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Inside: Native Arts presents Indian Market Magazine • Festivals • 150+ Galleries and Museums

August/September 2016

summer 2016


Two Great Shows at the Railyard



Western Narratives, July 29 – August 13, 2016

New Paintings, August 5 – 20, 2016

In our new Railyard location

In our new Railyard location

Artist Reception:

Artist Reception:

Friday, July 29th from 5 – 7 pm

Friday, August 5th from 5 – 7 pm

Waitin’ on Juanito, oil on canvas, 36" h x 36" w

Rough Rider, oil on canvas, 60" h x 50" w

R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | D OW N TOW N | 130 Lincoln Avenue, Suite CSanta Fe, NM 87501

ERIN CURRIER Rogues and Reinas, September 16 – 30, 2016 in our new Railyard location Artist Reception: Friday, September 16th from 5 – 7 pm

Miss Navajo Nation, acrylic and mixed media on panel, 36" h x 24" w

R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | D OW N TOW N | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501

Roger Williams

Mummy Cave 24 x18 Oil

Solo Exhibition 2016 August 26 – September 4 Opening Reception Friday, August 26

5 to 7 pm

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727

Jack Sorenson

The South Rim of Heaven 36 x 60 Oil

Robin J. Laws

Buck McCain

Swat Team Ed. 30 Bronze

Ancient Shrine 30 x 24 Oil

Annual Indian Market Weekend Show August 19 – 21 Opening Reception Friday, August 19

5 to 7 pm

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727

Artist Rendering

21 BIG TESUQUE CANYON | 3 br, 4 ba, new construction | $5,750,000 MLS: 201600778 | Roxanne Apple & Johnnie Gillespie | 505.660.5998

51 JACKRABBIT LANE | 5 br, 8 ba, 19+ ac., Arroyo Hondo | $4,200,000 Darlene Streit | 505.920.8001

164 TANO ROAD | 3 br, 7 ba, 20 mountain-view acres | $3,500,000 MLS: 201502526 | Ashley Margetson | 505.920.2300

VILLA DE PIEDRA | 5 br, 7 ba, Las Campanas | $2,995,000 MLS: 201601783 | Darlene Streit | 505.920.8001

7255 A&B OLD SANTA FE TRAIL | house & guesthouse, 4.79 acres $1,725,000 | Chris Webster | 505.780.9500

9 SAND SAGE EAST | 3 br, 4 ba, 2.5 acres in La Serena | $1,275,000 MLS: 201503300 | Laurie Hilton, ABR, CRS | 505.780.3237

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 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.

Hacienda Bella Vista | $5,995,000 | mls: 201602183 | Susan Kline & Lynden Galloway, 505.501.1111

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.

ANTOINE PREDOCK DESIGNED HOME | Albuquerque | $1,300,000 Marsha Adams | 505.261.6469

HEADQUARTERS RANCH | 5 br, 6 ba, 14.5 acre estate | $1,249,000 MLS: 201600862 | Team Lehrer & Earley | 505.490.9565

67 CIELO TRANQUILO COURT | 3 br, 4 ba, 12.5 acres | $1,000,000 MLS: 201601037 | Lois Sury CRS, ABR | 505.470.4672

945 CANYON ROAD | 2 br, 2 ba home with guest house | $899,000 MLS: 201600523 | Marsha Adams | 505.261.6469

501 RIO GRANDE, UNIT H-10 | 2 br, 3 ba, 2-story condo | $525,000 MLS: 201602171 | Patricia Love | 505.670.1229

77 CAMINO QUIEN SABE | 4.962 acre lot, amazing views | $225,000 MLS: 201501042 | Patricia Love | 505.670.1229

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 to discover all of our extraordinary properties. Use the mls numbers in the ad to find out more about these featured properties.

11 ENTRADA DESCANSO | 4 br, 6 ba, Las Campanas | $1,395,000 MLS: 201602810 | K.C. Martin | 505.690.7192

600 LOS ALTOS NORTE | 3 br, 3 ba, Northside view home | $1,295,000 MLS: 201505093 | K.C. Martin | 505.690.7192

1536 CERRO GORDO | 3 br, 2 ba, Eastside adobe | $1,080,000 MLS: 201602499 | Caroline D. Russell, CRS | 505.699.0909

44 PALO DURO | 3 br, 4 ba, Tesuque Contemporary | $975,000 MLS: 201602548 | Moo Thorpe | 505.780.0310

1916 SENDA DE ELEUTERIO | 3 br, 3 ba, mountain views | $950,000 MLS: 201601620 | Chris Haynes | 505.660.6121

3650 HIGHWAY 14 | 3 br, 2 ba, 10.6 acres, horses welcome | $562,000 MLS: 201603087 | Cindy Sheff | 505.470.6114

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 to discover all of our extraordinary properties. Use the mls numbers in the ad to find out more about these featured properties.


focus toney redman Toney Redman has evolved from forging candle holders and garden ornaments in 2005 to hand crafting unique and one of a kind copper and steel sculptures. By employing age old techniques and patinas he is able to transform steel to appear as antler, horn or bone. The retired criminal defense attorney is currently focused on kachina masks fashioned from heavy gauge (48oz) copper that he shapes and heavily details with texture. The masks are embellished with forged, textured and patined ornamentation that is fabricated from steel. “Historically, copper has been one of the most sought after and preferred metals of artisans. The application of heat and patinas frees the metals spirit allowing it to radiate spectacular colors. It seems fitting that the highly revered kachina deities of Native Americans should be represented by such a noble metal.”

Morning Singer, 21 x 21 x 4”

Owl kachina, 36 x 12 x 3”

Kachina MasKs

© John Nollendorfs

J o i n s c u l p t o r To n e y R e d m a n f o r t h e L o v e l a n d F i n e A r t s I n v i t a t i o n a l in Loveland Colorado August 12-14

Buffalo kachina, 28 x 14 x 2”

To n eyRe d m a n .c om ( 402) 475-5510

the best of tesuque...

14 Via de Zorritos. 50+ acre adobe compound next to SF National Forest includes guest house, stables, tack room, arena, tennis court. MLS #201601931 $6,750,000

1475 Bishops Lodge Rd. Charming hacienda + guest house. $1,390,000

433 W. San Francisco St., Santa Fe, NM 87501 tel: 505.989.7741 • A Full Service Real Estate Brokerage

1482 Bishops Lodge Rd. Elegant, secluded, entertainer’s delight. $2,700,000

and all around town!

721 Camino Ocaso del Sol. Artistic beauty. MLS #201601920 $1,799,999

41 Vista Hermosa. Custom-sculpted plasterwork. MLS #201600732 $1,650,000

1145 S. Summit Ridge. Luxurious, energy efficient. MLS #201602101 $1,655,000

786 Paseo de la Cuma. 2 separate living spaces. MLS #201602027 $865,000

expect more.



A Showroom for

Tile Lighting Hardware Bath Accessories Fans

Photo courtesy of Walker Zanger

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















September 3 8:00pm

ON TOUR Baton Rouge, LA September 11 Chihuahua, Mexico September 14 Dallas, TX September 16 - 17


w w w . a s p e n s a n t a f e b a l l e t . c o m





Melville Hankins

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.

© Wendy McEahern for Parasol Productions



222 Galisteo Street, Santa Fe, New Mexico 87501 505.989.7948 •

MARK WHITE FINE ART 414 Canyon Road, Santa Fe, New Mexico | Open seven days a week Learn more at or call us at 505.982.2073 Shown here: Mark White, Sangre de Cristo Sunrise, June 26, 2016, oil on canvas, 40 x 40 inches

EXPERIENCE THESE ROLLING WORKS OF ART FRIDAY, SEPTEMBER 23 1:00–2:30 p.m. Legends of Racing 5:00–8:00 p.m. Friday Night Gathering Vintage cars and airplanes; music, food, and spirits. Santa Fe Municipal airport

SATURDAY, SEPTEMBER 24 8:00–10:00 a.m. Mountain Tour Leaving from the Santa Fe Plaza

SUNDAY, SEPTEMBER 25 10:00–3:30 p.m. Judged Concorso Held on the grounds of The Club at Las Campanas


visit for information, schedule, and tickets. The Santa Fe Concorso is an all-volunteer 501(c)(3) nonprofit organization.

Commercial & Residential Design Sho wroom Hours 9-5 M-F ~ 111 N. Saint Francis Drive Santa Fe 505.988.3170 ~ www.Da Photo: Kate Russell

Aria Chroma Collection | acrylic on acrylic | available 48”, 36” & 24” discs

Christopher Martin Gallery S ol


M on te

Canyon Road

Go rml ey

o D e lg ad

Pa s


Pe ra

lt a

Santa Fe | Aspen | Dallas 644 CANYON ROAD | 505.303.3483 | open daily



The Girl of the Golden West Roméo et Juliette




Don Giovanni










The 60 th anniversary season is filled with powerful love stories, including Puccini’s The Girl of the Golden West. This Gold Rush-era story, set in Minnie’s saloon, inspired a multitude of western films. Experience an unforgettable evening in an incredible open-air theater setting. Arrive early with a tailgate supper to enjoy the sunset and mountain views.



Photos: Robert Godwin, theater; Kate Russell, tailgate



Ask about a special offer for Opera guests.




POP Gallery Presents Beyond the Horizon Futurescapes by Stephan Martiniere Artist reception, September 23rd, 5-7pm

“Pearl City”

“There is no Trying”

“Ninth Circle”

“Shield & Crocus”

125 Lincoln Avenue Suite 111 Santa Fe, NM 87501 505.820.0788 -

Tierra Concepts is honored to have won an unprecedented 5 Grand Hacienda Awards get inspired :







Photo: Philip Cohen

Photo: Michael Koryta




Photo:James Threadgill

AN EXUBERANCE OF COLOR In Studio Jewelry Curated by Gail M. Brown Featuring 23 exceptional American jewelry artists AUGUST 5 - SEPTEMBER 17, 2016 Opening reception: Friday, August 5, 5-7pm 652 Canyon Road, Santa Fe, NM 87501 | 505-995-8513 |

Ecru Assorted II, Amy Goodwin, 2016. Courtesy Michele Mariaud Gallery.

20 Anniversary th

patricia carlisle ne art inc 554 canyon road santa fe, new mexico 87501 toll-free 888-820-0596

DAVID PEARSON Rite of Passage 63" High Bronze Edition of 9 ©2016 David Pearson

Photo by Addison Doty


40 Around Town

August /September 2016

46 Performing Arts

Aspen Santa Fe Ballet, Santa Fe Symphony’s new conductor, the Santa Fe Opera celebrates its 60th season



richard termine TK word

the arts + culture issue

New Mexico Film Trail, La Cieneguilla Petroglyphs, equine events at HIPICO Santa Fe

30 Publisher’s Note

34 City Different Chamber music, Santa Fe Concorso, Santa Fe Wine & Chile Fiesta, and more 38 Q+A An interview with LaDonna Harris

TK word

95 Native Arts presents Indian Market Magazine 2016 A special magazine supplement focused exclusively on Native American art, artists, and culture



jim vogel TK word

179 Dining Chez Mamou, Maria’s Mexican Kitchen + The Compound



august/september 2016

Bonanza Creek Ranch is a popular location for filmmakers shooting in Santa Fe TK word DON GRAY


DOUGLAS MERRIAM douglas merriam

86 Living A creative couple adds home design to their list of talents

michael alvarez

53 Art Must-see galleries and artists, Indian Market shows + more

EARTH PLAN 1 mixed media 30x30


pascal pierme

20 years in Santa Fe Public Reception Friday August 12, 2016 5-7pm

707 Canyon Road, Santa Fe, NM 87501 505.983.3707


publisher’s note


Inside: Native Arts presents Indian Market Magazine • Festivals • 150+ Galleries and Museums

letting your creativity sing

summer 2016

arts+culture ON THE COVER Robert LaDuke, Summer, acrylic on birch panel, 18 x 18". Photo courtesy of Robert LaDuke.

Live Plaza Webcam on



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

| O V ERHE A R D | Q: What is your favorite summer event in Santa Fe? “We have so many great summer events that it is hard to pick one; I really love them all. My favorite summer cultural festival is Spanish Market, which shows the true diversification of these artists and broad range of their expression. It is an amazing event that includes so many generations of artistic New Mexicans, and I am always so pleased to see young children start down the path of true artistic expression here. They all seem so excited to be a part of it, and they gain confidence through our respect for their work. I really love it!” —Rich Verruni, Managing Director, Bishop’s Lodge Ranch Resort & Spa


august/september 2016

“During the summer, my favorite art experience is to wander into the galleries on Canyon Road, the Plaza, and the Railyard, their doors flung open with artwork spilling out into lovely gardens full of flowers, welcoming all. When I’m surrounded by amazing art and beautiful azure skies, life feels very, very good!” —Cynthia Delgado, Director of Marketing, TOURISM Santa Fe

“The Santa Fe cultural event I never miss is the AHA Festival of Progressive Arts, held each year in September at the Railyard. The Festival truly defines ‘diversity’ in terms of the media represented and the backgrounds of the participants. I’m always surprised and challenged by the art, music, and exhibits that showcase creativity in all its forms, or as their website says: ‘multidisciplinary forms of expression that embody interactivity, cross-pollination, social impact and community connection.’ I’d encourage all locals and visitors to visit the AHA Festival and see what’s new in Santa Fe.” —Simon Brackley, President and CEO, Santa Fe Chamber of Commerce


Caught in the challenges of careers and busy lives, we easily forget that there is a certain creativity living within each of us. Seeing and observing the inspirations of other people tickles us, and awakens us from dreary commutes and the mundane demands of life. We often hear about how arts and culture can shape young people’s lives and give them proper perspective, but this is no less true for adults. We all desperately need to be reminded that creativity abounds within us, and that it should be a guiding force. The good news is that you are in the right place to experience this. The summer issue of Santa Fean introduces many of our renowned art forms, whose beauty flows abundantly from Santa Fe’s vibrant visual art, music, dance, stage, and literary communities. This wellspring of the arts generates an inspiration that we can carry within us. It can remind us of deeper emotions that should not be overlooked, and it provides the impetus to explore our own talents. The point is that this spirit lives in all of us; Santa Fe merely awakens it. The inspirations and emotions that you might have initially felt in the City Different can continue to brighten your life, your work, your emotions, and your relationships. By being here, you have received this most special gift—one you can savor and relive. Your own personal creativity can sing louder and with greater intensity as Santa Fe’s artistic spirit flows through you.

August/September 2016

All New Listings 1144-B CANYON ROAD Historic Canyon Road Hideaway $1,300,000 - On the famed art corridor, this beautiful Santa Fe soft contemporary 2 bedroom 2 bath home is so stylish, functional and privately situated on a quiet lane & behind adobe walls. Gorgeous landscaping and stunning water feature complete this offering.. 2 BR, 2 BA, 2,413 SQ.FT., .09 ACRES mls 201602915

8 MONTE LUZ Warm Contemporary Tesuque Compound 5 BR, 3 BA, 4,132 SQ.FT. mls 201603176

$1,375,000 - This intriguing Tesuque compound is easily reached from downtown Santa Fe in minutes. Lush and inviting courtyards, chef’s kitchen, spectacular upstairs owner suite with mountain views, fireplace, den and deck with hot tub. Detached guest house, 2 car garage and gym on 1.5+ acres.



Pastoral Mountain Views

Dramatic Contemporary

3 BR, 2 BA, 2,226 SQ.FT., 6 ACRES mls 201602335

4 BR, 3 BA, 2,984 SQ.FT., 2.5 ACRES mls 201603234

$608,000 - This custom built home is in pristine condition. Located minutes from Downtown Santa Fe this home is centered on a bucolic 6 + acres. The high wood beamed ceiling s, glass doors and picture windows let in view filled light. There is a classic horse barn, an equipment building, tack room and a 2 car garage.

$815,000 - Recently custom built, this unique Northern New Mexico pitched roof home is well sited on 2.5 + acres. 18’ vaulted ceilings, a chef’s kitchen, lots of natural light, eco friendly & many fine details. East facing portal and a 3 car garage complete this offering.

The Bodelson - Spier Team Deborah Bodelson: 505.660.4442 Cary Spier: 505.690.2856 Santa Fe Properties: 505.690.2856


CHARLOTTE FOUST New Work AUGUST 12 – 28, 2016

bruce adams b.y. cooper



anne maclachlan


amy gross


amanda jackson, stephanie love lisa j. van sickle EDITORIAL INTERN

Opening Reception:

FRIDAY, AUGUST 12, 5 – 7pm

elizabeth sanchez FOOD & DINING EDITOR

john vollertsen


valérie herndon, allie salazar ASSOCIATE PUBLISHER, SALES MANAGER

david wilkinson SALES EXecutive

karim jundi WRITERS

ashley m. biggers, amanda pitman chris peterson, whitney spivey jason strykowski, dylan syverson eve tolpa, emily van cleve PHOTOGRAPHY

chris corrie, douglas merriam emily van cleve


Pacheco Park, 1512 Pacheco St, Ste D-105 Santa Fe, NM 87505 Telephone 505-983-1444, fax 505-983-1555


$14.95. Add $10 for subscriptions in Canada and Mexico. $25 for other countries. Single copies $5.99. Subscribe at or call 818-286-3162 Monday–Friday, 8:30 am –5 pm PST.

Striking A Balance, 2016, acrylic on canvas, 60 × 48 inches

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

Copyright 2016. Reproduction in whole or in part without permission is prohibited. Santa Fean (ISSN 1094-1487 & USPS # 0018-866), Volume 44, Number 4, August/September 2016. Santa Fean is published bimonthly by Bella Media, LLC, at Pacheco Park, 1512 Pacheco St, Ste D-105, Santa Fe, NM 87505, USA, Phone (505) 983-1444. © Copyright 2016 by Bella Media, LLC. All rights reserved. CPM # 40065056. Basic annual subscription rate is $14.95. Annual subscription rates for Canada and Mexico is $24.95; other international countries $39.95. U.S. single-copy price is $5.99. Back issues are $6.95 each. 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,, Monday–Friday, 7 am –5 pm PST.


august/september 2016

Full Service Interior Design Antiques, Home Decor, Objects

405 Paseo de Peralta, Santa Fe, NM 87501 505.983.3912 | convenient parking at rear of showroom

photo Š Wendy McEahern

the buzz around town

Christopher DUGGAN

Performance Santa Fe is bringing the Stars of American Ballet.

Joshua Hopkins sings the role of Oliver in Capriccio by Richard Strauss.

Performance Santa Fe

Simon Pauly

MUSIC In its 80th season, Performance Santa Fe offers a variety of international artists from China, India, the United Kingdom, Cuba, and North America through April 2017. The group’s recital series, Festival of Song, wraps up in early August, featuring singers from The Santa Fe Opera in hourlong recitals followed by champagne receptions. This year audience members have the opportunity to meet artists Angela Meade, Leah Crocetto, and others. Throughout the year, Performance Santa Fe will feature a Family Concert Series, including an opera on Little Red Riding Hood; a family-centered New Year’s Eve Orchestra Concert; a Celtic poetry, dance, and music celebration; and other events. World-renowned New York City Ballet soloists, Bollywood dancers from Taj Express, the Shanghai Acrobats, and the Montreal-based circus company Les 7 doigts de la main, among others, will also amplify this year’s diverse season.—Elizabeth Sanchez

Performance Santa Fe, through April 2017, prices, times, and locations vary, Vintners and oenophiles at the 2015 Santa Fe Wine and Chile Fiesta.

26th Annual Santa Fe Wine & Chile Fiesta

Kate Russell

EVENT The 26th Annual Santa Fe Wine & Chile Fiesta is right around the corner, September 21 through 25. Beginning Wednesday and ending Sunday, the event features five full days of wine, food, seminars, and other events, including a bike ride and a golf classic. There will be a live auction luncheon at the Eldorado Hotel on Thursday to benefit Santa Fe’s culinary arts programs, and a reserve wine tasting and silent auction at the Santa Fe Community Convention Center on Friday to benefit Santa Fe Wine & Chile Fiesta education programs. All events are 21+ only, and tickets must be purchased in advance.—Amanda Jackson

26th Annual Santa Fe Wine & Chile Fiesta, September 21–25, $110–$350, times and locations vary, 34

august/september 2016


Whitehawk Antique Indian and Ethnographic Art Show Now in its 38th year, Whitehawk Antique Indian and Ethnographic Art Show remains the oldest and longest-running show of its kind in the United States. This August, the show brings together a star-studded lineup of antique Indian art and tribal art dealers to the Santa Fe Convention Center. The three-day show features Native pottery, baskets, jewelry, textiles, and more, as well as other items including masks and shields from Asian, African, North and South American, Polynesian, and other Indigenous tribes. The opening night party on August 12 includes wine, hors d’oeuvres, and a performance by the monks of Drepung Loseling Monastery: Mystical Arts of Tibet. In conjunction with the show, August 13–15, guided tours of the School of Advanced Research led by experts in Native American art are available to attendees. Promotional Manager Carrie Bertram says, “We are proud to be a part of Santa Fe, and we are very much a part of the global art market. This remains a viable show. It is the best show for the quality and quantity of art you’re going to see.”—ES ART

Courtsey whitehawk

5-7pm August 19 AMERICAN INDIAN COWBOY Collector’s preview August 18

Whitehawk Antique Indian and Ethnographic Art Show, opening night party, August 12, 6–9 pm, $75 for party and all three days Show, August 13–15, 10 am–5 pm, $10 per day or $17 for three days, cash or check only. Guided tours, August 13–15, times TBA, free. Santa Fe Convention Center, 201 W Marcy,

Santa Fe Chamber Music Festival’s 44th Season Courtsey the dover quartet

MUSIC No matter how adept a string quartet is, there are pieces they just can’t play. This year’s Santa Fe Chamber Music Festival (SFCMF) opens its 44th season with one of these gems, Tchaikovsky’s Souvenir de Florence. Scored for pairs of violins, violas, and celli, SFCMF can easily summon the forces for any size chamber ensemble. Other pieces for larger groups include the second of Brahms’s lushly romantic string sextets and Mendelssohn’s irrepressibly cheerful octet. Other pieces range from works for solo piano or violin through duets, trios, quartets, and more. SFCMF has long presented and commissioned new music. This year’s commissions include Occam’s Razor, a duet for oboe and guitar by renowned Danish composer Poul Ruders; a piece for string quartet and clarinet by Israeli composer Gideon Lewensohn; and a quartet by young American composer Elizabeth Ogonek, scored for violin, clarinet, piano, and percussion. Older repertoire begins with works by Englishmen William Byrd and John Dowland, who were both writing at the beginning of the 17th century, and stretches into the 20th, including works by Benjamin Britten, Bela Bartók, and Karlheinz Stockhausen. Performers include the Orion, Dover, FLUX, Johannes, and Pacifica quartets, pianist Peter Serkin, and violinist Ida Kavafian—a SFCMF staple for many seasons—plus singers, wind and brass players, harpsichordist Kathleen McIntosh, and other names both familiar and new.—Lisa Van Sickle

JACKSON SUNDOWN (detail) acrylic on canvas 40x30

booth # 728 LIN-W

702 Canyon Rd, Santa Fe 87501 505.986.1156

Santa Fe Chamber Music Festival, July 17–August 22, $10–$82, children’s concerts free, St. Francis Auditorium, 107 W Palace and The Lensic Performing Arts Center, 211 W San Francisco,

Santa Fe Concorso The Santa Fe Concorso, with over 110 exotic vehicles and an expected 2,500 attendees, truly showcases Santa Fe by drawing large crowds to the City Different, and all for a great cause. The volunteer-based nonprofit donates profits to local youth programs, including Girls Inc., Santa Fe Science Initiative, Santa Fe High School’s auto collision course, and more. Cofounder, secretary, and event organizer Beverly Little says its eight-year-old tagline is (rightfully): “the Southwest’s premier automotive gathering.” This year, the three-day event emphasizes historic and Visitors admire the contemporary Alfa Romeos. Beginning with a gathering on Friday vehicles and chat with owners at the annual evening at a private hangar at the Santa Fe Municipal Airport, Santa Fe Concorso. vintage WWII Warbirds, racing cars, and speed-record seekers will be on display, accompanied by music, food, and spirits. The Mountain Tour begins on Saturday, as entrants and their cars line the Santa Fe Plaza; later, the vehicles will stop in the Old West– style town of Cerrillos for lunch. Finally, on Sunday, the true Santa Fe Concorso begins, as the 9th fairway at The Club at Las Campanas Sunrise Golf Course hosts a display of classic cars and motorcycles, surrounding onlookers with spectacular, panoramic mountain Left: Jaycee views. There, expert automotive judges will evaluate the vehicles on their Nahohai, Zuni Owl, natural elegance, authenticity, provenance, and craftsmanship.—ES Garret Vreeland


clay, vegetable dyes, turquoise, and coral, 9"

Robin Dunlap’s life took an exciting turn when her teaching career brought her to Zuni Pueblo. Enamored with the culture, she was driven to promote Zuni art. In 1981, with mostly Zuni teachers and artists, Dunlap helped create the Santa Fe retail shop Keshi: The Zuni Connection to respectfully sell Zuni works directly, with the artists receiving more profit than ever in their history. In January, her intent was furthered via the formation of the Keshi Foundation, a nonprofit that assists Zuni Pueblo financially through art and education. During Indian Market Weekend, The Zuni Show at the Scottish Rite Temple kick-starts the foundation’s efforts with its first major event. Founding President Dunlap hopes The Zuni Show becomes an annual, all-inclusive experience. This show is far from ordinary—70 percent of Zuni makes a living through art, and 80 artists will be present. Attendees will experience educational panels, song and dance performances, a pottery demonstration, food, a fashion show, and more. Dunlap said one Zuni Keshi employee believes a Shalako Ceremony “‘only goes well, and you only get the blessings from it when you approach it with a good heart.’ That’s the way we’re doing this. We’re happy. We’re grateful, honoring, respectful. And we’re celebrating Zuni.”—ES

Peter Kahn


The Zuni Show, August 20–21, free, Scottish Rite Temple, 463 Paseo de Peralta,

Friday Night Gathering, September 23, 5–8 pm, VIP ticket $150, Santa Fe Municipal Airport; Mountain Tour, September 24, 8–10 am, free, Santa Fe Plaza; Santa Fe Concorso, September 25, 10 am–3:30 pm, tickets $50–$150, discounts for children, active duty military, and first responders; The Club at Las Campanas Sunrise Golf Course,

ShowHouse Santa Fe 2016 FUNDRAISER/EVENT Each year, a unique historic home in Santa Fe undergoes a themed transformation under the expertise of the City Different’s top design teams. The event, called ShowHouse Santa Fe, raises more than $50,000 for, which funds numerous classroom programs within The annual ShowHouse the Santa Fe School District. Santa Fe interior design makeover raises funds This year’s design theme for the for house at 820 Camino Atalaya is “Old Mex and New Mex.” Some 30 designers are assigned specific rooms for which they create new looks, and items on display are often for sale to those touring the home. A grand opening gala with food and music will take place on the premises on Friday, October 7, at 6 pm; regular public home tours will take place that weekend and on the following Saturday (11 am–6 pm) and Sunday (11 am–4 pm). Shuttles will be available. Tickets for the gala are $100 per person, while tour tickets are $25 each; they can be purchased at—Anne Maclachlan

ShowHouse Santa Fe 2016, opening gala October 7, 6–9 pm, $100; public tours Saturday, October 8 and 15, 11 am–6 pm and Sunday, October 9 and 16, 11 am–4 pm, $25, august/september 2016

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courtesy Showhouse santa fe

The Zuni Show

LaDonna Harris the art of negotiation by Anne Maclachlan

LaDonna Vita Tabbytite Harris (Comanche) has both seen and made diplomatic history during her lifetime’s dedication to the betterment of Indigenous peoples around the world. From negotiating a return of land and water to the Taos Pueblo to establishing a multicultural, global Indigenous Ambassadors Program, Ms. Harris has continued the quest for intercultural understanding and is passing her knowledge to upcoming generations. Harris has worked with every sitting United Sates president since Lyndon B. Johnson in the 1960s, when she lived in Washington, DC, with her then-husband Senator Fred Harris. She became a de facto spokesperson for Indian affairs, eventually producing the somewhat tongue-incheek “Indian 101” seminar for Capitol Hill denizens, who seemed to be aware of their Native constituents only in terms of their depictions in current films. “There was a general lack of knowledge,” says Harris, noting that for a time, the Smithsonian’s exhibit about Native Americans resided in the facility’s basement—along with the one filled with extinct animals. Thus, says Harris, a subsequent modern Native art exhibit at the Smithsonian generated some confusion among the public as to whether Indians were contemporary people. When the art show opened, “Everyone was dismayed because it wasn’t Indians on horseback with war bonnets; it was too modern. It was contemporary, and they [the mainstream] didn’t know how to deal with it..”

“The states were counting us, but not protecting us.” —LaDonna Harris “The general public has no idea who we are because of the way we are taught American history,” explains Harris “We don’t study American history; we study Europeans coming to the Americas.” As a child, Harris recalls, she felt marginalized by the mainstream, transitioning from a house full of relatives to public school; she remembers her early school readers—the archetypical ones with Dick, Jane, and Spot, and what she came to think of as the “Dick and Jane America”—as alienating. “The little Dick and Jane book said, ‘This is what America is.’” It was the beginning of Harris’s feeling “different.” Not much of this approach has changed, she continues. When speaking to a little girl recently in Oklahoma about her classroom experience, the child responded, “Indians can’t learn. We can’t make straight As.” Harris continues, “So somehow, that [sense of being a part of something] gets taken away from them in the educational process.” She believes that this outsider feeling is what’s wrong with the New Mexico school system. When Harris reached adulthood and became involved in Washington politics, her reputation grew, along with her network, and she made allies among such notables as Ada Deer (Menomonee), Robert L. Bennett (Oneida) and Bobbie Greene Kilberg. Together, they overcame various government objections, turning legal matters into issues of cultural and religious freedom. Deer spearheaded the successful efforts to reinstate the Menomonee people as a tribe. Eventually, Harris’s quiet activism led to the return of land and water to Taos Pueblo, a 64-year struggle, on December 15, 1970. Harris continued to advocate for tribes’ rights to their natural resources. During the establishment of the energy department under Nixon’s presidency, Harris pointed out, “You can’t have an energy department without the consideration of the tribes being the single largest private owners of the resources—that they have to be a part of the discussion.” In 1998, Isleta vs. Albuquerque

Wakeah Vigil (Comanche)

| Q + A |

“was our first major victory” in the issue of water quality, when the Pueblo successfully appealed to the courts to stop nearby chemical dumping. But there was still a long road. During a recent Native American Rights Fund–organized meeting, when Pojoaque Pueblo was making a water deal with Santa Fe (which was eventually finalized earlier this year), Harris reports, “some guy from Arizona said, ‘Well, we wouldn’t have to have this meeting if those Indians weren’t stirring up trouble. They’re the problem.” She laughs, “And that’s when I went into my ‘crazy’ act … because he insulted the whole group … I said, sir, if you see us as a problem, we’ll be a problem; but if you see us as part of the solution, well, that’s why we’re meeting here.” So, how do you negotiate with someone who has already decided that he owns an opinion and won’t relinquish his stance? “It’s my Comanche background—it’s all about learning people.” Traditionally, Harris says, the Comanche are known for acting collectively, but there is also a very strong current of individuality. In tribal discussions, the life experience of each person is taken into account; decisions affecting the tribe are not made until all opinions have been heard. “There is no single ultimate truth. It’s all aspect, with multiple points of view,” explains Harris. The goal is to reach an acceptable decision; and there is no shame in capitulating an opinion. Continued on page 189

“The Four Rs” Relationships: 
 “We are related to all things on Earth, not just other humans. We are a family; a big family related to more than just our immediate relatives.” Responsibility: “Our responsibility is to one another—our large family—and to Mother Earth.” Reciprocity: Generosity and the spirit of giving and taking. “The way you receive a gift is as important as the way the gift is given,” says Harris. To allow someone to be generous honors that generosity. Redistribution: To share in one’s fortune in a communal sense; Harris points out that traditional giveaways remain thriving cultural events.

Amor Collection By



505.983.9241 61 Old Santa Fe Trail Santa Fe, NM 87501

New Mexico Film Trail stops a r ound Sa nt a Fe

by Ashle y M. Big ge rs


photo graphs by Don Gray

anta Fe’s scenic beauty, rustic charm, and flair for creativity are stars of screens big and small, hosting dozens of productions filming in the City Different every year. With blockbusters debuting on the big screen this summer, it’s the perfect time to hit the trail to see places where local cinematic magic began. Although the New Mexico Film Trail encompasses six different areas, the North Central Region, closest to home, is particularly intriguing. The former mining town and current art enclave of Madrid sits at the trail’s southern outskirts. Here, the production of buddy-flick Wild Hogs (2007), starring Tim Allen and John Travolta, built the exterior of Maggie’s Diner. The film company didn’t complete the interior at the time. “Often if they are going to be inside the building a lot, they’ll build it on a sound stage, where the production isn’t victim to lighting, weather, or time of day. There they can also ‘fly the walls,’ meaning they can remove a wall to get a better look into the interior,” says Don Gray, 40

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The Mine Shaft Tavern in Madrid, New Mexico, was featured as the Red Pony Bar and Grill in the pilot episode of Longmire.

contract locations coordinator for the New Mexico Film Office (which contributes to the New Mexico Tourism Department’s film trails). Today, Maggie’s Diner is a gift shop and a perfect spot for a photo op. The real-life Mine Shaft Tavern, also in Madrid, played the part of the Red Pony Bar and Grill in the pilot for the TV and Internet drama Longmire. (The production later built a set, styled after the Mine Shaft Tavern, at Garson Studios in Santa Fe.) Downtown Cerrillos, just three miles north of Madrid, reveals the site of the shootout scene at the end of Young Guns (1988), Hollywood’s take on Billy the Kid’s story. The town played the part of Lincoln, where a real-life gun battle took place. Today, signs along First Street in Cerrillos serve as reminders of the film. Near La Cienega, more than 130 movies have filmed at Bonanza Creek Ranch. Although it is on private land, visitors are welcome for tours by appointment. The ranch’s mock Old West town has been the backdrop for films such as the sci-fi/Western mashup Cowboys and Aliens (2010) and the now-classic Lonesome Dove (1989). In more recent days, the ranch was also home to the scientists’ bungalow houses and checkpoint gate in WGN’s drama Manhattan.

In Santa Fe proper, the Plaza got screen time in Powwow Highway (1989), an indie favorite starring Gary Farmer and directed by Chris Eyre, both Santa Feans. The movie reaches its dramatic conclusion here when a police chase leads the main characters to a confrontation and a transformation. Just off the Plaza, Jeff Bridges’s character crooned country songs in Evangelo’s tavern in his Oscar-winning performance in Crazy Heart (2009). Bridges has also taken the stage at the Santa Fe Opera. Film trail followers eager for a road trip should head northwest to Diablo Canyon, where movies such as 3:10 to Yuma and the Steven Spielberg miniseries Into the West were filmed. Farther still, the production crew of The Missing (2003) built a log cabin in the midst of the rolling grass meadows of the Valles Caldera National Preserve. Today, the cabin plays the part of Walt Longmire’s abode in the Netflix drama. New Mexico Film Office,, New Mexico Film Trail (North Central Region),

Filmmakers flock to the Bonanza Creek Ranch, a private property that has been featured in over 130 movies.

Diablo Canyon makes the perfect backdrop for Westerns, and it’s been used for many, including 3:10 to Yuma and Steven Spielberg’s Into the West.

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santa fean


photographs and story by Emily Van Cleve

La Cieneguilla Petroglyphs a walk through history

Above: In order to protect these artifacts, officials ask visitors to refrain from using chalk, touching, wetting down, or making rubbings of the petroglyphs.

Above: A hike to the petroglyphs can reveal up to 4,400 geometric, figure, and wildlife illustrations.


estled into the side of a mesa located 20 minutes southwest of downtown Santa Fe are some of the most stunning ancient Native American petroglyphs in Northern New Mexico. The La Cieneguilla Petroglyphs, which are managed and protected by the Bureau of Land Management, hold a collection of more than 4,400 images carved in rocks by the Keresanspeaking Pueblo people living in the area between the 13th and 17th centuries. The descendants of these people now live in Cochiti and Santo Domingo Pueblos. La Cieneguilla resident Jose Villegas spearheaded a 1991 survey that documented these lively carvings of animals and human figures. Bird images are the most common motif, with Villegas counting 1,385 of them. These historic artisans also favored the subject of humpbacked flute players.


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The petroglyph site is minimally developed—restrooms and drinking water are not available—but it’s easy to find. At the intersection of New Mexico State Road 599 and Airport Road, continue west on Airport Road on County Road 56 for 3.3 miles to a gravel parking lot on the west side of the road. Signs lead to a trail that parallels the mesa before heading to the top of it. Wear hiking boots for the upward climb since loose rocks and big boulders cover the path along the way. Numerous petroglyphs are visible from just before the top of the mesa, which has a panoramic view of the Sangre de Cristo Mountains and the eastern plains of New Mexico. La Cieneguilla Petroglyphs, maintained by the Bureau of Land Management, NM County Road 56, 3.3 miles from the intersection of Airport Road and NM State Road 599, free,


HIPICO Santa Fe summer and autumn equestrian events by Emily Van Cleve

Below: The Grand Prix field and VIP tent are ideally sited to take in the Sangre de Cristo Mountains in the background.

Adrian Wills

Adrian Wills

Left: 2015 Grand Prix winners Delaney Flynn riding Quite Quick (left) and John Pearce riding Chianto (right) standing with HIPICO leadership (left to right) Brian Gonzales, Phyllis Gonzales, and Guy McElvain.

Above: The HIPICO VIP tent during the 2015 Grand Prix de Santa Fe. The 2016 Grand Prix de Santa Fe will be held August 14 and will feature a champagne brunch ringside. 44

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Below: Carli Kirsch with mount Casco competing in the main jumper ring at the 2015 Santa Fe Summer Series.



op riders and their horses from throughout North America arrive in Santa Fe this summer and fall to compete in HIPICO Santa Fe’s Summer Series and Fall Fun Series of equestrian events. These U.S. Equestrian Federation’s A-rated jumper and hunter competitions take place at HIPICO Santa Fe’s 138-acre facility, 20 minutes southwest of downtown. The summer programs begin on July 27 and will run through August 14, while the fall events start on August 24 and end on September 25. Close to 700 horses will be on the grounds each day. Chenoa McElvain, the daughter of HIPICO Santa Fe’s co-owner Guy McElvain, is competing in jumper events with four of her horses. “They’re talented in different areas, just like human athletes,” McElvain says about her equine partners. “Some horses are better at certain competitions than others.” Jumping competitions involve riders and horses clearing a series of railed fences. “Horses that are good at jumping are fast and able to clear the fences without knocking the rails down,” McElvain explains. “They are good teammates with their riders. As they move from jump to jump, the transitions are seamless. It’s all about practice and patience.” Among the New Mexicans competing in hunter competitions is Meredith Houx Remiger, who is the owner, head rider, and trainer at Sandia Farm in Albuquerque. She’s bringing 10 horses to Santa Fe to compete in a wide range of events. “Good hunter horses have a calmer demeanor than jumper horses,” she says. “They have a way of moving around the course that looks easy. As they travel between jumps they move softly and smoothly and have straight legs and pointed toes. When they jump, their knees go up to their chins.” Unlike jumpers, who complete a course as quickly as possible without knocking down any fences along the way, hunters must navigate their obstacle courses with grace and style. Hunter competitions harken back to the days of fox hunting where riders and horses rode for miles over stone walls, fences, and ditches while pursuing a fox. Although most of the competitions are serious events, jumpers get a chance to have some fun on Saturday, August 6, during the Sandia BMW Mini Ride-and-Drive competition. Riders and horses traverse a series of obstacles before the rider gets off the horse, runs through a series of obstacles on foot, and then jumps into the passenger seat of a Mini Cooper that is driven around a course. There are other lighthearted events scheduled on Saturday afternoons throughout Brian Locke with the summer and fall, with some of them mount Spotlight, inviting audience participation. last year’s second Sunday afternoons are Grand Prix week winner of the competitions for the top jumpers. The Hunter Derby. most skilled hunters compete in the Friday afternoon Hunter Derbies. Horse-related art and gifts are available to purchase at the HIPICO Market Place, which features Art of the Horse, an art show presented by Santa Fe Exports with works by equine photographer Bri Cimino, painters Micqaela Jones and Kiki Martinez, and sculptors Doug Coffin, Upton Greyshoes Ethelbah, and Allan Houser. HIPICO Santa Fe equestrian events, free:

Summer Series, July 27 through August 14, Wednesday–Sunday, 8 am–5pm. Fall Fun Series, August 24–September 25, Wednesday–Sunday, 8 am–5 pm

Above: Sarah Beth Banning, I Dream of Horses, oil on canvas, 30 x 40"


HIPICO Santa Fe, 100 South Polo Drive,

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Aspen Santa Fe Ballet twenty years of dance by Elizabeth Sanchez


spen Ballet began as a mere idea, conceived by founder Bebe Schweppe and implemented by former Joffrey Ballet dancers Jean-Philippe Malaty and Tom Mossbrucker in Aspen, Colorado. One year later, the company created a sister site in Santa Fe, New Mexico. Today, after 20 years of success from California and New York to Venice and Moscow, Aspen Santa Fe Ballet (ASFB) has traveled the world, been honored with grants and awards (including the Joyce Theater Award and the Santa Fe Mayor’s Award for Excellence in the Arts), and received funding from the Jerome Robbins Foundation New Essential Works Program. Twenty years ago, Artistic Director Mossbrucker would never have dreamed that the group might expand into such a vast organization. He and Executive Director Malaty have watched the company evolve from a small group to a nationally and internationally recognized brand. Malaty says the company started with seven dancers and has expanded to 12. ASFB has launched many world-renowned choreographers’ careers, and the budget has grown from a few hundred thousand to a whopping $4.2 million annually. Today, Aspen Santa Fe Ballet stands as “an ambassador of Santa Fe,” says Malaty. The acclaimed company offers a Mexican folkdance outreach program reaching 240 children; two dance schools with a network of six different locations—two in the Santa Fe area— reaching roughly 500 children; and has joined forces with Juan Siddi Flamenco, a local dance group.

Cordan Curet

Aspen Santa Fe Ballet presents two ballets, Huma Rojo (which features dancers Samantha Klanac Campanile and Łukasz Zieba, pictured) and Re:play, for their 20th anniversary season.


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Michael Alvarez

Anthony Tiedeman and Emily Proctor, both graduates of The Juilliard School, dance in the ballet company’s Re:play.

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Huma Rojo pairs dancers Pete Leo Walker and Katherine Bolaños.

Rosalie OConnor

Aspen Santa Fe Ballet Presents is another of the company’s successful creations; the series has brought dozens of other companies (including Ballet West, Hubbard Street Dance Chicago, Les Ballets Jazz de Montréal, Hong Kong Ballet, and Twyla Tharp Dance) to Aspen and Santa Fe. To celebrate their anniversary, ASFB has an ambitious summer program planned. Mossbrucker says the company will present two different programs and host performances by Juan Siddi Flamenco, as well as open and perform for the seventh time at Jacob’s Pillow Dance Festival in the Berkshires town of Becket, Massachusetts. So, what exactly is the secret behind ASFB’s success? According to Malaty, the company’s core values include excellence, integrity, innovation, and creativity. “We deliver a product that is very unique. There is no other dance company that looks like the Aspen Santa Fe Ballet,” he says, citing the company’s strong business model and aesthetic. “We were not interested in being a museum for dance. We were not interested in keeping up Swan Lake or Sleeping Beauty .... We always look forward.” Mossbrucker concurs, adding that he has watched the company’s repertoire improve over the years as it constantly develops new work and voices. “When people come to a show, they know they are going to see something new, something current—not something from 40 years ago.” Samantha Klanac Campanile began dancing with ASFB at 19 and couldn’t be more at home. “I feel like I’ve gotten to be there right along the way. In many ways, I feel

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Cordan Curet

Samantha Klanac Campanile, the company’s most longstanding member, dances with Kraków, Poland, native Łukasz Zieba.

that I kind of grew up alongside [the company],” she says. Klanac Campanile is now in her 14th season dancing with ASFB and applauds the “20 years of success and growth within the company.” Though the dancers are classically trained, they perform across the spectrum, which in Klanac Campanile’s eyes sets them apart: “The dancers in the company feel a sense of pride and ownership in the work [which] has become part of our identity.” She agrees that Mossbrucker and Malaty head the company with the desire to look ahead, constantly discovering new choreographers and creating new productions, all in the desire to challenge not only the dancers, but the audience as well. As the company has grown and matured, its leaders have gained knowledge and expertise. Mossbrucker explains that he and Malaty originally did not know how to run a company, and that they evolved from dancers into their roles as directors and leaders. “Each experience taught us something new,” he explains. “I’ve learned something every single day.” Malaty, an immigrant from France, says that the company is an “integral part of who I am and has taught me everything. [The experience has been] a realization of the American dream and opportunities that are possible here.” Santa Fe was culturally rich in visual arts and music before ASFB’s arrival, but Mossbrucker and Malaty agree that the resident dance company offers a vital, previously missing performing arts component to the city. In turn, the company’s locations in both Aspen and Santa Fe have also shaped Aspen Ballet. Mossbrucker correlates much of the company’s cutting-edge artistry with the natural beauty that comes with each vicinity, explaining, “We look like our community and take that to heart.” Klanac Campanile says each city complements the other with its heightened interest and respect for art and culture, which creates a natural fit for the dance company. She also feels much of the ASFB’s success can be attributed to the encouragement from Aspen’s and Santa Fe’s communities. “Beyond how talented [Mossbrucker and Malaty] have been in creating the company and the contributions from our dancers, I do think it’s important to mention all of the support we’ve received from our audiences.” Perhaps Aspen Santa Fe Ballet has been shaped most by its decision to look to the future without excessive planning. “We’ve never had a perceived vision for the company; we’ve always just moved forward with intuition and with the best intentions, wanting to do the best job we could,” Mossbrucker says. “The company grew into its own entity.” Malaty agrees. “Today, I would be very careful in establishing goals, because if I had followed the goals we had [initially], we would have a much more modest success than what we have today.” Aspen Santa Fe Ballet


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Rosalie OConnor

Pete Leo Walker lifts Katherine Bolaños in the ballet Huma Rojo, which was commissioned specifically for the ballet’s 20th anniversary.

ASFB’S PROGRAM B includes the premiere of Jirí ˇ Kylián’s Sleepless along with two previously commissioned pieces, Alejandro Cerrudo’s Silent Ghost and Cayetano Soto’s Huma Rojo, choreographed for the Aspen Santa Fe Ballet’s 20th season. One performance only, September 3 at 8 pm. —Lisa Van Sickle

Santa Fe Symphony

insight foto inc.

InSight Foto Inc.

welcomes Guillermo Figueroa

by Emily Van Cleve


hen the Santa Fe Symphony finished its threeyear search for a new principal conductor in April, Albuquerque violinist and conductor Guillermo Figueroa was the one left standing. Of the final four candidates in the running, Figueroa received the highest number of votes from orchestra musicians in a secret ballot. He leads his first performance as principal conductor on January 22, 2017. “I worked with many of the Santa Fe Symphony musicians during the 10 years I conducted the New Mexico Symphony Orchestra (NMSO),” says Figueroa, who also is the music director of the Music in the Mountains Festival in Durango and conductor of the Lynn Philharmonia at the Conservatory of Music at Lynn University in Florida. “My first contact with the NMSO was love at first sight. Sometimes it works that way between conductor and orchestra, and sometimes it doesn’t.” Figueroa proclaims that his love for the Santa Fe Symphony is equally strong. “The musicians play to my ears,” he adds. “There’s a chemistry between us.” While the symphony’s repertoire for the 2016–2017 season is already in place, Figueroa will collaborate with musicians and executive director Gregory Heltman to select future programs. Figueroa is a devotee of the music of Berlioz and hopes to include some of his works in upcoming performances. As a native of Puerto Rico, he feels an affinity for Hispanic music. “I also want to start commissioning new works,” he says. “It will put us in an international spotlight.” Although Figueroa’s home base is in Albuquerque, he views his new position in Santa Fe as a homecoming. “When I came to Santa Fe in 1986 to be the assistant concertmaster of the Santa Fe Opera orchestra, I remember thinking that I wanted to be involved in the Santa Fe music scene in the future,” he says. “I feel I’ve come full circle.”

Santa Fe Symphony, 2016–2017 concert schedule at

60 years on a high note

by Eve Tolpa


harles MacKay remembers the night the Santa Fe Opera House burned down in 1967. He was a kid who had attended performances on youth nights, and his dad woke him to tell him the news. “The company mobilized quickly,” MacKay recalls, and the season continued in Sweeney Gymnasium, on the old downtown campus of Santa Fe High (where the Santa Fe Community Convention Center now stands). The opera company did not miss a single performance—an extraordinary feat in the days before cell phones and email. The show went on, with the performers wearing modern dress and “everyone sitting in the bleachers,” he says. “It galvanized the community.” Today, MacKay is the Santa Fe Opera’s general director, and as the organization celebrates its 60th anniversary, that community spirit still thrives. Half the audience for any given season is made up of New Mexico residents and the rest are visitors from across the U.S. and 20 or so foreign countries. 50

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2016’s lineup, says MacKay, features “some of the most glorious opera music ever composed.” Three works are returning to the stage: La Fanciulla del West, a Puccini spaghetti Western that MacKay dubs “perfect for Santa Fe with our mountain scenery”; Mozart’s Don Giovanni, “a true masterpiece, absolutely glorious”; and Richard Strauss’s Capriccio, which had its American premiere here in 1958. Gounod’s Roméo et Juliette, featuring two “great young singers, Ailyn Pérez and Stephen Costello,” is a first-time production for the opera. So is Barber’s Vanessa, which debuted in 1968 at the Met and won a Pulitzer Prize. MacKay calls it “a great vehicle for singers and for the star soprano”—in this case, Erin Wall. “All five operas,” he notes, “offer strong women, resilient women, who are in control of their destinies.” Not all the action this season is onstage. The opera’s backstage area, unchanged since 1968, has undergone an overhaul “to make the facilities more comfortable and safer,” says MacKay. The performance space, which he rightly refers to as

Robert Nugent

alan Keith Stoker

Santa Fe Opera

laura Gilpin

by Eve Tolpa

The audience eagerly awaits a 1964 opera performance in the theater garden.

an “absolute gem,” is untouched, but everything else now matches its high standard. Since its founding, the opera now boasts 80 percent more square footage overall, which, in addition to the backstage, comprises a new dining terrace, a new concession area and bar, and a new Opera Club (not to mention lots more restrooms). Starting in early 2017, the parking lot will be redone and the backstage storage area expanded. “It [will be] a very exciting moment when we get to unveil the newly renovated spaces,” says MacKay. The 2016 season theme is “Come Home to the Santa Fe Opera,” and former performers, staff, and crewmembers are invited to check out the changes firsthand; special reunion events are planned for August 24–27. Some things never change, though. In 1957, founder John Crosby established the country’s first apprentice program for singers, and 10 years later he instituted a similar program for technicians. Both are still going strong, and the opera’s total employment in peak season reaches nearly 700. Santa Fe has been a visual arts hub for at least a century, but “the genius of John Crosby,” says MacKay, “was that he expanded the arts scene in Northern New Mexico to include performing arts, too.”

Jennifer Kalled Boulder opal cuff and ring in 22k & 18k gold

Santa Fe Opera 60th anniversary season, through August 27, 301 Opera Dr, schedule and ticket pricing at

Robert Nugent

Left: Rehearsal pauses for opera performers to take a well-earned break.

Left: An opening night waltz ensues onstage at the Santa Fe Opera in 1972.


Robert Nugent

Above: 1957’s production of The Rake’s Progress in rehearsal; Igor Stravinsky (pictured onstage) attended these practice sessions and returned to conduct at the Santa Fe Opera each summer through 1963.

F  LD

Two Person Show | September 30th, 2016 | 5 to 7pm

Robert LaDuke | “Thunder” | acrylic | 17" x 13"

Natalie Featherston | “Starry Night” | oil | 12" x 16" To view this entire exhibition of new works visit:

M G

established 1965

225 Canyon Road | Santa Fe, New Mexico | 505.983.1434 | 800.779.7387 |

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

VENTANA FINE ART ANGUS Now in its 34th year of exhibiting traditional and contemporary paintings and sculptures, Ventana Fine Art at 400 Canyon carries works by local and national artists, along with those who work internationally—including in Australia, Belgium, England, Israel, Scotland, and South Africa. “Some of our artists have been with Ventana for more than 30 years and some for a shorter period,” says Wolfgang Mabry, sales manager at Ventana Fine Art, “but every one of them has unique attributes that make the ensemble strong and hard to resist.” Originally from Scotland, Angus, whose popular work entices many to the gallery, creates still life paintings and landscapes that thrive with vibrant, fauvist color. Refraction lines in Angus’s work are a signature element that denotes his paintings as contemporary, classic, unique, and altogether timeless.—Stephanie Love Angus, Calla Lily and Tangerines over Striped Drape, acrylic on board, 36 x 18"

Margaret Nes, Two Doors in Bright Walls, pastel on paper, 24 x 19"

PIPPIN CONTEMPORARY MARGARET NES Selected for their energetic and tactile approaches, artists who show at Pippin Contemporary create in a multitude of mediums, from digital art to acrylic, oil, and pastel paintings to contemporary sculpture works in stone, glass, and bronze. With a recent upgrade in gallery space—a move to 409 Canyon Road’s two-level structure and sculpture garden—­this gallery focuses on offering a sensory experience for its visitors and collectors. “At Pippin Contemporary, we are committed to showing art that is fresh and vibrant, as well as collectible,” says gallery director Kelly Skeen. Of their 18 painters and sculptors, 13 are local New Mexico artists, including Taos artist Margaret Nes. Inspired by her surroundings, as well as the meditative process of creating art itself, Nes creates stunning, saturated pastel paintings of architecture and landscape in Northern New Mexico.—SL


Show time!

HUNTER KIRKLANd CONTEMPORARY ERIC BOYER Calling 200 Canyon (near the western end of Canyon Road) home, Hunter Kirkland Contemporary showcases a variety of artistic styles and mediums. With a focus on contemporary style, the gallery’s reputable artists use materials ranging from oils, acrylic, mixed media, pastels, bronze, stone, and wire mesh. Their works often incorporate expressionist or surrealist influences, or those of another, earlier art movement. Working to mold hard metal mesh into delicate forms that evoke the sensuality of the human body, sculptor Eric Boyer creates exquisitely organic sculptures that capture the essence of classical art; using contemporary materials, he creates forms that represent our modern day image of Roman or Greek figures—with only partial limbs and missing heads. Nancy Hunter, owner and director of the gallery, says, “At Hunter Kirkland Contemporary, we take great pleasure in sharing the creations of our nationally recognized artists with visitors—newcomers to the art world and seasoned collectors alike.”—SL

Eric Boyer, Voyagers II, steel wire mesh, 36 x 32 x 7"

CANYON ROAD CONTEMPORARY PAT HOBAUGH “Our collection is lighthearted, whimsical, inoffensive, and beautiful,” says Caitlin McShea, Canyon Road Contemporary’s gallery manager. Their artists use a range of mediums, including oil, acrylic, watercolor, glass, bronze, and clay. With an emphasis on bright colors, the works shown at the 403 Canyon Road art dealer include representational and abstract artworks that often embrace cheerfulness, humor, and imagination. McShea adds, “At Canyon Road Contemporary we believe that happiness carries the same weight as any other feeling, and so we seek to elicit wonder and brighten the days of our visitors.” Still-life painter Pat Hobaugh embodies this fun spirit in his artworks, which depict compositions of action figures, iconic toys, everyday food brands, and other household objects. He says, “[My] paintings are completed with a sense of playfulness so as to keep a sense of humor in them, and overall, they serve as a window into the world where a child’s mythos of heroes and villains are formed.”—SL 54

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Pat Hobaugh, White Whale, acrylic on canvas, 24 x 30"

Eric Reinemann, From the Porch #5, acrylic on panel, 25 x 33"

GF CONTEMPORARY ERIC REINEMANn Specializing in contemporary works, GF Contemporary at 707 Canyon represents local, national, and international artists who create compelling and meaningful works that reflect their surrounding environments. Santa Fe artist Eric Reinemann, who exemplifies this notion, notes, “My work is fed from my experience in life—physically from what I see, psychologically from my relationships with people, and spiritually from the unique encounters I have while exploring the woods.” Displaying an array of wood, metal, and stone sculptures, paintings, and mixed media works, GF Contemporary appreciates the fact that a variety of works can appeal to their audience. “We understand that art acquisition can be a passionate process that occurs between the collector, the artist, and the gallery,” says GF Contemporary art sales consultant Diane Fisher. “We strive to create a remarkable, ongoing collaboration between those three forces.”—SL Right: Ray Tracey, Petroglyph Pendant, Chinese turquoise, red and orange spiny oyster, 5 x 2" (including bale)

SORREL SKY GALLERY RAY TRACEY With a carefully curated selection of contemporary and traditional fine art and jewelry, Sorrel Sky Gallery approaches Western art with an emphasis on local and national masters of their craft. Located at 125 W Palace, as well as in Durango, Colorado, the gallery represents 70 Southwestern, Western, and Native American artists. Their painters—working in oil, acrylic, and mixed media—balance a mix of sculptors who form pieces from glass, ceramic, turned wood, and bronze, and jewelers who fashion pieces from precious metals and gems. “It is our belief that acquiring a new piece of art is more than simply making a purchase,” says gallery owner Shanan Campbell Wells. “It represents a personal connection and experience. Our gallery is singular in that we recognize the importance of those connections and strive to establish meaningful, lasting relationships between the artists we represent and the clients we serve.”—SL august/september 2016

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TOTAL ARTS GALLERY, TAOS TERUKO WILDE Total Arts Gallery of Taos, New Mexico, is a local treasure; established in 1969, the gallery has operated under the same ownership for the last 47 years. Representing a cross selection of fine art from traditional to contemporary, there is a wide variety of painting and sculpture. The gallery represents 40 nationally and internationally recognized artists from around the country. One artist in particular, Teruko Wilde, creates fine art and has a line of scarves produced in collaboration with her beautifully rendered oil paintings. Wilde, as the gallery emphasizes, “…is celebrating her 30th year in New Mexico, and is incredibly grateful for the continuous inspiration that only this land can provide over the years.” After moving from Japan to New Mexico when she was a teenager, Wilde has continued to evolve in her style, moving to a semiabstract format, utilizing drip techniques in oil that form into other recognizable parts of the landscape. Wilde’s one-woman show, A New Phase, opens August 12.—Amanda Jackson Teruko Wilde, Whispering Forest, oil on canvas, 18 x 18"


Sonwai, bracelet with silver, ebony, fossilized ivory, turquoise, sugilite, and 18-kt gold, 5 3/8" cuff with 1 1/16" opening.

Using the artistic moniker Sonwai, meaning “beautiful” in Hopi, Verma Nequatewa is a world-class jeweler working with only the finest quality stones, including coral, turquoise, lapis lazuli, opal, and charoite, as well as diamonds, colored pearls, ironwood, and fossilized ivory. She learned her craft while working as an apprentice for her uncle, Charles Loloma, the most famous Native American jewelry artist of his time, and she now shows at Shiprock Santa Fe on the Plaza. Sonwai explains that her jewelry is the culmination of two things; the first is her upbringing on a Hopi Reservation. “This enables me to witness the grandeur of the landscape on a daily basis and to be involved constantly in the ceremonial activities that are constantly taking place here,” she explains. The second major influence is that of her uncle. Since her uncle’s passing in 1991, Sonwai has incorporated more of her own aesthetics into each elegant piece.—SL

TANSEY CONTEMPORARY SCARLETT KANISTANAUX With artists specializing in materials including glass, ceramics, fiber, sculpture, painting, and mixed media, Tansey Contemporary showcases works created with careful execution and quality. “Our program is uniquely focused at the intersection between contemporary craft, fine art, and design, exhibiting works by artists who display a level of mastery in their chosen medium,” says Jennifer Tansey, owner of Tansey Contemporary. The gallery, with a structure at 652 Canyon as well as a sculpture center at 619 Canyon, shows works from national and international artists, along with those of locals and Southwesterners like Scarlett Kanistanaux, whose live-in sculpture studio is located in Erie, Colorado. Her serene sculptures of Buddhist monks and nuns, ranging in height from 24 inches to six feet tall, evoke powerful, yet peaceful, responses in her viewers.—SL Scarlett Kanistanaux, Love, Gratitude, Compassion, clay, 36 x 18 x 18" 56

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Bruce King, Under the Hunter’s Moon, oil on canvas, unframed, 38 x 30"

Sleeping Beauty, on cotton paper, 18”x28” The Better to SeeArchival You With,pigment My Dear,print Archival pigmentrag print, 44x27", 2015

WAXLANDER GALLERY BRUCE KING With paintings spanning the traditional to the abstract, Waxlander Gallery exhibits landscapes, figurative works, still life compositions, and abstracts in a variety of media from watercolor to pastel, acrylic to oil, and mixed media. “Waxlander Gallery is known for its color,” says owner Phyllis Kapp. “We have always been focused on color and have not changed that focus for the 32 years we have been in business.” Housed in a beautiful old adobe building at 622 Canyon, Waxlander represents many local artists, as well as those from across the country and one from the U.K. One local artist, Bruce King (Oneida Nation, Wisconsin), has lived in Santa Fe since the 1960s. King attended the Institute of American Indian Arts (IAIA), and reflecting that education his paintings depict the story of his people and ancestors in bold colors and forms that evoke both movement and energy.—SL Bruce King, Tribute to the Story, August 16–29, reception August 19, 5–8 pm


Sleeping Beauty, Archivalpigment pigment print print on ragrag paper, 18”x28” Sleeping Beauty, Archival oncotton cotton paper, 18”x28



Artist Reception: July 8,2016 Artist Reception : July 8,2016 5pm-7pm

5pm-7pm Artist Reception : July 8,2016 September 8, 2016 Through September 8, 2016 Through 5pm-7pm



September 8, 2016

616 1/2 Canyon Road, Santa Fe, NM, 87501 (505) 982 2700 616 1/2 Canyon Road, Santa Fe, NM, 87501 i n f o @ c a t e n a r y a r t g a l l e r y. c o m (505) 982 2700 wi w c actaet n a ar yr yaar trgt gaal llel er ry.y.ccoom n fw. o@ en m w w w. c a t e n a r y a r t g a l l e r y. c o m

616 1/2 Canyon Road, Santa Fe, NM, 87501 (505) 982 2700

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BARBARA MEIKLE FINE ART CARLA SPENCE Showcasing an eclectic mix of artists, Barbara Meikle Fine Art emphasizes artworks that embody vibrant colors and bold movement, and compositions that illuminate the beauty of landscapes and animals. Reflecting this spirit, the whimsical landscapes and still lifes painted in acrylics by Carla Spence depict an expression of shape, color, and texture, rather than a direct outward reality. Ranging in materials from original oil and acrylic painting, handmade porcelain ceramics and glass art, limited edition bronzes, and kinetic wind sculptures, pieces displayed at 236 Delgado are created by artists who live and work throughout the Western United States. They emphasize uplifting and joyful subject matters. Gallery representative Simone Silva of Barbara Meikle Fine Art explains, “Our gallery seeks to capture and preserve the unique and colorful life found throughout the world.”—SL

Carla Spence, High Alps Pastorale, acrylic on canvas, 36 x 36"

CANYON FINE ART LANGE MARSHALL Situated at 205 Canyon and the western entrance to Santa Fe’s biggest gallery region, Canyon Fine Art showcases works ranging from contemporary to classical, with emphasis on both color and figure. With artists creating works in local and international settings, the gallery focuses on vibrant oil paintings and sculptures—particularly bronzes—from intimate to monumental in size, many of which are displayed in the sculpture garden at the gallery’s arbor cathedral entrance. “We represent artists who create with ‘meraki: putting something of themselves, beauty and soul into their work,’” explains Hether Bearinger, Canyon Fine Art co-owner and director. Lange Marshall’s impressionist oil and watercolor paintings speak to the beautiful colors that are represented in this gallery; soft, saturated light illuminates her landscape, figure, and still life compositions in each thoughtfully arranged work.—SL Lange Marshall, Light Falls Softly On Her, watercolor on paper, 16 x 12" 58

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THE SIGNATURE GALLERY Sally Fairfield, Jumping Jacks, bronze on wood base, 16 x 10 x 13"

SALLY FAIRFIELD Featuring original paintings in acrylic and oil, limited edition giclée artworks, and an exquisite variety of bronze sculptures, The Signature Gallery at 102 E Water represents work by local, national, and internationally based artists. “The Signature Gallery is unique in a sense that our gallery is artist-owned by Charles Pabst,” says fine art consultant Christeen Sabo. “We consider ourselves to be a ‘studio away from home’ where you can frequently find artists working in-house on new projects. It’s a great experience for the customers to meet the artists, who can talk about their inspirations and how the new pieces came about.” Now living in Santa Fe, bronze sculptor Sally Fairfield—initially from Michigan—epitomizes the creative talents of the gallery’s sculptors. Fairfield expresses her passion for art through three-dimensional renderings of wildlife; with their whimsical features and charismatic poses, her pieces blend both naturalism and wit.—SL

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THE LONGWORTH GALLERY SANDI LEAR The artists exhibited at The Longworth Gallery offer diversity in styles, imagery, and media, but one term overlaps to address all of their creative talents. Lisa Rodgers, owner of The Longworth Gallery, explains, “to collectively describe the art in my gallery, one would use the word visionary.” Rogers expresses a passion for these talented individuals, from Santa Fe–based and Native artists to those hailing from North and South America, China, Turkey, Australia, England, Japan, and Russia. “I have to love their art,” she says, “and they have to be beautiful people—from the inside!” Open to a multitude of media including oil, watercolors, acrylic, silk, ceramic, glass, bronze, and exotic woods, the 530–532 Canyon space features works with optimistic, enlightening messages. “Many people consider it a spiritual, thought-provoking, colorful gallery,” notes Rodgers. Australian-born watercolorist Sandi Lear exemplifies the visionary style with her evocative atmospheric paintings.—SL

Sandi Lear, Devotion, watercolor on French rag, 17 x 20"


Valerie Fairchild, koi ring, Australian opal inlay, 22-kt rose gold koi, 14-kt green gold, size 8

Founded in 1976 by designer and goldsmith Valerie Jean Fairchild, Fairchild & Co. recently celebrated its 40th anniversary. Located in downtown Santa Fe, Fairchild & Co. represents an exclusive group of local and nationally known jewelry designers, each of them expanding the notions of jewelry design. Along with sales of diamonds, colored gemstones, opals, and pearls, the store also provides repair services. Fairchild, owner and designer, was trained in the classical way, and still hand-draws her designs. Once completed, her drawings are transformed into beautiful pieces of jewelry—works of art evolving from interactions with people, nature, mythology, ancient cultures, science, travel, and astrology.—AJ

Susan Diehl, Evening Stroll, oil on panel, 12 x 16"

ACOSTA STRONG FINE ART SUSAN DIEHL Specializing in works from the historic Taos and Santa Fe schools of art, Acosta Strong Fine Art at 640 Canyon also carries contemporary artists Evelyne Boren, Gonzalo MartinCalero, Bill Baker, Susan Diehl, Doug Diehl, Graydon Foulger, Marilyn Sahs, and Mike Piggott, as well as three painters who show exclusively at Acosta Strong’s Oklahoma and Santa Fe locations: Jack Dunn, Robert Reynolds, and Jim Jennings. In business for 14 years, the gallery formerly called John B. Strong Fine Art represents artists who work in of a variety styles and media. “I believe what makes my gallery unique is that we have something for everybody,” says Carlos Acosta. He adds that the contemporary artists complement an already striking collection. “We have some very high-end museum-quality work for specific collectors,” he says. Susan Diehl, a fine art painter at the gallery, creates meditative portraits and landscapes centered on impressionistic light.—SL 60

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MANITOU GALLERIES ALVIN GILL-TAPIA With two Santa Fe locations—one downtown at 123 West Palace and one at 225 Canyon—Manitou Galleries represents many artists from the West. “Most of our artists are from the Southwestern United States and make work that is inspired by the region,” says marketing director Matt Mullins. “Many of the artists we represent are exclusive to Manitou Galleries and have had their work collected by museums.” Emphasizing representational artworks of the contemporary Southwest, the gallery offers an array of work, including many varieties of painting and sculpture. At the downtown location, Palace Jewelers carries a wide selection of contemporary and vintage Southwestern jewelry (of historic interest—it was also a check-in site for the Manhattan Project), while the Canyon Road branch offers historic Western paintings. Most of the artists showing at the gallery work locally in Santa Fe including Alvin Gill-Tapia, a painter who graphically re-envisions the architecture of the area. His acrylic and mixed media compositions refine the forms of the buildings in a rich, stylized manner that focuses on organic lines and distinct colors.—SL Manitou Galleries,

Alvin Gill-Tapia, San Esteban Del Rey, acrylic on panel, 69 x 69"

BLUE RAIN GALLERY JIM VOGEL Since 1993, Blue Rain Gallery has been devoted to the exhibition of contemporary art with an emphasis on Native American and regional art. With the recent opening of its Railyard location at 544 South Guadalupe, there is all the more reason for a quick visit to both Blue Rain Gallery locations to see the diverse artists featured there. Jim Vogel’s regionalist-inspired works—think Thomas Hart Benton and Peter Hurd—reflect the life and land of New Mexico. Working from his home studio near Dixon, New Mexico, Vogel produces imagery from the ideas and stories passed down from his parents and maternal grandfather. “I am inspired to paint by many factors,” he says of his work. “Sometimes I will see sunlight coming through the branches of a tree and striking the water in the acequia (irrigation ditch) or a shadow on the dirt that vibrates a truly purple color or clouds backlit, appearing to glow from within. These are what I call my crystallized moments. They are visual triggers that become set in my mind’s eye and quite often act as an immediate link to a story or memory.” Vogel often collaborates with his wife to produce the handmade frames found on many of his works.—AJ

Jim Vogel, Tango del Pajaritos Dorado (Tango of the Golden Sparrows), oil on canvas with scorched wood frame, 60 x 36" ​Jennifer Kalled, Boulder opal cuff in sterling silver, 18-kt gold, and copper

MALOUF ON THE PLAZA Jennifer Kalled Having filled the space once occupied by Packard’s, Malouf on the Plaza has maintained the Southwestern luxury collection of art, clothing, jewelry, and home accessories beloved by visitors and locals. Douglas Magnus and Jennifer Kalled, two jewelers with very different approaches, will be showing their work here through the summer. Magnus creates fine pieces in turquoise that comes from his own Tiffany Cerrillos mines, combining ancient and modern techniques. Kalled’s brilliantly hued stones seem lit from within; her pieces have an air of liquid beads on fine metal. Kalled’s awards include Remarkable Woman, Master of Crafts of New Hampshire (one of only six recipients), and People’s Choice, also by the League of New Hampshire Craftsmen. Both artists will be on hand during Malouf’s artists’ reception on August 18.—Anne Maclachlan august/september 2016

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Tim Cherry, Heads or Tails, bronze, 40 x 53 x 40"

MCLARRY FINE ART TIM CHERRY McLarry Fine Art represents emerging and established artists from around the world. At his historic Canyon Road location, Chris McLarry has been serving the Santa Fe art community for over 30 years. The gallery focuses on traditional painting and sculpture across a variety of subjects, with strengths in Western and Southwestern painting, landscapes, still life and figurative paintings, Native American bronzes, and wildlife sculptures. Tim Cherry, one of the gallery’s three-dimensional artists, creates impressive examples of wildlife sculpture. His works, ranging in size from tabletop to life size, are beautifully detailed and invite close inspection. Cherry says of his work, “My sculptural approach involves the use of simplified shapes and lines to produce curvilinear forms. I enjoy orchestrating these elements into sculpture that is rhythmical, flowing, and inviting to the touch. Capturing the grace and elegance of my subjects is a primary goal.” His solo exhibition will open with a reception on September 23 from 5–7 PM, and will run through the end of October.—AJ

WINTEROWD FINE ART CHARLOTTE MILLER For the past 12 years, Winterowd Fine Art has provided Santa Feans and visitors alike with nature-inspired and nature-themed works at their location on Canyon Road. Recognized for providing art objects in a variety of media from artisans who are skilled in their chosen forms, Winterowd’s artists are as diverse and unique as the works they produce. Charlotte Miller’s work is perhaps the most unusual and labor-intensive of all of Winterowd’s artists. Miller’s contemporary beaded baskets, composed of over 350,000 Japanese glass beads per basket, are selected by hand. Her process involves creating a design and choosing a palette on a computer, then wire warp on her loom, and then adding the threaded beads. The process is slow and meditative, taking approximately two months to complete each work. The result is an amazing sculptural form that comes to life.—AJ Charlotte Miller, Woven Topaz, glass beads and coated wire, 10 x 12 x 12"

CHRISTOPHER MARTIN GALLERY MICHAEL ENN SIRVET Opening its doors at 644 Canyon last year during the holiday season, Christopher Martin Gallery is no stranger to the art market. With two other locations—Dallas and Aspen—the gallery features stunning contemporary art. Though still fairly new, the space is developing a rotating program for artists working in sculpture, glass, and mixed media that specifically resonates with the diverse visiting clientele. The gallery’s namesake artist, C. H. Martin, produces work that takes an interpretative view of natural patterns, in a variety of three-dimensional media. One of Christopher Martin Gallery’s current sculpture artists, Michael Enn Sirvet, made the transition from engineer to artist in 2008. Since then, his work’s aim is to restructure nature to show it to people anew. Sirvet states, “The most organic of my sculptures are industrial, and the most engineered of my pieces reflect primitive natural calm. Nature cannot be considered without acknowledging humanity’s effects, and my artwork is a fusion of the harmony and disharmony, the beauty and tension of that relationship.”—AJ 62

august/september 2016

Michael Enn Sirvet, Red Bastion, powder-coated aluminum, 32 x 31 x 9"

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GIACOBBE-FRITZ FINE ART BRITT FREDA “Giacobbe-Fritz Fine Art does not specialize in one specific type of art,” says gallery owner Deborah Fritz. “Known for our eclectic style, we comprise the continuum of art all within an 1880s rambling adobe building on iconic Canyon Road.” Fritz adds that although the gallery’s collection of art is diverse, the unique layout of the space at 702 Canyon allows them to “feature different styles in each room.” The gallery represents oil and acrylic paintings; bronze sculptures; and prints created by aquatint, wood block, etching, and mezzotint. One of the painters at Giacobbe-Fritz Fine Art, Britt Freda, creates complex, textured works that reflect her reverence for the natural world and, in her most recent series, the endangered wildlife within that realm. “These paintings are about learning,” she says. “From afar a thing can seem clear, even simple, but the closer a person gets, the more there is to see, to hear, to feel, to comprehend; the more complex and layered and riddled with stories the world becomes.”—SL Britt Freda, Rhinos: Black and White, acrylic and graphite on panel, 40 x 30"

Theresa Girard, Restless Dreams, acrylic on canvas, 36 x 48"

THE GLOBE GALLERY THERESA GIRARD Previously The William & Joseph Gallery, The Globe Gallery at 727 Canyon features blown, cast, and fused glass works, cold wax pieces, traditional encaustics, mixed media works, contemporary abstract paintings, and sculptures. The Globe Gallery shows works by artists from Colorado, Arizona, and Santa Fe—as well as around the country—including Theresa Girard, who paints abstract works that balance bold color and forms with subtlety. Mixing influences of abstract expressionism and other early-20th-century contemporary art movements, Girard masterfully renders each composition based on her feelings and intentions to create lively images. “Our particular style specializes in works of joy, color, and light,” says Steve Cie, director of the gallery. “We aim to elevate your mood, your day, and your life.”—SL

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Woven canvas paintings became an integral part of Rachel Darnell’s life 25 years ago. The former Memphis College of Art, Emory University, and Memphis Academy of Art student has recently begun using a different technique: placing canvas strips in a single direction, forming overlapped parallel lines in order to embody a minimal, simplified texture that suggests contemplative tranquility. After creating the surface, Darnell uses oil paint to act as a foundation for a gold and silver leaf application, which creates a divinity-centered look. She is one of many featured artists at Gallery 901, along with Emilio Payes, Oscar Mersch, Laurin McCracken, and others. With a specialty in established and acclaimed national and international artists’ modern and contemporary works, the gallery features a wide range of mediums, including oil, acrylic, encaustic, watercolor, and painted collage construction. Darnell says she is inspired by the likes of fiber artist Olga DeAmaral and color field painter Mark Rothko, as she firmly believes in Rothko’s words: “Elemental truth is conveyed by the simple expression of complex thought.”—Elizabeth Sanchez

Rachel Darnell, Shades of Shades, oil and 12-kt white gold leaf on canvas, 44 x 44"

CATENARY ART GALLERY VASSIA ALAYKOVA Located at 616 ½ Canyon, the Catenary Art Gallery exhibits mostly contemporary art and photography. The gallery’s mix of local, national, and international artists reflects a heavy European influence in their works, particularly those by the gallery’s European artists. Carrying works in oil, soft and oil pastel, acrylic, India and China ink, watercolor, and mixed media, Catenary focuses on the prominent impact of contemporary European creators. Vassia Alaykova, a watercolorist native to Bulgaria but now living in Boston, creates works influenced by Eastern European folklore and the cultures of India. Her exhibition opens on September 30 from 5–7 pm and will be shown in the gallery through November 30.—SL

Vicki Grant, Untitled, ceramic and steel, 60–79"

Vassia Alaykova, Buddha of the Sea, watercolor and gouache on paper, 30 x 22"

LA MESA OF SANTA FE VICKI GRANT Specializing in contemporary handcrafted art, ranging from fused glass and pottery to functional and sculptural hand-forged steel, furniture, and fine art, La Mesa of Santa Fe at 225 Canyon features mostly local works in itscollection of over 50 artists. “Aside from the variety of mediums,” says owner Mary Larson, “one standout feature in the gallery is the great color in the art and sculptures.” Most of the featured sculptures are compatible with interior and outdoor garden spaces. Sculptor Vicki Grant has transitioned from a career in architecture to art. Her forms, structures, colors, and textures are inspired by the natural world and are reflected in her ceramic and steel sculptures, some that are freestanding and some that are designed to be wall adornments.—SL 64

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JOE WADE FINE ART ARLENE LADELL HAYES Representing a carefully curated mix of realistic, impressionist, expressionist, and abstract styles, Joe Wade Fine Art at 102 East Water also exhibits Western art. Established in 1971, the gallery offers a longevity that reflects its success in the art business. Working in studios primarily located in the American Southwest, Joe Wade’s artists create limited edition bronze sculptures; paintings—in oil, acrylic, pastel, watercolor, or mixed media; or matchless mixed media sculptures. With a vast majority of the artists calling New Mexico home, the roster also includes one artist from Canada and one from South America. The stylized, surrealist landscapes and figures painted by Arlene LaDell Hayes indicate her unique treatment of the desert imagery of the artist’s Southwestern surroundings.—SL

Arlene LaDell Hayes, Starman Star Traveler, oil on panel, 10 x 8"

Patricia Beggins Magers, Patagonia I, cut and torn paper from Patagonia catalog, 13 x 17"

GERALD PETERS GALLERY PATRICIA BEGGINS MAGERS The Bandelier house at 1005 Paseo de Peralta, which dates to 1867, enjoys its second summer as home to The Gerald Peters Gallery. “The elegance and warmth of this historic space provides a more intimate environment in which to view art,” says Maria Hajic, the gallery’s director of the department of naturalism. The gallery upholds its focus on curated exhibitions in the areas of naturalism, contemporary art, and classic and contemporary Western art. Representing the estates of Frank Applegate, Andrew Dasburg, and Max Weber—among others—the gallery, which has been open since 1972, is a longtime dealer of American art from the 19th and 20th centuries. “Visitors will find everything from contemporary art abstraction to Western realism in a wide variety of media: oil, watercolor, woodblock print, bronze, stone, wood, steel and glass,” says Hajic. “The majority of our artists are American and are spread throughout the U.S.; however, we also represent a smaller group of artists from Canada and several European countries.” Patricia Beggins Magers, an American artist who creates meditative compositions, uses a variety of styles and materials—from collage to watercolor to encaustic—to depict her reflective subjects.—SL

MARK WHITE FINE ART PAT CLAY TON Situated comfortably within courtyards filled with sculptures and a charming adobe at 414 Canyon, Mark White Fine Art sells a selection of works by artists from across the country. “We are so proud to be on Canyon Road and hope to be here for many years to come,” says gallery director Iris McLister. Encompassing kinetic wind sculptures, fine art paintings, bronze sculptures, and three-dimensional metal paintings, the gallery carries a select group of artists working in styles from purely abstract to representational. Pat Clayton, a Mark White Fine Art artist who focuses on livestock, animals, and landscapes in her paintings, discusses her process. “To me it is all about the glow of the color, and nothing glows more than multiple glazes of transparent oil paint,” she says. “By building up layers of thin glazes with occasional thick impasto, I’m able to achieve radiant results.”—SL Pat Clayton, I’ve Got My Eye On You, oil on canvas, 26 x 25" august/september 2016

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GOLDEN DAWN AND 3D GALLERY HELEN HARDIN (TEWA) Golden Dawn Gallery showcases the works of Pablita Velarde (1918–2006), Helen Hardin (1943– 1984), and Margarete Bagshaw (1964–2015)—the only known three-generational, full-time, professional female painters of their time. Located at 201 Galisteo and currently operated by Margarete’s husband, the gallery has artworks available by all three artists. The late Helen Hardin (Tsa-sah-wee-eh or Little Standing Spruce) is perhaps known as one of the most significant women in the American Indian art world. One of the first female Native American artists to cross over into contemporary modern style, she gained international acceptance and recognition. Her painting style, though initially similar to her mother, Pablita Velarde’s, developed into a more cubist sensibility and eventually moved into an abstract, spiritual style that fascinated viewers and collectors alike. Although her passing at age 41 was a considerable loss to the art community, her artworks continue to mesmerize and impress those who are lucky enough to see them.—Amanda Pitman Helen Hardin, Listening Woman, copper plate etching, 24 x 18"

True West Randi Chit to True West, which opened near the Plaza in December of 2014, features both contemporary and Southwestern paintings, pottery, sculpture, weavings, and jewelry crafted mainly by Southwestern Native American artists. The gallery’s owners, Lisa Sheridan and Craig Allen, were once managers at the now-closed Packard’s, and they feel strongly about maintaining at True West the style and reputation that Packard’s enjoyed. They continue to have strong ties with the artists from their previous establishment, and to exhibit their works. Randi Chitto (Choctaw) exemplifies True West’s style, with his often whimsical handmade turtles, which sometimes take the form of Koshare clowns and storytellers. Chitto’s devotion to details is seen in the tiny medicine pouches worn by his creations; each pouch contains the minuscule fragment from a broken sculpture. True West will also be having an Indian Market weekend of their own; on August 20 and 21, the gallery hosts painters Rhett Lynch and Farrell Cockrum. Various jewelers will have trunk shows onsite that weekend, and there will be artist demonstrations as well.—AM Randi Chitto and his wife, Jackie Chitto, (left to right) Koshare Storyteller with Watermelon, hand coiled clay, straw, suede medicine pouch, 15 x 8 x 7"; Koshare Storyteller with Blue Corn, hand coiled clay, straw, suede medicine pouch, 15 x 8 x 7"; Black Bear Flute Player, hand coiled clay, hand carved wooden flute, suede cradle board and medicine pouch, 10 x 12 x 6"

Bill Hester Fine Art Harry A. Rich Bill Hester Fine Art is in the business of providing outstanding art to the serious collector. With quality and lasting value as its core goals, Bill Hester Fine Art works with a limited number of artists. Showing contemporary representational and abstract art, both painting and sculpture, collectors and visitors alike are sure to discover fantastic works. One of Bill Hester Fine Art’s current artists, Harry A. Rich, says of his work, “My paintings are grandchildren of the New York School. They strive to extend the spirit of that uniquely American heritage, while remaining in the tradition of modernism. In the studio, I work on the margins of what I already know about painting and paint, searching for what I don’t know, alert to what the paint might suggest. If there is a talisman at work here, it is the paint. The paint guides the process.”—AP Harry A. Rich, Curves and Straights, acrylic on canvas, 48 x 50" 66

august/september 2016

Arlo Namingha, Cultural Images #20, Indiana limestone, 12 x 15 x 4"

NIMAN FINE ART ARLO NAMINGHA Niman Fine Art specializes in the work of the Namingha family: Dan, Arlo, and Michael, as well as Sybille Szaggars-Redford. This familyowned-and-operated gallery was established in 1990, and recently celebrated 26 years at its location on Lincoln. Specializing in contemporary painting, sculpture, photography, and jewelry, the gallery exhibits a modern perspective on American Indian art. Of particular interest is the work of Arlo Namingha, which differs greatly from the work typically associated with the Namingha name. Though he was brought up carving traditional katsina dolls, in his early 20s Arlo’s interest turned to carving wood sculpture. He now works in wood, clay, stone, and fabricated and cast bronze. His works are included in many museums and in private collections.—AJ

Stan Berning, Still Lake Swim, oil on board, 48 x 62"

DAVID ROTHERMEL CONTEMPORARY STAN BERNING A Santa Fe resident for 35 years, Stan Berning has quite the resume. The work of the former teacher, gallery printmaker, and painter stood as the focal point of the 2003 film Off the Map (with Joan Allen and Sam Elliot). His work has been showcased in various locations throughout the United States and Europe. Today, his work primarily features oils and watercolors. Berning is one of many talented artists showcasing his work at David Rothermel Contemporary. As a leading Santa Fe gallery for nonobjective abstract art, David Rothermel Contemporary hosts a carefully selected range of national artists and a strong base of local artists.—ES




26 x 54"



lincoln & marcy

d r c o n t e m p o r a r y. c o m

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openings | reviews | people

Mark Yale Harris, She Rides A White Horse, bronze ed. of 22, 14 x 16 x 10"

A stunning mix of sculptures created from clay, bronze, stone, and other materials will be on display at Canyon Fine Art’s Form and Figure: Paige Bradley & Mark Yale Harris show. Harris begins each inspired artwork in marble, onyx, or alabaster, using the direct carving method, in which material is slowly removed, chiseling to create the form. “Working in this way,” he says, “is a process of emergence, releasing the figure from the stone.” Mentored by Doug Hyde (Nez Perce) and Bill Prokopiof (Aleut), who studied under the famous Allan Houser (Chiricahua Apache), Harris continues the tradition of melding imagery from Native art with contemporary abstracted minimalism. Fusing the knowledge of his instructors with his own vision, Harris carves beautifully refined sculptures, which are often cast to bronze editions to better endure the outdoor elements. Harris notes, “It is my purpose and desire to express through sculpture an emotion; to explore the unknown and the familiar, distant and near, and to record it with the eye of a child.”—Stephanie Love

Form and Figure: Paige Bradley & Mark Yale Harris Canyon Fine Art 205 Canyon August 12–September 5 Reception August 12, 5–7:30 pm

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Marilyn Chambers, Asylum, vintage porcelain hand mold, paper, wire, sinew, and metal, 15 x 8 x 8"

the beauty of decay


five local artists in a new group show

Alchemy may seem an abstract concept, but five New Mexican artists focus on the physical decline of real found objects for their joint upcoming exhibition at the Rotunda Gallery of the State Capitol. As printmakers and sculptors, the artists involved use everything from recycled books to old tea bags in order to illustrate the odd process of aging and the romance of deterioration. Artists Patricia Pearce and Marilyn Chambers originated the project before asking Bill Skrips, Amy Parrish, and Ann Laser to join them. They also found a home for the sprawling exhibition at the State Capitol’s expansive Rotunda Gallery space. Putting these artists together “had everything to do with the ability to work as a team in this particular venue,” says Pearce. “They had a similar view, or at least one that could be compatible with the concept of ‘alchemy of decay’ and what that meant.” All of these artists are fascinated by the idea of what they describe as decay, but each takes a different approach in their examinations. “One of the things that I have in the show is a series of bronze sunflowers, and they all started from planting the sunflower and watching it grow, then watching the sunflower dry out,” says Pearce. Meanwhile, Skrips reclaimed a multitude of objects to carve new sculptures. Laser collected and mounted a variety of flavors of used tea bags to create something akin to a collage. Chambers turned old books into elaborate sculptures, and Parrish shaped sinew and animal hides into bundles that resemble swaddled babies. The August 16 opening of the exhibit will be punctuated by a baroque musical performance from flutist Kateri Chambers. Her selection will draw from a period during which alchemy was a popular theory in science as well as in the contemporary culture.

Bill Skrips, Caliban, found, painted wood, tin, cloth, painted sign fragments, doll hands, wire dental samples, and miscellaneous, 27 x 9 x 10"

Alchemy of Decay, August 26–December 9, reception August 26, 4 pm, free, Rotunda Gallery, 411 State Capitol,

Marilyn Chambers, Alphabet Retold, altered book with handmade backcloth and an antique Japanese silk spool, 12 x 9 x 9"

Above: Bill Skrips, The Sorcerer’s Moke, carved, painted wood, found tin, copper, steel, doll hand, funnel, cloth, and string, 26 x 14 x 7"


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Above: Bill Skrips, The Well, acrylic paint on found plywood, 24 x 26"

Chuck Chambers

Chuck Chambers

Below: Amy Parrish, The Path You Did Not Take, vintage baby dolls, leather, and sinew, 14 x 14"

Chuck Chambers

by Ja s on Str ykowski

Ezra Hubbard

Robert McKenney’s photographs of Northern New Mexico scenes are part of the High Road Art Tour.

Robert mckenney

Above: Ezra Hubbard, Tower of Babel Attempt, wooden sculptures, 11 x 11 x 47" each

Northern New Mexico art tours a r t i s t s of Peco s, Pojoaque, a nd t he Hig h R oad by Eve Tol pa

Art lovers should mark their calendars for September 17 and 18; in that window they are invited to the Pecos Studio Tour, the Pojoaque River Art Tour, and the High Road Art Tour (which runs September 24 and 25 as well). Ambitious aficionados can even try to attend all three. Northern New Mexico is “a place you can go and be accepted as an artist,” says Pecos Studio Tour ( president Ezra Hubbard. A sculptor and abstract painter who also makes (or “writes”) Byzantine religious icons, he posits that Pecos “breeds a different caliber and quality of artist ... [they] are either finished dealing with art galleries or they don’t have to. You can go into an artist’s studio and have a cup of coffee and a real conversation,” he adds, in order to discover “what inspires them, how they work, how they feel, how they look at the world.” The Pecos tour features roughly two dozen artists with open studios from 10 am–5 pm. It takes between a half and a full day to take in all the studios, which showcase genres ranging from fine art and traditional regional arts to jewelry and fiber arts. This year, the tour presents music by George Adelo, and Hubbard recommends lunching at Pancho’s Shell Station, known for serving some of the best Frito pies in the state. Abstract painter and figurative bronze sculptor Marianne Hornbuckle has been involved with the Pojoaque River Art Tour ( since 1992, when she helped found the event. “It’s unique,” she says, “in that we’ve always included the three cultures of the valley: Hispanic, Native American, and Anglo.” From its inception, the tour—which runs from 10 am–5 pm Saturday and Sunday this year—has been open and nonjuried. As a result, Hornbuckle says, “We have [everything] from entry-level artists to professionals. Maybe half of the participants are full-time artists.” The tour’s studio count averages 30. Hornbuckle’s recently deceased husband, William Preston, was a Sumi-e painter who adapted the techniques of Asian brushwork to depict Southwestern flora. He enjoyed a long-lived career in Santa Fe and nationwide. “This coming year,” Hornbuckle says, “I am going to do a miniretrospective for him.”

Peggie Massengill, When Seasons Collide, oil on canvas,14 x18"

Sally Delap-John, plein air painter and board president for the High Road Art Tour (, likens the Spanish Colonial High Road villages to “beads on a rosary.” Represented alongside the likes of landscape painting and stone sculpture are traditional arts and crafts, including weaving, woodworking, and furniture making. According to project manager Nichole Carnevale, 2016’s tour is, for the first time ever, incorporating local farmers. “There will be two locations set up for farmers’ markets, one in Truchas and one in Peñasco [to] highlight the culture of place through the food that is grown and eaten here,” she says, noting that September is “usually harvest season, so it will be a busy time in general.” To augment the 30 to 40 participating studios, the High Road tour is hosting artists’ booths at the Peñasco Community Center, providing an opportunity, says Carnevale, to “go and hit a number of artists at once.” Either way, she advises, “It’s a studio marathon. It’s even hard to see every single place in the four days.” august/september 2016

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museum gift shops Shayla Blatchford

handcrafted creations by Emily Van Cleve Maria Baca

A beaded cuff by Etkie with adjustable copper band, genuine leather, seed beads, 1 x 2 1/2". Available at the Georgia O’Keeffe Museum Store.

Above: A selection of Lawrence Baca’s sterling silver jewelry is available at the New Mexico History Museum Gift Shop.


Turquoise necklaces, pendants, and earrings by Mary Tafoya and Nick Rosetta (both of Santo Domingo) and other Native artists are plentiful at the Cloney Duncan Museum Shop at the Museum of Indian Arts and Culture, which closed its special two-yearlong show about turquoise in early May. The shop also sells work by potters including Bernice Naranjo (Santa Clara) and Marvin Martinez (San Ildefonso). Contemporary arts and crafts by more than 200 Native artists are featured at the Wheelwright Museum of the American Indian’s Case Trading Post, which was designed to be a replica of a Navajo reservation trading post. Timothy Talawepi’s (Hopi) katsinas are on display. “His details are fantastic,” says Case Trading Post manager Ken Williams. “We carry his miniatures, which are made from cottonwood roots.” Williams is excited to be carrying the jewelry of Norbert Peshlakai (Navajo), who fabricates bracelets out of sterling silver. “They’re charming and whimsical,” says Williams. “Norbert is one of my favorite artists.” The IAIA Museum of Contemporary Native Arts recently revamped its store to feature the work of some of IAIA’s younger alumni. Among the artists represented are Flagstaff resident Paul Moore (Chickasaw Nation), who makes items of adornment that use materials including copper, corn husks, and sandpaper to reflect contemporary values, and Bryan Parker (White Mountain Apache), who studied video production at IAIA and now does two-dimensional images with Native American subjects.




lthough they often don’t attract as much attention as galleries, Santa Fe’s museum gift shops are treasure troves of high-quality arts and crafts handmade by regional artists. The Georgia O’Keeffe Museum Store carries the custom-made work of several local artists. “Weaver Susan Meredith from Chimayó hand-weaves ties in particular colors and designs just for us,” says the store’s manager Janice Wrhel. “We have quite a nice selection of her ties in the store.” Etkie, a company that hires Native American women in New Mexico to make its jewelry, creates beaded bracelets for the Georgia O’Keeffe Museum Store in contemporary colors and designs. “We have a local potter, Jennie Johnsrud, who has customized the colors and designs of her mugs, platters, vases, and dinnerware to coincide with the museum’s watercolor show,” explains Wrhel. Some of the work sold at the New Mexico History Museum’s shop has been custom made by Santa Fe artists to reflect the new Lowriders, Hoppers, and Hotrods show. “Lawrence Baca has made some heart and wing jewelry that relates to the show,” says shop manager Peter Di Guglielmo. “We also have wooden retablos in the shapes of trucks and cars with saints in them by [Santa Fe Santero and painter] Charlie Carrillo.” In addition to offering a wide selection of locally crafted jewelry, the shop carries functional pottery by Santa Fean Janet Williams. Work by Native American artists is featured at the gift shops at the Museum of Indian Arts and Culture, the Wheelwright Museum of the American Indian, and the IAIA Museum of Contemporary Native Arts.


august/september 2016

This Bernice Naranjo pot, made of clay from the Santa Clara Pueblo area, 8 x 5 x 5", is available at the Museum of Indian Arts and Culture’s Colleen Cloney Duncan Museum Shop.

Shayla Blatchford

Susan Meredith, Chimayó tie, fine silk and wool blend with a recycled silk tip lining, 57" long, 3" at widest, available at the Georgia O’Keeffe Museum Store.

Georgia O’Keeffe Museum Store 217 Johnson New Mexico History Museum Spiegelberg Museum Shop 113 Lincoln Museum of Indian Arts and Culture’s Colleen Cloney Duncan Museum Shop 708 Camino Lejo Wheelwright Museum of the American Indian’s Case Trading Post 704 Camino Lejo

Candace Allen

IAIA Museum of Contemporary Native Arts Store 108 Cathedral Place

Mary Tafoya, mosaic pendant, serpentine, turquoise, shell, apple coral, agate, and gaspeite, 3 x 2", available at MIAC’s Colleen Cloney Duncan Museum Shop.



Patricia Carlisle Fine Art the 20th anniversary by Stepha nie Love

Addison doty

Above: Embracing a minimalist philosophy, Patricia Carlisle Fine Art’s open, airy feel allows guests space to contemplate the works of art.

It takes a discerning eye and dedication for a Canyon Road gallery to uphold decades of success. Celebrating her 20th year doing just that, Patricia Carlisle—owner of Patricia Carlisle Fine Art—recognizes the challenges of the business, but has always been confident in her ability to show and sell art. “The gallery business is a tough business,” Carlisle says. “I knew I was good at what I did.” Her husband, David Pearson, who exclusively shows his sculptures at her gallery, agrees: “Patty’s done very well with it.” Carlisle also attributes much of her success to her relationships with artists as well as collectors, explaining, “They know we tell the truth, and they trust us.” Initially from San Francisco, and with a background in nonprofits, Carlisle relocated to the City Different in 1989. The commercial art industry in Santa Fe posed its fair share of differences. “I had to shift my state of mind,” says Carlisle, who explains that she and Pearson “are very much minimalists” in 74

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Above: The gallery has outdoor as well as interior space for sculpture, and deliberately limits the number of artists showing at any given time.

their curation style. The gallery’s open, airy space reflects her decision to show five artists—at most. Because of this, artists essentially have their own exhibits up at all times. Pearson, the only sculptor Carlisle represents, currently creates works in editions of nine, and even the refined forms he creates echo this minimalist sentiment. Pearson implements a variety of styles, from representational to abstract. Carlisle notes, “We’re able to appeal to a broader range because of his talent.” In celebration of the gallery’s two decades, Patricia Carlisle Fine Art presents a collection of Pearson’s earliest works. None of the matchless pieces in this rear courtyard exhibit will be for sale, but the show, Retrospective Exhibition: David Pearson, will be on display for all to enjoy from August 16–27. Patricia Carlisle Fine Art, 554 Canyon, Left: David Pearson’s bronze, Reverence, has found a home outside Los Alamos National Bank’s Cerrillos Road branch.



Homage to Braque, mixed media collage on board, 12 x 16"

Stephen Buxton creatively composed

by Stepha nie Love

Stephen Buxton’s minimalist collages are crafted with spontaneity along with intricate detail. “My inspiration comes from many different periods of art,” Buxton says, “but the biggest influence is from the early20th-century modernists, the movements of the Bauhaus, the cubists, the constructivists, and especially the Dadaists.” These movements embraced creating in many media and styles for more dynamic modes of expression. Although Buxton similarly values all artistic media and appreciates the roles they’ve played in his personal development, he has mastered collage—which he began practicing six years ago. Buxton’s career in event planning and window display design helped develop a well-trained aesthetic eye, which he skillfully implements in each artwork. For him, the pieces of a collage resemble the elements of a display; each has a unique, important part in the overall composition. He explains, “I see a connection now to my approach as being quite similar to window displays, in creating a vignette of sorts.” Beginning by gathering found objects—vintage and patterned papers, paint, metal, rubber, and cardboard—Buxton modifies these to form geometric shapes and specific parts for the image. Each artwork’s developmental stage is often the most important. Although Buxton has an initial idea for each piece, the impulsive manner in which he places components, paying attention to color and visual balance, truly establishes the composition. He emphasizes the importance of recognizing when a layout is complete, noting, “…the moment can be lost and overworked.” Currently, Buxton is exploring classical themes by re-creating his own versions of art history’s masterpieces; one such piece pays homage to Diego Velázquez’s famous Las Meninas. These works highlight the beauty of composition without complicated concepts or abstractions. Of his passion, Buxton says, “I truly believe that art is life, and I love my life as an artist.” Stephen Buxton: Debris of Broken Symbols, September 16–October 6, reception September 16, 5–7:30 pm, David Rothermel Contemporary, 142 Lincoln Suite 102,

Consequences of Downsizing, mixed media collage on board, 24 x 24"

Las Meninas (after Velázquez), mixed media collage on panel, 12 x 12" august/september 2016

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Assorted pieces of silver and turquoise jewelry by Melanie DeLuca.

Above: Ninth Circle, digital painting

Matt Miranda Melanie DeLuca True West, 130 Lincoln Through September The son of an art teacher, jeweler Matt Miranda was drawn to create wearable art for himself before branching out at the suggestion of a friend. Today, his turquoise work, seen at True West, is sought out for its quality and unique design. In the same vein, longtime jeweler and metalsmith Melanie DeLuca shapes unusual pieces from mixed media and adds global ethnic flair into each one. DeLuca’s creations are made from precious and semiprecious metals and stones, incorporating plastics, bone, beads, and tribal objects. Both Miranda and DeLuca are featured artists at True West, located downtown near the Plaza.—AM

Above: Mission Tomorrow, digital painting

Stephan Martiniere Santa Fe exhibition by Steph a n ie Love Above: Ashes, digital painting

Recognized for his diverse talents and conceptual art background, digital painter Stephan Martiniere recently joined the ranks of artists based in Santa Fe. “I discovered Santa Fe very early on, when I was 25,” he says, “and I fell in love with it.” International travel and living have played significant roles in Martiniere’s 34-year career, but he always hoped to settle here. He and his wife, who has both history and family in the City Different, are thrilled to have fulfilled their long-standing dream. One of the catalysts for Martiniere’s professional momentum arrived with the invention of Adobe’s Photoshop 4 (1996)—the first of version of the program that employs the adjustment layer tool—which allowed the French artist to transcend the realm of conceptual art to become a full-time creator. This new technology, as Martiniere says, allowed him to “explore a medium that was more forgiving.” Although this new tool offers its challenges, it also provides an alternative to traditional painting; Photoshop and other digital programs allow Martiniere to masterfully produce the intricately detailed works that he envisions as well as to push artistic boundaries. He notes, “That’s why I’ve always been drawn to it: the possibilities.” Martiniere’s accomplishments include creating science fiction book covers, designing Disney theme parks, animating television shows, and providing visual direction for video games. With his first show at POP Gallery opening this September, he’s also paving the way for digital fine art. Beyond the Horizon: Futurescapes by Stephan Martiniere, September 2–October 31, reception September 23, 5–7 pm, POP Gallery, 125 Lincoln, Suite 111, 76

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Matt Miranda jewelry grouping, featuring turquoise from several different mines, set in either silver or gold.

Artists’ Reception and Group Trunk Show Malouf on the Plaza, 61 Old Santa Fe Trl Trunk show August 19–20 Reception August 18, 5–7 pm Nine of Malouf on the Plaza’s best jewelers will visit the gallery and bring their work to this trunk show during Indian Market weekend. Look for the quirky and the classic, whether it’s belt buckles or bracelets, rings or pendants. Styles range from distinctly Southwestern to internationally flavored. Artists include White Buffalo (Comanche); Artie Yellowhorse (Navajo); Jennifer Kalled and Dian Malouf, international artists; and Santa Fe artists Scott Diffrient, Douglas Magnus, Miles Standish, Adonnnah Langer/ Chili Rose Beadz, and Mark Humenick.—AM



Special Exhibit: Paintings by Students of the Santa Fe Indian School Adobe Gallery, 221 Canyon August 8–September 17, reception August 8, 5–7 pm In 1932, artist Dorothy Dunn established the Santa Fe Indian School’s art department, with a view to encouraging original and unique creativity among the students. The result is stunning work that reflects aspects of various ceremonies and mythologies by such celebrated SFIS alumni as Quincy Tahoma (Navajo painter), Pablita Velarde (Santa Clara painter), Gerald Nailor (Navajo painter), Blue Corn (San Ildefonso potter), Pop Chalee (Taos painter), Eva Mirabal (painter and cartoonist), and Narciso Abeyta (Navajo painter and silversmith). Adobe Gallery’s collection of these works will be on display from August 8 through September 17, with a reception on opening day from 5–7 pm.—AM José Encarnacion Peña, Bow and Arrow Dancers, watercolor on paper, 12 x 19"

Kim Wiggins, Land of the Dinehs, oil on canvas, 18 x 24"

Kim Wiggins Manitou Galleries 123 W Palace August 19–September 2, reception August 21, 5–7:30 pm Although Kim Wiggins sculpted as a child, by the time he was 14 he had taken up oils and never looked back. Raised on a ranch in Southern New Mexico by a globe-roving photojournalist and an art-loving cowgirl, Wiggins drew and painted what he knew; while still in his early teens he freelanced as a graphic artist for a national equine magazine. Wiggins’s subject matter still reflects the West. He has made his home outside Roswell, New Mexico, and many of his paintings feature the New Mexico landscape. Bright colors, thick, impasto paint, and a complete lack of straight lines or sharp angles define Wiggins’s style. Even his cityscapes have plenty of color and few straight lines. His show of new paintings opens in August.—Lisa Van Sickle

Roger Williams, Vegetable Vendor, oil on linen, 18 x 24"

Roger Williams Solo Exhibition Joe Wade Fine Art,102 E Water August 26–September 9, reception August 26, 5–7 pm Announcing its newest exhibition of works from painter Roger Williams, Joe Wade Fine Art is thrilled to share the architectural, figurative, and landscape works of the Colorado native. Devoted to full time plein air and studio painting, Williams also appreciates the diversity he finds in visiting new places. Expressing his wanderlust, one of the show’s masterfully rendered paintings, Vegetable Vendor, takes place in Luxor, Egypt, a town located about 500 kilometers south of Cairo on the Nile River. Williams’s collection of paintings reflects his classical and traditional roots in soft colors and the subtly illuminating light of the Southwest.—SL

Natalie Featherston: The Art of Thinking Inside the Box and Robert LaDuke: An Exhibition of New Works Meyer Gallery 225 Canyon September 30–October 7 Reception September 30, 5–7 pm Natalie Featherston and Robert LaDuke come together at Meyer Gallery for an exhibition of their work late this September. Featherston’s fun, often humor-filled works exist in the trompe l’oeil style, creating the illusion of three dimensions. From images of drawings and Scrabble letters, to paintings of the canvas verso, or sketches of Dalí, Picasso, and Bob Ross popping through paper, Featherston’s works delight and surprise. Robert LaDuke, Thunder, acrylic on The Chicago Sun Times has described her birch panel, 17 x 13" paintings as “artful beyond just illusion and trickery; they are truly masterful still lifes made with both craft and wit.” LaDuke’s open-ended narrative works invite the viewer to create a story. “I enjoy creating narratives with multiple meanings in my work,” he says. “I imagine that a certain dark but humorous tone underlies my cartoon-like illustrative surfaces. Although realism often dominates my work visually, it is in fact merely providing a frame of reference to a metaphoric end.” LaDuke’s paintings often include a transportation theme, but imagery such as Ship Rock, mesas, city skylines, and homes also appear on his birch panels.—AJ august/september 2016

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The Sky is the Water: Sheryl Zacharia Tansey Contemporary 652 Canyon August 12–September 2 Reception August 12, 5–7 pm Sculptor and painter Sheryl Zacharia moved from New York to New Mexico at the beginning of Sheryl Zacharia, Blushing Sky, ceramic, 2015 because she fell in love with the 23 x 25 x 7" landscape. “Many people in the East Coast were concerned that I would miss the water when I moved to New Mexico, so I decided to call my show The Sky is the Water,” she says. “I am constantly in awe of New Mexico’s sunsets, cloud forms and starry nights. I love the way clouds move and change. There’s an expansive beauty I’m sure I’ll never get tired of.” All of Zacharia’s ceramic sculptures, paintings, and works on paper reflect her relationship with the sky. Some of the pieces are abstract, while others are more representational. “The surroundings here have definitely changed my work in terms of form, palette, and subject,” she adds. “And while my life in the city and the urban environment will always be evident, it is now combined with the beautiful Southwest experience.” Although Zacharia has been showing her sculptures at Tansey Contemporary for a while, this show marks the first time her paintings and works on paper are on exhibit in New Mexico.—Emily Van Cleve

Eric Boyer and Charlotte Foust Hunter Kirkland Contemporary 200B Canyon August 12–28 Reception August 12, 5–7 pm While Eric Boyer and Charlotte Foust use completely different media to communicate their playful, experimental and intuitive approaches to making art, their work is complementary. Boyer is drawn to working with steel wire mesh to create lifelike torsos and abstract sculptures. “Working without molds or models, he achieves a level of anatomical accuracy Charlotte Foust, Abstract Positioning, acrylic and beauty in his torsos that’s on canvas, 48 x 48" nothing short of astounding,” says Hunter Kirkland Contemporary owner and director Nancy Hunter. “His abstract, flower-like shapes become almost figurative in their flowing, energetic state.” Foust’s bold mixed media on canvas and paper abstractions begin with a series of lines and marks and consist of layers of paint that add texture to the surface. Paint gets taken away and reworked. Foust oscillates between creating dramatic brush strokes and moments of stillness in her work. “I don’t try to analyze my feelings or process,” she says. “I try to turn those things off when I paint, so what emerges is an abstracted expression of all that I am going through and all that the world is going through. Working this way lends itself to endless possibilities.”—EVC 78

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Dave McGary’s A Legacy in Bronze Realism book signing Meyer Gallery, 225 Canyon, August 20, 10 am–5 pm In conjunction with Indian Market weekend, Meyer Gallery will be hosting a book signing with Senator Alan K. Simpson, who penned the foreword for Dave McGary’s book, A Legacy in Bronze Realism. The book can be purchased for $85; a special leatherbound limited edition (edition of 55) copy is available for $2,300 and will include a pair of bronze Dave McGary, Touch the Clouds, moccasins on a wooden base. A Legacy in bronze on wood base, 11 x 6 x 5" Bronze Realism is a stunning 248 pages and covers every piece McGary ever produced. The artist’s family and friends will be in attendance, as well as Native American dancers.—AJ Two-person show Hunter Kirkland Contemporary 200-B Canyon September 9–25 Reception September 9, 5–7 pm Gregory Frank Harris paints landscapes that are simultaneously traditional New Mexico scenes and up-to-the-minute explorations of shape and color. He looks to the 19thcentury tonalists’s use of a limited palette to render the landscape, while concentrating on creating interesting surfaces and blurred edges often found in abstract paintings. T. Barny’s sculptures, in both stone and bronze, combine undulating geometric shapes with crisp edges, polished surfaces, and color and texture from the stone or bronze itself. The eye follows a line around a curve, through an opening, and back to the other side, puzzled as to how stone or metal can be made to do such a thing. Both artists will have new pieces on display in September.—LVS T. Barny, Tephra Ejected Volcanic Matter, Utah Rhyolite on Marble Base, 26 x 9 x 8"

Terri Kelly Moyers, Pueblo Artistry, oil on canvas, 24 x 36"

The Space Within ViVO Contemporary 725 Canyon August 17–October 31, reception August 19, 5–7 pm In ViVO Contemporary’s upcoming show The Space Within, space is defined as an element of art. Using multiple layers of glass and finely crushed glass powder, Barrie Brown creates the illusion of infinite space in her kiln glass landscapes that draw the viewer’s perspective through multiple layers of glass and into the spaces within. Warren Keating’s digital video—taken from balconies and bridges of pedestrians walking below him—helps create oil paintings that depict the movement of the figure in space and the immediacy of the moment. “Although we can’t see the faces in these urban portraits, so much is revealed about the subjects’ inner lives by the gait of their walk and gesture of their bodies,” he says. Patricia Pearce’s large elongated assemblages contain everything from molding and game pieces to furniture parts. “As I selected each piece, it brought back memories from my childhood when my grandmother allowed me to rearrange her buffet drawers, creating small but precious collages,” says Pearce. A monoprint inspired by photos of old train cars at the Railyard expresses Ann Laser’s vision of space as an art element. “This monoprint explores the continuity of the space within the grid-like aspects of the piece,” she explains.—EVC


225 Canyon Road Santa Fe, NM 87501 505.982.3032

Jane Abrams, Piano Bird, oil on linen, 52 x 70"

Joy Campbell, Daughter, altered books 13 x 13 x 12"

John Moyers and Terri Kelly Moyers: Time-honored Traditions in Painting Nedra Matteucci Galleries, 1075 Paseo de Peralta, August 13–September 10, reception August 13, 2–4 pm The newest collection of oil paintings and watercolors by the husband and wife team of John Moyers and Terri Kelly Moyers reflect their passion for the landscape, whether at home or abroad. Plein air works from the Southwest as well as Spain and Italy are on display. When not capturing the landscape, John enjoys painting Native Americans, while Terri focuses her attention on painting Hispanic women in period dress. The couple’s figurative work is also in the show. Both artists have been celebrated for their traditional realistic styles. John grew up in Albuquerque and learned about painting from his father, painter William Moyers, before studying art in California. He has won many awards including the Robert Lougheed Memorial Award in 2003. A native of Canada who studied art in Alberta, Terri has earned accolades that include twice winning the Frederic Remington Painting Award at the Prix de West Invitational.—EVC

Jane Abrams New Concept Gallery 610 Canyon August 5–August 29 Reception August 5, 5–7 pm Ghost orchids, alligators, black vultures, and piano birds living in the Everglades inspired Jane Abrams’s latest paintings featured in her show at New Concept Gallery. Abrams spent a month-long residency in Florida, compliments of the National Park Service, where she wandered along wetland paths while making visual notes for paintings and drawings. “To wake up in the pre-dawn hours and witness the profound beauty and palpable power of nature as the sun begins to rise and the swamp creatures start to stir is a true gift,” she says. “The experiences there have come together in a group of ongoing paintings celebrating the fragility of this great wetland with all its vegetation and animal inhabitants. The Everglades paintings yet to come will emerge from my repository of memory and obsessions discovered in the staggering magic of this vast yet intricate place.” Abrams, who has lived in Albuquerque for 40 years and received two National Endowment for the Arts grants during her career, has integrated her visions of places throughout the U.S., Mexico, Central America, Spain, and Asia into her colorful canvases. “My work is to pay attention to what makes life interesting,” she says.—EVC august/september 2016

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John Nieto, God’s Puppy, acrylic on canvas, 16 x 20"

John Axton, Passing Ships, oil on board, 30 x 30"

John Axton: Lands and Seas Ventana Fine Art 400 Canyon July 29–August 11 Reception July 29, 5–7 pm For his 34th annual show at Ventana Fine Art, John Axton creates panoramic scenes in his signature-abstracted style. This selection of his oil paintings, entitled Lands and Seas, incorporates balanced compositions and bold colors in a manner that evokes the overwhelming yet subtle presence of nature. The gallery’s press release for the show describes Axton’s contemplative compositions as “interpreted through the refined eye, sensitive soul, and skillful hand of a lifelong artist.” Painting in New Mexico since 1979, Axton often creates his pieces with simple horizon lines that express nature’s alternate faces—power and tranquility—and his newest will be showing through August 11.—SL Having Wings Selby Fleetwood Gallery, 600 Canyon August 5–17, reception August 5, 5–7:30 pm Geoffrey Gorman inventively fuses weathered tree branches, old scraps of cloth, rusted wiring, and other found objects to sculpt his whimsical animal forms. Geoffrey Gorman, Paying attention to the Unica, relationships between mixed media, organic and geometric 17 x 22 x 17" shapes as well as refined and rustic textures, Gorman develops each of his cohesive pieces with an astonishing level of intricate detail. His conscious selection and placement of sculptural components—dangling wooden keys, slivers of colorful material, and arrowheads, for instance—allows each sculpture to express a distinct character. Gorman’s acclaimed eclectic style remains apparent in his newest sculptures, which are on exhibit at Selby Fleetwood Gallery.—SL 80

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New World Treasury Ventana Fine Art 400 Canyon August 19–September 8, reception August 19, 5–7 pm Coinciding with Indian Market, painter John Nieto’s 28th annual exhibition at Ventana Fine Art introduces new ideas and treatments to his familiar style, which ushers the colors of fauvism into contemporarily graphic paintings of peoples and animals native to North America. Having maintained perennial popularity with museums, corporations, and private collectors over the past 40 years, Nieto attributes much of his success to a constant pursuit of innovation to update his iconic, vibrant style. Yet despite these ongoing transformations, Nieto’s captivating compositions still display his technical prowess and contrasting, complementary palettes, which permeate his newest group of paintings going on display starting August 19.—SL Emergence The Longworth Gallery 530 Canyon August 1–September 30 Reception September 2, 5–8 pm Andrew Rodriguez, a Native American artist currently working in Albuquerque, presents a solo exhibition of sculptures that explore spiritual emergence. Rodriguez’s works capture emotion in order to tie us to the wildness of the animal world, where we can find a connection to our essential humanity. His portfolio encompasses various styles and subjects, but the talented artist is most recognized for his bas-relief sculpture. Rodriguez’s time studying sculpture under Allan Houser at the Institute of American Indian Arts (IAIA) in Santa Fe is apparent in his traditionally crafted ceramic pieces, each of which also emphasizes his indigenous heritage.—SL Andrew Rodriguez, Stolen Prize, clay, 17 x 7"


Peter Schmid, bracelet of oxidized sterling silver, oxidized silver, yellow gold, rutilated quartz and champagne-colored diamonds, 2 x 2 3/10"


Unknown artist (Democratic Republic Congo), Yaka initiation mask, wood, pigment, fiber, and raffia, 33 x 10"

60 Shades of Black: Atelier Zobel’s latest collection, inspired by Santa Fe Opera’s Don Giovanni Patina Gallery, 131 W Palace August 12–September 11 Reception August 12, 5–7:30 pm Renowned jewelry artist Peter Schmid, the creative power behind the German jewelry studio Atelier Zobel, has crafted a special collection inspired by the Santa Fe Opera (SFO)’s 2016 production of Don Giovanni. Featuring a stunning array of pieces, 60 Shades of Black commemorates the SFO’s 60th anniversary season by incorporating black diamonds into his work. For this seductive new collection, Schmid collaborated with the SFO’s director of wigs and makeup, David Zimmerman, to create passionate and provocative pieces with meticulous details and raw material, influenced by both Mozart and the Santa Fe Opera.—SL

African Spirits Intrigue Gallery 238 Delgado August 5–31, reception August 5, 5–7 pm Curated by Robert Fiedler, the African Spirits annual August exhibition gathers captivating antique African artworks from Robert Fiedler’s collection to create an inner dialogue of exotic masks, sculptures, and miniature pieces. Each object incorporates a spiritual, ceremonial, and aesthetic beauty.—SL

Peggy McGivern, Sand Between my Toes, oil on canvas, 36 x 36" Amanda Banker, The Artist, oil on board, 14 x 11"

The Village Canyon Road Contemporary 403 Canyon August 12–27, reception August 12, 5–7 pm Pairing Amanda Banker’s imaginative animal portraits with Pat Hobaugh’s nostalgic still life paintings, The Village, exhibited at Canyon Road Contemporary, highlights metaphor and humor in inventive new ways. New Mexico painter Banker depicts absurdities through surrealism, portraying anthropomorphic animals in allegorical settings, reflecting stories of our past. Hobaugh also employs metaphors in his compositions of found objects—commonplace food brands and household items often tied to political and pop-cultural references. His creative combinations of “stuff ” induce examination and contemplation of our society.—SL

World Connections Alexandra Stevens Gallery of Fine Art 820 Canyon, August 26–September 15, reception August 26, 5:30–7 pm Bringing the magic of their travels to Santa Fe this summer, painters E. Melinda Morrison and Peggy McGivern present their newest works in an exhibit centered on the mesmerizing cultures, scenes, and people of Argentina, Costa Rica, Crete, Greece, Italy, Romania, and Cuba. Using bold pigments, dramatic shadows, and figures in motion, McGivern expresses the honesty of each moment she encounters through renderings that balance representational subjects with abstracted, simplified forms. Including figurative work and landscapes, each of her paintings evokes a feeling of the place in a way that uniquely reflects the artist’s own vision. Morrison similarly focuses on conveying the diverse stories of people and places she’s encountered. Although her impressionist-styled oil paintings focus on dayto-day events and experiences, her emotionally posed models reflect each subject’s lifestyle through richly lit compositions and colors thoughtfully balanced by a palette of natural tones. Viewing this dynamic two-artist show, art appreciators and collectors should be prepared to feel a sense of wonder and wanderlust.—SL august/september 2016

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PREVIEWS Indian Market Show: Meet the Artists The Signature Gallery 102 E Water August 19–20, 10 am–5 pm August 21, 10 am–4 pm The Signature Gallery, located just one block south of the Plaza, presents select artists— such as Charles Pabst, Kirk Randle, Pablo Milan, and Cara Pabst Moran— painting their newest masterpieces throughout the weekend. Alongside Jason Napier, Fox Play, bronze, 32 x 24 x 13" these talented painters, bronze sculptors Todd Paxton, Jason Napier, and Raymond Gibby will share their skills, processes, and inspirations. Coinciding with the festivities of Indian Market, this event offers entertainment to gallery visitors.—SL

Glass William Siegal Gallery 540 S Guadalupe July 29–August 23, Reception July 29, 5–7 pm William Siegal Gallery presents the newest glass and mixed media pieces by Judy Tuwaletstiwa. The Galisteo artist, who has been creating works for over 45 years, says she has finally found her ideal medium in glass. “The simple process of mixing, sifting, and firing glass powders opens a pathway for exploring infinite nuance of color and form,” says Judy Tuwaletstiwa, Remember Place, glass, pigment, Tuwaletstiwa. She works to adhesive on canvas, 38 x 26" depict a dialogue between tactile and spiritual worlds. “Images flow amorphously through our thoughts every day, through our dreams every night; they float out of us and into us,” she notes. “While painting, writing, and working with glass, I pay attention to the possibly transformative gift of an image.”—SL

Pascal Pierme, Antipodes 2, mixed media, 72 x 72" Mary Peck, Mahogany Hammock, Everglades, archival pigment print, 24 x 64"

Everglades: Time’s Discipline Phil Space 1410 Second St September 16–October 7, reception September 16, 5–8 pm With 40 years of experience, Mary Peck visits various parts of the world to photograph wilderness landscapes. Phil Space’s new show coincides with the launch of Peck’s Florida-focused book, Everglades: Time’s Discipline, featuring an essay by William deBuys. Captured 30 years ago, these Everglades images depict a place already distorted by the realities of climate change, representing the beauty of our natural world as well as the damages it faces.—SL

Jason Salavon, Still Life (Morandi’s Infinite Shelf), real-time simulation on ultra widescreen monitor, 15 x 33"


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20 GF Contemporary, 707 Canyon August 12–September 1, reception August 12, 5–7 pm In a special solo exhibition, French sculptor Pascal Pierme celebrates his 20th year in Santa Fe. Including his iconic wood sculptures as well as a rare assortment of large-scale steel pieces, this show opens with an evening reception where guests can meet the artist, DJ Sol will be spinning music, and drinks will be provided by The Liquid Company. Pierme loves the inspiration he finds in the City Different. “There is so much history here; it definitely feels like a beautiful grandmother,” he says. “But even though it’s old, it has this energy and sparkle you may not see right away—but you can feel it.”—SL

Jason Salavon: All the Ways TAI Modern 1601 Paseo De Peralta August 26–September 25 Reception August 26, 5–7 pm, artist talk August 27, 3–5 pm With examples of his portfolio in prestigious collections like the Metropolitan Museum of Art, the Whitney Museum of Art, and the Art Institute of Chicago, Jason Salavon is exhibiting his newest works, inspired by a six-month period working as the first artist-in-residence at Microsoft. These works blend pop culture and the digital age, using sources like trendy television shows and Wikipedia pages to create abstracted, often geometric compositions. Some of these juxtapositions are exhibited as art objects— photographic prints or video installations, for instance—while others exist only in a software context.—SL



Jenny Gummersall, Six Snowy Horses 8, inks and oils over photo on canvas, 30 x 40"

Contemporary Western Women Share the Spotlight at Sorrel Sky Gallery Sorrel Sky Gallery, 125 W Palace September 9–end of September, reception September 9, 5–7 pm Featuring contemporary Western paintings by Maura Allen and Americana-style photography by Jenny Gummersall, this show welcomes both women to Sorrel Sky Gallery’s repertoire of artists, and also highlights their talents at representing the American West. Allen’s pieces, painted on wood, steel, and glass, take on a cinematic effect, which is made unique by her process; she begins each artwork by looking directly at the sun to reveal bold silhouettes and abstracted details. Gummersall similarly works to capture imagery of the Southwest, such as farm animals, landscapes, and natural objects. “My art is a place where the viewer can escape their everyday realities and enter mine,” she says. “It is hopefully a created space to pause, enter and be within, offering humor, awe, inspiration, and happiness.”—SL

Robert Williams, Death by Exasperation, oil on canvas, 30 x 36"

Slang Aesthetics! Center for Contemporary Arts, 1050 Old Pecos Trl September 23–November 27, reception September 23, 5–7 pm The Center for Contemporary Arts (CCA) presents the firstever New Mexico solo exhibition of Albuquerque-born painter and cartoonist Robert Williams. Opening to the public on September 23, Slang Aesthetics! features over 30 paintings, an array of illustrations, and highlights from Williams’s time at Zap Comix. Having created controversial art throughout his career, Williams is also known for many accomplishments, such as introducing “lowbrow” to the fine arts vocabulary in 1979, contributing as a founder of Juxtapoz Art & Culture Magazine, and his notoriety for creating provocative, grotesque, and humorous narrative paintings and underground comics that cleverly critique common human and societal flaws.—SL

Adam Shaw: Pursuit of the Present Pippin Contemporary, 409 Canyon September 14–28, reception September 16, 5–7 pm Pippin Contemporary announces a new selection of poetry-inspired artworks by California painter Adam Shaw. Shaw’s latest series of compositions embrace the thick textures of his previous works, while also plunging further into his exploration of language and image in relation to metaphysical and philosophical themes. These dynamic works carry an intense energy formed by bold layers of added and removed paint. “My eyes do not distinguish between abstract and representational,” he says, “for when observed closely, what is more abstract than upturned earth, the bark of a tree, the skin of a pomegranate, or the detail of a sleeve painted by Titian?”—SL

Adam Shaw, Rising Tide, oil on canvas, 50 x 50"

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1512 Pacheco Street . Suite D101 . Santa Fe, New Mexico 87505 . 505.988.4111 .


Made in the Desert: A Group Show of Regional Craft Artists form & concept 435 S Guadalupe Through August 22 Made in the Desert, a group show at the form & concept nonprofit arts organization, highlights the works of artisans from New Mexico and Arizona. With a variety of media ranging from Susan Beiner, ceramic to neon, Unintended Consequences, this show will also ceramic, 36 x 42" explore the confines created by the labels of art, craft, and design. Southwestern artists involved in the show include Janet Abrams, Julia Barello, Susan Beiner, Melissa Cody, Brian Fleetwood, Jaque Fragua, Maria Hwang Lev, Laila Ionescu, Courtney Leonard, Arthur Lopez, Cannupa Luger, and Vanessa Michel. “The Southwest has such a rich and varied tradition of craft and making that it made sense to open our space with a survey type exhibition,” says director and curator Frank Rose. “You’ll see works that use both old and new techniques, but all of the artists on display are working within a contemporary milieu.”—SL 84

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Tom Palmore, Bath Time,

My Menagerie oil on canvas, 42 x 60" LewAllen Galleries 1613 Paseo de Peralta July 29–August 21 Reception July 29, 5–7 pm Anyone who has spent time in Santa Fe has seen them: while walking past the gallery, on the wall in a collector’s home, or as a poster in a child’s room. Animals, wild and domestic, in paintings three to five feet across, each individual hair, scale, or feather perfectly rendered in oil or acrylic— it has to be one of Tom Palmore’s paintings. A closer look reveals more than just a portrait. Palmore places his beasts in settings and poses that have something to say. Many of the titles use wordplay to further the point. After more than 35 years of working with these themes, Palmore’s paintings remain fresh, witty, and technically stunning.—LVS

Mark Newport, Bobbleman, hand knit acrylic and buttons, 80 x 23 x 6"

ReFashion form & concept 435 S Guadalupe August 19–October 30 Reception August 19, 5–7 pm Starting August 19, this group show reinterprets wearable art. Frank Rose, form & concept’s director and curator, says, “There’s an implicit exhibitionist quality in wearing any type of clothing, and there are some fantastic artists that take this to another level, not only through works that are functionally wearable, but using fashion, clothing, and wearables as a starting point for conceptual pieces.” One of the show’s artists, Mark Newport, knits full-body acrylic sweatersuits that resemble outfits appropriate for popular superheroes. Head of Fiber at Cranbrook Academy of Art in Michigan, this artist replicates characters he feels reflect his childhood ideology of the ultimate man. Angela Ellsworth, a professor at Arizona State University, also features part of her ongoing Seer Bonnets series in the show. Ellsworth creates sculptural pioneer bonnets inspired by the endeavors of a community of Mormon women, specifically the wives of Joseph Smith.—SL

Bryce Cameron Liston Sage Creek Gallery 421 Canyon September 2–16 Specializing in representational and traditional art, Sage Creek Gallery at 421 Canyon features a selection of realism and impressionism with subjects varying from still life to figurative, to Western scenes, landscapes, wildlife paintings, and bronzes. Aside from showing works in oil and conte pencil, the gallery is also known for its Western focus. Emphasizing Sage Creek Gallery’s inclusion of impressionist influences and high-caliber talents, Bryce Cameron Liston creates narrative figurative works that reflect a mastery of light and color. Incorporating his aesthetic sensibilities in each oil painting, Liston flatters his figures with timeless beauty.—SL

Dolores Purdy, Water Bird, colored pencil and India ink on antique paper, 16 x 11"

Art for the Theater of Life James Kelsey “The Globe”

Karen Haynes “Listen to the quiet“

Brian Russell “Turbine”

Featuring Beautiful Contemporary Abstract painting, Sculpture and Exquisite Glass Ann Vandervelde “Wings in Flights”

Bryce Cameron Liston, Morning Glow, oil on canvas, 10 x 6"

Morning at Morning Star Morning Star Gallery 513 Canyon am –1 pm Gallery AugustThe 19, 10Globe Watercolorist Dolores Purdy (Caddo/Winnebago) is a recognized expert on ledger art, having lectured at museums and universities across the country. She also adds to the field by creating her own pieces in the medium. Purdy’s ledger pieces have been exhibited in museums including the Denver Art Museum, the Detroit Institute of Art, and Crystal Bridges Museum of American Art. Purdy’s paintings will not be mistaken for 19th-century pieces. A cavalry on horseback could be one of her paintings, but chances are they’ll be in pickup trucks or automobiles in the next. Purdy uses elements of 1960s art and design in her paintings—butterflies and stylized flowers are part of the scene—and at times her colors border on the fluorescent. Still, her use of traditional ledger paper or old sheet music underneath keeps Purdy firmly rooted in the traditions of her chosen historical medium. Morning Star Gallery will present new works by Dolores Purdy on August 19.—LVS

Jeanne Bessette “Beauties”

Reid Richardson “Rising Sun”

The Globe Gallery 727 Canyon Road - Santa fe, NM 87501 505 989 3888 -

“Meet me at The Globe!”



an older Canyon Road home ditches its hippie roots (well, mostly!) in favor of a chic, eclectic design


Developing the landscaping, which includes roses, native plants, and fragrant wisteria, was one of the goals of the renovation. Another was improving the home’s structural and mechanical systems. Most of the brand new windows include pockets into which screens can be hidden for an unobstructed view.

by Amy Gro s s

photo graphs by Chri s Cor rie

COMBINED, ELIZABETH DECICCO and Grant Hayunga’s creative talents pack some serious artistic wallop under one roof. She’s an actor, a singer, a model, and a photographer. He’s a contemporary artist (represented by Gebert Contemporary on Canyon Road), a singer-songwriter, the leader of his own band, and a guitarist. After renovating two older Santa Fe homes together—the first was New Mexico Supreme Court justice David Chávez’s historic home on Gildersleeve— DeCicco and Hayunga can jointly add another artistic gift to their repertoire: a knack for home design. Hayunga, who moved to Santa Fe right after graduating from Rhode Island School of Design, exhibited with Linda 86

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Durham Contemporary Art until its closure and toured extensively with his band Goshen. DeCicco, meanwhile, was dividing her time between New York and Los Angeles when she and Hayunga met at a taping of Saturday Night Live. It took them a few years to reconnect, but when they did, DeCicco joined Hayunga in Santa Fe. Both knew it was a good place to be. “We had always been working as entertainers, and that was changing for us,” says Hayunga. “[Remodeling a house] was a way to be home.” After renovating and successfully flipping the Chavez house, the couple bought a 1970s-era fixer-upper on Canyon and considered how to contemporize its structure,

Above: With its radiating vigas and curvilinear steps, the sunken living room reminded Hayunga of a carousel. His Runaways, encaustic and fur on gypsum on linen, measures an impressive 13 x 8 feet and was created as a site-specific piece for the space.

Below: Mozart, his eyes as blue as the New Mexico sky, surveys his domain from the stucco wall. The living room fireplace (above) was rebuilt, along with many of the home’s essential systems. “It wasn’t just about beautiful finishes,” says Hayunga. “This place was brought back to being very sound.” Right: Textures and materials show off an elegant settee in the living room. Above the settee is an impressionist landscape by Hayunga called Veiled Sun from the Bluff. august/september 2016

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Above: DeCicco keeps colorful betta fish around the house; the beauty above is one of the kitchen’s “Tennessee Three.” DeCicco and Hayunga live with four rescue pets: dogs Laddie and Ocho and kitties Mosley and Mozart. Right: The kitchen and dining area are now one fluid open space, suffused with sunlight from added windows and doors. The contoured fireplace was a favorite feature, but, according to Hayunga, its hippie design was nothing short of a fire hazard. “It was basically made of papiermâché,” he laughs. “And they used two slabs of wood to border their fire!” Moss rock has since replaced the wood pieces, and the fireplace is a lovely focal point for the cook.

Below: The portal off the kitchen is only partly covered. “We thought it would be nice to have a little shelter but also nice to be able to see the stars,” says DeCicco.

Above: Adding an island with seating allows DeCicco, who loves to cook, to interact with her guests as she prepares meals. The kitchen marries solid wood elements with cheerful white cabinetry, delicate tile, and the schoolhouse industrial–style lighting Hayunga realized was so appropriate to the house. 88

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The spacious master bedroom is L-shaped, with the master bath a quick right past the heavy masonry fireplace. The massive vigas and wood flooring are deliberately dark, softened by the light-colored exposed adobe walls and romantic bedframe.

Part of the master suite, DeCicco’s office is so heavily windowed that it makes her feel like she’s actually sitting in the garden just outside.

systems, and layout while remaining true to the exposed adobe vernacular of the original home. “One of our main focuses was to feel a kind of indoor-outdoor thing—a lush garden, but one that was also water-friendly,” says DeCicco. “And the other thing was to create a through-line.” She and Hayunga leaned on a book—Mud Space & Spirit (1976)—in which the original incarnation of their home was featured. “That was my hook, because I could see what they started with,” says Hayunga. “I was looking at an ’80s remodel, a ’90s remodel. When I saw the initial pictures I realized, oh, this is what everybody was so inspired from.” They began the process by calling in architect Sandra Donner, a founding partner with Surroundings.

After renovating two houses together, DeCicco and Hayunga can jointly add a knack for home design to their artistic repertoires. A few serendipitous meetings with Kurt Faust, one of the partners of custom home building firm Tierra Concepts, convinced Hayunga and DeCicco to accept Tierra’s bid for the gut remodel, which included a comprehensive plan for incorporating them living in the house during the two-phase remodel. “They also gave us a very articulate rendering of what the future might look like in the house,” Hayunga notes. As it would turn out, this house’s future would be shaped largely by its colorful past. “The hippies who built the house thought of it as an Indian hogan, and the living room was like a descent into a kiva,” Hayunga laughs. “I called it the ‘peyote church.’” The living room was far too deep for comfort, however, so the team raised the floor about two steps. The elegant French farmhouse kitchen and dining area now flow into one another (previously at least four separate rooms comprised the space). Ruthlessly tearing down walls allowed the team to see

The master bathroom features a walk-in shower, a kiva, and a huge window that overlooks a serene courtyard and garden. “To be able to sit there and listen to the fountain while you have the fireplace going, and you’re reading a book—it’s like fantasy world,” DeCicco marvels.

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Lefft: Wisteria winds around the entry arch. The heavy Penitente front door is original to the house. Despite his nonreligious leanings, “That door had to stay!” Hayunga says emphatically. “I felt like that door was really important for this place to continue to be resonant.”

Below: Multihyphenate creative types (and part-time interior designers) Grant Hayunga and Elizabeth DeCicco relax in their landscaped yard with rescue pets Mozart and Ocho.




of HAVING an



what they could relocate, and what they could carve from to create their through-line. A simple T-shaped hallway now easily connects the living room to the expanded bedroom wing, the master on one side and a new guest suite on the other. An elegant play of masculine and feminine is found throughout the home, particularly in the counterbalance of dark flooring, wood, and masonry against stylish, light-colored upholstery and exposed adobe walls finished in American Clay plaster. As timber increases in mass farther back into the house, the accents and décor concurrently become softer, more romantic, and eclectic. There’s no doubt that this house is a little him, a little her—DeCicco’s New York loft chic rising to Hayunga’s classic Norteño New Mexico sensibilities. “Neither one of us had a design background; we were just kind of passionate about remodeling and had some good ideas,” says DeCicco. “It’s an artistic outlet, really.” Hayunga, recalling the months he and DeCicco spent doing dishes in bathroom sinks and cooking on hot plates during the remodel, acknowledges there was a certain satisfaction to the process, nontraditional though it might have been for one in his profession. “I had an artistic decision to make every day,” he says. “You could feel good about it when you went to bed; you weren’t in limbo—where’s my next audition, who’s gonna buy my next painting? This had a real nuts and bolts feel: everybody meets on the lawn at seven and beats this thing out.”

26 Stonegate Circle

Photo Š Wendy McEahern

Andrew Neighbour

[on the market]

we buy every day InsIde La Fonda HoteL 100 E. San Francisco Street Santa Fe, New Mexico 87501 866.983.5552 505.983.5552

This luxury home, with seven bedrooms and more than 13,000 square feet of living space, overlooks the first fairway of the Jack Nicklaus Sunrise Golf Course in Las Campanas. Featuring a huge informal living room and a spacious formal living room, both with built-in wet bars, the home also has a large gourmet kitchen designed for preparing daily meals and catered events. Five bedroom suites have walkin closets and lavish bathrooms. In addition to a number of small portales, the home has an expansive grand portal large enough to accommodate parties. The big roof deck, with its impressive panoramic views of the surrounding landscape, is perfect for entertaining thanks to a wood-burning fireplace and a well-appointed outdoor kitchen.

List Price: $4.9 million Contact: Ray Rush and Tim Van Camp, 505-690-2750, Sotheby’s International Realty,

august/september 2016

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[on the market]

Photo: Wendy McEahern

Enchanted Charms of the Southwest

Our Southwestern Charms fit over all brands of add-a-bead bracelets Available in Sterling and 14 Karat Gold


110 West San Francisco Street • Santa Fe, New Mexico 87501 • 505.984.1419

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300 Years of Romance, Intrigue & History. Your stay becomes extraordinary at the Hilton Santa Fe Historic Plaza. Originally the hacienda of the influential Ortiz Family who settled in Santa Fe in 1694, we offer luxury guestrooms, private casitas and thoughtful touches for the leisure and business traveler alike. For the start of the day, lunch, or a lite dinner El Cañon offers fabulous fare morning, noon & night. Just steps from Santa Fe’s Historic Plaza with fine art galleries, museums and shopping—a unique experience in a unique destination.

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41 Vista Hermosa Vista Redonda subdivision is the setting for this spacious five-bedroom home with an open floor plan and high ceilings. Serenely located at the end of a cul-de-sac, the home has many traditional touches, including vigas, hand-hewn latillas, and Saltillo tile. The natural light–filled living room features floor-to-ceiling windows, as well as skylights. Outside the room is a large portal with majestic views. A fireplace adds ambience to the chef’s kitchen, which is decked out with two sinks, a stovetop center island, and plenty of storage. The large master bedroom suite is tastefully separated from the other bedrooms and features a cozy sitting area with a fireplace, as well as his-and-hers bathrooms with dressing areas.

List Price: $1.65 million Contact: Clara Dougherty, 505-989-7741, Dougherty Real Estate,

[on the market]

linda murphy Experience... the Difference

respected dedicated trusted 11 Cloudstone Drive South Stunning mountain views await the residents of this charming three-bedroom home, tucked into the foothills overlooking Santa Fe. It features three en suite bedrooms, an office, and a comfy television room with two sets of French doors that lead to portales. Enjoy a soak in the hot tub on the ground level deck. The guesthouse has two large rooms, including a living room with two sleeping bunks, a kitchenette, and a bathroom, as well as a game room than can fit a pool table. A two-car carport and a large, three-bay garage offer plenty of storage space for vehicles and toys. The grass-covered yards surrounding the home and guesthouse are irrigated by cisterns.

Sarah Lee, Santa Fe Properties

List Price: $1.385 million Contact: Laurie Farber, 505-412-9912, Santa Fe Properties,



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640 640 640 640 Canyon Canyon Canyon Canyon Rd,Rd, Santa Rd, Rd, Santa Santa Santa Fe,Fe, NM Fe, Fe, NM NM NM 87501 87501 87501 87501 640 640 640 640 Canyon Canyon Canyon Canyon Rd, Rd, Santa Rd, Rd, Santa Santa Santa Fe, Fe, NM Fe, Fe, NM NM NM 87501 87501 87501 87501 640 640 640 Canyon Canyon Canyon Rd,Rd, Santa Rd, Santa Santa Fe,Fe, NM Fe, NM NM 87501 87501 87501 / 505-453-1825 / 505-453-1825 // 505-453-1825 505-453-1825 / / / / 505-453-1825 505-453-1825 505-453-1825 505-453-1825 / 505-453-1825 / 505-453-1825 / 505-453-1825

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Auction | August 12 & 13th | sAntA Fe

Clark Hulings Old Town oil on canvas 28 by 42 inches $70,000 - $90,000

690 lots being offered in this two day auction. Notable offerings include works by: Sheldon Parsons, Ben Turner, Emil Bisttram, Robert Daughters, Leon Gaspard, Victor Higgins, Albert Schmidt, John Young-Hunter, Malcolm Furlow, John Nieto & William Lumpkins. There will also be a significant offering of Native American art.

Bidding will take place live, over the phone and online. visit our weBsite for more information and registration. 345 camino del monte sol, santa fe, nm 87501



(855) 945-0448

Dan Bodelson Indian Market 12 x 9 Oil

Mick Doellinger Tail Wind Ed. 30 Bronze

El Centro 102 E. Water Street Santa Fe, New Mexico 87501 505.988.2727

Poteet Victory

Indian Market Weekend • Friday, August 19, 2016 • 5 to 7pm

“Sunlit Trio” 36"x 36" Oil on Canvas

M cLarry M o d e r n

225 Canyon Road • Santa Fe, New Mexico • 505.983.8589

ChuCk Sabatino

Feathers & Weathervanes • Friday, August 5, 2016 • 5 to 7pm

“Lakota Sioux Headdress” 80"x 34" oil

“Acoma Storage Jar” 16”x 16” oil

“1890 Acoma Polychrome” 16”x 16” oil

“Tunyo Jar San Ildefonso” 16”x 16” oil

“1885 Acoma Polychrome” 16”x 16” oil

M CLarry f i n e a r t

225 Canyon Road • Santa Fe, New Mexico • 505.988.1161

20th Anniversary Show

LA FONDA HOTEL IN THE BOARD ROOM August 15th - August 21st

10:00 TO 5:00 p.m.

Special Showing Thursday August 18th

4:00 TO 7:00 p.m

FAUSTGALLERY.COM | 480.200.4290 |

THURS, AUG 18 | 2:30 PM

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Show Scottish Rite Temple Santa Fe August 20 — 21, 2016

Presenting: Kateri Quandelacy Sanchez left Stewart Quandelac Quandelacyy right Quandelacy Family Necklace top Gomeo Bobelu Octavius & Irma Seowtewa Eddington Hannaweeke Brion Hattie Marnella Kucate Carlos Laate Filmer Lalio Jaycee Nahohai Les Namingha Claudia Peina Anderson Peynetsa Sandra Quandelacy Hudson Sandy Jeff Shetima Gabe Sice Dan Simplicio Jennie Vicenti Kevin Chapman and more... 200 Old Santa Fe Trail Santa Fe, NM 87501

Main: (505) 983-7027

Join Us For Our Annual Indian Market Reception Friday, August 19th, 4-7pm

New Works By Native Artists: Brandon Bailey • Alvin Marshall • John Potter • Zoe Urness • Oreland C. Joe



The city’s different summer show. The new, the old, the unique, the unexpected - more than 70 prestigious exhibitors will showcase an impressive variety of Objects Of Art for sale.




S H O W S H E L D AT | E L M U S E O, I N T H E R A I LYA R D, S A N TA F E , N M | 5 0 5 6 6 0 4 7 0 1 2 S P E C I A L E X H I B I T S R U N N I N G C O N C U R R E N T LY W I T H B O T H S H O W S :



Guided tours, dances, feast days, local potters, Gaits’i Gift Shop, and Yaaka Café • (800) 747-0181 • 15 minutes south of I-40 Exit 102 • Pueblo of Acoma, NM




2016 2016 2016 2016 2016

WeWe invited We invited We invited Weinvited our invited our best our best our our best potters potters best best potters potters to potters to surprise surprise to to surprise tosurprise us surprise us us usus with with with anan with exceptional with an exceptional an exceptional anexceptional exceptional piece. piece. piece. piece. piece. August August August August 18 August 18 - 21 18 - 21 18 - 18 21 - 21 - 21 Opening Opening Opening Opening reception: Opening reception: reception: reception: reception: Thursday, Thursday, Thursday, Thursday, Thursday, August August August 18 August th August 18, th 4:30 18 , 4:30 th18 ,pm. 18 4:30 thpm. th , 4:30 , 4:30 pm. Red Red carpet Red carpet Red Red carpet celebration carpet celebration carpet celebration celebration celebration begins begins begins promptly begins promptly begins promptly promptly promptly at at 4:45. 4:45. at 4:45. atat4:45. 4:45.

Giant Giant Giant Giant Giant Miniature Miniature Miniature Miniature Miniature Show Show Show Show Show Over Over Over 150 Over 150 Over tiny 150 tiny 150 pottery 150 tiny pottery tiny tiny pottery pottery gems pottery gems gems from gems from gems from the from the from McHorse the McHorse the the McHorse McHorse McHorse collection. collection. collection. collection. collection. August August August August 12 August 12 - 31 12 - 31 12 -12 31 - 31 - 31 Reception: Reception: Reception: Reception: Reception: Wednesday, Wednesday, Wednesday, Wednesday, Wednesday, August August August 17 August August 17 th, th 2:00 17 , 2:00 th 17,17 -2:00 th 7:00 -th , 2:00 7:00 , 2:00 -pm. 7:00 -pm. 7:00 - 7:00 pm.

Nampeyo Nampeyo Nampeyo Nampeyo Nampeyo ofofof Hano of Hano ofHano Hano Hano Show Show Show Show Show A stunning A stunning A stunning AAstunning stunning selection selection selection selection selection byby the by the master by the by master the the master master Hopi master Hopi Hopi potter. Hopi potter. Hopi potter. potter. potter. August August August August 19 August 19 - 23 19 - 23 19 -19 23 - 23 - 23 Opening Opening Opening Opening reception: Opening reception: reception: reception: reception: Friday, Friday, Friday, August Friday, August Friday, August 19 August August 19 th, th 10 19 , 10 th am. 19,19 am. 10 thth , 10 am. , 10am. am.

Diego Diego Diego Diego Diego Valles Valles Valles Valles Valles Show Show Show Show Show &&Demo &Demo &&Demo Demo Demo The The premier The premier The The premier premier Mata premier Mata Mata Ortiz Mata Ortiz Mata Ortiz innovator. Ortiz innovator. Ortiz innovator. innovator. innovator. August August August August 19 August 19 - 23 19 - 23 19 -19 23 - 23 - 23 Opening Opening Opening Opening reception: Opening reception: reception: reception: reception: Friday, Friday, Friday, August Friday, August Friday, August 19 August August 19 th, th 10 19 , 10 th am. 19,19 am. 10 thth , 10 am. , 10am. am. th and th th Saturday, and th Saturday, th and and Saturday, Saturday, Saturday, August August August 20 August August 20 th. th 20 . th 20.20 thth . . Demonstration: Demonstration: Demonstration: Demonstration: Demonstration: Friday, Friday, Friday, August Friday, August Friday, August 19 August August 19 19and 19 19

100 100 West 100 West 100 West 100 San San West West Francisco San Francisco San San Francisco Francisco Francisco St.St. Santa Santa St. St. Santa Fe, St.Santa Fe, Santa NM Fe, NM 87501 Fe, NM Fe, 87501 NM 87501 NM505.986.1234 87501 87501 505.986.1234 505.986.1234 505.986.1234 505.986.1234

Fingerwoven Textiles Tyra Shackleford

A ncie nt Techni q u es ,

Mod e r n Wearabl e A r t a nd Accessor i es

Indian Market Booth 916 SHE IFAM Booth 566

Lloyd Kiva New native


Fashion trend-setter. Designer. Artist. Educator.

Join us as we celebrate the life and legacy of Lloyd Kiva New. IAIA MUSEUM OF CONTEMPORARY NATIVE ARTS Lloyd Kiva New: Art, Design, and Influence january


through september

11, 2016

MUSEUM OF INDIAN ARTS AND CULTURE A New Century: The Life and Legacy of Cherokee Artist and Educator Lloyd Kiva New february


through december

30, 2016


through october

10, 2016

De •


of Cultu r

Affairs •




Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA

p a rt m e


w Mexico


PASSAGE #43 Archival Print on Paper


SIPAPU Indiana Limestone and Jelutong 17.5” x 17.25” x 5” Arlo Namingha © 2016

Edition of 30

20.5” x 38”

Dan Namingha © 2016


GC2 Digital C-Print Face Mounted to Plexiglas Edition of 2 41” x 29” approx. Michael Namingha © 2016

Ar tist Reception: 5-7:30pm • Friday, August 19, 2016 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • •

native arts magazine

contents 37 Welcome

Southwestern Association for Indian Arts

35 Up Front

Indian Pueblo Cultural Center’s We Are of This Place; Native Cinema Showcase; interviews with Sterlin Harjo, Amber Midthunder, and Zahn McClarnon Left: Bryant Mavasta Honyouti (Hopi), 2015 Best of Class, woodcarving. Photo by Daniel Nadelbach

43 Museum Spotlight

New and ongoing Native American arts and history exhibits at the top regional and national museums

56 Features

Revitalizing an ancient pueblo; authenticity in the cultural district; remembering Jeri Ah-be-hill

62 Artists and Shows

Master jewelers, weavers, and beadworkers; art of the Pacific Northwest; collaborations in clay


“Coyote Profile” • 16" x 20" • Acrylic

“Pinto” • 24" x 30" • Acrylic

JOHN NIETO NEW WORLD TREASURY • One Man Show • Friday, August 19, 2016 • 5 to 7pm

VENTANA FINE ART 400 Canyon Road

Santa Fe, NM 87501





Elizabeth M. Pettus Chair

Roger Bryn Fragua (Jemez Pueblo) Vice-Chair

Dominique Toya (Jemez Pueblo) Secretary

Lloyd K. “Skip” Sayre Treasurer

Mark Bahti Lisa Chavez (San Felipe Pueblo) Susan Folwell (Santa Clara Pueblo) Andrea Hanley (Navajo) Elizabeth M. Kirk (Isleta Pueblo/Navajo) Andrew Masiel (Pechanga Band) Traci Rabbit (Cherokee Nation of Oklahoma) Thomas Teegarden


Dallin Maybee (Northern Arapaho/Seneca) Chief Operating Officer

John D. Jones Chief Development Officer

Henry Brown Wolf III (Kewa/Lakota) Artist Services Manager

Amanda Crocker PR & Marketing Director

Tammie R. Touchine (Navajo) Volunteer & Membership Coordinator

Yvonne Gillespie Finance Administration

Eva Del Río (Mexican/Tarahumara) Administrative Support

Nancy Wolfe Administrative Support

Daniel Remmenga (Ponca Tribe of Nebraska) Logistics Coordinator

Jhane Myers (Comanche/Blackfeet) Class X Program Manager

Amber-Dawn Bear Robe (Siksika), Judy Bell, Cat Charney, and Logan Bluejacket (Eastern Shawnee) INDIAN MARKET ZONE MANAGERS

Phillip Bread (Comanche/Kiowa) and Laura Sippel SUMMER INTERNS




native arts magazine


bruce adams



b.y. cooper

anne maclachlan


amanda jackson , stephanie love lisa j. van sickle EDITORIAL INTERN

2016 SANTA FE SUMMER & FALL FUN SERIES 27 Jul– 14 Aug & 24 Aug– 25 Sept

elizabeth sanchez DESIGNERS

valérie herndon, allie salazar ASSOCIATE PUBLISHER, SALES MANAGER

david wilkinson SALES EXecutive

karim jundi WRITERS

ashley m. biggers, joseph case chelsea herr, neebinnaukzhik southall whitney spivey, jason strykowski barbara tyner, emily van cleve PHOTOGRAPHY


Pacheco Park, 1512 Pacheco St, Ste D-105 Santa Fe, NM 87505 Telephone 505-983-1444, fax 505-983-1555 Copyright 2016. Reproduction in whole or in part without permission is prohibited. Published by Bella Media, LLC, Pacheco Park, 1512 Pacheco St, Ste D-105




100’S OF



Santa Fe, NM 87505. 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.



Indian Market Magazine

Shelle Neese Pictures

The Heart of the Dragonfly Cross Collection,18-kt yellow gold dragonfly cross multistrand necklace and earrings by worldrenowned Indigenous lapidary artist Jesse Monongya. Read more on page 62.

Courtersy of Fiona Rayher and Damien Gillis

up front

news and happenings

Native Cinema Showcase

Native Cinema Showcase, August 16–21, free, New Mexico History Museum, 113 Lincoln,

Joe Wilson

Above: Caleb Behn, a young Dene lawyer and the subject of the documentary Fractured Land, engages gas and oil companies in a struggle to defend the Indigenous lands and people of Northern Canada.

Above: Rod Rondeaux (left) in the title role of Mekko, approaches fellow “street chief” Allen (played by Tre Harjo) in filmmaker Sterlin Harjo’s dark tale of life on the streets. The film weaves ancient tales into the modern struggles of homeless Natives in Tulsa, Oklahoma.

Courtesy Toronto international film festival

The finest in contemporary fiction and nonfiction Native American films are part of Indian Market’s Native Cinema Showcase, a sixday event presented by SWAIA and the Smithsonian National Museum of the American Indian. The New Mexico History Museum is the venue for the screening of most of the festival’s full-length films and shorts created by professional and emerging filmmakers from throughout North America, Australia, and New Zealand. Native Cinema Showcase opens on August 16 with the documentary What Was Ours (2015) by award-winning independent filmmaker and director Mat Hames. It tells the story of Shoshone and Arapaho tribal members of the Wind River Reservation who work to bring home objects lost to their communities. Hames is also the director for the feature film Le Dep (2015) that’s presented on August 17. In French with English subtitles, this film for mature audiences focuses on the robbery of a remote convenience store where welfare money is stored for distribution to community members. Films and videos by young and emerging filmmakers are featured during the August 17 Future Voices program, which is produced by Future Voices of New Mexico. This local organization works with high schools and underrepresented communities to encourage students to tell stories through film and photography. Director Sterlin Harjo (Seminole/Creek) is expected to be at the screening of his 2015 film Mekko, the story of a Creek man who finds himself on the streets of Tulsa after 19 years in prison. Award-winning narrative, documentary, animation, and experimental films and music videos that competed in Indian Market’s Classification X category are screened on August 19. “In the six years since Class X was added as a juried category to Indian Market, SWAIA has seen a substantial increase in the quantity and quality of submissions,” says Jhane Myers (Comanche/Blackfeet), SWAIA’s Class X Film Manager. The afternoon program on August 20 features everything from the oneminute shorts Indian and the Tourist (2015) and First Contact (2015) to the 14-minute short Ma (2015). The evening’s full-length film, Born to Dance (2015), will be screened at the Santa Fe Railyard Park. Directed by Tammy Davis, it tells the story of Tu, a young man from Auckland, who wants to become a professional hip-hop dancer. “This Saturday night outdoor screening is a ‘bring a picnic and a blanket’ event that’s great for the entire family,” says Myers. Native Cinema Showcase wraps up back at the New Mexico History Museum on August 21 with screenings of the dramas The Saver (2015) and Fire Song (2015).—Emily Van Cleve FILM

Above: Actors Andrew Martin (Mohawk) and Harley Legarde (Ojibwe) in a still from the film Fire Song, a look at the challenges of living as a two-spirit among some First Nations cultures in Canada. santa fean

native arts 2016


up front

news and happenings

Indian Pueblo Cultural Center We Are of This Place

To celebrate its 40th anniversary and recent museum Exhibit renovation, the Indian Pueblo Cultural Center in Albuquerque has installed a permanent exhibit titled We Are of This Place: The Pueblo Story. This extensive display presents visitors with an unparalleled look into the history and continuing traditions of New Mexico’s 19 Pueblos. Not only does the exhibit’s narrative encompass the complex histories of the Pueblos, but it also reminds visitors that these communities endure, and will continue to survive and flourish in their traditional homelands. Collaboratively founded and run by all 19 Pueblos, the Cultural Center has provided an integral space for these communities to express their own stories in their own ways since 1976. We Are of This Place continues this multivocal practice and highlights the significance of physical place for Puebloan peoples. The exhibit emphasizes the vital connection between the Pueblos and the land on which they live, and the curators let their audience know that these communities continue to prosper in tradition, heritage, and culture at their places of origin. Visitors can expect to encounter a wide array of cultural items like finely detailed moccasins and intricately carved stone fetishes, narrative text that describes some of the Pueblos’ traditions and their relations with the federal government, and interactive elements, such as video presentations and a hands-on learning center called Grandma’s Kitchen, specifically for children. Perhaps the most captivating portion of We Are of This Place is the section devoted to specific values such as knowledge, respect, growth, and life, which presents viewers with photographs and textual vignettes that address historic and contemporary issues in Pueblo communities. The significance of this section cannot be overlooked; while the texts associated with each value explain hardships or obstacles that the Pueblos have overcome, the displays also emphasize how these communities have adapted to survive while still maintaining a strong cultural heritage and valuing their unique traditions. In this sense, this portion of the exhibit exemplifies the Cultural Center’s overall goal for We Are of This Place. The Pueblos, like many other indigenous communities in the Americas, are still present and thriving despite generations of adversity and oppression. Not only were they born from this place, but they still inhabit this place, and will continue to call this place home.—Chelsea Herr (Choctaw Nation of Oklahoma)

Courtesy IPCC

Visitors can create their own seasonal scenes with magnetic animals, plants, and people on one of four colorful magnetic walls. Shown here is a close-up of a wolf magnet.

Courtesy IPCC

In the “Elders & Children” section of the exhibition, Jackson Suazo (Laguna/Santa Ana/Acoma/Taos Pueblo) compares his hands to the tile handprints on the Joe Sando mural wall.

Left: Children can build their own Pueblo village scene with these soft foam building blocks.


welcome from swaia


Greetings! As anyone who has been to the Santa Fe Indian Market knows, this event is a huge logistical undertaking. The SWAIA staff and board work year-round to get ready: managing artist services from the application process to final booth placements; seeking out volunteers and members; doing development and fundraising, PR & marketing, and myriad other tasks. In the months leading up to Market, zone managers, volunteers, and interns join the team and things really get intense. It’s a blur of maps, constantly shifting schedules and layouts, film screenings, interviews, signage, porta-potties, ad designs, bulk mailings, permitting, phone calls, menu planning, donation receiving, brainstorming, thinking, and rethinking every aspect of every part of Market . . . and many miles of pipe-and-drape. Once it’s all laid out and everything is in place, that’s when Market takes on a life of its own. It’s as though we raise a child and then watch it go out in the world on its own every third week of August. It morphs into its own being, with an identity, an energy, and a life of its own. Artists with their grandchildren in their booths with them, visitors from all over the globe, volunteers of all ages, art lovers, culture-seekers, fashion models, musicians, and dancers breathe life into every plastic tent and foam core sign. For those involved in putting it together, the beauty and uniqueness of this “child” never ceases to amaze and inspire. To those of you coming in from all over the country and the world to celebrate the diversity and unequaled beauty of Native art and culture, we thank you. We appreciate that you value SWAIA’s mission and what we are aiming to accomplish, we admire that you have great taste in art and travel destinations, and we are grateful for your support. Please enjoy this, the 95th annual Santa Fe Indian Market! If you are not a member of SWAIA already, we encourage you to become one today, to help ensure its continuation for another 95 years. See you on the Plaza!

Below: The Red Turtle Dance Group performs at Pojoaque Pueblo. The IPCC’s summer dance schedule, which begins in June, includes dances on Fridays as well as their regular Saturday and Sunday performances.

Dallin Maybee (Northern Arapaho/Seneca) Chief Operating Officer

John D. Jones Chief Development Officer Courtesy IPCC

TCourtesy IPCC


PS. It’s a digital world! We hope you will help us spread the word about Indian Market through social media. If you post from Market, please include the hashtags #santafeindianmarket #nativeartinspired and #swaiatribe. Thank you and have fun! santa fean

native arts 2016


Sterlin Harjo filmmaker spotlights Native American culture by Whitney Spivey

For some, breakfast is the most important meal of the day. For Sterlin Harjo, “breakfast is also the most poetic of meals—I get inspired by eggs.” Harjo is also inspired by music, art, literature, and comedy—the same fields in which the 36-year-old member of the Seminole Nation is becoming increasingly well known. “I’m a filmmaker,” he says. “I make art, I create things, I try to play guitar; sometimes I make people laugh.” Harjo’s feature films include dramas Four Sheets to the Wind (2007) and Barking Water (2009), which debuted at the Sundance Film Festival. Thriller Mekko opened at the Los Angeles Film Festival in 2015. All three films are set in Harjo’s native Oklahoma and feature Native American characters. This May Be the Last Time (2014), Harjo’s first feature documentary, tells the story of his grandfather, who 38

Indian Market Magazine

disappeared in 1962 in central Oklahoma. The film also explores the relationship of Creek Nation hymns to Scottish folk, gospel, and rock music. Currently, Harjo is working on a fourth feature film with his Native American sketch comedy troupe, the 1491s. “It’s an insane comedy about a tribal election,” he explains. “We are going to crowd-fund it and make it—hopefully this year. It will probably change the world.” Harjo founded the 1491s (a reference to the last year before the arrival of Christopher Columbus in America) seven years ago after reconnecting with graphic artist/photographer Ryan Red Corn (Osage Nation) and visual artist Bobby Wilson (SissetonWahpeton Dakota). “The world needed Native humor, so the universe conspired to bring us together on the tough streets of Santa Fe,” he says. “We all three ended

Ryan Red Corn

Filmmaker Sterlin Harjo (Seminole/Muscogee), one of 27 recipients of the George Kaiser Family Foundation 2016 Tulsa Artist Fellowship, is the writer, director, and producer of the award-winning independent film Mekko.

Filmmaker Sterlin Harjo has made dramatic films, a thriller, and a documentary; he is currently at work on a comedy feature with his wickedly funny troupe the 1491s, seen below. Back row, L–R: Bobby Wilson, Migizi Pensoneau, Dallas Goldtooth, Ryan Red Corn. Front, in hat: Sterlin Harjo.

Sterlin Harjo’s Mekko

up in bed together; Bobby was in the middle.” The 1491s, which also includes writer-artist Dallas Goldtooth and Migizi Pensoneau, were featured on The Daily Show in 2014, where they participated in a panel discussion about the controversial name of the Washington football team’s notorious moniker. The group’s YouTube videos, which depict contemporary Native life in America (including the stereotypes and racism) have gone viral. In the nearly four-minute clip “I’m an Indian Too,” Red Corn depicts a hipster Indian in a headdress dancing his way around the Santa Fe Plaza during Indian Market. The video has nearly 400,000 plays. “Santa Fe Indian Market is the first place I ever saw an Indian man playing flute in full buckskin for a bunch of old white ladies,” Harjo remembers. “He had a basket out for tips. I thought to myself right then, ‘I like this town.’” Although Harjo does not live in Santa Fe, he visits the City Different often. “If I was based in Santa Fe, I’d probably wear more turquoise and I’d eat too much green chile,” he says, noting that he loves the food—specifically the green chile—at The Pantry so much that he shot part of a music video there. The video, appropriately, is titled “Santa Fe.” Find it on YouTube or Vimeo.

street dreams—and nightmares by Anne Maclachlan

courtesy sterlin harjo

Shane Brown

Above: Rod Rondeaux (Crow Nation), left, plays the title character in Mekko, Sterlin Harjo’s portrayal of Tulsa’s homeless “street chiefs.” Sarah Podemski (Saulteaux) is Tafv, one of Mekko’s few friends outside his circle of fellow street dwellers.

Shane Brown

The 1491s can generally be found poking fun at everything and everyone—including each other.

Sterlin Harjo is known for producing gritty, modern narrative films. With Mekko (pronounced “Mee-ko”), he hits the streets of Tulsa for an intensely emotional story about life among the local homeless Native population. Starring Rod Rondeaux (powerfully understated in the title role), Mekko tells the story of a man recently released from prison and trying to find his feet in the world again. When Mekko is approached by someone—or something, perhaps—in the form of Bill (played by Zahn McClarnon; see page 40), a whole new nightmare begins for him. Apart from the main cast, many of the supporting roles are played by homeless Tulsa Natives. “I knew I didn’t want a cast of actors trying to be homeless,” says Harjo. “And I didn’t want it to be exploitative.” Thus, an extra layer of realism is infused into the film with the casting of customers from the Iron Gate soup kitchen. Sadly, since its debut, Mekko’s crew has been shaken by the deaths of several supporting cast members. “It’s a hard life,” Harjo says simply. When he first arrived in Tulsa, the ever-observant Harjo was intrigued by what he saw as a community of homeless Native people on the city streets, looking out for one another, laughing, and essentially forming an extended family. That sense of belonging and familial bonds appealed to him, and once he began to explore this world, he knew it had to become his next film project. He seems to have nailed it. Mekko is garnering widespread acclaim. It will also be screened at the 2016 Native Cinema Showcase at the New Mexico History Museum. Mekko, New Mexico History Museum, 113 Lincoln, see for date and time santa fean

native arts 2016


Zahn McClarnon electric mystery by Anne Maclachlan

Marisa quinn

Chris Large/FX

Zahn McClarnon played Hanzee Dent, one of his best known and most villainous characters, on the second season of FX TV’s Fargo.

from the writers he highly praises, but it’s there, whether he is portraying a serial killer like Dent (who murders in the way ordinary people turn pages in a book) or a dedicated angry-hornet cop like Mathias, who is passionately protective of what he calls “my Rez.” In real life, McClarnon is a respected A-level racquetball player who trains regularly, and who staunchly supports his friends and colleagues in their various endeavors.   Alluding to a difficult past, McClarnon says he will draw on that to give his more dangerous characters some depth, explaining, “I’m able to tap into that darker side pretty easily, I think.” He also, somehow, imparts a sort of offscreen presence to these characters—even when they’re not seen, they are decidedly up to something. (“Good, then I’m doing my job,” McClarnon smiles.) Hanzee Dent, for example, is that scary spider in the living room; bad enough when it’s lurking in the corner where you can see it, but even worse when you don’t know where it just disappeared. Longmire’s “Team Mathias” fans enjoy speculating on his character’s personal life, and on what’s behind the friction between the tribal cop and Standing Bear. In filmmaker Sterlin Harjo’s Mekko (see page 39), as the hair-raising street demon Bill—well, we probably don’t really want to know what’s fermenting offscreen there. Do these characters follow him home? McClarnon says he can generally leave them at work, but clearly he finds Mekko’s Bill disturbing. He hesitates a beat or two. “There were some moments where I felt a little uncomfortable,” he says slowly. “Probably mainly with the brutality of what Bill did to the other characters. That brutality … But no, I’m able to shake that off pretty easily … It’s just acting.” And that, he continues, is the joy of it all.

Watching Zahn McClarnon, whether he’s onscreen or sipping coffee across from you in Santa Fe, is simply electrifying. He’s like a quietly powerful generator, made of barely contained energy.  Zahn McClarnon McClarnon has been working steadily as (Hunkpapa Lakota / Irish), an actor for a couple of decades. In Santa is currently filming the role of Toshaway in the Fe this spring to continue playing the role AMC drama The Son. of Cheyenne Tribal Police Chief Mathias in Netflix’s fifth season of Longmire (which wrapped in June and premieres in September), McClarnon, with a half-smile, reveals only one word about the show’s direction: “Loyalty.” He does promise a little more about the antagonistic relationship between his character and that of Henry Standing Bear, played by Lou Diamond Phillips. Apart from that, he is as silent as his famously villainous character Hanzee Dent on the FX series Fargo.  There’s a common theme among all of McClarnon’s characters: commitment. It’s difficult to say whether that comes from McClarnon himself or 40

Indian Market Magazine

Chuck Foxen

McClarnon won the 2015 American Indian Movie Award for best supporting actor in the role of Bill in Sterlin Harjo’s Mekko (see page 39).

Below: Zahn McClarnon, left, portrays Cheyenne Tribal Police Chief Mathias opposite Robert Taylor in the title role of the Netflix drama Longmire.

ursula coyote/netflix

Paintings by Students of the Santa Fe Indian School

“It’s all about the process,” McClarnon says of honing his craft through ongoing study, and of what he pours into his roles. He compares it to “going to a gym and staying healthy,” and explains that acting classes also allow him to explore opportunities he isn’t being seen for at the moment. He’s not, for example, being cast in comedic roles, though anyone who’s seen his work knows that his wry humor and deadpan delivery hit the mark every time. This summer’s role as the Comanche war chief Toshaway in the AMC period drama The Son (with Pierce Brosnan in the title role) marks his entry into a patriarchal role, which McClarnon says he’s looking forward to exploring—and for which he learned some of the Comanche language. Returning to the subject of Longmire, McClarnon beams and enthusiastically praises his colleagues, the Santa Fe crew, and the support from fans, saying, “I hope it goes on forever!” He speaks warmly of his social ties here—some of which go back to early childhood when his family lived briefly in New Mexico before moving to St. Mary’s, Montana—and muses about making a future in the City Different. He grew up on green chile, which he loves. “Green chile on everything!” he grins, remembering his father’s heat-filled recipes. “We used to call it St. Mary’s dynamite.” Apart from visiting local friends, hitting the ski slopes, and training on the racquetball court, McClarnon also hangs out around town, perusing bookstore shelves or relaxing on the Plaza (“for hours sometimes”), going over his lines and listening to street musicians. From time to time toward the end of the conversation, Zahn McClarnon’s eyes narrow or stare deeply as he contemplates the answer to a question, and the shadow of Hanzee Dent looms on the wall behind him. He seems to be having a little fun with that, actually. About to leave, he pauses, tosses a wicked grin over his shoulder, and asks, “Before I go, is there anything you want to ask me that you were afraid to before?”  Thanks, Zahn, I’m fine. I’ll just stay put for a moment until I can breathe again.

Pair of Zuni Shalako by Romando Vigil (1902-1978) Tse Ye Mu - Falling Cloud Medium: casein; Image Size: 19” x 12-1/2”

Opening Reception Monday August 8th 5 to 7 pm Exhibit continues through September 17th 221 Canyon Road, Santa Fe



Amber Midthunder feet on the ground and rising fast by Anne Maclachlan

Suzanne Prescott

Though she’s been in the film industry for most of her life—her first speaking role was opposite Alan Arkin in the film Sunshine Cleaning Company when she was 8 years old—this summer looks as if it will mark Amber Midthunder’s cinematic breakout year. Midthunder, an enrolled tribal member of the Ft. Peck Sioux Reservation, has been cast as the mysterious Kerry in the upcoming FX TVAbove: Actress and filmmaker Amber Midthunder Marvel series Legion, starring plays Kerry on the Marvel-FX TV series Legion. Downton Abbey’s Dan Stevens. With a script by Fargo’s Noah Hawley (“He’s a genius. He’s so open to letting the art happen,” says Midthunder.) and including a number of Fargo’s former castmembers, Legion—and Kerry—are already attracting a great deal of critical interest. Also this summer, Midthunder plays Natalie Martinez in the Jeff Bridges / Ben Foster / Chris Pine / Gil Birmingham film Hell or High Water (formerly titled Comancheria), which earned acclaim at the Cannes Film Festival earlier this year and is out this summer in the States. “It’s truly an amazing gift to live in that space with them, even if it was just for a day [of filming],” she says of the principals and the director, David Mackenzie. Her parents, Angelique and David Midthunder, are both in the business, and she says watching them when she was small lit the initial spark. Her parents supported her but never pushed. “I remember when I was little, and my dad would get auditions, and I would sit and learn his lines,” she recalls. “I didn’t really understand what it was. I just wanted to do it.” As to honing the craft, Midthunder feels that each actor should use a unique approach. “It’s so individual, so personal, that you just have to figure it out for yourself,” she advises. In her own case, she prefers coaching to classes and workshops, but adds, “The times I have felt myself grow the most were in the presence of other actors, in a working environment.” Regarding specific influences, she speaks highly of her coach, Laura Cunningham, and of her own mother, Angelique, through whom she learned the casting process. “I feel that’s where I really learned the magic,” Midthunder explains, “in the casting office, where a person comes in, in front of a wall and two people, and they sort of have this whole other world happening.” Clearly at home in front of the camera, Midthunder was in her midteens when she codirected two films with Hannah Macpherson, which she thoroughly enjoyed doing. “I was very young,” she says, adding that she appreciated having a codirector who could oversee the process. The films, #nightslikethese and #hashtag, both caught national attention, and are terrifying reflections on the desensitization of teens who live

56 56 x 30x 30 x 12x 12 inches, inches, hand-carved hand-carved wooden wooden figure figure 56 56 x 30x 30 x 12x 12 inches, inches, hand-carved hand-carved wooden wooden figure figure 56 56 x 30x 30 x 12x 12 inches, inches, hand-carved hand-carved wooden wooden figure figure

36 36 x 36x 36 inches, inches, acrylic acrylic on on canvas canvas 36 36 x 36x 36 inches, inches, acrylic acrylic on on canvas canvas 36 36 x 36x 36 inches, inches, acrylic acrylic on on canvas canvas


505-984-1688 505-984-1688 • • 505-984-1688 505-984-1688 • •

Continued on page 77

Edward S. Curtis, Apache Reaper, 1906, platinum print, 6 x 8"

Booth Museum Left: Edward S. Curtis, Qahatika Girl, pigment print, 46 x 34"


Edward S. Curtis, Dusty Dress, ca. 1910, photogravure, 15 x 12"

By Her Hand Edward S. Curtis, Woman and Child–Nunivak, 1928, pigment print, 20 x 16"

celebrating Native American women by Ash le y M. Big ge rs Edward S. Curtis, Zuni Ornaments, ca. 1903, photogravure, 7 x 5"

Left: Edward S. Curtis, Papago Girl, ca. 1907, photogravure, 15 x 12"

Beaded doll, Sioux, ca. 1880, private collection, 11 x 6 x 2"

Edward S. Curtis, Blanket Weaver, 1904, pigment print, 34 x 46"

Blanket Weaver. The Basket Maker. Taos Water Girls. These iconic and lesser-known Edward S. Curtis images grace the walls of the Booth Western Art Museum. Fittingly known for its Western art collection, the museum has drawn upon the holdings of area collectors for By Her Hand: Native American Women, Their Art, and The Photographs of Edward S. Curtis, a traveling photography exhibition that pairs Curtis’s images with Native American artwork and objects from local museums. Because collectors are contributing the objects, visitors have a rare opportunity to view these examples of pottery, clothing, dolls, and other art. “Many people will be surprised to know how deep the collections are,” says Seth Hopkins, executive director of the Booth Museum. The collectors have contributed objects such as a bird effigy pot by the Piman People, Sioux children’s moccasins along with a doll bedecked in white beads, and a polychrome jar and canteen from San Ildefonso and Cochiti Pueblos respectively. Although not the exact objects seen in the Curtis images, the items reflect the general style of the objects depicted in intimate portraits like Mohave Potter, in which a woman works pottery in her lap, or Painting a Hat—Nakoaktok, in which a woman paints a straw hat with the British Columbia tribe’s designs. The exhibition demonstrates “the importance of women in society,” Hopkins says. “They cared about children and family, as well as about beauty and the quality of well-made things.”

The museum has designed the exhibit to be immersive. To pair with The Weaver, a wide shot depicting a woman seated before a loom with the arch of a branch in the background, the museum has re-created a vertical loom. The image, enlarged on a scrim behind it, creates an appealing vignette. The museum has also built out a workshop environment and a trading post scene to give a sense of the creative process. Of course, Curtis, the ethnologist and photographer who captured more than 2,000 images of the American West and Native American peoples, is an engaging draw as well. “The magic of his images within Western art is that it is one of the more emotionally driven and thought-provoking bodies of work. When you pair it with objects, it’s stunning visually, aesthetically, and emotionally,” Hopkins observes. During the show’s opening, visitors may join a gallery walk with Eric and Lynda Sermon, who have been collectors for the past 40 years and were guest curators for the object portion of the exhibition, followed by a panel discussion featuring the curator of photography at Atlanta’s High Museum, Brett Abbott, who will speak about Curtis’s career and work. By Her Hand: Native American Women, Their Art, and the Photographs of Edward S. Curtis, August 13–November 20, opening gallery walk August 20, 4:30–5:30 pm, reception 5:30–7 pm, panel presentation 7 pm, Booth Western Art Museum, 501 Museum Drive, Cartersville, Georgia, 770-387-1300, Left: Woven basket, Chemehuevi, ca. 1910, private collection, 8 x 8 x 8"


Autry Museum of the American West

celebrating the West in art and tales new and ongoing exhibits by Emi ly Va n Cle ve

Storyteller doll, Seferina Ortiz, Cochiti Pueblo, ca. 1990s, 8 x 6 x 8”. Gift of Terry and Ben Hayes.

Left: Polychrome storage jar, Tesuque Pueblo, ca. 1870– 1880, 18 x 20 x 20”. Anonymous gift.

Legendary recording artist and movie star Gene Autry (1907–1998) cofounded the Autry Museum of the American West in Los Angeles in 1988 as a place to host exhibits that interpret the heritage of the West and show its influence worldwide. Originally called the Autry Museum of Western Heritage, the museum changed its name to the Autry National Center of the American West when it merged with the Southwest Museum of the American Indian in Los Angeles and Colorado’s Women of the West Museum more than a decade ago. In the fall of 2015, in advance of the October 2016 unveiling of close to 20,000 square feet of renovated visitor spaces, the museum changed its name again to the Autry Museum of the American West to reflect its mission to present the diverse stories of the West. The art, history, and culture of the American West are explored through the more than 500,000-piece collection of film memorabilia, historic firearms, paintings, and Native American art and artifacts displayed at the museum’s two Los Angeles facilities. 44

Indian Market Magazine

The Griffith Park building hosts the majority of the museum’s exhibitions. New Acquisitions Featuring the Kaufman Collection, inspired by a gift of 49 paintings and sculptures, is a two-year exhibit that opened in the summer of 2015. It includes bronzes by Frederic Remington and Allan Houser, paintings by Rick Bartow and Eanger Irving (E. I.) Couse, lithographs by Fritz Scholder, and watercolors by David Einstein. Several ongoing exhibits showcase both the refined and rough sides of the American West. Organized around the three themes of “Religion and Ritual,” “Land and Landscape,” and “Migration and Movement,” the exhibit Art of the West displays historic works by Thomas Moran and Frederic Remington alongside pieces by Georgia O’Keeffe, Virgil Ortiz, Luis Tapia, and David Levinthal. Western Frontiers: Stories of Fact and Fiction focuses on the role of guns in the West. On display are Colt and Winchester firearms owned by Teddy Roosevelt, Annie Oakley’s gold-plated handguns with pearl grips, and a Remington revolver once owned by General George Meade, the Union Army’s commander at Gettysburg. The museum’s second facility, the Historic Southwest Museum Mount Washington Campus, was founded as the Southwest Museum of the American Indian in 1907 by Charles F. Lummis, who was the first city editor for the Los Angeles Times as well as a photographer, amateur anthropologist, and Southwest historian. It also houses the Southwest Museum for the American Indian collection, which contains Left: Polychrome bowl, Nampeyo or Annie Nampeyo (Hopi), ca. 1901, 3 x 10”

thousands of Native American items from prehistoric through contemporary times. “This collection is huge and on a level similar to the one at the National Museum of the American Indian at the Smithsonian,” says chief curator Amy Scott. “Some of the oldest materials we have were found during archaeological excavations in the early part of the 20th century. We have a wide range of materials from a 1900 Hopi seed jar to an ancient Hohokam charm or fetish. We have quite a lot of ceramics from the Southwest.” Featuring more than 100 pieces of rare ceramics, the ongoing exhibit Four Centuries of Pueblo Pottery traces the Pueblo pottery tradition from the 16th century to the present. It includes pieces by Maria and Julian Martinez, Tonita Peña Roybal and Juan Cruz Roybal from San Ildefonso Pueblo, Nampeyo (Hopi), and Gladys Paquin (Laguna Pueblo), among others. Also on display at the Mount Washington Campus are selected Native American ceramics and artifacts from the museum’s collection. The Autry Museum of the American West presents a

Above: Pot, Grace Medicine Flower (Santa Clara Pueblo) and Camilio Tafoya (Santa Clara Pueblo), ca. 1980, 6 x 12”. Gift of Erica de F. Neville.

wide range of events and festivals throughout the year. Native Voices is an annual in-house production of new work by contemporary Native playwrights presented at the Griffith Park facility every June. “These theatrical presentations get new people into the museum and help fulfill our desire to showcase contemporary Native culture,” says Scott. Although not nearly as large as SWAIA’s Indian Market, the Autry’s American Indian Arts Marketplace is an annual November weekend of art, performances, children’s activities, talks and demonstrations, and plays by members of Native Voices that takes place in the Griffith Park facility. It features work by 200 Native American sculptors, potters, weavers, jewelers, and mixed-media artists representing more than 40 tribes. The Autry in Griffith Park, 4700 Western Heritage Way, Los Angeles, Tuesday–Friday, 10 am–4 pm, Saturday–Sunday 10 am–5 pm, $10, students and seniors $6, children 3–12 $4, The Autry’s Historic Southwest Museum Mount Washington Campus, 234 Museum Drive, Los Angeles, Saturday 10 am–4 pm, free,

Heard Museum

Lapis lazuli bracelet, Charles Loloma (Hopi), 2 3/8 x 3 1/4 x 1"

Hopi katsinas donated by former Arizona senator Barry Goldwater and the Fred Harvey Fine Arts Collection.

exhibits and festivals in Phoenix by Emi ly Va n Cle ve

Above: Detail of the 30-foot art fence Indigenous Evolution, by Rosemary Lonewolf (Santa Clara Tewa) and Tony Jojola (Isleta).

Craig Smith/Heard Museum

Below: Daisy Taugelchee (Navajo), Two Grey Hills textile, 1954, 72 x 50"


Indian Market Magazine

Known for its extensive collection of artworks and cultural objects from the Southwest and its contemporary Native fine art from throughout North America, the Heard Museum in Phoenix is on the must-see list for Native American art collectors and enthusiasts. Dwight and Maie Heard founded the museum in 1929 to host community lectures, talks, and workshops and to display work from the couple’s modest but growing art collection. Today, it houses more than 40,000 objects. A museum that’s constantly growing and changing, the Heard is going through a substantial renovation project to combine several gallery spaces into one very large space capable of hosting major traveling exhibits. The new space will open in January 2017. HOME: Native People in the Southwest is the museum’s anchor exhibit. “The Heard’s collection of Hopi katsina dolls is represented in this exhibit by more than 500 carvings to present basic information about the Hopi ceremonial cycle and to show the evolution of carving styles,” says the director of curation and education, Ann Marshall. “It’s composed in large part by the collections of Senator Barry Goldwater and the Fred Harvey Fine Arts Collection.” Navajo textiles represented in the HOME exhibit include a Daisy Taugelchee (ca. 1909–1990) Two Grey Hills tapestry woven in 1954. “It set the standards of excellence for Navajo textiles in general and the specific Two Grey Hills style,” Marshall says. The Heard Museum’s collection also contains many pieces by Hopi jeweler Charles Loloma (1921–1991). “We have a 1975 bracelet that shows his innovative use of materials, including gold and lapis lazuli,” says Marshall. “The sculptural outline of the stones is reminiscent of the mesa top near Loloma’s home.” On display at the museum through September 5 is the exhibit Spirit Lines: Helen Hardin Etchings, which includes all 23 first editions of the Santa Clara Pueblo artist’s collection of copper plate etchings completed between 1980 and 1984, the year of Hardin’s untimely death. Closing on September 28, Personal Journeys: American Indian Landscapes explores the relationship that Native Americans have with their land and how this relationship has been expressed through art. Paintings by Tony Abeyta (Navajo) and Norman Akers (Osage) are in the show.

The Heard Museum hosts five ongoing exhibits that explore different aspects of Native American and Southwestern life and culture. Over the Edge: Fred Harvey at the Grand Canyon and in the Great Southwest features pamphlets, advertisements, postcards, and other promotional materials produced by the Fred Harvey Company and the Santa Fe Railway. Remembering Our Indian School Days: The Boarding School Experience uses the first-person recollections, memorabilia, photos, oral histories, writings, and art of four generations of school alumni to look at common experiences shared at Native American boarding schools. Around the World: The Heard Museum Collection showcases Native American pieces and items by Indigenous artists worldwide from Dwight and Maie Heard’s personal collection as well as objects and artworks donated by artists and collectors. Sculptures by Native American artists including Allan Houser (Chiricahua Apache), Michael Naranjo (Santa Clara Pueblo), and John Hoover (Aleut) are showcased in The Third Dimension: Sculptural Stories in Stone and Bronze and in the outdoor American Indian Veterans National Memorial exhibit. The Heard holds five major festivals annually, beginning in midFebruary with the World Championship Hoop Dance Contest. More than 70 Native hoop dancers from throughout the U.S. and Canada travel to Phoenix to compete for cash prizes. The early March Heard Museum Guild Indian Fair & Market is the Heard’s version of SWAIA’s Indian Market. The work of more than 600 Native artists is on display during a weekend of festivities that includes music and dance performances as well as cooking and art demonstrations. A Gathering of Carvers: Katsina Doll Marketplace is “the largest gathering of Hopi carvers in the country,” says Mark Scarp, communications manager at the Heard. “This one-day event in early April showcases the art of katsina doll carving.” El Mercado de Las Artes, which takes place in mid-November, features strolling mariachis and artwork by Hispanic artists from Arizona and New Mexico. The final festival of the year is Holiday at the Heard, a weeklong celebration between Christmas and New Year’s with Native dancing, music performances, and artist demonstrations that Scarp calls “a truly family-friendly event.” The Heard Museum, 2301 N Central, Phoenix,




“A Fresh Eye on Mountain Living” 468 Lewis Street Downtown Pagosa Springs, Colorado 970.264.0800

IAIA Museum of Contemporary Native Arts

Jason S. Ordaz, Courtesy IAIA MoCNA

Lloyd Kiva New was first known as a fashion designer. Later, he realized that education was his calling.

fashion: forward new exhibitions

Jason S. Ordaz, Courtesy IAIA MoCNA

by Emi ly Va n Cle ve

Jason S. Ordaz, Courtesy IAIA MoCNA

Above: The exhibit is designed around a replica of Kiva Studio, New’s 1950s showroom in Scottsdale.

Left: Teacher, designer, veteran of World War II, and champion of contemporary art, New left a lasting influence on IAIA.


Indian Market Magazine

The name says it all: Institute of American Indian Arts Museum of Contemporary Native Arts (MoCNA). Visitors won’t find historical pieces at this downtown Santa Fe museum; IAIA MoCNA is a repository of almost 7,500 contemporary Native works. More than 75 percent of the collection is composed of two- and three-dimensional pieces created since 1962 by IAIA students, alumni, faculty, staff, and board members. IAIA MoCNA was established in 1972. In the early years, exhibits were held at the Santa Fe Indian School campus. It wasn’t until 1992 that the museum officially opened in its current location, an old federal building that was restored on the exterior and completely remodeled inside. An additional remodeling project took place in 2004 so the space could better accommodate the museum’s exhibitions and educational programs. The mission of IAIA MoCNA is to advance contemporary Native art through exhibitions, collections, public programs, and scholarships. This goal is accomplished through adult, student, and family-friendly programs and a wide range of exhibitions that showcase the diverse arts practiced by contemporary Native artists. On exhibit through the end of the year is Forward: Eliza Naranjo Morse, a 38-footlong mural which expresses Morse’s thoughts about how we eventually become ancestors to a new generation. The mural contains drawings, clay, and recycled materials, including objects from a landfill. A member of Santa Clara Pueblo who lives in Española, Morse studied figure drawing at Parsons School of Design and figure drawing and painting at the Institute for American Indian Arts.

Also on view through the end of the year is Lloyd Kiva New: Art, which features close to 30 paintings completed between 1938 and 1995. New (1916–2002), who was a cofounder and instructor at IAIA, is best known for fashion items, such as handbags and dresses, rather than his two-dimensional works. The paintings on exhibit are from his personal collection and include landscapes, geometric abstractions, and realistic depictions of life in watercolor and oil. “Some of the pieces have never been shown before,” says the museum’s membership and program manager Andrea Hanley (Navajo), who also works as a curator. “There are even some of New’s sketchbooks on display.”

The mission of IAIA MoCNA is to advance contemporary Native art through exhibitions, collections, public programs, and scholarships. Hanley is the curator for Akunnittinni: A Kinngait Family Portrait—Pitseolak Ashoona/ Napachie Pootoogook/Annie Pootoogook, which closed earlier in the summer and reopens from August 19 through December 31. The artworks of grandmother Pitseolak Ashoona (1904–1983), mother Napachie Pootoogook (1938– 2002), and daughter Annie Pootoogook (b. 1969) provide a personal and cultural history of Inuit women. The prints and drawings on view include pop culture references and depictions of family and village life in the remote Arctic community of Kinngait on Dorset Island. “This show is a beautiful conversation between three generations of female Inuit artists,” Hanley explains. “The region is known internationally for its artwork, and these three women are among the most well-regarded artists in this region.” Rick Bartow: Things You Know But Cannot Explain—A Retrospective Exhibition, which runs from August 19 through December 31, was put together by the Jordan Schnitzer Museum of Art at the University of Oregon many months ago. To the shock of the Native American community, Bartow (Wiyot tribe) died on April 2. “It was really a blow to us,” says Hanley. “He was an amazing and thoughtful artist and a sweetheart of a person.” The show features more than 120 paintings, drawings, sculptures, and prints created by Bartow during the past 40 years. Born in Oregon as a member of the Wiyot tribe of Northern California, Bartow graduated from Western Oregon University with a degree in secondary arts education in 1969, and served in the Vietnam War from 1969 to 1971. His work—which focuses on relationships and how the worlds of nature, humans, and spirit not only connect, but also influence and balance one another—is in the permanent collections of more than 60 public institutions in the country, including the Yale University Art Gallery, the Brooklyn Museum in New York, and the Peabody Essex Museum in Massachusetts. Select pieces from IAIA MoCNA’s permanent collection are on display through July 31, 2017, in the exhibit Visions and Visionaries. IAIA MoCNA is also a great place to see what’s important to the next generation of artists through periodic exhibitions of work by IAIA students. IAIA MoCNA, 108 Cathedral Place,

Museum of Indian Arts and Culture/Laboratory of Anthropology

preserving cultural history by Em i ly Va n Cle ve

The goal of the Museum of Indian Arts & Culture (MIAC)/ Laboratory of Anthropology, one of four museums in the Museum of New Mexico system, is to inspire appreciation for the arts, languages, and cultures of the Southwest through sharing the stories of the people who have lived here and continue to call the region home. Anthropologist and archaeologist Edgar Lee Hewett founded the Museum of New Mexico in 1909 as a place to preserve Native American materials. Eighteen years later, John D. Rockefeller founded the Laboratory of Anthropology in Santa Fe as a center to study the Southwest’s Indigenous cultures. In 1947 the two institutions merged. Here, Now and Always is MIAC’s premier permanent exhibit. It was developed in 1997 by a curatorial team composed of Native people and museum professionals. Featuring the voices of 50 Native Americans, the exhibit has first-person accounts of Indigenous life in the Southwest and displays close to 1,300 objects related to these stories.

“Culture power is the unique power bestowed upon objects by a culture’s stories, traditions, and emotions.”—Valerie Verzuh, curator The museum also hosts a wide variety of changing exhibits, including some that focus on the life and work of an individual artist or visionary. Landscape of an Artist: Living Treasure Dan Namingha, which is on display through September 11, celebrates the Santa Fe–based Hopi/Tewa painter and sculptor whose work is inspired by sacred aspects of his culture. The accomplishments of Lloyd Kiva New (1916–2002) are exhibited in The Life and Art of Innovative Native American Artist and Designer Lloyd Kiva New. Told through personal recollections, photos, archival documents, and fashionable clothing created by New (Cherokee), the exhibit examines the life of this pioneer in the worlds of fashion, entrepreneurship, and Native art instruction. It closes at the end of the year. The story of the Southwest as communicated through the aerial photographs of Charles and Anne Lindbergh and Adriel Heisey is the subject of Oblique Views: Archaeology, Photography, and Time, which runs through May 2017. Heisey, whose aerial photos of the Sonoran Desert and the Colorado Plateau have been featured in National Geographic, flew at low altitudes and slow speeds to photograph some of the same Southwestern archeological sites photographed by Charles and Anne Lindbergh in 1929, including Santa Fe, Santa Clara Pueblo, Pecos Ruin, Chaco Canyon, and Canyon de Chelly. The Heisey photographs, taken in 2008–2009, are displayed alongside those taken by the Lindberghs almost 80 years prior. 50

Indian Market Magazine

Dan Namingha, Solstice #20, acrylic on canvas, 72 x 72"

Curator Valerie Verzuh is thrilled that her exhibit Into the Future: Culture Power in Native American Art opened at the museum in mid-July and runs through October 2017. It features close to 100 objects, including clothing, jewelry, pottery, weaving, photography, and video, by more than 50 artists represented in the museum’s collections as well as works borrowed from collectors and artists. “Culture power is the unique power bestowed upon objects by a culture’s stories, traditions, and emotions,” says Verzuh. “The show is also about the power of imagery, reinterpreting popular Western imagery and issues of identity, culture, and history. Part of the collection is made up of comic book imagery. Native artists have used Sponge Bob Square Pants, Pac-Man, and Curious George in work done in the style of Marvel Comics. For some of these artists, the comic book aesthetic perfectly expresses their message.” Among those with works in the show are Teri Greeves (Kiowa-Comanche), Virgil Ortiz (Cochiti), Cara Romero (Chemehuevi), Ricardo Caté (Santo Domingo), and Jody Folwell (Santa Clara). Pottery collectors and enthusiasts will be pleased to know that the exhibit Diego Romero vs. the End of Art is scheduled to open next February and close at the end of 2017. For many decades Romero (Cochiti) has been creating autobiographical pieces that address everything from his personal life and relationships to his Pueblo ancestry. Exhibitions are one way through which MIAC fulfills its mission and serves the community. The museum also offers public lectures, field trips, and educational programs. The popular “Breakfast with the Curators” program provides an opportunity to meet curators and learn about Native American artists and arts through talks, exhibition tours, and behind-the-scenes visits with scholars and artists. The museum’s website ( contains the latest information on Indian Market events and programs. Museum of Indian Arts and Culture/Laboratory of Anthropology, 710 Camino Lejo, summer hours 10 am–5 pm, $6 for New Mexico residents, $9 for nonresidents,

Eiteljorg Museum

Unknown Blood artist, man’s vest, ca. 1905, leather, buckskin, glass beads. Bequest of Kenneth S. “Bud” and Nancy Adams.

the Adams Collection by Ash le y M. Big ge rs

Eiteljorg Museum of American Indians and Western Art is adding to its 5,000-strong permanent collection of Native Art objects with a gift from Kenneth “Bud” Adams. The Indianapolis museum will debut some 50 pieces from the collection in this fall’s Titan of the West: The Adams Collection of Western and Native American Art (November 12, 2016–February 19, 2017). Born in Oklahoma, and an enrolled member of the Cherokee Nation, Adams attended Culver Military Academy in Indiana, eventually graduating from the University of Kansas. He served in the Navy before founding ADA Oil Co. in 1946, the forerunner of Adams Resources and Energy, now listed on the New York Stock Exchange. The longtime Houston, Texas, resident purchased the Houston Oilers football team, which later became the Tennessee Titans. Throughout their lives, Adams and his wife, Nancy, amassed a historic collection of Western paintings and Native American art and artifacts. Upon his death in 2013, Adams willed the multimillion-dollar collection of more than 200 pieces to the Eiteljorg, making it one of the most important gifts in the museum’s 27-year history. This exhibit is the first time the public will have the opportunity to see these significant pieces.

Courtesy Eiteljorg

The exhibition follows themes important to Adams: nation, family and community, and his own individuality.

Right: Unknown Plains artists, moccasins, late 19th to early 20th centuries, leather, buckskin, glass beads. Bequest of Kenneth S. “Bud” and Nancy Adams.

Courtesy Eiteljorg

Courtesy Eiteljorg

Left: Cradleboard, early 20th century, wood, hide, glass beads, metal, stroud, leather, sinew, linen thread. Bequest of Kenneth S. “Bud” and Nancy Adams.

The Adams collection is encyclopedic, and includes pieces from Plains and Southwest tribes. Adams was also “incredibly supportive of Cherokee working artists,” says Dr. Scott M. Shoemaker, Thomas G. and Susan C. Hoback Curator of Native American Art, History, and Culture at Eiteljorg. As Adams became a successful businessman, he maintained a strong sense of identity with and responsibility toward the Cherokee Nation. The exhibition follows themes important to Adams, centered on nation, family and community, and his own individuality. There are several incredible examples of Crow horse regalia, including a red, blue, green, and pink beaded martingale dating to 1895, which Adams may have found attractive thanks to his time at the Culver Military Academy when he rode with the Black Horse Troop. The collection also includes several examples of children’s clothing and objects, such as a Sioux girl’s dress dating to the 19th century, and a Crow cradleboard from the 20th century. The collection also includes Western art (another Eiteljorg specialty). “Though the collection as both Western art and Native art may seem contradictory, Bud Adams himself and his family histories tie it all together,” Shoemaker observes. “His Cherokee and non-Native ancestors all played integral roles in the early history of Indian Territory (Oklahoma) and by extension, the broader West. While the vast majority of the Native objects in the collection date to the late 19th to early 20th centuries and represent a tangling of the exhibit themes, ultimately they speak to the resiliency of Native peoples during an era of incredible oppression aimed at eradicating all vestiges of Native cultures and languages.” After the exhibition, the pieces will remain in the museum’s troves, which include works by T. C. Cannon, Allan Houser, and Kay WalkingStick, earning its contemporary Native art collection a reputation as being among the world’s best. The museum is also notably the host of the Quest for the West Art Show and Sale, held annually in September. Titan of the West: The Adams Collection of Western and Native American Art, November 12, 2016–February 19, 2017, opening reception November 11, 500 W Washington, Indianapolis, Indiana, santa fean native arts 2016


Addison Doty

Wheelwright Museum of the American Indian

Addison Doty

Above: Eveli Sabatie, bracelet, Orchards of Love, ca. 1975. Fabricated silver with fossilized ivory, red jasper, chrysoprase, and turquoise, 3 x 3". Private collection. Below: Mabel Burnside’s Hands, 1938. Photograph by John Adair, John Adair Collection, Wheelwright Museum of the American Indian.

Eveli Sabatie, The Significance, ca. 1980. Tufa cast and fabricated silver and gold book with turquoise, lapis lazuli, fossilized ivory, wood, coral, and other stones, 4" high. Private collection.

the work of skilled hands

Addison Doty

by Emi ly Va n Cle ve

Above: Leonard Martza (Zuni), bolo depicting Big Horn Sheep Katsina, ca. 1960. Silver, turquoise, abalone and other shell, jet. Gift of Martha J. Banks. 52

Indian Market Magazine

The Wheelwright Museum of the American Indian in Santa Fe is known for exhibiting Native American materials that other museums rarely display, including Santo Domingo Thunderbird jewelry, items from the curio trade, Cochiti figurines, the pottery of Zia Pueblo, and Navajo spoons. The museum’s history began in 1937 when former Bostonian Mary Cabot Wheelwright, who had a lifelong interest in Native American religions and art, worked in collaboration with Navajo singer and medicine man Hastiin Klah to establish both a repository for Navajo sound recordings, manuscripts, paintings, and sandpainting tapestries and a place for the public to experience the beauty of the Navajo religion. Wheelwright and Klah hired architect William Penhallow Henderson to design a building in the shape of a hooghan, a traditional Navajo home and the setting for Navajo ceremonies. Although the museum is no longer actively involved in the study of the Navajo religion, it houses materials that document Navajo art and culture from 1850 to the present. Native American jewelry represents a significant portion of the Wheelwright’s collection. The yearold Jim and Lauris Phillips Center for the Study of Southwestern Jewelry, named for the avid collectors of Southwestern jewelry, documents the origins of Native American jewelry making and displays dozens of pieces created during the past century. It’s the Wheelwright’s first major expansion in its 79-year history.

“The Wheelwright Museum’s new Center for the Study of Southwestern Jewelry resulted from discussions as early as 1990 and the acquisition of the papers of jewelry scholar John Adair in 1995,” explains the Wheelwright’s director, Jonathan Batkin. “Thanks to the generosity of hundreds of people nationwide, particularly the support of dozens of collectors, the museum built the world’s most comprehensive collection of Navajo and Pueblo jewelry and a new wing to house it. We are proud to have succeeded in this goal and to be able to offer highlights of the collection to the public.” Displayed in 2,000 square feet of exhibition space are silver pieces from the late 19th century through contemporary times. There are cases devoted to bracelets, concho belts, horse bridles, and spurs. Others display the work of a single tribe, such as Santo Domingo Thunderbird jewelry and Zuni inlay and fetish carvings. A squash blossom necklace made by Slender Maker of Silver—the first known Navajo silversmith—is prominently featured, as are works by noted Native silversmiths Charles Loloma (Hopi), Preston Monongye (Hopi), Gail Bird (Santo Domingo/Laguna Pueblo) and Yazzie Johnson (Navajo), Liz Wallace (Navajo/Washoe/Maidu), Joe and Terry Reano (Santo Domingo), and Edith Tsabetsaye (Zuni). Two new shows, including one featuring contemporary jewelry, opened in the museum in the middle of June. Eveli: Energy and Significance highlights

Addison doty

the work of Eveli Sabatie, a nonNative artist who worked in Charles Loloma’s studio from the late 1960s through the early 1970s. Born in eastern Algeria and raised in Morocco, Sabatie was influenced by Loloma’s use of shells and stones. In turn, Loloma was inspired by Sabatie’s interest in Moroccan mosaics. Sabatie was one of only two jewelers (the other is Verma Nequatewa) whom Loloma recognized as protégées. After leaving Loloma’s studio in 1972, Sabatie moved to Santa Fe and created her own lavish designs, which incorporate carved bone, fossil ivory, and colored stones. Mid-19th-century to contemporary basketry, micaceous pottery, and beadwork by members of the Jicarilla Apache Nation in New Mexico are part of the exhibit Jicarilla: Home Near the Heart of the World, a collaboration between the Jicarilla Apache Nation and the Center of Southwest Studies at Ft. Lewis College in Durango. The show features more than 80 objects, including baskets and beadwork created between 1920 and 1960 that are from the collection of Hortence Goodman, who owned Goodman’s Department Store in Pagosa Springs, Colorado, and sometimes traded baskets for blankets and other supplies. The exhibition also includes baskets from the Wheelwright’s Joan Anderman and Byron Harvey III collections, baskets from the Center of Southwest Studies, pottery from the Museum of Indian Arts and Culture, and an early parfleche and headdress from the Taylor Museum of the Colorado Springs Fine Arts Center. Works by more than a dozen contemporary Jicarilla Apache Nation artists also are on display.

Addison Doty

Wheelwright Museum of the American Indian, 704 Camino Lejo, daily 10 am–5 pm, $5,

Left: Jicarilla Apache hamper. Joan Taylor Anderman Collection, Wheelwright Museum of the American Indian.

Courtesy Llyod H. New Papers, IAIA Archives, Santa Fe, New Mexico

Nathan Jackson (Tlingit), untitled, ink and dyes on silk. 45 x 122"

Left: Jicarilla Apache beaded bag, ca. 1850. Collection of the Colorado Springs Fine Arts Center.

the year of Lloyd Kiva New continues by Ash le y M. Big g e r s

Above: Lloyd Kiva New (Cherokee), in front of Kiva Craft Center, Scottsdale, Arizona, ca. 1956

James McGrath, Charles and Otellie Loloma, and Ralph Pardington. These artists and teachers were among the first generation of instructors at the Institute of American Indian Arts—and iconic artist Fritz Scholder has immortalized them in a yearbook-snapshot-turned-group-portrait that welcomes visitors to Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA. The show, which opened May 20, is the third exhibition in the museum system celebrating the 100th birthday of IAIA’s first art director, Lloyd Kiva New (Cherokee). The New Mexico Museum of Art’s contribution explores New’s legacy and that of IAIA through 35 artworks by the instructors and students from its 1962 inception to today. The school’s founding in the midst of the Civil Rights movement, along with a trend toward personal narrative in the art world, primed the pump for artist and designer New’s influence at IAIA. “His generation and the one before were too influenced by selling to nonIndigenous art markets,” says Curator Carmen Vendelin. “He wanted them not to think first ‘who’s going to buy this?’ and ‘how am I going to make it repetitiously?’ He wanted pure creative expression.” Along with the other faculty members, such as Allan Houser, New exposed students to the traditional art of their tribes, other Native peoples, and contemporary styles, from pop art to abstract expressionism. They created fertile creative grounds that transformed students into noteworthy artists, such as Kevin Red Star, whose painting Running Rabbit appears in the show, and T. C. Cannon, whose lithography is also on exhibit. The show also hangs the work of modern-day artists such as painter/printmaker Linda Lomahaftewa, who was an IAIA student and is now on the teaching faculty; photographer and faculty member Will Wilson; and alumnus Diego Romero, who is equally influenced by Mimbres pottery and comic book art. “That flexibility of blending the old and the new is a continuing thread through time,” says Vendelin. “IAIA students have the confidence to look at all sources for inspiration and to create something that is personal.” Finding a Contemporary Voice: The Legacy of Lloyd Kiva New and IAIA, New Mexico Museum of Art, May 20–October 10, 2016, public opening May 20, 5:30–7:30 pm, 107 W Palace, santa fean

native arts 2016




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Poeh Museum and Cultural Center

portraits and pottery summer events and exhibitions in Pojoaque

Courtesy Poeh Cultural Center

The Poeh Museum and Cultural Center at the Pueblo of Pojoaque is featuring two exhibits for Indian Market. The first pays tribute to the tradition of Pueblo governors at Pojoaque; the second celebrates Pojoaque’s legacy of pottery. Both open to the public on Thursday, August 18. Entitled Pueblo of Pojoaque Past Governors, the historical survey of Pojoaque leadership features Thelma Talachy, polychrome pot, 7 x 8" portraits of governors since the 1930s. A timeline of events explains the achievements of governors since the 17th century and how each has contributed to economic development and governance of the tribe. Also on display will be a ceremonial cane recently given to the Pueblo from Spain. Coming Home features 40 to 50 pieces of Pueblo ceramics. “It’ll be a preview and highlights of styles from different eras of Pueblo pottery,” 54

Indian Market Magazine

by Ja s on Str ykowski

says the executive director of the Poeh Museum and Cultural Center, Karl Duncan. Some of the pots date back to the early 1800s and exemplify utilitarian vessels, while others in the collection are contemporary. Included are pieces on loan from the Buffalo Thunder Resort and Casino. The pottery display also serves as a preview of a permanent exhibit that will open at Poeh later this year, when the museum welcomes back a selection of pottery from the Smithsonian. These pots were mostly collected during the 19th century and their return will be worthy of a “huge celebration,” says Bruce Bernstein, Tribal Historic Preservation Officer at Pojoaque. On opening night, August 18, Pueblo dancers perform at the Museum and Cultural Center. The following Saturday evening, the Cultural Center is hosting a Native fashion show at the Buffalo Thunder Resort and Casino’s Shadeh Nightclub, where Native DJs provide dance party music. Exhibit openings and performances at Poeh Museum and Cultural Center, August 18, 4–7 pm, free, 78 Cities of Gold Road, Native Fashion Show and Dance Party, August 20, 9 pm, 20 Buffalo Thunder Trl,

Above: Ohkay Owingeh, 1912, Aepoge (Racetrack Plaza).

Owe’neh Bupingeh preserving “the place of the strong people”

Courtesy of Ohkay Owingeh Housing Authority

by Ashley M. Biggers

In 2005, when Tomasita Duran and Jamie Blosser were strolling through Owe’neh Bupingeh, the Pueblo core of Ohkay Owingeh, they encountered deteriorating stucco shells and adobe walls. Duran, the executive director of the Ohkay Owingeh Housing Authority and Blosser, a Rose Fellow and associate at Atkin Olshin Schade Architects, also saw that the buildings needed restoration. Only 12 homes were occupied at the time, in the place where, in 1598, Don Juan de Oñate first encamped in what is now New Mexico. As the homes were abandoned, the Pueblo’s daily culture began fading away from its 700-year-old village, which was the site of the Pueblo’s spiritual and cultural observances. Blosser and Duran resolved to renovate the homes, not only protecting the physical structures on the National Register of Historic Places but also sustaining the Pueblo’s way of life. Today, Duran laughs at how easily they set this goal, and consequently, all that it’s taken to finish 34 of 60 homes. “Some told me I was dreaming, that it would never happen,” she says. Now, however, the Pueblo is fundraising for the final phases of the renovations using an innovative tax credit program with the New Mexico Mortgage Finance Authority. Attesting to the project’s groundbreaking path, this September Owe’neh Bupingeh is being featured in the third edition of By The People: Designing a Better America, an exhibit at Cooper Hewitt, Smithsonian Design Museum in New York. The new blueprints began with a 100-year-old map showing the patchwork of homes at Owe’neh Bupingeh. Some were gone entirely, though they may someday be rebuilt. Others stood in disrepair, the ownership unknown or unclear. At Ohkay Owingeh, 56

Indian Market Magazine

Above: The Derrick Phillips (left) and Desiree Martinez homes were rehabilitated and customized to meet each family’s needs. Bupingeh (Southern Plaza), 2014.

Jennika Martinez’s home after rehabilitation. Aepoge (Racetrack Plaza), 2013.

homes can be inherited by room—with the living room belonging to a daughter, and the bathroom belonging to an uncle, for example. To fulfill the requirements of its United States Housing and Urban Development funding, each family had to negotiate a single owner who would use the home as a primary residence. Next, architects designed homes to balance the careful preservation of the Pueblo’s character with maintaining comfort for contemporary families. Updated adjustments to the homes made some traditional preservationists balk, but there was more to protect there than the buildings; there was a living culture to serve, too. Historic elements were safeguarded when possible, but rooms were added or expanded to accommodate children, and modern kitchens and bathrooms were completed. In some cases, this meant adding a second story. A cultural advisory team oversaw every step, including collecting artifacts and supervising remains unearthed during the building process. The Pueblo also launched an oral history project to capture elders’ memories, which seemed to gain breath as the Pueblo returned even more to the way they remembered it. Specialists taught workshops in the ancient craft of maintaining adobe so new generations could sustain the village as their elders once had. Now, daily life thrives at Owe’neh Bupingeh. Children play tag in the sacred heart of the Pueblo; families and neighbors gather for adobe plaster mudding days. Ohkay Owingeh, the “place of the strong people,” is strong once again.

Above: A wall and parapet are built up using new and salvaged materials by Avanu General Contracting workers atop the Jeffrey Aguino, Sr., and Lorraine Aguino home, Bupingeh (Southern Plaza), 2012.

Jeri Ah-be-hill Jeri Ah-be-hill in an undated photo.

a lasting influence

Right: Ah-be-hill at Indian Market.

Courtesy of Teri Greeves

Left: Ah-be-hill at Arrowsmith’s, 1993, where she had space to show and sell her wares.

SWAIA/Santa Fe Indian Market

John Running

by Neebinnaukzhik Southall (Chippewas of Rama First Nation)


Indian Market Magazine

Below: Daughter Keri Ataumbi, a jeweler, displaying earrings. Courtesy of Teri Greeves

When Jeri Ah-be-hill (Kiowa-Comanche, 1934– 2015) passed away last March, the Native art world lost an irreplaceable icon. Unapologetically proud of being Native, this petite lady radiated a commanding presence, which she clearly passed on to her talented, successful daughters, beadworker Teri Greeves and jeweler Keri Ataumbi. “I saw her move among all different types of people, and she could hold her own anywhere,” asserts Greeves. Ah-be-hill energetically attended many events and gatherings, where she befriended people of all ages. “She was a social person,” says Greeves, “and being around people gave her life.” Throughout her life, Ah-be-hill not only advocated for her own culture, but promoted the artwork of countless other Native peoples. She had an incredibly good eye for talent and detail, taking note of now-famous artists early in their careers. “I saw her champion so many people,” says Greeves. For 25 years, she ran the Fort Washakie Trading Company on the Wind River Reservation in Wyoming, providing a venue for Native artists to sell their work. She was involved with Santa Fe organizations such as the Indigenous Language Institute, the Institute of American Indian Arts (IAIA), the Museum of Indian Arts and Culture, the School for Advanced Research, the Wheelwright Museum of the American Indian, and of course, the SWAIA Santa

Above: Ah-be-hill at the trading post, 1980s.

Courtesy of Teri Greeves

Courtesy of Teri Greeves

Lower right: 1994, conferring with Rex Arrowsmith, longtime master of ceremonies at the Native American Clothing Contest.

Fe Indian Market, where she was the chair of the Native American Clothing Contest for 17 years. As emcee, she entertained the audience with her lively sense of humor and taught them a great deal about the diverse cultures represented on stage. Ah-be-hill demonstrated her love of Native cultures every day through her distinctive dress. “She paid homage to those who came before, and she recognized those today by wearing what our Indian people make today,” emphasizes Greeves. She always made an impression with her wrapped braids, beautiful cloth Kiowa T-dresses she sewed herself, paired with moccasins or stylish flats, and all manner of accessories and cutting-edge jewelry by Native artists. “Mom never left the house without earrings, I’ll tell you that, no matter what was going on,” Greeves laughs. “Yard work and cutting wood definitely required earrings.” Ah-behill was emblematic of smart, Native sophistication, serving as a muse and inspiration to many. To carry on her legacy and support Kiowa students, Ah-be-hill’s daughters have established the Jeri Ah-be-hill Scholarship at the Institute of American Indian Arts, to be distributed once the fund reaches endowment status. For more information and to donate, call IAIA’s Advancement Office at 505-424-5730.

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Below: Helen Hardin (Santa Clara), Winter Awakening of the O-Khoo-Wak, acrylic on board, 15 x 30"

Above: Terry McCue (Ojibwe), The Chat, acrylic on canvas, 40 x 40"

Right: Knife by Daniel Worcester (Chickasaw), blade and tang forged from an old steel truck spring, handle made from old billiard balls, dominos, and sterling silver from 1830s ear-cleaning spoons, 8"




ttenbe rg

collecting 101 becoming a connoisseur

by Emily Van Cleve

With so many beautiful items on display, Indian Market can be daunting for the veteran collector and almost overwhelming for the novice. Prepare yourself for purchasing decisions by reading magazines, books, and show catalogs and by visiting galleries and museums before heading to market, says J. W. Wiggins, a retired chemistry professor from the University of Arkansas at Little Rock, who started collecting Native American pieces in 1974. “Look and then look some more,” he adds. “You can learn a lot by simply looking at work.” Wiggins, who has donated more than 2,400 pieces of Native American art to the university’s Sequoyah National Research Center, began collecting work by members of the Cherokee, Choctaw, Chickasaw, and Muscogee Creek nations and the Seminole tribe before expanding his collection to include Native American works from the Northwest and Southwest. He is interested in everything from baskets and textiles to jewelry and paintings. “Don’t worry if you make a mistake and find a year later that you don’t really like what you purchased,” he says. “Your tastes will change. Collecting is a learning experience. Trust yourself. As you continue collecting, you’ll become more knowledgeable.” Retired Arizona attorney James T. Bialac, whose collection of more than 4,000 Native American items has been donated to the Fred Jones Jr. Museum of Art at the University of Oklahoma, recommends that beginning collectors attend the Friday night Indian Market Preview. “You get to see quality work,” he explains. “That helps you appreciate the work and what goes into making it as well as understand why prices are what they are. 60

Indian Market Magazine

Above: Benjamin Harjo, Jr. (Seminole/Shawnee), The Dance of Reunion, gouache on paper, 12 x 17"

These Native American artists put a lot of love and heart into their work.” Buy what you love, Bialac says, and don’t think about your purchase as a investment. “Like the stock market, art values go up and down,” he continues. “Get work for yourself, your family, and your friends. And if you are walking around Indian Market and see something that you really like and can afford, don’t decide to go back later to buy it. That’s happened to me once or twice, and when I got back to the booth, the artist had sold the piece.” Passion for art has always motivated Los Angeles attorney Gary Ruttenberg and his wife Brenda, who have been Native American art enthusiasts since the mid-1970s. “We collect vertically,” says Gary Ruttenberg, referring to collecting multiple works by a single artist. “We fall into things. We don’t always look for specific things. Sometimes we’ve bought things we never imagined we would buy.” He suggests that novice collectors review SWAIA’s judging standards for each classification before going to Indian Market because they help collectors understand the work better. He also recommends looking at a variety of items at Indian Market, not just what you think you might like. “You may want a rug, but don’t pass up looking at baskets,” he says. “Be open-minded.” It’s all about quality and not quantity, adds Ruttenberg, who has accumulated more than 1,000 pieces of Native American art in the past four decades. “I recommend buying the highest level of quality you can afford.” Cannupa Hanska Luger (Mandan/Hidatsa/Arikara/ Lakota), Gnu, detail, ceramic, leather, felt, fur, and bone, 24 x 10 x 7"

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Santa Fe Cultural District proposal to establish arts authenticity Last December, Santa Fe Mayor Javier Gonzales announced a landmark proposal that would establish a cultural district within the city limits and require vendors selling items there to prove their tribal affiliation through enrollment with a state or federally recognized tribe or nation. If enacted, the Mayor’s proposed law would bolster local enforcement of the Indian Arts and Crafts Act, a federal regulation first passed with the creation of Javier M. Gonzales the Indian Arts and Crafts Board in 1935, then revised Mayor, City of Santa Fe in 1990. Under the federal law, it is illegal for any non-Native individual or company to represent their goods for sale as Native American; such claims could result in a $250,000 fine and a five-year prison sentence per offense. Mayor Gonzales’s proposal is the first to take initiative at the local level, coming a few months after the federal and state governments led numerous raids on New Mexico vendors who were allegedly selling counterfeit goods labeled as Native-made. Three suspects were arrested in Albuquerque, Santa Fe, and Gallup; all have been charged with conspiracy to violate the Indian Arts and Crafts Act by selling Filipinomade items as American Indian items. According to a 2014 study conducted by the University of New Mexico, between 40 and 90 percent of the Native art market in the state may be counterfeit. At a national level, the Act is meant to prosecute those who sell

by Chelsea Herr (Choctaw Nation of Oklahoma)

such false wares, but implementation is often difficult and expensive for local authorities. The cultural district’s identification requirements would be implemented through city ordinances and business licenses, not necessarily through law enforcement agencies, since the cost to train officers and apply new policies is quite high. Mayor Gonzales hopes that requiring vendors to disclose how items qualify as Native-made will result in more cooperation between federal and local authorities. Mayor Gonzales considers the proposed ordinance to be a means of protecting the welfare and integrity of Indigenous artists and craftspeople, and maintaining the city’s reputation as a destination for highquality, Native-made goods. However, many of the issues that could arise with the district’s identification requirements are unresolved under the Act. One of the primary concerns with the Act that would have ramifications under the Mayor’s proposed cultural district is that of defining who is or is not “Indian.” The Act contends that for individuals to sell goods as Native-made, they must be enrolled in a recognized tribe or nation, or be certified by a recognized tribe or nation as an authorized artisan. However, many tribes do not have state or federal recognition but still function as autonomous political and cultural entities. For those recognized by the United States government, there are disparities between requirements for enrollment, which are usually based on blood quantum. While some tribes or nations might require enrolled members to prove a particular percentage, such as one half, others require only proof of lineage and have Continued on page 77 santa fean

native arts 2016


Sonwai (Hopi), 18-kt gold bracelet with salmon coral, Mediterranean coral, Lone Mountain turquoise, lapis lazuli, fossilized ivory, ebony, and sugilite, 2 ¼ x 6"

Kee Yazzie (Navajo), silver bracelet with Bisbee turquoise, 1 3/8 x 5 ¾"


Kee Yazzie

Kee Yazzie

David Orr Photography

Isaac Dial

Kee Yazzie (Navajo), Chaco bracelet with Bisbee turquoise, 1 3/8 x 5 7/8"

Isaac Dial (Navajo / Lumbee), 18-kt gold bracelet with Lone Mountain turquoise, 2 ½ x 5 ¾"

Jesse Monongya (Navajo/Hopi), lapis lazuli, gaspeite, Sleeping Beauty turquoise, opal, Mediterranean coral, and dolomite. Bear bolo: 14-kt gold, 3 x 3 ½" Ring: 18-kt gold, 5/8 x 5/8"

master jewelers stories in metal and stone Mastering the art of jewelry making takes considerable patience as well as countless hours of studying and practicing the various processes involved in working with a wide range of stones and metals. Hopi jeweler Verma Nequatewa, who uses the artistic name Sonwai, (the feminine form of the Hopi word “beauty”) to refer to her own vision of beauty, honed her skills under the tutelage of her famous uncle Charles Loloma (1921–1991). She worked side by side with Loloma from the mid1960s until close to the time of his death. “My uncle would always explain what he was doing and why he was doing it, which really helped me learn about what colors work well with each other and how much spacing to put between stones,” says Nequatewa, who lives and works on Third Mesa on the Hopi Reservation. “I see my jewelry as more feminine than my uncle’s work. While it used to be dainty, now I create bigger and bolder pieces.” Isaac Dial (Navajo/Lumbee) learned the basics of forming metal when he lived in North Carolina with his father, Grant Dial (Lumbee), who has been a silversmith for more than four decades. For 17 years Dial cleaned and polished his father’s jewelry. It wasn’t until after his 25th birthday that he made his first piece by himself. “Sometimes stones dictate a design, and sometimes I see a pattern in my head,” says Dial about the genesis of his work. “I’m very influenced by nature and architecture.” Dial, who calls Utah home, is passionate about using turquoise, coral, sugilite, and lapis in his contemporary pieces. He often incorporates traditional symbols in them and uses traditional silversmithing techniques. Lately, he’s also been attracted to Brazilian agate, ironwood, and ebony. Formations within spectacular canyons near Ganado, Arizona, and ancient petroglyphs inspire the work of Kee Yazzie (Navajo), who grew 62

Indian Market Magazine

by Emily Van Cleve

up on Navajo Nation land and now lives in Winslow. Metalwork became part of his life in the 1990s when a friend offered him a silversmithing job. Primarily self-taught, Yazzie immediately felt right at home working with metals and stones. Overlaying, the process of applying one layer of metal over another, is his signature technique. A single bracelet may have as many as 100 symbols on it. Yazzie’s favorite stones are turquoise and coral. “I go with what’s in my head and design spontaneously,” he says. “One of the bracelets I might make for Indian Market this year is a scenic bracelet of Monument Valley.” Weavers from Two Grey Hills had a profound affect on Jesse Monongya (Navajo/Hopi) while he was growing up. “I learned the perfection of the craft from watching the weavers and their pursuit of balance and technical perfection,” says Monongya, who found himself fascinated by the intricacies of weaving but more interested in creating necklaces, bracelets, rings, and pendants. The bear, a symbol of strength and power, is prominently featured in Monongya’s jewelry. “I was a young boy when my Navajo grandfather and I encountered a bear in the mountains,” he recalls. “My grandfather talked to the bear in Navajo, asking for our safe passage. The bear retreated into the woods. It was a powerful experience for me.” The contemporary side of Monongya’s work is on display in necklaces with tiny 18-karat gold high-heeled shoes dangling from them. “When I was a kid, Navajo girls were wearing moccasins when they left home to go to boarding school and high heels when they came home at the end of the school year,” he explains. “My work is a reflection of all my life experiences.”

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native arts 2016


IM: Edge contemporary style by Ashley M. Biggers

Rodney Coriz

Market Booth 804, Marcy Street 2016 Santa Fe Indian Market (505) 465-5556

Randy Barton (Navajo), Cedar Springs 1280, latex, acrylic, and aerosol paints on masonite panel, 14 x 22 x 2"

Ronald Chee (Navajo), Border Patrol, mixed media monotype on handmade leaf paper, 22 x 30"

Santa Fe Indian Market’s contemporary component is set to take over the Santa Fe Community Convention Center for the second year at double the size of its debut show. IM: Edge will again provide an outlet for Native artists working in nontraditional materials and techniques—this time featuring some 35 to 40 artists. Half the gallery space will be devoted to digital and light installations, including the tepees on which digital images are projected, done by SWAIA Chief Operating Officer Dallin Maybee (Northern Arapaho/Seneca), and the glasswork of Ira Lujan. The other half of the gallery will feature mediums such as printmaking, photography, and steel sculpture. The abstract painting of Ryan Lee Smith will also be featured there. “Indian Market has a reputation for only being for traditional art; it’s a not-so-subtle secret that we have contemporary artists,” says Maybee. “We’re a living, breathing, evolving culture. We’re producing traditional mediums with a contemporary narrative. I see it in my work, my neighbor’s work, my family’s work.” IM: Edge broadens the scope of the market, spotlighting the work of artists who may not otherwise participate. Although the selection process for the show was still under way at press time, many artists from last year ’s premiere are expected to return this year. Take Jacob Meders (Mechoopda Indian Tribe), of Phoenix, Arizona, who is best known for printmaking. His black-and-white collotype depictions of Black Elk and hummingbird letterpresses are primarily shown in galleries; Maybee says this is the only art market in which Meders participates. First year favorite Randy Barton’s (Navajo) abstract paintings explore Navajo creation stories and healing ceremonies. SWAIA previously selected Barton for a fellowship to create a guest room for Nativo Lodge in Albuquerque, and more than 75 of his paintings hang in Eldorado Hotel & Spa. There are also a handful of artists who have a presence at the main market and who see value in exhibiting in a space devoted exclusively to boundary pushing work. Ronald Chee (Diné), for example, keeps his booth and also contributed a couple of colorful paintings to last year ’s show. His images often feature Yeii (Navajo spirits). IM: Edge highlights a mix of established artists, like Chee, as well as emerging talents. “We’re producers of the most prestigious Native art show in the country. If you make good art, you should be at the show. We’re not changing the footprint of Indian Market. We’re just becoming more inclusive of contemporary art. There’s a place and a market for [contemporary art], and our Native artists should be part of it,” Maybee says. IM: Edge opens with a private preview reception on Thursday, August 18, from 6:30 to 10 pm, followed by the official Indian Market Kick-Off Party, and will be open throughout market weekend. IM: Edge, Santa Fe Community Convention Center, August 19, 5:30–9 pm , and August 20–21, 9 am –5 pm ,


Indian Market Magazine

Santa Fe homecoming


P. karshis, 2015

Indian Market’s camaraderie by Joseph Case

Above: Ehren Kee Natay (Kewa / Navajo) with a 2015 Indian Market shopper. Below: Jody Naranjo (Tewa) welcoming visitors to her booth last summer. rima krisst

It’s half past six on a cool August morning when the sun begins to spill over the mountain and onto the Plaza. “To me, getting to the floor on Saturday morning is the most exciting part of Market,” says John Berkenfield, a volunteer and collector going into his 35th year with Indian Market, describing the morning’s energy and camaraderie as “fantastic.” The positive vibes and anticipation are infectious. Scott Hale, an Indian Market judge and art appraiser specializing in Native art, recalls childhood memories of visiting the Market as “better than Christmas morning.” Looking forward to this year’s Indian Market, Hale’s best memories over the years come down to one thing: “the relationships that are built.” As artists’ booths come alive with art and the buzz of old friends reuniting, people reconnect and share experiences. “Market is a personal thing,” explains Berkenfield, “with lots of affection between visitors and artists.” The community aspect of the Market plays a significant role in its tradition and allure. Berkenfield points out that when you’re buying something here, you’re buying an artwork that contains the personalities of the artists as well as the history and traditions of their culture. “Take the katsina doll, a part of a dance for the Hopi people,” says Berkenfield. “You have to learn about the dance and find out about what it is representing.” Dominique Toya, a fifth-generation potter from Jemez Pueblo known for her micaceous swirl pots, underscores the Market’s artist-visitor connection. “I most look forward to seeing old friends—volunteers, shoppers, visitors—and making new ones,” Toya explains, adding that “educating shoppers about a piece” is another thing she loves. “Each artwork has a different story, and hearing those stories gives you more of an appreciation of the art.” Toya’s combination of traditional techniques and modern style netted her the Best of Classification award for pottery at the 2009 Market. “Sharing a piece of art is sharing a piece of yourself,” explains Traci Rabbit, a Cherokee artist from Oklahoma, “so taking the time to visit with a shopper about it is something I do not take for granted.” Rabbit, who captures the strength and spirit of Native American women in her paintings, started showing her work at Indian Market over 30 years ago. She also appreciates the Market’s environment saying it is “like a homecoming, seeing friends you sometimes only see once a year.”

Dominique Toya (Jemez), native Jemez clay with micaceous slip, 5 x 5 x 5"

Annual Indian Market Weekend Show, August 20–21, Saturday 7 am–5 pm, Sunday 8 am–5 pm

Right: Traci Rabbit (Cherokee), I Feel His Presence, acrylic on canvas, 30 x 15"

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native arts 2016


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native arts 2016


Michele Tapia-Browning

Collaboration between Ashley Browning (Pojoaque and Santa Clara) and Michele Tapia-Browning (Santa Clara): wood game pieces for NDN-OPOLY, 2015, 1" high

emerging artists talented contemporaries to consider by Ashley M. Biggers

Ashley Lynn Browning (Pojoaque and Santa Clara Pueblos), Pojoaque This genre-bending artist blends photography, graphic design, and 3-D modeling. “I rely on my cultural heritage of being Pueblo but living in a modern society,” she says. She’s partnered with her mother, a Santa Claran potter, to create a Native version of Monopoly, NDN-opoly, in which the houses are tepees and all pieces on the board are pulled from places important to Browning’s culture. She’s also created an iPhone on which all the apps are destinations significant in Native American history. Browning comes to this year’s Market fresh off her first solo show, Perspective/Perception at the Poeh Museum and Cultural Center. Wakeah Jhane (Comanche/Blackfeet/Kiowa), Santa Fe Drawn to ledger art from an early age, Jhane observes in 66

Indian Market Magazine

her artist statement, “I chose ledger as my main expressive art form because it has a strong historical and cultural presence.” Using antique paper from 1805–1903, always from Oklahoma and Montana, Jhane paints watercolor images depicting indigenous mothers and families. “A lot of times, people only look at the bad Ashley Browning, NDN iPhone, 2015. aspects [of Native culture]. This piece won the Best of Division F Hardly any light is shone on award for computer-generated graphics. our parenting and healthy family systems,” she says. It’s a fitting choice for the nurseand midwife-in-training. Rykelle Kemp (Navajo/ Choctaw/Euchee-Creek), Phoenix, Arizona Kemp credits her father, noted contemporary artist Randy Kemp, with her early path into art and printmaking. Although her father remains a large influence, the young artist is trying to find her individual place in the art world. “I’m trying to make it my own, using more modern lines, kind of architecturally, and combining pop art with Native American imagery,” she says. In her print for

Ashley lynn Browning

Heidi K. Brandow (Hawaiian/Navajo), Santa Fe Growing up in Hawaii, Brandow saw Japanese pop art everywhere. As she came into her own as an artist, the influences emerged in her now signature monsters. “Although it can seemingly be more whimsical and fun… a lot of themes with the new patterns are a little more thoughtful,” she says of the paintings she’ll show at Indian Market. The diverse, museumcollected artist fluidly navigates from painting and printmaking to photography and social engagement projects. “At the root of it all is that it’s informed by self-identity and cultural identity,” she says. Indigenous influences manifest as pattern and repetition in her work—whether visually or through the connections she draws between cultures.

Ashley Lynn Browning

Visiting longtime favorites at Indian Market is always a treat, but so too is discovering new talent and meeting a few fresh faces. These emerging artists’ gifts are soon to earn them places among the top market artists. Here’s who to watch for at the 2016 Market.


Above: Ashley Browning and Michele Tapia-Browning, NDN-opoly game board, 2015, 20 x 20"

Great selection of authentic Indian jewelry at affordable prices

Indian Market, she’s incorporating skull designs in the style of Día de los Muertos, despite the fact that death is often a taboo subject in her Diné heritage. “I think we should move forward and celebrate our life and ancestry,” she says. This year, for the first time, Kemp will also show her silversmithing, which incorporates art deco and tribal designs. Aaron Kiyaani (Navajo), Shiprock, New Mexico, and Durango, Colorado Painting and charcoal work has always come naturally to the naturally talented Kiyaani, who has focused not only on a mastery of technique, but also on a style he can call his own. Using a photorealistic style with a moody atmosphere that borders on gothic, Kiyaani captures portraits of his family members as well as figures from Diné teachings and ceremonial beliefs, such as Anilt’ánii At’ééd (Corn Beetle Girl). During this, his second market appearance, he plans to display “images never seen before in the Native art world. It’s my opportunity to take up most of what people will be reminded of when they think of this year’s event. When they think of this year’s market, I want my art piece to fill up most of that memory,” he says.

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native arts 2016



Eddy Shorty


High Altitude, soapstone, 7 x 2 x 5"

Navajo sculptor bringing stone to life

by Emily Va n Cle ve

When sculptor Eddy Shorty was growing up in a remote area of the Navajo Reservation west of Chaco Canyon, toys were not easy to come by, so he carved his own out of sandstone. Shorty, who studied two-dimensional and three-dimensional arts at the Institute of American Indian Arts in the late 1980s, credits his childhood experiences and inspiration from his father, David Shorty Sr., as motivating his decision to pursue a career in art. “When I began my first piece [at IAIA] I was so excited to see the stone develop in my hands as I had seen it in my mind,” he recalls. “Working with stone felt so natural to me.” Shorty creates figurative and wildlife sculptures out of Utah sandstone, New Mexico travertine, limestone, and several types of marble. “Sometimes when I look at a stone, a figure or an animal emerges, but more often I do several drawings and from there decide what to carve,” he explains. “Lately I’ve been really interested in Native American figures.” His work will comprise half of the two-man show Other Times and Places, which opens at Gallery 901 on August 19, and also features new work from painter Dean Mabe. One of the show’s highlights is Shorty’s large bronze, Bear Dancer. Its creation represents a merging of the old and the new. “I’m tapping into the study of anatomy that I did at IAIA and adding more detail to my bronze work,” he explains. “I’ve also been using sketches of models I drew at IAIA for reference. Bronze is a relatively new medium for me. I’ve been into it for the past year. What it allows me to do is feel more freedom of movement and think more about the extension and retraction of muscles.” Shorty’s work can also be found at Santa Fe Indian Market, where he has had a booth since 1995. Other Times and Places, through September 9, reception August 19, 5–7 pm , Gallery 901, 708 Canyon,

Carol Emarthle-Douglas Southwestern Association for Indian Arts

2015 Best of Show winner by Emily Va n Cle ve

Carol Emarthle-Douglas

Carol Emarthle-Douglas (Seminole/Northern Arapaho) delighted to learn over the phone that she had won Best of was Classification for her traditional and contemporary–styled basketry entry Cultural Burdens at last year’s Indian Market. Then, at a live ceremony, hearing her name announced as Best of Show winner was almost beyond belief. “I was so surprised and excited,” she says of the honor.


Emarthle-Douglas has won a number awards at Indian Market since she began exhibiting in 2000, but receiving Best of Show gave her a special boost. “It definitely provided me with energy and inspiration,” she says. “Since winning last year, I’ve been invited to be a guest speaker at shows and gotten commissions.” Emarthle-Douglas has to be careful when accepting commissions because her large baskets can take anywhere from four to six months to complete. Cultural Burdens (shown at left) was particularly laborintensive. It features 22 miniature baskets in 11 different Native American basket-making styles. “I tried to stay as close as I could to using materials appropriate to each style,” she explains. Since Emarthle-Douglas didn’t come from a family of artists, she had to learn basic techniques on her own. She started her journey by taking a class close to her home in the Seattle area. Through the years she has studied a large variety of basket-making techniques by herself and through attending conferences around the country. At this year’s Indian Market, Emarthle-Douglas plans to exhibit large and medium-size baskets as well as baskets designed as wearable art.

Carol Emarthle-Douglas (Seminole/Northern Arapaho), Cultural Burdens, coiled basket with mixed media, 8 x 15" Indian Market Magazine

Nando Slivers

the art of family: generations of Growing Thunders

Right: Ramey L. Escarcega and her medicine-horse bonnet, brain-tanned moose hide, size 15 seed beads, brass sequins, brass buttons, wool, silk ribbon, lace, calico, ribbon, on a wood stand with velvet, brass tacks, and red paint, 7 x 10 x 8".

buckskin, wire armature, 22" tall.

Nando Slivers

interned at NMAI, and she is now pursuing a doctorate in Native American Studies at the University of California, Davis. At Indian Market, in addition by Neebinnaukzhik Southall to showing as an artist, she has (Chippewas of Rama First Nation) frequently been seen as a competitor in the Native American Clothing Contest. Juanita’s 13-year-old daughter, Camyrn Growing Thunder Ahhaitty, is also carrying on the family tradition. At Indian Market in Hailing from the Fort Peck Assiniboine (Nakoda) and Sioux 2014, she won a ribbon for a beaded bag, and last year she won Best of (Dakota) Tribes of Montana, the Growing Thunder family represents Classification in the Youth classification and the Santa Fe New Mexican multigenerational excellence in Plains Indian art. Youth Award for her multimedia piece, a parfleche handbag, depicting Assiniboine and Sioux beadworker and quillworker Joyce Growing Chief Siŋté Glešká (Spotted Tail). Thunder Fogarty is legendary for her traditionally-based work. Taught by her Darryl Growing Thunder, Joyce’s son, is known for his ledger art grandmothers, she comes from a long line of talented women, serving as an celebrating the richness and history of his people’s cultures. He is self inspiration to her own children and grandchildren. She has created hundreds taught, inspired by the work of Plains ledger artists before him. He credits of masterpieces over the years, including elaborately detailed horse masks, his family’s dedication to art, including father Jim Fogarty’s paintings, as war shirts, cradleboards, dresses, moccasins, pipe bags, knife cases, dolls, and part of his own creative formation. His angular figures, often outlined in medallions. She has shown at institutions such as the Metropolitan Museum gold, are abstracted so that just the essential information is communicated. of Art, the National Museum of the American Indian (NMAI), the Joslyn Specific cultural elements are clearly identifiable, whether Assiniboine Art Museum, the musée du quai Branly, the Nelson-Atkins Museum of Art, beadwork patterns, ribbon work, dentalium shells on a dress, blanket the Denver Art Museum, the Autry Museum of the American West, and the strips, or bells on a dancer’s ankles. His Fenimore Art Museum. As an Indian Market participant for over 30 years, she border designs reference motifs found has won Best of Show an unprecedented three times, and has been the recipient on parfleches. Darryl’s work appears in of the SWAIA Lifetime Achievement Award, among other honors. Unbound: Narrative Art of the Plains, which Joyce has passed down her artistic excellence to her daughter Juanita, a opened this March at NMAI. Chicken regular collaborator. Together they sew, bead, and quill from early in the Dancer, Grand Entry, Horse Raid Muslin, morning until late at night. Like her mother, Juanita Women Traditional Dancers, and Victory creates a range of meticulous, culturally relevant work, Dance are included in the show, as well such as her intricately decorated bags or her ornate as a collaboration with his sister Juanita, dolls of Plains people, wearing clothes fully decorated Doll with Honor Dress, featuring his painted with tiny quills and size 22 seed beads. Juanita has designs. His work has won awards, won many awards at Indian Market. A Plateau-style including the J. Seth Standards Award at Above: Joyce Growing Thunder Fogarty, male doll, a collaborative piece with her mother Indian Market in 2009. Assiniboine horse mask, size 13 vinJoyce and daughter Jessa Rae, won First Place, Ramey L. Escarcega, daughter of tage seed beads, brass bells, pheasBest of Classification, and Best of Division at ant feathers, otter fur, silk ribbon, Thomas and Esther Escarcega and a brain-tanned buckskin, 26 x 31" Indian Market in 2014. Her art has shown Growing Thunder through her marriage in many exhibitions, including Floral Journey: to Darryl, is deeply invested in cultural Native North American Beadwork at the Autry, preservation. She is also Dakota from Fort and several at NMAI, such as Identity by Peck, as well as Diné. Her bold, beautiful Design, A Song for the Horse Nation, Grand beadwork, a form she learned from her Procession: Dolls from the Charles and Valerie Diker mother, adorns all manner of objects, such Collection, and currently, Unbound: Narrative Art cradleboards, medallions, bonnets, doctor’s of the Plains. satchels, bags, moccasins, and more. She Juanita’s oldest daughter Jessa Rae follows has collaborated with Darryl on several in her family’s footsteps and has been beading pieces, and some of her beadwork figures since she was a little girl. A number of her are evocative of ledger art. She also sews Detail of the beaded own pieces are pictorial in design. She has glove on the doll at left. star quilts, which are culturally significant worked with her mother and grandmother among Northern Plains people as a way to on many projects, including several shown in honor individuals. In addition to being an award-winning major exhibitions. Outside of art, her projects artist, she serves her community as the director of the Above: Plateau floral doll, collaboration involve advocacy for Native peoples. As the Fort Peck Tribes Language and Culture Department, and between three generations of the 2012 Miss Indian World, she served as a Growing Thunder family: Joyce, has her eyes set on building an immersion school for the Juanita, and Jessa Rae. Sizes 22 and voice for Native communities, and in 2014, youth. She has completed her first year towards a doctorate 24 micro antique seed beads, wool, she traveled to Ecuador as part of a cultural in education at the University of Montana. porcupine claws, brass tomahawk, exchange program for the U.S. State silk ribbon, minature brass armbands, Continued on page 77 Department. As an undergrad, she brain-tanned buckskin, smoked santa fean

native arts 2016


Samantha Jacobs and Grant Jonathan Samantha Jacobs

a contemporary take on raised beadwork by Emily Van Cleve

Samantha Jacobs (Turtle Clan, Seneca from the Cattaraugus Indian Reservation), caterpillar bag, wool, peltex, calico, glass and shell beads, satin ribbon, nymo beading thread, magnetic clasps, 9 x 9 x 1"

Kitty Leaken

Above: Samantha Jacobs, Jill’s Moccasins, commercially tanned leather, velvet, peltex, glass beads, satin ribbon, nymo beading thread, imitation sinew, 10 x 4 x 4"

Samantha Jacobs

Grant Jonathan, strawberry pincushion, silk velvet, silk satin, pellon interfacing, nylon thread, glass beads, antique whimsy beads, emery sand or sawdust, 6 x 2 x 2"


Indian Market Magazine

Above: Grant Jonathan, six-owl checkbook, silk velvet, silk satin, satin bias, poster board, pellon interfacing, nylon thread, glass beads, antique whimsy beads, 7 x 4 x 1/2"

Jacobs, a current and founding member of the Native Roots Artists Guild, teaches a beading basics class and a Haudenosaunee-style beaded purse class at the Seneca Nation of Indians Language & Culture Department, located in her New York community south of Niagara Falls. In her work, she creates beaded purses, cross-body bags, moccasins, bracelets, and earrings Kitty Leaken

Beadwork artists Samantha Jacobs (Turtle Clan, Seneca from the Cattaraugus Indian Reservation) and Grant Jonathan (Tuscarora), members of the Haudenosaunee Confederacy, learned traditional beadwork from their mothers. Now artists themselves, they honor tradition while adding contemporary concepts to their own work. Jacobs and Jonathan create both functional and decorative items using the raised beadwork technique, in which beaded elements are raised more than one layer of beads above the surface of the piece. For example, if a space can fit five beads, raised beadwork artists may put eight beads, so the beads stack above the chosen material’s surface. In a different raised beading technique, a line of beads is set over an existing line. This labor-intensive art form has been passed down to tribal members within the Haudenosaunee Confederacy from generation to generation, since the mid-1800s.

Kitty Leaken

Left: Grant Jonathan (Tuscarora), Remember Me picture frame, silk velvet, silk satin, cotton calico, satin bias, poster board, pellon interfacing, nylon thread, glass beads, antique whimsy beads, 18 x 13 x 1/2"




Rena de Santa Fe

out of materials including leather, wool, velvet, glass beads, and satin ribbons. Patterns are modeled after traditional designs she’s viewed in museums along the East Coast. She often beads caterpillars and butterflies, representing transition and change. Flowers are a recurring theme in her work. “The number of petals in each flower have meaning,” explains Jacobs, who looks forward to her first year with her own booth at Indian Market. “A five-petal flower refers to the five original nations in the Haudenosaunee Confederacy. Some elements signify creation stories. Corn, squash and beans are our life sustainers.” Jonathan was raised on the Tuscarora Reservation near Niagara Falls, and currently works as an attorney in the Indian Program at the U.S. Environmental Protection Agency in New York City. In his work, he particularly enjoys creating interpretations of historical Tuscarora souvenir art, commonly referred to as whimsies by the Europeans. “The souvenir art created by my ancestors combined traditional Native designs with popular Victorian-era fashions and was adorned with flowers, animals, dates, sentiments, or place names such as ‘From Niagara Falls,’” he says. These pieces include pincushions, wall hangings, and picture frames made out of silk velvet, silk satin, poster board, antique beads, glass beads, and other materials. Jonathan, now in his eighth year of showing work at Indian Market, enjoys beading owls, which signify wisdom in his culture and are viewed as messengers, as well as a variety of other birds and squirrels. “My beaded strawberries are my best sellers,” he says. Although their forms and techniques are traditional, Jacobs and Jonathan find ways to create contemporary-looking pieces through the use of vibrant colors not utilized by their ancestors. Jonathan works primarily with clear glass beads but does something unusual with many of them. “I put nail polish of all colors, like purple, green, blue, red, and yellow, inside clear glass beads,” he says. “In traditional work, beads are usually clear. But I love strong colors, especially bright red. I use colored beads as embellishment.” Jacobs also is drawn to more colorful beads than those used by her predecessors. “I go to local bead and gem shows to look for interesting beads,” she says. Jonathan and Jacobs welcome questions about their work and are happy to explain its cultural significance.

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native arts 2016


Navajo weavers—the men breaking the pattern Gerard Begay with chief’s blanket, New Zealand wool dyed by the artist, 48 x 36".

by Emily Van Cleve

In traditional Navajo society, the women weave. The reason that Indian Market artist Marlowe Katoney started weaving in 2010, after painting for more than 20 years, is that his maternal grandmother convinced him to learn the art form. “Both of my grandmothers wove and so did my great- and great-great-grandmothers, but none of the family members in my parents’ generation became weavers,” explains Katoney, who lives in Winslow, Arizona. “My grandma hoped someone in the family would continue the tradition, and she asked me to do it. It was an unintentional detour for me.” Katoney was hesitant to try weaving. He had watched his grandmother weave during childhood and knew it would take years to cultivate the skill. “I’m not the best technically and sometimes I make mistakes in my work,” he says, “but for me it adds a kind of beauty.” Although his grandmother’s weavings are no longer part of the family’s collection—all of them were sold years ago—Katoney still remembers her work and is inspired by it. He creates traditional pieces such as Eye Dazzlers, which are elaborate weavings using bright commercial dyes or yarns that were first made by Navajo weavers in the late 19th century, but he’s also drawn to expressing contemporary impressions of the human condition.

“I want my work to be used, not hung on a wall Steve Long

or put on the floor,” says Gerard Begay. “I call it wearable art. . . . I see my work as having a

Tom Alexander

Navajo weaver and Indian Market artist Gerard Begay watched his grandmother Betty Begay weave when he was a small boy growing up in the Navajo community of Indian Wells, Arizona. After his grandmother stopped weaving due to health issues, he observed Lucy Lee, whom he refers to as his “clan grandmother,” at the loom. Like Katoney, Begay grew up knowing that boys didn’t weave and instead pursued other interests. For a period of time in his 20s he designed jewelry that replicated older jewelry styles, and when Gerard Begay, Maricopa Community College offered a free weaving class, he Navajo ceremonial registered for it. In 2013, when he was 34 years old, the passion kilt, wool mohair, he felt for weaving during childhood was rekindled. Mercury dimes, cotton lining, “Lucy handed me two of her rugs before she died and told me 22 x 46" that if I ever became a weaver these rugs would be my guiding tools,” recalls Begay, who lives in Phoenix. “I’ve always felt I knew how to weave, just by watching my two grandmothers.” After Begay announced to his parents that he was dedicating his life to weaving, his father revealed that he had been weaving in secret for many years and that his sister used to sell his work. “My mother was speechless at first,” he says. “Then she gave me all my grandma’s tools and told me to bring life back to them.” Begay is also drawn to creating Eye Dazzler weavings, which his grandmother Betty enjoyed creating during her lifetime. Rather than focusing on weaving art objects, Begay prefers carrying on the Navajo tradition of making garments, including rug dresses, ponchos, and ceremonial kilts for men and women. “I want my work to be used, not hung on a wall or put on the floor,” he explains. “I call it wearable art. I incorporate traditional geometric patterns, but the colors are my own. I see my work as having a contemporary twist on original Navajo designs.”

Marlowe Katoney, Garden—Tree of Life, wool, 90 x 30"


Indian Market Magazine

santa fean

native arts 2016


Steve Long

contemporary twist on original Navajo designs.”

Below: Glenda McKay (Ingalik– Athabascan), Octopus Bag, red felt, sealskin, deerskin, size 4, 11, 15, 16, 18, 20, and 22 glass beads, handmade mammoth ivory beads, 24-kt gold bead, and walrus ivory, 42 x 10"

Below: Dale Marie Campbell (Tahltan–Tlingit), Ta-Ka-Ja Frogs–Keepers of the Earth, yellow cedar wood, abalone inlay, and ermine fur, 9 x 8 x 3"

Peter Boome (Upper Skagit), Persistence on Blue, serigraph, 11 x 15"

contemporary views from the Northwest Pacific Northwest Coast and Alaskan artists by Chelsea Herr (Choctaw Nation of Oklahoma)

Every year, the Santa Fe Indian Art Market brings together an array of Indigenous artists, representing the multitude and variety of Native cultures that continue to thrive in the Americas. Highlighting this year’s diversity are three contemporary artists from the Pacific Northwest and Alaskan Coast. Currently based in British Columbia, Dale Marie Campbell (Tahltan-Tlingit) works with a wide variety of materials that reflect her relationship with her heritage and community. In 1972, Campbell began her artistic career carving large totem poles. Since then, she has ventured into other forms of creative work, including button blankets, sandblasted glassworks, and silver and gold jewelry. Campbell views her work as a means of personal development and as an expression of her heritage. “For me, it is my way of feeling connected to the past, present, and future of my people,” Campbell says. She finds inspiration in the stories passed down in her community, which directly influence her creative process and output. “It is through these stories,” Campbell states, “that I am able to share the traditions of my people and give everyone a clearer understanding of my Nation.” In addition to her work as an artist, Campbell teaches at Northwest Community College in Prince Rupert, where she uses her experience to give back to Indigenous communities throughout Canada. She hopes that her work as an artist and teacher will positively influence Indigenous peoples by communicating the importance of diligence. “Never give up. There is always a way. This is an important part of my creative process,” says Campbell, “[to have] determination and perseverance to continue in my work.” Peter Boome (Upper Skagit) works as an artist and teacher in Washington state. Boome’s artwork is informed by his upbringing, as well as his research into the history and significance of Coast Salish designs. Working in a range of media, including painting, carving, and glasswork, it is Boome’s hand-pulled serigraphs and two-dimensional designs that are among his best-known works. He views his art as a unique blend of traditional and contemporary styles and mediums. “I work within a specific design style using traditional design elements,” Boome states. “I do, however, use a contemporary color palette and create new, unique designs that tell the story I want to tell.” His work is

rooted in a deep tradition of storytelling—stories concerning family and community history, current events, spirituality, and the human condition. “Many of my favorite or most popular designs deal with basic human issues such as parenthood, and different emotional states of being,” says Boome. “I try to make the work relatable.” With a master’s degree in environmental studies, Boome produces artwork that also addresses issues concerning the natural world. “As Indigenous peoples, we rely on our environment and are place-based,” he says. “In a world that seems transient and disposable, I try to remind people that we are all placebased depending on the scale with which we view the world.” Glenda McKay (Ingalik-Athabascan), though now living in New Mexico, draws on her heritage and experiences in Alaska to create her art. Her work includes miniature dolls, handcarved ivory masks, sealskin baskets, and beaded bags, among other items. McKay’s inspiration Peter Boome stems from the natural materials in Alaska, in addition to her (Upper Skagit), Wolf Dancer rattle, upbringing. “I was taught at a very young age by my mother, red alder, cedar, grandmother, and aunts how to survive off the Pacific yew, abalone, land,” McKay says. Aside from teaching her bone, glass inlay, acrylic paint, and wool, skills for hunting and trapping animals for 16 x 4 x 4" food, McKay’s family also showed her how to brain-tan hides for clothing and artwork, and how to recognize various plants for their traditional uses. For McKay, this dependence on the land and its resources is vital to her work as an artist. “I try to make my items as traditional as possible,” states McKay, “in remembrance of my ancestors.” Her beaded pieces are also unique since they are her own designs, made from 100- to 200-year-old beads. This careful selection of materials and devotion to high-quality, handmade pieces means that McKay’s artwork is a full-time job. “It takes me months to complete a doll or beaded projects,” she says, “so I might only get one or two major projects finished per year.” 73

Roger Perkins Native art in the digital age by Jason Strykowski

All Shook Up, archival ink on canvas, acrylic, UV varnish, 50 x 32" Below: X-Indian, archival ink on canvas, acrylic, UV varnish, 36 x 48"

Mohawk potter and painter Roger Perkins brings together traditional and modern techniques to create works of art across different mediums. His pottery draws from ancient methods used by the Mohawk peoples. Perkins also uses round canvases to paint with acrylics. His graphic prints, however, take advantage of recent photo editing software to smash pop culture together with Native Americana in what he calls “Powwow Pop Art.” Raised on the Akwesasne Reservation near the border between New York State and Canada, Perkins started playing with Adobe Photoshop after college. He found that he enjoyed both the software itself and the challenge of seamlessly blending art and pictures from different time periods. “I’m taking old photographs from Edward Curtis and other photographers from the 1800s and early 1900s and adding a lot of different images, like a digital collage,” explains Perkins. “It’s a mixture of old and new. We’re using old images with cutting-edge photo technology and state-of-the-art printers with archival inks.” Perkins finds that his Photoshop art can reach a wider audience than some of his more traditional work does. “Usually only Native people wanted my paintings, but this digital stuff appeals to everybody,” he says. Even so, Perkins still draws his inspiration from the past. “The culture is the foundation, and everything that I’m doing comes from that,” he says. “It’s like a tree; I’ve got different branches, and I’m branching out all over the place. It’s all about creativity. It’s all about culture. It’s all about teaching. It’s all about sharing, and enlightening people.” As much as Perkins has adopted technology in his art, he has also made a considerable effort to embrace traditional Mohawk crafts. Perkins’s pottery re-creates a millennia-old method used by his Mohawk ancestors. “I’m the only Mohawk of 70,000 people who does this unique, traditional style of Mohawk pottery that died out in the 1660s,” explains Perkins. “I did all the research and all the studying, and I brought it all back in 1993 and 1994.” He went on teach this method of potmaking, and he is excited to be the first artist to bring that style of traditional Mohawk pottery to SWAIA. The future holds still more growth for Native artists who hope to take advantage of emerging applications and the ever-faster internet, according to Perkins. “I can see a lot of great political art being created with the technology that exists today,” he said. “We can spread messages in the blink of an eye.”

Above: Apache Kid, archival ink on canvas, acrylic, UV varnish, 20 x 52" 74

Indian Market Magazine


Wheelwright Museum

704 Camino Lejo, Santa Fe, NM 87505 • 505-982-4636 or 1-800-607-4636


41stAnnual Benefit Auction


Thursday, August 18 Silent Auction and Live Auction Preview 4:00 – 5:30 p.m.

Friday, August 19 Collectors’ Table 10:00 a.m. Live Auction Preview 10:30 a.m. – 1:00 p.m. Live Auction 1:00 – 4:00 p.m. Offsite parking and free shuttle from St. John’s United Methodist Church at Old Pecos Trail and Cordova Road. Funded in Part by a Gift from

For more information visit Left to right: bracelet by Moogie Smith (Navajo), pendant by Kee Yazzie, Jr. (Navajo), and bracelets by Anthony Lovato (Kewa Pueblo). Photo: Neebin Southall.

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native arts 2016




Below: Kevin Red Star (Crow), Big Black Wolf, acrylic on canvas, 30 x 40"

Above: Kevin Red Star, Crow Dancers, acrylic on canvas, 60 x 48"

Sorrel Sky’s Indian Market events featuring Native and Western artists by Emily Va n Cle ve

Indian Market is one of the busiest times of the year at Sorrel Sky Gallery. Owner Shanan Campbell Wells has invited her Native American artists to participate in a special group show, Native Art Now, which opens on August 18 and runs through the end of the month. “They’re creating new work especially for the show,” says Wells, who represents an award-winning group of visual artists and jewelers including Ben Nighthorse (Northern Cheyenne), Kevin Red Star (Crow), Ray Tracey (Navajo), Cody Sanderson (Navajo), and Victoria Adams (Southern Cheyenne). “Collectively these artists have received distinctions from the most prestigious institutions in America.” Work by many of the gallery’s other artists goes on display August 19 in a show that features top Western artists such as Carrie Fell, Tom Palmore, and Star Liana York. For the third Indian Market in a row, Wells has invited Navajo sculptor Pablita Abeyta to talk about her life and work during a reception and brunch on August 22. After completing her graduate degree at the University of New Mexico, Abeyta moved to Washington, DC, to lobby for the 76

Indian Market Magazine

Navajo Nation. From 1986 to 1988 she worked as a legislative assistant to jeweler Ben Nighthorse (Campbell), who was a Colorado congressman from 1987 through 1993 and a senator from 1993 to 2005. In 1991 Abeyta became integrally involved with the founding of the Smithsonian’s National Museum of the American Indian, which opened in 2004. Abeyta still lives in the nation’s capital and creates handcoiled clay figures of Native American women in traditional dresses. “I have a close affinity with Pablita,” says Wells. “Several years ago, right after Indian Market when she brought some new work to the gallery, I thought it would be fun to have a brunch for her and invite some friends. The event was so successful that I decided to continue doing it.” The reception and brunch are free and don’t require advance reservations. Sorrel Sky Gallery’s Indian Market Events August 18: Native Art Now, reception 5–7:30 pm August 19: all gallery show, reception 5–7:30 pm August 22: reception and brunch for sculptor Pablita Abeyta, 9–10:30 am Sorrel Sky, 125 W Palace,

Midthunder, continued from page 42 their lives online, communicating electronically without making real-life connections. While Midthunder was making the transition from high school to homeschooling, she recalls discussing this with Macpherson. “That’s where the social world lives now,” observed the teenager. “What happens then? What does that do to your overall psyche when your interaction with living people is in this fake thing? You know, where you can delete things; but you can’t actually do that [in real life]?” This is still striking a deep note with Midthunder; and speaking with quiet passion about the number of hours people spend on violent video games, she continues, “People are giving their lives to this thing; and then you come out of it for however many hours in your real life, and you don’t know how to deal with life, I think, and it sort of wears on you mentally.” Midthunder herself is clearly wellgrounded, with a real existence apart from the dream world of Hollywood. After spending her earliest years in Los Angeles, the family moved to New Mexico, “where I grew up out in the dirt, in the sticks, with big dogs and dirt bikes and horses, and where I just got to be a kid—a person. And,” she laughs, “I have really good parents. They don’t put up with a lot of crap. They would just say, ‘Nope, not going to deal with that.’ And they [still] really lead by example,” she continues. “They’re their own good, strong people; when you’re a kid, you see that, and then you say, ‘I want to be like that.’ And then you just sort of do. I’m very fortunate that way,” says Midthunder. “I’m really a very fortunate person.” Cultural District, continued from page 61 no blood quantum restrictions. All of these issues with cultural and racial identification reveal fundamental inequalities regarding who is or is not allowed to market their goods as Native-made. While Mayor Gonzales’s proposal does not directly address these problems, the establishment of a cultural district within Santa Fe could still prove beneficial. If its implementation does increase collaboration between local and federal agencies, then the city will likely witness a decline in the sale of counterfeit Native goods. The city council has not yet voted on the proposal, and continues to hear community comments during its regular sessions.


native arts showcase magazine

Scarlett’s Antique Shop & Gallery Welcome to Scarlett’s—a favorite shopping haven of locals and visitors alike. We feature a beautiful array of authentic, high quality Native American jewelry by many award-winning artists. Whether you prefer the sleek contemporary look or traditional Classic Revival style, you are sure to find your treasure from the Land of Enchantment at Scarlett’s! At-door parking available. 225 Canyon Rd, 505-473-2861 (for preview)

Joe Wade Fine Art Arlene LaDell Hayes, Black Mesa, mixed media, 20 x 10" Joe Wade Fine Art, Santa Fe’s premier art gallery since 1971, offers an extensive collection of emerging, established, and acclaimed artists’ work. The gallery, located one block south of the historic Santa Fe Plaza, in El Centro, showcases a varied selection of original paintings and bronze sculptures year-round. Open Monday– Saturday 10 am–5 pm and Sunday 10 am–4 pm. 102 E Water St, 505-988-2727

Steve Elmore Indian Art Carrying the Water: Historic Pueblo Canteens, Opening Reception August 5th 5–7 pm Steve Elmore Indian Art is your destination for historic Pueblo pottery, Navajo textiles, vintage silver jewelry, Hopi baskets and Kachina dolls. Specializing in the work of Hopi pottery matriarch Nampeyo, the gallery is located in the heart of historic downtown Santa Fe. 839 Paseo De Peralta, 505-995-9677

Growing Thunders, continued from page 69 Ramey and Darryl are raising three sons immersed in their heritage. Inyan Pejuta, 13 years old, belongs to Peji Waci Omniciye, a traditional Dakota Grass Dance Society. Wanbdi Tokaheya, 11 years old, is joining his parents at Indian Market for his second year as a youth participant—last year he won a first-place ribbon in his category in the Youth classification for his ledger art. Cetan Wakandiya, 10 years old, is the drum keeper for the Poplar Indian Days celebration. Together, the three boys have a drum group, the Tahca Sinte Ska (White Deer Tail) Singers. santa fean

native arts 2016


diversity in clay artists and tribes shaping their own ways by Barbara Tyner

Indian Market functions as a showplace for clay artists—those eager to break new ground as well as more traditional potters. Some of Native America’s most innovative artists, from Cochiti to the Cherokee Nation and points between, will show at this year’s Market. Nancy Youngblood (Santa Clara) Indian Market’s 2015 Best of Class winner for pottery, Nancy Youngblood is a prominent member of pottery’s royal family, the Tafoyas, at Santa Clara Pueblo (her grandmother was Margaret, her great-grandmother, Sara Fina), but her claim to fame is as an original. As last year’s winning piece—all thrashing storm and horsepower—indicates, Youngblood provides an element of surprise to the medium. “It’s important to carry on traditional designs, and I also think it’s important to expand the art and not just copy what our ancestors did,” she explains. Youngblood was first accepted into Indian Market in 1974, a year after her high school graduation. By age 21 she was an established gallery artist, showing in Scottsdale and Santa Fe with Lee Cohen’s Gallery 10. “Some galleries try to keep you doing the same thing. Lee told us to be creative, to be brave. I think that made all the difference.” Indian Market has a motivating effect on her creativity. “It’s the most competitive show. That’s a way to keep fresh, as an artist. It encourages us to expand, do something different.” Whether she is refining age-old forms (the S-line melon bowl is her signature work), or coming up with her own contemporary shapes in less typically Tewa form, Youngblood continues to make her innovative mark. Lisa Holt and Harlan Reano (Cochiti and Kewa) Husband-and-wife potters Lisa Holt (Cochiti) and Harlan Reano (Kewa) bring playfulness to their sculptural work that no one would call traditional, yet their works are somewhat historically based. Clay figurines have history in the Cochiti tradition, stifled under Spanish Catholic dominion, revived in the late 19th century (the tale is told that a circus train near Cochiti in the early railroad days influenced a new cast of characters). These early “freak show” pieces—two-headed opera singers, tattooed ladies—bear more than a passing resemblance to Holt and Reano’s inviting, inventive figures. Their work began with Holt potting ollas and figures in the traditional manner taught by her grandmother, Seferina Ortiz, and Reano painting heavy black designs based in Kewa and Cochiti traditions. Today, they sculpt the natural clay they dig themselves, coiling and scraping just as potters have done for thousands of years. The figures are frolicsome, even a little punk. The surface designs vary: some are modified traditional, some unmistakably contemporary, and even some graffiti based. Holt and Reano’s figures aren’t grotesque, like a few of the early circusinfluenced works, or totally out of this stratosphere, like some by Holt’s uncle, Virgil Ortiz.

Above: Garrett Maho (Hopi), Return of the Hopi Kachinas, hand-built and painted using traditional Hopi techniques, traditionally fired, 25 x 10"

Right: Lisa Holt (Cochiti) and Harlan Reano (Kewa), untitled, natural clay and pigments, 23 x 9 x 8"

Mary Janice Ortiz (Cochiti) Also from Cochiti and equally original, Mary Janice Ortiz continues the Pueblo’s nouveau figural tradition in her own way. Her forte: charming us. Sister of Virgil Ortiz and daughter of Seferina, Ortiz makes us smile in spite of ourselves at her delightful clay amusements. Made of hand-dug and processed natural Cochiti clay and painted in natural pigments, Ortiz’s works are an evolution of the storyteller forms originated by Cochiti artist Helen Cordero in the 1960s. More whimsical than macabre, these sculptures offer a winning— and winking—sense of humor: a sexy high-heeled boot trimmed in a traditional pottery design; a fat little dachshund zipped into a pueblo blanket, snug as a hot dog in a bun; or Godzilla on a notorious and fabled tear through Indian Market. Freestanding, painted in matte black, rust, and orange on a natural cream clay surface, mostly unpolished, these original works are highly anticipated from a sculptor with a serious sense of play. Garrett Maho (Hopi) Award-winning artist Garrett Maho’s newest pieces, large vessels made of hand-polished Hopi clay, merge traditional figures with contemporary design elements. In many of his works, a grounding art deco geometry meets lyrical Hopi figuration. But look closely: there 78

Indian Market Magazine

Above: Karin Walkingstick (Cherokee), Bountiful Earth, red earthenware clay constructed with slab and coil method, slip painted and kiln fired, 11 x 10"

is also a bit of gentle playfulness in Maho’s paintbrush. His katsina and koyemshi clowns stick out their tongues, laugh, frown. He shows us the fun in the sacred, and reminds us that at Hopi, religious figures are part of the everyday. Maho began creating works in 1996, learning to make traditional pottery from his grandmother, Marilyn Mahle, and his aunt, Gloria Mahle. He coils confident shapes: ovoid bowls, vases, the flying saucer Sikyatki-style shapes made famous by Nampeyo, slip painted and burnished to a sun-washed glow. Cloud blooms from the traditional firing methods add mystery, history, and richness. Aside from traditional split yucca brush painting, Maho experiments with spatter techniques. It seems contemporary, but Hopi ancestors used spatter techniques in ancient paintings on cave walls. Karin Walkingstick (Cherokee) Karin Walkingstick’s pottery cites woodlands at dusk, sunshine, and butterflies. Her corrugated pots look nothing like the corrugated works of Puebloan ancestors, and they shouldn’t—her accent is Southeastern, not Southwestern, as is her pottery. Walkingstick is part of a revival of traditional Cherokee pottery, and as every artist must in a revived tradition, she is finding her own way. Innovation is a given. Cherokee pottery is not the family affair it often is among pueblo people of the Southwest. “We don’t have generations of families who were potters,” Walkingstick says. “After the Trail of Tears and relocation, we started over.” She is considered part of the third generation of new Cherokee potters, having learned from Jane Osti, who learned from Anna Sixkiller Mitchell. “But we’re not related. We just enjoy the love of pottery.” Walkingstick is a contemporary potter, unhindered by rules or expectations. Even so, she often pays homage to traditional ware, smoking her kiln-fired pieces in a raku-like process to emulate the soft, used-in-a-fireplace look of heritage utilitarian pieces.

Tammy Garcia and Preston Singletary a d a n c e o f i n n ovat i o n a n d t r a d i t i o n Working clay or glass involves transformation—alchemic reactions to fire. Magic. As always, Tammy Garcia and Preston Singletary, two of the brightest stars in contemporary Native art, bring magic this year. Garcia has roots in Santa Clara Pueblo clay, but also works in glass and steel. Seattle-based Singletary works glass, translating stories from his traditional Tlingit culture into luminous visual poetry. Both artists defy conditioned expectations of Indigenous art. In their work, innovation and tradition dance together so seamlessly that definitions no longer matter. Together, they have produced three shows of radiant magic in glass. A groundbreaker, Singletary is the first Native artist to apply European art glass tradition to Native design production. Creating works of lyrical, light-filled beauty, he challenges the notion that Native artists are best when using traditional materials. “Glass has added a different dimension to Indigenous art,” he says. Garcia draws inspiration from unexpected sources: Santa Clara culture, vintage European fashion magazines, and everyday experiences. Though descended from Santa Clara pottery royalty (great-great-greatgrandmother Sara Fina Tafoya), she’s as likely to quote the Latin name for bee as the Tewa word for dragonfly. Singletary’s Southwest collaborations began with Garcia. “Tammy’s work resonated with me immediately,” he says. “I knew her designs would look really good with my techniques.” His other partnerships include Jodi Naranjo (Santa Clara) and Harlan Reano (Kewa). “I consider myself a kind of ambassador of glass to other Indigenous communities. Collaborating, I

by B a r ba ra Ty ne r

learn about other cultures and their approach to traditional heritage art.” In August, Singletary’s Blue Rain Gallery show will feature jewel-like glass figures translated directly—and abstractly—from story. They Tammy Garcia, Santa Fe Train, Santa Clara Pueblo clay vessel, 8 x 7 x 2" evoke the fire-warmed halls of the steaming Tlingit longhouse, the shadowy darkness brightened by flame, stories, and listeners whose eyes sparkle in the firelight like glass. Garcia has a surprise this August: “I got a booth at Indian Market,” she says. It’s her first time showing in about 20 years. Her new works offer a Garcia twist: clay vessels sparkling like glass, and glass vessels in earth tones. This year’s focus is bottles, offering delicious metaphor and a new, dark humor. Her wonky, distorted, Alice in Wonderland-ish work, Drink Me, is visual onomatopoeia: “It’s what the bottle would look like after you’ve drunk what’s inside,” she laughs. Her “Poison” bottles are another surprise, featuring clay studs and high-relief texture (“so you can tell they are poison in the dark”). They are quintessential Garcia, with a wink. “You have to have a sense of humor. It’s life. If you look at Pueblo pottery in a historical sense, the artists weren’t recording their history in books; they were recording it in pottery. This is my story.” santa fean

native arts 2016



Left: Chrstine Nofchissey McHorse, Nautilus 2006, micaceous clay, 19 x 11"

Patrick Dean Hubbell and Christine Nofchissey McHorse

Below: Portrait of Christine Nofchissey McHorse in her studio, ca. 2013.

Navajo artists at Peters Projects

Courtesy Andrea Ashkie

by Ja s on St r y kow s ki

The Peters Projects Gallery will welcome two solo exhibitions from Native artists for SWAIA Indian Market this year. Patrick Dean Hubbell (Navajo) updates traditional Navajo sand painting while Christine Nofchissey McHorse (Navajo) adds her own flair to Pueblo-style pottery. McHorse originally hails from Arizona and attended IAIA. She married a man from Taos Pueblo and learned traditional pottery skills from his grandmother. Branching out from what she had been taught, McHorse began blending the glittery, micaceous Taos pottery with modern shapes and a reductive firing technique to produce black, gently curving sculptures that retained the mica’s sparkle. Some of these pieces have then been cast in bronze. For her work, McHorse has won major awards at Indian Market for both pottery and sculpture. Peters Projects will host an unveiling of one of her bronzes and an exhibition of pottery. Patrick Dean Hubbell was raised on the Navajo Reservation and educated at Arizona State University where he studied fine art. His current work draws from his Navajo upbringing as well as his formal education. As he explains, the inspiration behind his art is “making a correlation between my own way of working and drawing on the traditional way of Navajo sand painting.” To prepare for the exhibit, Hubbell traveled throughout the Navajo Nation gathering materials for the paintings, while his wife documented the process with photographs and video. The finished products will be oil on canvas. “It’s a different series of works that are actually rendered with earth pigments that are collected in different parts of the Navajo Nation,” says Hubbell. “I used them to make my own paint like the old European masters did.” Double show: Earth: Untitled, Patrick Dean Hubbell and The Micaceous Ceramics of Christine Nofchissey McHorse Reception August 12, 5–7 pm Q&A with Patrick Dean Hubbell August 13, 11 am, Peters Projects, 1011 Paseo de Peralta, Left: Christine Nofchissey McHorse, Vesuvius 2006, micaceous clay, 16 x 11"

Right: Patrick Dean Hubbell, It is Written in the Stars, acrylic on canvas, 48 x 48" 80

Indian Market Magazine

Above: Partick Dean Hubbell, Her Invigorating Tendencies, oil on canvas, 62 x 66"

Addison Doty


123 W Palace ave 505.984.9859

Palace Jewelers at Manitou Galleries

The True Look Of Santa Fe

Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art August 17 – 21, 2016

Wednesday, August 17th 5 — 8 PM,  Artist


In our new Railyard Location Starr Hardridge, Del Curfman, Chris Pappan, Thomas Breeze Marcus, and Dan Friday

Thursday, August 18th 5 — 8 PM,  Artist


In our new Railyard Location Jody Naranjo, Richard Zane Smith, Hyrum Joe, Les Namingha (pottery), Al Qoyawayma, Mateo Romero, Norma Howard, and Lisa Holt and Harlan Reano

Friday, August 19th 9 AM — NOON,  Pottery

Collection Sale

In our Downtown Location An unveiling of some of the finest privately amassed Native pottery collections 5 — 8 PM,  Artist


In our new Railyard Location Preston Singletary, Les Namingha (paintings), Cannupa Hanska Luger, Yatika Fields, Maria Samora, and Dawn Wallace

Preston Singletary The Sun Danced in the Sky Blown and sand-carved glass 27.75" h x 13" w x 4" d

R A I LYA R D | 544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | D OW N TOW N | 130 Lincoln Avenue, Suite C, Santa Fe, NM 87501

Chez Mamou High summer finds locals and tourists wandering around our foot-friendly town, often looking for a cozy café where they can cool off, perhaps with a chilled beverage and a tasty repast. If you happen along the eastern stretch of historic Palace Avenue, score yourself a table on the terrace of Chez Mamou and unwind as if you were relaxing on a quiet street in Paris. While Edith Piaf warbles “Non, Je Ne Regrette Rien” on the sound system, peruse a pastry case full of all the delicate goodies worth ruining your figure for. Chef Paul Perrier has been satisfying Santa Fe taste buds through the cuisine of his birthplace for decades—formerly at Café Paris and now at this charming boîte. All the usual suspects français are there: goat cheese–studded salads, earthy French onion soup dripping with Gruyère, béchamel-draped croque madames and monsieurs, and my favorite, a bowl of plump moules frites [fried mussels] given a New Mexico twist with a dash of red chile added to the creamy sauce. A glass of crisp chablis, a slab of the tartest, lemony-est, yummiest lemon tart in town, a few macarons (the pistachio is divine) and voilà! No regrets, indeed!—John Vollertsen

Douglas merriam

Chez Mamou, 217 E Palace, 505-216-1845, lunch and dinner

august/september 2016

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Maria’s New Mexican Kitchen M M M M argarit av ille I don’t know about you, but this frenzied journey toward the election has me yearning for a simpler and less complicated time. And with new, “improved,” and upgraded versions of everything in our world coming out daily, sometimes it’s nice to visit a place that has remained steady, much to the delight of longtime fans. Don’t get me wrong, I certainly run to check out the hottest, hippest, and trendiest new eateries—it’s my job—but it can be exhausting. So an evening at Maria’s New Mexican Kitchen with good friends and a few margaritas is just the thing; you can go home again.

The staff at Maria’s make you feel as though you are family.


When longtime owners Al and Laurie Lucero sold Maria’s a few years back, there was concern that the popular “locals” eatery and margarita temple might lose its charm, given that the new owners—Santa Fe Dining—would be incorporating it into their restaurant conglomerate group. I’m happy to report, however, that it’s business as usual. There are still tortillas being made fresh in the glass-front pantry in the corner; the margarita list still boasts over 100 varieties of the palate-pleaser; and the staff still make you feel as though your are family, whether you’re a local or a Santa Fe visitor. The appetizer menu is chock full of Norteño requisites: house-fried corn chips, guacamole, chile con queso, etc. We order them all! You will need a bracing margarita to cool off the heat from the fiery house tomato salsa—whew! My mixologist friend, who has a successful and vibrant career consulting on cocktail list creation and training, as well as liquor promotions, is impressed with the lengthy drink list and guides Left: Maria's serves more than 100 variations on the margarita. The question is, which one to try? august/september 2016

santa fean


Cheese-stuffed chiles rellenos are always popular, smothered in green with a side of frijoles.

Green chile stew gives meat and potatoes a New Mexican twist.


august/september 2016

us toward some of her favorites: the House Tradition and Fat Eddie do the trick. It’s fun to read the short bios of local luminaries who inspired many of these versions. Who knew there were so many ways to concoct a margarita! If you are participating in the clever Margarita Trail (and you should; see, created by the Santa Fe Tourism folks, don’t miss the yummy Los Luceros, tart with lemon juice, Cointreau, and Sauza Cien Años Añejo tequila. Tonight I am dining with two under-10-year-olds who navigate the menu easily, happy that there are kid-friendly options, and who don’t mind the heat. Along with the delicious versions we adults enjoy of New Mexico standards like green chile stew, shrimp enchiladas, and chiles rellenos, there are some imaginative dishes that celebrate our cherished chiles. Despite the fact that the cheese-filled rellenos are smothered in house green sauce, their texture and flavor shine through. Both the Famous BBQ Ribs (slow-cooked in smoky red chile) and the Famous Green Chile Meatballs (kicked up a notch with the green stuff) are clever and tasty fusion dishes. The kids are delighted with their chicken fingers but manage to sample something

off everyone else’s plate—foodies in the making. We skip the other famous dish (carne adovada—offered here in both pork and chicken options), but I do think it’s the best in town, which I’ve confirmed from many past samplings. Of course, we gobble up multiple baskets of puffy sopaipillas, and of course we want dessert.

There are some imaginative dishes that celebrate our cherished chiles. Although I’ve never been a fan of natillas—the cinnamon-scented Spanish custard—the Maria’s version is traditional and cooling. I’m more satisfied by the rich and dense flan and creamy Kahlua cheesecake. As we begin to feel the sugar-and-carb crash, the atmosphere in the bar where we have been dining starts to take on a distinctly elevated tequilafueled ambience; time to get the kiddies to bed! It’s amazing to think that Maria’s has been serving our local fare since 1950. Perhaps it’s not surprising that we do come back time and time again. And no matter what our political persuasion may be, we chile-lovers all like to feel that burn!—JV Maria’s New Mexican Kitchen, 555 W Cordova, 505-983-7929,

Cool and creamy, Maria's guacamole salad comes with more than just chips: tomatoes, cheese, cucumber, and croutons all dress up the lettuce underneath.

After all the chile, flan is a traditional dessert: rich, simple, sweet, and cooling.

Below: Shrimp enchiladas, perfect for those nights when chicken or cheese just doesn't seem right.

august/september 2016

santa fean


The Compound Restaurant l uminaries and lus cious n es s

Generously smothered with ham hock broth, the “bacon-wrapped bacon” (yes, really!) surrounds braised pork belly with—what else—applewoodsmoked bacon.

The term “celebrity chef” gets tossed around a lot these days, but in Santa Fe we are lucky to have quite a collection of worthy culinary luminaries who keep our dining life and palates constantly intrigued. It’s a tough business, and a tough moniker to maintain; a chef is only as famous as the last fabulous meal he serves. An extraordinary meal I had in late spring at one of Santa Fe’s most famous and longstanding eateries, The Compound Restaurant, reminded me just what it takes to elevate a meal from good to stellar. It had been over a year since I had dined at the Canyon Road institution; not for any reason except that all the new eateries in town took my attention away. When I contacted Chef Mark Kiffin to alert him of my dinner plans, he was

“We’ll have some fun!” Chef Mark Kiffin informed me. And fun we had!


charmingly happy to hear it and sent me a message that simply said, “We’ll have some fun.” And fun we had! In the days of yore, The Compound boasted a jacket-required policy, and though that trend is long past, I like the fact that the artsy décor of the dining room still makes one feel compelled to dress up. The original midcentury design by designer Alexander Girard never goes out of style; the stark, whitewashed walls with splashes of color in the artwork make this one of the prettiest restaurants in our artistic town. I arrive for dinner a few minutes late and discover that my dining companions, who don’t know each other, have been greeted and seated and already made to feel welcome by the staff. Our server suggests we order off the menu and Chef Kiffin will add to our order any dishes he thinks we shouldn’t miss. I head straight to a sauvignon blanc—2014 Spottswoode—while my guests sip gimlets and a yummy-sounding house specialty called a Cobbler, made with rye, rosemary, Luxardo cherry, and lemon. 184

august/september 2016


Handmade fettuccine is graced wih pancetta, lobster, Parmesan sauce, and a runny-yolk egg.

Wild mushrooms and organic, stone-ground polenta are a savory pairing.

The menu can best be described as globally inspired with touches of Spanish and American ingredients. Kiffin, a James Beard winner, is as comfortable spicing up a chicken with fiery Moroccan harissa as he is pairing sweetbreads with foie gras, and it makes for a delicious journey for diners. Even my gluten-free friend is accommodated without fuss—occasionally receiving a gluten-free dish that differed from ours but always delicious. Garnished with a mound of sweet crab, a silken madeto-order pea soup is a don’t-miss appetizer. Delicate mini-cannelloni stuffed with tender loin of rabbit and foie gras with tarragon and musky morels is both rich and light; we lick the plate! Another table favorite, the bacon-wrapped bacon, sports braised pork belly wrapped in applewood-smoked bacon plated with a pile of crunchy cole slaw and bathed in a ham hock broth—can there ever be too much bacon? Service is perfect; Kiffin, too, is in top cooking form. One final round of handmade fettuccine with a decadent pancetta, lobster, and Parmesan sauce crowned with a runny-yolk egg nearly finishes us off, but we have been warned to save room for dessert. By now, my guests have moved on to a hearty 2006 Terre Rouge DTR syrah while I linger over a 2012 Merry Edwards Russian River pinot noir. Desserts continue to thrill us with young pastry chef Rebecca Freeman coming to the table to describe her goodies. Each dessert is multifaceted, with wonderful combinations of textures, flavors, and temperatures. A chocolate ganache tart is sided by an intense Turkish coffee ice cream, while my choice, a Meyer lemon mousse with macerated blueberries and lemon poppyseed cake, may well be my favorite dessert of 2016. We are completely sated and feeling amazingly spoiled. Both The Compound’s and Chef Kiffin’s fame are securely intact. The entire staff has a knack for being thoroughly professional, and yet fun. And along with great food, who couldn’t use a bit more fun!—JV The Compound Restaurant, 653 Canyon, 505-982-4353,



Desserts by Rebecca Freeman, The Compound Restaurant’s pastry chef, punctuate a decadent dinner menu.


s p e c i a l adv e r t i s i n g s e c t i o n

taste of the town


n or t her n n ew me x ico ’ s fi n es t di n i n g e x perie n ces

august/september 2016

1501 Paseo de Peralta, 505-955-7805 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. Enjoy our newly renovated open air dining room, with lovely garden views.

Anasazi Restaurant, Bar & Lounge 113 Washington, 505-988-3236 Inspired by Santa Fe’s rich cultural and culinary history, new Executive Chef, Edgar Beas fuses old world techniques with modern, innovative recipes and artful plating. The dishes embrace the Inn’s native heritage and change often to reflect the freshest, most seasonal ingredients. The Anasazi Restaurant celebrates the creative spirit of Santa Fe with a chic, sophisticated design that compliments the restaurant’s legendary architecture. Additional bar seating with the Para Picar menu as well as a Tequila Table featuring specialty tequilas. Social Hour Monday through Thursday and live entertainment Saturday evenings with Jesus Bas. Seasonal Al Fresco dining on the Patio.

featured listing


Amaya Restaurant

featured listing

I’m constantly amazed and impressed by the resiliency, versatility, and staying power of our hospitality scene in Santa Fe. Keeping more than 200 restaurants fashionable, contemporary, and trendy in a town of under 82,800 inhabitants takes creativity, chutzpah, and bucks on the part of our restaurateurs and hoteliers. It makes me proud to participate in it, and it’s fun to cover as my Santa Fean “beat.” It’s everchanging and always delicious. This summer there is much to try, whether you’re a local or a visitor to our foodie town. At La Fonda (, a swanky makeover of the lobby and La Fiesta Lounge makes it a must-stop for stylish cocktails (wild berry mojitos—yum) and eclectic bar nosh (braised short rib tacos and fried oysters with chipotle aioli—delish). I love how this grand dame of a historic hotel keeps reinventing itself, paying tribute to her Harvey House past while staying fresh and vital. At the Inn of the Anasazi (, new chef Edgar Beas has raised the bar on gourmet dining with a dramatic shift in concept that takes the farm-to-table trend to the next level—that of field-to-table. As his press release explained, “Chef Beas pays homage to indigenous cooking practices that include the use of hot stones and branches from local trees and shrubs to infuse a smoky flavor into many of the Inn’s new meat dishes. To further reinforce the menu’s local flavors, Chef Beas’s dishes incorporate berries and herbs that he forages for around Santa Fe.” I attended a fantastic evening of menu sampling in late spring that further showed this talented chef’s vision. Not only were the dishes artistically plated, but flavors and textures popped and surprised the palate in a way unlike anything else I’ve tasted in Santa Fe. Foie gras was paired with red chile and chocolate, while delicate poached halibut was topped with smoked yoghurt and trout roe—pretty sophisticated stuff. Suffice it to say that this is definitely the next chef to watch for anyone who enjoys the partaking of New Mexico’s journey into the 21st century. Don’t forget to mark your calendars for the 26th annual Santa Fe Wine & Chile Fiesta, September 21–25 (santafewineandchile .org), for the absolute grandest celebration of the great food we’re cooking and the luscious grape juice we’re drinking. See you there—cheers!—JV


The Compound Restaurant

The true taste of Philadelphia comes to Santa Fe at Bambini’s, conveniently located in front of Ski Tech close to St Francis and Cerrillos. Our cheese steaks and hoagies are 100% authentic and our bread is straight from Philly. Our passion for healthy and carefully crafted food is in each our delicious sandwiches which includes various meats and vegetarian options. All of our ingredients are carefully selected to achieve the greatest possible quality, while staying true to the food traditions of Philadelphia. Furthermore, we are all HEALTHY people and take great pride in serving our patrons high quality, healthy foods. We look forward to the opportunity to serve you!!

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.

905 S St Francis, 505-699-2243

Cowgirl BBQ

319 S Guadalupe, 505-982-2565

Since 1993, the Cowgirl has been serving up great BBQ and exuberant nightlife. A favorite with both visitors and locals, we feature mesquitesmoked 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! Best Patio in SF! Open seven days a week: 11 am–11 pm during the week and to midnight on the weekends. Bar open until 1 am Friday and Saturday.

653 Canyon, 505-982-4353

El Mesón

213 Washington, 505-983-6756

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.

Santa Fe’s Oldest Restaurant Welcomes You!

s p e c i a l adv e r t i s i n g s e c t i o n

This historic diner, in downtown Santa Fe,

Gabriel’s Restaurant

offers locals and visitors authentic New

4 Banana Ln, 505-455-7000 Located five minutes north of the Opera on US 285, savor the cuisine of the Southwest and Old Mexico at the eatery Zagat labels “one of America’s top restaurants, a true Mexican classic, rated excellent in all categories.” Enjoy the spacious outdoor patio with spectacular mountain views. Inside, thick adobe walls and kiva fireplaces create a cozy romantic atmosphere. Featuring guacamole made at your table, renowned margaritas, handmade corn tortillas and seasonal dinner specials. Reservations recommended. New weekend brunch. Open daily 11:30–9:30 pm.

Mexican cuisine and flavors that span the globe! We’re the home of fine food and the friendliest folks in the southwest!

54 Lincoln Ave., Santa Fe, NM 87501 | 505.982.1664

La Casa Sena

125 E Palace, 505-988-9232, La Casa Sena is located in downtown Santa Fe in the historic Sena Plaza. We feature New American West cuisine, an award-winning wine list, and a spectacular patio. We are committed to using fresh, local, and seasonal ingredients whenever possible. La Casa Sena has been one of Santa Fe’s most popular restaurants for more than 30 years. Our bar, La Cantina, is open for lunch and dinner.Let La Cantina’s singing waitstaff entertain you nightly with the best of Broadway, jazz, and much more. Open daily 11 am until close. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open Monday–Saturday 11 am–6 pm, Sunday noon–5 pm.

Maria’s New Mexican Kitchen

Everything comes together under our roof

555 W Cordova, 505-983-7929

Maria’s now uses only 100-percent agave tequila in every one of the more than 200 hand-poured, hand-shaken margaritas served—no wonder Maria’s has been chosen “Santa Fe’s Best Margarita” for the 16th consecutive year. Maria’s uses no sugar or mixes—totally pure and natural. A Santa Fe tradition since 1950, Maria’s specializes in authentic, home-style, Northern New Mexico cuisine, plus steaks, burgers, and fajitas. You can watch your flour tortillas being rolled out and cooked by hand. Open Monday–Sunday from 11 am until close. Reservations are strongly suggested.

Midtown Bistro


901 W San Mateo, Ste A, 505-820-3121 Midtown Bistro, located in the “heart” of Santa Fe, and only a short jaunt from the Plaza, features local cuisine with an international flair. Open daily. Guests enjoy dining indoors or on our patio among native flora, which creates a magnificent ambience while dining on an array of fresh meats, seafood, pastas, and much more. Diners can enjoy a wide selection of wine and beer. Lunch Monday–Saturday 11 am –2:30 pm ; dinner Monday–Saturday 5–9 pm ; Sunday brunch 11 am –3 pm .

575.758.2233 august/september 2016

santa fean


s p e c i a l adv e r t i s i n g s e c t i o n

taste of the town

n or t her n n ew me x ico ’ s fi n es t di n i n g e x perie n ces


Luminaria Restaurant

featured listing

Inn and Spa at Loretto, 211 Old Santa Fe Trail, 800-727-5531, 505-984-7915 Wine Spectator award recipient Luminaria Restaurant and Patio continues to be a popular spot for locals and tourists alike. Enjoy the seasonal creations of award-winning Executive Chef Marc Quiñones. Open for breakfast, lunch, dinner, and Sunday brunch. Early evening prix-fixe dinner from 5–6:30 pm, offering three courses for $44.

Plaza Café

The Ranch House

2571 Cristo’s Road, 505-424-8900

The mouthwatering aroma of smoky barbecue greets you at the door of The Ranch House, a southside restaurant with the feel of a historic Santa Fe hacienda—warm and inviting, sprawling yet cozy. Enjoy indoor or outdoor dining, and pair a signature cocktail, like the smoked pineapple margarita or BBQ Bloody Mary, with Ranch House favorites like the brown butter salmon and of course our famous baby back ribs and barbecue. Also open for lunch, with daily specials, The Ranch House is proud to serve premium natural hormone/antibioticfree Angus steaks sourced from Meyer Ranch in Montana, and we offer gluten-free and vegetarian options. Save room for one of our delicious, house-made desserts! Open Monday–Thursday 11 am–9 pm, Friday and Saturday 11 am–10 pm, Sunday 11 am–9 pm; happy hour 4–6 pm.

Rancho de Chimayó

300 Juan Medina Rd. in Chimayó on the scenic “High Road to Taos” 505-984-2100,

Winner of the 2016 James Beard Foundation America’s Classics Award! Rancho de Chimayó - Celebrating more than 50 Years! A New Mexico treasure and “A Timeless Tradition,” Rancho de Chimayó is woven into the tapestry of the historic Chimayó Valley. Since 1965, serving world-class, authentic New Mexican cuisine from recipes passed down for generations, Rancho de Chimayó is like coming home. Come celebrate with us! Open daily from 11:30 am to 9 pm (May-Oct), Tues-Sun 11:30 am to 8:30 pm (Nov-Apr), closed Mon. Breakfast served weekends. Shop our online store. 188

august/september 2016

featured listing

54 Lincoln Ave, 505-982-1664 The famous Plaza Café, on the historic Santa Fe Plaza, has been serving locals and visitors alike for over 110 years! We are Santa Fe’s oldest restaurant and serve authentic New Mexican cuisines and flavors that span the globe for breakfast, lunch, and dinner. We are the home of fine food and the friendliest folks in town! Open daily from 7 am to 9 pm, we hope you come visit us for a bite to eat!


231 Washington, 505-984-1788, Centrally located in Santa Fe’s distinguished Downtown district, this charming Southwestern bistro, situated in the historic Padre Gallegos House, offers our guests the classic Santa Fe backdrop. Step into the pristine experience Santacafé has been consistently providing for more than 25 years. New American cuisine is tweaked in a Southwestern context, and the food is simply and elegantly presented. Frequented by the famous and infamous, the Santacafé patio offers some of the best people watching in town! During high season, our courtyard, protected by a sun canopy, becomes one of the most coveted locales in Santa Fe. Open daily for lunch and dinner. For specials, photos, video walk-through, and menus, please visit our Facebook page: Santacafé Restaurant Bar. Open all holidays. We are now on Open Table!

Love to eat? Find recipes and inspiration in Su Cocina, a special section in Su Casa magazine! Northern New Mexico


inspiration ideas resources

It’s the difference between debate—wherein one side is right and one is wrong—and consensus, in which a new, collective idea is shaped, explains Laura Harris, LaDonna’s daughter. Laura points out that LaDonna has a natural gift for understanding power structures, building relationships (in the Comanche style, recognizing that everyone’s opinion has value), and working within the system instead of becoming confrontational. In spite of this, Harris laughs, “I have gotten mad, and I’ve gone into my crazy Comanche Indian woman act; and I’ve cried, too.”

“We’re not there yet, but we’re getting better deals, though.” —LaDonna Harris Harris is optimistic about the future, crediting Lyndon Johnson with the initial shift in official attitude (“He appointed the first Indian as head of Indian Affairs—Bob Bennett”), but she is not sure all voices are being heard yet. The establishment of the Americans for Indian Opportunity (AIO) Ambassadors Program carries the hope that this will soon change. The Ambassadors Program, which connects Indigenous peoples around the world, encourages the continuation of shared traditional cultural ideals in the current world. Laura sums it up: “Carry Indigenous values in all you do,” and refers to the Comanche core values that the AIO holds in the form of the four Rs (see sidebar, page 39). Explains Harris, “We may have a different world view but we are contemporary people … We teach our young Ambassadors, ‘How do you keep your Indian values and still be contemporary?’ Because we were taught that it was an either/or. … You had to give up your Indian knowledge to become educated. You went to church and had to give up your dance and your music in order to become Christian. There was always an either/or put on us, and that’s what destroyed so many of us.” The Comanche maintain a longstanding reputation for adaptability and resilience. Is there one source that can be called the foundation for this? “The horse,” responds Harris. The horse, with its speed and usefulness (“It was like having a jet plane,” says Harris) made a lot of things possible, from trade with the Spanish and French to command of territory. The Comanche roamed as far east as New Orleans, and locally, “We’d either trade or raid the Pueblos.” In fact, the Comanche were among the last (along with the Kiowa and Cheyenne, and the Apache) to be forced onto a reservation, where the static existence was at odds with a traditional nomadic background. As a result, tribal and familial ties began to change, and an egalitarian society was replaced by a hierarchical one of dominating resources. Harris considers this concept, from land to water to space, up to the most recent resource—information and journalism—and wonders (or perhaps warns), “When that happens, who will control information?” Further reading recommended by LaDonna Harris: Pekka Hämäläinen, The Comanche Empire (New Haven, Conn.: Yale University Press, 2008)


Continued from page 39 For the most complete, up-to-date calendar of events in Santa Fe and Northern New Mexico, visit

August August 1–22 Santa Fe Chamber Music Festival Soloists and small groups perform the music of the past five centuries. Noon and evening concerts. St. Francis Auditorium, 107 W Palace, and the Lensic Performance Center, 211 W San Francisco. $10–$82, August 1–27 Santa Fe Opera Five different productions featuring some of the wold’s finest singers, conductors, and musicians. Santa Fe Opera, 301 Opera Dr. $15–$300, 8 pm, August 1–28 Entreflamenco World-renowned Spanish flamenco dancer Antonio Granjero along with featured artist Estefania Ramirez and his company, Entreflamenco, appearing nightly except Tuesday in the Maria Benitez Cabaret at The Lodge at Santa Fe, 750 N St. Francis. $25– $50, 8 pm, August 2–26 Santa Fe Bandstand Most Tuesdays–Saturdays. Musical acts of all stripes play on the Plaza Bandstand. Free, 6–8:45 pm, August 10–13 Style Fashion Week Santa Fe Style Fashion Week produces fashion events in Los Angeles, New York, Miami, Dubai, and Santa Fe, giving designers a platform to show their collections. $25–$150, 6–11 pm, Hilton Buffalo Thunder Resort and Casino, 20 Buffalo Thunder Trl, August 12–15 38th Annual

Whitehawk Antique Indian and Ethnographic Art Show Dealers from across the continent bring their finest antique Native artifacts to show and sell. Opening night, $75, 5–9 pm, includes hors d’oeuvres and a drink. Saturday–Monday, $10, $17 for two days’ admission, 10 am–5 pm, Santa Fe Community Convention Center, 201 W Marcy, August 16–21 Native Cinema Showcase Film festival celebrating films made by Native American filmmakers. Includes winning entries from Indian Market’s moving images division. Free, various times, New Mexico History Museum, 113 Lincoln, August 18–20 Indigenous Fine Art Market A celebration of native art and the cultures that inspire it. Railyard Park, Cerrillos and St. Francis. Free, 10 am–9 pm, August 20–21 The Zuni Show The Zuni Show, in its inaugural year, presents over 80 Zuni artists plus student art, informational materials, traditional food, and Zuni singing and dancing. Free, 9 am–6 pm Saturday, 9 am–5 pm Sunday, Scottish Rite Temple, 463 Paseo de Peralta, August 20–21 Santa Fe Indian Market The biggest of them all, now in its 95th year. Upwards of 900 artists show and sell their arts and crafts, turning downtown Santa Fe into the largest Native American art show in the world. Free, 7 am–5 pm Saturday, 8 am–5 pm Sunday, the Plaza and adjoining streets, august/september 2016

santa fean





Tresa Vorenberg Goldsmiths Featuring wildly imaginative handcrafted designer jewelry by over 35 artists. Specializing in unique custom jewelry since 1974. 656 Canyon Road, 505-988-7215

The Golden Eye A rhapsody of turquoise and diamonds in high karat gold. Precious gems like you’ve never seen before, hand wrought in the spirit of nature and antiquity…at The Golden Eye, passionate purveyors of functional opulence. 115 Don Gaspar Ave, 505-984-0040, 800-784-0038

Santa Fe School of Cooking

Ojo Optique

Celebrate the rich culinary history of the "City Different” at the Santa Fe School of Cooking, the authority on Southwestern cuisine. The School offers a variety of authentic classes and events, including demonstration and hands on cooking classes, restaurant walking tours, intensive 3-day boot camps and a REGIONAL MARKET. Consistently ranked as one of the top things to do in Santa Fe by Trip Advisor. 125 N Guadalupe, 505-983-4511

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


august/september 2016

Through October 1 Artful Looking On the first Saturday of each month, Elaine Ritchel guides guests through the galleries, highlighting selected works. Free with museum admission, 3–4 pm, New Mexico Museum of Art, September 2 The Burning of Zozobra With traditional music, dance, and elimination of negativity, the spirit of Old Man Gloom is expelled for the 92nd time in flames and fireworks. $25 new premium viewing area, limited seating, $10 general admission, children 10 and under free, gates open at 3 PM, preshow begins at 7 pm, Zozbra burns at 9:30 pm, Fort Marcy Park, September 3–4 Kewa (Santo Domingo) Pueblo Arts and Crafts Each Labor Day weekend, Kewa (Santo Domingo) Pueblo opens its plaza, where artists and craftspeople sell their original works to visitors. Free, Saturday, 7 am–5 pm; Sunday, 8 am–5 pm, Kewa (Santo Domingo) Pueblo, September 9–11 Fiestas de Santa Fe Fiesta week is full of arts, crafts, music, and culture, culminating in the traditional Fiesta Weekend, September 9–11, with food booths, art, and music on the Plaza. The September 9th 6 am religious procession, Pregón de la Fiesta, solemnly marks the anniversary of the return of Don Diego de Vargas to Santa Fe in 1692. At noon, the official Fiesta is proclaimed on the Plaza. September 16–18 AHA Festival of Progressive Arts The annual festival celebrates all that

is unique with over 20 artists’ booths, music, and performances through multidisciplinary pieces. Free, Santa Fe Railyard, September 17–18 Santa Fe Renaissance Fair Music, jousting, and other forms of period combat, vendors, food, magicians, and children’s activities. $8–$10, 10 am–5 pm, El Rancho de las Golondrinas, 334 Los Pinos, September 18 Santa Fe Thunder Half marathon and 5k runs plus a one mile walk. Although the 13.1 mile run has a net drop in elevation of 1,000 ft., the route begins with a 300 ft. climb. The courses begin at Ft. Marcy. $30–$75, 7:30 am, 490 Bishop’s Lodge, September 21–25 Santa Fe Wine and Chile Fiesta Five days celebrating the food, wine, chefs, and restaurants that make Santa Fe memorable. Films, lectures, demonstrations, and tastings. Various locations, $30–$350, September 23–25 Santa Fe Concorso The Southwest’s premier automotive gathering is back again with over 110 exotic vehicles, donating profits to local youth programs along the way. Times, prices, and locations vary, September 24–25 Northern New Mexico Fine Arts and Crafts Guild Juried Show
 An art show en plein air at Cathedral Park, this juried exhibit features work from around New Mexico. Artists are available to chat about their work. Free, Saturday and Sunday 10 am–5 pm, Cathedral Park, downtown Santa Fe,

Copyright 2016. Reproduction in whole or in part without permission is prohibited. Santa Fean (ISSN 1094-1487 & USPS # 0018-866), Volume 44, Number 4, August/September 2016. Santa Fean is published bimonthly by Bella Media, LLC, at Pacheco Park, 1512 Pacheco St, Ste D-105, Santa Fe, NM 87505, USA, Phone (505) 983-1444. © Copyright 2016 by Bella Media, LLC. All rights reserved. CPM # 40065056. Basic annual subscription rate is $14.95. Annual subscription rates for Canada and Mexico is $24.95; other international countries $39.95. U.S. single-copy price is $5.99. Back issues are $6.95 each. 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,, Monday–Friday, 7 am –5 pm PST.


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| D AY T R I P |

Manhattan Project National Historical Park New Mexico welcomes parts of Los Alamos into the National Park family

Top: Los Alamos Ranch School students play hockey on Ashley Pond in 1940. Two years later the War Department would commandeer the school for its use. Right: General Leslie Groves (center) presents the Laboratory with the Army-Navy “E” Award for excellence in military equipment production, flanked by J. Robert Oppenheimer (left) and thenUniversity of California President Robert Sproul.

Courtesy Los Alamos National Laboratory

The 2015 fall season was a good one for National Parks in Northern New Mexico. On October 1, the Valles Caldera National Preserve was inducted into the National Park Service family, followed by the Manhattan Project National Historical Park (MPNHP) on November 11. Located just 35 miles northwest of Santa Fe in Los Alamos, the nation’s newest National Park tells the story of American science, technology, and industry during World War II. But Los Alamos can’t take all the credit—the Atomic City is actually one of three locations for MPNHP, a multisite, multistate endeavor by the National Park Service that also includes Oak Ridge, Tennessee, and Hanford, Washington. The Los Alamos location, headquartered downtown next to the Teen Center and across a parking lot from Ruby K’s Bagel Café, is a work in progress. Due to a lack of NPS funds, the visitors’ center will be staffed by members of the Los Alamos Historical Society, at least for the foreseeable future. But the building will have the trademark NPS arrowhead out front, and visitors can still ask for an MPNHP stamp in their National Parks passports (it’ll actually be a pie wedge-–shaped stamp that, when combined with stamps from the Oak Ridge and Hanford locations, forms the MPNHP logo). When the park officially opened on November 11, guests had access to a new visitors’ center and the immediately surrounding area, which was the heart of the Manhattan Project back in the 1940s. Eventually—in conjunction with the Department of Energy—visitors will be able to tour specific areas of Los Alamos National Laboratory (these sites are currently off limits to the general public). Behind the visitors’ center is Ashley Pond, the small body of water around which the project—and later the town of Los Alamos—sprang up. Nearby, Fuller Lodge, with its vertical log beams, is a stately reminder of the boys’ school that preceded the Manhattan Project. The lodge, designed in 1928 by Santa Fe architect John Gaw Meem, was taken over by the U.S. government in 1942 and served as a social gathering place for Manhattan Project personnel. Just across the lawn at Fuller Lodge lies Bathtub Row, so named because the houses there (Robert Oppenheimer’s among them) were the only ones that had bathtubs during the Manhattan Project. Hang a right at the end of the street, and you’ll find Bathtub Row Brewing Co-op. Opened in May 2015, this small brewery is hardly a Manhattan Project–era relic, but with brews on tap such as the Hoppenheimer IPA, you get the feeling the original scientists would have approved. —Whitney Spivey

Above, left: The guarded entrance to the still-top-secret Lab in 1943. Above, right: The Harvard cyclotron, an early particle acceleration device lent by Harvard University to the Manhattan Project, pictured in 1947.

Daniel Schwen

Manhattan Project National Historical Park, 475 20th St, Los Alamos


august/september 2016

The True Look Of Santa Fe

Palace Jewelers at Manitou Galleries 123 w Palace ave 505.984.9859

J I M VOG E L Ludlow: Labor, Liberty, and Loss September 23 – October 15, 2016 in our new Railyard location Artist Reception: Friday, September 23rd from 5 – 7 pm


544 South Guadalupe Street Santa Fe, NM 87501 505.954.9902 D OW N TOW N

130 Lincoln Avenue, Suite C Santa Fe, NM 87501 Moving Coal (detail) Oil on canvas panel, 60" h x 36" w

Santa Fean August September 2016 | Digital Edition  
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