Page 1

Inside: Native Arts Magazine • Scenic Rides on a Historic Railroad • 125+ Galleries and Museums


summer 2014


D E L A D I E R A L M E I DA New Paintings, September 26 – October 11, 2014 Artist Reception: Friday, September 26th from 5 – 7 pm in Santa Fe

Hawk Eye, oil on canvas, 30" h x 30" w

Blue Rain Gallery|130 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary|7137 East Main StreetScosdale, AZ 85251 | 480.874.8110

ERIN CURRIER From Taos to Laos, September 12 – 27, 2014 Artist Reception: Friday, September 12th from 5 – 7 pm in Santa Fe

Kwan Yin, Acrylic and mixed media collage on panel, 36" h x 24" w

Blue Rain Gallery|130 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary|7137 East Main StreetScosdale, AZ 85251 | 480.874.8110

Jack Sorenson

Buck McCain

Thunder in the Dust 36 x60 Oil

Robin J. Laws

The Invocation 22.5x13x8 Ed. 50 Bronze

Donkey Talk 7x8.5x4 Ed. 50 Bronze

Annual Indian Market Weekend Show August 22 – August 24 Opening Reception Friday, August 22

5 to 7 pm

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727 info@joewadefineart.com www.joewadefineart.com

Roger Williams

Canyon Riders at Twilight 30x24 Oil

Solo Exhibition 2014: Moments in Time September 12 – September 21 Opening Reception Friday, September 12

5 to 7 pm

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727 info@joewadefineart.com www.joewadefineart.com

ranCho dE abiquiú | Historic abiquiú Hacienda | $7,500,000 MLs: 201300500 | Maureen Mestas | 505.310.1050

Canyon road | Commercial, 3 separate buildings | $4,975,000 MLs: 201401098 | ricky allen | 505.470.8233

Villa sErEna | 9 br, 11 ba, approx. 4.5 acres | $4,200,000 MLs: 201402291 | roxanne apple | 505.660.5998

664 Camino dEl monTE sol | 4 br, 6 ba, eastside | $2,495,000 MLs: 201402061 | ray rush & tim Van Camp | 505.984.5117

wEsT GoldEn EaGlE | Las Campanas, 3 br, 4 ba | $1,599,000 MLs: 201305698 | Brunson and schroeder team | 505.690.7885

9 Trails End CourT | 3 br, 3 ba, approx. 9 acres | $975,000 MLs: 201402500 | alan and anne Vorenberg | 505.470.3118

santa fe Brokerages 231 Washington avenue | santa fe, nM 87501 | 505.988.8088 326 grant avenue | santa fe, nM 87501 | 505.988.2533 417 east Palace avenue | santa fe, nM 87501 | 505.982.6207 sotheby’s International realty and the sotheby’s International realty logo are registered (or unregistered) service marks used with permission. operated by sotheby’s International realty, Inc., equal Housing opportunity.

Visit us at sothebyshomes.com/santafe to discover all of our extraordinary properties. Use the mls numbers in the ad to find out more about these featured properties.

We have no B list.

Santa Fe, NM | web: 0086505

No second tier. No coach class. When you list with us, you receive the full benefit of four decades of industry leadership. The power of a global network. And a culture of excellence that goes back centuries before that. Welcome to Sotheby’s International Realty. It is our pleasure to serve you.

santa fe brokerages grant avenue brokerage | 505.988.2533 Palace avenue brokerage | 505.982.6207 Washington avenue brokerage | 505.988.8088


Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc.

2232 WildERnEss aRRoyo | 4 br, 5 ba, 5 acres | $2,075,000 MLs: 201303307 | neil Lyon | 505.660.8600

thE EmERald homE | 3 br, 4.5 ba, LeeD Platinum | $1,980,000 MLs: 201401440 | Chris Webster | 505.780.9500

500 Camino sin nombRE | 4 br, 3 ba, eastside | $1,400,000 MLs: 201403009 | ray rush & tim Van Camp | 505.984.5117

853 East Camino RanChitos | 3 br, 3 ba | $1,275,000 MLs: 201400815 | roxanne apple | 505.660.5998

1001 PasEo baRRanCa | 3 br, 4 ba, approx. 4,266 sq. ft. | $1,200,000 MLs: 201403069 | ashley Margetson | 505.920.2300

833 Canada anCha | 3 br, 3 ba, 4,000 sq. ft. | $949,000 MLs: 201402235 | katherine Blagden | 505.490.2400

santa fe Brokerages 231 Washington avenue | santa fe, nM 87501 | 505.988.8088 326 grant avenue | santa fe, nM 87501 | 505.988.2533 417 east Palace avenue | santa fe, nM 87501 | 505.982.6207 sotheby’s International realty and the sotheby’s International realty logo are registered (or unregistered) service marks used with permission. operated by sotheby’s International realty, Inc., equal Housing opportunity.

Visit us at sothebyshomes.com/santafe to discover all of our extraordinary properties. Use the mls numbers in the ad to find out more about these featured properties.

1244 nortH SummIt | 5 br, 6 ba, approx. 6,006 sq. ft. | $2,250,000 MLS: 201203908 | Moo thorpe | 505.780.0310

418 Canyon | 3 br, 2 ba, 5 fireplaces, Eastside | $2,225,000 MLS: 201402240 | k. C. Martin | 505.690.7192

7 BlueStem | 4 br, 5 ba, guesthouse, Las Campanas | $2,000,000 MLS: 201402814 | k. C. Martin | 505.690.7192

13 IndIgo Court | 3 br, 4 ba, approx. 4 acres | $1,385,000 MLS: 201401689 | Caroline Russell | 505.699.0909

145 general goodwIn | Equestrian Oasis on 40 acres | $1,295,000 MLS: 201304518 | Maureen Mestas | 505.310.1050

18 avenIda la SCala | 2 br, 2 ba, Casas de San Juan | $575,000 MLS: 201401752 | Jill Benjamin Blankenship | 505.310.2079

Santa fE BROkERagES 231 Washington avenue | Santa fe, nM 87501 | 505.988.8088 326 grant avenue | Santa fe, nM 87501 | 505.988.2533 417 East Palace avenue | Santa fe, nM 87501 | 505.982.6207 Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc., Equal Housing Opportunity.

Visit us at sothebyshomes.com/santafe to discover all of our extraordinary properties. Use the mls numbers in the ad to find out more about these featured properties.

Join Us in oUr new space p e t e r s

g a l l e r y ,

s a n t a

f e

All i mAg es Š 2014 courte sy g e rAld P e ters gAl l ery

g e r a l d

in august 2014 the Gerald peters Gallery will debut in the historic Bandelier House just a few steps from our former location. For further information call 505.954.5700 or visit www.gpgallery.com

gerald peters galleryÂŽ

1 0 0 5 pa s e o d e p e r a lta , s a n ta f e ,

new mexico 87501

g p g a l l e r y. c o m

S AN T I AGO Grace, August 1 – 16, 2014 Artist Reception: Friday, August 1st, 5 – 7 pm in Santa Fe

A Young Man’s Fancy, oil on linen, 34" h x 48.5" w

Blue Rain Gallery|130 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary|7137 East Main StreetScosdale, AZ 85251 | 480.874.8110

Tile Lighting Hardware Bath Accessories Fans Featuring Everything Rocky Mountain Hardware, Tile, Lighting, Bath Accessories and Plumbing Fixtures

621 Old Santa Fe Trail • Santa Fe, NM 87505 Tel: 505.986.1715 • Fax: 505.986.1518 Monday - Friday • 9am-5pm www.allbrightlockwood.com

Photo: Kate Russell

Sho w r oom H our s 9 - 5 M - F 111 N . Sai nt Fr a n c i s D ri ve S a n t a Fe 505. 988. 3170 ~ D a vi d N a yl o rI n t e ri o rs . c o m

James Surls

On view  through Sunday,  August  10th,  2014   image:  James  Surls,  Rough  God  4,  2010 steel  sculpture,  67  x  84.5  x  60  inches



High Performance Audio Systems · Home Theater · Surround Sound Systems · Easy-To-Use Remote Controls · iPad, iPhone & Android Integration


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Juan Siddi


July 27, August 3 & 9

August 30 All shows at 8:00pm

All shows at 8:00pm

For more information visit

For more information visit


SEE EXTRAORDINARY DANCE AT Tickets: 505-988-1234 or online at www.aspensantafeballet.com CORPORATE SPONSORS 





Family Foundation

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.




PAUL RHYMER New Works & Bronze Demonstrations 225 Canyon Road August 21-24 11 - 4 pm Sculpting on-site a NEW life-size Mountain Lion

MANITOU GALLERIES 225 Canyon Rd. 505.986.9833 (Canyon) 123 W. Palace Ave. 505.986.0440 (Palace) Santa Fe, NM 87501 ManitouSantaFean.com

Song Dog, bronze, 64” x 45” x 30” photo: Hawkinson Photography, LLC

Santa Fe Renaissance Fair In New Mexico, a Renaissance Fair should have Spanish flair.



BOW to Their Majesties Queen Isabella & King Ferdinand CHEER on the brave pursuits of jousting, medieval sword fighting and Celtic games INDULGE in flamenco, belly dance, a falcon show and other live entertainment on three stages REVEL in the amazing antics of Santa Fe’s own Clan Tynker Kids! DEFEND the Spanish Galleon from marauding pirates! WIN treasure while playing Catapulting Frogs, Jacob’s Ladder and other games of knightly skill DRESS in your most elegant finery and compete for prizes in the costume contest EXPERIENCE aspects of life in a Medieval Village SPEND your hard-earned gold with vendors sellling shields, blades, cloaks, turkey legs, jewels, ale & mead and more ...and MUCH MORE! All at El Rancho de las Golondrinas, a 200-acre Spanish ranch and living museum!

505 - 471-2261 Sept 20i r.o & 21, sf re nfa rg 2014

505-471-2261 www.sfrenfair.org Presented in partnership with the Interfaith Community Shelter

Presented in partnership with the Interfaith Community Shelter. Support provided by the Santa Fe County Lodgers’ Tax Advisory Board, New Mexico Arts and Santa Fe Arts Commission. Photo by Charles Mann.



Distinctive Homes, Homesites and Neighborhoods Las Campanas, Santa Fe Located in the artistic town of Santa Fe, Las Campanas sits on 4,700 secluded acres surrounded by high desert preserve and mountain views. Home to The Club at Las Campanas, a private club featuring a state-of-the-art Fitness Center complete with Tennis, Pools, and Spa, a world-class Equestrian Center, two award-winning Jack Nicklaus Signature Golf Courses, and the Hacienda Clubhouse. Las Campanas is the spirit of community refined.

Spectacular views on one to four acre custom homesites starting at $70,000 and homes starting in the high $400,000s.


218 Camino La Tierra, Santa Fe, New Mexico 87506

800.686.0997 | info@LasCampanasRealty.com | LasCampanasRealty.com

This promotional material is not intended to constitute an offering in violation of the law of any jurisdiction. Lot reservations or conditional sales only may be currently offered in certain neighborhoods. No binding offer to sell or lease this property may be made or accepted prior to delivery of a disclosure statement for the property that complies with applicable state law, including the New Mexico Subdivision Act. These materials and the features and amenities depicted herein are based upon current development plans, which are subject to change without notice. All lot owners are eligible to apply for membership to the private clubs; however, lot ownership is separate from club membership and does not provide any guarantee of acceptance. Additional membership fees and restrictions apply. Prices are subject to change without notice. Š2014 Las Campanas Residential Holdings, LLC and Las Campanas Realty, LLC. All rights reserved.

Jacqueline’s Place

Caffe Greco

open Daily 7:30aM – 8PM

P laza de S uenos y M ilagros Jewel Mark 505.820.6304 • Jacqueline’s Place 505.820.6542 caffe Greco 505.820.7996 once you have stepped into our world you won’t want to leave 233 canyon road • santa fe, new Mexico 87501 • JewelMark.net




222 Galisteo Street, Santa Fe, New Mexico 87501 505.989.7948 • MediterraniaAntiques.com


Invitation, AC/Panel, 48" x 52"


Cor ner of Lincoln & M a r c y

(575) 642-4981 • DRCONTEMPORARY.COM

August 15th “Archetype” 5-8 PM • August 29th “Juxtaprose” 5-8 PM September 12th “Landscapes from the Archives” 5-8 PM • September 26th “Inheritance by “Osmosis” 5-8 PM

TANSEY CONTEMPORARY WOMEN IN CULTURAL CONTEXT: A MULTI-MEDIA GROUP EXHIBITION August 29 - September 23 Opening Reception, Friday, August 29, 5 - 7 pm

Participating Artists Clea Carlsen Susan Taylor Glasgow Teri Greeves Krista Harris Patrick McGrath Muñiz Roger Reutimann Stephanie Trenchard Sheryl Zacharia Irina Zaytceva

Susan Taylor Glasgow “GOLDEN QUEEN HANGING CHANDELIER DRESS” Kiln formed glass, mixed media ~ 38" x 20" x 20"

Remembering the Legend


Friday | August 15th, 2014 Reception, 5 to 7pm Proudly representing the works of sculptor Dave McGary.

How would you like to be remembered? For having documented, with respect, the culture of Native American people. For being innovative and establishing my own techniques and style of work. I hope I have changed the way people look at bronze sculpture. For showing that there really are no limits in what is possible in bronze, that I can capture an amazing amount of detail and depth of color for another level of realism. -Dave McGary “Trophy Hunters” Eastern Woodland Series Bronze with Patina & Paint 33"h x 25"w x 18.5"d Limited Edition of 30

Proud to Represent Friday August 22, 2014 Reception, 5 to 7pm “Enchanted Lights” Oil | 8" x 10"

“Emerald Horizon” Oil | 20" x 16"

“The Yellow Nearby” Oil | 11" x 14" “Cottonwood Grove” Oil | 40" x 48"

225 Canyon Road | Santa Fe, NM | 505.983.1434 | www.meyergalleries.com

POP Gallery presents Nigel Conway


Established internationally in Contemporary art circles, Conway is expanding his vision in 2014 aligning himself With POP Gallery & the New Brow Contemporary art movement. Considered one of the most signiďŹ cant self taught artists of this decade, Nigel’s work provides a playful yet thought provoking alternative. !From concept to creation each layer of passion resonates a masterful celebration of medium and ideas, spirit and energy.

New brow contemporary art

(est. 2007) 125 Lincoln Ave. Santa Fe, NM 505.820.0788 Artinfo@popsantafe.com popsantafe.com



Half Moon 30" Bronze Edition of 15 Š David Pearson

patricia carlisle ene art inc

554 canyon road santa fe, new mexico 87501

Grecian Summer 67" Bronze Edition of 15 Š David Pearson Photos by Addison Doty

For personalized service call: toll-free 888-820-0596 To view the entire collection online: www.carlislefa.com



Balandrรกn Poncho Aymara Culture, Bolivia 17th - 18th century 86 x 64 inches Alpaca

July 25 - August 26, 2014


| R. C. Albin | Stone Furniture

Tselaa’ | stone, steel armchair | 43 x 33 x 40”


Brad Smith Gallery Proudly Presents

L isa

L i n c h

Straight Up with a Twist V , 60” x 60”, Oil on Canvas


634 Canyon Rd, Santa Fe, NM 87501 505.983.1133, www.bradsmithgallery.com

Tree Tapestry V , 48” x 36”, Oil

Broadening Horizons VII, 40” x 40”, Oil

We salute John Vazquez named to Barron’s Top 1,200 Advisors         For leading in a world that has changed. For perfecting the art of listening. For proactively responding to clients’ needs. For building strong relationships. We applaud John Vazquez and the entire Vazquez Portfolio Group for their most significant accomplishment—winning clients’ trust. Advice you can trust starts with a conversation.

Vazquez Wealth Management Group John J. Vazquez Senior Vice President–Wealth Management Senior Portfolio Manager 141 East Palace Avenue Coronado Building Santa Fe, NM 87501 505-989-5112 800-450-2843 john.vazquez@ubs.com

As a firm providing wealth management services to clients in the U.S., we offer both investment advisory services and brokerage accounts. Advisory services and brokerage services are separate and distinct, differ in material ways and are governed by different laws and separate contracts. It is important that clients understand the ways in which we conduct business and that they carefully read the agreements and disclosures that we provide to them about the products or services we offer. For more information clients should speak with their Financial Advisor or visit our website at ubs.com/workingwithus. UBS Financial Services and its affiliates do not provide legal or tax advice. Clients should consult with their legal and tax advisors regarding their personal circumstances. ŠUBS 2014. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG.



52 the arts and culture issue August / September 2014


55 Performing Arts Special

World-class musicians, dancers, and more

66 Show Time!

steven horak

Our guide to which artists to see and what shows to check out at dozens of galleries in and around town


departments 40 Publisher’s Note 42 Masthead

44 City Different The AHA Festival of Progressive Arts, Show House Santa Fe, and Santa Fe Concorso 48 Santa Favorites Shopping for gold jewelry 52 Adventure Take a ride back in time on the Cumbres & Toltec Scenic Railroad 54 Q&A Outlander series author Diana Gabaldon Ray Abeyta, Hold Fast, oil on canvas, 60 x 48"


91 Art Andean textiles at the William Siegal Gallery; profiles of Roseta Santiago, Rex Ray, and Judy Chicago; and gallery show openings

196 Dining Georgia restaurant, and top local chefs play musical kitchens

ore studios

206 Events August and September happenings 208 Day Trip Lake Katherine

gabriella marks

181 Living Modern simplicity in a Galisteo home and insights from interior designer Christopher Lowell

97 Native Arts A special magazine supplement focused exclusively on Native American art, artists, and culture


All that glitters is gold from Santa Fe’s galleries and shops



summer 2014


ON THE COVER Craig Kosak, Luna Rising, oil on canvas, 36 x 36". See page 179 for info about Kosak’s upcoming show at Giacobbe-Fritz Fine Art.


For many years, I had the great pleasure of living with a Kevin Red Star painting. Over time the painting evolved for me, as I began to notice new meanings and compositions within the work. At one point, Kevin—whom we write about on page 32 of Native Arts magazine, which is included in this issue of the Santa Fean— came to my house for a visit and stopped in front of the painting, looking at it as only an artist can. I allowed him that time of reflection and then asked if he was still painting it in his mind all these years later. He explained that no, the painting was complete. His reflections were on where he had been in his life emotionally when he painted the piece. (It was a good place.) While many artists—whether visual, musical, or literary—go through times of distress or exultation, it’s their emotions that move their creativity. Many musicians, for example, describe writing a hit song following an emotional experience they had or in response to the joys or sorrows of romantic love. In a world where our emotions aren’t always recognized, the arts here in Santa Fe put us in touch with them. Feeling an emotion because of a piece of art or a musical composition makes that emotion significant. There are a lot of emotions to pull from, given the breadth of art forms represented in Santa Fe and in this issue of the Santa Fean. Emotional performances of chamber music, opera, symphonic works, salsa, and rock can be found throughout the city. N. Scott Momaday’s poetry touches us in ways that transcend any cultural differences; Yefim Bronfman’s piano performances vibrate with an intensity that stirs the emotions; Dwight Yoakam’s emotional songs have long touched my heart; and I’m always moved by the connection to nature that many Native American art forms recognize. Also, the abundant and varied jewelry designs available around town show a creativity from the designers that only emotions could have initiated. And finally, there’s fine art. For me, it’s always about how a piece of art makes me feel that allows me to judge its value. The feeling comes directly from the emotions of the artist. Open your eyes and your ears. As you experience our lovely city, don’t miss any of the creativity and feelings that are yours to enjoy. They’re all very special, especially your emotions that come from art.


LIVE Plaza Webcam




Inside: Native Arts Magazine • Scenic Rides on a Historic Railroad • 125+ Galleries and Museums

publisher’s note

For up-to-the-minute happenings, nightlife, gallery openings, and museum shows, visit SantaFeanCalendar.com. You can also sign up for Santa Fean’s E-Newsletter at SantaFean.com.

| O V ERHE A R D | Q: What’s Santa Fe’s most overlooked art or cultural activity? “The smaller performing arts groups. Visitors and residents should check the calendar on santafe.org to find these hidden values. All of our performing arts organizations contribute to what makes Santa Fe so special, but these sometimes undiscovered offerings make it even more unique.” —Randy Randall, executive director, Santa Fe Convention & Visitors Bureau and Santa Fe Community Convention Center 40


“Santa Fe Opera apprentices! They can be heard everywhere: at the Plaza’s bandstand, Whole Foods, the Four Seasons at Rancho Encantado, and churches during Sunday morning services, including the special community concert at First Presbyterian Church. These talented young singers are out there doing what they love to do—sing!” —Charles MacKay, general director, Santa Fe Opera

august/september 2014

“I’m biased, but I have to say CCA! We produce 15-plus exhibitions each year, organize a ton of public programs, screen thousands of movies, throw parties, create meaningful dialogue, work with hundreds of local partners, and more. We’ve been doing it for 35 years and still a lot of people don’t know about CCA!” —Erin Elder, visual arts director, Center for Contemporary Arts

“My background is in marketing, and this is a broad-stroke answer, but I think with the many wonderful cultural events going on in Santa Fe, the most challenging thing for me is to be aware of what’s going on. Fewer art and cultural activities will be overlooked with the addition of vehicles like the Santa Fean’s [new weekly, calendar-based magazine] Santa Fean NOW. —Bill Hester, owner, Bill Hester Fine Art

Lands of Enchantment

Peach Tree  Orchard  by  Inger  Jirby      |      Photo  Credit  by  Dan  Morse

by Inger Jirby

Join us for an evening with Inger Jirby as she shares her passion for the enchanting landscapes and orchards of New Mexico Presented by Wiford Gallery on September 5 - 18, 2014


403 Canyon Road, Santa Fe, NM 87501 | 866 . 594 . 6554 TOLL FREE | 505 . 982 . 2403 OFFICE | 505 . 982 . 1076 FAX | wifordgallery.com

bruce adams




b.y. cooper

amy hegarty


cristina olds amy gross


sybil watson


michelle odom

rachaud archuleta john vollertsen

ginny stewart-jaramillo



andrea nagler WRITERS

ashley m. biggers, gussie fauntleroy hannah hoel, steven horak charles c. poling, k. annabelle smith eve tolpa, barbara tyner, emily van cleve PHOTOGRAPHERS

lisa law, gabriella marks douglas merriam, kate russell A PUBLICATION OF BELLA MEDIA, LLC FOR ADVERTISING INFORMATION

215 W San Francisco St, Ste 300 Santa Fe, NM 87501 Telephone 505-983-1444, fax 505-983-1555 info@santafean.com santafean.com SUBSCRIPTIONS

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Stunning Home Décor Museum Quality Fossils Contemporary Jewelry Outstanding Minerals 127 W. San Francisco St. Santa Fe, NM 87501 505.984.1682

110 South Plaza Taos, NM 87571 575.737.5001


Copyright 2014. Reproduction in whole or in part without permission is prohibited. Santa Fean (ISSN 1094-1487 & USPS # 0018-866), Volume 42, Number 4, August/September 2014. Santa Fean is published bimonthly by Bella Media, LLC at 215 W San Francisco St, Ste 300, Santa Fe, NM 87501, USA, Phone (505) 983-1444. © Copyright 2014 by Bella Media, LLC. All rights reserved. CPM # 40065056. Basic annual subscription rate is $14.95. Annual subscription rates for Canada & Mexico is $24.95; other international countries $39.95. U.S. single-copy price is $4.95. Back issues are $6.95 each. Periodicals postage paid at Santa Fe, NM and additional mailing offices. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address corrections to Santa Fean, P.O. Box 16946, North Hollywood, CA 91615-6946. Subscription Customer Service: Santa Fean, P.O. Box 16946, North Hollywood, CA 91615-6946, Phone 818-286-3165, Fax 800-869-0040, sfecs@magserv.com, Monday–Friday, 7 am –5 pm PT. www.santafean.com

convenient parking at rear of showroom

photo Š Wendy McEahern

405 Paseo de Peralta, Santa Fe, NM 87501 505.983.3912 | www.vrinteriors.com

Full Service Interior Design Antiques, Home Decor, Objects 405 Paseo de Peralta, Santa Fe, NM 87501 505.983.3912 | www.vrinteriors.com convenient parking at rear of showroom

the buzz around town by Cristina Olds

The AHA Festival of Progressive Arts presents emerging and alternative arts to Santa Fe audiences. Dedicated to celebrating a range of disciplines and featuring works that both push boundaries and redefine genres, the festival includes musical acts, art installations, gallery-style booths, interactive events, and more. “Participants get exposed to new audiences and make new connections, but we think the real value of the festival is to give people something local to aspire to instead of them [having to] move to New York City or Los Angeles,” says festival director Shannon Murphy. “More than 75 percent of our artists are local,” she adds. With applications coming in from around the world, and with the festival entering its fourth year, “We’ve been really thrilled with the response,” Murphy says. “People consistently say they had no idea that there were so many talented young artists, and in fact young people, in Santa Fe. But we’re not just about young people—we’re trying to unite different generations around art and music that’s non-traditional and progressive.” The festival is being held from 7 pm to 2 am on September 13 at El Museo Cultural de Santa Fe and from 1 pm to 10 pm on September 14 on Santa Fe’s Railyard Plaza. F ESTI VA LS



august/september 2014

Installation artist Thais Mather with her 2013 AHA Festival exhibit Be… Longing, which catalogued a Santa Fe couple’s lawn art collection at their home on Agua Fria Street. Above: Artist Jamie Gordon West sits in her Fat Camp booth, which she describes as “a juicy rainbow mashup that leads viewers into a catatonic camping state of mind.”

brandon johnson

AHA Festival of Progressive Arts

JEREMY THOMAS Ditching the Cardigan August 1 - August 31

CHARLOTTE JACKSON FINE ART Tel 505.989.8688 | 554 South Guadalupe Street, Santa Fe, NM 87501 | www.charlottejackson.com Super Duty Yellow, 2013, forged mild steel, powder coat and lacquer, 54 x 88 x 60 inches

Show House Santa Fe After its successful inaugural outing in 2013, which raised $21,000 for local schoolchildren, Show House Santa Fe is back for its second year, and the event is expected to be bigger in every way this time around. In October, some of the nation’s hottest designers are taking over a 13,000-square-foot historic home and reimagining 20 of its rooms to reflect the theme of what organizers are calling “Ancient-Future.” “Ancient-Future recognizes the enduring influence of Santa Fe style while embracing innovation and the unique needs of our evolving lifestyles,” says David Naylor of David Naylor Interiors, who’s co-chairing the event with Jennifer Ashton of Jennifer Ashton Interiors. “With this updated and rebranded version of Santa Fe style, what was once becoming a cliché now perpetuates the appeal of a continually evolving aesthetic that’s grounded in history but fully invested in a future that reinvents the style in exciting new ways,” Naylor adds. Casa La Luna, the recipient of the world-class decorating, melds Pueblo and Territorial styles with its original 1920s features, such as hardwood floors, rosewood ceilings, and extensive stonework quarried from the home’s land. “We’ll honor the timeless elements of the past—wood, stone, and adobe— along with the striking design elements that remain contemporary even after hundreds of years,” Naylor says, “but we’ll also incorporate new materials and blend them seamlessly to create an appealing vision of modern life in an ancient setting.” In addition to Naylor and Ashton, the designers participating in this year’s Show House include Catherine Clemens, Jeff Fenton, Kenneth Francis, Heather French, Natalie Fitzgerald, Edy Keeler, Emily Mingenbach-Henry, Gloria Moss, Mandana Nowroozian, Annie O’Carroll, Erica Ortiz, Chandler Prewitt, Greg Purdy, Karen Rizzo, Mary Ann Salomone, Lisa Samuel, Patti Stivers, and Marty Wilkinson. The designers “were chosen for their collected and unique talents,” Ashton says. “Whether East Coast, Texan, Angelino, San Fransicsan, or Santa Fean, we represent the colors of the land.” Show House’s sponsors, Lisa and David Barker of Barker Realty and Christie’s International Real Estate, are providing the venue, plus marketing and planning support. Proceeds from the event will benefit Dollars4Schools, a nonprofit organization that funds a variety of programs for Santa Fe–area schools, and The Lensic Performing Arts Center’s children’s programs. For more information, visit showhousesantafe.com. design



august/september 2014

Casa La Luna will receive the star treatment when top interior designers overhaul 20 of its rooms for Show House Santa Fe.

kate russell

Rare cars will fill the expansive grounds at The Club at Las Campanas during this year’s Santa Fe Concorso.

PETER BARASSA Photo courtesy Indianapolis Motor Speedway Foundation

This 1938 Maserati, which Wilbur Shaw drove to victory in the 1938 and 1940 Indy 500, will be on display at the 2014 Santa Fe Concorso.

Santa Fe Concorso cars For the fifth year in a row, Santa Fe Concorso (held September 26– September 28) welcomes auto enthusiasts from around the world to view an impressive fleet of rare cars and exotic motorcycles at The Club at Las Campanas. The event kicks off with VIP events at the Santa Fe Municipal Airport, where Indy 500 stars like Parnelli Jones, Johnny Rutherford, Al Unser Sr., and Al Unser Jr. share stories from the racing pits and talk abour their favorite cars, which will be on display. On Saturday, people who’ve entered cars in the show can enjoy an open-road Mountain Tour, during which they’ll drive to the nearby town of Cerrillos for a barbecue lunch before heading to Las Campanas, where their cars will be on view. A VIP dinner that evening allows roughly three-dozen people to dine with legendary Formula One driver Sir Stirling Moss and his wife, Lady Susie Moss, and the following day, during the main event, expert judges give out Best in Class, Best of Show, and other awards. The volunteer-run Concorso raises funds for local youth charities, collecting $50,000 in its first three years. For more information, visit santafeconcorso.com.


striking gold st un n i ng a nd or ig i na l h a nd c raf t e d g old je w el r y a b ound s i n Sa n t a Fe by K . Annabelle Smit h photo graph y by Ga briella Ma r ks

Left to right: Staurolite pendant in 22-kt gold and oxidized sterling silver on a 23-kt gold Thai baht chain; scenic rutile quartz ring in 18- and 22-kt gold, platinum, palladium, and oxidized sterling silver; Mau Tsit Tsit bracelet in 18-kt gold, oxidized sterling silver, and steel; staurolite ring in 22-kt gold and oxidized sterling silver; goethite ring in 22-,18-, and 14-kt gold and oxidized sterling silver. All made by Falk Burger. At The Golden Eye.

In Santa Fe, a town known for its hundreds of galleries and world-famous art district, art isn’t just what you hang on your walls or place on your bookshelves—it’s what you adorn your body with, too. And while Santa Fe style is synonymous with turquoise and silver, gold has always held a huge allure for locals and visitors alike, thanks to the intrinsic beauty of the mineral and the brilliance with which top artists transform it into custom jewelry pieces. Here are just a few of our favorite galleries and shops selling one-of-a-kind items that will have you making both fashion and artistic statements. Patina Gallery (patina-gallery.com) is known for its meticulously handcrafted fine-art jewelry, which makes for a “soul stirring” browsing and buying experience, says co-owner Ivan Barnett. The contemporary space, which also sells 21st-century paintings and sculptures, features pieces curated from more than 100 exhibitions around the world over the last 15 years, including 18- to 24-karat gold items. Popular right now, Barnett says, are pieces featuring a mixture of oxidized silver and gold that play with a variety of textures and stones. While the space may be small, the options are numerous—yet selective—at Fairchild & Co. (fairchildjewelry.com), which features handcrafted works by owner Valerie Fairchild and four other artists. “I’m influenced by nature, history, and different cultures, and by living in Santa Fe,” Fairchild says. “Art

Rings at Fairchild & Co: Two 14-kt rose gold “Quetzal” bands by Valerie Fairchild and an 18-kt white-gold diamond eternity band by Michael Tatom.

Mozambique Paraiba tourmaline ring with emerald cabochons in 22-kt gold by Valerie Fairchild. At Fairchild & Co.



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Handmade “Alexander” ring in 23-kt yellow gold and sterling by Cuneyt Akdolu. At Things Finer.

Handmade 24.99-ct aquamarine and opal pin with 18- and 24-kt gold by Nancy Michel. At Patina Gallery.

surrounds us.” Fairchild is well versed in the national jewelry trends, but she prefers to make items that out-of-towners won’t find back home. Her pieces stand out for their unusual gems and various-colored golds, and for the range of techniques used to create them. “My designs are made in Santa Fe, not Hong Kong,” she says. “We don’t open boxes; we start from a pencil sketch.” Tresa Vorenberg Goldsmiths (tvgoldsmiths.com) represents more than 35 artists who make striking designer jewelry, from sleek modern pieces to intricate heirloom items. Vorenberg has seen numerous jewelry trends run their course over the last few decades, but today modern, stackable rings that can be collected like high-end charm bracelets are capturing the hearts of Canyon Road shoppers, and rose gold, which first gained attention in the 1920s, is enjoying renewed popularity. For truly singular pieces, check out artists like Evy, who practices the ancient technique of granulation, and Heyoka Merrifield, a Native American shaman who’s known for his “Epona” necklace, named for the Celtic horse goddess and featuring images of a woman’s face and a horse’s head that morph into each other, depending on the angle and perspective. Charlotte Fine Jewelry (charlotteshop.com) is known for interchangeable modular jewelry items imported from the company’s parent manufacturer, Charlotte Ehinger-Schwarz 1876, in Germany. “Our line of jewelry offers the possibility to transform a ring or a necklace into a casual and less precious piece by simply changing its components,” says co-owner Dorothee Maier.

“Ear-rangements” white-diamond and 18-kt gold hoops with garnet Geneva drops in 18-kt gold. At The Golden Eye.

Necklace by Nancy Michel with grossular garnet beads (tsavorite) and 22-, 18-, and 24-kt gold. At Patina Gallery.

Ceramic rings with interchangeable 18-kt rose gold centers. At Charlotte Fine Jewelry.

Forged 18-kt yellow-gold wrap bracelet with a round brilliant-cut diamond in a square setting by Ulla and Martin Kaufmann. At Patina Gallery.

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Red diamonds set flush in a 14-kt rose-gold band by Tresa Vorenberg. Cut white topaz in an 18-kt rosegold necklace by Evy. At Tresa Vorenberg Goldsmiths.

Above: Cognac diamond and 22-kt rose-gold earrings with granulation by Valerie Fairchild. At Fairchild & Co. Left: Necklace by Wolf-Peter Schwarz with green amber set on enameled leaves on a strand of fresh-water pearls. At Charlotte Fine Jewelry.

Indeed, the options here are endless: combine stainless steel, sterling silver, 18-karat gold, palladium, and platinum to customize your jewelrywearing experience. Unlike most stores in town, Charlotte doesn’t carry any turquoise, and all of its artists live in Germany. Things Finer (thingsfiner.com) feels less like a store and more like the private boudoir of a long-ago queen. The space is filled with a range of luxurious items—from silver candlesticks to lace tablecloths—but be sure to check out the antique and estate jewelry. “We love items that integrate high-grade gold with Venetian glass, ancient bronze, silver, or antique stone seals,” says co-owner Elizabeth Pettus. “These pieces are particularly wearable because they cross over between elegant and casual, are usually one of a kind, and are easier to mix and match, especially with other mixed-metal and color items.” The Golden Eye (goldeneyesantafe.com) specializes in handcrafted gold jewelry that pops with diamonds, pearls, and colorful gemstones like turquoise, sapphire, agate, chrysoprase, tourmaline, and spinel. Seventyfive percent of its pieces are made by local jewelers in a studio in Santa Fe, and local shoppers know the store for its stackable rings and cleverly titled Ear-rangements, a “hoop and dangle earring system” that allows you to mix and match your favorite pieces. Owner Amy Bertelli refers to The Golden Eye’s overall aesthetic as “ancient futurism”—a term that hints at both a Cleopatra-like regality and a forward-thinking design sensibility—and notes that the integration of high-grade gold with nontypical materials like glass and steel is one of the things that makes her store’s jewelry stand out. “We use more unusual materials,” she says. “One artist uses found objects—from screws and bolts to handmade glass beads— but more important than anything else, we make wearable and comfy jewelry. It’s about how it makes you feel.”

Right: Oxidized sterling silver, 22-kt yellow gold, natural color Fancy Intense Yellow diamonds, and rosecut black diamond ring by Valerie Fairchild. At Fairchild & Co.



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“His and Hers” titanium bands with diamonds set in rose-gold or yellow gold. At Charlotte Fine Jewelry.


Eric Faust 505 780 1 159

Keith Gorges 505 780 1 152

Kurt Faust 505 780 1 157

Santa Fe’s most inspired builders are also the city’s most knowledgeable real estate team TierraTeam. Brokers with Sotheby’s International Realty


time travel t a ke a tr ip to a byg on e e ra along t he Cumbre s & Tolt e c Sce nic R ail r oa d text a nd photo graphs by Ste ve n Horak

Decades-old steam engines wind along narrow-gauge tracks between Chama, New Mexico, and Antonito, Colorado.

From late May until mid-October, jet-black steam engines and handsome passenger cars from a bygone era wend their way along the three-foot-wide train tracks of the Cumbres & Toltec Scenic Railroad, which stretches from Chama in Northwestern New Mexico to Antonito in Southern Colorado. Completed in 1880, the Cumbres & Toltec is the highest narrow-gauge railroad in the country, but for most riders that’s not the principal source of its appeal: It’s the chance to experience a slice of train travel as it was in its heyday, when the journey itself was one to be savored and passing sights could be lingered upon. That the Cumbres & Toltec Scenic Railroad employs decades-old engines and that the track has changed little since its inception is borne less from a place of nostalgia than from a deep appreciation of something that is unique. Much of the railroad has endured—from the trains themselves and the methods and tools used to maintain them—and so too has the leisurely pace and interesting landscape that combine to make the trip so memorable. As the railroad’s president and general manager, John Bush, points out, “Not only will passengers see the same scenery riders saw 130 years ago, but they’ll experience it the same way.” Soon after departing Chama, the train begins its long and steady ascent into the rarified air of the 10,015-foot Cumbres Pass in Colorado, the highest point on the line. Along the way and beyond, the narrowness of the track affords a series of sharp bends that often yield dramatic shifts in scenery— from pastoral farmland to rock-hemmed valleys bisected by winding rivers. 52


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Distances aren’t measured in miles (there are 64 in all) or in state border crossings (there are 11), but rather by historical and landscape markers with evocative names like Tanglefoot Curve and Hangman’s Trestle. Following a lunch break in Osier, Colorado, the train descends into sagebrush country— prime territory for pronghorn antelope, which can sometimes be seen darting off in the distance. Around midafternoon, the train reaches the end of the line at the Antonito station; from here, a modern coach brings passengers back to where it all began in Chama. While it’s possible to ride the Cumbres & Toltec Scenic Railroad on a day trip from Santa Fe, it’s worth planning an overnight stay in Chama, perhaps taking time to explore the rail yard and stopping by the High Country Restaurant and Saloon for dinner or the Boxcar Cafe for breakfast. Built not long after the railroad, the Gandy Dancer, a Victorian bed and breakfast inn, is one of the prettiest places to stay in town, just a short stroll from the station. For help planning your trip, visit cumbrestoltec.com.

Locomotive no. 489 is part of the Cumbres & Toltec’s coal-fired fleet.

| Q + A |

Diana Gabaldon t he aut hor of t he hugely popula r Outla nde r se rie s t alks about he r wor k, he r wr iting pr o c e s s, a nd t he ne w TV show ba se d on he r bo oks by Ash le y M. Big ge rs

Elenna Loughlin

torical information and like to feel they’re learning something while being entertained. What it comes down to in the end is the interest in the characters. [The fans] believe they’re real—and they are to me! It’s the reality and the honesty of these characters. They love these people.

Diana Gabaldon

Fans of the wildly popular Outlander book series have two debuts to celebrate this summer: the June release of Written in My Own Heart’s Blood, the eighth novel in The New York Times best-selling series, and the August 9 premiere of a Starz TV show based on the novels. Dr. Diana Gabaldon, author of the Outlander books, holds three degrees in fields of science and was a professor at Arizona State University when, in 1989, she began penning her first sci-fi/historical/romance novel about Claire, a married combat nurse. Claire is inexplicably swept across time and space from 1945 to 1700s Scotland, where she marries a dashing Scottish warrior named Jamie Fraser and is subsequently pulled between two men and two irreconcilable lives. Although Gabaldon makes her permanent home in Scottsdale, Arizona, the writer spends, on average, a week every month in Santa Fe. Here she talks about her stories, her fans, and how the City Different fuels her creativity. Why do you think your Outlander series has struck such a chord with readers? Many people like the sense of adventure and discovery. Some like the medical details and the things Claire does. Some like the sense of his54


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Describe your writing process. I don’t plan books ahead of time. I don’t write with an outline or in a straight line. I look for a kernel, anything I can see or think concretely. Then I sit there and stare at the sentence, looking at structure and euphonious words. That’s straight craft occupying the front of my brain. Meanwhile, the back of my brain is kicking up compost, asking random questions [about a scene]. Sometimes the kernel disappears in the writing, but it’s the foothold on the page. I don’t write rough drafts. When it’s done, I’ll have gone over it hundreds of times, and it will be done and the best I can make it, and it won’t change again. . . . It’s kind of organic. If I can’t think of a kernel, I’ll flip through historical references. The research occurs concurrently to the writing. For example, I’ll wonder what’s going on in 1778/1779 America [the setting for Written in My Own Heart’s Blood]. Then I find it’s the Battle of Monmouth—so that becomes the central historical event of the book. But that’s only the background level. What really happens is to the people. What is your plan for the series? I don’t plan books, so I don’t know how many more there’s going to be. I do know there’s going to be another book, because I haven’t finished telling the story. Nine might be the end, but I don’t know until I write it. How does Santa Fe fuel your creative process? Essentially it gives me a relaxed, quiet place to write. There’s less bustle and hubbub here. . . . My daily routine is more limited and more focused. When I’m working hard toward the middle and latter parts of a book, I’m just writing and walking my dogs and going to lunch with my husband. What do you and your husband enjoy doing when you’re in town? We have little rituals. When we arrive, we go to Rio Chama for chips, salsa, and guacamole.

We’ll have a glass of wine. On Mondays, we have hot dogs at Chicago Express. Once during a stay we go to The Compound, but mostly we eat at home. We have fajitas on the Plaza, weather permitting. How involved have you been in the adaptation of your books to the screen? By the terms of our contract, I’m a consultant, which means they are polite enough to ask about things but not under any legal obligation to follow what I say. By and large, they’ve done a fabulous job. Sometimes I happen upon things and I’ll tell them, “Oh, that wouldn’t have happened in Scotland for another hundred years.” So they make a change. [Gabaldon also makes a cameo in one of the 16 episodes this season, but she can’t reveal which one.] How faithful is the adaptation? As far as adaptations go, it’s very faithful indeed. Eighty to 85 percent of what you see on screen is from the books. Of course, because it’s episodic TV, they have to design story arcs in sets of an hour rather than following the arc of the novel, which is a thing in itself. So they’ll move scenes around; it’s not in the same linear sequence of the book. It’s recognizable as Outlander to anyone who’s read the book. The adaptation gives it an air of novelty. Even I don’t know what’s going to happen at any given moment.

all the city’s a stage

Santa Fe is known around the world for its performing arts scene, thanks to top-notch offerings like the Santa Fe Opera and Santa Fe Chamber Music Festival. On the following pages, we highlight just a handful of the organizations whose programs you won’t want to miss, but there are many others you should check out as well, from Performance Santa Fe and the Santa Fe Desert Chorale to Theater Grottesco and Wise Fool New Mexico. Whatever your interests—music, dance, theater—Santa Fe has them covered.

ken howard

Santa Fe Opera’s 2013 production of Verdi’s La Traviata

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Santa Fe Chamber Music Festival

the 42nd annual event offers classic works, newly commissioned pieces, and performances by its world-renowned artist-in-residence by Ashley M. Biggers

Bronfman makes three festival appearances this summer: in a performance of Brahms’s Piano Quintet in F Minor (August 17), in a solo recital playing Prokofiev’s Piano Sonata No. 6 in A Major (August 19), and in a performance of Beethoven’s Piano Trio in B-flat Major (the “Archduke,” August 21). In his solo recital, Bronfman also plays a piece Neikrug composed for him called Passions, Reflected. “Knowing that he would play it, it allowed me to write a dramatic piece,” Neikrug says. “I knew he would gobble it up and throw it back into the audience.” In addition to Bronfman’s concerts, the festival, which runs through August 25, offers dozens of programs that feature both established masterworks and exciting new pieces—a blend that has become a festival hallmark. Neikrug says he tries to program the festival as though he were a DJ with 400 years of music at his fingertips. “I imagine sitting in a little room with, say, 500 CDs. I take one down and play a song, then move on to the next.” Even when programming works by old masters, Neikrug occasionally selects unusual or little-known pieces, as he’s done with two allBeethoven programs (August 20 and 21). The concerts feature the composer’s last works for each instrument (piano, cello, etc.) and ensemble, including a rarely performed fugue for string quartet. Both performances are preceded by a talk given by Beethoven scholar William Kinderman. Original works round out the 2014 playlist. The festival has 56


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The Santa Fe Chamber Music Festival’s first-ever Music & Wine Gala on July 22 featured a private performance in St. Francis Auditorium, a four-course dinner with wine pairings, and a silent auction of fine wines under the stars at La Posada de Santa Fe Resort & Spa.

Dario Acosta

Pianist Yefim Bronfman, the Santa Fe Chamber Music Festival’s 2014 artist-in-residence, “makes the biggest sound I’ve ever heard on a piano,” says artistic director Marc Neikrug.

Grammy Award–winning pianist Yefim Bronfman is the Santa Fe Chamber Music Festival’s 2014 artist-in-residence.


Powerhouse piano player Yefim Bronfman, fresh off an artist residency with the New York Philharmonic, headlines the 2014 Santa Fe Chamber Music Festival as artist-in-residence. “He’s a gigantic player. He makes the biggest sound I’ve ever heard on a piano,” says Marc Neikrug, the festival’s artistic director. Bronfman doesn’t just tickle the ivories. The Grammy Award winner has a rare dynamism and physical power. (In previous interviews he’s joked that he looks like he should be moving pianos, not playing them.) “His personality fills a 2,000-seat concert hall and grabs everybody by the neck,” Neikrug notes. “This is really exciting, electrifying playing.”


InSight Foto Inc.

commissioned more than 60 compositions since 1980, and this year’s audiences can attend the U.S. premiere of a work for string quartet and voice by Australian composer Brett Dean, one of the most internationally performed composers of his generation, and the U.S. premiere of a string quartet by English composer Julian Anderson. American composer Lowell Liebermann’s Four Seasons, scored for winds, strings, piano, and voice, receives its New Mexico premiere. In addition to the virtue of exposing audiences to new music, Neikrug believes these commissions remind audiences of the vibrancy of composers long past. “Subconsciously you understand that at one time Mozart and Beethoven were young composers. There’s a tendency to see this like a museum. You forget that composers were not always dead; they were living, creating.” The Santa Fe Chamber Music Festival runs through August 25. Santa Fe concerts are held at St. Francis Auditorium at the New Mexico Museum of Art and The Lensic Performing Arts Center. For more information, visit Left6/19/14 to right: Lily Francis, santafechambermusic.com. TSFO 2014 Santa Fean 1-2 pg_TSFO 2014 JIN back cover 1:22 PM violin; PageInon 1 Barnatan, piano; Ronald Thomas, cello; and Teng Li, viola


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. . . all at THE SANTA FE OPERA







Mark Nohl photo

Huang Ruo

A R R I V E E A R LY W I T H A TA I L G AT E S U P P E R T O E N J O Y T H E S U N S E T A N D M O U N TA I N V I E W S An Incredible Setting




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Santa Fe Opera the world-renowned company’s 58th season offers powerful performances of new and familiar works by Charles C. Poling



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Soprano Brenda Rae as Violetta in Santa Fe Opera’s 2013 production of Verdi’s La Traviata

ken howard

During early rehearsals for Santa Fe Opera’s 2014 season, the cast logged extra hours learning to wrap their voices around the unfamiliar words in Chinese-born American composer Huang Ruo’s Dr. Sun Yat-sen, which made its U.S. premiere on July 26 and can be seen again on August 8 and August 14. SFO General Director Charles MacKay jokes that he warned the singers he’d be paying close attention to their Mandarin diction— “As if I would know!” he adds. While Dr. Sun Yat-sen marks the first time SFO has performed a work written in Mandarin, the language is “very singable,” MacKay says. The SFO production “almost counts as a world premiere,” he notes, “because the opera was performed in Hong Kong in 2011 with only traditional Chinese instruments in the orchestra, but [Ruo] wrote it for a Western-style orchestra with added traditional Chinese instruments. That’s the orchestration we’re doing.” Ruo’s score draws on Chinese and Western tonalities as well as folk and classical styles. Playwright Candace Mui-ngam Chong’s libretto recounts the romance between China’s first democratically elected president, Sun, and his second wife, Soong Ching-ling, and sets it against the backdrop of Chinese rebels’ epic struggle to overthrow the country’s ancient regime. Acclaimed tenor Warren Mok stars as Sun, up-and-coming soprano Corinne Winters portrays Soong Ching-ling, Carolyn Kuan conducts, and James Robinson directs. Another first for the SFO this season is a performance of Beethoven’s only opera, Fidelio (August 5, 12, and 21). The production stars Grammy-nominated Bulgarian soprano Alex Penda as the brave Leonore, who disguises herself as a boy to rescue her husband Florestan (played by tenor Paul Groves) from prison. Penda calls Fidelio “an ode to humanity and to love and to freedom.” Stephen Wadsworth directs, and Harry Bicket leads his first production from the podium as Santa Fe’s chief conductor. Donizetti’s Don Pasquale (August 4, 9, 13, 19, and 22) is receiving its first SFO performance since 1983. “For us, it almost counts as a neglected or rarely performed opera,” MacKay says, although “it’s considered to be one of the greatest comic operas ever written.” Also for the first time in decades, the SFO presents a double bill of shorter works: Mozart’s The Impresario and Stravinsky’s Le Rossignol (August 1, 7, and 15). MacKay notes that Mozart has been a “cornerstone” of the SFO repertoire over the years and that Stravinsky is “one of the great figures” in SFO’s history, having “helped to put the fledgling company on the map” in the 1960s. Given that both composers wrote a short opera, it made sense to create a mash-up evening, using the plot of The Impresario

{{ National National Historic Historic Landmark Landmark }} Mezzo-soprano Joyce DiDonato as Elena in Santa Fe Opera’s 2013 production of Rossini’s La Donna del Lago


narrow narrowgauge gaugesteam steamtrain, train, from fromAntonito, Antonito,CO COto to Chama, Chama,NM! NM!

A number of firsts in Santa Fe Opera’s 2014 season include the U.S. premiere of Huang Ruo’s Dr. Sun Yat-sen, the first performance of Beethoven’s only opera, and video projections during key moments in Bizet’s Carmen. (which follows the travails of an opera company’s general director as he casts and stages a show) to frame the musical fairy tale Le Rossignol, which serves as the opera being staged in The Impresario. Together the conjoined works make for a classic show-within-a-show, but with arias and no Mickey Rooney. Of all the works being performed this summer, Bizet’s Carmen (August 2, 6, 11, 16, 20, and 23) enjoys the longest run, having kicked off the season on June 27. The international cast includes Puerto Rico–born soprano Ana María Martínez in the title role (Argentine mezzo-soprano Daniela Mack sang the role from June 27 to July 18) and Italian tenor Roberto De Biasio as Don José. Stephen Lawless directs, and Scottish maestro Rory Macdonald conducts. This latest SFO production of Carmen features another first for the company: video projections at key moments during the performance. Though MacKay is mum on the details as of press time, he says the new technology will “make the experience even more unforgettable.” Santa Fe Opera, through August 23, santafeopera.org

CHAMATRAIN.ORG CHAMATRAIN.ORG 1.888.286.2737 1.888.286.2737


Santa Fe Symphony the orchestra’s 31st season features show-stopping works and exciting guest artists

As the Santa Fe Symphony celebrates its 31st season of performances, it’s tuning into a repertoire of burnished audience favorites and those that are soon to be. On September 14, the season opens with a concert featuring two distinguished soloists: Clancy Newman on cello and Mark Kaplan on violin. Regarded as a leading violinist of his generation, Kaplan has played solo engagements with nearly every major American orchestra, including the New York and Los Angeles Philharmonics. In Santa Fe, he’ll ply his artistry on Monti’s Csárdás and team with Newman for Brahms’s Double Concerto for Violin and Cello. Newman, the 2001 first-prize winner of the Walter W. Naumburg International Competition, is set to play Popper’s Hungarian Rhapsody. This concert segues into an autumnal performance, on October 19, featuring Jason Vieaux playing Rodrigo’s Concierto de Aranjuez, one of the most famous classical guitar pieces ever written. The concert will also include a performance of Arturo Márquez’s Danzón No. 2, a significant Mexican contemporary classical work rooted in the Cuban dance style of danzón and the folklore of Veracruz, Mexico. 60


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“Márquez is very rhythmical and accessible,” says the symphony’s founder and general director, Gregory W. Heltman, of the living Mexican composer. November brings the symphony’s performance of Handel’s Messiah, a musical rite of the Santa Fe holiday season, and on January 18 the orchestra rings in 2015 with Mahler’s Symphony No. 1. Although it’s played betterknown works by the composer, Heltman says the orchestra wanted to continue “exploring the great symphonic output with Mahler.” Of this composition, which is sometimes called “Titan,” Heltman says that “it’s so inspiring and fun to perform. You walk out of there feeling like Superman.” On March 15, Sean Chen—winner of the American Pianists Association’s 2013 Christel DeHaan Classical Fellowship and the Van Cliburn International Piano Competition Crystal Award—makes his first appearance in Santa Fe at the symphony’s Beethoven festival. On May 16 and 17, the orchestra performs its final program, which includes Verdi’s Requiem featuring baritone Lester Lynch, tenor Joshua Dennis, mezzo-soprano Jill Grove, and another voclaist who, at press time, has yet to be announced. With former music director Steven Smith’s position still open, the symphony will audition a different candidate

Violinist Alexi Kenney will perform Sibelius’s Violin Concerto with the Santa Fe Symphony in April.

Lutz Sternstein

Pianist Sean Chen performs on March 15 as part of the Santa Fe Symphony’s Beethoven festival.

Ralph Lauer/ The Cliburn

by Ashley M. Biggers

InSight Foto

The Santa Fe Symphony Orchestra & Chorus, which was founded in 1984, makes its home in The Lensic Performing Arts Center.

©Jim Arndt with Parasol Productions for The Essential Guide

at each of this season’s performances. Kevin Rhodes, who currently conducts the Springfield (Massachusetts) Symphony Orchestra, will guest conduct the season opener. Also set to guest conduct this season are Michael Butterman, music director of the Boulder Philharmonic Orchestra; Sarah Hicks, principal conductor of the Minnesota Orchestra’s Live at Orchestra Hall; James Feddeck, former assistant conductor of The Cleveland Orchestra; Gary Thor Wedow, renowned for conducting opera; Jason Altieri, associate conductor of the Reno Philharmonic and principal guest conductor of the Atlanta Pops Orchestra; and Guillermo Figueroa, music director of the Lynn Philharmonia and former music director of the New Mexico Symphony. For a complete listing of the Santa Fe Symphony Orchestra & Chorus’ concerts, repertoire, and guest artists, visit santafesymphony.org.

Conductor Ryan McAdams leads the Santa Fe Symphony in April 2015.

Dancing Ladies InSight Foto

exquisite wearable textiles



Sarah Bienvenu

Tree Covered Mountain 36x28� watercolor on paper

Come See the Newest Paintings

Morgan Smith

701 Canyon Road Santa Fe, NM 87501 505.992.8878 www.FineArtSantaFe.com



august/september 2014

Incredible Variety. Beloved Favorites. Dazzling Discoveries.

The world’s most celebrated Earlier this year, Juan Siddi Flamenco Santa Fe merged with Aspen Santa Fe Ballet, bringing even more excitement to the City Different’s dynamic dance scene.

Chamber Musicians play the world’s greatest Chamber Music!

Marc Neikrug, Artistic Director Yefim Bronfman, 2014 Artist-in-Residence

JULY 20 - AUGUST 25 toll free 888.221.9836 | 505.982.1890 SantaFeChamberMusic.com


Aspen Santa Fe Ballet the contemporary ballet troupe brings its 2014 summer season to a powerful close by Emily Van Cleve

On August 30, Aspen Santa Fe Ballet brings the final performance of its 2014 Santa Fe summer season to the Lensic Performing Arts Center in a program featuring Square None by Norbert De La Cruz III, Return to a Strange Land by Jirří Kylián, and The Heart(s)pace by Nicolo Fonte. The performance, part of ASFB’s Encore! series, is a repeat presentation of one of the company’s popular July programs. “Encore! performances have been very successful for us,” says ASFB Executive Director Jean-Philippe Malaty. “We change the dancers’ roles all the time, so every performance is unique.” Fonte, who’s been collaborating with ASFB since 2000, composed The Heart(s)pace earlier this year. “I choreographed the piece for the [company’s] newer dancers,” he says, describing the

work as “very bright, upbeat, and joyful. In contemporary ballet you don’t often hear the words ‘joyful’ and ‘upbeat’ together,” he adds, “so it’s a cool accomplishment for me.” De La Cruz created his 2012, ASFB-commissioned work Square None to convey the mixed feelings of disappointment, loneliness, hope, and excitement he experienced within the first few years of graduating from college. “Looking back at the ballet now, I’ve come to realize a profound metaphor for the concept of square—in this case, the simple idea of the four walls I’ve enclosed myself in or the body I live inside,” he says. “Square None has stories of love and how you perceive the four walls— the environment—around you. [It’s] taken me back and forth through nostalgia in my journey as a young artist.”

Samantha Campanile (here) and Paul Busch (opposite) perform in Nicolo Fonte’s The Heart(s)pace, which the Aspen Santa Fe Ballet performs on August 30.


Sharen Bradford

“Encore! performances have been very successful for us,” says ASFB Executive Director Jean-Philippe Malaty. “We change the dancers’ roles all the time, so every performance is unique.”

Heather Van Luchene, ASID Steffany Hollingsworth, ASID

Creating Enviable Interiors r E S I D E n t I A L & H o S p I tA L I t y

The remaining work on the program is master Czech choreographer Jirří Kylián’s Return to a Strange Land, which the ASFB added to its repertoire in 2013. Set to four works for solo piano by Czech composer Leoš Janácček (1854–1928), who wrote the pieces to mourn the death of his daughter, Kylián created Return to a Strange Land in 1975 in honor of his mentor John Cranko, the former director of the Stuttgart Ballet who had died two years earlier at age 45. Founded in Aspen in 1996, ASFB divides its time between its two namesake cities and also enjoys an active touring schedule. In July it merged with Juan Siddi Flamenco Santa Fe and now helps to market and promote the latter company around the world. ASFB’s August 30 performance takes place on the heels of the troupe’s fifth appearance at the Jacob’s Pillow Dance Festival in Becket, Massachusetts, and in October the group heads to New York City for its seventh appearance at the legendary Joyce Theater. “Some people think if we’re not in Santa Fe, we’re in Aspen, but that’s not true,” Malaty says. “We’re often on the road, presenting performances at universities and dance venues throughout the country.” For information about Aspen Santa Fe Ballet’s August 30 performance and about future programs, visit aspensantafeballet.com.

Sharen Bradford

Wendy McEahern

HVL Interiors 453 Cerrillos Road Santa Fe, NM 87501 505.983.3601 hvlinteriors.com

august/september 2014

santa fean


Show time! It’s the high-summer season in our high desert city, so let Santa Fean magazine guide you to the must-see artists and don’t-miss exhibitions at dozens of galleries in and around town.

Buck McCain, Storm Over the Superstitions, oil on linen, 30 x 50"

Joe Wade Fine Art Buck McCain Buck McCain says he learned art the hard way, but it doesn’t show. A westerner translating the West, McCain alternates between oil painting and sculpture, though he jokes that after sculpting for a few years he has to relearn how to paint. His oil works of cowboys and Indians, horseshoers and oxcarts, towering mesas and sun-drenched adobe churches evoke the romantic West that’s rooted deep inside the American psyche. Raised on a California ranch, McCain knows his subject well. “The West is real and it’s a myth at the same time,” he says. “But there still is a West, there still are cows and cowboys and Indians”−and there’s a committed artist to paint and sculpt them. See McCain’s work at Joe Wade Fine Art, which has represented the artist for 37 years.−Charles C. Poling joewadefineart.com



august/september 2014

Owings Gallery Ray Abeyta Although Ray Abeyta lives in Brooklyn, he grew up in Santa Cruz near Española and the site of New Mexico’s first capital, established in 1598. It shouldn’t be surprising, then, that at times his paintings evoke New Mexico’s Spanish Colonial past and its lowrider heritage in addition to featuring contemporary subjects and pop-culture references. For almost 30 years, Abeyta’s heavily symbolic, baroque-flavored oil paintings have mixed figures in high-medieval finery with Day of the Dead imagery, for instance, or the devil groping a semi-nude angel while a vinyl record spins on a turntable. Abeyta’s mastery of classical styles establishes an intriguing tension with latter-day themes while drawing an unbroken line to the post-Renaissance past.−CCP owingsgallery.com Ray Abeyta, Amor Perdido, oil on canvas, 60 x 48"

Charles Azbell Gallery Charles Azbell Living above Santa Fe at 8,000 feet in a house with 90 windows and sweeping panoramas of several mountain ranges, Charles Azbell understandably centers much of his art on the sky. In the bold colors enabled by acrylics, he paints searing skyscapes saturated in deep hues of orange, yellow, red, blue, turquoise, and teal. Raised in the mountains of Northern New Mexico and, according to his wife Vivian Love, “born with a paintbrush in his hand,” Azbell also creates vivid abstractions, intricate images of pueblo pottery, and intriguingly imagined portraits of his inner “magic people.” Azbell opened his own gallery 24 years ago at the foot of Canyon Road, where his work can still be seen today.−CCP charlesazbellgallery.com Charles Azbell, Your Imagination, acrylic on canvas, 40 x 54" Chris Richter, Pajarito After Las Conchas, oil on canvas, 58 x 78"

Chiaroscuro Contemporary Art Chris Richter What if the “eyes” in the bark of aspen trees are really windows into the inner life and dynamism of the trees? What if trees−and other plants and non-human animals−contain a spiritual realm that parallels human nature? Santa Fe–based painter Chris Richter is absorbed by these concepts and explores the visual places they lead in his thoughtfully crafted works. Using a subtle palette, the Texas native, who enjoyed a successful commercial art career before turning his attention to fine art, builds up and then deconstructs layers of paint, offering, he has said, “an unexpected look into nature’s mystery and intrigue.”−Gussie Fauntleroy chiaroscurosantafe.com

august/september 2014

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Hunter Kirkland Contemporary Peter Burega Water figures prominently in Peter Burega’s oil paintings, which might seem strange for a desert dweller. This past spring, Burega spent hours prowling up and down the Santa Fe River below the Randall Davey Audubon Center photographing details of the spring runoff. When he paints, he creates a grid-collage of photographs−sometimes hundreds−on the wall by his easel. He lets the images percolate through his creative process as he layers on and scrapes away paint. The resulting abstract expressionist pieces shimmer with movement, layered images, and vibrant color. This year the Santa Fe–based, self-taught artist will show his River Run series, based in part on his Santa Fe River meanderings, at Hunter Kirkland Contemporary.−CCP hunterkirklandcontemporary.com Peter Burega, Oceans Edge Road Salt Pond 2014, oil on wood panel, 60 x 48"

Meyer Gallery Dave McGary

Paula Roland, Drift, encaustic on panel, 16 x 16"

William Siegal Gallery

During his acclaimed career, Dave McGary (1958–2013), who grew up on a ranch in Cody, Wyoming, was widely recognized for sculptures of Native Americans. Applying the lost wax process that he learned from Italian master craftsmen and honed in a Santa Fe bronze foundry, McGary created “magnificent, highly detailed, and historically accurate portrayals of American Indians,” says John Manzari, director of Meyer Gallery. “Forever he will be remembered as one of our generation’s foremost chroniclers of American Indian culture.” McGary’s sculptures are included in the permanent collections of the White House, Smithsonian Museum, and National Statuary Hall in the U.S. Capitol, among others. A retrospective of the artist’s career, Dave McGary: American Realism in Bronze, can be seen at Meyer Gallery from August 15 through September 10. −Ashley M. Biggers meyergalleries.com

Paula Roland Like the seemingly random interplay of elements that inspire it−water, wind, land, culture, spirit, and art−Paula Roland’s intuitive abstract imagery shifts and flows in rather unpredictable ways. Roland creates paintings, monotypes, and monotype collage all based in encaustic, with heated beeswax providing the fluidity through which her artistic intention moves. Raised on Mississippi’s Gulf Coast and in New Orleans, the artist moved to Santa Fe in 1989, and her work has earned numerous awards and grants over the years. Rich with layered personal meaning, her art, she has said, “explores my inner landscape and our evolving natural environment.”−GF williamsiegal.com



august/september 2014

Dave McGary, In Victory I Stand, bronze with patina and paint, 44"

“Dave mcgary was one of the foremost chroniclers of american indian culture.”


Japanese COntempOrary art FrIDay, aUG 22, 5-7 pm GranD OpenInG WeeklOnG events, aUG 19 - 23 presenteD By zane Bennett COntempOrary art & mIzUma art Gallery, tOkyO

Ed Sandoval, Mi Casa, oil on canvas, 30 x 24"

Blue Rain Gallery


Ed Sandoval El viejito, the old man, has become a beloved figure to those who appreciate Ed Sandoval’s colorful paintings. “He represents so many things to me−the old culture of New Mexico, wisdom, knowledge, and respect for the land and his environment,” the artist says. Sandoval has deep ties to the local culture, too: Born in Nambé, he earned his bachelor’s degree from Eastern New Mexico University in Portales and lived in various Northern New Mexico communities before settling in Taos, where he opened Studio de Colores. Although his accomplishments earned him a 2012 Governor’s Award for Excellence in the Arts and representation in Blue Rain Gallery, he’s known for his down-to-earth personality. He often paints in the parking lot of his studio−each brushstroke composing the elements that feature so powerfully in his works: the landscape, the human experience, and the architecture of the Land of Enchantment.−AMB blueraingallery.com


thUrsDay, aUG 21, 2014, 4-6 pm OpenInG reCeptIOn artIsts WIll Be present FeatUreD neCklaCe avaIlaBle eXClUsIvely at zane Bennett COntempOrary art

zane Bennett COntempOrary art 435 S Guadalupe St, Santa Fe, nM 87501 t: 505-982-8111 zanebennettGallery.coM IMaGe: KondoH aKIno, KIyaKIya paIntInG 11 , 2013, oIl on canvaS, 29 7/8 x 40 1/8 In. (76 x 102 cM) beloW: yazzIe JoHnSon + GaIl bIrd, SoutH Sea pearl necKlace, 18Kt Gold, 2014

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Pop Gallery Nigel Conway First you notice the eyes and lips−bulging, brightly colored, oversized. Then, amid a rhythmic, sophisticated, nervous dance of marks and shapes, Nigel Conway’s playful, engaging figures reveal themselves to be much more. For his part, the British-born painter sees his often-large-scale abstracted works as expressions of emotion−happiness, terror, sadness, pleasure, love. In his studio south of Santa Fe, the self-taught artist employs a variety of mediums, including acrylics, inks, and chalk pastels. “There’s always something going on in my head, some nonsense up there that I am trying to achieve,” he has said. On view in Santa Fe at POP Gallery, Conway’s work is widely collected around the country and abroad.−GF popsantafe.com

Nigel Coway, Houses, mixed media on plaster, 24 x 48"

Charlotte Jackson Fine Art Tony DeLap Tony DeLap likes “close-up” magic, card tricks, deception. Now consider his art, which has been shown in museums like the Guggenheim, the Tate, the Whitney, and MoMA. DeLap earned a name for himself as a genre-stretching modernist coming out of California in the early 1960s. He often toys with perception and deception, sometimes treating paintings as sculpture−or is it sculpture as paintings? His recent work at Charlotte Jackson Fine Art veers heavily graphical, with large, bright, sharply drafted “X” shapes in acrylic on linen. “The Xs seem extremely contemporary to me in that they don’t denote anything,” he says. Perhaps it’s artistic algebra. Born in 1927, DeLap likes to think of himself as one of the oldest working artists−and what work it is!−CCP charlottejackson.com

Tony DeLap, Ghost of a Chance, acrylic on canvas and wood, 18 x 18 x 2"

Signature Gallery Malcolm Furlow When Malcolm Furlow was six, he got a painting set for Christmas and promptly painted an Indian chief on the handiest surface he could find: the round seat of a footstool. He didn’t even know he was part Indian, or that his half-Choctaw father had grown up “dirt poor” on a reservation. Today the Taos-based Furlow enjoys an international reputation for painting bold, graphic, super-saturated acrylic images of Native Americans. His latest work at Signature Gallery places Native warriors in detailed modern urban settings like Wall Street. “I want to raise awareness of Native Americans as real people and not as artifacts,” he says.−CCP thesignaturegallery.com Malcolm Furlow, Hunk Papa Sioux, oil on canvas, 36 x 24" 70


august/september 2014

Greenberg Fine Art Michael DeVore Colorado Springs–based classical realist painter Michael DeVore’s education took him from Pepperdine University to the Florence Academy of Art, where he went to study the figure but discovered a surprising affinity for still life. It was there, he says, that he learned “how to see properly,” perceiving “proper tones and shapes instead of putting down what I thought I saw.” Influenced by “baroque painters, such as Rembrandt and Ribera,” DeVore aims toward “that sense of intimacy and contemplation” in his own paintings. He also draws−not just as preparation but as an end in itself. “There’s a spontaneity and simplicity to drawing that I find very appealing,” he says. “You’re solving problems differently than you would with paint.”−Eve Tolpa greenbergfineart.com

Michael DeVore, A Disappointing Evening, oil on linen, 24 x 30"

New Concept Gallery Kathleen Doyle Cook Kathleen Doyle Cook came to abstract expressionism after challenging herself to let go of representational subject matter. Instead of depicting recognizable subjects, she chose to explore the fundamental principles of design: color, shape, and compositional balance. Working in acrylic and mixed media and drawing inspiration from deep inside herself, she finds that “there’s nothing so wonderful as the challenge of a big blank canvas. I return to it until it’s reached some kind of resolution and a message has evolved from that surface.” A Santa Fe resident showing at New Concept Gallery, Cook studied art at the State University of New York, New Paltz, and taught in Massachusetts for many years.−CCP newconceptgallery.com

Kathleen Doyle Cook, Reimagine, acrylic and mixed media on canvas, 32 x 32"

Hugh Greer, Mountain Morning Mass, acrylic on board, 20 x 30"

Mountain Trails Gallery Hugh Greer In vivid scenes of New Mexico villages cast with warm acrylics, Hugh Greer exploits the region’s strong light, dramatic landscapes, and deep sense of history. The Wichita-based Greer came to fine art painting after a long career as an architectural delineator, and that experience with renderings informs his recent work showing churches and adobe homes. Having tried everything from felt-tip markers to watercolors, Greer says that “acrylic allows you to get really luminous colors when you want to.” He still paints on the flat 4 x 10–foot table he used for architectural renderings, though he enjoys plein air painting around New Mexico, too.−CCP mountaintrailssf.com august/september 2014

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Meyer East Gallery Melinda K. Hall When Melinda K. Hall started her artistic career, “it was really about working with the paint,” she says. “Most of my work was very abstract.” Over the years she added flat images and simple shapes to her pieces−everyday objects, the animals in her life−while maintaining her dedication to creating sophisticated surfaces. The resulting aesthetic, which she terms “contemporary naïve,” combines humor and narrative with exuberant color. “I think it’s approachable work,” Hall says, positing that the initial contact with the canvas leads the eye into the background’s subtleties, created by layers of paint. For her, a piece is “only completed when a viewer takes it in and it brings up their own experiences.”−ET meyereastgallery.com

Melinda K. Hall, Know Your Chicken Parts, oil on canvas, 24 x 24"

Selby Fleetwood Gallery Rodney Hatfield “Someone stuck a crayon in my hand, and, like children do, I made a picture. I just didn’t stop,” says Rodney Hatfield. “My style hasn’t changed a whole lot since then,” he adds. “I had no formal training−I regret what little education I had.” Digging deeply into both figurative and abstract veins, the Kentucky-based Hatfield mines the deep unconscious, hauling out whimsical (but not easily dismissed) roughly drawn people and animals that seem to occupy an offkilter but familiar world adjacent to our own. He also works in mixed media and has recently sculpted (with debris he hauled out of the nearby Ohio River) a series of totemesque figures he dubs Gods of the Ohio. A longtime musician, Hatfield sees painting as a visual improvisation akin to soloing on stage, which results in considerable diversity. “People see my work and they think it’s a group show,” he jokes.−CCP selbyfleetwoodgallery.com

Rodney Hatfield, Solo, oil on canvas, 24 x 18"

Canyon Road Contemporary Art Pat Hobaugh Pat Hobaugh’s playful, quirky still life paintings began as a way of exploring the indoctrination of young children into American popular culture. But the painter’s imagined toy action figures, Barbie-type dolls, and tiny plastic armies soon found themselves engaged in heroic battles and humorously satiric stances, often involving iconic packaged foods and stacks of sweets. Hobaugh, who lives in Atlanta, Georgia, also finds inspiration in history, religion, mythology, and famous paintings from the past. In each case, he’s proved successful in his goal of “exploring and exploding the traditional idea of the representational still life.”−GF canyoncontemporary.com Pat Hobaugh, Fat David, oil and latex on canvas, 24 x 36"



august/september 2014

Back Roads and Gardens

exhibition of new work by Santa Fe artist

MARILYN YATES Opening Reception Friday, August 1st, 5-7pm Show to run through August 14th

See the show online at:

sagecreekgallery.com A Taos Summer Day • 14"H x 18"W • Acrylic

SAGE u CREEK u GALLERY 421 Canyon Road u Santa Fe, New Mexico 87501 505.988.3444 u sagecreeksf@aol.com

“Someone stuck a crayon in my hand and, like children do, i made a picture. i just didn’t stop. my style hasn’t changed a whole lot since then,” says rodney hatfield. Lisa Wilson, Beyond the Realm of Intellect III, mixed media, 48 x 28"

Art Gone Wild gallery Lisa Wilson Since her emergence on the international art scene at the 2008 Artexpo in New York City, Lisa Wilson has seen her career take off. Co-owner of the Art Gone Wild Gallery, which has locations in Santa Fe and Key West, Wilson paints mixedmedia works in an abstract expressionist style. Each piece is rendered in acrylics and oils, with layer upon transparent layer. Art has always been an important part of Wilson’s life. As the child of an accomplished singer, she was encouraged to express herself artistically at a very young age. She spent countless hours drawing, dancing, and playing music, but painting was the medium that allowed her to express her deepest and strongest feelings. “My pieces are personal and intimate and evoke a relationship with the viewer,” Wilson says. “My work is about harmony between artist and observer—a duet. It’s an offering through which, hopefully, the viewer can be transformed in much the same way as my work has transformed me.”—Emily Van Cleve agwg.net

august/september 2014

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Worrell Gallery Clarence Medina Dixon native Clarence Medina grew up immersed in Northern New Mexico’s beauty, with frequent visits to galleries on Canyon Road. Infused with this potent combination of nature and art, he set his own feet on a painter’s path−literally, paths and back roads through cottonwood-lined river valleys, venerable villages, and mountain foothills. “There’s so much to paint within a 30-mile radius of my home,” he once told Southwest Art magazine. Often working en plein air, he captures the sun-warmed grace of weathered adobe churches, sparkling Rio Grande reflections, and iconic aging pickup trucks. Medina’s paintings reveal a delight in texture as he’s moved in recent years toward a looser, more impressionistic style.−GF worrellgallery.com Clarence Medina, Cañoncito Classics, oil on canvas, 20 x 24"

Alexandra Stevens Fine Art Gallery E. Melinda Morrison In 2003, E. Melinda Morrison was laid off after a 30-year corporate career in the tech industry, but instead of ruin she saw an opportunity. This was a chance to return to her longtime love—painting—she thought. Already having earned a bachelor’s degree in fine arts from the University of Texas at Tyler, an invitation to an oil-painting class at the Art Students League of Denver (where she lives) ignited her new career. Morrison’s impressionistic portraits are slices of everyday life that suggest deeper narratives. “I look for what’s happening with the light and shapes,” she says. “I’m drawn to kitchen and café scenes. It has to do with the mood−an untold story that may come from just their pose or the expression on their face.”−AMB alexandrastevens.com E. Melinda Morrison, Musicians in the Pit, oil on canvas, 16 x 20"

Waxlander Art Gallery Marshall Noice “The way the quality of light describes the landscape is really important to me,” says painter Marshall Noice, who works mostly in oils and occasionally pastels. Based in Kalispell, Montana, but a frequent visitor to Northern New Mexico, Noice is drawn to the strong and unique light in both places, and it shows in his work. Intensely colored canvases have clear and faithful−but not literal−references to actual places. “Literal rendition of a landscape has never been particularly enticing to me,” Noice says; even his plein air paintings are more gestural than representational.−CCP waxlander.com Marshall Noice, Seven Along the Swan, oil on canvas, 40 x 60" 74


august/september 2014

CHARLOTTE FOUST Visual Poetry AUGUST 22 – SEPTEMBER 7, 2014 Opening Reception:

FRIDAY, AUGUST 22, 5 – 7pm

Jennifer Lindberg, Sky Over Water, acrylic on canvas, 16 x 12"

Pablo Milan Gallery Jennifer Lindberg Jennifer Lindberg has long been a part of the local gallery scene−selling art rather than making it. A degreed fine-art photographer, she began painting abstract color fields almost 20 years ago, and today she paints full time. “I practice my art form by moving out of the way and surrendering to the process, thereby allowing the artistic flow to come from a subconscious level,” she says. “There are sublime moments when I feel as though the painting is painting itself and I’m just the observer. Thus my painting becomes a voyage of self-discovery.” −AMB thepablomilangallery.com

Wanderlust, 2014, Acrylic on canvas, 48 × 48 inches

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

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Gerald Peters Gallery Julia Loken Julia Loken finds inspiration for her naturalist works in her lush garden in Oxford, England. The painter draws on more than 20 years of experience as a pen-and-ink botanical illustrator for textbooks to create colorful pieces whose delicate precision belies her chosen medium: watercolors. “I find that I have a real need to portray [my subjects] accurately rather than impressionistically,” she says. “I try to capture this detail with close observation and a great deal of patience!” Since 2000, Loken has been a member of the Society of Botanical Artists, participated in more than 100 group shows, and held 18 solo exhibitions. Her most recent exhibit at the Gerald Peters Gallery featured paintings of semi-arid plants, including cactuses whose “prickles,” she said, were quite a challenge.−AMB gpgallery.com Julia Loken, Aeonium, watercolor on paper, 10 x 9"

Meyer Gallery Grant Macdonald Grant Macdonald’s landscapes are likely to elicit a feeling of “Yes! I’ve seen those mountains−or the autumn glow of cottonwoods, or a brilliant sunset over Santa Fe−look just like that!” The widely exhibited artist, who settled in Santa Fe in 1987, would say that his ability to capture the essence of a scene reflects decades of plein air and studio painting in Texas, New Mexico, and abroad. Yet realism only takes a painting so far; Macdonald adds the ineffable element of emotional response. “What I seek to portray in my art,” he has said, “is not so much what people see, but what they remember about a place.”−GF meyergalleries.com



Grant Macdonald, Winter Sunset, oil on canvas, 24 x 36"

august/september 2014

Experience color that is modern and beautiful...

The William&Joseph Gallery 727 Canyon Road Santa Fe thewilliamandjosephgallery.com

paintings . sculpture . glass

S.R. Brennen Galleries Daniel E. Greene

Daniel E. Greene, Lot 134, The Water’s Fine, oil on linen, 40 x 50"

Sixty years ago, pastel and oil painter Daniel E. Greene created his first New York City subway painting. He thought it would be his only one. To date he’s made 117 works focusing on New York City, and he plans to paint its subways indefinitely. The same thing is true of his auction paintings, which show the sale of items like antiques and custom furniture. Greene started painting those kinds of works decades ago and is still fascinated by auctioneers, bidders, and the eclectic items that are offered for sale. “Subways and auctions have kept me engrossed,” he says. Greene is also drawn to painting people, and he’s developed a reputation for portraiture. Over the years he’s painted images of leaders in government, banking, education, the media, and industry, including Eleanor Roosevelt, William Randolph Hearst, Dave Thomas, and Bryant Gumbel. His work is in more than 500 public and private collections, including the Metropolitan Museum of Art in New York.—EVC srbrennengalleries.com

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Reflection Gallery R. John Ichter For many years, R. John Ichter has created his brightly colored pastel landscapes on a black-sueded background, imbuing them with a uniquely etched quality. Pastels were “love at first sight,” he says. “There’s nothing between you and the art−you use your fingers and a stick.” Lately, he’s been painting with oils and acrylics after swabbing the canvas black. A premed major who switched to art after winning a competition, the Atlanta-based Ichter is also developing a stunning layered resin-and-acrylic painting technique that creates the illusion of lifelike fish swimming in real bowls. He credits Reflection Gallery with giving him a start in Santa Fe, and they continue to carry his paintings.−CCP reflectiongallery.com

R. John Ichter, Three Friends, pastel on archival paper, 20 x 20"

Winterowd Fine Art Tom Kirby Art is in Tom Kirby’s blood. The son of San Francisco abstract expressionist Tom Kirby Sr., he grew up in an artistic milieu. And although he followed in his father’s footsteps, the Santa Fe artist has carved his own niche in abstract minimalism—a description that skims the surface of the oil paintings he creates. “I try to offer a transcendent window of illumination,” Kirby says. “I’m trying to make my works appear as though they’re created by acts of nature rather than by the artist’s hand.” Paintings are both luminescent−thanks in part to shimmering gold dust he blends into them−and earthy, with hues both cool and fiery settling on the canvas as though out of the ether. Hesitant to appear proselytizing, Kirby reveals that his 30-year Buddhist meditation practice has helped him “go beyond the appearance of reality to the essence of reality.”−AMB fineartsantafe.com Tom Kirby, Enlightenment #8, oil and gold dust on canvas, 72 x 70"



august/september 2014

Photos © Wendy McEahern


1 2 5 P A L A C E AV E N U E , S A N TA F E 505-986-0288 Jim Woodson, Partially Vertical Circling Apparitions #1, oil on canvas, 48 x 36"




Wade Wilson Art Jim Woodson Jim Woodson studied and teaches painting in Texas, but he centers his oil paintings today on the landscape around his home in Abiquiú. Treating landscape “more like a verb” because it interacts with time “in the sense of something that’s there and gets covered up,” his paintings are “more like memory images.” Though often figurative, all his paintings have “a stream of consciousness thing going on in the way they’re produced,” he says. “I try to think at the end of the brush.”−CCP wadewilsonart.com

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Chuck Volz, In a Tesuque Arroyo, oil on board, 11 x 14"

Casweck Galleries Chuck Volz Chuck Volz’s paintings are haikus to the American West. His works aren’t minimalist, but essentialist. “I used to be much more literal in my landscapes,” he says, “but out of respect for the strength for the initial impression that compelled me to paint that subject, I’ve gone to more simplified forms.” Volz has painted en plein air for more than 20 years, and he met one of his greatest teachers, California regional painter Ray Strong, on a mountainside. From Strong, he learned about the physics of light and color, two poetic qualities of Volz’s work. The Velarde painter exhibits at Casweck Galleries, where he’s found a similarity between his work and that of the gallery’s signature artist, Western painter Ernest Chiriacka. “So many of his paintings are just suggestions and leave so much to the viewer’s imagination,” he says.−AMB casweckgalleries.com 80


august/september 2014

Catch a Southwest Hummingbird Messenger! Over 50 different styles including:

Jewelry; Fetishes; Pottery; Katsinas from many artists. Celebrate them!

Miguel Martinez, Madre con Niña, oil pastel on canvas, 40 x 30"

Manitou Galleries Miguel Martinez Working in oil pastel, Miguel Martinez creates images of women from New Mexico and all around the world. Their large, angular faces dominate the canvas, but often with recognizable landscapes expressionistically rendered in the background−the interior of El Santuario de Chimayó, for example, or a wintry Taos arroyo. The Taos-based artist−who drives around his hometown in a killer 1953 Buick Skylark he restored−says he doesn’t paint specific people, yet he manages to capture the particular in the universal. With a strong background in the arts, and following an earlier stint as a jeweler, Martinez found his groove 34 years ago when he switched to painting and began studying with local masters. Besides painting women, he’s been known to render the interior of a classic truck, too.−CCP manitougalleries.com

We pay the sales tax for you everyday!

The Great Southwest

928-282-0248 | greatsouthwestart.com


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Ventana Fine Arts Barry McCuan For a boy growing up on the hot, flat, arid plains of West Texas, discovering Northern New Mexico was like finding heaven. And that feeling has only grown stronger over the decades for landscape painter Barry McCuan, who lives with his wife, Englishborn painter Lynne Windsor, near Santa Fe. “Being totally immersed in the nuances of the land is what inspires me to paint and is essential for the renewal of my spirit,” McCuan has said. His richly hued images of New Mexico’s aspen-gold mountains and venerable, sun-warmed adobes have been joined in recent years by scenes from England, Scotland, Italy, and France.−GF ventanafineart.com

Barry McCuan, The Sisters, oil on canvas, 16 x 20"

Bryans Gallery Gregory Lomayesva Sculptor, painter, and jeweler Gregory Lomayesva creates two different bodies of work and keeps them separate. There are the more traditional pieces—like his abstract wooden katsina dolls—that are rooted in his Hopi culture, and there are his contemporary pieces, which are an expression of his feelings and emotions. Within his contemporary oeuvre are new sterling silver bracelets that have sentences like “I’m alone and afraid” engraved inside and spikes on the outside to reflect vulnerability and protection. The artist has also been painting flowers and ghostly figurative images as well as a series of Allsup’s gas station stores, which, admittedly, has baffled his friends and collectors. “My subject matter has to have some emotional value to me,” Lomayesva says. “When I experience an emotion, I love to capture it. There was an emotional trigger that happened at an Allsup’s location.”—EVC bryansgallery.com

Gregory Lomayesva, Untitled, mixed media on canvas, 40 x 40"

the Longworth Gallery Ting Shao Kuang, Enchantress, bronze with gold and silver leafing, 9 x 21 x 9"



august/september 2014

Ting Shao Kuang Ting Shao Kuang’s exquisite bronze sculpture collection at The Longworth Gallery−long-limbed, elegant figures that seem to spring from a mythic world adjacent to our own−captures his union of ancient Chinese artistic traditions with the aesthetic liberation of modernism. That liberation didn’t come easy for Ting, however. Born in a northern Chinese village in 1939, Ting saw his family scattered by the Communist revolution. Later, while moving throughout China, Ting lived in virtual internal exile to avoid imprisonment, yet he still found a way to master painting and sculpture. In 1979, before fleeing to the United States, Ting was commissioned to paint a mural alongside Tiananmen Square. Today his works are praised by critics and collected internationally.−CCP thelongworthgallery.com



Phho©Jane Freese

ting shao kuang’s sculptures capture his union of ancient chinese artistic traditions with the aesthetic liberation of modernism.

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Carol Kucera, In the Wild, acrylic on canvas, 40 x 40"

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In describing her work, Carol Kucera moves away from the word “abstract” and settles on “concept paintings inspired by the elegance and beauty of the physical universe.” Working exclusively in acrylic on canvas, Kucera carves the full-bodied paint with tools and blends it with sponges to create notably textural paintings−their strong relief catching the light. Her fascination with science informs her imagery, as she explores mystery and encourages a sense of discovery, leaving interpretation to the viewer.−CCP carolkucera.com

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Barbara Meikle Fine Art Carla Spence Carla Spence remembers drawing as a little girl under her father’s architecture drafting table in Holland. “He would wave his finger at me and tell me to make that line straight!” Spence recalls today. But as a self-described “total nonrealist,” she says, “I can do what I like.” Largely self-taught, Spence considers herself a rule-breaker, creating vivid, saturated landscapes in acrylics. Lately she’s moved toward compositions based on smaller shapes with bright colors, “almost like a stained glass window.”−CCP horseart.us

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august/september 2014

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Carla Spence, Lakeside Autumn, acrylic on canvas, 36 x 36"

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Bill Hester Fine Art Kay Wyne

“I never know what I’m going to be in the mood to paint,” says Kay Wyne of the diverse subjects in her contemporary paintings. “Sometimes the abstracts come out, sometimes the roosters want to come out. I work on numerous canvases at one time, sometimes a dozen at a time,” she notes. Wyne flits between seven bodies of work, including a horizon series, abstract aspens, wildflower landscapes, cows, dragonflies, nests, and horses. In addition to being represented by Bill Hester Fine Art in Santa Fe and by galleries in Colorado and Texas, Wyne documents and shares her creative process on her blog (kaywyne.blogspot.com) and on DailyPainters.com.−AMB billhesterfineart.com

Kay Wyne, Wildflower Vista, oil on canvas, 14 x 14"



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Sheryl Zacharia, Hipster, ceramic sculpture, 21 x 14 x 5"

Tansey Contemporary Sheryl Zacharia A former singer/songwriter, ceramist Sheryl Zacharia still brings musicality to her nonfunctional pottery. “I wrote music and lyrics, [so] I go for a kind of poetry in my work,”she says. “Pattern and form are rhythm. The palette is harmony. The lines are lyrical.” Zacharia handworks the abstract forms (often they bear her finger marks), finishing the surfaces with various slips, oxides, underglazes, and glazes, working in layers much the way a painter might. The Manhattan artist is drawn to slips that crack, marrying the new with a weathered look. In 2010, New York’s Museum of Arts and Design honored her with an extended residency, and that same year (and again in 2013) she earned a creative grant from the Northern Manhattan Arts Alliance. Zacharia’s solo show People, Places, and Things runs through August 19 at Tansey Contemporary on Canyon Road.−AMB tanseycontemporary.com

august/september 2014

santa fean


Show time! there are a million ways to "do" a southwest landscape. jack dunn does it in bright, booming color.

Gallery 822 Jami TOBEY Jack Dunn, The Orchard King, oil on canvas, 20 x 20"

acosta-strong fine art Jack Dunn There are a million ways to ‘do’ a Southwest landscape. Santa Fe artist Jack Dunn does it in bright, booming color. A self-taught painter inspired by a kind of Marsden Hartley modernism, Dunn conveys New Mexico’s fleshy geology in seemingly otherworldly color (but we know the sky here really is this blue, the land this rusty red). He carves playful rock formations against cloud-spotted skies and gives us roads or rivers to follow, but it’s clear: His love affair is with color. Dunn hasn’t always been this kind of emotion-grabbing painter. His background includes a successful military and corporate career, but today paint is his passion.—Barbara Tyner johnbstrong.com 88


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Jami Tobey, a young painter with wide acclaim, sold her first piece at a Santa Fe art auction when she was 14. Today her whimsical, often decorative landscapes can be seen across the West in places like Gallery 822 on Canyon Road and in private collections. Tobey’s use of bright acrylic pigments emboldens vast skies and distant mountains with strong outlines, repetitive marks, and almost paisley patternings—techniques that evince the artist’s interest in pointillism. “I love the idea that a painting may look simple and streamlined, and then up close you realize it has a million tiny details.” —Hannah Hoel gallery822.com

Michael De Vore Jami Tobey, Night Song, acrylic on canvas, 10 x 10"

Upcoming Shows

“I love the idea that a painting may look simple and streamlined, and then up close you realize it has a million tiny details,” says Jami tobey.

Caroline Carpio Aug 18th- Aug 31st Sculptures and Pottery

Wendy Higgins Sep 12th- Sep 25th Still Lifes

David Bottini Oct 17th- Oct 28th Landscapes

Girl in a Red Turban, oil on canvas, 20 x 24”

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august/september 2014

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Santa Fe Art Collector Gallery McCreery Jordan Moving to Santa Fe in 1993 changed McCreery Jordan’s art forever. A classically trained realist painter−still life had been her “bread and butter”−she delved into plein air landscape painting and then pursued more mystical, allegorical imagery. Now she’s sculpting figures like a 60-inch raven and various nudes to be cast in bronze. Jordan also paints large mixed-media faces bordered by highly abstracted imagery. In all her current work, Jordan simultaneously evokes classical myth and personal discovery.−CCP santafeartcollector.com McCreery Jordan, Big Sky, oil on linen, 48 x 36"



august/september 2014

weaving a story c e n tur ie s -old Ande a n text ile s a re on vie w at t he Willia m Sie g al Gal le r y by B a r ba ra Ty ne r

Textiles in Santa Fe usually mean fine Diné weavings that steal the show at Indian Market or delicate Pueblo cotton kilts that sway in ceremonial dances at nearby Tesuque or Kewa Pueblos. But the William Siegal Gallery’s new exhibition Balandrán Ponchos from the Giles Mead Collection brings us Aymara weaving from Bolivia and transports local viewers into a whole new world of textile delight. The Aymara are the second-largest indigenous cultural group in Bolivia, revered worldwide for the fineness of their weavings and their extensive textile history. And while Santa Fe may not be notable for indigenous arts originating south of the U.S. border, the William Siegal Gallery is. Siegal owns one of the most important collections of pre-Columbian art and holds the most extensive collection of Andean textiles in the world. How this collection came together reads like a legend of sorts. Siegal gathered these textiles as an adventurous young man traveling around the Altiplano in the 1970s. (Think Indiana Jones in a green poncho.) With an introductory note from Bolivia’s Museo Nacional de Etnografía y Folklore in hand, he ducked into remote villages on his hunt for the best textiles—i.e., old ones. Siegal met Giles Mead, then director of the Natural History Museum of Los Angeles County, early on; the two merged their mutual passion for South American textiles into a partnership, with Siegal as gatherer and Mead as collector. The goal was to collect, document, and safeguard the best pieces. “We certainly felt we were preserving [them],” Siegal says.



Siegal gathered these textiles as an adventurous young man traveling around the Altiplano in the 1970s. . . . Think Indiana Jones in a green poncho. The Mead collection features items from the 18th and 19th centuries, the aesthetic pinnacle of Aymara weaving. The work is exquisitely soft and whisper-thin, as if woven with gossamer collected at dawn—a result of the downy alpaca fiber Aymara women spun into such impossibly fine thread. Warp-faced tapestry weave has never felt so refined, and a magnifying glass shows the kaleidoscopic intricacy of the weft. The colors are all natural: many-shaded indigo, cochineal in an unusual mulberry pink, and still-bright yellows and golds made from aliso, a type of alder. Siegal explains that because the pieces are woven from alpaca, full of lanolin and multiple cuticle layers, the colors remain bright and soft over hundreds of years. Balandrán ponchos have a rectangular style and are meant to be worn long in front and back. In the gallery setting they resemble religious vestments, although they were never intended for everyday use, Siegal says. Their fine condition demonstrates their heirloom quality; these were special garments, treasured by their original owners. We are fortunate to enjoy them here in Santa Fe. Balandrán Ponchos from the Giles Mead Collection, through August 26, William Siegal Gallery, 540 S Guadalupe, williamsiegal.com

Above: Poncho (Quechua Indian), alpaca fiber, 86 x 64" Left: Jesuit Poncho (Quechua or Aymara Indian), alpaca fiber, 80 x 62"




Jane Filer

t h e Nor t h Ca r olina – ba s ed pa in te r bri ngs p e r s p ec tive a nd play fuln e s s to h e r ex pr e s s ion i s tic wor k s by G u s s i e Faun t le r oy

It’s telling that in Jane Filer’s paintings, humans are often smaller than the dogs, birds, flowers, and assorted unknown creatures that populate her colorful, fantastical worlds. “I want to put us in proper perspective in my art,” explains the artist, speaking from her home and studio in the North Carolina woods. “It’s a focus on loving nature and embracing the whole thing—the planet, animals, even insects—and how we need to take care of the earth.” The combination of imagination and buoyant spirit that characterizes Filer’s work—and her warm, upbeat personality— has roots reaching back to her early childhood on the California coast. By age five she was drawing and painting daily: houses, boats, trees, fish, “similar to what I paint now,” she says, smiling. A few years later her family lived for two years in Western Australia, where she was taken with the otherworldly quality of Aboriginal art. Back in America she earned a BFA with honors from Southern Illinois University and an MFA from the University of North Carolina at Chapel Hill. Today collectors from around the country and around the world are drawn to her award-winning work. In 1986, Filer and her husband, a consulting forester, bought 16 wooded acres west of Chapel Hill. For four years, while

Jane Filer

Bay of Mobal, acrylic on canvas, 36 x 39" 92


august/september 2014


Above: Lovers in Dreamtime, acrylic on canvas, 48 x 65"

building their home themselves, they lived in a camper on the land, and Filer painted in an attached lean-to. This close-to-the-earth experience reinforced the artist’s love of wild places and taught her to notice details in nature. It contributed to the development of a deep, continuously refilling pool of imagery and feeling from which her paintings emerge. Each of Filer’s pieces begins as an abstract underpainting, with the artist intuitively moving color around. “The next thing I know, shapes and color start to become a composition—a movement or melody or symphony,” she says. With a foundation of rhythmic layers of color and pattern, Filer works and waits until she notices something that compels her to pick up charcoal and then sketch in, and then paint, a figure or form. With each step, the painting evolves as an experience of “free-falling discovery,” as she puts it. Stories emerge, but not in a literal narrative sense. “It’s a visual expression that depicts my emotions and spirituality and my life as I’m experiencing it,” Filer says. “I guess if I could write a poem or song, I would. Thank goodness we have art!” Jane Filer’s work can be seen in Santa Fe at Bill Hester Fine Art (billhesterfineart.com).

Fox Lovers, acrylic on canvas, 46 x 40"

The perspective Jane Filer uses in her paintings reflects “a focus on loving nature and embracing the whole thing—the planet, animals, even insects—and how we need to take care of the earth,” she says. august/september 2014

santa fean




Roseta Santiago

Creative Spirit, oil on canvas, 25 x 17"

a ne w s how highlights t he huma n con n e c t ion i n t he pa in te r ’s r e a li s t wor ks by Eve Tol pa

Ask most artists what brought them to Santa Fe, and you’re likely to hear a familiar litany of responses: the light, the mountains, the tricultural environment. Not so for Roseta Santiago: She was drawn to the City Different primarily because of its reputation as a thriving art market. “I moved here in 2000,” says the self-taught artist, who had previously been living in Atlanta and building and designing nightclubs throughout the Southeast—a line of work that also utilized her skills in graphic design, advertising, and mural painting. “I promised myself after doing all these jobs that I would finally have my dream of being a fine-art painter.” Santiago promptly got busy charting the course for her new career. “Half of me is a pragmatist and half is a dreamer,” she says. “When I focus on something, I try to get it done.” When she wasn’t painting in her studio, Santiago was investigating galleries and doing “a lot of market study to figure out what I had to say that was different.” She knew she was “going to find a way to make people look at what I’m looking at,” and although at that point she hadn’t yet settled on the exact subject matter for her pieces, it was clear she wanted to create still lifes. “I find things that somebody made,” Santiago says, “and I try to see the story in it.” Case in point: the Native earthenware vessels that populate so many of her dramatically lit paintings.

“I find people really fascinating,” says Roseta Santiago. “Some kind of interior beauty—that’s what I like to try to capture.”

Taos Man from El Salto, oil on linen, 20 x 16"



august/september 2014

Santiago is especially transfixed by the human connection inherent in handmade objects, which she sees as oblique portraits of their creators. “I’m meeting them through their work,” she says. “The connection between these artists and me. . . . What is it that makes us the same?” By 2008, Santiago had branched out into depicting the figure. Not surprisingly, it’s the sense of the human story that engages her. “I find people really fascinating,” she says, noting that her latest show, at Blue Rain Gallery, features several paintings of one particular model, a Taos Pueblo man. The show’s title is Grace, a word that for Santiago refers to “some kind of interior beauty. That’s what I like to try to capture,” she says. Roseta Santiago: Grace, August 1–August 16, reception August 1, 5–7 pm, Blue Rain Gallery, 130 Lincoln, blueraingallery.com



Rex Ray

joyou s s elf-ex pre s sion in vibra nt abst ract wor ks

Encountering a piece by Rex Ray is like hearing a really good pop song for the first time. There’s an immediate feeling of recognition mixed with surprise—a sense of simultaneous novelty and familiarity. As mixed media, collage, and paint converge in a rush of color, shape, and upward motion, upbeat e-adjectives come to mind: ebullient, effervescent, energetic, enthusiastic. “When I see his work, I think, ‘Everything is where it’s supposed to be,’” says Michael Carroll of Turner Carroll Gallery, which represents the San Francisco–based artist locally. That keen aptitude for composition was honed during a long and successful stint as a graphic designer. With a client list dominated by members of the music industry, Ray has produced material for heavy hitters like The Rolling Stones, U2, David Bowie, and Bjork, as well as for Apple, Sony Music, and Warner Brothers. Though his fine art is all constructed by hand (in opposition to the digital nature of graphic work), Ray’s design sensibilities—the precision, the meticulousness—continue to inform his process. “He sits on a pretty strong tradition of hard-edged abstraction,” Carroll says, contrasting Ray’s work to that of abstract expressionist Jackson Pollock. Ray’s smaller pieces are made of cut paper finished with resin. Interestingly, though, he creates his larger work by employing a process not dissimilar to Pollock’s: He lays the canvases flat on the floor and then, rather than sketching out his compositions beforehand, he creates them intuitively as he goes along. His aesthetic seems to have action built into it. While completing a BFA at the San Francisco Art Institute, Ray found that he didn’t relate to the reigning art school ethos that elevated theory over process, preferring instead to focus (to put it plainly) on what an artist does and how things look. To use “challenging” to describe art has become a bit cliché, but there is indeed something challenging—even if it’s counterintuitively so—about confronting a piece whose main raison d’être is joyous self-expression. The test becomes to appreciate it on its own terms rather than ask, “What does it say? What’s it about?” Carroll describes viewer reactions to Ray’s work at the gallery. “I think the first thing people see is a color, and then they try to decode the canvases,” he says. “They aren’t truly decodable, and it’s often hard for people to understand what it is they’re looking at. It’s funny to see people having trouble with seeing something that is beautiful.”

by Eve Tolpa

“When I see [Ray’s] work, I think, ‘Everything is where it’s supposed to be,’” ­says Michael Carroll. Above: Psoromasyl, mixed media and collage on linen, 76 x 76" Left: Untitled #3692, mixed media and collage resin on panel, 24 x 16" august/september 2014

santa fean



Judy Chicago


a new exhibition celebrates the icon’s 30 years of art-making in the Land of Enchantment by B a r ba ra Ty ne r

Judy Chicago is full of surprises. She’s the most high-profile, historically important, and arguably most revolutionary artist working today, and yet while many of us in Santa Fe think we know the New Mexico resident’s work, we’ll likely find her current exhibit at the New Mexico Museum of Art eye-opening. Maybe even heart-opening. Local Color: Judy Chicago in New Mexico 1984–2014 presents works the artist made in the decades following her monumental installation piece The Dinner Party (1974–1979), a spectacular homage to important women in history. The show is a visual, spiritual, and intellectual feast of Chicago’s ripened vision, deepened expression, and broadened universal reach. It’s a holistic view of her interests, including a feminism that’s part and parcel of an expansive humanism driven by moral concern.

sorts, but her nerves were unfounded. “Here, all this work is almost completely unknown, so I had no idea what the response would be,” she says. “[But] we had 1,200 people at the opening, [and] a lot of people came up to me with tears in their eyes. One man came to me and said ‘I am completely overwhelmed,’ which, you know, is nice.” Local Color: Judy Chicago in New Mexico 1984–2014, through October 12, New Mexico Museum of Art, 107 W Palace, nmartmuseum.org

“I always used to say that I hope I live long enough to have the rest of my body of work emerge from the shadow of the The Dinner Party,” says Chicago. A native of Chicago, the artist (born Judith Sylvia Cohen) helped shape the feminist art movement in California in the early ’70s. Her works and her teachings have centered on identifying and expressing the underrepresented female experience and creating an awareness of gender inequity in and beyond the art world. This latest show is part of a year-long, nationwide party celebrating Chicago’s 75th birthday, but it’s also a bookend of sorts of the artist’s life work. “[The Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum] is covering everything before The Dinner Party, and we’re covering everything made since she’s been in New Mexico,” says Merry Scully, chief curator of the New Mexico Museum of Art. “We wanted to give a sense of the breadth of her production, the depth of research she does for each project, and the materials she can work with. This is just a fraction.” Chicago understands that most people’s knowledge of her work begins and ends with The Dinner Party. “Even though I was very gratified by the level of attention it brought . . . I always used to say that I hope I live long enough to have the rest of my body of work emerge from the shadow of the The Dinner Party,” she notes. Local Color includes cast glasswork, painted ceramics, delicate needlework, intimate watercolors, and sky-high paintings with the punch and pow of Mexican muralismo. Pieces from Holocaust Project: From Darkness into Light (1985–1993) and her Nuclear Waste(d) series (both made in collaboration with her husband, photographer Donald Woodman) are profoundly powerful in their questioning of humanity and of how and why we commit unthinkable acts. Chicago admits she was nervous about the public reaction to this hometown show of

Judy Chicago, Crippled by the Need to Control/Blind Individuality, sprayed acrylic and oil on canvas, 108 x 72"

Judy Chicago and Donald Woodman, Four Questions (from Holocaust Project: From Darkness into Light), sprayed acrylic, oil, and Marshall photo oils on photolinen, 42 x 198 x 4" 96


august/september 2014

native arts


Need-to-Know Native American Painters, Sculptors, Weavers, Writers, Dancers, Poets, and More

Margarete Bagshaw - “Spinning In Four Directions” - 36” X 36” Oil on linen

Private Reception

Friday, Aug. 22 - 5 to 7 p.m. at Golden Dawn Gallery

Call for your invitation 505-988-2024

Pablita Velarde 1918-2006

“Taos Pole Climbe” - 24” X 19” Casein watercolor

Helen Hardin 1943-1984

“Listening Woman” Copper plate etching ed. 65

Private Reception

Friday, Aug. 22 - 5 to 7 p.m. at Golden Dawn Gallery

Call for your invitation 505-988-2024



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Malcolm Furlow

“Ceremonial Archer” by Malcolm Furlow

102 E Water St, Santa Fe, NM

505 983 1050


“Majestic Canyon” (Left) by Charles Pabst Known worldwide for his stunning portrayal of the Southwest, Charles Pabst is a master at capturing the essence of the Canyon. “The Grand Canyon is just that – ‘grand’. The drama created by the light which penetrates the recesses of the deep inner canyons creates a majesty like no other.”

“Majestic Canyon” by Charles Pabst

“Ceremonial Archer” (Left) by Malcolm Furlow Malcolm Furlow, an internationally award-winning artist, continues to earn critical acclaim around the world. His hallmarks – electrifying colors, vibrant portraiture, and masterfully constructed scenes – make him a living legend, a significant figure in the fabric of the American Southwest.

“Visions of an Iron Horse” (Right) by Phillip Payne The Southern Pacific’s “Sunset Route,” finished in 1883, marked the end of the Wild West as it had existed before. Geronimo, however, continued the fight, not fully surrendering until 1886. This piece depicts Geronimo seeing the Iron Horse approaching for the first time.

“Visions of an Iron Horse” by Phillip Payne


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Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 20 – 24, 2014

Featuring the artwork of Tammy Garcia, Preston Singletary, Tony Abeyta, Richard Zane Smith, Jody Naranjo, Al Qoyawayma, Shonto Begay, Hyrum Joe, Mateo Romero, Maria Samora, Dawn Wallace, Cannupa Hanska Luger, Thomas Breeze Marcus, Craig George, and White Buffalo. Visit our website for a complete schedule of shows and events.

Blue Rain Gallery|130 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary|7137 East Main StreetScosdale, AZ 85251 | 480.874.8110

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Indian Market Group Exhibition Friday, August 22nd Peter Krusko

5 - 8 pm

Jami Tobey

Carol Gold

Joshua Tobey


SANTA FE, NM 87501



Dan Bodelson

Journey’s End 36x48 Oil

R.A. Day

Southwest Images 12 x24 Oil

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727 info@joewadefineart.com www.joewadefineart.com

The SouThweST’S LargeST aucTion of cLaSSic weSTern arT

seeking consignments for the December 6, 2014 AUction 2013 highLighTS

Lot 51 Fremont Ellis (1897-1985) Through the Aspens, 1927, SOLD: $45,000

Lot 120 Leon Gaspard (1882-1964) Russian Village in Winter, SOLD: $75,000

Lot 78 Birger Sandzén (1871-1954) Glimpse of Long’s Peak, 1937, SOLD: $70,000

Lot 145 Clark Hulings (1922-2011) Puerto Vallarta, 1976, SOLD: $100,000

for fUrther informAtion contAct Peter L. riess, 505-954-5858 or cUrAtor@sAntAfeArtAUction.com

P r e S e n T e d by g e r a L d P e T e r S g a L L e ry © S a n Ta f e a r T a u c T i o n , L L c | P o b o x 2 4 3 7 | S a n Ta f e , n M | 8 7 5 0 4 - 2 4 3 7 T e L 5 0 5 9 5 4 - 5 8 5 8 | fa x 5 0 5 9 5 4 - 5 7 8 5 | c u r aT o r @ S a n Ta f e a r Ta u c T i o n . c o M v i S i T w w w. S a n Ta f e a r Ta u c T i o n . c o M f o r f u r T h e r i n f o r M aT i o n

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Indian Market 2014

Booth 329 FR-N 580-504-8602 • dw3359@cableone.net

Bruce King Old Light, New Color

“Out of the Morning Mist” 32.5 x 42.5 unf oil

august 12 through august 25 artist friday, august 22 5 pm - 8 pm

exhiBitiON dates reCeptiON fOr the

Waxlander Gallery celebrating thirty years of excellence

622 Canyon road • santa fe, NM 87501 waxlander.com • 505.984.2202 • 800.342.2202

Poteet Victory

Indian Market Weekend • Friday, August 22, 2014 • 5 to 7pm

M cLarry M o d e r n www.mclarrymodern.com

225 Canyon Road • Santa Fe, New Mexico • 505.983.8589 “Moons of Ripe Persimmons” 72"x 72”x 72" 72” Oil on Canvas

Announcing our expanded location! Now also at 713 Canyon Road

713 Canyon Road

& 203 West Water St.

Santa Fe, NM 87501 www.casweckgalleries.com • 505.988.2966

Toney Redman


Forged and textured steel and copper

Warrior’s Pride, patined steel, 36 x 16 x 2″

Glyphs, patined steel & copper, 34 x 15 x 2″ (detail)

All steel is brown-toned with rust patina

Santa Fe Art Collector 217 Galisteo Santa Fe, NM (505) 988 5545

Email: info@santafeartcollector.com

Distant Thunder, patined steel on patined copper, 37 x 26 x 2″

Indian Market Show Reception August 18th-24th

August 22nd from 6:00-9:00 Jazz musician Ray Blue will be performing

Dustin Payne, Wind River Raiders Bronze Ed. of 20, 22Hx50Wx7D

Dan Deuter, Thunderbolt 60Wx30H, Oil

Alvin Marshal, A Little Girl’s Dream Alabaster Stone, 23Hx13Wx11D

Greg Overton, Spirit Walker 52Wx62H, Oil

Mark McKenna, Sweet Serenade 11Wx14H, Oil

Deon Duncan, Hopi Maiden Sitting Bronze Ed. of 19, 16Hx14Wx12D

Troy Collins, Youth at Play 72Wx36H, Oil

Vic Payne , Chief Plenty Coups Bronze Ed. of 35, 23Hx10Lx9W

200 Old Santa Fe Trail • Santa Fe, NM 87501 • www.mountaintrailsfineart.com • (505) 983-7027



Joseph Henry Sharp | After the Hunt Oil on canvas | 30 by 36 by inches | Estimate: $240,000 - $280,000




345 CAMINO DEL MONTE SOL SANTA FE, NM 87501 (505) 983-1590

2912 MAPLE AVE, SUITE A DALLAS, TX 75201 (214) 880-1700


native arts magazine

contents 30 Up Front

Tewa Dancers from the North, jewelry by Larry Vasquez, a biography of Kevin Red Star, and poems by Max Early

34 Museum Spotlight

50 Artist Portraits


N. Scott Momaday, Margarete Bagshaw, Will Wilson, and other artists defining their genres



62 Around the Block Native American artwork draws serious collectors to the auction circuit

64 Exhibits

Preston Singletary, The Rattle That Sang to Itself, blown and sand-carved glass and steel, 19 x 11 x 6"

Gallery show previews

66 Masters of Art Steven Paul Judd, Jesse Monongya, Diego Romero, Julian Coriz, John Suazo, and Phillip Vigil

72 Day Trip Chaco Culture National Historic Park courtesy tewa dancers of the north


Chaco Culture National Historic Park National Park service

sergio salvador

Native American art exhibitions at top national and regional museums



“Cosmic Archer”

48" x 36"


JOHN NIETO One Man Show • Friday, August 22, 2014 • 5 to 7 pm

VENTANA FINE ART 400 Canyon Road

Santa Fe, NM 87501







outheastern Native artists and artisans invoke the traditions and inspirations of their forebears from the Southeastern Ceremonial Complex. By utilizing specific symbols, subjects, styles or textures to form a balanced composition, they create a visual language of interpretation for their environment. The objects and art Southeastern artists fashioned then —and create now— echo and affirm the identities of their people.

Visit the booths of these Southeastern Artists: Kristen Dorsey 200 Brent Greenwood 779-LIN-W Norma Howard 206-PAL-N Margaret Roach Wheeler 285-PAL Daniel Worcester 329-FRN

native arts magazine


bruce adams



b.y. cooper

amy hegarty


cristina olds amy gross


sybil watson


michelle odom

ginny stewart-jaramillo



andrea nagler WRITERS

ashley m. biggers, rodney gross zélie pollon, donna schillinger eve tolpa, emily van cleve PHOTOGRAPHERS


215 W San Francisco St, Ste 300 Santa Fe, NM 87501 Telephone 505-983-1444, fax 505-983-1555 info@santafean.com santafean.com Copyright 2014. Reproduction in whole or in part without permission is prohibited. Published by Bella Media, LLC, 215 W San Francisco St, 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 16946, North Hollywood, CA 91615-6946.

native arts


Need-to-Know Native American Painters, Sculptors, Weavers, Writers, Dancers, Poets, and More

ON THE COVER Preston Singletary, Eagle and Raven Dancers (detail), blown and sandcarved glass, 18 x 8 x 6". See page 66 for info about Singletary’s upcoming show at Blue Rain Gallery.

up front

news and happenings

by Cristina Olds

Tewa Dancers from the North perform the Buffalo Dance.

stone poet jewelry

When it comes to designing his stunning, one-of-akind jewelry items, artist Larry Vasquez says that the stones he uses speak to him and guide him. “I call them record keepers because they’ve been here absorbing information for so long,” he says. Amid the dialogue with the jewelry, a poem forms in Vasquez’s mind, and he includes that poem with the piece. Working without an initial sketch, Vasquez might spend as many as 50 hours creating each finished product. “The smaller pendants with tiny stones that I call corn maidens might have 50 to 60 pieces,” he says. Vasquez individually handcrafts and polishes each bead and also blends and mills the 18- to 22-karat gold himself. “This year I’m concentrating on turquoise, like in my ceremonial necklace that has Black Spider Mine turquoise beads,” Vasquez says, noting that he’s making “medicine pieces that activate the person [wearing the necklace] and enhance our own lives as healers.” Other recent works feature beads fabricated from spiny oyster, opal, and coral. “I’ll also rework old beads that I find,” he says. Vasquez’s work can be seen on his website, larryvasquez.net.

tradition-filled dance performance

Curt Garcia has performed traditional Native dances with the Tewa Dancers from the North for as long as he can remember. “I’m 29 now, and I was dancing even before I could walk—since I was in my mother’s womb and she was dancing with the group,” he says. The Ohkay Owingeh Pueblo family of dancers began performing in the 1970s, when Garcia’s grandfather, Andrew Garcia, started the group to give young tribal members a cultural identity and to provide activities to prevent substance abuse. Andrew had struggles of his own until, as his grandson says, “he made a U-turn with his life and put his interest into us, the younger generation. Now he’s reaching out to his great-grandchildren.” Garcia’s own children (ages 4, 8, and 9) dance with the group, while his grandfather, at age 76, still composes songs. The dancers perform traditional pieces at ceremonies and special public events, adding their own updates to the music and choreography. “Grandfather chants the songs—he’s the storyteller—and we all add things; we’re open to new ideas,” Garcia says. “We connect with each member. We’re a unique circle no one can break.” Three or four members may sing, and up to 15 dancers might perform at once. Garcia especially enjoys assisting his grandfather with the songs, noting that the stories passed from the ancestors through the Tewa-language lyrics contain valuable messages. The Buffalo Dance Song, for example, talks of the buffalo bringing life and prosperity to all people and gives “thanks to our Creator for giving us peace and balance in our daily lives,” Garcia says. “There are prayers behind a lot of the dances.” The Tewa Dancers from the North have performed around the world, including in Colombia, Brazil, India, and Singapore. Most recently, they’ve been dancing at weddings held at Buffalo Thunder Resort & Casino. “We’re trying to share a cultural awareness of the Ohkay Owingeh Pueblo—who we are and how we live,” Garcia says. “Audiences have commented that they feel the spirituality. We feel we’re touching lives.” 30


Isis pendant, Lightning Ridge opal center stone, blue sapphires, orange sapphires, and canary diamonds. Above: True Love necklace, green chrysoprase and opal.


Galisteo Basin #2 archival Pigment Print Mounted on acrylic Plate 20” x 30” Michael namingha © 2014

Dan, arlo, and Michael namingha ar tists’ Reception Friday, august 22, 2014 5-7:30 PM 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • nimanfineart@namingha.com • namingha.com

portrait of an artist



biography The new biography Kevin Red Star: Crow Indian Artist, which features text by Daniel Gibson and photographs by Kitty Leaken, celebrates the life and work of the Montana-based painter, who, over the last 50 years, has honored the Crow people and their culture through his artwork and through his role as a mentor. “I was most impressed to discover the devotion Red Star has to his family and to his community, and the courage it required for him to create his career,� says Gibson, the former editor of Native Peoples magazine. “Red Star helps support a large circle of people in Montana, both financially and emotionally,� he adds. “They look to him for assistance and guidance, and he serves as a role model for how to conduct one’s life and career.� Red Star attended the Institute of American Indian Arts in Santa Fe and the San Francisco Art Institute in the 1960s, becoming part of the modern and post-modern Indian art movements. “There was an explosion of creative activity; the environment was dynamic,� Red Star says about his time in art school. “I wanted to be a painter, but I didn’t know how to mix paint or what brushes to use. Art school gave me the groundwork and allowed me to paint from the heart.� Today Red Star opens his studio in Roberts, Montana, to student groups interested in learning about a career in art. “Growing up, no one was into the arts on the reservation—they were busy being farmers and ranchers. When I went back to Montana, I wanted to give kids that opportunity, so I do demonstrations and answer questions.� Red Star also donates paintings for various charity fundraisers in the area. His works are included in notable museum collections across the country; at galleries in Arizona, Colorado, and Montana; and in Santa Fe at Windsor Betts Art Brokerage House. Red Star, Gibson, and Leaken will be at a booksigning event at Collected Works Bookstore in Santa Fe on Wednesday, August 20 (5:30 pm, 202 Galisteo).

Kevin Red Star in his Roberts, Montana, studio

kitty leaken/.k

Since 1982 in Taos Old Pawn & Contemporary Indian Jewelry & Art

How You Got Your Name —For Alan

One tree struck by lightning Fashioned into a cradleboard Protect my little one. Three tall river willows chosen Shaped and bent like an arch Keep my baby safe. Four buckskin loops on each side Zigzag laced belt like lightning Hold my child secure. Six colors of the sun sought Sewn beads around your willows Comfort my son to sleep. Grandfather said— Your cradleboard was charming So we named you Ga-schot-tsee Rainbow, my Rainbow. —Max Early, From Ears of Corn: Listen

preserving cultural traditions with pottery and poetry poetry Maintaining the traditions of the Laguna Pueblo people for future generations is important to Max Early, who’s widely known for his award-winning pottery. Now, Early has brought his talents and his vision to the world of poetry with the release of his first collection of verse, called Ears of Corn: Listen (3: A Taos Press). “Writing is different from making pottery in that revision is limited [with the latter],” Early says. “With pottery, once the clay slip absorbs on the surface of the pot, mistakes are nearly impossible to correct. But writing and pottery are the same by way of contemplating ideas and visualizing the piece or poem,” he adds. Words from the Keresan dialect are sprinkled throughout the collection to “heighten the vocal tonality of my poetry,” Early says, with keys in the margins providing translations and photos of Early’s family—past and present—providing visual references for the characters in the poems. A second book is currently in the works. Award-winning Laguna Pueblo potter Max Early recently

released his first book of poetry, Ears of Corn: Listen.

Already Legendary. . .

Montecristi Custom Hatworks 322 McKenzie Street • Santa Fe, NM 87501 505.983.9598 • montecristihats.com

Museum of Indian Arts and Culture

by Ashley M. Biggers

timeless turquoise an engaging exhibition looks at the power and significance of the enduring gemstone

Blair clark

Angie Reano Owen of Santo Domingo Pueblo inlaid turquoise from Nevada’s Red Mountain mine onto a shell to make this cuff bracelet.

“Turquoise is more than a beautiful stone. It has deep cultural significance in the region,” says curator Maxine McBrinn. 34


Blair clark

kitty leaken

Left: Southwestern rings and bracelets from the 1910s through the present feature single cabochons and clusters of precisely cut stones. Below: Rough turquoise from the Cerrillos District.

Turquoise is an enduring symbol of the Southwest. When paired with silver, the gemstone is particularly iconic. However, “turquoise is more than a beautiful stone. It has deep cultural significance in the region,” says Maxine McBrinn, curator of archaeology at the Museum of Indian Arts and Culture (MIAC), where Turquoise, Water, Sky: The Stone and Its Meaning opened in April. The exhibit’s title speaks to the gemstone’s history of symbolizing water, the sky, and certain aspects of a good life, including health, abundance, and beauty. Native peoples have used turquoise ceremonially, medicinally, and decoratively for thousands of years, but this exhibit points to the breadth of its significance, citing relics such as King Tutankhamun’s gold-turquoise-inlay funeral mask. Turquoise, Water, Sky features 450 artifacts drawn from the museum’s extensive collection; more than 50 percent have never been displayed publicly, lending the exhibit the exclusive air of peeking inside someone’s well-curated jewelry box. A standout display delineates turquoise sourced from various mines—sometimes the difference is marked, sometimes negligible. Covetable jewelry items include a Depression-era squash-blossom necklace made entirely of the stone (absent silver) and a modern cuff bracelet formed from a shell and inlaid entirely with turquoise by Santo Domingo artist Angie Reano Owen. The skill and creativity of the craftspeople is visible in each bauble, whether intricate or bold. The exhibition will be on display through May 2, 2016. In conjunction, MIAC has scheduled programs such as a five-part lecture series (final dates: August 10 and September 21) examining the role and function of turquoise from prehistoric times through the present day. On the third Wednesday of each month, the public is invited to bring artifacts, historic objects, or pieces of jewelry for the curators to examine and identify in “Let’s Take a Look.” Finally, a turquoise-buying seminar (August 9) helps buyers make informed purchasing decisions. Museum of Indian Arts and Culture, 710 Camino Lejo, Santa Fe, New Mexico, indianartsandculture.org

AUGUST The Tradition of the Martinez Family of San Ildefonso Pueblo Opening Reception Monday August 11 5 to 7 pm

221 Canyon Road Santa Fe 505.955.0550







Thursday, August 21

Friday, August 22

Silent Auction and Live Auction Preview 4:00 p.m. – 6:00 p.m.

Collectors’ Table 10:00 a.m.

Offsite parking and free shuttle from St. John’s United Methodist Church at Old Pecos Trail and Cordova Road.

Live Auction 1:00 p.m. – 4:00 p.m.

Funded in Part by a Gift from

Live Auction Preview 10:30 a.m. – 12:30 p.m.


Eiteljorg Museum of American Indians and Western Art

by Samantha Schwirck

past, present, and future Lakota doll, glass beads, buffalo hair, leather, and porcupine quills, 9 x 2 x 17". Gift courtesy of Harrison Eiteljorg.

Lawrence Paul Yuxweluptun, Portrait of a Residential School Child, acrylic on canvas, 64 x 52". Loan courtesy of Keith Peck.



The only Native American and Western art museum in the Midwest, the Eiteljorg Museum of American Indians and Western Art houses founder Harrison Eiteljorg’s personal collection as well as works by Western art luminaries such as T. C. Cannon, Frederic Remington, and Allan Houser. When art lover Eiteljorg moved west in the 1940s to mine for coal, he quickly became enthralled with Native American art and culture. He subsequently developed a personal art collection that included Native American and other pieces, and in 1989 he established the Eiteljorg Museum in Indianapolis, Indiana. In keeping with its founder’s original mission—“to inspire an appreciation and understanding of the art, history, and cultures of the American West and the indigenous peoples of North America”—the Eiteljorg hosts temporary exhibitions every year and houses three permanent collections: One focuses on Native American art, one on Western art, and one on contemporary art. The museum’s Native collection features clothing, basketry, and weapons as well as contemporary sculpture, jewelry, and carvings. It houses works from the Donald B. and Jean O. Korb Collection of Navajo Saddle Blankets and the Martin J. and Julie Klaper Collection of Arctic Art. In 2012, the Eiteljorg also acquired 110 of R. Terrance and Rebecca J. Rader’s katsina carvings. “The museum’s collections purposefully embrace contemporary works that are traditional and functional,” says James H. Nottage, vice president, chief curatorial officer, and Gund curator of Western art, history, and culture at the Eiteljorg. “The museum is also the major repository and center for the presentation and interpretation of modern sculpture, painting, installation works, and other expressive representations that demonstrate the vitality of Native contemporary art today,” he adds. “All of the pieces in the collection are important because they demonstrate this vitality and the social, cultural, and historical issues that have impacted Native cultures through time.” On the museum’s second floor, a special continuing exhibit, Mihtohseenionki (translated as “The People’s Place”), chronicles the history of Indiana’s Native American population, including the Miami, Delaware, Potawatomi, and other tribes. Remaining space focuses on a widespread Native population that spans from the western and eastern coasts of the United States, to as far north as Alaska, and as far south as Mexico. Eiteljorg Museum of American Indians and Western Art, 500 W Washington, Indianapolis, Indiana, eiteljorg.org

courtesy of the eiteljorg museum of american indians and western art

the Eiteljorg Museum showcases historic and contemporary Native art


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santa fean

native arts 2014


Wheelwright Museum of the American Indian

by Donna Schillinger

focused lens

a multimedia exhibition showcases photographer Will Wilson’s timely and forward-looking work

The manifold talent and passion of Diné (or Navajo) photographer Will Wilson is on full display in an exhibition that runs through April 19, 2015, at Santa Fe’s Wheelwright Museum of the American Indian. Wilson, who was born in San Francisco and raised in Tuba City, Arizona (the largest community in the Navajo Nation), combines digital technology, historic photographic processes, performance, and installation to address the themes that most concern him: environmental activism, the impact of cultural and environmental change on indigenous peoples, and cultural survival and renewal. At the entrance to the Wheelwright is Wilson’s AIR LAB, a large hogan-shaped greenhouse in which vegetables, culinary herbs, and native and drought-tolerant shrubs grow. Part of a vision that centers on indigenous communities growing healthy food and raising healthy children, AIR LAB fuses Wilson’s grownup concerns with childhood memories of his grandparents’ home. “My grandfather’s cornfields, fruit trees, melons, and squash, along with my grandmother Martha’s large herd of sheep, sustained our extended family for generations,” Wilson has said. The exhibition also includes 12 photographic portraits from Wilson’s CIPX (Critical Indigenous Photographic Exchange) project. In response to the general public’s reception of Edward S. Curtis’s famous early-20thcentury images of Native Americans, CIPX expands on the photog38


rapher’s work, but from a 21st-century perspective. “Curtis did a certain amount of manipulation by removing modern accoutrements from view and asking subjects to wear heirloom clothing,” says Cheri Falkenstien-Doyle, the Wheelwright’s curator. “Also, the photographic chemistry of Curtis’s day renders some skin tones very dark, which white viewers tended to read as exotic. Will’s portraits represent a more equitable relationship with his subjects. People pose with items of personal significance—everything from vintage typewriters to manga paperbacks—and share rights to the image.” Among the other pieces not to be missed is Wilson’s huge AIR (Auto Immune Response) series, which depicts a post-apocalyptic Navajo man’s journey through a desolate but beautiful landscape symbolic of the exploited Navajo reservation. The futuristic protagonist considers profound questions: What has occurred to transform the landscape? Why has the land become toxic? How will I reconnect with the earth? Wilson’s message is as manifest as the immense images of the exhibition, leaving the viewer debating whether Wilson is an activist with a camera or an artist on a mission—so evenly apparent are the two energies. As Falkenstien-Doyle says: “I’m drawn to the beauty and poignancy of his work, and then I like the message.” Wheelwright Museum of the American Indian, 704 Camino Lejo, Santa Fe, New Mexico, wheelwright.org

courtesy of the wheelwright museum of the american indian

AIR 6, archival pigment print, 44 x 79"

Todd Paxton, The Hunter, Bronze Chris Payne, Soulmates, Bronze

13 Feathers, Carved and Pyrographed Gourd

Santa Fe Art Collector 217 Galisteo Santa Fe, NM (505) 988 5545

Email: info@santafeartcollector.com

Eric Hartman, Bounty Along the Lochsa, Bronze

Pablita Velarde Museum of Indian Women in the Arts

by Donna Schillinger

celebrating the harvest artist Kathleen Wall explores food-centered culture and customs

Above, right: Corn Grinders, traditionally processed Jemez Pueblo clay, painted with acrylic and earth pigments, 20 x 37 x 22". Painting: acrylic on canvas with earth pigments, 37 x 61".   Above: Saguaro Picker, traditionally processed Jemez Pueblo clay, painted with acrylic and earth pigments, 19 x 7 x 7". Painting: acrylic on canvas with earth pigments, 84 x 37". 40


our current practices. “By introducing the traditional knowledge, I’m hoping to open up the conversation about what we do today,” Wall says. An outgrowth of Wall’s senior thesis at the Institute of American Indian Arts, Harvesting Tradition explores the way Native Americans used to—and still do—harvest, gather, grow, and hunt their food in a traditional manner. The artist researched each scene depicted in her pottery for this show, and many evoke long-forgotten customs. “A Pueblo farming scene of a woman harvesting cactus fruit doesn’t fit in our world anymore,” Wall says. “But it can be the impetus for conversation about our present habits,” she adds. “Are we eating foods that our bodies are used to eating? Are we harvesting locally? How can we grow our own food? Do we even know where to get truly healthy food? All of these questions we ask with the ultimate goal of better health.” The very embodiment of a successful synthesis of the traditional and the modern, Wall is best known for her Native pottery figures. Although she began her artistic journey making storytellers, she always knew she would eventually move beyond the traditional art she was taught. During her late teens, Wall’s works became more figurative. “I was a young girl in the midst of something I had a passion for,” she has said. Harvesting Tradition runs through January 5, 2015, with a reception being held during Santa Fe’s Indian Market on Thursday, August 21. To continue the conversation about past and present food-centered culture and customs, PVMIWA and Wall will host a monthly series, Noonday Dialogue at the Pablita, from 1 to 3 PM on the following dates: August 28: Harvesting Tradition (Wall); September 25: Pueblo Farming (Justin Casiquito, Jemez); October 23: Corn Grinding (Lois Ellen Frank, Kiowa); November 28: Indigenous Diet (Chastity Sandoval Swentzell, Diné). Pablita Velarde Museum of Indian Women in the Arts, 213 Cathedral Place, Santa Fe, New Mexico, pvmiwa.org

courtesy of the pablita velarde museum of indian women in the arts

When sitting down to eat, do you ever think about the journey your food took to go from field to plate? It’s precisely this fundamental transition—the harvest—that’s at the center of a new exhibition of paintings and clay sculptures at the Pablita Velarde Museum of Indian Women in the Arts (PVMIWA) in Santa Fe. Part ethnography, part social statement, Harvesting Tradition, which features works by Jemez Pueblo artist Kathleen Wall, who also curated the exhibition with Marth Becktell and Marita Hinds, seeks to educate visitors about traditional Native American food ways and to create awareness about

Hotel Chimayo de Santa Fe 125 Washington Ave. August 21-24, 2014 10am-5pm

welcome back to a new tradition

Marvin Oliver browns trading


SantaFean_0614_v01.indd 1

5/28/2014 11:39:33 AM

Booth Western Art Museum

by Rodney Gross

go west from cowboys to katsinas, the Booth museum celebrates Western American art THE COUNTRY’S LARGEST permanent exhibition space dedicated to Western American art isn’t in the West but, rather, in the Southeast. The Cartersville, Geogia–based Booth Western Art Museum, a Smithsonian affiliate that opened in 2003, offers 120,000 square feet of historic artifacts and contemporary works that reference the Old West. The collections evolved from ones acquired by the anonymous family who donated the funds to build the museum, which they named after an old friend. The Booth also includes Civil War art and a tribute to all the country’s presidents. Among the museum’s permanent galleries are collections featuring paintings and sculptures depicting the history, landscape, and enduring characters of the American West. The Cowboy Gallery spotlights the iconic figure who still figures prominently in American lore and culture; Heading West focuses on the country’s earliest fur trappers and mountain men as well as the later pioneers who arrived by stagecoach and covered wagon; and Mythic West explores how our perceptions of the pioneer era have been shaped by

Shonto Begay, Our Promised Road, acrylic on canvas, 43 x 72"

A permanent exhibit called Native Hands emphasizes the use of color and geometric shapes in traditional and contemporary Indian art.

Stanley Natchez, Four Powers of the World, mixed media, 60 x 48"



Above: Oreland Joe, Healing Songs, marble, 24 x 17 x 24". Above, right: Kevin Red Star, Ready for the Two Step, mixed media, 50 x 62". Right: Michael Naranjo, Eagle Man, bronze, 87 x 63 x 46".

Allan Houser, Buffalo Hunt, bronze, 36 x 163"

courtesy of the booth western art museum

Dan Namingha, Antelope Kachina, acrylic on canvas, 79 x 70"

pulp novels and Hollywood. For fans of Native arts, the highlight of a visit to the Booth is likely to be Native Hands, a permanent exhibition that emphasizes the use of color and geometric shapes in traditional and contemporary Indian art and that features more than 200 examples of stunning rugs, garments, jewelry, pottery, and katsina dolls. In 2015, the Booth museum plans to host a retrospective of works by New Mexico artist Michael Naranjo, who grew up in Taos and Santa Clara Pueblo and who creates his much-lauded bronze-cast clay pieces without the use of his eyesight or his right hand. As the Booth Museum’s executive director, Seth Hopkins, notes: “In many cases, it’s Native artists who have moved the [Western] genre forward, producing masterworks in a variety of media, reflecting their own views of their culture and heritage.” Booth Western Art Museum, 501 Museum, Cartersville, Georgia, boothmuseum.org

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Heard Museum

modern narratives

by Ashley M. Biggers

Allan Houser (Chiricahua Apache), War Pony, bronze, 24 x 34 x 9". Bequest of Ann B. Ritt. Above: Unknown artist (Sioux), Untitled, pencil on paper, 18 x 11". Heard Museum Collection.



Traditionally, members of Plains tribes would have used animal hides and natural pigments to record events, but after being relocated to reservations they used pencils and sheets of paper from ledger books to create. Their stories—and, therefore, the preservation of their culture—eventually emerged on paper, in eye-catching color and a representational style. The Heard Museum presents 80 to 100 such works in Stories Outside the Lines: American Indian Ledger Art, on display through September 21. “Ledger art was historically men’s art, so these are more or less brag sheets talking about brave deeds and victories in battle,” says Janet Cantley, the Heard Museum’s curator. Cantley notes that 60 to 70 percent of the works fall into that category, with the rest depicting culture and ceremony. A drawing from the Gilcrease ledger artist (a celebrated artist whose name is unknown but who’s referred to by the reservation at which he was held) depicts men returning from battle, with women wearing war bonnets and skirts with intricate geometric patterns. Another standout drawing, this one from a Sioux artist, depicts a dance in which nine regalia-clad warriors move in formation. The exhibition also presents works from the ledger art resurgence in the 1970s and ’80s, when modern artists of both sexes adapted the style to a variety of mediums. In one piece, for example, Toni Williams appliquéd ledger-art images into the fabric of a kimono. Art from the Native American diaspora is also at the center of The Houser/Haozous Family: Celebrating a Century, on display through April 26, 2015. In this exhibit, the Heard Museum acknowledges the 100-year anniversary of the release of the Chiricahua Apache people from their status as prisoners of war, as well as the birth of influential Chiricahua Apache artist Allan Houser (1914–1994). Houser’s parents, Sam and Blossom Haozous, were among those who rode with Geronimo. They were imprisoned in Florida, Alabama, and Oklahoma’s Fort Sill, where Houser was born. “A lot of work by both father and sons [including Houser’s sons Phillip and Bob Haozous, whose work is also featured in the exhibition] were influenced by that family history. They produce in very different ways, but it’s coming from that same foundation,” Cantley says. Featuring some 20 pieces of sculpture from this prominent family, the show includes several rarely or never-before-seen pieces, especially those by

courtesy of the heard museum

cultural storytelling from Plains and Apache tribes

Phillip Haozous. Phillip, who demonstrates more of his father’s romanticism and balance between realism and abstraction, loaned Great Spirit Buffalo II, a monumental, life-size bison, to the show. Bob Haozous’s conceptual pieces reflect upon Chiricahua Apache social history, as in Portable Apache, a figure of a warrior shot up with bullet holes. The figure is mounted on wheels, evoking the Apache people’s nomadic history—both by choice and forced imprisonment. “Each piece tells a story, drawing on their cultural heritage,” says Cantley. Heard Museum, 2301 N Central, Phoenix, Arizona, heard.org

Gilcrease ledger artist (Cheyenne), Women Honoring Warriors, pencil on paper, 15 x 20". Bequest of Carolann Smurthwaite.

Bob Haozous (Chiricahua Apache/ Navajo), Portable Apache, painted steel, 33 x 12 x 12". Gift of Natalie Eigen.

Autry National Center

by Donna Schillinger

blossoms in beadwork the history and meaning behind Native American flower imagery THOUGH THEY’re Usually fragile and ephemeral, flowers are perpetually in bloom in a groundbreaking exhibition at The Autry National Center of the American West. Floral Journey: Native North American Beadwork, on view through April 25, 2015, draws from multiple private collections and 15 cultural institutions to present more than 250 unique objects and personal stories—many on display to the public for the first time.

Above: Ojibwe breechcloth from 1885. Velvet and glass beads. Gift of Miss Donna Held. Southwest Museum of the American Indian Collection, Autry National Center.

Left: Santee Sioux pipe bag, ca. 1880. Hide, porcupine quills, and glass beads. Right: Canadian Plains Cree gauntlets from 1900. Native tanned hide, commercial leather, and glass beads. Both pieces from the collection of Lora A. and Robert U. Sandroni.



courtesy of the autry national center of the american west

Left: Lakota boots from the 1880s–1890s. Hide, feathers, metal cones, and glass beads. Loan courtesy of the James R. Parks Collection.

Museum of Contemporary Native Arts

by Emily Van Cleve

connecting cultures

two solo exhibits explore traditional identity amid modern-day influences

During the week of Santa Fe’s 93rd annual Indian Market, the Museum of Contemporary Native Arts (MoCNA) presents solo exhibitions showcasing the work of artists who have close connections to Santa Fe but create very different kinds of art in dissimilar environments. The Desert Never Left “The City,” opening in MoCNA’s North Gallery on August 22 and running through December 31, features 21 oil, acrylic, and mixed-media paintings on canvas and paper by Mario Martinez, a former instructor at the Institute of American Indian Arts (IAIA), MoCNA’s parent organization. An Arizona native with strong ties to his Yaqui culture, Martinez has been painting in Brooklyn, New York, for the past decade. “Mario uses an abstract genre to draw upon the spiritual nature of his culture,” says MoCNA’s chief curator, Ryan Rice. “Sacred knowledge isn’t revealed in his work. He draws from animal and plant life from his home in Arizona and blends figurative [and] narrative [elements] to express his relationship to New York’s contemporary urban environment.” Martinez studied art in Arizona and earned a master’s degree from the San Francisco Art Institute. People, 48


Mario Martinez, Spring Thoughts II, acrylic on canvas, 36 x 36". Opposite: Yaqui Abstraction, acrylic and lace on canvas, 36 x 36".

courtesy of the museum of contemporary native arts

Detail from Da-ka-xeen Mehner’s wall installation Call and Respond, which comprises 12 hand drums made of rawhide (elk) and wood (cedar) and features a mold of the artist’s face. The individual drums are 20 x 20 x 8".

creatures from nature, and gray concrete buildings appear in his work, which has been exhibited at the Smithsonian’s National Museum of the American Indian in New York City and at the Heard Museum in Phoenix. In contrast to Martinez’s urban-influenced work is Da-kaxeen Mehner’s show Saligaaw (it is loud-voiced ), which centers on reclaiming the Alaskan Tlingit language. The show, in the South Gallery, also opens on August 22 and continues through the end of the year. A former student at IAIA and the University of New Mexico, the Alaska native is an assistant professor of Native Arts at the University of Alaska in Fairbanks. He drew from his family ancestry (Tlingit/N’ishga) and from his experience of having a Native American mother and non-Native father to create a wall installation of 12 rawhide hand drums called Call and Respond. Mehner made a mold of his face and put it in the rawhide on one side of the drum to produce a 3-D sculptural effect. “Visual images that express his disconnection and recon-


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Da-ka-xeen Mehner’s show “celebrates the lasting and profound relationship between the Tlingit language and song,” says Ryan Rice, MoCNA’s chief curator. nection to his Native language are projected onto the drums,” Rice says. “Accompanying the images are songs that he and his elementary school– age son have been singing together as a way for both of them to reconnect with their culture. The exhibit celebrates the lasting and profound relationship between the Tlingit language and song.” Running concurrent to the above shows are the exhibits Breach: Log 14, an exploration of historical ties to water and material sustainability by artist, filmmaker, and IAIA instructor Courtney Michele Leonard (Shinnecock Nation of Long Island, New York), and Rattlebone, a collection of paintings and related works by Spokane artist Ric Gendron (Arrow Lakes Band of Confederated Tribes of the Colville Reservation and the Confederated Tribes of the Umatilla). An opening reception for all the exhibits takes place on August 21 from 5 to 7 pm. Museum of Contemporary Native Arts, 108 Cathedral, Santa Fe, New Mexico, iaia.edu/museum

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native arts 2014


artist portraits Native American art is admired around the world for the depth and beauty of its aesthetic, its meaning, and its craftsmanship. Here we celebrate a few of the potters, weavers, musicians, and Pulitzer Prize–winners who are not only thriving in their genres but are defining (and redefining) them as well. Photographs by Sergio Salvador

N. Scott Momaday Winner of the 1969 Pulitzer Prize for Fiction for his novel House Made of Dawn, N. Scott Momaday is credited with bringing Native American literature into the mainstream and, as a result, igniting a “Native American Renaissance” that inspired the likes of writers Sherman Alexie and Louise Erdrich, among many others. Today, in addition to writing, Momaday teaches in the Indigenous Liberal Studies program at the Institute of American Indian Arts (IAIA) in Santa Fe. “This fall semester he’ll be teaching a class called The Word as Sacred,” says Dr. Ann Filemyr, IAIA’s academic dean. “The class focuses on the Native American cultural conceptual framework in which the spoken word and the oral tradition is linked to spiritual beliefs about people, place, and time.” Momaday, a Santa Fe resident who is of Kiowa and Cherokee descent, has written more than 15 books comprising poetry, plays, and fiction, and in 2007 he was awarded the country’s highest honor for artistic achievement, the National Medal of Arts.—Cristina Olds 50


Aragon hand-paints his miniature pots before firing and glazing them.

Allen Aragon Allen Aragon’s concho belts, pendants, and bolo ties are miniature wonders that combine his talents as both a potter and a jeweler. The award-winning Navajo artist, raised on a ranch outside of Chaco Canyon, paints precisely detailed Acomastyle pottery, which he then embeds in sterling silver jewelry. His one-inch pots and silver jewelry can be seen at the Heard Museum Shop in Phoenix, the Museum of New Mexico Foundation shops in Santa Fe, and at his eponymous Albuquerque gallery.—CO

Aragon embeds intricately detailed pottery in sterling silver jewelry to create truly one-of-a-kind items.

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native arts 2014


ARTIST PortraitS

Emmett Garcia Singer and lyricist Emmett “Shkeme” Garcia has been around the world, but now he’s back home in New Mexico, where he focuses on his award-winning Native American reggae band Native Roots, which he started in 1997. The band’s body of work includes three CDs and a recently released single, “Tribal Wars.” Garcia, of Santa Ana/Jemez Pueblo ancestry, also writes children’s books based on traditional legends and mythology.—CO



Margarete Bagshaw, Flying Lessons, oil on panel, 24 x 24"

Margarete Bagshaw Clearly in the prime of her creative life, Margarete Bagshaw paints big. And bigger. Gazing at a 2 x 3' canvas from her recent past, she shakes her head. “I can’t go back there,” she says. A recent oil painting—a 12 x 7' piece—found a buyer even before its concept took form. Consider Bagshaw’s DNA: She’s the daughter of Helen Hardin and the granddaughter of Pablita Velarde, two of the most important painters in the history of Native arts. But Bagshaw’s Santa Fe–based work dances down a defiantly modernist path, unique unto her. “Spatial composition with an essence of spirituality” kick-starts her definition. From there, a limitless palette offers itself to a wonderland of abstract dreams conjured into life—a kaleidoscope of katsinas, mermaids, dinosaurs, and more. You can’t just look. You must listen.—Kate Nelson

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native arts 2014


Jody Naranjo Part of a distinguished line of Tewa potters from the Santa Clara Pueblo, Judy Naranjo was selling her artwork under the portal of the Palace of the Governors at age 15 and to galleries at 19. Over the years, the IAIA graduate has cultivated her own contemporary look, working with browns and mid-range colors instead of the traditional black and white and employing a distinctive sgraffito technique. Naranjo also crafts whimsical, eye-catching animals in bronze, such as Pueblo Dog and Horsey.—CO

Honyestewa calls her latest basket design Pootsaya, a combination of Hopi coil and sifter baskets that she colors with RIT dye for brighter colors.

Iva Honyestewa Hopi/Navajo basketmaker Iva Honyestewa recently completed an artist’s residency with the School for Advanced Research (SAR) in Santa Fe. She creates traditional baskets featuring geometric designs woven from yucca, willow, and three-leaf sumac, originally used for sifting corn and drying fruit. Honyestewa owns Iskasokpu Gallery in Second Mesa, Arizona, and is revising a Hopi cookbook for the Hopi Pu’tavi Project.—CO Naranjo burnishes her clay vessels with a riverbed stone passed down to her from her great-great-grandmother, giving her pieces a glossy finish.

Above: Three-dimensional Turtle, yucca and willow, 15" Left: Spring Colors, yucca and willow, 10 x 5"



artist PortraitS

Gerald Pinto Gerald Pinto makes his plates, disks, and ollas using various techniques, such as carving and reverse-staining, glazing into an antique crackle, and, most recently, inlaying turquoise and copper to add texture and earth tones to his pieces. From his home in Vanderwagen, near the Four Corners region, Pinto sources local clay to make the pottery and cedar wood for firing it. His darker-toned pots are burnished to a fine polish by a piece of amber and then finished with pine pitch and mineral oil.—CO

Pinto is shown here with new items from his DinĂŠ-Bikeyah series.

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ARTIST Portraits

From left: Michael Namingha, Arlo Namingha, and Dan Namingha with Dan’s dog, Camden.

From top: Arlo Namingha, Four Directions #1, white yule marble, 6 x 12 x 41"; Dan Namingha, Dawn, mixed media on canvas, 50 x 40"

Namingha family

Michael Namingha, Galisteo Basin #1, archival pigment print on acrylic plate, 30 x 40"

They share a last name—a formidable one in the art world—and a healthy dose of familial talent to boot, but the Naminghas—father Dan and sons Arlo and Michael— are Santa Fe natives whose Tewa-Hopi roots and generational perspectives have influenced their artistic expression in distinctly different ways. Dan’s vibrant paintings and geometric sculptures reflect his homeland and his heritage. Arlo is a jewelry maker and scupltor who works in wood, stone, clay, and bronze, while younger brother Michael’s digital inkjet images, printed on paper and canvas, are spare and decidedly contemporary. Their family-owned-and-operated gallery, Niman Fine Art in Santa Fe, specializes in the artwork of two generations of Naminghas.—Amy Gross

the naminghas’ tewa-hopi roots and generational perspectives have inspired their artistic expression in distinctly different ways. 56


Will Wilson Diné photographer Will Wilson is looking back to look forward. Using a 140-year-old lens and the same collodion wet-plate process used by photographer Edward S. Curtis in the early 20th century, Wilson creates startlingly evocative black-and-white portraits of his very modern subjects, who are asked to bring one item of personal signficance to their sittings. A collection of works from his AIR (Auto Immune Response) series and selections from his CIPX (Critical Indigenous Photographic Exchange) project will be on view through April 2015 in a multimedia exhibition at the Wheelwright Museum of the American Indian.—AG Left: Wilson’s self-portrait, from his CIPX project, showing at the Wheelwright Museum of the American Indian

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native arts 2014


ARTIST PortraitS

Darren Vigil GrAy Darren Vigil Gray was born on the Jicarilla Apache Reservation in Northern New Mexico and traveled the powwow circuit as a young man. At age 15, he attended the Institute of American Indian Arts and began to pour his profound interpretations of nature and landscape into paintings. He has always integrated symbol and myth into his work, a combination of his Native culture and his cutting-edge visions of life. “My culture,” he has said, “sustains and nurtures me in the most gentle and positive way. Like the deer, I have an absolute faith and reliance on the natural world. Like my ancestors who came before me, I prefer to approach my art with wild abandonment, freewheeling nature, and spontaneous activity.” Vigil Gray describes his early work as more experimental; today he paints “more deliberately, though still with bravado and gesture,” he says. “I have a thing about action painting, expressionist art. That’s where my heart has been.” Vigil Gray is represented in museums and private collections around the world, and in 2002 he had the rare opportunity to be featured in a midcareer retrospective at the Wheelwright Museum of the American Indian. In 2010, he was recognized by the mayor of Santa Fe for excellence in art, and in 2013 he was a recipient of the Governor’s Award for Excellence in the Arts.—Zélie Pollon

The Painted High Desert, acrylic on paper, 30 x 44"



art sample TBD

Buffalo Fields Forever-X-file, acrylic on canvas, 18 x 24"

Frank Buffalo Hyde

“I realized when i started [painting] that the work i wanted to see wasn’t being made here,” says frank buffalo hyde.

Fragmented. That’s one word that Frank Buffalo Hyde uses to describe modern American existence for indigenous people. But, he explains, it’s “not necessarily a bad thing.” To his way of thinking, the word refers to “how Native people are involved in every spectrum of contemporary life.” Born in Santa Fe, where he’s also now based, Hyde, who is of Onondaga and Nez Perce heritage, grew up in Upstate New York and attended the Institute of American Indian Arts. “Santa Fe has been important in my artistic development in that I realized when I started [painting] that the work I wanted to see wasn’t being made here,” he says. “I didn’t see anything that represented my contemporary experience.” Hyde created his own genre of sorts, one that incorporates Native references (the buffalo features prominently) and nods to the pop art sensibilities and color schemes of Robert Rauschenberg and Jim Dine. “The universal mind is the collective unconscious we all share via popular culture and world events,” Hyde says. “I draw upon that to comment on our lives.” The artist’s series of 13 paintings called SKNDNS: Native Americans on Film, which showed at Legends Santa Fe in 2012, is now part of the permanent collection of the Smithsonian Institution’s National Museum of the American Indian. —Eve Tolpa

Puck Ficasso Study, acrylic on canvas, 50 x 62"

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in a good place Poteet Victory is right where he wants to be by Donna Schillinge r

Artist Poteet Victory in his studio, with two works from his Abbreviated Portraits series in the background: HWD HGHS (left) and MRLN MNRO, both oil on canvas, 48 x 48".


Above: LTEN JN, oil on canvas, 48 x 48"



hen you visit McLarry Modern at 225 Canyon Road in Santa Fe, don’t be surprised if you see one of the most in-demand contemporary Native American artists creating right before your eyes. And don’t be surprised if he stops to chat with you, too. Multitasker extraordinaire Poteet Victory, who’s of Cherokee and Choctaw heritage, promises that you aren’t going to disturb him. “I can paint, talk on the phone, and do 10,000 other things at once,” he says. “For the first 20 years of my career I didn’t get to meet my clients,” Victory notes, adding that most artists “work in a vacuum,” isolated from other people. In his current studio, located in the gallery he co-owns, Victory interacts daily with collectors of his work—and loves it. “When we first moved into this [space], I knew I was going to paint right in this room.” Victory’s day starts at 9 am (maybe a little later on days when he goes to the gym). He paints his abstract works until 1:30 pm and then breaks for lunch and siesta before putting in a few more hours in the afternoon. Barring something unusual, this is his life. Every day. “Maybe some would say I’m a workaholic,” he muses,


“but I don’t see it that way. I just think I’m focused.” Victory credits much of his success to the “certain dedication” he brings to his work. He’s had the opportunity to observe and advise younger artists, many of whom, after an initial measure of success, often ease up on their work, enjoy late night parties, and see their careers suffer as a result. Not so with Victory, who, according to his artist’s bio, has “refined his unique style of painting on his own through many years of habitude.” Victory spent a large portion of his life on a 1,000-acre cattle ranch in Idabel, Oklahoma, his childhood home, to which he returned after living in Hawaii, Dallas, New York City, and (in previous years) Santa Fe. He’s been back in the City Different since 2009 and is very pleased with his current setup. “This studio is great for me. Open, airy, great lighting,” he says. The artist notes that he has no aspirations to move again. Knowing that he can easily set up a studio anywhere in the world, he’s contemplated living in France and Italy, but he’s concluded that there’s nowhere he’d rather be than where he currently finds himself on Canyon Road in Santa Fe.

Above: GRGA OKEF, oil on canvas, 48 x 48” Left: WL E NLSN, oil on canvas, 48 x 48"


2301 N. Central Ave., Phoenix, AZ 85004 602.252.8344 ■ Heardshops.com

Auction Report

around the block Native American artwork draws serious collectors to the auction circuit by Rodney Gross Unknown artist, Iroquois Figural Ball Club from the collection of Marvin L. Lince, iron, wire, and wood, 20" (Cowan’s)

Above, left: Unknown artist, Eastern Woodlands Carved Wood Belt Cup, maple burl and cotton string, 5" (Heritage). Above, right: Unknown artist, Cherokee Bandolier Bag collected by Michael Francis, wool and beads, 29 x 13" (Cowan’s). Left: Maria Martinez and Popovi Da, Red Plate with Feather Design, clay, 14" (Altermann). 62


IF YOU FIND YOURSELF wishing that Santa Fe’s annual Indian Market never had to end, take heart. Several auction houses throughout the country offer Native American and Western art and artifacts throughout the year to discerning collectors and art lovers. In Santa Fe, Altermann Galleries & Auctioneers (altermann .com) has been specializing in American Western art since 1978. Owned and operated by father-and-son team Tony and Richard Altermann, their location at 345 Camino del Monte Sol will host auctions on August 16 and December 7. (Altermann’s seasonal gallery in Scottsdale, Arizona, typically schedules its own auction in April.) A third location recently opened in Dallas. You can create an online profile that will match you with art that interests you and allow you to bid at upcoming auctions. Or, you can submit your own pieces: Altermann’s experts are happy to evaluate them or assist you with offering them for consignment. Cowan’s Auctions, (cowansauctions.com) led by PBS’s History Detective and Antiques Roadshow appraiser Wes Cowan, has been serving the needs of the auction world for nearly 20 years. Cincinnati-based Cowan’s is one of the few major auction houses that specializes in American Indian and Western Art. Two live auctions of Native American art are conducted each year, along with two or three online-only sales; expect to see exceptional beadwork, clothes and garments, blankets, pottery, basketry, moccasins, jewelry, and more. Just recently, Cowan’s acquired and sold the Marvin L. Lince Collection of American Indian Weaponry and Accoutrements. Many of the pieces sold above estimate and in the $50,000–$60,000 range. Established in London in 1793, Bonhams (bonhams.com) has grown into an international network of sales rooms featuring fine art and antiques with 60 specialist departments, including

Above: Margaret Tafoya, Red Pot with Snake Design, clay, 9 x 9 x 9” (Altermann). Below: Unknown artist, Sioux Boy’s Pictorial Beaded and Fringed Hide Shirt, sinew, beads, and hide, on metal stand, 17" (Heritage).

everything from coins to automobiles. Their San Francisco location hosts four to six auctions per year featuring Native American works, including Southwest weavings, jewelry, baskets, beadwork, and pottery, plus Northwest Coast and Eskimo art and artifacts. Among the more noteworthy recent auction items at Bonhams were classic Navajo weavings from the Hicks Family Collection of Oklahoma, including one manta that realized $125,000. Heritage Auctions (ha.com) is said to be the third largest auction house in the world and bills itself as “The World’s Largest Collectibles Auctioneer.” Headquartered in Dallas, Heritage boasts more than 874,000 online subscribers who can bid for items in real time. Their American Indian Art department offers such items as vintage photographs by D. F. Barry, Navajo rugs, beaded Sioux clothing, and Hopi pottery. In the past 12 months Heritage Auctions has sold almost $1 billion worth of collectibles.


openings | re vie ws | p e o p le

Santa Clara Pueblo ceramic artist Rose B. Simpson inherited a creative legacy from both her mother, sculptor Roxanne Swentzell, and her father, wood-and-metal artist Patrick Simpson. And while Simpson has pursued numerous avenues of expression—including printmaking, drawing, creative writing, music, and dance—she’s best known for her autobiographical sculptural pieces incorporating mixed-media. Her latest body of work features large-scale busts, which can be seen in her exhibition at Chiaroscuro Contemporary Art (August 9–August 31, reception August 22, 5–7 pm, 702 ½ Canyon, chiaroscurosantafe.com,).—Eve Tolpa

Rose B. Simpson, Guardian, ceramic and mixed media, 26 x 11 x 13"




Indian Market Show Pablo Milan Gallery, 209 Galisteo pablomilangallery.com August 22–August 30 Reception August 22, 5–7:30 pm Three artists share the spotlight in this Indian Market show. Fifth-generation New Mexican Pablo Milan’s expressionistic acrylic paintings use loose brush strokes and dynamic colors to convey Southwestern scenes; self-taught wildlife sculptor Jess Davila brings a contemporary sensibility to his marble, alabaster, sandstone, and limestone pieces; and Don Brewer Wakpa calls on his Cheyenne River Sioux heritage to represent what he terms the “pride and spirituality of my people.”

by Eve Tolpa

Don Brewer Wakpa, Burn for the Buffalo, acrylic on canvas, 24 x 48"

A Family Affair: The Pottery of Rebecca, Amanda, and Daniel Lucario Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 22–August 24, Reception August 22 4–7 pm Ultra-traditional Acoma Pueblo potter Rebecca Lucario digs her own clay, builds her pieces using coil construction, creates black paint from wild spinach juice, renders her intricate miniaturized black-andwhite designs with a yucca brush, and, in most cases, uses ground-firing rather than a kiln. Along with works by her children Daniel and Amanda, who use the same artistic methods, she unveils more than 60 new pieces.

Bruce King: Old Light, New Color Waxlander Art Gallery & Sculpture Garden 622 Canyon, waxlander.com August 12–August 25, Reception August 22, 5–7:30 pm Waxlander unveils new oil paintings by Bruce King that represent a change of direction for the artist, in terms of placing more emphasis on light, incorporating more subtlety of color, and applying paint with brushes rather than a palette knife. “The land is alive, and I seek to capture that,” says King, who was raised on the Oneida reservation in Wisconsin. “I try to show how the land supports the humans.”

Bruce King, First Right of Diplomacy, oil on canvas, 46 x 66"

Rebecca Lucario, geometric plates, native clay with natural pigments

Annual Indian Market Group Show Gallery 822, 822 Canyon, gallery822.com August 22–ongoing, reception August 22, 5–8 pm In celebration of Indian Market weekend, Gallery 822 offers an exhibition showcasing new work by all represented artists, living locally and throughout the West and working in a wide range of mediums: sculpture, jewelry, horsehair baskets, watercolors, and more. Highlights include Joshua Tobey’s wildlife bronzes, Carol Swinney’s plein air landscapes, and Robert Taylor’s acrylic paintings that integrate Native American imagery and storytelling and reflect his Crow, Blackfeet, Osage, and Cherokee heritage. Robert Taylor, Sufficiently Breathless, acrylic on canvas, 30 x 24"

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exhibits by Eve Tolpa

Annual Celebration of Contemporary Native American Art Blue Rain Gallery, 130 Lincoln, Ste C, blueraingallery.com August 20–August 24, receptions August 20, 21 & 22, 5–8 pm A series of receptions unveil the work of a dozen or so celebrated Native painters, jewelers, and sculptors, including ceramist Cannupa Hanska Luger, glass artist Preston Singletary, and mixed-media painter Mateo Romero. On August 22, the gallery hosts a special pottery show with work by Tammy Garcia and Richard Zane Smith; on August 22 and 23, Prescott, Arizona–based Bronzesmith Foundry offers bronze patina demonstrations.

Preston Singletary, Little Bear, blown, sand-carved glass, 18 x 9 x 6"

Nocona Burgess, Hopi with Coral Adobe, acrylic on canvas, 24 x 30"

Nocona Burgess: The Power of a Woman Giacobbe-Fritz Fine Art, 702 Canyon, giacobbefritz.com August 22–September 7, reception August 22, 5–7 pm Santa Fe–based Comanche painter Nocona Burgess (who is also a flute player) employs a contemporary sensibility, featuring graphic compositions and a bold color palette, as he brings attention to the culture, identity, and influence of a historically overlooked group: Native American women. Before the show’s opening reception, the artist is hosting a meet-and-greet starting at 4:15 pm, followed by a lecture and question-and-answer session.

Masters of Art

Steven Paul Judd

Steven Paul Judd, Au Guafi Thai, acrylic on canvas, 30 x 40"

Prolific visual artist Steven Paul Judd is countering prevailing stereotypes of American Indians. His work is filled with humor, integrating pop culture and mass-media images of, say, the Hulk, Batman, or alien spaceships with Native faces. His popular works include his paintings Hopi, which is a play on Shepard Fairey’s famous 2008 Hope poster of Barack Obama, and Lego My Land, featuring two Lego figures in Native dress. The Kiowa/Choctaw artist notes that he’s always contemplating the kinds of images he thinks go unrepresented. “I just make what I want to see,” he says. “I can’t find it, so I make it.” A member of the Writers Guild of America, Judd was a staff writer for the Disney XD series Zeke and Luther, and he’s produced or co-produced several projects, including the 2006 PBS documentary Silent Thunder, about the late horse tamer Stanford Addison. Judd is currently directing a “tough guy antihero” film called Ronnie BoDean, starring Wes Studi and executive produced by Chris Eyre, and he’s about to release a collection of short stories called The Last Powwow, which he co-wrote with Thomas Yeahpau and says is some of the best writing he’s ever done.—Zélie Pollon Zane Bennett Contemporary Art, zanebennettgallery.com 66


Yazzie Johnson and Gail Bird, Three-strand Necklace, square freshwater coin pearls with smithsonite and rose quartz clasps and three satellites (two blue chalcedony and one rainbow quartz), 20"

Yazzie Johnson and Gail Bird: Native American Contemporary Jewelry Zane Bennett Contemporary Art 435 S Guadalupe, 505-982-8111 zanebennettgallery.com August 21, reception August 21, 4–6 pm In honor of Indian Market, Zane Bennett presents the work of Yazzie Johnson (Navajo) and Gail Bird (Laguna/Santo Domingo), contemporary jewelers who met as children and have been collaborating for more than 30 years. Inspired by ancient petroglyph imagery, their pieces—whether bolos or bracelets, belt buckles or pins—incorporate unusual stones (such as opals, agates, and keshi pearls) and can be found in museum collections worldwide.

Great selection of authentic Indian jewelry at affordable prices Open 7 Days

Above, clockwise from top: Jesse Monongya, Shandiin, 18-kt yellow gold and leather bolo tie with gold tips; The Bear, 18-kt yellow gold, coral, and turquoise reversible pendant with gold bead necklace; Colts Over Monument Valley, 18-kt yellow gold, coral, and opal

221 W. San Francisco St.


Masters of Art

Jesse Monongya

Jesse Monongya wants people to know where he comes from. Part Navajo and part Hopi, he was adopted and raised by his grandmother on the Navajo Reservation in New Mexico, near the Two Grey Hills Navajo rug center. Monongya learned about perfecting one’s craft and technique by watching the master weavers work. Despite being bussed off to an American Indian boarding school, with his grandmother’s guidance he never lost sight of his spirituality and of his culture’s traditional prayers and dances—all of which inspire his worldrenowned, award-winning inlay jewelry pieces. Monongya creates strikingly vibrant and intricate works, from his Monument Valley belt buckle, which includes three layers of inlay work, to his White Woman Moccasin necklaces, featuring diamonds and multicolored stones from around the world. “Indian art is not just turquoise and coral anymore,” Monongya says. “It’s going to a higher level—for example using new diamond equipment for carving.” This August Monongya will be showing his work at Santa Fe’s Indian Market, where he’s donating one of his belt buckles for the event’s Live Auction Gala. Participating in events like Indian Market and having his work seen in top museums around the country is important to Monongya. “With my very high standard of inlay work, I wanted to give back to the younger generation to show them that they could be like me,” he says. “I made it through into the big world, and so can they.”—ZP jessemonongyestudios.com santa fean

native arts 2014


Masters of Art

Diego Romero



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Inspired by pop culture and comic books, Cochiti potter Diego Romero masterfully depicts his subjects—which center on issues surrounding Native American culture, history, and politics—as if they were Greek mythical narratives he was imprinting in clay. Romero calls himself a chronologist of the absurdity of nature, and The Huffington Post recently recognized one of his strikingly beautiful bowls as one of 11 contemporary American Indian artworks that blend tradition and experimentation. That precise combination of traditional Mimbres-style pottery with a pop-art sensibility has also garnered the Berkeley-born artist a place in New York’s Metropolitan Museum of Art. Romero says that this year he’ll enter a special piece of pottery—a “classic Diego signature piece”—for judging at Santa Fe’s Indian Market while also creating more experimental works for the Indigenous Fine Art Market (also in Santa Fe) and hopefully other modern shows like SOFA, where last year he displayed a series of works centered on Chia Pet heads. “I turned them into spouted vessels and then painted them Cochiti-style groovy,” Romero says. “They were interesting, and I had good luck with them.” “I’m grateful that I get to get up [every day] and do pottery,” he adds. “That’s what the Creator had intended for me.”—ZP Robert Nichols Gallery, robertnicholsgallery.com


Diego Romero, Wild Things, clay, 11 x 5"

Julian Coriz, Tall Water Jar, polychrome redware, 12 x 8"



Julian Coriz

Artist Julian Coriz begins his lightweight, one-of-a-kind vessels and plates by collecting red clay from the ground at Santo Domingo Pueblo. He takes two weeks to sift and dry the dirt until it settles into a fine dust, and then he hand-coils each bowl, never touching a pottery wheel. Pigment comes from ground stone, in earthen colors, with an occasional blue. The painting is done freehand with a fine brush, after which the pieces are fired once, using cedar logs or cow pies. Everything comes from the earth and is handmade, says Carol Kucera, who’s been representing Coriz since he walked into her gallery roughly four years ago carrying a blue laundry basket of pots gently covered in towels. “When he uncovered them I was dumbfounded,” she recalls. “I said, ‘You’re doing these? You’re so young.’ As an artist, I can tell good art when I see it.” Coriz comes from a family of artists (mostly jewelry designers) and says he’s been creating art since he was 10 years old. And while the softspoken artist won’t let his face be captured in photos, his art can be found in Santa Fe at the Carol Kucera Gallery and at the Wheelwright Museum of the American Indian’s Case Trading Post.—ZP Carol Kucera Gallery, carolkucera.com

227 don gaspar santa fe nm





since 1981 fetishes jewelry pottery

Travis Lasiloo: Eagle

John Suazo, Flight, pink alabaster, 11"

Taos sculptor John Suazo has been perfecting the art of simplifying for more than 40 years. Using basic tools, he creates stunning, sinewy sculptures that are often abstract and mystical and exude a certain grace, sense of movement, and depth of spirit. “My work is simple, but it’s taken me many years to make it that simple yet elegant, to make it flow,” Suazo says. His motivation as an artist largely comes from “Taos Pueblo, the mountains, and stories from my grandmothers and grandfathers when I was growing up,” he says. “These stories inspire me to create.” Suazo loves making life-size pieces, using his preferred limestone for outdoor works. Other favorites include Utah alabaster (colored green, orange, or brown) and Arizona red sandstone, which comes out of Monument Valley and which he gets from the Navajo Nation. Suazo begins each piece without any kind of blueprint. Instead, he believes that the stone speaks to him, tells him stories, and guides his work. “At the end, it seems that everything comes out as it was planned,” he says. “The story fits perfectly.”—ZP Jane Hamilton Fine Art, janehamiltonfineart.com

Travis Lasiloo Eagle ad.indd 1

5/14/14 10:01 AM

Rena de Santa Fe

John Suazo

Only in Santa Fe - Only from the Artist

Original paintings, signed prints, limited edition figurines

Studio hours by appointment only (505) 466-4665

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native arts 2014


Masters of Art: Icons of the Native American Art Scene

The Torres Gallery Robert Rivera, Gourd Spirits Mask, 17 x 14" Robert Rivera challenges the boundaries of gourd art by continually evolving and creating new and innovative art pieces from the lowly gourd with his interpretations of ancient and present cultures. Also featuring Yellowman, Dyanne Strongbow, Ben Nelson, George Down, and John Saunders. 102 E Water St, El Centro Galleries 505-986-8914, torresgallery.com

Joe Wade Fine Art

Phillip Vigil, Untitled, mixed media on paper, 30 x 22"

Phillip Vigil

“I never dreamed of being an artist,” says 33-year-old Phillip Vigil. “I had other plans and dreams.” Luckily for lovers of Native art, Vigil’s passion—thanks to a healthy dose of parental encouragement—has become his career. From pastels to collages, and from acrylic paintings to blackand-white ink drawings, Vigil explores the parameters of what different mediums have to offer. “Being self-taught, I always have to look beyond what I think I can do,” he says. Inspired by his family of artists, Vigil is currently exploring what he calls the intimacy of art. “I feel like everyone is trying to make big things,” he says. “I kind of like the intimacy of working so small [with ink]. I can work anywhere. I can go to a park and draw, go for a walk and sit down and draw. [I like] the immediacy and not being pinned down in the studio all of the time.” Though still early in his career, Vigil, a fourth-generation artist, already has a growing following and has been represented at Shiprock Santa Fe for the past five years. To other young artists, he suggests that they “go out and make their own dreams come true. Go out and do it, not just talk about it.”—ZP Shiprock Santa Fe, shiprocksantafe.com 70


Arlene LaDell Hayes Two Messengers mixed media, 48 x 36" Joe Wade Fine Art, Santa Fe’s premier art gallery since 1971, offers an extensive collection of emerging, established, and acclaimed artists’ work. The gallery, located one block south of the historic Santa Fe Plaza, in El Centro, showcases a varied selection of original paintings and bronze sculptures yearround. Open Monday–Saturday 10 am–5 pm and Sunday 10 am–4 pm. 102 E Water St 505-988-2727 joewadefineart.com


native arts

showcase magazine

The Rainbow Man Cochiti Pottery Figures, photo by Brooke Williams Antique & Contemporary Native American Jewelry, Pottery, Folk Art, Original Photographs, Photogravures & Goldtones by Edward S. Curtis, Vintage Mexican Jewelry, Collectible Hispanic Folk Art and Fine Crafts. Featuring Paintings by Tom Russel, Folk Art by Ron Archuleta Rodriquez, Jewelry by Angie Owen, Steven Tiffany, Greg & Dyaami Lewis and Jennifer Jesse Smith 107 E Palace Ave, 505-982-8706, rainbomn@aol.com, rainbowman.com

Little Bird at Loretto

Southwest Accents Rare Four Panel Germantown Blanket, c. 1880, 76 x 67" Southwest Accents offers a unique collection of fine Navajo weavings. Visit Booth #50 at the Whitehawk Indian Show, August 15-18. View the De Jong Collection at navajotextiles.net. Also by appointment in Santa Fe. 505-983-0084 suedejong@aol.com

David K. John, Spring Return, acrylic on canvas, 60 x 80" Celebrating 27 years of outstanding contemporary Southwestern art, jewelry, and sculpture. Featured artists : David K. John, Ray Tracey, Michael Horse, David McElroy, Mary Hunt, Denny Wainscott, Spencer Nutima, Marie Barbera, Michael and Stephen McCullough, Ellen Alexander, Roark Griffin. Wednesday, August 20 through Sunday, August 24. 211 Old Santa Fe Trl, 505-820-7413, info@littlebirdatloretto.com littlebirdatloretto.com

Tresa Vorenberg Goldsmiths

Boots & Boogie 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 & Boogie utilizes five bootmakers and is committed to style, elegance, customer comfort, and satisfaction. Whether it’s the classic alligator or any of the hundreds of other designs available, Boots & Boogie outfits you with style. 102 E Water St, in El Centro Mall one block southwest of La Fonda 505-983-0777, santafebootsandboogie.com

Heyoka Merrifield, White Buffalo Woman Shrine, sterling silver, bronze, turquoise and carnelian, 3 x 2 x ¾" Wildly imaginative handcrafted designer jewelry by over 35 artists. Heyoka Merrifield visits the gallery on August 9 from 11 am–5 pm. His mythical creations of sacred art in jewelry and sculpture are always featured. 656 Canyon Rd, 505-988-7215 TVGoldsmiths.com

santa fean

native arts 2014



Many mysteries surround Chaco Culture National Historic Park (commonly referred to as Chaco Canyon), like why did the Chacoan people settle in this inhospitable landscape, and why did they leave after creating a booming community? A good way to explore the clues left behind is to put on your hiking boots, pack up your camping gear, and immerse yourself in this amazing park, which is home to the largest collection of pueblos in the Southwest. Stop by the visitor center to learn about the latest seasonal events, like Indian dances, campfire talks, and astronomy programs, and pick up selfguided walking tour brochures for the six major sites along the nine-mile paved road. You can also take a ranger-led tour of Pueblo Bonito, the most celebrated and central site in Chaco. Located about 3.5 hours from Santa Fe (with 20 miles of rough dirt road at the end), the closest hotel accommodations are in Farmington. Campers who make advance reservations can enjoy stargazing from deep within the park’s cliffs of Gallo Wash. For more information, visit nps.gov/chcu.—Cristina Olds 80


National Park service

Chaco Culture National Historic Park

“Harvesting Traditions”

A One Woman Show by Kathleen Wall

Show Runs Through January 4, 2015 Admission $10.00 213 Cathedral Place, Santa Fe, NM 87501 505-988-8900 www.PVMIWA.org info@PVMIWA.org


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openings | reviews | people

Alice Leora Briggs lost her older brother to an accident when they were both children, and her work brings attention to similarly dark subjects. Her latest sgraffito drawings (which involve covering clay panels with India ink and using an X-Acto knife for mark-making) chart Ciudad Juárez’s drug-war violence. “Mortality is at the root of everything I do,” Briggs has said. Her work can be seen in a solo exhibition, called Asylum, at EVOKE Contemporary (September 26– October 26, reception September 26, 5–7 pm , 550 S Guadalupe, evokecontemporary.com). —Eve Tolpa

Alice Leora Briggs, La Ventana, woodcut with chine-collé on paper, 60 x 40"

august/september 2014

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by Eve Tol pa

100 Rings Patina Gallery, 131 W Palace, patina-gallery.com August 5–August 31, reception August 15, 5–7:30 pm Artist Peter Schmid presents work from German jewelry studio Atelier Zobel—100 rings in oxidized silver, high-karat gold, and platinum—in celebration of Patina’s 15th anniversary. The museum-quality adornments, first shown at the gallery in 2000, have redefined the medium with its sculptural forms, carved gems, and unusual finishes. “My jewelry is so beautiful in [Patina’s] space, [which is] so luxurious,” Schmid says. Peter Schmid, Agate Ring, silver, gold, agate, diamonds

Indian Market Group Show Manitou Galleries, 123 W Palace, manitougalleries.com August 21–August 24, reception August 22, 5–7:30 pm Jennifer O’Cualain’s love of the animal world and her attention to detail merge in her wildlife paintings, which she likens to portraits. “I want my viewer to get a sense of the individual animal,” she says. Sculptor Martha Pettigrew captures the everyday life of the Southwest, especially that of women, in her contemporary bronzes. Her work has been shown at venues including the Leigh Yawkey Woodson Art Museum in Wisconsin and the Tucson Museum of Art. O’Cualain and Pettigrew are just two of the artists whose work will be on view in this group show. Jennifer O’Cualain, At the Dance, oil on canvas, 27 x 33" Erin Cone, Crush, acrylic on canvas, 72 x 42"

Erin Cone: Modiste Nüart Gallery, 670 Canyon, nuartgallery.com, August 29–September 14, reception August 29, 5–7 pm Taking her show title from the French word for dressmaker, Erin Cone’s latest work delves into the complex geometry of women’s dresses. Her pared-down compositions position the female figure as a sculptural form, and it’s no surprise that Cone admits to being intrigued by abstraction’s ability to transform the world. “These paintings continue my exploration,” she says, “using the dress to create a specifically feminine aesthetic with a timeless allure.”

Cody Hooper: Internal Light Pippin Contemporary, 200 Canyon pippincontemporary.com August 7–August 26, Reception August 22, 5–7 pm With a background in watercolor, abstract New Mexico artist Cody Hooper is accustomed to working in layers, using thinned acrylic and glazes to create texture, and sometimes sanding down portions of the panel to further build surface contrasts. His latest show, he says, conveys his personal journey of spirit, and to that end the pieces focus on “illusions of light, contrast, complex layering, bold colors, and surfaces.”

Ron Pokrasso, Figure Palette Blues, monotype, intaglio, and collage on paper, 16 x 24"

Cody Hooper, I’ll Fall Into You, acrylic on panel, 48 x 48"

Monotypes and More Pippin Contemporary, 200 Canyon, pippincontemporary.com September 17–October 7, reception September 19, 5–7 pm Pippin Contemporary unveils paintings and monotypes by artists representing a range of artistic experience, all of whom produced work at Santa Fe Timberwick Studios: Diane Rolnick, Aleta Pippin, Michael Coop, and Timberwick owner Ron Pokrasso (who in 1987 created the annual printmaking fundraiser Monothon). On September 20, from 11 am to 3 pm , visitors are invited to pull their own monotype at the gallery. 176


august/september 2014

Women in Cultural Context: A Multi-Media Group Exhibition Tansey Contemporary, 652 Canyon tanseycontemporary.com August 29–September 23, Reception August 29, 5–7:30 pm Gallery artists working in glass, ceramics, fiber, beading, and basketry (as well as painting and mixed media) explore women’s responses to cultural roles and expectations. Painter Patrick McGrath Muñiz’s elaborate tableaux, for example, incorporate iconography ranging from Christian to pop culture and offer sly commentary on history, while glass artist Susan Taylor Glasgow explores conflicting messages about femininity in a medium she terms “seductive but unforgiving.” Patrick McGrath Muñiz, The Gathering, oil on canvas, 36 x 60"

Nanami Ishihara, Yama Onna, Japanese pigment and acrylic gouache on cotton mounted on panel, 76 x 154"

Victoria Taylor-Gore: Shadows of Passion—Parting Is Such Sweet Sorrow Alexandra Stevens Gallery of Fine Art, 820 Canyon alexandrastevens.com, August 15–August 31 Reception August 15, 5:30–7 pm Victoria Taylor-Gore presents a new series of stylized and dramatically lit pastels taking inspiration from love and loss in Fidelio, Carmen, and Romeo and Juliet. Although the Amarillobased artist brings theatrical perspectives to her pieces, she wants them to be open to interpretation. “Viewers aren’t watching an ‘event’ but looking for clues that invite them to make up a story in their own minds,” she says.

Victoria Taylor-Gore, Romeo and Juliet I, pastel on paper, 9 x 19"

Matthew Higginbotham, Farmland Abundance, oil on canvas, 48 x 48"

Ken Rowe, First Year of Many, bronze, 23 x 17 x 11"

Impacts! Japanese Contemporary Art in Collaboration with Mizuma Art Gallery, Tokyo Zane Bennett Contemporary Art 435 S Guadalupe, zanebennettgallery.com Though September 22 Reception August 22, 5–7 pm Discover the work of 17 established and emerging Japanese artists, among them video game image designer Yoshitaka Amano, former street artist Ai Kato, and painter Nanami Ishihara. From August 19 through August 23, Zane Bennett hosts a series of special events: artist talks, film screenings, a painting demonstration, a Japanese tea ceremony, and forums examining the relationship between art and cultural and political issues.

Matthew Higginbotham: Touching Land Waxlander Art Gallery & Sculpture Garden, 622 Canyon, waxlander.com August 26–September 8, reception August 29, 5–7:30 pm Matthew Higginbotham’s ninth annual summer show at Waxlander focuses on his signature high desert land- and cloudscapes while introducing pieces inspired by Oklahoma’s tallgrass prairie and the Bosque del Apache in New Mexico. The artist says he aims to “show the immense power and mystery imbedded within the land . . . a palpable force and presence that is always there if we take the time to notice it.”

Indian Market Group Show Sage Creek Gallery, 421 Canyon sagecreekgallery.com August 22–August 24 Reception August 22, 5–8 pm Sage Creek brings together its regular Indian Market lineup: Karen Noles’s realist paintings of Native women and children; Sue Krzyston’s still lifes showcasing Pueblo pottery and artifacts; Gloria D’s collection of beaded dresses, robes, dolls, and hats; and bronzes by Ken Rowe (wildlife) and Scott Rogers (historic Western), both of whom will be giving sculpting demonstrations in the gallery.

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Jun Kaneko Gerald Peters Gallery, 1101 Paseo de Peralta, gpgallery.com August 8–September 14, reception August 8, 5–7 pm Gerald Peters presents more than 20 works—both past and present—by Nagoya-born contemporary ceramist Jun Kaneko, among them dangos (Japanese for “dumplings”), which are hand-built sculptures resembling vases with closed tops, and pieces depicting tanukis, raccoon-like figures from Japanese folklore. Also on display are Kaneko’s glass slabs and layered glass chunks, representing a departure in material while retaining the artist’s commitment to aesthetic elegance.



Jun Kaneko, Untitled, ceramic, 25 x 23 x 9"

John Moyers and Terri Kelly Moyers: Through Our Eyes Nedra Matteucci Galleries, 1075 Paseo de Peralta, matteucci.com August 16–September 6, reception August 16, 2–4 pm Santa Fe–based couple John and Terri Kelly Moyers share a fascination with the Southwest, and each has won multiple awards for their realist oil paintings, which incorporate landscapes from the region and, recently, those of Europe, too. “John and Terri are exciting artists,” says gallerist Nedra Matteucci, “because they constantly challenge themselves through their work, and each new show reflects a vitality and skill that sets their paintings apart.” Terri Kelly Moyers, Summer Roses, oil on canvas, 30 x 24"

Indian Market Show Mountain Trails Fine Art, 200 Old Santa Fe Trl, mountaintrailsfineart.com August 18–August 24, reception August 22, 6–9 pm Mountain Trails commemorates Indian Market with its annual seasonal exhibit showcasing works by a dozen or so gallery artists, among them third-generation sculptor Dustin Payne, who crafts Western-themed bronzes chronicling the history, culture, and inhabitants of the region; Lisa Danielle, whose meticulously rendered realist paintings depict Pueblo pottery; and Troy Collins, who celebrates the beauty of aspens in his vibrant impressionistic landscapes. Sculptor Alvin Marshal (Navajo) and painter Greg Overton (Iroquois) represent their Native cultures through their respective mediums. Troy Collins, Youth at Play, oil on canvas, 36 x 72"

Natalie Featherston: The Art of Deception Meyer East Gallery, 225 Canyon, meyereastgallery.com August 15–August 28, reception August 15, 5–7 pm Natalie Featherston’s witty and deceptive trompe l’oeil paintings combine old Dutch Master traditions with a modern sensibility and sense of humor (see: her nods to Magritte and Lichtenstein). Still lifes, she says, present unique challenges. In contrast to portraiture and landscape, “you have to build the stage . . . selecting the subjects, colors, and textures,” adding that although expertise in trompe l’oeil “may qualify me for the one-trick pony category, I can’t imagine painting anything else.”

Natalie Featherston, Brush Stroke, oil on panel, 12 x 24"

Hiroshi Yamano and Pedro Surroca LewAllen Galleries, 1613 Paseo de Peralta, lewallencontemporary.com August 8–September 21, reception August 8, 5–7 pm Hiroshi Yamano and Pedro Surroca present meditative interpretations of tree branches. Japaneseborn Yamano is of a pioneering generation of glass artists who moved the medium away from vessels and toward sculpture, and his pieces incorporate glass blowing, cutting, and etching as well as copper- and silver-plating. Surroca’s focus on the line, light, and shadow of the branch form result in paintings with a spare elegance. 178


august/september 2014

Hiroshi Yamano, From East to West “Scene of Japan” (FS #159), blown/sculpted glass, silver leaf engraving, and copper plating, 18 x 26 x 18"

Archetype Series David Rothermel Contemporary, 142 Lincoln, Ste 102, drcontemporary.com August 15–August 27, reception August 15, 5–8 pm Gallerist and contemporary painter David Rothermel presents a new body of work representing a shift in direction from a past focus on tonal harmony to a heightened sense of contrast, both in terms of color and dimension. In his vertically formatted acrylic-on-panel pieces, there is, says the artist, an interplay between the layers of opaque and transparent pigment, resulting in “more of a feeling of deep space.” David Rothermel, Archetype, acrylic on panel, 32 x 27 x 2"

Charlotte Foust and Eric Boyer: Visual Poetry Hunter Kirkland Contemporary, 200-B Canyon hunterkirklandcontemporary.com August 22–September 7, reception August 22, 5–7 pm Two very different artists are linked by their shared commitment to emotion and form. Abstract painter Charlotte Foust uses layers of pigment to chart the ever-changing dynamic between motion and stillness. Of his human torsos, sculptor Eric Boyer says, “I set out to show the physical body at its best as a function machine, but one that also contains hope, dreams, and aspirations.”

Florence Miller Pierce: In the Light Charlotte Jackson Fine Art, 554 S Guadalupe, charlottejackson.com September 5–September 30, reception September 5, 5–7 pm The subtleties of light comprise the predominant focus of twoand three-dimensional pieces by Florence Miller Pierce (1918– 2007), who worked in diverse mediums (including paint on canvas, ink on rice paper, balsa wood, stone, and resin) and was renowned for her sculptures. Charlotte Jackson’s comprehensive survey showcases work from the 1960s through the early 2000s. Florence Miller Pierce, Untitled, resin relief, 70 x 30"

Craig Kosak, Prometheus, oil on canvas, 24 x 40"

Craig Kosak: Warpaint Giacobbe-Fritz Fine Art, 702 Canyon, giacobbefritz.com September 19–October 5, reception September 19, 5–7 pm The first show in Craig Kosak’s new series, The Solitude of Ravendell, Warpaint explores what the artist calls the “application of markings that bestow courage” while depicting “a visual representation of solitude’s path.” With inf luences ranging from N. C. Wyeth to John Nieto, Kosak alternately layers opaque and translucent paint as he juxtaposes realistically rendered animals and landscapes with abstract brushwork and strong color. David Crane and José Sierra Santa Fe Clay, 545 Camino de la Familia, santafeclay.com August 8–September 20, reception August 8, 5–7 pm, Indian Market reception August 22, 5–7 pm With a commitment to creating work that is simultaneously practical and aesthetically refined, Virginia Tech ceramics professor David Crane crafts salt-fired stoneware pots (either wheel-thrown or slab-built) inf luenced by Asian, European, and Native American traditions. Tucsonbased Venezuela native José Sierra incorporates the colors of the Andes into both his porcelain and stoneware pieces.

Eric Boyer, Portal IV, steel wire mesh, 45 x 27 x 7"

Pauline Ziegen, You Are the Rain, oil, gold leaf, mixed media on panel, 30 x 72"

Eric G. Thompson: The Boundless Moment Matthews Gallery, 669 Canyon, thematthewsgallery.com August 15–August 28, reception August 15, 5–7 pm Works by American poets—including Robert Frost, Elizabeth Bishop, and Emily Dickinson—are paired with Utah-based painter Eric G. Thompson’s contemporary realist pieces. Citing Edward Hopper and Andrew Wyeth as influences, Thompson creates still lifes, landscapes, and portraits using oil, egg tempera, and watercolor. “I feel that every one of my paintings is essentially a study of light or lack thereof,” he says. Eric G. Thompson, Raven’s Hair, oil on panel, 24 x 18"

Jinni Thomas and Pauline Ziegen: Quiet Beauty Karan Ruhlen Gallery, 225 Canyon karanruhlen.com, August 8–August 21 Reception August 8, 5–7 pm A pair of New Mexico abstract artists explore nature and beauty as it is interpreted and expressed through art. Jinni Thomas considers all of her subtly hued mixed-media-on-panel pieces to be selfportraits, while Pauline Ziegen’s work is inspired by the high desert landscape. For her, the process of abstraction is “all about editing and simplifying the visual world into formal elements that become metaphors of emotion.” august/september 2014

santa fean





MAgnificent, VibRAnt, gRAcious And sophisticAted

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This northern New Mexican home is located on a tree-lined street in the heart of the famed Historic Eastside. The beautiful main house with grand entry salon is complemented by a separate guesthouse. 4 br, 5 ba, 4,493 sq.ft., 2-car garage, 0.35 acre. SantaFeProperties.com/201402218 linda Murphy 505.780.7711 $1,995,000

Light, bright, airy territorial home nestled in the foothills of Sun and Moon Mountains, adjacent to Museum Hill just off Old Santa Fe Trail. Wonderful master suite with gorgeous views, private deck and sitting room. 3 br, 3 ba, 3,094 sq.ft., 2-car garage, 0.49 acre. SantaFeProperties.com/201402754 linda Murphy 505.780.7711 $798,000

This contemporary downtown condo is sleek and elegant with upscale finishes, gorgeous concrete and wood floors, stainless counters and marble baths, beamed ceilings, a fireplace, a master with terrace, a private yard and gardens. 2 br, 3 ba, 1,621 sq.ft. SantaFeProperties.com/201403057 Marilyn foss 505.231.2500 $679,000

This compound has been artfully created as a peaceful retreat that perfectly combines laid-back ease with a sophisticated mix of pueblo and contemporary architectural style. Main house, guesthouse and studio. 4 br, 5 ba, 5,044 sq.ft., 2-car garage, 5 acres. SantaFeProperties.com/201402643 Richard schoegler 505.577.5112 $1,290,000

106 Cadiz Road. Located on 1 acre in town this stunning home has been remodeled with high-end finishes, hardwood floors, granite counter tops, tile, open floor plan with natural light, A/C, a porch, plus a one bedroom guesthouse. Main house is 2bd, 3ba and office, guesthouse is 1bd, 1ba. Audrey curry 505.670.1333 $795,000

Casual elegance defines this stunning casa. It has an entrance gallery, vaulted ceiling, vigas, plaster finish, a dual-sided kiva, expansive living, and outdoor living space! Just 15 minutes to Santa Fe. 4 br, 3 ba, 2,500 sq.ft., 3-car garage, 2.5 acres. SantaFeProperties.com/201402227 Amber haskell 505.470.0923 $540,000

1000 Paseo de Peralta . 216 Washington Ave . Santa Fe, NM 87501 . 505.982.4466 SantaFeProperties.com . FaceBook.com/SantaFeProperties . LuxuryPortfolio.com All real estate advertised herein is subject to the Federal Fair Housing Act and Equal Opportunities Act. Santa Fe Properties (“SFP”) strives to confirm as reasonably practical all advertising information herein is correct but assumes no legal responsibility for accuracy and should be verified by Purchaser. SFP is not responsible for misinformation provided by its clients, misprints, or typographical errors. Prices herein are subject to change. Square footage amounts and lot sizes are approximates.


lifestyle | design | home


making an entrance

Inspired by Katharine Hepburn’s iconic pleated Grecian goddess gown from The Philadelphia Story, Santa Fe interior designer Edy Keeler of Core Value Interiors channeled 1930s Hollywood in the entryway she designed for the 2013 Show House Santa Fe (showhousesantafe .com). “The style I was going for was elegant, understated, dramatic,” says Keeler, who loves bringing together an array of textures and finishes. Ernest Thompson created two pieces specifically for the entryway: the simply patterned credenza and the classic 1930s sling chair. A powerful oil and mixed-media piece by Emilio Lobato (who shows at Winterowd Fine Art on Canyon Road) hangs above the credenza, which is accessorized and softened by a simple mirrored tray with red roses. Leading the way into the home: a period-appropriate red runner carpet from Nedret Oriental Rugs. Keeler will be lending her talents to the second annual Show House Santa Fe in October (see page 46).—Amy Gross Core Value Interiors, 505-577-2167, corevalueinc.com

august/september 2014

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OF SANTA FE PROPERTIES provides exceptional services, dynamic networking, and marketing programs to maximize opportunities for sellers and buyers of high-value properties

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• An incomparable mountain top family compound • Main house, guest casita, bunk house, rock-built cantina • Self-sustaining, adjacent to the Santa Fe National Forest • 6 br, 8 ba, 2-car garage, propane generator, 156.2 acres • SantaFeProperties.com/201401495

• 1947 Territorial masterpiece, tastefully updated and restored >815)3)4%-!34%235)4%(!3)43/7.,)"2!29!.$02)6!4%"!,#/.9 • Separate guesthouse, and both a 4-car garage and a 2-car garage >"2"!  31&4'!4%$#)2#5,!2$2)6%7!9 !#2%36)%73 • SantaFeProperties.com/201401840


$4,150,000 Matthew Sargent 505.490.1718

THE LUXURY MARKET GROUP AT SANTA FE PROPERTIES provides exceptional services, dynamic networking, and marketing programs to maximize opportunities for sellers and buyers of high-value properties.

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!#2%3 • Ideal for a close-in Santa Fe county ranch or development • Two existing registered wells with 6 acre-feet of water • Four existing homes, perfect for ranch hands or wranglers • SantaFeProperties.com/201304918

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Dermot Monks 505.470.0639


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>$2!-!4)#!3!-0!.!334!4%3 (/-%7)4().#2%$)",%6)%73 >4/.%@//23,/'30,!34%2%$7!,,3!.$34!#+%$.!3!:)34/.%7!,,3 >(!2-).'/54$//2!2%!37)4(7!4%2&%!452%3!.$!?2%0,!#% > "2 "!  31&4 #!2'!2!'% !#2%3 • SantaFeProperties.com/201403079

$1,997,000 David Woodard 505.920.2000


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simplicity happiness is a â&#x20AC;&#x153;stuff-freeâ&#x20AC;? home and clean, uncluttered design

Courtesy of Ore Studios

by Amy Gross



august/september 2014


Rather than filling their Galisteo home with objets d’art, Stanley and Mary Perdue opted to put their focus on the outdoors. The open-concept living, dining, and kitchen spaces are perfectly sited to take in south-facing mountain views.


heir clean, understated contemporary home in scenic Galisteo is the third one Stanley and Mary Perdue have built from scratch, but it’s the best one so far, they claim—or certainly the one that best suits the way they live now. “We’ve always had modern tastes, but we’ve morphed into wanting—and having—less and less and less,” says Stanley, who calls their modestly sized 2,500-square-foot house “a protest” against previous awkward home designs and wasted architectural space.

august/september 2014

santa fean


living Smooth-front laminate cabinets from Italian maker Poliform informed the rest of the kitchen design. Sculptural Artemide pendant lights from Statements in Tile/Lighting/Kitchens/Flooring and funky Ann Sacks tiles in the backsplash add visual interest and texture. Stanley’s photography hangs throughout the house, including the dining area (right).

“It doesn’t often happen where someone comes to you and they can really articulate how they live and what it is they want a space to feel like,” says interior designer Cara Scarola. A massive custom door separates the living area from the master suite for maximum privacy.

Interior designer Cara Scarola of Ore Studios (her current venture is a company called Built Design + Development with architect Carlos Kinsey) was called in to help with finishes and lighting, but she ended up reworking the original plans a bit, particularly with respect to the bathrooms and the kitchen. With every space, care was taken to address the homeowners’ desire for clutter-free, modern simplicity. “It doesn’t often happen where someone comes to you and they can really articulate how they live and what it is they want a space to feel like—how they want it to function,” Scarola says. “Stanley and Mary wanted things to be very modern and clean, drawing the focus to the views.” The kitchen, dining, and living areas are the definition of openconcept. With nothing more than a chair, a white sectional sofa, and a no-frills dining table in the way, the sightline from the entryway at one corner of the large space to the portal at the other corner is virtually unobstructed. Scarola added ample recessed lighting 186


august/september 2014

Courtesy of Ore Studios

The simple white sectional from B&B Italia allows color from a few well-placed accent pieces to pop.

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Playing with shapes, stripes, and textures, the Perdues have turned their master bedroom into a calming, simple sancturary.

The homeowners love all things Italian, like this cleverly designed Poliform chair that features zip-off, interchangeable coverings. Its next incarnation, the owners say, will be a mod lime-green color.

Courtesy of Ore Studios

Interior designer Cara Scarola reworked the design of the master bath to make better use of its space. The floor-to-ceiling frameless shower, Victoria + Albert tub, and warm, stained oak cabinets are reminiscent of a bathroom in a well-appointed hotel suite.

to the living areas to offset the lack of lamps and to highlight Stanley’s photography—a collection of portraits, mostly women, strategically hung throughout the house against pure white walls. You might find a throw here, a pillow there, but otherwise the aesthetic is decidedly calm and uncluttered. “When neighbors come in here, they go, ‘Where’s all your stuff?” says Stanley. “Today, we don’t like a lot of stuff.” Even his electronic toys—stereo, DVD player, radio—are operated by a Control4 smart system in a small room behind the kitchen to keep the clutter down. As the primary cook, Stanley’s a constantly moving blur in the sleek, smoke-gray kitchen, outfitted with his one musthave: high-end laminate cabinetry from Italian kitchen supplier Poliform. (The brand, and indeed many things Italian, figure prominently throughout the house.) A fragrant harissa paste is on the menu for later in the evening, possibly to accompany the artisanal bread that’s proofing in one of the double Miele ovens. Functionality for their cooking space was certainly important to the homeowners, who are intrepid travelers and foodies, but utility aside, this is one seriously cool-looking kitchen. The unusual backsplash—oval-within-rectangle tiles laid horizontally in a dark grout—instantly grabs the eye. It was a splurge, say the homeowners, but worth it. “Cara thought we needed some texture in the room because it was so flat,” says Mary. Bonus: They’re a dream to clean, which, august/september 2014

santa fean



Geometric shapes from a basket, some pottery, and a piece of art play with a simple settee and a nubby, textured rug.

not surprisingly, makes these neatniks very happy. Huge gray pendant lights overlook the hammered granite–topped prep island, which faces stunning mountain and mesa views to the south and southwest.

“We’ve always had modern tastes, but now we’ve morphed into wanting—and having—less and less and less,” says homeowner Stanley Perdue.

Right: The Ann Sacks “Heath Oval” tiles in the kitchen backsplash were a splurge, say the owners, but really make the kitchen. Dark gray grout gives the illusion of seamlessness. No grays here.The bathroom in the guest suite is an etheral palette of Ann Sacks glass tiles in Mist, Azure, and Oxygen.



august/september 2014

Courtesy of Ore Studios

A huge, 5 x 10-foot door separates—indeed, seals off—the living area from the master suite for maximum privacy. Extrawide hallways and simple, elegant finishes and furniture are reminiscent of a well-appointed hotel—a completely deliberate design objective on the part of the homeowners. The capacious master bathroom is especially sophisticated and hotel-like, with gorgeous mixed-tile finishes, a floor-to-ceiling frameless glass shower, and a sculptural, freestanding tub. Scarola pushed for oversized mirrors in both the master and guest baths, along with wood cabinetry to add warmth. The homeowners, initially inclined to more industrial finishes, agree that Scarola’s choices—not to mention her reworking of the plans for those spaces—were perfect. An immaculate en suite guest bedroom is also sparsely furnished and outfitted like a hotel suite. Lucky guests enjoy the privacy of their own living area and get to wake up to the beautiful views their hosts worked hard to capture. The homeowners, now stripped of excess baggage and material “stuff,” allow their surroundings to take center stage, aesthetically speaking, so that they can live the way they really want to: simply, cleanly, privately. It’s what makes them happy. “The point of being out in a beautiful space like Galisteo is that you really want to see the landscape around you,” Scarola says. “Stanley and Mary have done a good job of focusing on that, but not many people can live like they do: organized, stripped-down. There’s something very peaceful about it.”

Drury Plaza Hotel t he four -s t a r hotel ope ns on a hi storic sit e in downtown Sa nt a Fe by Ashley M. Biggers

insight foto inc.


Of the 182 rooms at the Drury Plaza Hotel, 90 feature custom sliding barn doors separating sleeping spaces from office and sitting areas.



august/september 2014

A rendering shows the Drury Plaza Hotel, which is opening in August 2014 and was built on the site of the former John Gaw Meem–designed St. Vincent Hospital. i

Though long dormant, the five acres at the corner of East Palace Avenue and Paseo de Peralta, just off the Plaza, are rich with history. Longtime residents will remember the cross-shaped building there as the former St. Vincent Hospital building, designed by famed New Mexico architect John Gaw Meem and in operation from 1953 to 1977. Next door, Marian Hall, designed by Isaac Hamilton Rapp, dates to 1910 and was formerly the St. Vincent Sanatorium. Now a new chapter in this site’s storied history is being written, as the Drury Plaza Hotel takes over the space and welcomes guests this August, becoming the first large hotel to open in downtown Santa Fe in at least 18 years. Drury Southwest—a development group for Drury Hotels, a national chain with 130 hotels in 20 states that prides itself on customer service— purchased the downtown property in 2007, which marked the beginning of an extensive site redevelopment. (The opening of the Drury Plaza Hotel is only the first phase of the project; Marian Hall will be redeveloped in the second phase.) Adept at repurposing and redesigning historic buildings, Drury eagerly reused the framework of Meem’s building, which just made good business sense, says project manager Brian Nenninger. The existing building is taller than any new construction permitted downtown. The development team worked

extensively with the City of Santa Fe’s Historic Districts Review Board, neighborhood groups, and other organizations, such as the Santa Fe Trail Association, holding 11 public meetings for feedback on the design. “There was some skepticism about developing at this scale and at this height,” Nenninger notes. “We were willing to work with them as long as it took.” Although influenced by the original buildings, the architecture is a fresh take on classical style. “We imposed our own set of rules to the architectural detailing. We wanted something that reflected, not imitated, the previous buildings,” says Mark Hogan, head project architect for Hogan Group Inc., which designed the renovation. Several elements Meem introduced remain and have been heightened, including a Territorial Revival style, detailed exterior brickwork, and the appearance of towers—a motif carried throughout the property. Billed as four-star accommodations, the hotel will feature 182 rooms with Southwest-Territorial decor and oversized bathrooms, many with jetted tubs. The fifth floor boasts a year-round heated rooftop bar with views of Downtown, St. Francis Cathedral, and the Sangre de Cristo Mountains. A pool heated by the hotel’s own solar

panels is also on the fifth floor. A Southwest-Latin fusion restaurant, Eloisa, unfolds from the first floor onto a patio facing East Palace Avenue. Chef John Sedlar, a native Santa Fean whom Gourmet magazine has called “the father of modern Southwest cuisine” and who owns Rivera restaurant in Los Angeles, will be at the restaurant’s helm. The hotel will also include a 3,800-square-foot ballroom with access to a lush, woodland courtyard that’s fitting for weddings. Open space was vital to the project vision: More than 40 percent of the property was left undeveloped, most notably the promenade on the east side of the building that leads from Cathedral Park toward Canyon Road and features a compass-rose design. For more information, visit druryplazasantafe.com.

regal ranch

hilltop hideaway

Enjoy views in every direction from this hilltop estate set on 50 acres adjacent to the Santa Fe National Forest. Lush landscaping provides privacy and serenity, while a horse stable, riding arena, tennis court, pond-like swimming pool, and an exercise studio (in a stand-alone guesthouse) offers plenty of recreation. The Pueblo-style house features custom details that make it distinctly Santa Fe, like antique beams, curved walls and entryways, Spanish Colonial doors, handmade chandeliers, and earth plastering throughout. The large gourmet kitchen includes an abundance of counter and storage space and both food and china pantries. There’s an additional kitchen outdoors, as well as a dining area underneath a portal. List price: $12.5 million Contact: Clara L. Dougherty, Dougherty Real Estate Co., 505-989-7741, dresf.com, claradough@gmail.com

List price: $5.9 million Contact: Matt Desmond, Santa Fe Properties, 505-670-1289, santafeproperties.com, matt@homesinsantafenm.com

john baker



august/september 2014

Dreaming of a truly Western lifestyle, but still want to be close to Santa Fe’s Plaza? Look no further than this sprawling ranch, which is set on 302 acres that border the Santa Fe National Forest, have direct access to the Pecos Wilderness’s network of trails, and offer views of Shaggy Peak along the Apache Creek watershed. The Pueblostyle home has eight bedrooms, seven bathrooms, four fireplaces, and a three-car garage, and details like brick floors that cover radiant heating and two-story-high ceilings can be found throughout. The spacious grounds are equipped with a barn, horse stalls, a large outdoor arena, and multiple outbuildings, including four guesthouses and an artist’s studio. Gardeners can cultivate plants yearround in an 1,800-square-foot solar heated greenhouse, which is adjacent to outdoor growing areas.



[on the market]

[on the market]

luxury and history This secluded 5,000-square-foot compound is located on a historic street off Canyon Road. Originally built in the 1930s, the fourbedroom, six-bathroom home includes vigas, kiva fireplaces, and thick adobe walls. The country-style kitchen surrounds an island with granite countertops and high-end appliances, and, outside, a portal shades an open bar and large dining area while also serving as the base for a rooftop deck with panoramic views. The acre property features winding paths through lush gardens lined with native flora and towering pine trees, a stair-step waterfall, private hot tub, serene koi pond, and freestanding guesthouse. The home also comes with a three-car garage and (rare for Santa Fe) a basement.

andrew neighbor

List price: $2.5 million Contact: Tim Van Camp, Sotheby’s International Realty, 505-690-2750, sothebyshomes.com, tim@knowingsantafe.com


Mars vs. Venus? No: Now It’s Mars and Venus by Ch ri stoph e r Lowell

The home is getting a reboot with significant changes that have less to do with actual trends and more to do with who’s now in on the designing. Him! Yep, the once fragile male ego that felt emasculated just walking through a design center has now found new strength . . . and guess what? The women who once solely shouldered the home decor burden simply by virtue of their sex are just fine with it. So what’s forced the change? In a way, it’s stress! Today’s dual-income couples have moved beyond mere hypertasking to full-out turbotasking in order to afford an enviable lifestyle. Now sharing equally in time and financial challenges, the decorating playing field is being leveled. Even so, doesn’t the guy have a bit of catching up to do? After years of silent ambivalence, where’s this new macho decor confidence coming from? Mostly it’s from commercial spaces. It’s in the new hip bistros and sexy boutique hotels where a new philosophy of keeping it luxurious enough for her, yet tailored enough for him is resolving the gender wars. Patterned wall coverings have been replaced with spainfluenced solid colors. Feminine-skewed patterns have been replaced with bold geometric accents, and, believe it or not, more fabric has been reintroduced to public interiors, but now with a decidedly layered, texture-driven luxury. It seems it wasn’t the fabric men didn’t like; it was the prints and fuss that accosted their sensibilities. Seems women could live with a more tailored fabric application as long as there was enough of it represented in a space. Who knew? So, will this national public-space philosophy influence Santa Fe too? After years of straddling the lines between primitive cowboy-chic, mythical regional folklore, and progressive modernism, don’t look now but many of our own public spaces are getting the same streamlined, unisex overhaul as well. Will it trickle into the private lives of Santa Fe homeowners? Absolutely. Universally, both sexes now want a home that reflects them equally. Women have always been the storytellers, with an innate sense of how a space should feel. Men have always offered a more restrained, pared-down classic sensibility that can help edit the story into a scenario that can be more practical to live with day to day. Perhaps this trend is simply confirming that, together, he and she can now make a hell of a good design team after all. august/september 2014

santa fean


Georgia on my mind

The artistry and simple splendor of Georgia O’Keeffe’s dramatic paintings speak volumes about the beauty of New Mexico, the place that became a deep source of inspiration for her. It makes perfect sense then that the newly opened Georgia restaurant, which sits beside the museum that also bears her name, should offer plates that are as lovely to look at as they are delicious to taste. Chef Brett Sparman, who most recently manned the stoves at Luminaria, has created a menu that celebrates contemporary American cuisine with a nod to local ingredients. His beet salad (pictured here) is an edible stilllife of roasted red and yellow beets, creamy goat-cheese yogurt, crunchy pistachios, and scatterings of microgreens and edible flowers. (Almost too pretty to eat, but do!) Other items on the eclectic menu include smoky grilled quail, plump crab cakes, local lamb, and roasted halibut. The après-lunch menu offers salads, sandwiches, burgers, and charcuterie—perfect for post-museum noshing. A large portrait of O’Keeffe overlooks the proceedings in the stately main dining room, while the sunny patio is an ideal spot for whiling away a warm afternoon or a star-filled evening. The comfy Tavern Room takes you back to early Santa Fe with its exposed brick walls, wooden beams, and bracing cocktails. Ms. O’Keeffe would surely approve.—John Vollertsen

Douglas merriam

Georgia, 225 Johnson, 505-989-4367 georgiasantafe.com



moveable feasts new chefs and new restaurants bring excitement to


Santa Fe’s summer dining season Chefs can be a fickle bunch at times, hopping from restaurant to restaurant like a droplet of water on a hot oiled skillet. But more often culinary talents swap shops to keep themselves inspired; there’s nothing like a new location, staff, and cuisine to keep them on their toes. This summer Santa Fe has seen its share of “chef hopscotch,” an interchange that has upped the ante deliciously. Probably the most dramatic shift we’ve seen is the purchase of the Eldorado Hotel & Spa by Heritage Hotels, which owns and operates The Lodge, Hotel Chimayó, and Hotel St. Francis in town, as well as lodging joints in Taos, Albuquerque, and Las Cruces. At press time there had already been some major changes in management, but Tony Smith, executive chef of the Eldorado’s Old House Restaurant, summed up the effect on his kitchen as “business as usual.” And the “usual” here is pretty delicious. I stopped by the always-buzzing Agave Lounge (the companion bar to the more upmarket Old House) and sampled some of Smith’s bar menu. One clever new feature is the addition of a master sushi chef who turns out expert

Chef Marc Quiñones of Luminaria Restaurant and Patio

Texture is paramount in Quiñones’s appetizer of tuna tempura, green apple, radish, croutons, and a kiwi fruit gel.

Chef Tony Smith of the Old House Restaurant and Agave Lounge

versions of Japanese rolls and raw goodies. Chef Taka wowed my table of six foodies with a variety of rolls and pristine marinated fish including yuzu-bathed oysters, wasabi-fired salmon, and an over-the-top lobster roll decorated with edible gold leafing—talk about gilding the lily! From the main kitchen came plump hunks of crisp pork belly set afloat on a bed of creamy polenta, perfectly fried house-made potato chips with blue cheese scattering, and mesquite-grilled chicken quesadillas with a zippy pico de gallo that made for easy sharing. I’ll go back to check out the new menu at The Old House soon. The other big hotel news that’s kept tongues a-wagging is the acquisition of celebrity chef John Sedlar to run the food outlets at the new Drury Plaza Hotel. Sedlar, who hails from Santa Fe, put his culinary mark on the world in Los Angeles with a 30-plus-year career at such restaurants as Saint Estèphe, Bikini, Rivera, and Playa. Long considered one of the founding fathers of true Southwestern cookery, Sedlar will open Eloisa this fall. Eloisa was named for Sedlar’s grandmother, a distinct source of the chef ’s culinary inspiration. The menu will continue to explore Sedlar’s love of and reverence for what he calls “pan-Latin fusion,” with a hat tipped to the local foods he grew up on. I’m already a fan of Sedlar’s delicious tortillas, which have edible flowers and herbs artfully pressed into them. A rooftop lounge with a bar menu and city views will add a much-needed august/september 2014

santa fean


Douglas merriam

Chef Tony Smithâ&#x20AC;&#x2122;s seared sea scallops with roasted carrot puree, arugula, and spiced pepitas



august/september 2014

DOUGLAS MERRIAM. tortilla image courtesy of rivera restaurant.

Chef Tony Blankenship of Rio Chama

ryan tanaka

boost to our local nightlife options. Not to be outdone, the Inn and Spa at Loretto has hired a plucky new chef, Marc Quiñones, who moved north from Bien Shur at Sandia Resort & Casino to fill the vacancy left by Brett Sparman, who left to open Georgia (I told you there’s been some jumping around going on). Quiñones, an East Coaster of Puerto Rican heritage, landed with gastronomic guns blazing. A recent lunch I enjoyed on the lovely sunny terrace at the hotel’s Luminaria Restaurant and Patio (still one of my favorite al fresco settings) showed off Quiñones’s love of playing with textures and sauces. Cubes of a greaseless tuna tempura were carefully composed on a plate with tart green apple, peppery Easter egg radish, croutons, and a zippy kiwi fruit gel. Seared wild halibut came with a sweet and savory lavender corn pudding and appropriately biting apricot gastrique. Still in his 30s, the youthful-looking chef cooks confidently beyond his years. At Rio Chama, newly ensconced chef Tony Blankenship cleverly embellished the seafood options to give non-carnivores plenty of choices. I’m a sucker for fried oysters; the ones I had here were crunchy on the outside and creamy and warm on the inside—perfect—and served with a

Below: Chef Sedlar’s colorful tortillas with edible flowers and herbs are as pretty as they are delicious.

Chef John Sedlar of Eloisa

Seafood options like horseradish-crusted halibut on crab mashed potatoes round out the menu at Rio Chama.

smoky Cajun remoulade. The horseradish-crusted halibut was moist and meaty, served with rich crab mashed potatoes and fried leek sizzle. Delish. The Mountain Mixed Grill, with varied preparations of elk, boar, and duck, will satisfy the hunters among you, but the large eclectic menu has something for everyone, including a decadent fondue better suited for the winter months. Warning: Do not attempt to devour the honking slab of carrot cake with caramel by yourself. You may be tempted, but sometimes there can be too much of a good thing. Most restaurateurs might not agree, but I think it’s a good thing when chefs get restless and antsy. We as diners only benefit from their new locations, fresh attitudes, and scrumptious original dishes. Change is good!—JV august/september 2014

santa fean




Chef Marc Quiñones’s wild Pacific halibut with lavender-corn pudding, baby heirloom tomato confit, and apricot gastrique


RECENTLY, WHILE PLANNING a culinary weekend for later this fall at the beautiful Los Poblanos Historic Inn & Organic Farm in Albuquerque’s North Valley, I received a call from Jonathan Perno, the Inn’s executive chef. Perno was calling to not only let me know what produce the on-site gardens would have for me to use in my cooking class but to offer to plant any crops I thought I might utilize! I was duly impressed; what an amazing connection Perno and many, many New Mexico chefs have to the food source. Their commitment to the Farm to Table movement is lusciously evident on so many menus. If your own garden isn’t offering up a bounty of goodies the way you’d like, be sure to visit our own Santa Fe Farmers Market for ultra-fresh fare. Just as the Santa Fean is committed to covering the exciting world of art and culture, I consider myself blessed to have the food and dining scene as my beat. Have you seen our new weekly cooking segments on the morning lifestyle TV show 2 KASA Style? Most Thursdays I send a Santa Fe culinary talent to appear on the entertaining program, which is broadcast from 9 to 10 AM on 2 KASA FOX, and occasionally I share the camera with our local chefs. Check out the show to stay abreast of what’s happening in our City Deliciously Different. With green chile season upon us, I can’t wait for the air to be filled with the intoxicating fragrance of New Mexico’s favorite ingredient being roasted. You’ll find chile everywhere: flavoring beer (Pancho Verde Chile Cerveza); spicing up wine (Southwest Wines’ Hatch Green Chile Wine); battered as tempura (Shohko Café); and enrobed in chocolate and peanut brittle (C. G. Higgins Confections). However you enjoy your green chile, it’s how we roll in these parts!—JV santafean.com

august/september 2014

august/september 2012santa santa fean august/september 2012 fean

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Cowgirl BBQ

319 S Guadalupe, 505-982-2565 cowgirlsantafe.com

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Doc Martin’s at the Historic Taos Inn

125 Paseo del Pueblo Norte, Taos 575-758-2233, docmartinsrestaurant.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 designs cuisine and sources ingredients that respect region and season. With more than 400 wine selections, our world-class wine list has earned Wine Spectator’s “Best Of” Award of Excellence for more than 20 years. The Adobe Bar features free live music nightly. Lunch 11 am –3 pm ; dinner 5–9 pm ; brunch Saturday and Sunday 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 classic recipes and specialties of his homeland. The paella is classic and legendary—served straight from the flame to your table in black iron pans; the saffron-infused rice is perfectly cooked and heaped with chicken, chorizo, seafood, and more. The house-made sangria is from a generations-old recipe with a splash of brandy. The ¡Chispa! tapas bar offers a fine array of tapas. Full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Musical entertainment and dancing. Dinner is served Tuesday–Saturday 5–11 pm.

Galisteo Bistro

227 Galisteo, 505-982-3700 galisteobistro.com

Chef-owned with “made by hand,” eclectic, innovative

nort h ern new me x ico ’ s finest d ining e x periences

Amaya Restaurant

1501 Paseo de Peralta, 505-955-7805 hotelsantafe.com/amaya-restaurant Amaya at Hotel Santa Fe. Mixing classic technique, contemporary flair, and fresh seasonal ingredients, Chef Walter Dominguez creates innovative dishes sure to please any palate. Amaya highlights local pueblo and Northern New Mexican influences, as well as regional foods from around the U.S. The casual, inviting atmosphere keeps the focus on fine food and conversation, and the restaurant opens onto our patio for seasonal outdoor dining with amazing mountain views.

Anasazi Restaurant & Bar

113 Washington, 505-988-3236 rosewoodhotels.com New Mexico’s most lauded restaurant and bar celebrates the enduring creative spirit of the region’s Native Americans. Located in the heart of Santa Fe, the Forbes four-star hotel, restaurant, and bar is an elegant expression of Southwestern style. Fusing Southwestern and Argentinean flavors to create a unique dining experience. Live entertainment Saturday evenings with Jesus Bas. Alfresco dining with a special patio menu with full bar and wine selections. Pre Opera Prix Fixe Menu available. Private dining also available.

international cuisine and known for its open kitchen, quality menu offerings, and attentive service in a casual, comfortable downtown setting. Just a short walk to the historic Santa Fe Plaza, the Lensic Performing Arts Center, hotels, and museums. “I admire a restaurateur who says, ‘Hey, I want to cook the foods I love,’ like a musician who says, ‘I want to play the music I enjoy.’ He would have made a great conductor; his orchestra of a staff is playing lovely food in perfect harmony. If music be the food of love—long may the Galisteo Bistro play on.”—John Vollertsen, Santa Fean. Lunch Wednesday–Saturday, 11 am –2 pm , Dinner Wednesday–Sunday, 5–9:30 pm .

La Casa Sena

125 E Palace, 505-988-9232 lacasasena.com

La Casa Sena is located in downtown Santa Fe in the historic Sena Plaza. We feature New American West cuisine, an award-winning wine list, and a spectacular patio. We are committed to using fresh, local, and seasonal ingredients whenever possible. La Casa Sena has been one of Santa Fe’s finest and most popular restaurants for more than 30 years. Our bar, La Cantina, is open for lunch and dinner. Let La Cantina’s singing waitstaff entertain you nightly with the best of Broadway, jazz, and much more. Open daily 11 am until close. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open Monday–Saturday 11 am –6 pm , Sunday noon–5 pm .

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Selected as one of the nation’s finest restaurants and highly regarded for its award-winning seasonal American cuisine, The Compound Restaurant has been a Santa Fe institution since the 1960s. Chef Mark Kiffin, James Beard Award–winning “Best Chef of the Southwest 2005,” has revived this elegant Santa Fe landmark restaurant with a sophisticated menu, an award-winning wine list, and incomparable private dining and special events. Beautiful outdoor patios and private dining available for up to 250 guests. Lunch is served noon–2 pm Monday through Saturday; dinner is served nightly from 6 pm ; bar opens 5 pm . Reservations are recommended.

taste of the town

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Since 1993, the Cowgirl has been serving up great BBQ and exuberant nightlife. A favorite with both visitors and locals, we feature mesquite-smoked BBQ meats, great steaks, and delicious vegetarian options along with a wide array of regional American dishes, ranging from New Mexican specialties to Tex-Mex, Cajun-Creole, and Caribbean. Nightly entertainment features Americana, blues, and touring bands, adding up to the best small club for music on this side of Austin. Check out our new taproom for the best craft beer selection in town! Open seven days a week: 11 am –midnight during the week and 11 am on the weekends. Bar open until 1 am Friday and Saturday.

Il Piatto Italian Farmhouse Kitchen 95 W Marcy, 505-984-1091 ilpiattosantafe.com

Locally owned Italian trattoria located one block north of the Plaza. Nationally acclaimed and affordable, Il Piatto features local organic produce and house-made pastas. Prix-fixe three-course lunch, $16.95. Threecourse late-night dining, $25.14, 9–10:30 pm. Lunch Monday–Saturday 11:30 am–4:30 pm; dinner seven nights a week from 4:30 pm; happy hour daily 4:30–6 pm and 9–10:30 pm , half-priced appetizers and glasses of wine. Wednesdays 50% off select bottles of wine. “Everything is right at Il Piatto, including the price.” —Albuquerque Journal

Luminaria Restaurant at the Inn and Spa at Loretto 211 Old Santa Fe Trail, 800-727-5531, 505-984-7915 innatloretto.com

Wine Spectator award recipient Luminaria Restaurant and Patio continues to be a popular spot for locals and tourists alike by offering casual dining by romantic candlelight in the dining room or alfresco on the tree house feel of the patio. Try the culinary creations of new, award winning, Executive Chef Marc Quinones. Located at the Inn and Spa at Loretto, Travel + Leisure’s World’s Best in 2014. Open for breakfast, lunch dinner and Sunday brunch. Early evening prix-fixe dinner from 5-6:30 PM offering three courses for $30. august/september 2014

santa fean




Photo credit: Photo by Jim Hollander


Hollander Gallery Siri Hollander, Flamenca, mixed media (also in bronze), 8 x 6 x 4' Siri Hollander creates equine sculptures which reflect the beauty, power, and strength of her lifelong companions, her horses. Using steel, concrete, and bronze, Siri brings to life her unique vision of the equine spirit. Internationally acclaimed painter Gino Hollander celebrates his ninetieth year with a retrospective of landscapes, portraits, and abstracts curated from his private collection. 225 Delgado St, 505-927-2072, sirihollander.com, hollanderart.com

Henington Fine Art Harold Holden, Gentle Nudge, medium, 00 x 00" Michael Henington Fine Art Gallery and Brokerage is in the center of Santa Fe’s famed Canyon Road in a building that started as a stagecoach stop in the mid 1700s. Spacious and charming, the gallery represents over 50 regional and world renown artists in a nostalgic and authentic Western atmosphere. Private parking is available. 802 Canyon Rd, 505-690-9160 505-577-8339 heningtonfineart.com

Alexandra Stevens Gallery of Fine Art Victoria Taylor-Gore, Carmen’s Room, pastel, 9 x 19” As the 2014 Santa Fe Opera season comes to a close, Victoria Taylor-Gore pays tribute to the profound emotions that are the stuff of opera, theater, and life. “I was inspired by the play or opera’s stage like settings and added symbols relevant to the human interactions and set the scenes against magical landscape backdrops. I staged theatrical perspectives, surreal light and shadows that guide the viewer. Viewers aren’t watching the event but looking for clues that invite them to make up a story in their own minds.” In addition to Romeo and Juliet, she has explored the conflict between the free spirit of Carmen versus the lustful jealousy of Don Jose in Bizet’s opera Carmen. Shadows of Passion–Parting is Such Sweet Sorrow explores new works by Victoria Taylor-Gore with an artist’s reception on Friday, August 15, 5:30–7 pm. The gallery will also be open until 7 pm on August 22 to celebrate the Opera’s final performance of Carmen. 820 Canyon Rd, 505-988-1311, alexandrastevens.com

Canyon Road Contemporary Art Joy Richardson, Synthesis, acrylic on canvas, 60 x 48" Exuberant of color and expression, the paintings of Joy Richardson take flight as they leap into your field of vision with unbridled enthusiasm. Artist’s opening reception for Uncommon Sense on Friday, August 15, 5–7 pm. 403 Canyon Rd, 505-983-0433, canyoncontemporary.com

Wilder Nightengale Fine Art Jonathan Sobol, The Soloist silkscreen, 31.5 x 14.5" Wilder Nightingale Fine Art has helped new and seasoned art collectors acquire original art since 1991. The gallery represents more than 35 leading and regional artists. The works are eclectic, from traditional landscapes in oil, pastel, and watercolor to a selection of contemporary and abstract styles. Some of the leading artists represented are Peggy Immel, Stephen Day, and 2006 New Mexico’s Governors Award for Excellence in the Arts recipient Rory Wagner. 119 Kit Carson Rd, Taos, NM 87571 575-758-3255, wnightingale.com august/september 2014

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InArt Gallery Andrea Bonfils, Aspen View, oil and encaustic on birch panel, 36 x 48" “Nature’s Way” is a solo show by award winning artist Andrea Bonfils. This show will include Andrea’s latest oil and encaustic paintings, mixed media and photographs. Andrea’s art is coveted by many internationally renowned corporate and private collections. Andrea says, “my art illuminates the subject and the transparent and opaque views that life, art and adventure offer to those willing to leap! As a naturalist/ artist, I find endless joy in recreating earthly wonderment.” Opening reception on Friday, September 26, 5–7 pm 219 Delgado St, 505-983-6537 inartsantafe.com

Indigo Gallery Jill Shwaiko, Some Stars Came Down to Light Their Way, oil on canvas, 40 x 40" Located in the heart of the village of Madrid on the Turquoise Trail, Hwy 14, just 20 minutes south of Santa Fe, Indigo Gallery is a “must see” established gallery featuring the full collection of Jill Shwaiko’s sculptures and paintings. Guaranteed to lighten your mood with humor, beauty, and color, Jill’s paintings and sculpture speak to the viewer in their own unique way. Don’t miss the relaxing garden with its wonderful combination of rock, water and bronze sheep. The collection also features emerging, as well as established artists, including Carole LaRoche, Brad Price, Lori Daniels, Kat Sawyer, Jane Cassidy and Lanna Keller. Please come visit and enjoy! Open Daily 10 am–5 pm. 2854 State Highway 14, Unit D, Madrid, NM 87010 505-438-6202, indigoartgallery.com

Mark White Fine Art Built in the 1700s, our historic Canyon Road gallery features contemporary paintings by Javier Lopéz Barbosa, Mark White, and Charles Veilleux, as well as bronze sculpture by jd Hansen and mixed media works by Ethan White. Mark White’s kinetic wind sculptures complement our relaxing, spacious outdoor gardens. 414 Canyon Rd, 505-982-2073 markwhitefineart.com

Meyer East Gallery David Dornan, Callabash, oil on canvas, 36 x 32" Meyer East Gallery, a primary destination for art collectors and enthusiasts, specializes in contemporary representational works by emerging and established artists. The friendly, knowledgeable staff makes any visit memorable, and their collection is among the most outstanding in Santa Fe. 225 Canyon Rd, Ste 11, 505-983-1657 meyereastgallery.com



august/september 2014

Tresa Vorenberg Goldsmiths

Celebrating 40 Years of Designer Jewelry Wildly imaginative handcrafted designer jewelry by over 35 artists. Donna Diglio: A Gem Packed Life, August 18–24.Luscious high-karat gold and gemstone beaded jewelry not to be missed! 656 Canyon Rd, 505-988-7215 TVGoldsmiths.com

Charlotte Fine Jewelry Spring blossoms made of hammered gold and silver and mother-of-pearl, accentuated with gorgeous precious gems in ever changing combinations to be worn in rings, pendants or cuffs. Come play with us and let your creativity flow abundantly. One of a kind interchangeable fine jewelry from Germany. Call us for a catalog or visit us on line. 66 E San Francisco St, 505-660-8614 charlotteshop.com



treasures Ojo Optique Elevating Santa Fe’s optical experience with refreshing and artistic independent eyewear. The world’s most exquisite and innovative designers are represented to create the most striking collection of frames available. Specializing in sun and prescription ready frames, precise adjustments, superior custom and Rx lenses and unparalleled service. 125 Lincoln Ave, Ste 114, 505-988-4444, ojooptique.com

John Rippel U.S.A.

Carpe Diem sterling and turquoise belt buckle, 1.25”, by John Rippel. New 18K gold and sterling silver stackable rings with precious gemstones by Valerie Naifeh. Come in today to see these colorful collections. We are located at 111 Old Santa Fe Trail, between San Francisco and Water Streets, just outside the La Fonda Hotel. 111 Old Santa Fe Trl 505-986-9115 johnrippel.com

Cos Bar The Cos Bar started as a single store by Lily Garfield more than a quarter of a century ago in the beautiful resort town of Aspen, Colorado. We carry products based on their results—makeup in the latest colors and long-wear technology; skin care to match your concerns; fragrances to make your own personal statement; bath and body supplies in luxurious textures and fragrances; men’s lines using lighter, non-greasy moisturizing textures; and accessories in the trendiest fashions and home fragrances. 128 W Water St, 505-984-2676, cosbar.com

Marc Howard Custom Jewelry Design Studio

Hand-crafted Andamooka opal ring set in a 22k bezel on a hand-stamped 18k band with four small flush-set diamonds Santa Fe’s premier master goldsmith creates custom designs in high-karat golds and platinum, expertly set with diamonds and colored gemstones. Exquisite craftsmanship, refined creativity, and stellar customer service combine to give you the ultimate experience in exceptional jewelry design. 328 S Guadalupe St, Ste E (entrance on Montezuma) 505-820-1080, info@marc-howard.com marc-howard.com

The Golden Eye

American turquoise necklace and bracelet in 18 kt gold Available only at The Golden Eye, where creativity reigns and the possibilities are endless. Design your own unique statement from our collection of jewels set in 18 kt gold… Let your inner goddess out to play. 115 Don Gaspar Ave 505-984-0040, 800-784-0038 goldeneyesantafe.com

Real Deal Collection Authentic Pre-Owned Luxury Consignment We buy, sell, and trade-in authentic handbags and accessories from designers including Balenciaga, Chanel, Hermés, Louis Vuitton, and more... Visit our boutique across the street from the Sandoval Municipal Parking Garage or shop online anytime! 223 W San Francisco St, 505-795-5979 realdealcollection.com august/september 2014

santa fean


For the most complete, up-to-date calendar of events in Santa Fe and Northern New Mexico, visit santafean.com

August August 2–3 42nd Annual Girls Inc. Arts & Crafts Show. Juried show featuring a wide range of work by professional fine artists and craftspeople. Includes fiber art, jewelry, painting, pottery, sculpture, metal- and woodwork, photography, specialty foods, and more. Free, 9 am–5 pm, Santa Fe Plaza, 505-982-2042, girlsincofsantafe.org. August 2–3 Summer Festival and Territorial Law & Order. Lawmen, desperados, and mountain men and women demonstrate their skills and spin tales of the past. $8 (seniors and teens $6, kids free), 10 am–4 pm, El Rancho de las Golondrinas, golondrinas.org. August 5 Ray LaMontagne. Award-winning, folk rocker Ray LaMontagne, who released his fifth album, Supernova, in April, makes his first appearance as a headliner in Santa Fe. $40–$62, 6:30 pm, Santa Fe Downs, ticketssantafe.org. August 7 & 9 Mozart’s Requiem with Special Guest Susan Graham. The Santa Fe Desert Chorale presents this masterwork along with Mozart arias and choral works. Features members of the Santa Fe Symphony and world-renowned mezzo-soprano Susan Graham. $10–$125, 8 pm, St. Francis Cathedral, 505-988-2282, desertchorale.org.

August 15–17 Objects of Art Santa Fe. More than 65 national and local exhibitors display paintings; sculpture; fine art; furniture; books; fashion; jewelry; textiles; and tribal, folk, American Indian, African, and Asian art. $17, 11 am–6 pm, El Museo Cultural de Santa Fe in the Railyard, 505-660-4701, objectsofartsantafe.com. August 15–18 Antique Indian & Ethnographic Art Show. This annual antiques show brings more than 150 collectors and dealers to one location for buying, selling, and browsing historic Indian art. $10/day or $17/three days, 10 am–5 pm, Santa Fe Community Convention Center, 505-992-8929, whitehawkshows.com. August 16–17 Survival: New Mexico. Practice outdoor survival techniques like building a fire, constructing shelter, and shooting with bows and arrows. $8 (seniors and teens $6, kids free), 10 am–4 pm, El Rancho de las Golondrinas, golondrinas.org. August 20–21 The Antique American Indian Art Show. Authentic antique American Indian art from some of the country’s top galleries. Free, 11 am–6 pm, El Museo Cultural, Santa Fe Railyard, antiqueindianartshow.com.

August 21–23 Indigenous Fine Art Market. Juried art show and celebration of Native art and culture. Includes performances representing tribal diversity. Free, 10 am–5 pm, Santa Fe Railyard, indigefam.org. August 22–24 Santa Fe Bluegrass & Old Time Music Festival. The 40th annual festival features local and national musicians on three stages. $15–$50 (kids 16 and under free), 7 pm, Santa Fe County Fairgrounds, southwestpickers.org. August 23–24 Santa Fe Indian Market. Santa Fe’s Indian Market, now in its 93rd year, is one of the world’s most prestigious Native American art shows. Features more than 1,000 artists. Free, Saturday 7 am–5 pm, Sunday 8 am–5 pm, Santa Fe Plaza, swaia.org. August 27 Lila Downs. Latin Grammy Award–winning Lila Downs is touring to promote her recent release, Pecados y Milagros (Sins and Miracles). $39–$59, 7:30 pm, The Lensic, 505-988-1234, ticketssantafe.org. August 28–31 Santa Fe Yoga Festival. Meditation, outdoor activities, music, and yoga with local and national presenters. Prices vary, Bishop’s Lodge Ranch Spa & Resort, santafeyogafestival.org.

August 14 You Only Sing Twice. Gala benefit for the Santa Fe Desert Chorale featuring entertainment by Voasis and live and silent auctions. $150, 6 pm, Inn & Spa at Loretto, 505-988-2282, desertchorale.org. 206


august/september 2014


August 13 & 14 Stars of American Ballet I & II. Celebrated American dancer Daniel Ulbricht and principals and soloists of the New York City Ballet present two different programs. Ulbricht holds a pre-performance talk. $27–$100, 7:30 pm, The Lensic, 505-988-1234, ticketssantafe.org.


August 29 The Burning of Zozobra. For the 90th time, the towering Old Man Gloom marionette will go down in a blaze of fireworks. $10 (kids 10 and under free), 4 pm until late, Fort Marcy Park, burnzozobra.com. August 29–September 1 and September 5–7 Santa Fe Fiestas Fine Art & Crafts Market. A juried show of jewelry, pottery, clothing, paintings, and more. Free, 9 am–5 pm, Santa Fe Plaza, santafefiesta.org. August 31 Performance Santa Fe Opening Orchestral Concert. The Performance Santa Fe Orchestra (formerly the Santa Fe Concert Association Orchestra) gives its opening concert of the 2014 season. Joseph Illick conducts Musorgsky’s Pictures at an Exhibition, selections from R. Strauss’s Ariadne auf Naxos, and the world premiere of a work by Jack Waldenmaier. $27–$100, 4 pm, The Lensic, performancesantafe.org.

September September 5–7 Fiesta de Santa Fe. A celebration of Santa Fe’s centuries-old history, with parades and musical performanc-

es. Free, various venues, santafefiesta.org. September 7 The Santa Fe Trail Bicycle Trek. Cyclists ride for at least four days and then they have the option to keep riding up to 1,096 miles of the Santa Fe Trail over 22 days, ending in Missouri. $45 per day includes breakfast, dinner, campsites, daily ride sheets, maps, and all gear carried by truck. 505-9821282, santafetrailbicycletrek.com. September 11 Violent Femmes. Eighties acoustic punk duo the Violent Femmes are touring to commemorate the 30th anniversary of the release of their first album. $42, 7:30 pm, Santa Fe Community Convention Center, heathconcerts.org. September 13 Lyle Lovett and His Large Band. Iconic singer, composer, and actor Lyle Lovett performs country, swing, jazz, folk, gospel, and blues with his large band. $12–$76, 7 pm, Santa Fe Downs, heathconcerts.org. September 14 Santa Fe to Buffalo Thunder Half Marathon. USA Track & Field–certified point-to-point course drops 1,000 feet in 13 miles. Also 5k run and 1-mile

walk options. $20–$65, 8 am, Buffalo Thunder Resort & Casino, santafethunder.com. September 20–21 Santa Fe Renaissance Fair. Medieval combat; live entertainment; vendors; kids’ games; and delicious food, drinks, and mead. $10, teens and seniors $8, kids free, 10 am–6 pm, El Rancho de las Golondrinas, golondrinas.org. September 20 Santa Fe Pro Musica Season Opening Concert. The chamber orchestra’s 33rd season-opening concert includes Beethoven’s Symphony No. 5 and Piano Concerto No. 3, featuring Melissa Marse. $20–$65, 4 pm, The Lensic, 505-988-1234, ticketssantafe.org. September 20–21 Pojoaque River Art Tour. Annual tour of 19 studios in the Pojoaque River Valley. Free, 10 am–5 pm, pojoaqueriverarttour.com. September 20, 21, 27, & 28 High Road to Taos Art Tour. More than 60 galleries and studios along the 105-mile scenic route between Santa Fe and Taos are open to the public. Free, 10 am–5 pm, highroadnewmexico.com. august/september 2014

santa fean




Lake Katherine

There are hidden treasures in the mountains above Santa Fe. One particular pot of gold is Lake Katherine—one of the highest and biggest alpine lakes in New Mexico. Tucked into a glacier-carved cirque below Santa Fe Baldy at 11,745 feet, Lake Katherine is worth the challenging hike it takes to get there. Plan for a long day (it’s a 15-mile round-trip trek), or pack your sleeping bag for an overnight excursion. From the trailhead at the base of Ski Santa Fe, the well-marked path climbs 3,000 feet into the Pecos Wilderness, where alpine flowers, mountain critters, and chilly temperatures all await. According to biographies, 18-year-old Robert Oppenheimer (one of the physicists who created the atomic bomb) discovered the lake during the summer of 1922 while riding horses in the area with Katherine Chaves Page, a member of a well-to-do Santa Fe family. Smitten with Ms. Page, Oppenheimer named the lake after her.—Cristina Olds 208


august/september 2014



Team R and L

Liz Sheffield


Spacious Tesuque classic with private casita and extraordinary Jemez views on 5 acres. Nature and privacy are yours just 15 minutes from all that Santa Fe offers.

Block & Brown | 505.216.6154




Approach through walled courtyard to this well-sited home on 1.5 acre lot with mountain views. Wonderful living room with high-beamed ceiling, centerpiece fireplace & french doors.

Team Connect | 505.699.3260




This rare .7 acre downtown development opportunity with 1920 bungalow is located just blocks from Railyard /Plaza area. Zoned BCD. Ideal for vacation rentals/commercial development. Liz Sheffield | Paul Duran | 505.310.5566 PaulDuran.com

Paul Duran

Block & Brown





Want Old World Charm? This authentic double adobe house and casita sits on arguably one of the best panoramic views lots in Santa Fe located close to St. Johns on 5 acres. Liz Sheffield | 505.660.4299 LizSheffield.com

Sangre de Cristo & Jemez mountain views distinguish this pueblo style residence, shaped by the combined artistry of a trained chef & a professional singer/songwriter.

Team R&L | 505.470.2277


505.983.5151 |  www.KWSantaFeNM.com   130  Lincoln  Avenue  Suite  K  ,  Santa  Fe,  NM  87501

Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 20 – 24, 2014

TONY ABEYTA Artist Reception: Friday, August 22nd, 5 – 8 pm in Santa Fe

Tumultuous Skies, oil on canvas, 47" h x 67" w (with frame)

Visit our website for a complete schedule of shows and events

Blue Rain Gallery|130 130 Lincoln Avenue, Suite CSanta Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com Blue Rain Contemporary|7137 East Main StreetScosdale, AZ 85251 | 480.874.8110

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Santa Fean Aug Sept 2014 Digital Edition  

Santa Fean Aug Sept 2014 Digital Edition

Santa Fean Aug Sept 2014 Digital Edition  

Santa Fean Aug Sept 2014 Digital Edition

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