu is sure to satisfy. Open for lunch Tuesday–Sunday 11:30 am–2:30 pm, Monday–Sunday for dinner starting at 5 pm. Underground parking available on Washington. Chocolate Maven Bakery 821 W San Mateo, Suite C 505-982-4400, chocolatemaven.com A long-standing local favorite, Chocolate Maven does it all: breakfast, lunch, dinner, high tea, brunch, and every type of pastry, cookie, and cake imaginable! We create delicious, eclectic menus using local, organic produce, meats, and cheeses, which help to support local farmers while bringing you the freshest, most flavorful food possible. Don’t miss this hidden gem on your next visit to Santa Fe. Open seven days a week. Dinner Tuesday–Saturday 5–8:30 pm; breakfast and lunch Monday–Friday 7 am–3 pm; high tea Monday–Saturday 3–5 pm; brunch Saturday and Sunday 9–3 pm. The Compound Restaurant 653 Canyon, 505-982-4353 compoundrestaurant.com Recognized by Gourmet magazine’s Guide to America’s Best Restaurants and the New York Times as a destination not to be missed. The James Beard Foundation’s “Best Chef of the Southwest,” chef/owner Mark Kiffin pairs seasonal contemporary American cuisine with professional service in a timeless, elegant adobe building designed by famed architect Alexander Girard. Extensive wine list, full bar, picturesque garden patios, a variety of beautiful settings for wedding receptions, social affairs, or corporate events for 12 to 250 guests. Private parking. Seasonal specialty: tuna tartare topped with Osetra caviar and preserved lemon. Lunch 12–2 pm, Monday– Saturday; bar nightly

5 pm–close; dinner nightly from 6 pm; full lunch and dinner menu available in the bar. Doc Martin’s at the Historic Taos Inn 125 Paseo del Pueblo Norte, Taos 575-758-1977, taosinn.com Doc Martin’s restaurant is an acclaimed fine-dining establishment located in a registered historic landmark. Doc’s is a true Taos tradition, earning multiple awards. Executive chef Zippy White specializes in organic foods, with chile rellenos being his signature dish. With over 400 wine selections, our world-class wine list has earned Wine Spectator’s “Best Of” award of excellence for 21 consecutive years. The Adobe Bar features complimentary live entertainment nightly. Patio dining as weather permits. Featured dessert: the chocolate-lover’s pie—a rich, silky chocolate mousse, whipped cream, sweet cookie crust. Breakfast is served daily 7:30–11 am; lunch 11:30 am–2:30 pm; dinner 5:30–9 pm; Saturday and Sunday brunch 7:30 am–2:30 pm. El Mesón 213 Washington, 505-983-6756 elmeson-santafe.com A native of Madrid, Spain, chef/owner David Huertas has been delighting customers since 1997 with family recipes and specialties of his homeland. The paella is classic and legendary—served straight from the flame to your table in black iron pans; the saffron-infused rice is perfectly cooked and heaped with chicken, chorizo, seafood, and more. The house-made sangria is from a generationsold recipe with a splash of brandy. The ¡Chispa! tapas bar offers a fine array of tapas. The full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Occasional musical entertainment and dancing. Dinner is served 5–11 pm, Tuesday–Saturday. Galisteo Bistro 227 Galisteo, 505-982-3700 galisteobistro.com Chef-owned and “made by hand,” featuring eclectic, innovative international cuisine known for its open kitchen, quality menu offerings, and attentive service in a casual, comfortable downtown setting. Just a short walk to the historic Santa Fe Plaza, the Lensic Performing Arts Center, www.santafean.com

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hotels, and museums. “I admire a restaurateur who says, Hey, I want to cook the foods I love, like a musician who says, I want to play the music I enjoy. He would have made a great conductor; his orchestra of a staff is playing lovely food in perfect harmony. If music be the food of love—long may the Galisteo Bistro play on.”—John Vollertsen, Santa Fean. Wednesday–Sunday 5–9 pm. Geronimo 724 Canyon, 505-982-1500 geronimorestaurant.com Señor Geronimo Lopes would be pleased if he knew how famous his 250-year-old hacienda on Canyon Road has become. The landmark adobe is now home to a cuttingedge restaurant—elegant, contemporary—serving the highest-quality, creative food. Award-winning executive chef Eric DiStefano serves up a creative mix of French sauces and technique with culinary influences of Asia, the Southwest, and his own roots in Italy, blended to bring taste to new levels. Geronimo is New Mexico’s only restaurant with both Mobil Four Star and AAA Four Diamond awards. Dinner seven days a week, beginning at 5:45 pm. Il Piatto 95 W Marcy, 505-984-1091 Locally owned Italian trattoria located one block north of the Plaza. Nationally acclaimed and affordable, il Piatto features local organic produce and house-made pastas. Prix fixe three-course lunch, $14.95. Dinner, three courses $29.50, or four courses $37.50 (anything on the menu, including specials). No restrictions. Lunch Monday–Friday 11:30 am–2 pm; dinner seven nights a week at 5 pm. “Everything is right at il Piatto, including the price.”—Albuquerque Journal India Palace 227 Don Gaspar, 505-986-5859, indiapalace.com Voted “Best Ethnic Restaurant” in Santa Fe. Located in downtown Santa Fe, just one block from the Plaza, India Palace specializes in the dynamic, complex cuisine of northern India and uses ayurvedic (the science of longevity) cooking principles. Homemade cheese, yogurt, ghee, and kulfi (pistachio ice cream), and tandoori-fired traditional breads complement the extensive menu, which includes chicken, lamb, seafood, and vegetarian dishes. Entrees may be ordered mild, medium, or hot. No artificial flavors or MSG. Vegan and gluten-free meals also available. Entrance located in the Water Street parking lot. Open seven days a week. Lunch 11:30 am–2:30 pm; dinner 5–10 pm. Inn of the Anasazi 113 Washington, 505-988-3030 innoftheanasazi.com New Mexico’s only Mobil Four Star, AAA Four Diamond hotel is also home to Santa Fe’s most highly acclaimed culinary destination. The Anasazi Restaurant features a welcoming and rustic Southwestern atmosphere. Chef Oliver Ridgeway offers seasonal menus, with fresh local ingredients, to celebrate creative American cuisine. Mon–Sat breakfast 7–10:30 am; lunch 11 am–2:30 pm; dinner 5:30–10 pm. Sun breakfast 7–11 am; brunch 11 am–2:30 pm; dinner 5:30–10 pm. Patio open daily 2:30–11 pm.


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Josh’s Barbecue 3486 Zafarano, 505-474-6466 joshsbbq.com Voted Top 3 Caterer of 2010! Savor the flavor of classic American barbecue created with a special New Mexican twist. Chef/owner Josh Baum, with his manager Rodney Estrada, dish up a huge fresh daily selection of slow-smoked, mouth-watering meat choices, including tender brisket and succulent natural ribs, served with a choice of sides, sauces, and desserts, all house-made. Special regional dishes like smoked chicken taquitos and green-chile brisket burritos have made this eatery a local favorite, with additional chef’s specials offered daily. Also available: beer and wine, dine in or take out, full-service catering for all occasions, and a small private dining room for special events. Located next to Lowe’s and Regal 14 cinemas off Cerillos at Zafarano. Open for lunch and dinner. Winter hours: 11:30 am–8 pm, Tuesday–Thursday and Sunday; 11:30 am–9 pm Friday and Saturday; closed Mondays. (Beginning May 1st, summer hours: 11:30 am–9 pm Tuesday–Saturday and 11:30 am–8 pm on Sundays; closed Mondays.) La Casa Sena 125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in the heart of old Santa Fe, in the historic Sena Plaza. Featuring innovative Americansouthwestern cuisine, an extensive wine list, and a spectacular outdoor patio, La Casa Sena is one of Santa Fe’s most popular restaurants. Recipient of the Award of Excellence from Wine Spectator. For a more casual dining experience, visit La Cantina and be entertained by a waitstaff performing jazz and Broadway musical reviews nightly. Lunch is served 11:30 am–3 pm Monday–Saturday; dinner 5:30–10 pm nightly. Sunday brunch in a beautiful patio setting 11 am–3 pm. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open 11 am–8 pm Monday–Saturday; noon–6 pm Sunday. La Plazuela at La Fonda on the Plaza 100 E San Francisco 505-995-2334, lafondasantafe.com La Plazuela at La Fonda on the Plaza is a feast for the senses. The room is stunning and the menu sophisticated, showcasing old favorites with New World twists and truly authentic Northern New Mexican cuisine. Come make memories with us! La Plazuela hours: Breakfast 7–11:30 am daily. Lunch 11:30 am–2 pm Monday–Friday; 11:30 am–3 pm Saturday and Sunday. Dinner 5:30–10 pm daily. Luminaria Restaurant at the Inn and Spa at Loretto 211 Old Santa Fe Trail 800-727-5531, 505-984-7962 innatloretto.com Luminaria introduces Matt Ostrander as Executive Chef. Chef Matt is no stranger to the local Santa Fe foodies. A quintessential Santa Fe chef, Matt is self trained, gaining his experience as a true Santa Fe chef in some of the great culinary establishments in the area. Luminaria menus focus on Chef Matt’s sustainable approach to his cuisine featuring an abundance

of fresh, locally-grown ingredients with the perfect Southwest twist. Enjoy drinks in the comfort of the Living Room and relax to the unique musical styling’s of Matthew Andrae. Breakfast 7–11 am; lunch 11:30 am–2 pm; dinner 5–9 pm. Early-evening dinner at Cena Pronto, 5–6:30 pm; Sunday brunch 11 am–2 pm. Maria’s New Mexican Kitchen 555 W Cordova, 505-983-7929 marias-santafe.com We wrote the book on margaritas! The Great Margarita Book, published by Random House. Maria’s features over 160 margaritas, chosen “Best Margarita” in Santa Fe 14 years in a row. Each is hand poured and hand shaken, using only premium tequila, triple-sec, and pure fresh-squeezed lemon juice (no mixes; no sugar). A Santa Fe tradition since 1950, specializing in old Santa Fe home-style cooking, with steaks, burgers, and fajitas. You can even watch tortillas being made by hand! Lunch and dinner 11 am–10 pm Monday–Friday; noon–10 pm Saturday and Sunday. Reservations are suggested. Rancho de Chimayó Santa Fe County Road 98 on the scenic “High Road to Taos” 505-984-2100, ranchodechimayo.com Rancho de Chimayó is a treasured part of New Mexico’s history and heritage. A time-less tradition serving world-renowned traditional and contemporary native New Mexican cuisine in an exceptional setting since 1965. Enjoy outdoor dining or soak up the culture and ambience indoors at this century-old adobe home. Try the Rancho de Chimayó specialty: carne adovada—marinated pork simmered in a spicy, red-chile-caribe sauce. Come cherish the memories and make new ones. Open seven days a week May to October 11:30 am–9 pm. November to April 11:30 am to 8:30 pm, closed Mondays. Online store is open now! Rio Chama 414 Old Santa Fe Trail, 505-955-0765 riochamasteakhouse.com Rio Chama is located just off the plaza near the state capi-

tol. Featuring the finest prime and choice dry and wet aged steaks, chops, seafood, and an extensive wine list. Chef Tom Kerpon draws on French, Mediterranean, and Asian influences to complement our indigenous southwestern cuisine. Rio Chama offers a mix of intimate dining rooms with kiva fireplaces, and a lively bar scene. Rio Chama is a favorite of locals and visitors alike. Open daily from 11 am to closing. Santacafé 231 Washington, 505-984-1788 santacafe.com Open daily for lunch and dinner. Centrally located in Santa Fe’s distinguished downtown district, this charming southwestern bistro, situated in the historic Padre Gallegos House, offers your guests the classic Santa Fe backdrop. Step into the pristine experience Santacafé has been consistently providing for more than 25 years. New American cuisine is tweaked in a southwestern context, and the food is simply and elegantly presented. Frequented by the famous and infamous, the Santacafé patio offers some of the best people watching in Santa Fe! During high season, our courtyard, protected by a sun canopy, becomes one of the most coveted locales in Santa Fe. Terra Restaurant at Encantado Resort 198 State Road 592, 505-946-5700 encantadoresort.com Terra, the signature restaurant for Encantado, an Auberge Resort, features majestic views of the surrounding mountains, and offers an inventive interpretation of American cuisine. Having achieved Wine Spectator’s coveted “Best of” excellence award, Chef Charles Dale’s modern rustic cuisine exemplifies a passion for simple yet refined menus that maintain a connection to regional influences, which is evident in all of his dishes, such as his signature boneless beef short ribs with poblano-mushroom mac-n-cheese. Terra is open seven days a week, 365 days a year. Breakfast 7–11 am; brunch/lunch 11:30 am–2 pm; dinner 5:30–10 pm.

featured listing featured listing El Farol Restaurant & Cantina 808 Canyon 505-983-9912 elfarolsf.com

El Farol is a fine-dining Spanish restaurant located on the ever popular and historic Canyon Road. We have been serving food since 1835. We offer a delectable selection of Spanish tapas, as well as entrées such as paella. Our wine list is designed to complement our food, and since we offer a wide variety of complex flavors, the wines are versatile and bold enough to stand up to our adventurous menu. We specialize in flamenco dinner shows every Saturday evening, and offer a great selection of music in our cantina seven nights a week. Our restaurant is rich in history, and our walls are graced with beautifully painted murals done by the famous artists who once lived and worked on Canyon Road. We invite you to come and enjoy a slice of original Santa Fe ambience.

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toot your own Hornsby M USIC Bruce Hornsby’s mid-80s hits “The Way It Is” and “Mandolin Rain” tell just a small part of his eclectic musical story. Since his radio heyday, he’s played keyboards at more than 100 Grateful Dead concerts, collaborated with musicians from Robbie Robertson to Tupac Shakur, and explored genres such as jazz, bluegrass, and electronica. When he comes to the Lensic on April 18, he’ll perform with his longtime touring band, The Noisemakers. It’s one of several great springtime shows brought to Santa Fe by Jamie Lenfestey (formerly of Fan Man) and Heath Concerts. Details: 7:30 pm, $46–$68, heathconcerts.com or ticketssantafe.com

architecture Visionary architect Mary Jane Colter combined Mission Revival, Spanish Colonial, and Native American elements to design some of the Southwest’s most iconic buildings in the early 20th century. She worked for the Fred Harvey Co. and the Atchison, Topeka, and Santa Fe Railway, and in the 1920s, she redesigned the interior of La Fonda on the Plaza in Santa Fe. Learn more about her life and work during A Mary Jane Colter Weekend: The Shaping of Southwest Style, a series of lectures and receptions on April 1 and 2 at La Fonda on the Plaza. Tickets start at $100 per person ($50 of which is tax deductible), with proceeds benefiting the Museum of New Mexico History. Details: ticketssantafe.com

now she’s cookin’ t o p c h e f s Sara Moulton, Food TV personality, food editor for Good Morning America, and former Gourmet executive chef, makes a quick stopover in Santa Fe on May 4. The celebrity chef will demonstrate pots and pans by Chantal Cookware—and sign copies of her latest book, Everyday Family Dinners—at Las Cosas Cooking School at DeVargas Center. Details: For reservations, call 505-988-3394 or visit lascosascooking.com 108

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South Portal of La Fonda Hotel (1925–45), designed by Mary Jane Colter

clockwise from top: Courtesy Heath concerts, t. harmon parkurst – palace of the governors archives

something about Mary


CHOOSE LOVE

shirley maclaine

DOUGLAS MERRIAM

what do I get out of doing all this work to keep the rebates in place? Nothing. I’m just so in love with this state that I love it being shown.” As much as she loves going inside and going deep, she loves showing off more than almost anything. It’s partly why she writes; it’s especially why she performs. Her latest book—modeled somewhat after novelist Nicholson Baker’s Human Smoke: The Beginnings of World War II, The End of Civilization, and inspired, too, by Nora Ephron’s writing—came about while hanging out in her New York editor’s office. He asked what she’d like to work on next, suggest a topic, only to hear MacLaine say, I’m over that. He’d toss out another topic. I’m over that, too. Till finally he said, That’s it! That’s the title! Now write the book. As with her previous written endeavors, it’s one her parents would’ve related to. While she felt more connected to her father, a Johns Hopkins philosophy and psychology major who could’ve been a musician, her brother Warren took more after their mom, a Nova Scotia–born drama instructor. Conservative as they may have appeared, they were well versed in the eso-

Shirley MacLaine—over some things but not over everything

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JenniferEsperanza.com teric, be it spiritual or natural. Her father, says MacLaine, had an out-of-body experience (seeing his WWII buddy appear at his bedside the night his friend died) and wrote his thesis on chakras (though he didn’t know them at the time as chakras); and her mother, an avid gardener, respected the reappearance of buds year after year. “Same plant, different bud; same soul, different lifetime—it’s the same, basically, as reincarnation, or past lives,” concludes MacLaine. “I never had a problem with them about what I wrote.” Nor did they with her career as an entertainer. “I miss the live audience,” says MacLaine with a slight sigh. “But I’m too old to sing and dance anymore. Still, I love being up there onstage.” Which is why she’s so looking forward to her “Evening with Shirley” tour. And why she continues to act. In that realm, her latest crush is her Bernie costar. “Jack Black is the best,” gushes MacLaine. “He’s one of the most talented people I’ve ever met, and so nice. He even made a dance for me.” She pauses, rubbing her constant companion, Terry, the faithful rat terrier she heard calling out to her in a Malibu mall 11 years ago, crying, I’m here. Come and get me. “My life has been blessed with Jacks: Jack

Lemmon, Jack Nicholson, my agent. And now Jack Black.” As for ever working with her brother, which she’s never done, MacLaine answers without hesitation. “Good God, no. Never. He can’t make up his mind where to have dinner,” she says sarcastically. “Let alone what movie to shoot.” The immediacy of her response is telling. Here’s a woman who, among the many qualities she espouses—exercise, reincarnation, the faithfulness of dogs, good food, good company, long hikes, solitude, democracy with empathy—strives for honesty and self-awareness above all else. “Know yourself,” she says. “I don’t care what party you’re with or what religion you are, just know who you are.” But, she adds, “You can’t really know who you are if you don’t know who you’ve been. Which also affects your future and your future abilities to be who you want to be. So it’s knowledge worth knowing—your past lives. Because it affects both your present [self] and your future [selves].” And the Shirley MacLaine of past, present, and future? “I’m just this old lady who’s done some good work,” she says modestly, her body almost shrinking into itself, “who’s trying to find out what life’s all about.” Aren’t we all?

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Santa Fe - Los Angeles

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SAR School for Advanced Research

SAR Lectures

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April 14, 6:30 pm, NMHM Auditorium, Doug Gann, $5

Archaeological Virtual Reality: Building the True Digital Museum

How virtual reality can shape or misinform our understanding of the past. Sponsored by Walter Burke Catering

May 19, 6:30 pm, Lensic, Douglas Schwartz, FREE

The Big Pueblo at Arroyo Hondo and the Intriguing Stories It Tells

A visual extravaganza that addresses the mystery of the times.

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| D AY T R I P |

Tent Rocks photo by Ca r ri e McCa r t h y

Kasha-Katuwe Tent Rocks National Monument Distance from Santa Fe: 40 miles Directions: Cochiti Pueblo Exit 264 off I-25 onto NM 16, turn right onto NM 22, follow signs to Cochiti Pueblo and the national monument. Hours: Summer (March 11 to October 31): Daily 7 am–7 pm. Lost in space: You might have seen Tent Rocks, as it appeared in Lonesome Dove and Silverado, but as you walk along the sandy trail and gaze up at the mysterious and majestic hoodoos you may feel more as if you’ve stumbled onto the set of Red Planet. The cone-shaped tent-rock formations, products of volcanic eruptions that occurred 6 million to 7 million years ago, and the striated and undulating slot canyons are so ancient they appear extraterrestrial. Follow the trail all the way to the top and you’ll be rewarded with out-of-this-world views of the Sangre de Cristo, Jemez, and Sandia mountains. The White Cliffs of New Mexico: In traditional Keresan, KashaKatuwe means “white cliffs.” OK to look: Admire the small, rounded, translucent obsidian (volcanic glass) fragments, created by explosions from the Jemez volcanic field and known as Apache tears. But don’t take any; that’s illegal. Info: 505-761-8700. Entrance fee: $5 for private vehicles. blm.gov/ nm/st/en/recreation/rio_puerco/ kasha_katuwe_tent_rocks 112

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ASPEN SANTA FE BALLET

SEASON PRESENTING SPONSOR

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Nrityagram Dance Ensemble of India In Association with The Lensic, Santa Fe’s Performing Arts Center

ONE NIGHT ONLY! Friday, April 8 7:30pm “The ensemble mesmerized a sold-out audience with its artistry, energy, technique and beauty!” -Dance Magazine

All performances are held at The Lensic, Santa Fe’s Performing Arts Center.

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Tickets: 988-1234 Tickets Santa Fe at The Lensic a l l e t . c o m MEDIA SPONSORS X

OFFICIAL AND EXCLUSIVE AIRLINE OF ASPEN SANTA FE BALLET

Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. PHOTO: STEPHANIE MOTTA


C H A R L E S

A R N O L D I

CHARLOTTE JACKSON FINE ART In the Railyard Arts District / 554 South Guadalupe, Santa Fe, NM 87501 Tel 505.989.8688 / www.charlottejackson.com

Charles Arnoldi, Icebox, 2010, acrylic on canvas, 46 x 45 inches


Santa Fean APRIL/MAY 2011