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T h e I n v a s i o n o f C o w b o y s & A l i e n s , t h e B e s t o f S a n t a Fe S u m m e r A r t & M o r e

August/September 2010

Indian Market R/Evolution

the past, present, and future of Native art

August 18–22, 2010

Visit Blue Rain Gallery for the highest expression of innovation and excellence in contemporary Native American Art. Wednesday, August 18 Artist reception: 5–8pm Hyrum Joe, Marla Allison, and Felix Vigil

Thursday, August 19 Artist reception 5–8pm Tammy Garcia (bronze sculpture), Al Qoyawayma, Norma Howard, Mateo Romero, Maria Samora, and David Bradley

Friday, August 20 Annual Pottery Sale—10am —10am (preview begins at 8am) Tammy Garcia, Les Namingha, and Richard Zane Smith Pottery is sold through a lottery; please call the gallery for additional information

Friday, August 20 Artist Reception: 5–8pm Tony Abeyta, Preston Singletary, and Larry Vasquez

Friday, August 20 and Saturday, August 21 11am–4pm Bronze Patina Demonstrations with Bronzesmith Foundry

B LU E R A I N GALLE RY 130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 www.blueraingallery.com 505.954.9902

The Rattle that Sang to Itself P R E S TO N S I N G L E TA RY

Blown and sand-carved glass 19"w x 11"h x 6"d

Composition 2a LES NAMINGHA

Natural clay and acrylic 8.75"h x 9"w


Natural clay and mixed media 17"h x 24.5"dia

“Chief Blanket” 30" x 40" • Acrylic

JOHN NIETO “Walk on the Wild Side” 24" x 30" • Acrylic

John Nieto Indian Market Show • New Originals • Friday, August 20, 2010 • 5 to 7 pm 400 Canyon Road • Santa Fe, NM 87501 • 505-983-8815 • 800-746-8815 • www.ventanafineart.com


, 102 E. Water St. • Santa Fe, NM 87501 • 505-820-0447 • www.ventanaelcentro.com

John Nieto Indian Market Show • Graphics • Saturday, August 21, 2010 • 12 to 2 pm

“Guiding Star” 12.5" x 12" x 4.5" • Bronze

REBECCA TOBEY “Owl Singer” 25" x 17" x 8" • Bronze

Rebecca Tobey Indian Market Show

Saturday, August 21, 2010

1 to 3 pm

400 Canyon Road Santa Fe, NM 87501 505-983-8815 800-746-8815 www.ventanafineart.com •


, 102 E. Water St. • Santa Fe, NM 87501 • 505-820-0447 • www.ventanaelcentro.com

Rebecca Tobey • Minature Bronze & Jewelry Show • Friday, August 20, 2010 • 5 to 7 pm


Doug Coffin “Shaman Skies”

Chris Chris Pappan Pappan “Thank “Thank You You Grandmother” Grandmother”

Silvester Hustito “Rain Dance Abstract

Jake Fragua “Pueblo Scream”

217 East Palace Ave, Santa Fe, NM 87505 www.Firegodgallery.com

505.252.3330 Melissa Melero “Chrysalis” Booth 750 LIN-W


Vincent Kaydahzinne

“The “The Apache Apache Way Way of of Life” Life” Booth Booth 731-Lin-E 731-Lin-E

Join us for a week of contemporary Native Art featuring Wednesday: Silvester Hustito, Kathy Whitman-Elk Woman Thursday: Vincent Kaydazhinne, Chris Pappan, Melissa Melero Live Performance by Vincent Kaydahzinne Friday: Doug Coffin, Mark Suazo-Hinds Live Performance by Gabriel Ayala Saturday and Sunday will be a group show ! Gabriel Ayala

217 East Palace Ave,Santa Fe, NM 87505 www.Firegodgallery.com | 505.252.3330

Donated in 2008

Donated in 2009

Open Reception at Roanhorse Studio, 1270 Upper Canyon Rd., Santa Fe, New Mexico, on Tuesday, August 17 from 5 to 8pm to showcase a new medium in painting. www.MichaelRoanhorse.com

Booth 717 Lin-E (Lincoln)

Studio: (505) 702-3454

Mateo Romero, Featured Artist 2010

Winter Clan Series, 40˝ x 30˝

ROANHORSE for the cure Open Reception on Friday, August 20 from 2 to 5pm on La Terraza at the La Fonda Hotel, 100 E. San Francisco St., Santa Fe, New Mexico. For more information contact (505) 265-4649



Helen Hardin Margarete Bagshaw

Pablita Velarde

Your Art Should Say Something. . .

3 Generations of Talking Art . . .

201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com *Exclusive Estate Representative for Helen Hardin and Pablita Velarde

They’re Still Talking...

Helen Hardin (1943 - 1984)



Pablita Velarde (1918 - 2006)

Santa Fe Indian Market - 1st or 2nd place over 25 times Scottsdale National Indian Arts Exhibition - top awards 6 times. Gallup Ceremonial - Between 1953 - 1979 - top awards 23 times. 8 Northern Pueblos - Between 1986 - 1992 Pablita won top awards 7 times – every year she entered!

. ..

Golden Dawn Indian Market 2010 Schedule Thursday, Aug. 19, 2010, 10:00 am - Lecture & Refreshments Margarete Bagshaw - “Growing Up With Mom and Grandma� * seating limited - RSVP required - call Gallery to confirm attendance

Friday, August 20, 2010 , 5:00 - 8:00 pm- Gallery Reception Sunday, August 22, 2010, 2:00 pm - “Traditional Story Hour� with Jaune Quick To See Smith and Neal Ambrose Smith

201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com *Exclusive Estate Representative for Helen Hardin and Pablita Velarde

. . . This Is What They’re Talking About !

“Ancestral Procession” - 80” X 112” - Oil on Linen

Margarete Bagshaw

Indian Market Reception - Friday, August 20, 2010 - 5:00 pm 201 Galisteo St., Santa Fe, New Mexico 87501 - 505-988-2024 - www.goldendawngallery.com *Exclusive Estate Representative for Helen Hardin and Pablita Velarde


ON A CLEAR DAY. 24”x30”. OIL




202 CANYON ROAD SANTA FE NM 87501 www.brandonmichaelfineart.com 505.795.7427



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J S The Tracker oil 20x16

B MC Corn Dancer oil 14x11

R J. L Hoofin It’ bronze ed. 30

102 E. Water Street t Santa Fe, NM 87501 info@joewadefineart.com t 505-988-2727 t www.joewadefineart.com

Legendary August C A RO L H AG A N . J E F F H A M . N E W W O R K


| Carol Hagan

24 x 22 Oil on Panel, Framed




| Jeff Ham

A U G U S T 2 0 10

46 x 60 Acrylic on Canvas

143 Lincoln Avenue Santa Fe, New Mexico 87501 505 983 5639 L E G E N D S SAN TAF E .C OM

Legendary August D O U G L A S M I L E S presents I N D I A N I N K . 5 P M J O D Y N A R A N J O . L I L L I A N P I T T. 5 P M


K E V I N R E D S TA R . H E N RY PAY E R . 5 P M


| Jody Naranjo

7.5” H x 5.5 W” Santa Clara Clay, Sgraffito Carving



F R I DAY, A U G U S T 13 , 2 0 10

T H U R S DAY, A U G U S T 19 , 2 0 10

| F R I DAY,

A U G U S T 2 0 , 2 0 10


| Lillian Pitt

20” H x 5” W Lead Crystal, Steel

143 Lincoln Avenue Santa Fe, New Mexico 87501 505 983 5639 L E G E N D S SAN TAF E .C OM

Legendary August J D C H A L L E NG E R . N E W W OR K . OP E N I NG R EC E P T ION 5 P M



| JD Challenger


SAT U R DAY, AU G U S T 2 1 , 2 010

52 x 46 Acrylic on Canvas

143 Lincoln Avenue Santa Fe, New Mexico 87501 505 983 5639 L E G E N D S SAN TAF E .C OM

Learning to Fly, 48” x 36”, oil


714 Canyon Road - Santa Fe, NM 87501 505.983.1133 - www.bradsmithgallery.com

Wings of Love: New Works by Brad Smith, Opening August 13, 5-8pm










2010 Summer Dance Paul Taylor Dance Company

July 28th, 8pm

The Lensic, Santa Feâ&#x20AC;&#x2122;s Performing Arts Center â&#x20AC;&#x153;The American spirit soars whenever Taylorâ&#x20AC;&#x2122;s dancers dance.â&#x20AC;? â&#x20AC;&#x201C; San Francisco Chronicle

Aspen Santa Fe Ballet

+ featuring stars from the New York City Ballet +

August 6th & 7th, 8pm The Lensic, Santa Feâ&#x20AC;&#x2122;s Performing Arts Center


â&#x20AC;&#x153;One of the hottest tickets in balletâ&#x20AC;Śâ&#x20AC;? â&#x20AC;&#x201C;Pittsburgh City Paper

TICKETS ON SALE JUNE 1st!! TICKETS: 505-988-1234







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

Joel Queen Gallery

1036 HWY 441 NORTH ‡WHITTIER ,NC 28789 ‡828.497.2444 3 MILES SOUTH OF CHEROKEE, NC

WWW.JOELQUEENGALLERY.COM SantA Fe Indian Market ‡ Booth #751 LIN-E

Indian Market Issue


august / september 2010


Pueblo Crafts, casein tempura on paper, 29 x 12", one of the traditional paintings from this year’s Indian Market poster artist Geronima Cruz Montoya.


92 The Elephant in the Portal A roundtable discussion with curators, collectors, artists, and critics on the topic of traditional Native art versus contemporary.

100 What Is Not Made Visible Indian Market’s forward-thinking poster artist for 2010, the indomitable painter Geronima Cruz Montoya.

106 SWAIAlution The ongoing, ever-changing mission of the organization behind Indian Market.

114 The Philanthropy of Lepidoptery Four distinguised jewelers got together to create the latest collaborative piece for SWAIA’s Gala Auction—and dozens of other artists donated their own one-of-a-kind works as well.


118 The Lone Lovely Voice in the Wilderness The first true Native diva of the opera world: Tsianina Redfeather Blackstone


Time for an indigenous rubdown—enjoying a Native-based body treatment here in the high desert.

cover Arcade Buffalo, Michael Scott, oil on panel, 52 x 43" (Gerald Peters Gallery)

Santa Fean (ISSN 1094-1487) is published bimonthly by Bella Media, LLC, 215 W San Francisco, Ste. 202A, Santa Fe, NM 87501. Periodicals postage paid at Santa Fe, NM, and additional mailing offices. Postmaster: Send address changes to Santa Fean, P.O. Box 469089, Escondido, CA 92046-9710. august/september 2010

santa fean Indian Market


Indian Market Issue august / september 2010



Meet the recipients of this year’s laurels: the Allan Houser Lifetime Achievement, Povika, and Fellowship award winners, plus the New Faces of Indian Market.


One of the living rooms on display at this year’s Haciendas—A Parade of Homes tour, in the Home section.

136 Golden Girls Artist Margarete Bagshaw celebrates the one-year anniversary of her Golden Dawn Gallery, in honor of her mother Helen Hardin and grandmother Pablita Velarde.


44 Publisher’s Note


48 SWAIA Director’s Note


Have llama, will travel—lightly. EcoTour New Mexico brings conscientious exploration to the Land of Enchantment.

75 City Different Cowboys & Aliens, Wes Studi honored, eco-NM tours + the latest JFK page-turner 78 Indian Market Buyer’s Guide 81 Q+A Beadworker Teri Greeves

85 Adventure The otherworldly wilderness of the Bisti/De-Na-Zin 89 Santa Fean Salutes Jeweler-painter Michael Roanhorse gives it up 104 SWAIA Events Schedule


153 Art Artists Ted Larsen, Roseta Santiago, and Erin Currier + reviews

153 26


Blond Natalia, Kent Williams, oil on linen, 14 x 14", at the August opening of his show at Evoke. august/september

179 Home Guest columnist builder Kim Shanahan on the latest Homes parade + interior designers remake a youth shelter 193 Dining The ring-a-ding-ding of the Bull Ring + club food and the O Eating House 201 Hot Tickets 208 Mind + Body Indigenous ingredients 210 SWAIA Members, Supporters, and Volunteers

214 History The aftermath of the assault on Don Juan de Oñate’s foot 216 Day Trip Villanueva

September Ron Davis

October Tony DeLap

November Charles Arnoldi

Railyard Art District 554 South Guadalupe

December David Simpson

Santa Fe, NM 87501 Telephone 505.989. 8688 www.charlottejackson.com

Photo Eric Swanson

Photo Eric Swanson

Carol Kucera, THE Carol GREAT Kucera, AGES THE(Ice, GREAT Stone, AGES Bronze, (Ice, Stone, Iron) Bronze, Acrylic Iron) on canvas Acrylic 72"X10" on canvas each 72"X10" each

CAROL CKAROL UCERA KUCERA GALLERY GALLERY New Art forNew a New Art Century for a New Century www.CarolKucera.com www.CarolKucera.com

112 W. San Francisco 112 W.St. San Ste. Francisco 107 Santa St. Ste. Fe, NM 107 87501 Santa Fe, NM 87501 866 989-7523 866 Open 989-7523 daily 10-5, Open Closed daily Tuesday 10-5, Closed Tuesday

1.; ;.:6;45.

S Y M B O L I S M # 3 Acrylic on Canvas X Š2010 Dan Namingha


125 Lincoln Avenue s Suite 116 s Santa Fe, NM 87501 s Mondayâ&#x20AC;&#x201C;Saturday, 10 am to 5 pm 505-988-5091 sFAX5-988-1650s nimanfineart@ naminghaCOMs www.namingha.com

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M E T A M O R P H O S I S # 1 Texas Limestone XXXX Š2010 Arlo Namingha


125 Lincoln Avenue s Suite 116 s Santa Fe, NM 87501 s Mondayâ&#x20AC;&#x201C;Saturday, 10 am to 5 pm 505-988-5091 sFAX5-988-1650s nimanfineart @naminghaCOMs www.namingha.com

Wayne Thiebaud, Timber Top, 2010, oil on canvas, 59 3/4 x 35 3/4 inches. © 2010 Wayne Thiebaud, courtesy Gerald Peters Gallery. Art © Wayne Thiebaud/Licensed by VAGA, New York, NY.

Wayn e T hi e b a u d M o u n t a i n s

August 6 - September 25, 2010

1 0 1 1 Pa s eo d e Pera l ta , Sa nta Fe, N M 8 7 5 0 1 | Tel ( 5 0 5 ) 9 5 4 - 5 7 0 0

:605.29 ;.:6;45.

B L A M E I T O N T H E A LT I T U D E ( S a n t a F e C l i c h e S e r i e s ) Inkjet on Paper, Edition of 3 X Š2010 Michael Namingha


125 Lincoln Avenue s Suite 116 s Santa Fe, NM 87501 s Mondayâ&#x20AC;&#x201C;Saturday, 10 am to 5 pm 505-988-5091 sFAX5-988-1650s nimanfineart @naminghaCOMs www.namingha.com




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ANNUAL OPENING EVENT Saturday, August 14, 2010, 6-8 p.m. 1610

A Thriving Society A Foreign Arrival A Cultural Exchange A Grand Transformation


A Pueblo Revolt



VIRGIL ORTIZ Thursday, August 19, 2010, 6-8 p.m.


C ontem p or a ry

N at i v e

A mer ic a n

S c ulp tur e



125 Washington Ave. Santa Fe, NM August 19 - 23, 2010 505-988-4900 KIMOBRZUT.COM

“Summer’s Song”

W W W. K I M O BR Z U T. C O M




SATURDAY AUGUST 14th 1:00 pm 345 Camino del Monte Sol, Santa Fe


David Mann Tracks in the Meadow Oil on Canvas 40 x 30 inches Estimate; $16,000 - $19,000

PREVIEWS Friday, August 12th 10:00 am to 5:00 pm Saturday, August 14th 9:00 am to 1:00 pm Catalog $45 Online catalog; www.altermann.com

Oreland Joe Summer Breeze Indiana Limestone 19 Âź x 14 x 12 inches

2:00 to 4:00 pm - Carving and Storytelling 5:00 to 7:30 pm - Artist Reception

For more information contact us: 225 Canyon Road Santa Fe, NM 87501 505.983.1590 info@altermann.com

Reflecting Elegance

18kt Gold Basketweave Cuff with Semi-Precious Stones

Ben Nighthorse Campbell

870 Main Avenue ‡ Durango, CO 81301 970 . 247. 3555 ‡ 866 . 878 . 3555 ‡ www.SorrelSky.com




in beauty it is done ONE OF THE MANY JOYS of the Santa Fe lifestyle is our ease in connecting to the incredible beauty that surrounds us. Whether in an art gallery or on a hiking trail, we have a way to escape world events and lose ourselves in the natural or created beauty. Nothing more than a short drive puts you at the trailhead of a different world, literally and figuratively: a world of grand vistas, flowing mountain streams, shady forests, and a world that knows nothing about human dramas. It’s the look of the sky, a beautiful painting of nature, an intriguing piece of jewelry, a sculpture of an animal, even an abstract painting that gives us the freedom to find our own sense of the sublime. When we wander in such gorgeousness we’re taken far away from our troubles. Once there, we can be transported to a different place in our soul. It’s probably this place that has brought us all here. The arts and crafts of the Native American artists speak to this different place—a land, a Great Spirit, and, to a certain extent, a life—that reverberates from a soul, an ancient culture intimate with that same nature we saw on our hike. The point is that this community, the art you see during Indian Market, as well as the art you see the rest of the year, takes our hearts to a place where we actually feel. It reminds us that we’re not robots dictated by an outside world but caring people who are soothed by the beauty, love, and meaning from the many art forms we encounter here. As you wander the art galleries, the Indian Market booths, our shops, and other places offering such splendid creations, I encourage you to look for the ways in which it touches you and takes you to another place. This issue is a great






place to start that journey. Enjoy.


Q: If you could meet any Santa Fe–area artist, who would it be and why? Former Santa Fean editor and freelance writer Marin Sardy, who wrote the History piece on the Don Juan de Oñate statue brouhaha, chose Erika Wanenmacher. “Beyond making art that is both beautiful and challenging, she’s an original thinker who understands that, in creating objects that cause people to see their world in a new way, she has the power to make magic—to transform culture. ‘Magic is the art of changing consciousness at will,’ I once saw posted on the wall in her Baca Street shop, Ditch Witch. She lives by this idea in both her life and her art.” 44



Photographer Julien McRoberts, who shot Villanueva for the Day Trip, would like to meet Virgil Ortiz. “I love his edgy style and how he is creating high-profile, national awareness for emerging Native American arts. In particular I enjoy how he incorporates his art into fashion and creates fashion as art, and I hope he continues to push the envelope. Perhaps a show at NY Fashion Week? Why not? If you look back at history, Native Americans have always had an incredible sense of design and style. Virgil, where can I get one of your amazing bags?!”

“The artist I’d like to meet is Douglas Johnson,” says Ann Murdy, who photographed Teri Greeves for this month’s Q+A. “The reason I would choose him is that I collect his paintings, which I find to be intricately beautiful in their subject matter, in terms of depicting Native American and indigenous cultures. I’d like to ask him about how living in a modest cliff dwelling—one that he built by himself and that has no running water or electricity—inspires him to create his paintings.”

Louisa Mcelwain | oil of joy

Exsultate 60” x 72” oil on canvas

06 August 5 – 8 pm | opening reception friday evening through August 30 | Preview this show at EvokeContemporary.com private view on thursday 05 August | by invitation only | RSVP through our exhibition page



W W W. M A R T H A S T R U E V E R . C O M


bruce adams


anne mulvaney


continuing through sunday, august 22, 5pm, 2010


devon jackson




A major collection of his work spanning 30 years




18, 2-5PM


b.y. cooper

dianna delling scott yorko john vollertsen trinie dalton


August 19, 4-8 pm & August 20, 21 & 22, 11am-5pm


kate collins, robbie o’neill yvonne montoya



emilie mcintyre



both openings: THURSDAY, AUGUST 19, 4-8 PM


mendy gladden, robert mayer, stephanie pearson christine salem, marin sardy, craig a. smith


August 20, 21 & 22, 11am-5pm PHOTOGRAPHERS

julien mcroberts, douglas merriam ann murdy, missy wolf

A DEXTRA RETROSPECTIVE Pottery over 35 years


opening: FRIDAY, AUGUST 20, 11AM-5PM



215 W San Francisco Street, Suite 202A

August 21-22, 11am-5pm

Santa Fe, NM 87501 Telephone 505-983-1444; fax 505-983-1555 info@santafean.com santafean.com



$14.95. Add $10 for subscriptions to Canada and Mexico,

Items from her own collection

$25 for other countries. Single copies: $4.95

opening: FRIDAY, AUGUST 20, 11AM-5PM

Monday–Friday, 8:30 am–5 pm PST Photos: Carrie Haley


August 21-22, 11am-5pm

Subcribe at santafean.com or call 800-770-6326,


Copyright 2010. Reproduction in whole or in part without permission is prohibited. CPM#40065056



Wild Asters








Did You Just Call Me Lopsided?




the peterson-cody gallery, llc

Contemporary Artists Legendary Art Š

 7EST 0ALACE !VENUE s Santa Fe, New Mexico 87501    s 800-752-1343 PetersonCodyGallery.com info@petersoncodygallery.com

Waltz in the Sun




Director’s Letter


welcome to indian market The Southwestern Association for Indian Arts (SWAIA) is honored to present the 89th Santa Fe Indian Market, and we welcome you to Santa Fe to enjoy and learn about the world of Native arts. From centuries-old pottery practices to the vanguard of literature or film, Native art is a web of interconnected stories built upon communal and independent voices. Most often these stories are realized through multiple artistic genres, where creative boundaries cease to exist. SWAIA has introduced a variety of programs in 2010 that capture the essence of these countless voices. The centerpiece of all programming is the 89th Annual Santa Fe Indian Market. Indian Market is a week-long celebration that includes art, dance, song, literature, and film. These art forms remind us of the continual renewal of art and its vitality and relevance. I hope you will join us in the days leading up to Indian Market as SWAIA steps out and stretches its wings to incorporate a full week of programming. From films to symposia, SWAIA’s Indian Market Week presents Native arts to the world. Over 1,000 artists and another 600 children or youth artists are participating this year. In some booths you might find as many as five generations of artists working side by side; they embody the longevity and continuity of Native arts and Indian Market. Keeping in mind this vast variety, Indian Market this year introduces a new film classification— Classification X—representing the ever-expanding definitions of Native expression, while also establishing a new basket classification to better honor an ancient art form and its current renaissance. SWAIA stewards an unsurpassed history and culture of working directly with artists. Mirroring art making itself, SWAIA is a year-round organization, vetting artists and discovering emerging and new talent through an extensive network. In addition, SWAIA offers educational opportunities, artist fellowships, and over $100,000 in award money. SWAIA’s commitment is to continue to increase educational programming, to enrich the arts, and to share some of the deep cultural meanings and backgrounds of Native arts and artists. On behalf of the board, staff, and artists of Indian Market, welcome. Whether it is your first time or you are a return Market-goer, thank you for your support and interest in Native arts. To the hundreds of volunteers that make Indian Market go, we express our gratitude for a job well done—we couldn’t do it without you. Our thanks to the City of Santa Fe and its employees who provide vital services to keep Market clean and safe. And finally, thank you to our many members and supporters for providing vital support: Buffalo Thunder Resort & Casino, Indian Market’s presenting sponsor; the Seminole Tribe of Florida; Allan Houser Inc. and Blue Rain Gallery; Carolyn Pollack; the City of Santa Fe Arts Commission; Hotel Santa Fe; Hutton Broadcasting; La Fonda on the Plaza; Hotel Santa Fe; the Museum of Indian Arts

With best wishes,

Bruce Bernstein, phd

Executive Director, SWAIA





and Culture; and the National Museum of the American Indian.

V ic toria Ada m s

photo: Azad

Southern Cheyenne Jeweler

Santa Fe Indian Market booth: 209 PAL-N lightspipe@hotmail.com

Santa Fean 2/3 PAGE VERT 5.1875” x 9.75” (Non-Bleed, Please print border)


Stephen Wall

Vice Chair

(White Earth Chippewa)

Carole Sandoval

(Ohkay Owingeh)

Jenny Auger Maw


Ardith Eicher


Richard Altermann Bidtah N. Becker Nocona J. Burgess



Stock Colt Jed Foutz Stephanie Pho-Poe Kiger (Santa Clara Pueblo) Jenny Kimball Charles King Steve Wikviya LaRance L. Stephanie Poston

(Hopi/Assiniboine) (Sandia Pueblo)

George Toya (Jemez Pueblo) Brian Vallo

(Acoma Pueblo)


Bruce Bernstein, PhD

Executive Director Director of Artist Services

Artist Services Associate

John Torres-Nez, PhD (Diné) Paula Rivera Caren Gala

Director of Programs

(505) 989-3435

Director of Administration and Finance (HR)

Cheryl James

Gabe Gomez

Director of External Relations

Whitney Stewart

Art and Design Associate

1 1 0 D O N G A S PA R , S A N TA F E

Social Media Marketing Associate

Tailinh Agoyo (Narragansett/Blackfeet) Director Membership and Development Development Associate Development Associate

Maya Peters (Sisseton Wahpeton Dakota)

Volunteer Services Manager Special Projects Manager

B A B E T T E S F. C O M

Linda K. Off, CFRE

Elizabeth Cerny-Chipman

Gomeo Bobelu

Research and Archive Assistant Summer Associate Summer Associate

(Zuni Pueblo)

Melanie Yazzie


Dena Hunt

Nanibaa Beck (Diné)

Michael Eagleman Hohhongva (Hopi/Navajo/Sioux)

Anna Gaissert

Indian Market Crew Leader


(Nambe Pueblo)

Sharon Lopez

Finance Associate

Summer Associate


(Taos Pueblo)


Ron Sandoval

The Jicarilla Apache Nation is proud of our artisan community and invites you to visit them during Indian Market.

Felix Vigil

Paintings & Sculpture Booth #723LIN-E

Dina Velarde Pottery Booth #618PLZ

Shelden Nunez-Velarde Pottery Booth #765LIN-E

Paula Friday

Bead and Quill Work Booth #776LIN

Rowena Mora

Basketry Booth #465LIN-E

Ishkoten Dougi

Mixed Media and Stone Sculpture Booth #776LIN

Allenroy Paquin Jewelry Booth #410WA-E

D a n i e l Wo r c e s t e r

Indian Market ï&#x2122;&#x2026;ï&#x2122;&#x192;ï&#x2122;&#x201E;ï&#x2122;&#x192; #PPUI'3/ Â&#x2026;EX!DBCMFPOFOFU

Nickolas Muray, Frida on a white bench, NY, 1939, Color carbon print, 26/30

FRIDA KAHLO & DIEGO RIVERA by Eminent Photographers

July 30th - September 12th, 2010 Opening Reception: July 30th, 2010, 5pm - 8pm Throckmorton Fine Art/NYC and Webster Collection/Santa Fe



54 1/2 Lincoln Avenue, On Top of The Plaza, Santa Fe, NM 87501 505 954 9500



Wandering Water



102 E. Water Street t Santa Fe, NM 87501 info@joewadefineart.com t 505-988-2727 t www.joewadefineart.com

"-Ê1/ ,, <Ê­- /Ê ,®]Ê, Ê /Ê­"*‡/ 7®  9Ê9"1  "" Ê­- /Ê ,®]Ê,1-- Ê-  <Ê­- Ê " -"®


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Horse Medicine, bronze, 10” x 5” x 16”; Vaquero, bronze, 22” x 11” x 7”; Sky Talker, blown and sculpted glass, 19” x 5” x 4”

New Works

Opening October 1, 2010 5 - 7:30PM


123 West Palace Avenue Santa Fe, NM 87501 505.986.0440 ManitouGalleries.com 800.283.0440

Huichol Art and Culture: Balancing the World

AigYiacZ =bX]Ub5fhg 7i`hifY 505-476-1250 | indianartsandculture.org PARROT FEATHERS, TUXPAN DE BOLAÑOS, CA. 1934. PHOTOGRAPH BY BLAIR CLARK.

Silver Seduction: The Art of Mexican Modernist Antonio Pineda



Indian Market Weekend s Artist Reception s Friday, August 20, 2010 s 5 to 7pm

nadelbachphoto.com ©

M CLARRY M O D E R N www.mclarrymodern.com

225 Canyon Road s Santa Fe, New Mexico 87501 505.983.8589 s info@mclarrymodern.com h(ERITAGE&RAGMENTSvsvXvs/ILON#ANVAS )NSETh0,.7-.v )NQUIREABOUT!BBREVIATED0ORTRAIT3ERIES

Collectorsâ&#x20AC;&#x2122; Sale


September 3–18, 2010

Artist reception: Friday, September 3, 5–7 pm

Oxy gen Mask , mixed media on panel, 48"h x 36"w

B LU E R A I N GALLE RY 130 Lincoln Avenue, Suite C

Santa Fe, New Mexico 87501



Andrea Fisher Fine Pottery is For the Birds:

Bird motifs on American Indian Pottery Indian Market Show: August 20 - 22nd Opening Reception: August 20th, 5-7 PM

100 West San Francisco Street, Santa Fe, NM 87501 505.986.1234 www.andreafisherpottery.com








SAT & SUN, AUGUST 21 & 22 10 AM – 6 PM, OPEN DAILY



LOCATED INSIDE THE LA FONDA INDIAN SHOP & GALLERY 100 E. SAN FRANCISCO ST., SANTA FE 480.200.4290 Enter Gift Shop from the street corner, go downstairs in the shop to the lower level.

Recognized by Barron’s Respected by peers Focused on clients We salute John Vazquez for being named to Barron’s “Top 1,000” Financial Advisors list. Putting clients first is why John was recognized as being one of the very best Financial Advisors in America in 2010.

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

www.ubs.com/team/vazquez UBS Financial Services Inc. is a subsidiary of UBS AG. 2/22/10 issue. Barron’s is a registered trademark of Dow Jones & Co. ©2010 UBS Financial Services Inc. All rights reserved. Member SIPC. 1.32_AD_7.35x9.775_KK0603_VazJ_2


the buzz around town

Hoping to attract even more visitors to the state in ways that enhance their experiences here, the New Mexico Department of Tourism recently contracted with EcoNewMexico, a Santa Fe–based safari and travel company that markets environmentally and culturally sustainable tourism. EcoNewMexico’s 9- to 12-day packaged adventure tours in the Gila Wilderness and the Taos area take travelers for hikes and horseback rides in the Sangre de Cristos, whitewater rafting down the Rio Grande, llama trekking in the alpine tundra of the Columbine-Hondo Wilderness, and cruising through Georgia O’Keeffe country on mountain bikes. In between active outings, ecotourists will visit galleries and boutiques with knowledgeable local guides. EcoNewMexico’s offerings will expand into communities beyond Taos and the Gila over the next year. But the program will expand slowly and carefully—which is exactly how the clientele it caters to explores the world. “When compared with typical travelers,” says EcoNewMexico’s Sandy Cunningham, “ecotourists stay longer . . . and leave a lighter footprint. They’re more engaged and have that total respect for the land and the culture.” Next year, says Cunningham, EcoNewMexico will work with the Tourism Department to develop a statewide eco-certification program. To qualify, lodges, guides, outfitters, and conservation organizations will need to meet high standards of environmental sustainability, economic viability, and social and cultural responsibility. The vision: To establish a yardstick by which other states will measure their own ecotourism models. Cunningham foresees that such eco-friendly adventure opportunities will inspire people to “give back to nature, be active, engage with local cultures, and do something different in wilderness areas.”—Scott Yorko T R AV E L

wes’s side story LOCAL Best known for his roles as the mohawked Magua in Last of the Mohicans and, most recently, the deepblue Chief Eytukan in Avatar, Santa Fe’s very own Wes Studi was recently honored with not just one but two awards. At this year’s sixth annual White Sands International Film Festival, a Las Cruces–based event that focuses on socially relevant films, Studi took home the 2010 Lifetime Achievement Award and was also inducted into the New Mexico Film Society’s Hall of Fame. “I think it’s a recognition of the amount of work I’ve been able to stack up over the years and that it’s been work well received by a majority of the audiences,” Studi says of the awards. “I see it as an honor to be singled out for a prestigious award.” Above: When he’s not acting, Studi plays bass in the local rock band Firecat of Discord. Festival director Kierstin Below: Studi in the 1992 film Last of the Mohicans. Schupack has this to say about Studi: “His work as an actor has stood the test of time and continues to be relevant to this day. The WSIFF wanted to honor Wes as a performer and recognize his contributions to the Native American community. Wes has played many Native American roles with depth and conviction and in addition has successfully crossed the ethnic barrier, playing many roles that were non-race specific.” Not one to rest on his latest laurels, Studi hopes to soon produce some feature films of his own, locally if possible. Says the 62-year-old, “I’d like to be able to work in New Mexico, as it offers so much in terms of locations and opportunities.”—SY august/september 2010

santa fean Indian Market



let’s go eco

aganza Mariachi Extrav de Santa FĂŠ Featuring:

s arga chi V MaroriaM un ariachi Del M do

El Mej

e Santa Fe Opera ber 8, 7:30 p.m. at Th Wednesday, Septem 280-4654 001-8 or 00 s Call: 986-59 For Ticket


Cancellations - No Refunds or

by OTAB, and Partially Funded



Council Presents The Santa Fe Fiesta

reimagining JFK’s affairs B O O K S Tall and lean, with snow-white hair and a trim mustache, writer Frederick Turner is as distinguished a gentleman as there is in Santa Fe. His books are distinguished as well. So when he was asked recently how he got the idea for his new novel, The Go-Between: A Novel of the Kennedy Years (Houghton Mifflin Houghton, $25), his response was a surprise—if not a shock. He replied that the opening pages were dictated by a voice that came into his consciousness while he was at a golf resort in Pebble Beach, California.—Robert Mayer

Tell us about that experience. I wasn’t playing golf. I was walking up the fairway to the clubhouse for a martini when I heard a voice inside my head, telling me a story that had begun somewhere earlier. I had to play catch-up in the clubhouse, but without the martini. It was like taking dictation. How did this differ from a “New Age” voice? It wasn’t channeling. It was listening to yourself. Most of us have some sort of interior monologue going on pretty often.

Had you been thinking before this of writing a novel about Exner? Never. I hadn’t even considered writing about JFK.


The voice became the narrator of the novel, a veteran newsman. Did it tell you right off that the book would center on Judith Campbell Exner, mistress of both JFK and mob boss Sam Giancana? Not right off. At first I was more intrigued by the diction of the voice, the references, the geography, which was Chicago, my hometown. Only gradually did it become clear that this was about Judith Campbell Exner.

Author Frederick Turner, whose latest novel imagines the life of Judith Campbell Exner, mistress of U.S. president John F. Kennedy and mob boss Sam Giancana.

While researching the book, the newsman falls in love with his beautiful—but dead—subject. Did you? Certainly, though not with the historical figure—only with my invention, which is quite a different thing. As the 50th anniversary of the JFK assassination nears, which one of the many remaining questions from that era would you most like to see answered definitively? Why in the immediate aftermath of Oswald’s arrest weren’t any notes taken of his interrogation—or if there were, where are they? What happened to them? It strikes me as more incredible that no one was taking notes than that Oswald could get off those shots. august/september 2010

santa fean Indian Market


WESTERN/SCI-FI If you’ve noticed Daniel Craig pumping out reps at the local gym, Olivia Wilde nonchalantly perusing Whole Foods, or Harrison Ford getting married at the Governor’s Mansion, it’s no (star-struck) coincidence. They’re all in town to shoot the big-budget action-thriller Cowboys & Aliens. Set in the 1870s and based on Platinum Studios’ graphic novel, in which hard-nosed cowboys and Apache warriors join forces to battle attacking “marauders from the sky,” the film will fuse classic Western heroism with high-tech science-fiction warfare. Executive producer Denis L. Stewart insists that generous tax breaks and incentives to shoot in New Mexico were not the main reasons the production ended up here. “I have worked all over the world and all over the United States, and I can’t think of a place that is more conducive and friendly to the motion picture business than here in New Mexico,” says Stewart. “And I’m not just saying that—I’m serious. The crews and their qualifications, the more films that are made here, the better they get.” This Ironman-size production (being helmed, appropriately enough, by Ironman and Ironman 2 director Jon Favreau) is also a big deal for Santa Fe, which Dreamworks and Universal Pictures chose over Albuquerque for 63 days of filming because of its Old West–style scenery and unique, expansive terrain. Just shooting the film here will “dump millions into the economy,” says Stewart, by renting equipment locally, hiring local crew members, and feeding and accommodating the crews. But money’s not the only thing this film will leave behind. Stewart has seen more and more film professionals arrive from Los Angeles and stay— forever. “The attrition of crew members who work here on a few movies then go back to Los Angeles—they see the economy of it, they see the beauty of it, and they know this is going to be growing,” observes Stewart. “As long as this continues, there’ll be more and more films made here in this area.”—SY

platinum studios, Jon Favreau

the good, the bad, and the alien

We’re guessing that in the film Cowboys & Aliens— which is based on the graphic novel series (above) by Scott Mitchell Rosenberg­—the guy on the horse fending off the mother ship with his six-gun will be played by either Daniel Craig or Harrison Ford. Right: Director Jon Favreau tweeted an on-set sneak-peek photo from his camera phone while filming here in Santa Fe.

new mexico’s got talent

Spears Architects

F I L M M A K I N G Aspiring New Mexico actors, screenwriters, and filmmakers are getting a boost thanks to Hollywood pros like actor Ed Harris, screenwriter Chris Eyre (Smoke Signals), and screenwriter Joan Tewkesbury (Nashville). All three have participated in recent programs sponsored by Milagro at Los Luceros, the job-training initiative launched in February by actor and Sundance Institute founder Robert Redford, the New Mexico Department of Cultural Affairs, and the New Mexico Film Office. “With so much film production now coming to New Mexico, we want to bring our talent level up to compete with talent from Los Angeles and across the country,” says Kathleen Broyles, program director for Milagro at Los Luceros. Local actors, for example, may





have the chops to succeed in Hollywood, but if they’ve never attended an audition, they may find the process difficult. To help local Native Americans, Hispanics, and African Americans get up to speed, in April Milagro at Los Luceros sponsored audition workshops at five locations throughout New Mexico. In May, award-winning screenwriter Tewkesbury led the first of a series of writing workshops— hers focused on creative story development— and acting labs were offered at the Institute of American Indian Arts and in Los Luceros, just north of Alcalde. Meanwhile, plans for 2010–2011 are in the works, with Redford and the Milagro team figuring out new ways to apply the successful Sundance Institute model here in New Mexico. “We’ll be expanding on the areas of acting, writing—meaning storytelling—and producing,” says Broyles. “Over the next year, we hope to develop a screenwriters lab and a program on storytelling with a camera.”—Dianna Delling naaa.ad2


3:30 PM

Page 1


Rare American Turquoise & Fine Native American Jewelry Since 1972

Award Winning Navajo Artists

Tommy Jackson: (left) rare high grade natural Nevada Carico Lake turquoise raised inlay bracelet and matching dangle earrings;(right) rare high grade natural Nevada Carico Lake stone to stone inlay bracelet and matching post earrings.


Calvin Martinez: hand rolled and hammered sterling silver ingot cluster bracelets and matching dangle earrings set with (left) rare gem grade natural Nevada Easter Blue turquoise, and (right) rare gem grade natural Nevada Dry Creek turquoise.

Calvin Martinez: hand rolled and hammered sterling silver ingot concho belt, matching cluster bracelet and dangle earrings set with rare high grade natural Nevada Candelaria turquoise.

Native, Western, Latin, and American Fine Art, Artifacts, & Photographs

Cynthia J. Hale ISA AM • USPAP Scott W. Hale ISA AM • USPAP Appraisals & Consultations Santa Fe: (505) 490-9992 Tulsa: (918) 524-9338 info@naaainc.com www.naaainc.com

Terry Martinez: hand rolled and hammered sterling silver ingot bracelets set with rare gem grade natural Nevada Royston turquoise; (left) seven stone with intricate hand twisted wire and stamp work; (right) five stone heavy gauge with exquisite interior stamp work.

Tommy Jackson: (left) rare gem grade natural Mediterranean oxblood coral raised inlay bracelet, post earrings and matching pendant; (right) rare gem grade natural Mediterranean oxblood coral inlaid in sterling silver bracelet, earrings and matching pendant.

turquoisedirect.com (505) 934-5294


Indian Market buyer’s guide Whether it’s your first time or you’re a regular, visiting the Santa Fe Indian Market can be a daunting experience. It needn’t be. Take your time, spend a day or two enjoying the art, meet some artists, and experience the best of the Native worlds. Remember, though, that while our backgrounds might equip us to understand the basics of painting and sculpture, the beadwork, Pueblo pottery, and jewelry—as well as some of the other Native works at Indian Market—are much more culturally specific, what we sometimes refer to as “traditional,” and involve if not often require precise materials and techniques. Which is why SWAIA has put together this handy Buyer’s Guide. Basically, we worried and fretted about the rules so you don’t need to. But knowing about them might heighten your appreciation of Native arts and help make Indian Market a more memorable experience. These basic official criteria should help you better understand the intricacies of Indian Market and its spectacular artwork. Indian Market is built around traditional Native art forms; they were the first Markets’ first art forms, and remain at the core of today’s Indian Market. Indian Market Standards, or rules, are designed to help artists distinguish traditional from nontraditional work. In turn, SWAIA utilizes the Standards to classify the art received for judging. Judges, too, use the Standards as a guideline for the particular and broad categories of each art form. The Standards are also here to protect the buyer. Outside of Indian Market boundaries, for example, you are not assured that the item is handmade or that the materials are not mass-produced. An Indian Market artist, however, must follow the Standards; therefore, you are assured of the highest quality materials and craftsmanship. In the end, take your time at Indian Market—it was the first and remains the foremost in providing interested visitors the opportunity to meet and talk directly with artists. To help ensure that you are buying quality art from Indian Market artists, all booths are clearly marked with SWAIA signage and every artist has photo identification. SWAIA’s standards are for the buyer and artist; they help ensure the uniqueness and high quality of Indian Market.

Designed with integrity, crafted with soul.

Made in America. By Grown-ups.

B o u l d e r , C o . 303.440.9891


jewelry Native American jewelry is one of the most distinct and delightful of all the art forms. Buyers should be aware of the range of materials today’s jewelers use, including stones and setting techniques. SWAIA requires full disclosure of some acceptable materials, including stabilized stones. Most machine-made, imported, or non-Native components are not allowed. allowable 1. Organic and stone materials a. shell and natural organic materials, such as bone and wood; natural stones, such as turquoise, coral, lapis, etc.; other natural untreated stones and gemstones; and ceramic medallions and/or objects set as stones. b. natural pearls, finished stones, and gemstones in cabochon and faceted shapes set in metal settings. 2. Metals—all non-plated metals are allowed and must be clearly identified. For example, iron, silver, brass, gold, etc. Gold must be 14K or higher. 3. Chip inlay in the ratio of no less than 85 percent stone, 15 percent adhesive. No powder is allowed, only chips.

allowable findings Allowable findings for the purpose of Indian Market are defined as “an ingredient part of the finished product that adapts the product for wearing or use.” Examples of allowable findings are: jump rings, earring backs, clasps, barrette clips, money clips, hooks and eyes, leather for bolos, conchos, and buckles. For shell and bead makers only: single bead/cone combination to finish ends of necklaces or earrings. allowable with disclosure 1. According to the New Mexico Indian Arts and Sales Act, stabilized turquoise must be disclosed to the consumer. 2. Commercially available coral from temporary strands must be natural and undyed. The use of coral can only be used in combination with a handmade item or items. 3. Commercially available glass beads can only be used in combination with a handmade item(s). a. Multiple-strand glass-bead necklaces strung in the tribal tradition of the maker are allowed. 4. Cast jewelry to include sand, cement, lost wax, and tufa. a. Editions are limited to 25 and must be signed with the artist’s hallmark and numbered. b. Rubber molds are allowed, as long as edition requirements are adhered to. 5. Commercial chain may be used (as a finding) with handcrafted items, but may not be sold individually. 6. Fabricated, laminated-pattern sheet metals such as mokume- gane can be used but must be disclosed to the consumer. 7. Precious metal clay. non-allowable 1. Imported or non-Indian handmade stone or shell beads and fetishes, excluding coral in handmade items. 2. Imported and/or color treated nuggets or tumbled chips of any material. 3. Laboratory-grown, plastic, or synthetic-block reconstituted or compressed materials, such as coral, lapis, opal, etc. 4. All color-treated (dyed, heated, or irradiated) materials, such as blue onyx, blue topaz, irradiated red coral, etc. 5. Items assembled from non-Indian or manufactured components, such as: a. machine-made or die-struck components or purchased cast blanks, such as rings, bracelets, bezel cups, leaves, bolo tips, etc. b. machine-made or other metal beads. c. commercially drilled or pre-strung gemstone, natural pearls or glass beads (See C2/C3), including restrung necklaces and “treasure” necklaces made with commercial “found” objects, machine-made “liquid” silver and gold, or plated materials; gold under 14K. pottery Native American pottery is one of the most popular items at market. Look for balance, symmetry, and a smooth finish to most traditional pots. Types of clay will differ depending on the geology of each pueblo. Some purists prefer pots fired only over an open flame, although kilnfired pottery is becoming more common. SWAIA allows both. Traditional paints come from vegetal and mineral sources like wild spinach, kaolin, and naturally colored clays. Nontraditional pottery can run the gamut of color, form, and function.

CHARLOTTE FOUST CHROMA AUGUST 13 – 30, 2010 Opening Reception: FRIDAY, AUGUST 13, 5 – 7pm

Cloud Cover, 2010, Mixed Media on canvas, 60 × 48 inches

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

CONTINUED ON PAGE 210 august/september 2010

santa fean Indian Market


5th Annual

cherokee A R T


Saturday & Sunday, October 9 & 10, 2010 Sequoyah Grand Ballroom, Hard Rock Hotel & Casino Tulsa “Oklahoma’s Finest Native American Art Show”

I-44 Exit 240A, Tulsa, OK | (918) 384-6990 | CherokeeArtMarket.com | HARDROCKCASINOTULSA.COM Bill Williams Prairie Dog Creek

092790_CAM_Ad_7.875x4.75.indd 1

6/7/10 2:53 PM

Southern Arizona’s Premier Indian Art Show & Market

FEBRUARY 19-20, 2011 – Tucson, AZ

Two hundred Native artists Top-quality, handmade art Music & dance performances Artist demonstrations RV 7D

Native foods & more!

U $ G WX W 6 WLV D / E\ \





) U DJ X






| Q + A |

Teri Greeves Ju st Be ad It

Inte r vi e w by Kate McG raw

Kiowa beadworker Teri Greeves burst onto the Native American art scene in 1999, when she won Best of Show at the Santa Fe Indian Market with a parade scene beaded on a deer-hide umbrella. Since then she has won many more awards at the Heard Museum, Indian Market, and the Eight Northern Pueblos Arts and Crafts Show. Best known for her fullbeaded tennis shoes, she also does jewelry and unexpected objects. “I bead contemporary Native American life,” she says. She and her husband, Dennis Esquivel (Grand Traverse Band), a painter, fine furniture maker, and past Indian Market Fellowship winner, live in Santa Fe with their two sons. Let’s start with the obvious—why beadwork? Was it a family tradition? I started beading when I was eight years old. My mother (Jeri Ah-be-hill) ran a trading post at Fort Washakie on the Wind River Reservation in Wyoming. My Kiowa grandmother, Suzi Ataumbi Big Eagle, was a beadworker. My mother sold beadwork from all over the United States and even Canada. She had a Shoshone adopted sister, Zeedora Enos, and when I wanted to learn beadwork, Mother told me to ask Zeedora to teach me. She taught me the hump stitch—that’s a linear stitch type.



You started beading as a child. What were your first pieces like? My mother always encouraged us to figure out ways to make money, and my grandmother used to make these little square pins with tiny moccasins dangling from them and a pin sewed on the back. My sister and I made them in all colors. We sold them for, like, two dollars apiece. What are your cultural heritages? My mother is Kiowa—I’m an enrolled member august/september 2010

santa fean Indian Market


of the Kiowa Indian Tribe of Oklahoma—and I think there’s a little Comanche in there too. On my dad’s side, I’m Italian. What influences did you draw from growing up at a trading post? My parents had the trading post from the mid-sixties to 1984, when they divorced. I was born there and grew up there, hearing my mother explaining the different arts. She had beadwork, baskets, pottery, jewelry, all Native American–made and all good quality, not trinkets or curios. It was a lesson I didn’t realize I was receiving until I went to college and realized I had a huge amount of information. As you can tell, my mother has been a huge influence on my life. My mother and my sister, [award-winning jeweler] Keri Ataumbi, both live in Santa Fe. We’re all very close. You are mostly self-taught as a beadworker, but you had a couple of mentors. What did your beading mentors Zeedora Enos (Shoshone) and Calvin Magpie (Cheyenne) teach you? Zeedora taught me the hump stitch, and my mother asked Calvin Magpie, a well-known Cheyenne beadworker, to teach me the peyote stitch. But I also should mention Joyce and Juanita Growing Thunder (Lakota) and Marcus Amerman (Choctaw), who were definitely groundbreakers for beadwork being recognized as an art. What was a breakthrough moment in your career? Was it at Indian Market? It was definitely Indian Market. After I graduated from university [University of California, Santa Cruz, 1995], I moved to Santa Fe. I applied for Indian Market and got in my first year. I won a ribbon that first year for a series of shoes. The following year, 1999, I won Best of Show for a beaded deer-hide umbrella. It definitely launched my career, there’s no question about it. You know, Indian Market is about more than just making sales. Indian Market is about making contacts. There are unbelievable experts walking around there—people from Sotheby’s, curators from museums, highly knowledgeable collectors. Beadwork is such an old, traditional art, yet you have brought it into the 21st century with your contemporary interpretation. Was this a strong intent or something that evolved? I am not doing anything different than any 82



beadworker that came before me. They started with quills, and when they got beads they used beads. They started with sinew and when they got thread they used thread. When you’re introduced to a new material, you’re going to be excited and want to use it. That’s just the nature of art and of artists. I first saw a beaded tennis shoe that a Lakota artist had done, and my mom asked me to make a pair for the store. I realized that I could put stories on them. I am just one little spot in a long line of extremely innovative artists. Everything about it is a choice. Some of my work is more thoughtful, some is more political or more historical. When President Obama was elected, it got me thinking about how Native Americans had to fight for the vote. I mean, my grandmother was 24 years old before she was a citizen in her own country. So I did a piece about that.

Teri Greeves’s Beaded Tipi, which she made for the 2011 tipi show at the Brooklyn Museum (brain-tanned deer hide, mixed beads, sterling silver base, 46 x 29 x 33").

Why is humor such an important element in your work? It’s like the old saying, “You can catch more flies with honey than with vinegar.” When I first started making beaded tennis shoes, people invariably would laugh when they saw them. If there was a serious statement or picture on them, my heart would sort of twist. But then I realized that that laugh opened their hearts and minds. I’d explain what the picture was about and they’d walk away having gotten a new idea. What are you doing for Indian Market this year? This year I’m doing handbags, jewelry, and maybe gloves. Almost every year I do one big market piece, but this year I’m just concentrating on making some beautiful things. I spent the first part of this year making the tipi for the Brooklyn Museum show, and that kind of used me up. I’m lucky to have one good piece like that in me for a year.

Tell about the piece you designed and made for the Tipi: Heritage of the Great Plains exhibition, which opens February 18, 2011, at the Brooklyn Museum. It’s a piece that the museum commissioned as the signature piece of the exhibition. It’s about four-and-a-half-feet tall, of two white deer hides on poles my husband made. I used 13-ought cut beads. It contains beaded scenes of the Kiowa people. There’s a drum at the back and then a male and a female side. The parents and grandparents and veterans are all there. There are terrestrial scenes and celestial scenes. I put in Grandfather Snake and Grandmother Spider, who are a part of Kiowa history. I made it to express the beauty of Kiowa life, and I put the scenes on a tipi because the tipi is a home. I lined it with cotton cloth that I beaded the constellations on. I’m very happy with it. Teri Greeves’s work can be found at Indian Market and at Santa Fe’s Adobe Gallery.

GUTIERREZ GALLERY STUDIO Ernesto Gutierrez oil 30x25 “Pequeña Feria”

616 1/2 CANYON ROAD SANTA FE, NM 87501 egfineart@gmail.com PHONE: 505.986.6010 CELL: 310.694.4445


run to the (large area of shale) hills Bi s t i/De -Na-Zin Wilde r ne s s


by Ch ri sti ne Sale m

One of the many moonscapish, otherworldly spots in the Bisti/De-Na-Zin Wilderness.

SOLITUDE. Thoreau called it essential

to the “tonic of wilderness.” Luckily, that tonic can still be found in places like the Bisti/De-Na-Zin Wildneress in northwest New Mexico. Located deep in Navajo country—about 20 miles from Chaco Canyon National Monument— and accessed via obscure gravel roads with few markers, the wilderness is about as isolated and open and jaw-droppingly stark a spot as you’ll find anywhere on the planet. Created in 1996, when the federal Bureau of Land Management, which manages the area, linked the two nearby wildernesses of Bisti (also called “the Bisti Badlands”) and De-Na-Zin, the wilderness offers dreamlike landscapes

of sandstone spires, arches, and inverted pyramids—all living archives from the time when dinosaurs ruled the animal kingdom. Carved from two differing geological formations, each area puts its own distinctive spin on the vast, moonlike vistas networked with a system of dry riverbeds and adorned with hoodoos, concretions, dinosaur fossils, and petrified wood—the most starkly, desolately wondrous landscape in the state. Bisti (in Navajo, the word means “large area of shale hills”) lies to the west and is about a tenth the size of its neighbor, De-Na-Zin, which lies to the east. De-Na-Zin means “cranes” in Navajo—petroglyphs found in the region chronicle the flocks of migrating

cranes that according to legend used to stop off here to rest and feed. The entire wilderness is essentially a wash, with a central artery and a multitude of tributaries, offering up layers of time in the sandstone structures that remain standing (despite the abrasions of geological time) and in the colorful drifts of stones washed smooth by millennia of water. At one time the area was a shallow interior sea. When the waters receded 80 to 65 million years ago, they left behind a lush, swampy riparian ecosystem that supported ancient forms of life, including fish, turtles, crocodiles, lizards, early mammals, and huge dinosaurs. When all that water disappeared, it left behind a 1,400-foot-thick layer of jumaugust/september 2010

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started out as pools of sap. (Be aware Location & Access that it is illegal, and imperils the imporThe Bisti/De-Na-Zin Wilderness is about tant research done at Bisti/De-Na-Zin, 30 miles south of Farmington. To reach to take anything from the wilderness the Bisti access off NM 371, go 36½ miles area except photographs and your trash.) from the San Juan River crossing, take a The best time to visit the wilderness left turn on NCM (non-county-mainarea is during the spring and fall. There tained) Road 7297, and follow a gravel is very little shade, as the sun reflects road for approximately 2 miles to the Bisti relentlessly off the light-colored rock parking lot. This turn is about 46 miles surfaces, so be sure to bring plenty of north of Crownpoint, just past the crest of water. It’s also easy to get lost, so equip the hill after the Don Gleason Bridge over yourself with a GPS device, map, or comDe-Na-Zin Wash. The De-Na-Zin parkpass, or be diligent about landmarks as ing lot and area access is off County Road you progress through the wilderness. The 7500, which connects US Highway 550 fantasy would soon become a nightmare (at Huerfano Trading Post) with NM 371, if you were unable to locate your car at 8 miles south of the Bisti access exit. It is the end of the day. important to note that County Road 7500 If you have time, Bisti/De-Na-Zin can become impassible in bad weather. makes a great complement to a trip to Chaco Culture National Historical Park (about one hour south). Spend a day or more at Chaco, camp in its excellent campground, and then head over to Bisti/ De-Na-Zin for the day—or viceversa. The isolated badlands, with its crazy geology and million-yearold fossils, serves as an excellent foil to Chaco, where the comparatively recent ancient Puebloan culture is the main attraction. The timeless, mindbending badlands architecture of New Mexico makes a very good destination for those who would seek moon-like solitude here on Millions of years ago, the dry and desolate beauty of the Bisti was covered by an ancient sea. earth.


bled sandstone, mudstone, shale, and coal that lay undisturbed for 50 million years. Then, as the last glaciers of the Ice Age retreated 6,000 years ago, they dredged out the washes and carved out the eerie towers and goofy shapes that now stand in for the trees that once covered the terrain, revealing the area’s abundance of largely undisturbed fossils, which is what attracts so many paleontologists and Indiana Jones wannabes. Geologically, the predominant formations here are made of sandstone, shale, mudstone, coal, and the silt of the Fruitland Formation. It’s the erosion of the sandstone that led to the creation of the Seussian hoodoos. And in the De-Na-Zin badlands, the Fruitlands is overlayed with the more colorful Kirtland formation, the product of alluvial mud and sandstone laid down as the inland seaway drained, with wide rust, gray, red, black, and white caps of mesas at the head of De-Na-Zin wash. (Fruitlands contains valuable coal bed methane deposits, which ultimately threathen the future of this fragile ecosystem.) Trekking from the rim of the wilderness into any of its deeply scoured washes, you can veer off into other washes and dried-up tributaries that wend their way to dead ends. But as long as you pack enough water and the right gear (depending on the time of year), you can meander for as long as a couple of days or for as little as an hour or two. You’ll find yourself exploring side canyons; searching for fossilized dinosaur toes and teeth, mammal bones, and chunks of petrified wood jumbled together on the hillsides; photographing the endlessly varied glacier-carved shapes and subtly moving colors; and examining the beautiful, perfectly rounded alluvial stones that are scattered everywhere. Within an hour of the De-Na-Zin entrance, you’ll find a nearly intact, 60-foot petrified ponderosa pine lying atop a small rise. You’ll imagine the time when the land was crisscrossed by rivers and streams, their banks lush with vegetation and primitive life-forms. If you are lucky, you’ll find petrified wood that’s been incised with amber that

Impressionism x 2

New Paintings by Lange Marshall and Ruth Valerio

“Blue Vase” Lange Marshall

22” x 24” Oil



“Dappled Light” Ruth Valerio 20” x 20” Oil

Opening night reception with the artists Friday September 3rd 2 0 5 C A N Y O N R O A D , S A N TA F E , N M 8 7 5 0 1 PHONE 505.955.1500 • EMAIL info@greenbergfineart.com w w w. g r e e n b e r g f i n e a r t . c o m

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| S A N TA F E A N S A L U T E S |

one man’s cause Michael Roanhorse helps spread the word on breast-cancer awareness Photo by Mi s sy Wolf

Individual stories lie behind every one of the 1,400 canvas booths at Indian Market. But the doings of Michael Roanhorse, a highly successful Navajo jeweler, deserve a bit of special recognition. Roanhorse, whose family hails from Crystal, on the Navajo Reservation in New Mexico’s Chuska Mountains, lost an aunt to cancer, and has another aunt who is a cancer survivor. In 2007 a report by the National Cancer Institute pointed out that American Indian populations were more likely to live in poverty, and less likely to have health care and cancer prevention service, than most of the population. His mother, a health care administrator, told Roanhorse that one cause of cancer on the reservations was that information on prevention and self-examination was not available in Native languages. Three years ago Roanhorse attended an Albuquerque event of the nationwide Susan G. Komen for the Cure cancer-fighting organization and was deeply moved by the stories of breast cancer survivors. With his jewelry career—he combines traditional techniques with modern designs—taking off big time, he decided he wanted to help. He founded Roanhorse for the Cure. “Women are the cornerstone of Navajo families,” he says, “and I just knew I should put my creative gift to use to help the people.” In 2008 he created a special silver sculptural piece that was sold at a silent auction during Indian Market. The money went to the central New Mexico affiliate of the Komen Foundation. Last year he created a gold and diamond pendant that was auctioned. The funds raised have been partially earmarked for a project that is translating cancer awareness information into the Navajo language, to be distributed in the most remote areas of the reservation. “Sometimes the translation from English to Navajo is difficult,” he says. In a new twist, he has decided to auction off two pieces—one by him and one by another artist—each year. This summer it will be a painting by Mateo Romero. Roanhorse, 35, who now lives and has a studio in Santa Fe, said he hopes that once the Navajo translation is completed, the project will be expanded until every tribe in America has cancer prevention booklets in its native language. —Robert Mayer To volunteer or find out more, go to komen.org

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Pots by Anita Suazo, Santa Clara, and Wallace Youvella, Hopi.

Heard Museum Phoenix | Heard Museum North Scottsdale Online - HeardMuseumShop.com | Custom Shopping - 1.800.252.8344 august/september 2010

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The Elephant in the Portal A Roundtable Discussion on the Trad itional ver s us t he Cont empor ar y by Devon Jackson As the sponsoring organization behind Indian Market, SWAIA, the Southwestern Association for Indian Arts, has lately found itself, and its annual event, in a rather tenuous—maybe even thankless—position. Has the market become too big and too broad, or is it not inclusive enough? Should it stay more old school or go very new wave? And what of SWAIA’s role: arbiter of tradition or promoter of change? All valid questions, which, until recently, few people have had the gumption to bandy about in public. All questions, too, that basically dance around the underlying nut of what’s been brewing in the Native art world for some time—namely, the issue of traditional versus contemporary. It’s not merely an intellectual argument but a practical concern as well, one that affects the casual marketgoer as deeply as it does Native artists and collectors, curators, and critics of Native art. Kudos, then, to SWAIA’s executive director, Bruce Bernstein, for herein opening up the discussion on a subject that for too long has gone unattended in public. The subject being: Is the distinction between traditional and contemporary art valid? We posed that question to nine Native art experts. Their opinions, as you’ll see in the conversation excerpts included here, turn out to be as varied, contradictory, challenging, and sometimes inflammatory as the work shown at Indian Market each year. The idea was not to find points of agreement but to open up the discussion and provide a platform to get this much-needed, boundto-be-messy conversation started. SWAIA does not necessarily endorse any of the opinions presented here.

Bruce Bernstein, executive director, SWAIA When the words traditional and contemporary are used, it connotes a timeline—one thing in the past and the other happening now. Unfortunately, when used with Native arts, the traditionalcontemporary continuum suggests something about authenticity and preconceived notions that something from the past is more traditional, or more “Indian,” than something from the present time. I don’t mean this in a disrespectful way but rather to uncover how we perceive and interpret the world around us. Consider the so-called traditional art forms of Navajo weaving and Navajo jewelry. Both involve materials—like sheep’s wool—and ideas introduced to the Americas by the Spanish. Yet these materials and designs are worked through the weaver’s hands, and her or his Navajo worldview and consciousness create an undeniable Navajo product. Tradition is malleable in that it allows changes in wools, use of trucks, and new tools, but it is as constant as the core values that situate people in their world. 92



courtesy GOLDEN DAWN GALLERY & bandelier national monument

“The concept of ‘traditional’ is a Western one, created from the desired belief that Europeans really didn’t exterminate the Indians or their way of life.”

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Aleta Ringlero, CURATORIAL CONSULTANT AT CASINO ARIZONA Traditional art for me is work that demonstrates direct connection to the ethnographic roots of past utilitarian cultural production and is produced by an artist who has tribal affiliation. Problematic, of course, is the multitribal heritage of today’s artists and intermarriage of individuals, where adaptations of tribal art forms were shared. Contemporary art is directly grounded in the Anglo-European high art traditions, that is, easel painting, sculpture, and graphics. Such forms are without ritual or utilitarian association and have no reference to tribal ethnographic object production. It is work produced after contact with non-Native interaction and by mid-century was firmly grounded in the business of art making and commercial exchange. stephen wall, chair, swaia board of directors “Traditional art” seems to refer to those art forms that overtly reflect tribal traditions or are based in techniques or subject matter that is identified with the specific tribe. Contemporary Native art includes art forms that incorporate nontraditional media, covertly reflect tribal traditions, and are not necessarily identifiable as tribal specific. John Torres Nez, Director of Artist Services, SWAIA Most folks who consider themselves contemporary Native artists easily acknowledge the shoulders upon which they stand, but they make it clear that they don’t fit any mold. These tend to be students of art, trained in Western art schools. They make art in the Western sense of the term. Many of them prefer to be called “artist who happens to be Native” over “Native artist.” The concept of “traditional” is a Western one, created from the desired belief that Europeans really didn’t exterminate the Indians or their way of life. “See, their traditions are still alive in this art form or another.” Many of us have bought into that paradigm. It’s a great selling feature. “This pottery is completely traditional.” It is selling a fantasy. So in reality it is all perception. The terms are not accurate, fair, or useful with regard to the art itself, but from a marketing standpoint they carry

meaning. “Traditionally made” pottery sells; commercially painted, kiln-fired pottery, when disclosed as such, does not. Anonymous Collector Traditional art is cultural art, and much of that is made for private/religious/cultural consumption. For the marketplace, work that is called traditional is actually revivalist. In pottery, for example, virtually every pueblo had almost stopped making pottery by 1900. The pottery forms, designs, and styles (from the Pueblos to Hopi) are virtually all revivalist (that is, based on Sikyakti ruins, Mimbres designs, and so on). Modern work is based in the revivalist techniques but speaks to today’s world, incorporating personal and worldly experiences through the eyes of the artist. A good example of this in pottery might be Maria Martinez of San Ildefonso. She was not only a revivalist (reviving prehistoric designs on her pottery) but also a modernist, creating a new form of pottery (black-on-black) within a new context of nonutilitarian pottery made basically to be sold to collectors/tourists. There is very little that is traditional about her work, except that after 100 years, it is now considered “traditional,” which may actually be “neotraditional.” PAUL CHAAT SMITH, AUTHOR OF EVERYTHING YOU KNOW ABOUT INDIANS IS WRONG (EXCERPTED HERE) The particular kind of racism that faces North American Indians offers rewards for functioning within the romantic constructions, and severe penalties for operating outside them. Indians are okay, as long as they are “traditional” in a nonthreatening (peaceful) way, as long as they meet non-Indian expectations about Indian religious and political beliefs. And what it really comes down to is that Indians are okay as long as we don’t change too much. Yes, we can fly planes and listen to hip-hop, but we must do these things in moderation and always in a true Indian way. It presents the unavoidable question: Are Indian people allowed to change? Are we allowed to invent completely new ways of being Indian that have no connection to previous ways we have lived? Authenticity for Indians is a brutal measuring device that says we are only Indian as long as we are authentic. Part of the measurement is about percentage of Indian blood. The more, the better. Fluency in one’s Indian language is always a high card. Spiritual practices, living in one’s ancestral homeland, attending powwows, all are necessary to ace the authenticity test. Yet many of us believe taking the authenticity tests is like drinking the colonizer’s Kool-Aid—a practice designed to strengthen our commitment to our own internally warped minds. In this way, we become our own prison guards. Gerald McMaster, CURATOR OF CANADIAN ART, ART GALLERY OF ONTARIO There’s a great deal of difference between traditional and contemporary, but it must be seen as a false argument created over a half century ago, or maybe earlier. Basically, what do we mean by traditional? It’s about the present being continuous with the past; essentially it’s something time-bound. But we know that a huge discontinuity happened between about the late 19th century and the 1960s, when in both Canada and the United States, Native peoples were essentially severed from tradition. By the 1960s, several generations had passed, and on the whole very few traditions survived. What survived was termed traditional and became pitted against

Previous page: Pablita Velarde, Basket Dance, casein tempera on matte board, 1940; left: Emmi Whitehorse, Branching B, oil and chalk on paper mounted on canvas, 50 x 78" 94




Honoring Geronima Montoya as our poster artist this year has particular resonance with this issue. Today, when people look at her and her students’ paintings, they see a traditional style, perhaps suggesting that the paintings are dated and no longer relevant. But Montoya and her students were revolutionary and audacious—they demonstrated through their work that Native cultures are about forward momentum and are forever changing and challenging cultural assumptions to remain vibrant and vital. Montoya’s work in the 1930s was contemporary, so how does it come to be called traditional today?

a new kind of practice—contemporary. What was traditional became “authentic,” because it drew on ancient forms—weaving, beadwork, pottery—whereas anything contemporary was quite the opposite. The earlier artists produced works that were more closely related to, and constituted within, tribal cultures and language; today’s artists create works, for the most part, for any and all publics. Stephen Wall Is there really a difference from an indigenous perspective? If the indigenous aesthetic is based in a community’s experience with place, history, and the attendant values, isn’t the “contemporary” art simply reflective of the continuing experience of members of the community as they interact with the changes in the surrounding environment? And isn’t “traditional” art an art form that repeats expressions from a specific previous time? The traditional/contemporary dichotomy continues not because of the aesthetic values of the community but because of the inordinate power of the marketplace and the focus on the artifact and not the values that inspired the artifact. American Indian art collection, criticism, and the marketplace are integrally related and rely on preconceived notions of cultural primitivism for validation. Although there are some exceptions, by and large any attempt to transcend such preconceived notions is not rewarded by the art history establishment. Anonymous Collector Isn’t the only real requirement for authenticity that the artist is American Indian? The underlying question with “authentic, traditional art” is how the public perceives it as being traditional or nontraditional and how far they are willing to go beyond their imagery and romance of the West. However, that has nothing to do with actual tribal or cultural authenticity; it’s more a question of marketing and marketplace. BRUCE BERNSTEIN Tradition or culture is not a shield but rather a filtering device through which new ideas can be brought into old systems. The most traditional people I know all live in the modern world, with cell phones and modern transportation. Native arts are alive and contemporary because of the artists’ abilities to absorb and interpret the ever-changing world around them, whether that is home in their village or through university-based training. A set of artists who grew up with cartoons and comic books have turned these influences inward to tell us about personal and community narratives. Making the Hulk Indian is no different than imbedding the southwestern landscape with ancient stories and interpreting them through design iconography that depicts its mountains. I am quite aware that in the Indian Market art classifications we often make the distinction between contemporary and traditional. At one time, certain art forms were not allowed into Indian Market. At the second market, in 1923, it was decided to exclude Navajo textiles because they were not considered traditional due to the influences of traders and floor rugs. In the language of the day, they had non-Indian influences. In the late 1970s, Indian Market excluded any jewelry that was not silver, brass, or turquoise. Melanie Yazzie, Special Projects Manager, SWAIA Many of the participants in SWAIA’s Advancing the Dialogue project have underscored the centrality of innovation or change to an indigenous aesthetic. As one artist noted, “Borrowing from cultures is a traditional practice.” Another argued that “selling the Native creates mediocrity,” implying that creating “static” or “stereotypical” art is actually the paragon of inauthenticity. From my perspective, there is a need to redefine the discourse of contemporary/traditional and art/craft based on insights such as these, for the still-dominant paradigm is that material or aesthetic borrowing/change/adaptation makes a piece less authentically indigenous.

Pablita Velarde, Silversmith, casein tempera on matte board

Aleta Ringlero What constitutes “Indian” is relative to makers and audiences, most of whom have never interacted closely with the communities with which they claim alliances. Often these “neo-Indians” have flooded the art market with stylistic emphasis on the figural, costume, or nativist themes with blurred pop culture markings. It is disheartening. John Torres Nez One of my tasks last year was to reorganize the awards categories for the 2009 Indian Market. For most of the classifications—jewelry, pottery, textiles, painting—there is a split in the divisions between “traditional” and “contemporary.” I struggled with this false dichotomy for a very long time. After all, even black-on-white Pueblo pottery was contemporary to the Chacoans of ad 850. It truly is a continuum. Last year, though, I created a category for the stone and shell beads and shell/ stone inlay that is most often associated with the Santo Domingo Pueblo. I called it “Stones and Shells: Pre-Columbian-Style Jewelry.” When it came time for artists to enter work for judging, all the Santo Domingo jewelers wanted to enter work into the division called “Traditional Southwest Jewelry” and not the one I created for them, because they viewed their work as “traditional” more than “Pre-Columbian.” The “Traditional Southwest Jewelry” category was meant for what folks think of when they hear the term southwestern jewelry—silver and turquoise—even though metalsmithing in the American Southwest is only 200 years old at best. So there is obviously a temporal issue surrounding what is traditional. I really don’t know how to get around the terms. Nontraditional? Modern? Ancestral? I tried many, but I still ended up using traditional and contemporary. Melanie Yazzie As Native artists have introduced different kinds of work, the term contemporary has been used to subsume all sorts of vague connotations of change as a way to manage or police the boundaries of authenticity. This effort has largely been spearheaded by dominant groups and institutions that have traditionally held discursive power over every sector of indigenous experience. What is encouraging, however, is that SWAIA—one of those powerful instituaugust/september 2010

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Top left: David Bradley, Abiquiu Afternoon; top right: Ryan Singer, Courage; right: Dwayne Wilcox, Hola Kola




“The traditional/contemporary dichotomy continues not because of the aesthetic values of the community but because of the inordinate power of the marketplace and the focus on the artifact and not the values that inspired the artifact.” —Stephen Wall

opposite, clockwise: courtesy david bradley, ryan singer, dwayne wilcox; this page, top: COURTESY swaia; bottom: blue rain gallery

tions I would include in the laundry list above—is interested in taking on the issue and attempting some sort of response. Many of the Advancing the Dialogue discussants have criticized how SWAIA’s institutional authority is manifested through such policies as judging and how classification standards have delimited the amount of self-representation that artists can express both at Indian Market and beyond. It is therefore unique that SWAIA can recognize that any power it might possess lies in its Native constituents. But it is imperative to acknowledge that the racially, ethnically, and economically burdened politics of that power is precarious and has the very real potential to stalemate the otherwise genuine intent for substantive change; this seems to be the dilemma of all change. Ellen Taubman, CURATOR OF NEW YORK’S MUSEUM OF ARTS AND DESIGN You don’t look at art and say traditional versus contemporary. It’s just language and semantics. But too many people look at art this way. The art-going public and people in general have expectations of seeing a pot or a beaded vest. That is what it is, but it’s also so much more. A Native artist is as sophisticated as any artist in France or Germany or New York. But places like SWAIA want to relegate this and put it into a corner. This isn’t about selling, it’s about creating a new platform. It’s very difficult, but unless that happens, you can’t have artists complaining that they don’t get recognition unless they move ahead. Aleta Ringlero As Bruce Bernstein has noted, there is no “pure” indigenous tribal art form. We acknowledge the forms as “art” and not “utilitarian” objects today, their original purpose rarely existent. It raises further discussion about the objects’ transformed and acquired value, their role as status markers and collectible property for aesthetic beauty. When these objects are displayed and referenced as cultural products, there is the implication of authenticity, that is, of an unchanged, pure, and authentic tribal past. One might as well believe the noble savage of Rousseau existed in the 21st century. Ridiculous. Critical and theory-based discussion of contemporary indigenous art making needs pursuit with informed scholarship and not ideology.

Top: Geronima Cruz Montoya, Gathering Peppers, casein tempera on paper; above: Tammy Garcia, Untitled, natural clay

JOHN TORRES NEZ So what’s the answer? Are there potters and jewelers, katsina and fetish carvers that carry on their tribal traditions by making art? Absolutely. Have these objects been commodified and secularized to sell to a non-Indian population? Yes. Is there anything wrong with this? I think this is an individual choice. That was a long way to say that the terms do not really have any meaning. It’s all Native art.. august/september 2010

santa fean Indian Market


53rd Annual Heard Museum Guild

MARCH 5 & 6, 2011 Ă&#x20AC;.PSFUIBOUPQ"NFSJDBO *OEJBOBSUJTUT Ă&#x20AC;5IFGJOFTU"NFSJDBO*OEJBOKFXFMSZ  UFYUJMFT TDVMQUVSF QPUUFSZ QBJOUJOHT  CBTLFUT DBSWJOHTBOECFBEXPSL Ă&#x20AC;"SUJTUEFNPOTUSBUJPOTBMMXFFLFOE Ă&#x20AC;&YDJUJOHNVTJDBOEEBODF QFSGPSNBODFT Early Bird Shopping for Members Only! Become a Heard member and beat the crowds! Members get the first chance to shop on Saturday, March 5, from 8:30 to 9:30 a.m., an hour before the gates open to the public. For membership information, call 602.251.0261 or visit heard.org.

Signature Artist Shonto Begay, Navajo, is this yearâ&#x20AC;&#x2122;s Signature Artist! Begay is known for his evocative, impressionistic imagery depicted in paintings and illustrations. Meet Begay and other juried competition award-winning artists at the Best of Show Reception on Friday, March 4. Special Feature â&#x20AC;&#x201C; Oâ&#x20AC;&#x2122;odham: People of the Desert and Rivers This yearâ&#x20AC;&#x2122;s Fair honors the Oâ&#x20AC;&#x2122;odham peoples of the Sonoran Desert. Artists and cultural practitioners from the four Oâ&#x20AC;&#x2122;odham tribes of Arizona and Northern Mexico will be on hand to showcase their ancient ways of surviving and thriving in the deep deserts and along the waterways.

Best of Show and Fair advance tickets on sale beginning January 3, 2011. Call 602.251.0209 x6414 or visit heard.org. Shonto Begay, Navajo. Image for Alice Yazzieâ&#x20AC;&#x2122;s Year, 2004.


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GERONIMA CRUZ MONTOYA by Devon Jackson When the Southwestern Association for Indian Arts chooses the poster artist for its Indian Market, sometimes that lucky someone is just a poster artist. Sometimes. Even so, the choice is never made lightly, and as with many such seemingly benign decisions, even the most apparently obvious or apolitical or uncontroversial selection can be construed and misconstrued, constructed and deconstructed, as having meanings that go well beyond the high honorarium of Indian Market poster artist. Take this year’s pick, Geronima Cruz Montoya. At 94, she’s as implacable, adorable, consistent, and charismatic as she was when she first came to Indian Market in 1936. Then all of 21 and fresh out of Dorothy Dunn’s tutelage at the Santa Fe Indian School, where she’d eagerly embraced what would come to be known as the Studio Style and later alternately referred to proudly and pejoratively (depending on one’s perspective) as the traditional style of Native painting, Montoya at that time heralded the new wave—the first wave, really—of Indian painting. Only a few years before Montoya debuted at market, Dunn had taken it upon herself to emphasize the importance of Native artistic and cultural traditions over and above European ones. A rather bold move considering that the U.S. government didn’t recognize Indians as U.S. citizens until 1924—only six years before Montoya’s first year at SFIS and a full 24 years before New Mexico would recognize them as state citizens. And that it took until 1932 for the Bureau of Indian Affairs to charge the Indian School and its fairly culturally sensitive superintendent Chester Faris with the novel task of teaching indigenous arts and crafts. Arguably, Dunn allowed and encouraged her Indian students to tap into their imagination, their home life, and their cultural heritage and express all that in their art. But express it only just so. Purportedly. Dunn, it seems, tossed aside works that struck her as nontraditional. Even if apocryphal, and apparently it’s not, this sort of cultural diktat from on high couldn’t help but either create, consciously or unconsciously, an air of self-censorship among Dunn’s students and mentees—such as Montoya—or outrightly muddies any real possibility that Native people could produce art they could call either their own or traditional. But traditional being what? And according to whom? “Dorothy Dunn asked us what we wanted to paint and let us paint what we wanted,” says Montoya, who arrived at SFIS at 11 and graduated eight years later as the school’s valedictorian and then worked under Dunn for one year before taking over the Studio in 1937. “I painted the scenes from memory.” As did many of her classmates, who included later luminaries such as Allan Houser, Pablita Velarde, Oscar Howe, Pop Chalee, Harrison Begay, Ben Quintana, and Quincy Tahoma.





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Dunn taught the most basic fundamentals of painting while deliberately refraining from teaching life drawing, perspective, or color theory. Her so-called Studio Style featured heavily outlined flat fields of color and illustrative and narrative portrayals of ceremonies, dance, and mythology, usually painted in watercolors. It was a style influenced by Pueblo mural and pottery painting, by ledger art drawing, Plains hide painting, and rock art. And even though it was a sensation at that time (anthropologist and Museum of New Mexico founder Edgar Lee Hewett, upon seeing Montoya’s work in 1936, marveled, “This painting is new, but it is Indian”), others would later characterize it as stifling and not representative of Native art or the potentialities of Native artists. Montoya, though, has always cited not so much Dunn’s technical influences as important but what Dunn gave to her and other Native students on a deeper level. In a 1996 biography The Worlds of P’otsunu, Montoya told authors Jeanne Shutes and Jill Mellick, “She made us realize how important our Indian ways were, because we had been made to feel ashamed of them. She gave us something to be proud of.” Or, as Montoya put it more recently, “Dunn wanted us to keep hold of that traditional style because it was so quickly disappearing. I saw that type of painting as a traditional art form. I want to keep that style alive. Share what was going on in the past—the lifestyle, the ceremonials, the dances.” And although she became a community leader, a standout student, acculturated herself in almost every way to Anglo life, language, and culture, in her own words she remained “pure Indian.” “Mother,” her son Robert told Shutes and Mellick,




“had a phenomenal ability to assimilate without loss of herself.” Part of that lack of loss surely came from her being able to express herself artistically, to remain connected to her Pueblo culture, her San Juan birthplace, her Tewa language, her parents and sisters and neighbors and friends and beliefs and worldview through what she laid down—and continues to lay down even today in the kitchen of her Santa Fe home—in her signature casein tempera watercolor on paper. Montoya worked under Dunn, for $840 a year, for all of two years before taking over as studio director (after Dunn was pushed out) in 1937. She then taught at the Indian School for 23 years, alongside her husband, Juan, a woodwork instructor from Sandia Pueblo. “Work was developed from memory and from research and authentic records,” Montoya said in P’otsunu. “My job was to . . . have them draw and paint in their individual way and style while still keeping it Indian. Each one did his own tribal life. . . . These children were trying to put their heritage down in a form which could not be distorted or misconstrued by others. They were doing it for their own people as well as for others.” All during that time, Montoya also busied herself with ceremonies and boards (she served several decades on SWAIA), Catholic rituals and Pueblo rites; sang in the Tewa choir and the church choir; raised three boys, traveled to Atlanta, Georgia, where she met the First Lady Eleanor Roosevelt and to Claremont, California, where she studied with Mexican muralist Alfredo Ramos Martinez and Jean Ames (whose design sense had no small amount of influence on Montoya’s work); finished college (getting her degree in 1958 from Albuquerque’s St. Joseph College);

Opposite: Geronima Cruz Montoya, Picking Plums, gouache on paper, 13 x 10"; above: Montoya’s image for the 2010 Indian Market poster—a reproduction of her 1938 painting, Pueblo Crafts, gouache on paper, 29 x 12"


“Dunn wanted us to keep hold of that traditional style because it was so quickly disappearing. I saw that type of painting as a traditional art form. I want to keep that style alive. Share what was going on in the past—the lifestyle, the ceremonials, the dances.”

Fellowship on Behalf of Montoya SWAIA is pleased to announce the establishment of an annual fellowship in honor of Geronima Cruz Montoya. Known as the Jeanne Shutes and Jill Mellick Fellowship (Shute and Mellick co-authored The Worlds of P’otsunu: Geronima Cruz Montoya of San Juan Pueblo), this fellowship will be awarded each year to a traditional Pueblo artist to ensure the continuation of Montoya’s vision and legacy. As a family and community member, teacher, community activist, and artist, Montoya has consistently fought for the rights and opportunities of Pueblo people, and as a SWAIA board member for over thirty years, she advocated that Pueblo people and traditional arts remain at the center of Indian Market. If you are interested in donating to the fund, please send your contributions to SWAIA (swaia.org). We would be honored to include you in establishment of the fund and ensuring her legacy is continued.

tended to her parents, her aunts and uncles, sisters and cousins, and other relatives; and lived a life that wasn’t just full but meaningful—artistically, communally, personally, and spiritually. Then, in 1962, Montoya herself—and the Indian School—were unceremoniously pushed out. Shut down by the government and replaced on that very spot on Cerrillos Road with the Institute of American Indian Arts. Essentially founded by Lloyd Kiva New, IAIA became an arts and crafts college for Native students. And not just Native students or Natives who came primarily from the pueblos or Navajo country, but Native students from all over the country. Kiva New, at that time, espoused a more modernist ideology, downplaying traditional arts and emphasizing, for example, sculpture instead of pottery. Later in life, though, New himself returned to tradition, coming back full circle to the heart and core of Native people and art—that of values, family, and community, elements Montoya continues to emphasize in her life and art. Resolute as always, though, Montoya didn’t dwell on what she didn’t have but focused on what needed to be done and soon found herself, starting in 1963, working again for the government, again as a teacher, but this time at the BIA’s Northern Pueblos Agency. Instead of carrying out the rather impractical demands of the Washington bureaucrats, though, Montoya gave her young students what they asked for. “They kept insisting that we teach what the people need,” Montoya told Shutes and Mellick. “And that is what the people kept telling me: ‘This is what we need!’ So I went more by what the people wanted.” Then, in 1968, with help from her friend Alfonso Ortiz, the San Juan anthropologist and Guggenheim Fellow, she founded Oke Oweenge Co-op, the first cooperative in any of the state’s 19

pueblos. By the time she left her Northern Pueblos job in 1973, she’d put in 38 years with the BIA. “Jerry’s paintings are a doorway into another life, another culture,” explains Bruce Bernstein, SWAIA’s executive director and a longtime Montoya admirer (and Dunn biographer). “It’s a view into another type of thinking. A worldview.” A Pueblo worldview. It’s a world that has no markers; within that Puebloan world one does not need reference points or horizon lines— it is space marked by narrative and the cycle of ceremonial life. As minimal and seemingly simplistic as they appear, Montoya’s paintings are deceptively complex, and her casein tempera medium enhances the flatness of the surface while at the same time gives the picture’s figures a kind of cosmological presence that isn’t entirely flat. Her subject matter is also consistently and simultaneously in concert with the quotidian and ceremonial cycles that serve to maintain Puebloan life. But as depicted by her and her students, they tend to appear informational or diarylike, when in fact they are not. What Montoya painted were not memory-culture scenes but events she participated in and witnessed firsthand. And the activities she depicts are almost always part of something larger, something timeless; cycles. Absent of anyone in specific, devoid of sentiment or nostalgia, faithful to tribal symbology and philosophy, her paintings are matter of fact but elegant, simple but rich. Like that of Édouard Manet and his Olympia painting, Montoya’s art belies a kind of anti-intellectual intellectual observer-preserver of Pueblo life as she knows it. “People can see and learn what it’s like in our lives,” she told Shutes and Mellick. Today, there aren’t too many traditional-style painters still working. Aside from herself, there are her two sons, Paul, 60, who works for Sandia Pueblo, and Bob, 63, an architect, and a few others. But Montoya remains philosophical—the traditional style will come back. Like all things Native, it’s always there in the landscape, just out of view of the naked eye. And those dance scenes she and her students painted have returned stronger than ever—as vigorous as Montoya’s paintings. So, despite her belief that Indian Market has become too big, she’ll be there this August under the Palace of the Governors portal, just as she has been since forever ago, with her sons, her sister Ramoncita, and other friends and relatives, selling what she’s always sold. “They painted their own way, I painted my own way,” she says of her nontraditional painting peers, without a trace of bitterness. “I’m just a down-toearth person, very traditional. Like my art.” august/september 2010

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official SWAIA Indian Market events SWAIA Business Partner Reception and Press Preview August 13, 11:30 am Collected Works Bookstore 202 Galisteo, free SWAIA officially introduces the 2010 Santa Fe Indian Market Week with a Business Partners Reception with many of Santa Fe’s hotels, restaurants, and other businesses. SWAIA and Apache Skateboards Presents: Indian Ink (6) Artists in Black & White August 13, 6 pm Legends Santa Fe, 143 Lincoln, free Street art(ists) and skateboards, featuring a collaboration between Volcom Stone Age and the work of Apache Skateboards and its artist/ creator Douglas Miles. SWAIA and Whitehawk Antique Shows Present: Scarcity and Rarity August 15, 2–4 pm Santa Fe Community Convention Center 201 W Marcy, free An educational panel featuring four short presentations and a discussion among a select group of panelists on the topic of scarcity and rarity in Native art. Santa Fe Indian Market Classification X Award Winners Film Screening August 16, 6:30 pm Allan Houser Compound, 26 Haozous Road 505-471-1528 for directions, free SWAIA’s new moving-images category, Class X, honors its winners in the categories of Narrative Short, Documentary Short, Animation Short, and Experimental. Conversation on Contemporary Native American Art August 16, 8:30–10 am Georgia O’Keeffe Museum, 217 Johnson, free for museum and SWAIA members and free with $10 admission to the museum for the general public SWAIA executive director Bruce Bernstein and the museum’s associate curator, Carolyn Kastner, discuss contemporary Native American art and indigenous aesthetics in 104



the 21st century. Reservations suggested: 505-946-1039 Breakfast with the Curators August 17, 8 am Museum of Indian Arts & Culture, 710 Camino Lejo, $25 per person, or $20 per person for MNMF members (museum admission included) Learn all about the history, splendor, and future plans of the 89th Annual Santa Fe Indian Market. SWAIA Presents: Author Sherman Alexie August 17, 6 pm The Lensic Performing Arts Center, 211 W San Francisco, $20–$30 general admission $10 Students Author, poet, and screenwriter Sherman Alexie, named one of The New Yorker’s 20 top writers for the 21st century. 15th Annual Native Roots & Rhythms A Native American & Indigenous Performing Arts Festival August 19–22 30 Buffalo Thunder Trail Buffalo Thunder Resort & Casino and Emergence Productions host four nights of live music (and comedy) at Buffalo Thunder, with performances by Wes Studi’s Firecat of Discord, Joy Harjo & the Arrow Dynamics, Ernie Tsosie, and more. 10th Annual Native Cinema Showcase August 19–22 Cathedral Park, free SWAIA, the Center for Contemporary Arts, and the Smithsonian National Museum of the American Indian present the 10th Annual Native Cinema Showcase, a four-day celebration of films and videos by and about indigenous peoples in connection with the Santa Fe Indian Market. SWAIA Presents: Author N. Scott Momaday & Luci Tapahonso, moderated by James Thomas Stevens August 19, 6 pm

Collected Works Bookstore, 202 Galisteo, free The Pulitzer Prize–winning novelist, essayist, playwright, and poet N. Scott Momaday, a Kiowa Indian, reads from his most recent work. SWAIA Artist Fellowship Winner’s Reception August 19, 5:30 pm Patina Gallery, 131 W Palace, free Come and meet the talented 2010 Residency and Discovery Fellows and view their artwork. Native Music Rocks the Plaza August 19, 6 pm Santa Fe Plaza Bandstand Musicians Keith Secola, Micki Free & American Horse, and special guest Shea and Casper and the Mighty 602 Band. Best of Show Ceremony and Luncheon August 20, 11:30 am Santa Fe Community Convention Center 201 W Marcy, tickets: 505-983-5220 This exclusive event, hosted by Jinja restaurant, is the only time in the entire weekend where the best artists and best art of Indian Market are together in one place. Sneak and General Preview of Award-winning Art August 20, Sneak Preview 5:30–7:30 pm General Preview 7:30–9:30 pm Santa Fe Community Convention Center 201 W Marcy, tickets: 505-983-5220 The Sneak Preview gives SWAIA members the early opportunity to see the best of Indian Market art after the Best of Show Awards Ceremony. The General Preview that follows opens the doors to the public for a glimpse at the award-winning artwork. State of Native Arts Symposium August 20, 3 pm Santa Fe Community Convention Center 201 W Marcy, tickets: 505-983-5220 SWAIA, along with its partner institutions the National Museum for the American Indian, the Eiteljorg Museum of American Indians and Western Art, the Autry Museum, and the Heard Museum, present a panel of curators, scholars, and other experts who will address the current state and direction of Native visual arts. CONTINUED ON PAGE 166






Andy Lee Kirk

Preston Monogye

Wes Willie

Lee Yazzie

Charles Loloma

Michael Schmaltz

Lee & Mary Weebothee






Website September 2010: www.abbykentflythefineart.com abbykentflythe@aol.com • P.O. Box 309 • Spotsylvania, VA 22553 • By Appointment (540) 895-5012 • (540) 538-9406 or 07

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SWAIA lution As Indian Market Evolves, so Evolves its Sponsor Organization

by Dianna Delling At the first Indian Market, in 1922, the disregarding and the unbelieving turned to admire the Pueblo pottery and smattering of other crafts, objects that had been thought of only as curios or historic museum objects. Here in the room were clay pieces so delicate and fine that people could only admire them and wonder how this revival, this rebirth, did not occur sooner. The Pueblo women too must have gasped in delight and astonishment that, after so many years of oppressive rule, there was such excitement and acclaim for their potteryâ&#x20AC;&#x201D;not as something old and functional, but as beautiful and as art. The potters had found an innovation, a neo-tradition that simultaneously promoted survival and the celebration of renewal and reawakening. Flash forward to 2010, when more than 670 booths will line the streets in downtown Santa Fe and 100,000 visitors will roam the Plaza. Along with pottery and other traditional art objects, artists will sell glass, photography, and paintings that look more Keith Haring than Pablita Velarde. In one off-Plaza tent, video screens will flash images by Native American filmmakers; at the Lensic Performing Arts Center, awardwinning author Sherman Alexie (Spokane/Coeur dâ&#x20AC;&#x2122;Alene) will read from his books and talk about life as a prominent American writer who writes about the Native American experience. As Native arts and culture have evolved over the years, Indian Market has evolved along with them. In fact, making sure the event accurately reflects both tradition and the latest developments in the Native art world is

The scene at Indian Market, where change is inevitable and ongoing.





“The impetus for change comes from the artists themselves.”

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“Indian Market has evolved just as native art forms have evolved. . . that’s the nature of art.”




something the planning team at the Southwestern Association for Indian Arts, which organizes the market each year, takes very seriously. “The impetus for change comes from the artists themselves,” says Gabe Gomez,

known as the Bursam Bill that aimed to take land away from the Pueblo tribes of New Mexico and award it to newer settlers of Spanish and Anglo descent. The bill was defeated in 1922, but NMAIA continued its work on behalf of Natives—for

communication director at SWAIA. “We are attentive to Native artists’ needs and

example, by helping bring the first nurses to the pueblos and Navajo reservation

what they are interested in, we look at the direction Native art is taking, and we make

and win back land and water rights. During WWII, the organization helped Native

sure market reflects those things.”

language–speaking parents keep in touch with their sons and daughters serving in

SWAIA’s overall mission is to advocate Native arts and cultures, particularly those of the Southwest, and to create economic and cultural opportunities for

the military and sent hundreds of Christmas boxes. While NMAIA was focusing on politics and social issues, the Museum of New

Native American artists. While the two-day Market weekend is SWAIA’s biggest

Mexico held the first Indian Fair—the predecessor of modern Indian Market—

and most well-known event, it’s now just one on a schedule that’s growing rapidly

during the 1922 Santa Fe Fiesta celebration. The fair celebrated traditional Indian

as Gomez and his colleagues work to plan additional events that build enthusi-

arts and crafts, which until that time were mass marketed as souvenirs for travelers in

asm and appreciation for Indian art forms.

the Southwest. The last indoor Indian Fair was held in 1931; over the next four years

In January, Gomez helped launch SWAIA 360, a year-round program featuring more than 40 Santa Fe–based happenings, including lectures, luncheons, gallery

while there was not a Fair in Santa Fe, the NMAIA continued to work with artsits in the pueblos and at tribal fairs.

openings, readings, and film screenings that feature some of the biggest names in

In 1936 the movement to promote Native arts was revived by NMAIA, which

the Native art world today. “After last year’s market, we realized that we have such

held the first modern Indian Market outside under the Palace of the Governors por-

a wealth of art—especially in the areas of literature and film—that we decided to

tal, the start of today’s ever-popular portal vendor program. For the next few years,

expand it throughout the year,” says Gomez. “These programs offer us another way of

Indian Market would take place on eight consecutive Saturdays in July and August,

putting a human face on Native American art. We’re educating people about Native

under the portal at the Palace of the Governors. At Indian Market, unlike at the

expression and culture, and we’re giving artists exposure.”

earlier Indian Fairs, Native artists sold their work directly to customers. These earliest

Next year, as SWAIA and Indian Market celebrate their 90th anniversaries, Gomez hopes to have at least one event scheduled each week. But he emphasizes

Indian Markets continued to highlight traditional art forms. “At first,” says SWAIA executive director Bruce Bernstein, “like the Indian Fairs,

the idea that SWAIA isn’t “creating” these happenings as much as facilitating

Indian Markets were all about preserving the past. Traditional arts are still the back-

them in light of an ever-expanding Native arts community and a growing con-

bone and foundation of the Market. But Indian Market has evolved just as Native

temporary audience.

art has evolved over the past eight decades. That’s the nature of art—new artists and

“We are an advocacy organization,” Gomez says. “We build a platform and we step

new generations build on what artists from earlier years did; they make it their own.

back. Even as we grow beyond Indian Market, that’s essentially still what we are do-

To ignore that would be a disservice to both the artists and the public interested in

ing. We’re creating a broader platform for Native artists’ self-representation.”

Native art.”

In its earliest days, SWAIA was known more for its political activism than its arts

just New Mexico) to participate in the market, and in 1959, to reflect its broader

advocacy. Called the New Mexico Association of Indian Affairs, or NMAIA, when

scope, the organization changed its name to the Southwestern Association for

it was first created in 1922, the group was founded to advocate for Indian rights.

Indian Affairs. At the same time, it increased its efforts to help the region’s In-

In particular, its members fought against a controversial piece of federal legislation

dians preserve and market their arts. By the early 1960s, its political agenda had

In the 1950s, NMAIA invited Native artists throughout the Southwest (not

disappeared and Indian Market was SWAIA’s main focus. (SWAIA kept the phrase Indian Affairs until 1993, when its name changed to the more appropriate Southwestern Association for Indian Arts.) Indian Market became a once-a-year event in 1962, when organizers moved it to the third weekend in August, just before Santa Fe Fiesta. Two years later, the number of participating artists had increased enough that the market expanded from the portal at the Palace of the Governors to also include 75 artists selling in booths set up along Palace Avenue. And as the market grew in size, it also grew in scope. The opening of the Institute of American Indian Arts in 1962 brought new artists from other areas of the country and new art forms to the Market. “The young Crowds admiring some of the winners at the general preview show, the night before Indian Market opens. august/september 2010

santa fean Indian Market 109

artists coming out of IAIA really broke the mold,” says SWAIA board of directors chair Stephen Wall. “They began showing at market and changing the ways Indian art is viewed, with bronzes and stone scupture and different forms of jewelry.” Soon, to keep up with what the artists were doing, organizers began adding new award categories to Indian Market.

and other things they think of when they think of Indian Market,” says Mary Massey Wolf, who co-owns Collected Works. “We are seeing a kind of renaissance in Native American literature,” she adds. “Some of today’s most powerful American writers happen to be Native American: Louise Erdrich, Sherman Alexie, N. Scott Momaday, Joseph Bruchac.” Visual storytelling—in the form of film and video—has also become an important

With Bernstein at its helm since 2008, SWAIA has been experiencing what Gomez

part of Indian Market and SWAIA’s year-round programming. In 2010, SWAIA is

calls “a regeneration”—a period of expansion not seen since the earliest years of its

debuting a new awards category, Classification X, which for the first time allows film-

existence. Rather than moving back into the political arena, however, the group and

makers to compete for awards at Indian Market. Native Cinema Showcase, a Santa

its leaders see public outreach as the best way to promote Native arts and culture.

Fe–based organization that promotes indigenous filmmakers and films, has been

“As we are growing, the basis is an educational program,” Gomez says.

screening movies at Indian Market since 2008. During this year’s event, it will again

“Educating people about the various nuances of Native art is among the very

show films in a tent in Cathedral Park and at local venues including the Center for

best things we can do to help these artists.” With programming that show-

Contemporary Arts. As part of the SWAIA 360 program, Native Cinema Showcase

cases more contemporary works, and brings attention to the recent success

will offer special screenings, with talks by Native filmmakers, throughout 2010.

of Natives working in nontraditional creative genres—including some not yet

“Until very recently, visual storytelling was something that only the rich and

represented at Indian Market—SWAIA is also helping Native artists reach a

powerful could access,” says Jason Silverman, who founded Native Cinema Show-

broader and younger audience.

case in 2001. “But cameras and editing systems are so much cheaper now, and we

Storytelling is an ancient Native American tradition, of course. But as part of its SWAIA 360 program, the organization has partnered with Santa Fe’s 30-year-old

have alternative forms of distribution, from DVDs to YouTube. In the past 10 years, there’s been an explosion of great Native films.”

independent bookstore, Collected Works, which is hosting an ongoing series of read-

SWAIA, the Smithsonian Institution, and Santa Fe’s Center for Contempo-

ings by contemporary Native American authors, from poet Santee Frazier to novelist

rary Arts are now full partners in Native Cinema Showcase, and Silverman praises

Leslie Marmon Silko. On Indian Market weekend, Pulitzer Prize–winning writer N.

SWAIA leadership for embracing the growing genre.

Scott Momaday will read in the bookstore’s new coffee house and art space. “We’re bringing to people’s attention the fact that literature, whether it’s poetry or fiction or whatever, is an important part of Native arts, just like the jewelry, pottery,

“Filmmaking and video have taken a significant place on the IM stage, and that’s really a tribute to Bruce Bernstein’s vision,” he says. “He saw that it was important and he made it happen. Our audience has grown significantly since we began showing at Indian Market.” According to Gomez, the 2011 SWAIA schedule will include more fiction and film, plus performing arts such as dance and theater. “It’s sort of an untapped world,” he says. “But there are really wonderful Native performance groups, dancers, and choreographers out there.” As long as the forms of Native expression keep evolving—and like all forms of human expression, they will—the lineup at Indian Market and on SWAIA’s year-round events schedule will keep growing and changing as well. “We want to keep Native American art at the forefront of American art in general,” says Bernstein. “We will always honor the traditional artists and art forms that make Native art unique and popular worldwide. But at the same time, we need to keep up with what’s going on among the artists themselves. Our job at SWAIA isn’t to dictate. It’s to reflect what’s going on in the indigenous art world and make sure American and worldwide audiences are seeing the best and the brightest.”

The American Indian Art Series Greg and Angie Schaaf, founders of the Center for Indigenous Arts and Cultures, have spent the last decade compiling indispensable resources documenting thousands of known and previously unknown Native artists. Working directly with artists and their families and communities, as well as museums and collectors, they have compiled an unprecedented resource, certain to be the most comprehensive collection of its kind. The planned twenty-volume set is a labor of devotion and love. The historic photographs here are published with their permission and in anticipation of their second jewelry publication, which is being published this summer. To learn more, contact indians@nets.com Market award categories, called classifications, have evolved over the years to recognize both traditional and newer art forms. 110




“Our job at SWAIA isn’t to dictate, it’s to react to what’s going on in the indigenous art world.”

august/september 2010

santa fean Indian Market 111

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THE PHILANTHROPY OF lepidoptery by Devon Jackson

WHEN A BUNCH OF CREATIVE TYPES come together to produce a piece in tandem, there’s a lot of room for complications. But for the four metal artists who worked on Butterfly Symphony, the one-of-a-kind, handcrafted necklace that stars in this year’s Indian Arts Live Gala Auction, collaborating was more of an opportunity than a challenge. “Creating a harmonious piece of art is a testament that we could work together and live and share all things,” says Roderick Tenorio (Santo Domingo), who teamed up with Veronica Benally (Navajo), Fritz Casuse (Navajo), and Cody Sanderson (Diné/Hopi/ Nambe) to design and produce the sterling silver and 18Kgold, flower-and-butterfly-themed piece, which is valued at $39,000 and features pearls and precious gems, including rubies and sapphires. Butterfly Symphony is one of 30 pieces, all donated by Native American artists, to be auctioned off at the August 21 gala at the La Fonda Hotel. Last year the event raised more than $225,000 for the Southwestern Association for Indian Arts, the nonprofit organization that hosts Indian Market each year. The 2009 collaborative piece, a painting by Marla Allison, Mateo Romeo, and Ryan Singer, alone fetched more than $10,000. The idea for a necklace came about at the suggestion of SWAIA’s executive director, Bruce Bernstein, with the support of Carolyn Pollack Jewelry of Albuquerque. (Pollack also licenses and manufactures designs by this year’s collaborative jewelry artists; these pieces are marketed through the cable shopping channel QVC.) At their first meeting with the artists, Benally came up with the idea of the butterfly. “I wanted something feminine, and I was thinking as if I were the customer—what would interest me?” says Benally. “I was thinking of a woman—her strength, her beauty, her love.” Her male collaborators went for it enthusiastically, in no small part because a butterfly has so many connotations and meanings. Aside from its beauty and color, and the way it also reflects the fragility of the world and its interconnectedness, it is a creature of respect among many tribes. “In my culture,” explains Tenorio, “we honor the butterfly through dances and ceremonies. The butterfly gives us so much in return. They dance in the wind effortlessly and seem to fly in harmony to their surroundings. I feel they are tuned in to the melodies from the Great Spirit in heaven, which only they can 114




“The necklace shows how technology influences the next generation of jewelry designs.” hear and interpret its meaning as they fly.” More a logistical challenge than an artistic or temperamental one, the collaboration took place via e-mails, phone calls, texts, and the occasional face-to-face meeting. And the biggest issue centered on the mutual agreement on the design—where the stones should sit, how much gold to use, the placement of individual pieces. Otherwise, “Everybody had an equal say,” says Sanderson. “Even though it was a challenge and painstaking, it was very easy to work with everyone. My piece is completely different from everyone else’s. It’s a solid mix.” “Rather than one or two people taking over,” says Casuse, who admits to having had such noncollaborative collaborative experiences before, “we made it a team effort.” The result is a piece that’s both traditional and contemporary (the two buzzwords of this year’s market). It’s contemporary because of the various new techniques and faceted stones, but it also relies on traditional techniques as well. “The necklace shows how Native American art is evolving,” says Tenorio. “How today’s technology influences the next generation of jewelry designs.” Nevertheless, the piece had to have flow and movement, “Otherwise, it wouldn’t have worked,” says Casuse, who came up with the design for the swirled, twisted-wire links that connect butterflies on the necklace. It also had to have balance— and be comfortable enough to actually wear. “In the spirit of Indian Market,” says Benally, “the necklace is done by four individual artists, each with their own ideas, and we came together in agreement and made something beautiful, just like market. We’re all bonding at this time, touching each other’s lives, just like the collaborative butterfly necklace, the way it’s linked by the wings.”



The Butterfly Symphony necklace is one of 30 pieces, all donated by stars of the Native art world, that will be up for bid at SWAIA’s Live Auction Gala on August 21 at La Fonda. Bead artist Jamie Okuma (Shoshone Bannock/ Luiseño) contributed a beaded cuff bracelet with diamond and sapphire beads. The finely crafted piece depicts a white peony in bloom on a black background, with gold accents. “SWAIA has helped me throughout my career, and this is a great way to give back,” says Okuma, who spent about two weeks working on the piece. Clay artist Anita Fields (Osage) wanted to create a piece for the auction “that is identifiable as my work, but also goes beyond what I normally do.” The piece she came up with—a shallow clay bowl featuring beautiful detail work and lustrous glazes— fits that bill. Fields works with clay stamps she makes from objects collected in her travels or when she’s out in nature. She tried something new in this piece, adding tiny gold bars and “pinches of clay” to the bowl’s interior. For his part, sculptor Michael Naranjo (Santa Clara) donated a limited-edition bronze of an Apache dancer in traditional costume, titled Devil Dancer. “His headpiece goes one way, his arms and feet are going up and down, his hips are swinging in another direction,” says Naranjo. “You can look at it and see the movement—you don’t need anything else to tell you what’s going on.” The auction will also feature pottery by Pahponee (Kickapoo/Potawatomi), Robert P. Tenorio (Santo Domingo), Jody Naranjo (Santa Clara), Anderson Peynetsa (Zuni), Tony Jojola (Isleta), and Dominique Toya (Jemez); jewelry by Shawn Bluejacket (Shawnee/Cherokee), Denise Wallace (Aluet), Dawn Wallace (Aluet), Martine Lovato (Santo Domingo), and Richard Chavez (San Felipe); paintings by David Bradley (Chippewa), Nocona Burgess (Comanche), and Geronima Cruz Montoya (Ohkay Owingeh); clothing by Penny Singer (Diné); a bolo tie by Victoria Adams (Southern Cheyenne); a belt by Teri Greeves (Kiowa); sculpture by Roxanne Swentzell (Santa Clara), Upton Ethelbah Jr (Santa Clara, Mescalero Apache), and Arlo Namingha (Hopi); and more.—Dianna Delling

Among the items to be auctioned are (from top) a bowl by Anita Fields, a sculpture by Roxanne Swentzell, a beaded cuff bracelet by Jamie Okuma, a sculpture by Arlo Namingha, and a sculpture by Michael Naranjo.

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35th Annual Benefit Auction Thursday, August 19, 2010 Silent Auction & Live Auction Preview 4:00 p.m. – 6:00 p.m.

Friday, August 20, 2010 The Collector’s Table 9:00 a.m. – 10:30 a.m. Art-for-Wear Designer Showcase 10:30 a.m. – 12:30 p.m. Live Auction Starts at 1:00 p.m. (Preview 10:30 a.m. – 1:00 p.m.) Catered lunch available on Friday. Offsite parking and free shuttle from St. John’s United Methodist Church at Old Pecos Trail and Cordova Road.

Photo by Addison Doty

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Wheelwright Museum of the American Indian 704 Camino Lejo. Museum Hill. Santa Fe, NM 87505 505.982.4636 www.wheelwright.org

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A lone lovely voice in the wilderness N at i ve di va

TSIANINA REDFEATHER BLACKSTONE by Craig A. Smith “Tsianina . . . delights Fiesta crowds with her marvelous voice. Beautiful prima donna captivates hearers.” If you read that in the Santa Fe New Mexican today, you could be excused for wondering if actress and MTV host Tsianina Joelson had taken up singing and just made her City Different debut. Odder things have happened in today’s world of constant crossover. But the real case is even more striking. That September 6, 1921, newspaper headline acclaimed an unusual artist indeed: the Indian singer Tsianina, whose life and career offer few parallels. Protégée of American composer Charles Wakefield Cadman and friend of Museum of New Mexico and Indian Market founder Edgar L. Hewlett, Tsianina—pronounced Cha-nee-na, which means wildflower in Creek­—was the first Native American to achieve a notable career in Western concert music. Even more striking, parts of her life story inspired an opera produced at the Metropolitan Opera: Cadman’s 1918 Shanewis (The Robin Woman). The one-act opera received eight performances over two seasons at the Met and was mounted in Denver in 1924. Tsianina herself took the title role at the Hollywood Bowl in 1926. Of Cherokee-Creek parentage, Tsianina was born in Oklahoma Indian Territory—in 1892, according to her 1968 privately printed memoir, Where Trails Have Led Me, though other sources claim it was around 1882. In any event, she appeared as Florence Evans on the 1899 Creek census rolls. Her farming family lived in a sprawling house in Arbeka Township, and she grew up with 11 siblings, 4 of them adopted. Tsianina’s early memories were happy. “One of the things I enjoyed most in growing up was the square dance,” she wrote in Trails. “This was one of the most popular social gatherings, and Indians and whites had wonderful times together. “Everyone looked forward to this at the same season each year, and something else too—it was mating time! The tall good-looking Cherokees who always came were cause for excitement for the kids as well as the teenagers and grownups.” The festivities were later reproduced faithfully onstage in Shanewis. But she also saw tragedy when Oklahoma became a state. “The only thing I remember of it was the land grabbing. Indians were hauled into Muskogee by the wagonload and were fed liquor by the barrel. I was too young to understand the true significance of it, but I was sickened by the sight of drunken Indians who had been treated to the gifts of their white brother for a piece of land.” Tsianina was sent to the Eufaula Indian Government School, where she showed a natural aptitude for the piano. Her teacher introduced her to Indian patron, activist, and congresswoman Alice Robertson, who urged her to continue piano study in Denver. She was not to be at the instrument for long, though. She had a habit of humming while playing, and her instructor, impressed at the sound, introduced her to a voice teacher. He said, she recalled, that “if I would





study faithfully and practice under his direction, I could reach any height.” In fact, she rose remarkably fast. Three weeks after her first voice lesson, Cadman (1881–1946) came to Denver following a sanatorium treatment in Albuquerque. The American composer, who had been introduced to Native culture by ethnologist Alice Fletcher, was known for his “American Indian lecture recitals with singers of the white race.” Tsianina sang a number of his songs for him, including “From the Land of the Sky Blue Water,” which American diva Lillian Nordica had made a hit of in 1909. At first sight, or sound, Cadman was unimpressed. But when Tsianina’s teacher insisted that “she can interpret your Indian music as it should be,” Cadman replied, “All right, J.C., I’ll take your word for it, but I don’t think that girl will ever sing.” Tsianina quickly proved him wrong. In one day she memorized 18 Cadman songs. Armed with her memory, voice, and confidence, in 1913 the young singer stepped into two test engagements with Cadman­—in Rocky Ford and Colorado Springs, Coloado—for which she was paid $25 and $35. The duo’s triumph was instantaneous. After the Colorado Springs concert one critic wrote, “All the notes of the nightingale, the meadowlark, the bluebird, the robin, and the dove seemed to be harmoniously blended in her wonderful voice.” And Cadman happily cabled her Denver teacher that “Tsianina stole my audience from me.” The pair began a triumphant, years-long tour of American cities, from New York to Chicago and Los Angeles.

In fact, their collaboration occurred at just the right time for their success. America had been fascinated with Indian culture since the West began to be settled, and the interest was further buttressed by both 19th-century newspaper stories about “Indian Country” and the growth of the theme in popular and serious literature. It was further enhanced by the flourishing turn-of-the century decorative trade in Indian silver, pottery, and rugs (a trade with a strong base in Santa Fe), and by the Fred Harvey company’s famed Indian tours. Buffalo Bill’s Wild West company and its imitators further popularized the Indian legend. Cadman’s art occupied a secure niche in this area, but it quickly expanded when he and Tsianina met. The lovely young woman’s white buckskin and beaded costume, coupled with her dramatic skill and what seems to have been a good if not world-class mezzo-soprano voice, lit the fuse, and Cadman’s scholarship and music set off the fireworks. The fact that at this time people were growing more aware of the horrifying conditions under which so many Native Americans lived and labored was an additional if unspoken factor. Tsianina, Cadman, and Hewett’s paths crossed at the 1916 Pan-American– California International Exposition in San Diego, where the musical pair were honored with a special tribute day. She wrote, “an unassuming, slow-moving, distinguished looking man came up to me and invited me to see his exhibit. He was that ‘maker of archaeologists,’ Edgar L. Hewett.” As she recalled in Trails, Hewett told her, “My mother made me promise


Previous page: Tsianina, looking every bit the traditional Indian maiden, as she appeared in 1925; below: Tsianina performing at the Fiesta Theater in Santa Fe, 1926




“The notes of the nightingale, the meadowlark, the bluebird, the robin, and the dove seemed to be blended in her voice.”

her that when I grew to manhood, I would give all my effort towards doing something for the American Indian that would let the world see him as he is, and not as Wild West shows, cheap fiction, and moving pictures present him.” He also said, “The best we can do is to save what we can of this priceless heritage and make every effort to comprehend it. Then, the archaeological heritage from the unknown America of two or three millennia becomes an authentic history of the Indian people.” Hewett was not only charming, he was also a dedicated archaeologist. He showed Tsianina a collection of skulls, then said calmly, “You have made so much out of your life in so short a time, and your head is so beautifully shaped, I would consider it a great contribution to the history of your people and archaeology if you would let us have your head when you depart for the Happy Hunting Ground.” As she remarked in Trails, the idea paralyzed her—“I had a secret fear of having my skull on display for all to see”­­—so her sorrow over Hewett’s 1946 death was blended with relief that he’d predeceased her. Hewett asked Tsianina and Cadman to perform at the November 1917 dedication of the Fine Arts Museum (now the New Mexico Museum of Art) in Santa Fe, which they were happy to do. “Many Indians from the different Pueblos came to the concert in their colorful costumes, making a bright splash in the auditorium,” she wrote. “It was revealing to observe how they received Mr. Cadman’s music, based on melodies from their own people. They nodded their heads approvingly after each number.” Afterward, at a small reception, she and Cadman met with some of the Indians who’d attended the performance. Among the curious were Juan Gonzales and his wife, Roman, and Julian and Maria Martinez from San Ildefonso Pueblo. “Maria,” wrote Tsianina, “has since become the most famous maker of black pottery in the world. As we left Santa Fe, it was to the heart throb of the tom tom and the echo of the strongest cheers I have ever heard humanly expressed.” Despite her professional assurance, Tsianina declined to sing in the Metropolitan Opera premiere of Shanewis. “I was too terrified,” she recalled frankly in Trails. “The opera would be a Metropolitan Opera premiere and the story was based on my life . . . the responsibility was staggering and I was content with coaching Sophie Breslau in the role.”

After serving as a volunteer troop entertainer in Europe during World War I, Tsianina resumed her partnership with Cadman. She also returned to Santa Fe in 1921 to sing at Fiesta, when Hewett inaugurated the Indian Fair that is now Indian Market. She returned for eight more years. “During my first visit there as soloist on the program I was able to discern the true design of this great anthropologist. . . . He had established a Fiesta program to promote the history of the Pueblo Indians, but more important than this, he opened up a new and productive world to these people for their artistic expression.” As noted earlier, the New Mexican praised the singer lavishly on this trip. The September 6 review stated, “Princess Tsianina’s voice is remarkable, several musicians declared. It might be called the voice different. Others pronounce it the voice unique. “It is not wonderful because of its range, which is limited; it is not of great opera strength by any means; but it is a voice of fine quality, of poignant sweetness, and free from tremolo. It is a concert voice . . . a voice exact and most appealing.” That night, Tsianina performed her greatest hit song, “By the Waters of Minnetonka,” before regaling the Indians who’d gathered in the portal of the Palace of the Governors—much to their delight. “She thrilled them,” gushed the newspaper writer somewhat patronizingly, “with music they recognized as their own.” Outside her life on the stage, Tsianina enjoyed relative normality. She married only once, to a man of French and Indian descent named Albert Blackstone. They were happy for a few years, but his alcoholism brought the union to an end. Still, she recalled some amusing married incidents in Trails, like when Blackstone once teased her about Indians being savage. She replied, “Kid, from the looks of you, you haven’t been out of the woods very long yourself.” After her Hollywood Bowl performance of Shanewis in 1926, though, Tsianina retired from the limelight. She devoted the bulk of her remaining years less to music and more to Indian affairs—including the establishment of the Foundation for American Indian Education—and to the study of Christian Science, which she adopted in the 1920s. She also served as a board member of the Hewettestablished School of American Research from 1932 to 1964. Tsianina Redfeather Blackstone died in Burbank, California, in 1985. august/september 2010

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2010 SWAIA HONORS The Hi s t or y M aker s by Devon Jackson photographs by Douglas Merriam

N. S cott M omaday Navarre Scott Momaday isn’t being at all immodest when he says, “There weren’t really any Native writers before my time.” Nor is he exaggerating when he states, “The Indian has experienced a holocaust.” “But the publication of House Made of Dawn and Bury My Heart at Wounded Knee brought about a significant change,” he says, referring to his first statement. “And though we had a terrible time in the middle of the 19th century, and our morale was terribly low,” he adds, referring to his second declaration. “We’ve overcome it and we’re more able to live in the world.” Regal but entirely approachable, charismatic, and gracious, the Pulitzer Prize–winning author of over a dozen books of fiction, nonfiction, and poetry has just finished work on a volume of over 100 new and selected poems. “I’m a poet,” declares Momaday, who likes history books and thrillers as much as he does the poetry of Hart Crane, Herman Melville, and Emily Dickinson, or the writings of Simon Ortiz, Lucy Tapahanso, and James Welch. “There’s a lot of Native stuff in this new book—one of my favorite subjects is the Indian.” Born in 1934 in Oklahoma but more or less raised in Arizona among the Navajo and Hopi, Momaday, who’s of Kiowa-Cherokee descent, says he had a pan-Indian experience long before he knew what that term meant. And even though he identifies himself as an American Indian, and has maintained a lifelong interest and pride in Native people and culture, he denies that he has a “message” in his writing, and he once turned down an award for American Indian writing. “It was unfair to others,” he explains. “Give it for writing.” “Write for the thing that is trying to be born,” he says, quoting William Gass. And so he has. “I write about the Indian world, the western landscape, and recognizing something about the power and beauty of language.” A writer’s writer, Momaday continues to teach and inspire, and from his longtime Santa Fe home, he finds equal inspiration in the present and future. “There’ve been great strides made in the last 50 years for American Indians. Everything is flowering, and in places like Indian Market, I see a motion of artistic energy that’s new and exciting,” he says. “The traditional remains an important part, but the innovation is sweeping through.” And as a friend of the late Allan Houser, Momaday’s honored by this latest award. “I’m extremely pleased to have it,” he says. “I’m also glad there is such an award.”





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The Zuni Olla Maidens may have entered the non-Native world (and consciousness) back in the 1930s and 40s, but these women—now known throughout the world for their Pottery Dance, dancing and singing to the beat of a drum, all the while with their pots seemingly stapled to the tops of their heads—merely jazzed up a tradition that’s been around for thousands of years. Drawing upon the origins of Zuni women collecting water from the river and bringing it back to town in their olla jars (for drinking and watering the gardens), Daisy Hooie was the first to add dancing and singing to this simple act. Other groups soon sprang up. Dressed in their traditional colors and jewels, and skillfully balancing the olla jars on their heads, the Zuni Olla Maidens have brought their Cirque du Soleil–like magic to town parades, social dances, and various festivals and celebrations. “The ladies are the backbone of our society—they’re the water carriers,” says Zuni Pueblo’s A:shiwi A:wan Museum and Heritage Center technician Curtis Quam. “This is all about the women.” Most often accompanied by a drum, a rattle, and a notched boxlike instrument called a frogbox (which, when stroked just so with a wooden stick, emits a sound not unlike that of a chorus of frogs), the latest and most current incarnation of Maidens has been the one led by Cornelia Bowannie. All related through blood ties, the women in her troupe include her daughters, her aunt, and several granddaughters, and they’ve been performing together for years, everywhere from Banff, Canada, and North Carolina to Gallup and New York City. “These groups are invited to do this all over the world,” says Quam. “They share a lot about our culture and our people’s history. They’re our ambassadors.”




Tonita R oy bal

there were—and still are—many talented people in the Roybal tribe, but the two who got it all going were Juan Cruz (1896-1990) and Antonita (1892-1945). “It was a husband and wife team,” says their grandson, Gary Roybal. “That was very important.” They were also as subdued, unpretentious, and humble as their pottery was bold, innovative, and distinctive. After all, it was they—and not the more brazen, more well-known couple, Maria Martinez and her husband Julian—who took home the first-ever first place prize for black-on-black pottery at the 1925 Indian Market. “It’s important for her to be recognized for the black pottery she made famous,” says Roybal. “Especially since she wasn’t as well known as Martinez.” Their son J.D. Roybal (1922-1978) became a famous San Ildefonso Pueblo painter. Tonita’s brother Alfonso (1895-1955) also painted and made jewelry. And their daughter Margaret Lou Gutierrez followed in their footsteps by taking up black-on-black pottery making. “My dad,” says Gutierrez, “said stick to traditional and I always did.” Typical of their time, Tonita, who dressed in the old Pueblo style (moccasins ever day), formed the pots and polished them, while Juan Cruz handled the designs (a task he took on for other Pueblo women, too). But they gathered the clay together, and fired the pots together. “Most couples worked that way back then, in the 20s to the 40s,” says Roybal. “It was a family affair.” A family that exemplifies the communal spirit in traditional Pueblo art and creativity.

O tellie L oloma Working in an era when most teachers were men, it’s hardly surprising that a woman as gifted and giving—and gifted at giving, and goading, prodding, encouraging, and nurturing—as Otellie Loloma (1922–1992) had to wait longer than some of her male colleagues for the kind of recognition that seemed to be given to them almost from the moment they hit the arts and education scene. Born in Shipaulovi on Second Mesa, Arizona, Loloma (née Pasivaya) received a three-year scholarship to the School of the American Craftsmen at Alfred University in New York, where she specialized in ceramics. At that time, she was married Charles Loloma, the internationally famous Hopi artist (they divorced in 1965). Although Otellie herself received world acclaim for her work in ceramics, and many considered her perhaps the most influential Native woman artist in that field, at that time and even in hindsight, she seemed to have been overshadowed by the larger personalities and ambitions of her male confreres at IAIA, where she taught from 1962–92. Such men included her husband, Allan Houser, and Fritz Scholder. (Back then, in IAIA’s early days, for a good long while, the only women on staff were Otellie and Josephine Wapp.) Not that the comparative lack of recognition and acclaim seemed to phase her in the least. “It wasn’t about her ego,” says SWAIA vice chair and Geronima Montoya’s niece Carol Sandoval. “She did her things on her terms. Otellie was soft-spoken and very motherly and humble, but in order to work with those men you had to be a strong woman, and she was. She was awe-inspiring.” Awe-inspiring and inspiringinspiring, Loloma mentored many: Dan Namingha, Jacquie Stevens, Diego Romero. The list goes on and on. She was also an extremely gifted— and influential—artist. “There was a traditional aspect to what she did,” observes Sandoval, “but she mixed it with the contemporary. Like putting in stoneware with a kachina head. Had she lived longer, she would’ve gotten her due. She should have.” august/september 2010

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Z uni O lla M aidens


C hamiza F oundation Just over 20 years ago, longtime Native art collectors and Native culture enthusiasts Gifford and Joanne Phillips sat down with their Old Santa Fe Trail neighbor, the late anthropologist, MacArthur Foundation “Genius” Grant recipient, and San Juan Pueblo member Alfonso Ortiz, and asked for advice on how best to give back to the 19 pueblos of New Mexico. “We told Alfonso,” recalls the 92-year-old Gifford, a trustee at both New York’s Museum of Modern Art and at D.C.’s Phillips Collection, “that we’d like to do something in recognition of our pleasure of collecting Indian artifacts.” After much debate on what would and wouldn’t work, the three agreed on the notion of a foundation. One where the pueblos would have majority representation on the board; one absent of fund-raising (the money would come entirely from the Phillipses). Decisions on which pueblo got what would be based on merit and need, 85 percent of the grants would go directly to the Pueblo, and proposals would come directly from the pueblos (not from an outside entity going in and saying, “You need this”). Officially founded in 1989 (with additional help from the Phillipses’ friend Ned Hall), Chamiza emphasizes the cultural preservation of pueblo life in New Mexico. Operating with assets of about $3 million, the nonprofit has issued over 300 grants totaling nearly $2 million since its inception; the grants range from $8,000 to $20,000, and are given out twice a year, 10 to 20 during each cycle. “We’re interested in the same things SWAIA’s interested in,” says Donna Vogel, Chamiza’s executive director. “The vibrancy of Native arts and culture and the continued evolution and expression of Native art.” Lately, most of Chamiza’s funds have gone toward traditional arts, traditional farming, and the revitalization of languages. “It’s very hands-on, very small, and you really know what you’re doing and you get the impression it’s very much appreciated and that it’s been helpful,” says Joanne, 82, who first came to Santa Fe with Gifford in the 60s, when he was publishing the Los Angeles–based left-wing journal Frontier. “Starting Chamiza,” adds Gifford, “was a sense of paying back to the community for all the artifacts and the dances we’d been to,” says Gifford. 126



David Warren has spent the better part of his 78 years advocating for Native peoples, helping them develop their cultural resources, and figuring out ways for tribes to affect the understanding of who they are and have been in a particular society. Born in Santa Fe to a father who then taught at Santa Fe Indian School (Warren’s mom worked there, too), Warren spent his first three years in the capital city until his father’s career had the Warrens moving all around the country before it finally returned them to Albuquerque in 1945. After graduating from Albuquerque High in 1950, Warren entered UNM as a pre-med major but soon switched to education. “Dr. Franz Scholes was a very good mentor,” says Warren. “He encouraged me to go to Mexico to study the impact of Aztec and Indian and Spanish cultures.” He then went to Oklahoma State and after that to the University of Nebraska for further studies. He was in Lincoln when Lloyd Kiva New asked him to come back from Nebraska and join him in his new venture, the Institute of American Indian Arts. “That was an exciting educational program,” recalls Warren. “Things were happening in terms of a cultural revival.” One of his legacies at IAIA was the establishment of a research center, one that worked with tribes all over the United States and in Mexico (and with the Smithsonian Institution and the Newberry Library of Chicago), helping them with their own cultural development. He retired from the institute in 1989 to help set out the ideological direction for the National Museum of the American Indian in Washington, D.C., where he stayed until 1992. Now retired again, when he’s not catching up on old TV shows or playing with his grandchildren, he continues to explore ways in which tribes can develop. “Things have happened in my lifetime I could never have foreseen in the American Indian world,” marvels Warren, who grew up in a time when some Native people couldn’t vote, couldn’t be served liquor, and were generally very marginalized. “Now we’re very much a part of the public consciousness. There’s been a rebuilding and a renaissance of Native life.” Still concerned about the many challenges facing Native people today (the erosion of indigenous languages, issues of cultural sovereignty, strengthening the traditional foundations that have been affected by adverse policies of the past), Warren’s plenty optimistic nonetheless. “This proliferation of the arts in all media—film, fine arts, literature—reflects this dynamic change that’s taking place and it helps define Indian culture as a constant process of renewal, but with traditional values and traditional views of what Native people are,” he says. “And SWAIA has recognized important assets both in what the general community will benefit from but also dramatically instrucing anyone about what Indian cultures are.”


D avid W arren

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H oka S kenandore Before he got caught in 2000, Hoka Skenandore (Oneida/Oglala/Luiseno) had gotten pretty heavy into tagging (spray painting graffiti in public places). Despite having a mother who taught on the Laguna reservation and a father who sculpted and now teaches at the Central New Mexico Community College, Skenandore, born in Santa Fe and raised in Albuquerque, felt a deeper affinity with the streets and had a resistance to any sort of formal education. Which is what led him to Freedom High. “I loved it, it turned me around,” says the 28-year-old, who was even initially bummed out, too, his first year at the Institute of American Indian Arts. “But I stuck it out and met a nice little crowd of crazies. I was lucky enough to turn it around and into a unique experience.” Around that same time, as an AmeriCorps volunteer, he crossed paths with master muralist A.G. Joe Stephenson, who mentored the young man. Now working in the sign industry in Albuquerque, Skenandore continues to draw on his roots—in graffiti—and his contrarian youth. “I’ve worked with acrylic mainly because it reminds me of how fast spray paint dries,” he says. “And the nature of graffiti is in your face, intense.” An intensity that’s reflected, if often humorously, in his work. “People see it and say it’s pretty weird for painting,” he continues. “But Native art has always been us seeing the world and reflecting it in our art.” Reluctant to see what he does as all that different from those considered more traditional, Skenandore wants to break free of whatever stereotypes may still exist. “My hope is that people will see art as a wide spectrum,” he says. “People think we’re this one way. We’re a rainbow. You don’t have to follow any one way.”





J ason R eed B rown Although blacksmith Jason Reed Brown beautifully translates the styles and designs of Northwest Coastal Indian art into hand-forged ironwork, one can also see the roots and influences of lesser arts and inspirations in his creations. “I was a big fan of comic books and Dungeons & Dragon growing up,” says Brown, 39, who was raised on Tacoma, Washington’s Puyallup reservation but learned to read in Alaska (where his mom moved to for pipeline work after divorcing his father). In the early 1990s, he gave it a short go as a drummer for a death-metal band before taking up tattooing as a way to make some money. Gigs in construction led to an interest in sculpture, which led him to IAIA, where he eventually chose metal—and blacksmithing—over stone. After graduating from IAIA, he spent 10 years at Tom Joyce’s Architectural Blacksmithing firm. But it was a fateful collaboration with jeweler and sculptor Ed Archie Noisecat that convinced him to break out on his own. “If I can see this stuff and get it through to him,” he recalls, “why not do it myself?” Now based in Bellingham, Washington, Brown, who’s both a New Face and and a Fellowship winner, and who took first place for a metal sculpture at his first Indian Market, in 2007, hopes to keep making his own tools, to increase the scale of his pieces, add moving elements to them, and show people what blacksmithing can really offer. “Ideally, I’d like to combine architecture and steel,” he says. “Blacksmithing is all about building and assembling. You’re always building up and adding on.”

P eterson Y azzie Having always put school first—from high school in Greasewood Springs, Arizona, where he was born and now lives, to the Institute of American Indian Arts, to post-graduate work at the University of New Mexico—Peterson Yazzie (Dine), 30, can’t wait to put his SWAIA Fellowship to use. “It’s perfect timing for me—I’m going to use the fellowship money to make a studio to work in,” he says, noting that the floor right now is still dirt. “And down the line, I’m hoping to have others in the studio with me. As a place to work not just for me but for other artists.” Raised in a traditional Dine household, Yazzie first got into painting as a junior in high school. At IAIA, he got plenty of encouragement from teachers like Norman Akers and Charlene Teters, but as his mentor he singles out Don Whitesinger—an artist in his own right who incorporated what he’d learned at the Rhode Island School of Design into his Native background. “My paintings have always had a cultural foundation, but I absorbed Western art and European art, too,” says Yazzie. “So I can use it and combine it with my culture.” A sculptor and installation artist as well, Yazzie feels his paintings have matured tremendously since his early days. “There was more drama and the palette was more dramatic back then,” he says. “Now everything’s balanced out. I’m more conscious of trying to maintain a balance between abstract and realism.” Unabashedly tied to and proud of his birthplace, he couldn’t live or work anywhere else. “I know where my family’s at, where my roots are,” says Yazzie. “And I’m ready for the exposure.” august/september 2010

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D avid B oxley


In addition to a love for hunting and fishing that he developed growing up on the Alaskan island of Metlakatla, David Boxley (Alaska Tsimshian) also had a jones for basketball. So by the time he got to Seattle Pacific University, he figured the best route to coaching the sport as an adult would be to get an education degree and become a teacher. “Then art took over—northern art,” says the 52-year-old, who did go on to get his B.S. and teach and coach high school kids. “It became more than a hobby.” Indeed. By 1979, Boxley, whose grandparents raised him and taught him Tsimshian, began researching Tsimshian carving. “I learned a lot by going to museums and seeing what was in there,” he says. “Most of what I know is self-taught.” Self-taught because virtually no one knew anything anymore. “When you try to reconstruct something that’s been in a vacuum, it’s tough.” Nevertheless, his persistence and research into Tsimshian culture led him into reviving, almost single-handedly, Tsimshian carving (of totem poles, boxes, masks, panels). Then he got into Tsimshian dances and songs, too. He has since been involved in the formation of four dance groups, his latest being the Git-Hoan (People of the Salmon), with whom he’ll be performing at Indian Market. “People think of me as a culture bearer, but I just came along at the right time, when our people were ready to blossom again,” says Boxley. “I wanted to do something to honor my grandfather—and I had to give something back to the culture. So it belongs to everybody. It’s not mine.”

D.Y. B egay “How many Two Gray Hills or Chinle Wools can you weave?” asks D.Y. (Dorothy Yazzie) Begay (Dine) rhetorically of the two most smotheringly familiar—if deservedly renowned—styles of Navajo weaving. “In my mind, I had images of things that I personally wanted to see and do. I didn’t want to be confined by the concept of regional style. I wanted to have my own identity.” Such chutzpah—reflected in her abstract interpretations of the Arizona landscape in which she grew up and lives—she got in part from her father, a mentor and role model who always encouraged her to weave what she liked. It also comes from having learned all the basic techniques and regional styles at a very young age. Begay, 53, grew up near Ganado, where weaving was part of the culture. By the time she got to Arizona State University, she thought she’d go into art education (which she did), but her fiber arts professor, a Navajo woman, rejiggered her fascination with the loom. “I thought I’d teach and end up drawing on the side,” says Begay. “I ended up drawing with yarn.” As she got older and did more research on weaving, her self-confidence grew. She began to explore her own designs and colors. She eschewed the prescribed geometric borders and patterns of the Two Gray Hills and instead got into her own designs. Hoping to use her fellowship money to travel to Cuzco, Peru, for an international gathering of weavers this fall, Begay, who now lives in Phoenix and whose two younger sisters have become accomplished weavers as well, doesn’t duplicate any of her weavings. “My style is freestyle,” she says. “Even so, I feel like I’m doing a lot as far as encouraging the traditions.” 130



K enneth W illiams Kenneth Williams (Arapaho/Seneca) started beading when he was five but in his words, “got really serious” about it when he turned 13. That was when the Provo, Utah–born son of a social worker mother and tribal administration father moved back from his dad’s reservation in western New York to the Goshute reservation on the Utah-Nevada border. On the nearby reservation of Wind River, over in Wyoming, his mom’s Spoonhunter clan were a veritable beadworker dynasty. “They said, Do more and keep going,” recalls Williams, now 27 and living back in Utah. “Keep the family tradition going.” Already accomplished and somewhat self-sufficient by the time he matriculated at the Institute of American Indian Arts, Williams was broken out of his supertraditional shell by the ever-inventive Teri Greeves, who had him portray something from contemporary Indian life. Williams’s depiction of Spongebob Squarepants on a moccasin led him into pictorial imagery, which has now morphed into a fascination with three-dimensional pictorial beadwork. “I’ve been portraying a lot of women and men in traditional regalia and adding in things like real hair and making earrings to scale,” says Williams, who’s also an avid collector of Native art. (“It’s my true love,” he says. “I’m able to provide beautiful objects of art for myself through my beadwork.”) Recently inspired by the historic beadwork of the tribes of the Great Basin and Plateau regions (Idaho, Montana, Wyoming), Williams intends to use his fellowship money for more research and to renovate his studio. “I’m very humbled for this opportunity,” says the eight-year veteran of Indian Market. “The way they’re evolving and pushing for different things at SWAIA, that’s very important. And I hope to be an inspiration to other beadworkers.”

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R obin W ay nee Loathe to talk about herself or her jewelry, a task she usually fobs off on her equally talented husband, jeweler Ryan Roberts, Robin Waynee better get used to the crush of attention about to come her way. Aside from being singled out as one of SWAIA’s New Faces, the 39-year-old Michigan-born mother of two was also just chosen as this year’s recipient of the prestigious Saul Bell Award (the jewelry world’s Oscar). One of seven kids whose backyard was the Au Sable River, Waynee first came to Santa Fe in 1993 after graduating high school. While she scooped ice cream at the Plaza’s Haagen-Dazs, her dad, a skilled carpenter and woodworker, sculpted and got into making high-end jewelry—and into Indian Market (where he won Best in Show in sculpture in wood). Never having had any formal training, Waynee credits her time around her Chippewa father for her initial silversmithing skills. Other than him, she cites Roberts, whom she met in 1998, for having helped her grow even more as a jeweler. “I want to be just like him when I grow up,” she says demurely.” “People tell me how clean my lines are and how precise—and that that’s Germanic,” says Waynee, who remembers her German mother always putting the finishing touches on things. “And even though I always knew I was Chippewa, our family was very separated from the reservation. And nothing about what I do is Native by any stretch. So where do I credit that?” It’s a question that gets at the heart of Indian Market as it is now, and not just for Waynee and her fellow Native jewelers (such as Pat Pruitt, Keri Ataumbi, and Cody Sanderson, whose styles are as contemporary and seemingly non-Native as hers) but for Native jewelers of all styles. Welcome to the limelight.

Top: Waynee’s New Pearl bracelet; above: demantoid earrings





J ocely n M artinez When Jocelyn Martinez’s father died five years ago, “that had a profound effect on my art,” says the 43-year-old native of Taos Pueblo. “He had a great impact on my life. Things in my art have a little bit more meaning now, and I’ve tried to manifest more meanings, too. A lot of my work has a lot to do with him.” Renowned for her unique scratchboard vignettes of Taos Pueblo, especially her renditions of its buildings—“That’s my favorite subject matter, there’s no end to it,” she says. “It goes back to my architectural background and my degree in interior design [from the University of Oklahoma]”—Martinez got into her esoteric medium about 15 years ago. By chance. “I went into an art store one day and saw a black scratchboard painting and because I wanted to make a gift for my mom, I thought, I’ll try this,” recalls Martinez. Having taught herself over the years, she uses a pin to remove and remove the surface of the Masonite or Aspenite panel, which has been coated with white clay and sprayed with black India ink. She recently met clayboard artist Charles Ewing, of nearby Antonito, whose standards inspire her to push herself even further. Scratchboard, though, is still a niche. Not that Martinez is complaining. “My first year at Indian Market, in 2008, they didn’t have my medium, it was in a gray area,” says Martinez, who sometimes adds color and who credits Aspen House gallery owner Ryan Suazo for having helped make her career possible. “So it’s been good for them to add another medium. And the more they expand, the better it is. It expands the creative horizons of SWAIA and Indian Market. Because all I’m doing is taking the traditional talents we have and pushing them in new directions. Which is what’s always gone on in Native arts.” Top: Time Immemorial; above: Ancient Roads

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M elissa M elero

Above: Fire Willow; right: Cedar series


Never that good at being just a one-medium artist, Melissa Melero, 36, dabbled in painting, pottery, and photography at IAIA before finally focusing on the latter— until, that is, she switched back to painting. Sort of. “I want to bring a variety of stuff to my work—like the fossils, rocks, and willows in my latest series,” says Melero, who early in life thought she’d go into archaeology (she loved Indiana Jones as a kid). “But I also want to get naked and go just white someday—I really like simplicity and organization.” She also liked psychology, which she majored in at Portland State University. (She had a 15-year career as a social worker prior to her latest artistic incarnation.) But it was her photographs, abstract black and whites with sepia tones, that first got her into Indian Market, where she won a couple awards. Nevertheless, “It was always in my blood to be doing what I’m doing,” she says. Born in Santa Fe but raised on her mom’s Shoshone Paiute reservation in Nevada, she initially wondered how her mixed-media paintings—and her northern affiliations— would be received at Indian Market. “What I do is so different from what Indian Market and SWAIA have been,” she says. “But everybody I’m involved with is one of the only somethings in what they do. It’s unique. And SWAIA’s helped me realize that. Now I’m comfortable and accepted.”




When razelle benally was 16, her mom took her to a film festival in Rapid City, South Dakota. “There were some films by Native people there,” recalls Benally, now 22. Unimpressed by the filmmakers’ lack of focus and the abundance of frybread shots, she told her mother, “I can make a better film than any of these people.” Braggadocious, maybe, but she comes from artistic stock: her Lakota mom, from Pine Ridge, is an artist, and her Navajo father specializes in traditional Indian watercolors and acrylics. That attitude derives, too, from the do-it-yourself cultures of punk and indie music and skateboarding (Benally rides with Doug Miles’s Apache Skateboards crew and is their unofficial filmographer). “Skateboarding’s an independent sport,” says Benally, who recently completed her first year at IAIA. “Having that mentality effects my filmmaking. It’s DIY—and that DIY ethic affects how I approach making my films.” Inspired by filmmakers like Harmony Korine and Michel Gondry, Benally’s keen to open people’s eyes to Native peoples as she knows them. “I want to bring another perspective to society about Natives,” says Benally, who may not have grown up on any reservation (she spent her first 13 years in her birth town of Baker City, Oregon) but is fully awake to that lifestyle. She hopes to bring to market her 20-minute documentary on the all-Native independent art group the Humble Collective, and is excited at being one of SWAIA’s New Faces. “SWAIA’s trying to reach out, and that’s cool. I’m all about being inclusive,” she says of her recognition. “In the end, I want to inspire people to do good things with their lives.”


R azelle B enally

Top: still from Palm Springs, Vol. 2; above, an Apache skateboarder


GOLDEN GIRLS wo men behavi ng ar t i s t i cal l y

Vel arde/hardin/bagshaw Just as her mother, Helen Hardin, and her grandmother Pablita Velarde had done before her, Margarete Bagshaw needed to be someone else before she could become the woman she was meant to be and is today. Three years ago, after closing her grandmother’s estate, she quit New Mexico for the Virgin Islands. Her boyfriend (now husband) Dan McGuinness ran a charter-boat business down there (the two had met in 2003 at an Institute of American Indian Arts dedication to Velarde), and she’d agreed to help him build a new recording studio. She still painted, but the construction work and the change of scenery “was the best thing that ever happened to me,” says Bagshaw, 46. “I needed to get myself completely out of the life I’d grown up in. When you grow up in a recognized family there are huge shadows. I needed to build my self-esteem and find out who I was and not ride their coattails. Once I did that it was very easy to come back and pull the three of us together.” So last year, she and McGuinness moved back to Santa Fe and in August opened up the Golden Dawn Gallery downtown—named in honor of Velarde’s Tewa name, Tse-Tsan (“Golden Dawn”), and in recognition of the moment Bagshaw came to terms with herself and her heritage. “I’d been running a multimedia agency in St. Croix, and I’d been out on this shoot early one morning to get a shot of the sunrise,” she says. “And I realized when I was taking this shot that that’s my grandmother’s name in Tewa. And I had this epiphany. I heard my grandmother say, Get your ass home. That’s when it just hit me.” Basically raised by her mother and her grandmother, Bagshaw went back and forth between her birthplace (Albuquerque) and Santa Fe, with occasional years spent here and there—in Central and South America (with her mom) or at the Santa Clara Pueblo (where Velarde grew up). “My grandmother was the mother figure in all our lives—she was the matriarch, she took care of everything,” says Bagshaw. “She was the glue that held us all together. When mom remarried [to photographer Cradoc Bagshaw], we moved to Santa Fe to bond as our own family.” Those bonds were strongest, though, among the three women. “My grandmother felt that because we were women we were more capable of being better,” says Bagshaw. “Men were not a significant presence in our lives. So my mom and my grandmom could develop more fully as artists and individuals.”





by Devon Jackson

Helen Hardin, Margarete Bagshaw, and Pablita Velarde in a photograph taken by R.C. Gorman in 1968.

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Not only would it be hard to argue against that stance—at least for these women, who also happen to be the only three successive, directly related working artists ever, male or female—but if they hadn’t hoed to this gynocentric attitude, the art world, and the Native art world especially, would be much the poorer. To wit: Velarde (1918–2006) was the first Native women to paint fulltime as a career. One of Dorothy Dunn and Tonita Peña’s star students at the Santa Fe Indian School (along with 2010 Indian Market poster artist Geronima Cruz Montoya, as well as Allan Houser and many others), Velarde, in 1939, was commissioned by the National Park Service, under a grant from the Works Progress Administration, to paint murals at Bandelier National Monument. She earned $5 a day, compared to the 50 cents a day her fellow Pueblo men took home. Although traditional in style, her depictions of scenes from legends and stories she’d heard from her grandfather and great-grandfather—and of dances and pueblo life and other ceremonies she’d witnessed and taken part in firsthand—were as deceptively complex and contemporary as, well, those of her contemporaries. “She’d record her culture and do it as beautifully as possible,” says Bagshaw, who as a girl would often draw on the floor while her grandmother worked on her paintings. “She developed dimension and put in backgrounds. She and Houser were breaking every boundary there was. I see a whole generation that wants to forget about the Dorothy Dunn era, but it can’t erase history. The reason we’re here is it started there. Everything evolves from something.” Velarde was also the first Native women to publish a book—Old Father the Storyteller. Not that any of what she accomplished back then was easy, or that Velarde even cared who it upset. “The Pueblo didn’t want her to paint,”

stresses Bagshaw. “Women made pots and had babies. That was their role. But she just told them to go to hell.” The two people who did back her—unconditionally—were Dunn and Peña. “She’d always give thanks to them,” says Bagshaw. “They were her mentors.” Bagshaw’s mother had to overcome similar expectations and prejudices of and against women and Native artists, and deal with the legacy of her mother—Velarde—as well. “My mom was the sole woman in a group of contemporary firsts,” points out Bagshaw. “She was the only woman in a group that included men like Fritz Scholder and Charles Loloma. Plus, she really had to fight being Pablita Velarde’s daughter artist.” Perhaps following in her own mother’s rebellious footsteps (Velarde left Santa Clara for school and then spent the rest of her life in Albuquerque), and bequeathing a kind of prodigal identity quest to her own daughter as well, Hardin (1943–1984) bolted for Colombia in the mid-60s. Her father, Herbert Hardin, a U.S. government employee, was living there. She was already quite accomplished—her work often combined abstract and geometric imagery with American Indian symbolism, particularly of the Hohokam and Anasazi—but when Hardin left the United States, she still felt as though people saw her mostly as “Pablita Velarde’s daughter.” It was in Colombia, though, after a Bogotá show in which she sold over 20 of her 25 or so paintings, that she felt as if she’d shed that baggage for good. When she returned to New Mexico a year or two later, she became as cooed over as her mother. “If mom wasn’t winning awards,” says Bagshaw of her foremothers’ showings at Indian Market and beyond, “my grandmother was.” Although Bagshaw never took any heat from either her mother or her grandmother to carry on what they’d each done, she didn’t pick up a brush

Clockwise from top left: Margarete Bagshaw, Messages and Miracles, oil on linen, 60 x 96"; Bagshaw at work; Bagshaw, Primary Pleasure, oil on linen, 30 x 40"; Bagshaw today.




Top: Helen Hardin, Deerslayer’s Dream, copper plate etching, 18 x 25"; above: Pablita Velarde, Butterfly Dance, casein watercolor on matte board.

“I’m strong enough in my own compositions, and in form and subject matter, that I can take something my mother and my grandmother have done and turn it into my own.”

until after her mother died of cancer. “The pressure came more from collectors,” says Bagshaw, with a roll of her eyes. “They thought it’d be cute.” It wasn’t until she married her first husband and became pregnant that she started painting in earnest. In time, she entered some competitions—but only blindly, so no one would know who she was. She got shows, she won awards, she began painting full-time (with the support and encouragement of her then husband, a master framer). By 1993, she had her first solo show, at Canyon Road’s Silver Sun. Velarde, though, didn’t know what to make of her granddaughter’s canvasses, which were even more abstract than Hardin’s, inspired as they were by cubism, transcendentalism, and Bau-

haus artists, and painters such as Fernand Léger and Wassily Kandinsky. “Even though I never sought approval from my grandmother, she supported me with her absolute unconditional love,” says Bagshaw. “Besides, she was proud of what she’d done—it had enabled her daughter and me to do what we do.” Since finding herself and moving back to Santa Fe, Bagshaw has had no doubts about her artistic goals or her life’s mission. “Coming back, there was a very strong sense of completion, that everything happens in a cycle,” she says. “And this cycle is ready to be completed.” It’s a cycle that pertains both to their art and their careers. “My grandmother and my mother, as far as their designs, they borrowed from each other,” says Bagshaw. “And in regard to mine, I’m strong enough in my own compositions, and in form and subject matter, that I can take something they’ve done and turn it into my own.” For example, when Bagshaw uses her mother’s or her grandmother’s Hohokam figure in her paintings (even Bagshaw can’t always say who first came up with a particular motif or design), it evolves into a threedimensional, layered composition that has depth and substance. “It’ll become my own image, but it started out with something that my mother and grandmother left me,” says Bagshaw. “That’s the whole thing. They left me something I can take off from.” In her Mother Line series, which will be her way of making monumental what her mother and grandmother did, Bagshaw’s paintings will reach sizes of 7 by 10 feet. “It’s also a way of connecting the three of us,” explains Bagshaw. “The three elements from each of us.” Bagshaw is currently at work on a memoir about her life with her mother and grandmother. Set for release in 2012, it will coincide with two other books about the Bagshaw women—a biography of Hardin by Diane Williams and a biography of Velarde by Shelby Tisdale. Meanwhile, Bagshaw continues to paint and promote. “This gallery is long overdue,” says Bagshaw, who adds that she couldn’t have done it without McGuinness. “It was my job—but only when I was ready.” Now that she’s ready, she’s here to stay. “My mother and my grandmother were both two absolutely incredible women,” she says with pride. “My job now is to make sure they’re recognized.” august/september 2010

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special thanks


to all of you who help make Indian Market possible, including our corporate and foundation supporters, award sponsors, members, and numerous volunteers

2010 Artist Award Sponsors Best of Show Dobkin Family Foundation

Sustaining Sponsors

Austin Box Bronzesmith—Ed Reilly Richard Buckley Cohen & Company Michael & Juanita Eagle Beth Extract Judith & Andrew Finger Janet Hoffman & T. Edmonston Institute of American Indian Arts Frank G. & Betty Ottesen Peyote Bird Designs—Mark Alexander Lynne King Roberts Helen Laird Robertson Gary, Brenda & Harrison Ruttenberg Jean Seth Friends & Family of Margaret Tafoya Vickie & Richard Van House

Supporting Sponsors

Charmay Allred Mary & Arthur Anstine Wendy & Stephen Blumberg Ann & Luvaghn Brown Uschi & William Butler Ruth & Lee Caldwell Five C. Foundation Nancy Florsheim Joanne Greenspun Maureen Hamilton Gretchen W. Hoover Hilda & Helmut Horchler Diane B. Jergins Ilona M. Klein & Robert M. Spitz Stuart Kline Leo M. & Donna E. Krulitz Judy & Bob Lawrence 140



Margot T. Linton—The Linton Foundation Sharon & Willie Lyon Susan McGreevy Lois & Doug McNicol Noel & Donald Neely Rev. Raymond B. O’Donnell Tracy & Steven Rosenberg David Sontag Ruth & Sidney Schultz Eve & Fred Simon—Simon Charitable Foundation Jody & Mike Wahlig Barbara & Paul Weiss


Elie M. Abemayor, MD Bidtah Becker Dexter Ciirillo Diana L. Coles Kenneth A. Doeg Bruce Donnell Beverly & James Dorst Carolyn Gibbs & Rick Nelson Richard Herz—The Hopi Way Jeanne C. Heyerick Eileen T. Holmes Robert L. Jacob Marianne Kah Catherine & Mac Lewis Linda C. Marcus Morlane O’Donnell Mary Lynn & Bill Oliver Ann & Alan Rolley Michelle M. Serra & Brad Tompkins Merle & Mark Sey Jill & Warren Schimpff Susan & Robert Scott—Sundance Bear Patricia S. Skigen Renee & Larry Stevens Jean & Ed Snyder The Rainbow Man Ray Trotter—Ravens Gallery

Jane Ann & Jasper Welch


James Baker Jennie & Charles Batka Harris & Harriett Barber Barbara & John Berkenfield Sarah & Neil Berman Christel & Jurg Bieri Drs. Melanie & Robert Dean Sharrill Dittmann Marilyn Eber Marilyn M. George DeLynn & Esther Hay Christine Hedgley-Johnson Shirley & Robert Kenny Sue & Robert Kirkpatrick Anne E. Lilly Margret Engel Lohfeld Many Horses Trading Co. Ursula Munoz Elisa G. Phelps Barbara R. Reber Barbara & Gene Sanger Jane Sauer Helen Sayers Drs. Helen & John Schaefer Carole Schragen Sheldon Stock Cindy & James Williams Louann Van Zelst

Annual Fund

Elie Abemayor, MD Charmay Allred Lynn & Marc Appelbaum Dr. Jenny Auger Maw R.F. Bailey JoAnn Lynn Balzer MaryLou & Bob Best Lynn S. Bickley Jurg & Christel Bieri Elaine & Richard Binder Lynn Bono

Jane & Bill Buchsbaum Emily L. Bradley Memorial Fund Ron Budd Nocona Burgess Carol & George Burelson Uschi & William Butler Jeffrey J. Cole Peter Clout Jrhee Curtis & Earl Holcome Joyce Davis Drs. Melanie & Robert Dean Maryann DePietro Linda Dickson Eric & Barbara Dobkin—Dobkin Family Foundation Kenneth Doeg Olga Echevarria & James Hutson-Wiley Ardith Eicher & David Rachin Judi & Andy Finger Nancy Florsheim Kay Fowler Marilyn M. George Jeannine Germano Merrily Glosband Sheila & Gerald Gould Maureen K. Hamilton Hilde & Helmut Horchler Margaret & Tom Hubbard Jean & Duane Humlicek Lyn Jacobson Joseph C. Jaudon Ann P. Johnson Susan & Robert Kirkpatrick Ricki & Scott Kresan Donna & Leo Krulitz Helen Lasky James Lasley Alex & Karen LaRusso Bernard Lewish Charitable Foundation Sara & Charles Lister Laura Lovejoy-May William J. Maze

Upcoming at SITE: TUESDAY, AUGUST 10, 6 PM

Artists Talk about Artists Jennifer and Kevin McCoy Co-sponsored by David Richard Contemporary TUESDAY, AUGUST 17, 6 PM


My Life in Art Talk and Draw Patrick Oliphant and Morley Safer Co-sponsored by Gebert Contemporary FRIDAY, AUGUST 27, 7 PM

Live at SITE: Gallery Gig FOLKy TONK: Weedpatch or Bust Co-sponsored by Allsup’s and Coca-Cola Free admission; suggested donation $1 SATURDAY, SEPTEMBER 11, 1 – 4 PM SUNDAY SEPTEMBER 12, 1 – 3 PM

Through JANUARY 2, 2011

From the Familiar to the Unexpected: A Two-Day Writing Workshop based on The Dissolve with Miriam Sagan



Performance by Biennial artist Martha Colburn and Jad Fair 1606 Paseo de Peralta, Santa Fe, NM 87501 | 505.989.1199 | www.sitesantafe.org The exhibition is made possible in part through generous support from The Andy Warhol Foundation for the Visual Arts, The National Endowment for the Arts, The Burnett Foundation, Jeanne & Michael L. Klein, Agnes Gund, Toby Devan Lewis, Marlene Nathan Meyerson, The Mondriaan Foundation, the SITE Board of Directors, and many other generous individuals. This announcement is made possible in part by the Santa Fe Arts Commission and the 1% Lodgers Tax.

Toni Roller Indian Pottery Studio  Gallery Visit us at Indian Market, booth 531SF-E, featuring pottery by Toni, Cliff & Jeff Roller. Or enjoy a pleasant drive to Santa Clara Pueblo and visit our Studio & Gallery. In addition to Roller family artists, the gallery also represents pottery by Margaret Tafoya and other Tafoya family artists. Shop tax free at the Pueblo and save an additional 4% on cash or check sales. Toni’s traditonal pottery making process is shown in the book “Indian Pottery by Toni Roller of Santa Clara Pueblo,” available at the gallery. Just take Hwy. 30, 1½ miles south of Espanola to Santa Clara Pueblo. Follow the Toni Roller signs. Hours: 10 am - 5 pm Monday thru Saturday. Gallery is closed on holidays and during out of town show schedules.

Toni Roller Indian Pottery Studio & Gallery P.O. Box 171 Espanola, NM 87532 (505) 753-3003 www.toniroller.com www.rollerfamilypottery.com august/september 2010

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Photo by David O. Marlow®

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Jean Hays Jeanne Cotter Jeanne Heyerick Jeanne Jacobson Jeannine Germano Ms. Jill Feldbaum Jill & Mike Green Jim Gorman & Mary Jo Sharp Jim Wheat Joan Borinstein Joan Goldstein Joan Kwit & Rober van der Maaten John Benfatto & Grace Perez John Berry John McKee Jon Mallard Joyce Krause Jurhee Curtis Karen Diamond Karen & Bill Goodyear Karen Green Ms. Karlene N. Dickey Kate and Steven Oldroyd Kathleen Crandall Kathleen Manley Kay Wille Anne & Kevin Gover L. Stephine Poston Larry Crow Larry & Renee Stevens Laurel C. Myers Jack Montgomery & Leon Natker Leona Zastrow, Ph.D. Mr. Leslie Lipschutz Lillian Rutledge Linda Dickson Linda Fisk Lloyd & Betty Van Horn Lore Thorpe Ann & Louis Rubenzahl Lyle Stone Lynda D. and Donald Brown Marc Kramer Margaret Murphy Margaret A. Olson Margaret Osterhus Margery Settler Margret Lohfeld Marilyn & Phil Alston Marilyn & Neil Kutin Mark Bonke Marshall Segal Martha Nichols Martha Kate Thomas Mary Alice Waugh Mary Ann Moore Mary Ann Seidman Mary Douglas Reed MaryAnn DePietro Melanie Brewer Melissa Melero Michael & Bernadine Denenberg Nancy & Michael Levin Michael & Maryann Petrowsky Michael Tyers Michelle Balon Michelle Serra


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openings | events | reviews | people

Hyperrealism may be hot, but in this busy summer season, the impressionistic paintings of artist Lange Marshall are as soothing as a glass of fresh lemonade. Like her 19th-century predecessors, the Corrales-based artist uses bold brushstrokes and pure colors to capture light-infused moments—children playing on the beach, cowboys with their horses, women and their canine friends. Her work, featured in Impressionism x 2, an exhibit of paintings by Marshall and Ruth Valerio at Greenberg Fine Art (September 3–16, reception September 3, 5–7 pm, 205 Canyon), presents life as seen through a relaxed, soft-focused lens. If only it always looked this good.—Dianna Delling Lange Marshall, On the Veranda, oil on canvas, 16 x 20", courtesy Greenberg Fine Art

august/september 2010

santa fean Indian Market 153

the trash collector Ted La rse n t ake s s crap met al to ne w philo s olphical he ights by Steph a ni e Pe a rs on

“Part of what I want you to ask is, How the hell did that get put together?’” The question did cross my mind. I’m standing in Ted Larsen’s studio, a small, light space in a studio complex off Upper Canyon Road, puzzling over how the 46-year-old sculptor welded and screwed together dozens of geometric boxes in a way that creates a colorful, chaotic burst of scrap metal that clings to the wall like a genetically altered giant spider. “Generally what I do is build things that have a unit,” says Larsen. “The unit gets exponentially multiplied, and there becomes a conversation between the unit and the multiplication of that unit. In the process of losing itself, it comes back into being itself. There’s a chaos that forms out of a very organized system, which is very unpredictable.” As I try to digest that, Larsen, who recently was awarded a prestigious Pollock-Krasner Foundation grant, pauses to let my pen catch up before referring to the physicality of his work as “blue collar.” He may be a good wrench, but he’s pure philosopher. “The geometric aspect forms the basis for the possibility of illusion,” he says. “Illusion is completely artifice. It’s not real. But what’s real is the making of the illusion. There’s a point at which the two touch, and that’s what I’m interested in.” Larsen is also interested in fixing and racing Ducati motorcycles; the history of art, society, and politics; the dismal state of the planet; and bringing the high art practices exhibited in modernism and postmodernism back down to earth. What better way to combine these passions than to cut, paint, bend, and hammer trash into what he calls “constructed objects”? “I’m not looking for a frying pans in the face sort of thing,” says Larsen of his sculptures. “And I’m not particularly preachy about moral things. We all try to be socially responsible, like put our recycling on the curb, but what does it mean to be generating that waste in the first place? Our best thinking in the world has got us exactly where we are today, and we need better thinking.” Larsen recalibrated his own thinking after 9/11. The disaster not only brought the art world to its knees, it also gave Larsen, who was born in Michigan and moved to Santa Fe at the age of 15 with his artist parents, an opportunity to abandon his successful career as a watercolor painter in order to, as he puts it, “figure out how to make things as physically real as possible and to eliminate illusion.” For Larsen, that meant experimenting with salvage materials— junked cars, architectural elements, and industrial equipment—that he finds in scrap yards around the Southwest. Taking a saw on the road with him, Larsen cuts everything down on location so it will fit into his compact, fuel-efficient car. His studio is lined with a rainbow palette of precisely cut car bodies. “All of this is the outside of cars,” Larsen explains, pointing to Gamed, a piece made from inlaid salvage steel that looks like it’s floating off the wall, thanks to its reverse bevel frame. “I use the skin of the car exactly as it was in the skin of the car, which is to say the pretty part, the outside, and that’s what it still is,” says Larsen. “I don’t actually want it to be something different from what it originally was. 154



But you don’t recognize what it was at the same time.” Heady? Yes. Didactic? Larsen cringes at the mere mention of the word. “I don’t want to draw a specific conclusion on anything. What we need is more creativity in our thinking, not less,” he says. “If I’m trying to do anything here, it’s taking material which had a pre-life and subverting that life into something else. It’s taking a Top: Larsen, Gamed, salvaged steel, rivets, higher practice and bringing it aluminum, 18 x 19 x 1"; above: Larsen at work back down to earth by making formal constructions out of trash.” Ted Larsen: Brand New, Slightly Used, July 30–September 25, reception July 30 5:30–7:30 pm, Eight Modern, 231 Delgado, 505-995-0231, eightmodern.net

courtesy the artist



July 23 - August 16, 2010


Opening Reception F r i d a y, J u l y 2 3 , 5 - 7 p m The artist will be present

“STANDING LION WITH INTERNAL WOMAN” ~ Clay, glaze, wax encaustic, gold leaf ~ 23" x 32" x 12"

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Gugger Petter August 20 - September 27, 2010 Opening Reception Friday, August 20, 5 - 7 pm The artist will be present

“WOMAN WITH BARKING DOG” ~ Newspaper and hemp ~ 52" x 82"

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trigger happy Ro set a Sa ntiag o paints what she feels—s o you ca n feel it to o

courtesy the artist

by Scott Yor ko Roseta Santiago is going to drop dead with a paintbrush in her hand. She wakes up at five every morning and paints between 9:30 and 4, when light from the northern skylight illuminating her studio is the most consistent. She also has a personal rule: She never spends more than 55 minutes doing anything—except painting. It’s when she’s happiest. Born in 1946, Santiago spent her first 23 years in Washington, D.C., where she began a marketing and advertising career. Next she spent 23 years in Atlanta, doing interior design. After painting murals in Bass Pro Shops throughout the country for a few years, Roseta relocated to Santa Fe in 2002 to paint. Constantly. “I looked at about seven different cities, and I wanted to find a place with a great market that had a great place to be to sell,” says Santiago. “A lot of people said, ‘Why are you moving to Santa Fe, where there are 3,000 artists and a lot of competition?’ Well, because that’s what I need to push myself. I need to jump into the fire.” While roasting in such an inferno of creativity, she never has trouble getting the brush moving. She can draw inspiration from anything in her presence. To her, imagination is everything. “If you’re creative you have to have an imagination and things have to push that button. So what pushes that button and gets your imagination going? To me it’s everything. I just have a healthy curiosity.” This healthy curiosity allowed Santiago to transition seamlessly from her traditional paintings of ancient clay pots to the human figure. This shocked some of her regular collectors, but she needed the challenge of a new venture. “People are even more interesting and complex than pots,” she says. “They have a lot more facets and much more depth and texture, too.” The bottom line is that she is not a one-trick pony who paints the same thing over and over again. She needs to feel intrigued by her subjects so that observers of her work feel something themselves. That’s what her paintings are all about—telling the story of a subject through a visual language that allows observers to interact with the painting. Santiago has relationships with her subjects and models on a personal level. She knows the story of who they are and where they came from, yet collectors don’t need to know these details to be touched by the visual effect. “I think the people that have my paintings are really after something else,” she muses. “There’s a trigger in the paintings themselves that allows them to feel beauty or sensitivity or something. I think it allows the viewer to feel, and sometimes that’s what they want.” The ultimate testament to that trigger, however, is not the finely tuned collector’s keen eye for artistic value. It is the raw, simple, open mind. Santiago witnessed this pure response to her work in 2002, when she had just moved to Santa Fe and was setting up for her very first show at Manitou Gallery. She was unloading her truck and had placed a painting of a “scholarly Japanese mud man” against a wall. There were two young children in the gallery running around, screaming and participating in the general terror of 9-year-olds at their parents’ workplace. They were off in their own little world, trouncing through an imaginary jungle of wild beasts and demons until they darted by the mud man—who stopped them dead in their



tracks. Silent and wide-mouthed, the kids had been captured and enraptured by the essence Santiago had translated onto the canvas. Translation is the key word here, as well as the title of her upcoming show (at Brandon Michael Fine Art). Santiago hopes this new work will Top: Roseta Santiago, Ancestor, oil on canvas, 24 x 24"; set off a series of above: Santiago “triggers”—triggers that elicit feelings in viewers, that cause them to see stories in the essence of Santiago’s subjects. “If I want to translate beauty or fear or an emotion, then I’m going to try to translate it into what I call paint language,” she says. “So I’m going to try to tell you something without words, just with a picture.” Roseta Santiago: Translation, Aug 20–Sept 3, reception Aug 20, 5–7 pm, Brandon Michael Fine Art, 202 Canyon, 505-795-7427, brandonmichaelfineart.com august/september 2010

santa fean Indian Market 157

the remains of her days Er in Cur r ie r ma k e s Third Wor ld t ra sh into provo cat ive t re a s ure s by De von Jack s on

If George Orwell had been a visual artist, his work might’ve turned out as sublimely provocative as the mixed-media paintings of Erin Currier. Not unlike the author of Down and Out in Paris and London and 1984, Currier revels in and champions the underdog, the Other, the Third World. Only not in the ham-handed way of, say, Oliver Stone or in the austere agitprop vein of illustrator Sue Coe, but with humor, color, and a deep and deeply felt empathic love and humility for the people she paints. Which is especially impressive because 95 percent of what she uses is out and out garbage. “I’m taking trash and discarded packaging and consumer waste from the Third World and turning it into art and selling it in the First World,” says Currier, 35, standing in the Santa Fe home-studio she shares with her writer partner. “The intent behind the packaging and papers is to illustrate our commonality, to show how interconnected we are. And the trash adds another layer of meaning to the work. It’s not just a layer of texture.” Nor are her works merely collages or political placards. Certainly, they are political. And liberal. And while they’re rooted in the philosophical perspectives of Eduardo Galeano and Edward Said, and Mexican muralists like Diego Rivera, there’s also a whiff of Ed and Nancy Kienholz in them, and the playfulness of pop art, and Eastern influences, and an admittedly evenhanded eroticism. All of which can be seen in her latest series, Friendly Skies. “It’s about air travel, airports, the fetishistic lifesaving equipment in that industry and the control and conditions of human beings on the part of airlines,” says Currier, who’s visited more than 35 countries, from Nepal to Argentina. “It’s a fascinating microcosm of the planet, with its sociopolitical, racial, and gender issues all in one place.” A distant relative of Nathaniel Currier—founder of the 19th-century Currier & Ives printmaking firm—Erin grew up in New Hampshire, where she and her draftswoman mother made pottery, collage, and oil pastels. The Currier family rarely traveled, but a few trips to visit a grandmother in Mesa, Arizona stuck with six-year-old Currier. Enough so that years later she signed on at the College of Santa Fe, where she majored in costume design. Not only did she have to learn everything involved in putting on a show (directing, acting, set design), “in retrospect, my art was very informed by that experience,” she says. “You take plywood and make it look like marble or a brick wall—you made it something it’s not. The same with costumes: You had to make plastic and tinfoil look like jewels. Close up, though, it looks like junk.” Similarly, from a distance Currier’s The Raft, a huge compositionally precise reimagining of Théodore Géricault’s 1869 painting, The Raft of the Medusa, looks like . . . Géricault’s Medusa. But on closer inspection, you see the wrappers, the old parking tickets, the playing cards. Starting with a sketch (often based on drawings from one of her travel notebooks), Currier paints out the image, then glues on her precious pieces of trash. Afterward, she paints it out again. “It can be a real spiritual practice,” she says. “Sometimes you glue over the painting—that makes my heart beat faster because usually I end up burying the painting I worked so hard on.” The final product becomes a graffitied though spiritually infused palimpsest-like portrait of the first black female pilot (Bessie Coleman), or a Moroccan human rights activist (Aminatou Haidar), or a pair of sexy flight-safety models. “The more I travel, the more aware I am of the disparities and this underlying humanity that connects all of us,” says Currier, who experienced a sort of intellectual-artistic-spiritual awakening in her 20s upon reading Taylor 158



Branch’s civil rights movement trilogy. “Which is why I want my work to be accessible to everybody. They’re homages. I want to portray these people—who are rarely aristocrats or princes—with dignity and stature. The same way artists have done throughout history.” Only Currier’s goals are different. “I don’t care about fame or fortune,” she says. “My work’s about my philosophical and sociopolitical beliefs. I’m concerned with the larger struggle through my art.” Erin Currier: Friendly Skies, September 1–18, reception September 3, 5–7 pm, Blue Rain Gallery, 130 Lincoln, 505-954-9902, blueraingallery.com

Jennifer esperanza; James HART



Top: Erin Currier, Emergency Exit, mixed media on panel, 48 x 36"; above: Currier in her studio


PREVIEWS Perla Krauze: Imprint (Installation) Gebert Contemporary 550 South Guadalupe, 505-992-1100, gebertcontemporary.com August 20–September 18, reception August 20, 5–7 pm Krauze, a resident at the Santa Fe Art Institute in 2006 and a Mexicoborn artist, returns to Santa Fe for this site-specific installation at the Railyard space. Focusing on the passage of time and the vestiges thereof, the installation will feature floor rubbings and a “constellation” of suspended cast stones. Trained in anthropology, textiles, and graphic design, Krauze brings all this varied knowledge—and more— to bear on the other pieces on offer here, which use cloth, stone, and assorted metals to capture specific places and moments. A study in contrasts, Krauze’s work strives to take the invisible and ephemeral and render them visible and concrete. Images and artifacts of eroded nature eloquently articulate memory’s power.—Mendy Gladden

Perla Krauze, Imprints Untitled #1, mixed media

Nicholas Wilton: Life Fortune Selby Fleetwood Gallery 600 Canyon, 505-992-8877 selbyfleetwoodgallery.com August 13–25, reception August 13, 5–7 pm Wilton’s paintings, part of the “contemporary organic” movement, feature the flora and fauna of his northern California home, combined with abstract shapes. The semi-effaced polygons, playful spheres, and bold bands of color evoke Modernist masters Miró and Klee, while warm golds, spirals, and birds are almost Klimt-like.—MG

Matthew Higginbotham, Season’s Radiance II, oil on canvas, 48 x 48"

Matthew Higginbotham: Abundance Waxlander Gallery & Sculpture Garden 622 Canyon, 505-984-2202, waxlander.com, August 31–September 14, reception September 3, 5–7 pm This potter-turned-painter has mastered the projection of his own emotions through visual depictions of meteorologically active landscapes. Just as in nature, the scenes in his paintings can switch from tranquil and reserved to foreboding and impending—instantaneously in the outdoors; simultaneously in Higginbotham’s paintings. A profound delivery of color harmonies evokes in the observer an awareness of the spirituality Higginbotham feels before a stretch of churning, heavy clouds.—Scott Yorko

Nicholas Wilton, Colors of Rain, oil and beeswax on panel, 60 x 60"

Aleta Pippin: Path of Exploration Pippin Meikle Fine Art 236 Delgado, 505-992-0400, pippinmeiklefineart.com August 18–September 8, reception August 20, 5–8 pm Alongside this Santa Fe artist’s explosively colorful oil canvases are her new mixed-media endeavors, composed of acrylic, resin, and metal leaf, as well as paintings on aluminum and copper. Pippin’s trademark pieces resemble luminous topographic maps or satellite photographs, and she sometimes moves in to create closer-range landscapes. While the color may grab the viewer’s eye immediately, deeper inspection reveals intricate structure and texture (created with a palette knife). Other works are reminiscent of Japanese lacquer-work in their use of red, black, and gold under a glasslike surface. Her all-stops-out style seems especially well suited to larger works, but she has also created a set of vibrant five-by-five-inch miniatures.—MG Aleta Pippin, Mardi Gras, acrylic and mixed media, 36 x 24"

Thomas Barbey, Ziploc Babe, silver gelatin photograph, 24 x 30"

POP Goes to the Dogs 2010 POP Gallery 133 W Water, 505-820-0788 popsantafe.com September 1–October 31, reception September 25, 6 pm Staged as a benefit for the Assistance Dogs of the West, this show is both characteristic and acharacteristic of Pop’s usually edgy fair. There’s still plenty of edge—see Thomas Barbey’s trippy photo collages and Lynden St. Victor’s Dark Shadows–style mixedmedia oil paintings. These two exhibit traits of waggishness (Barbey) and brooding (St. Victor) that give their work that extra kick.—Devon Jackson august/september 2010

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Renate Aller, untitled, archival pigment print, 33 x 47" Natalie Featherston, Study in Sunshine, oil on panel 12 x 12" Julie Lazarus, Secret Gardens–Courtyard mixed media, 66 x 59"

Julie Lazarus: Dimensions The William &Joseph Gallery 727 Canyon, 505-982-9404 thewilliamandjosephgallery.com September 1–30, reception September 10, 5–7 pm It makes sense that Lazarus also creates hand-blown glass vessels, as more than a few of her abstract paintings have the quality of either a milky stained glass or, even better, and even more impressively, appear to be two-dimensional versions of what you see when looking into a kaleidoscope. That’s because she actually prefers opacity from her surfaces, often using at least four coats of bright white gesso on the canvas. She apparently works the same way with her glass pieces— layering color through her glass works. Somehow, waxy as they sometimes are, her pieces become even more inviting and intriguing. —DJ

Britt Freda: Roots, Seeds, and Soil Giacobbe-Fritz Fine Art 702 Canyon, 505-986-1156, giacobbefritz.com September 3–17, reception September 3, 5–7 pm The uprooting of a family home and motherly memories of life are but a few of Freda’s life experiences (new and old) that serve as inspiration for this deeply personal body of work. With a strong sense of self-awareness, Freda is always looking for connections to her own life and deconstructing them down to their visual and symbolic essences. She relies on heavy, egg-shaped patterns, which often dominate both the background and the foreground, along with consonant colors to create themes of reproduction, life cycles, and change. Cows, chickens, and bees act as her primary subjects. All their attendant meanings and associations—as food sources, sources of life—jibe nicely with Freda’s outlook that life, like art, “feeds a body, a mind, a soul.”—SY Britt Freda, Pollination of Words, oil on linen 48 x 24"

Star York, Guard Duty, bronze, 23 x 18 x 11" 160



Natalie Featherston: One-Person Show Meyer East Gallery 225 Canyon, 505-983-1657 meyereastgallery.com September 10–24, reception September 10, 5–7 pm You may walk into this show and see an endearing display of children’s refrigerator art (brightly colored crayons and paper that seems to have been wrinkled in a backpack while journeying home on a school bus). Or you might come across a close-up of one of Rembrandt’s self-portraits or some other Old Master, and until you get close up to these images, you wonder why these things are in a gallery; then you realize these pieces are finely crafted, highly detailed oil paintings meant to trick your eye. Kudos to Featherston, whose polished trompe l’oeil paintings appear to be hanging right there on the wall in front of you. Her placement of some of these objects, like a Salvador Dalí quote or the Rembrandt self-portrait (on what appears to be the back of a canvas), suggest a mysterious intimacy that makes you feel like you’re witnessing a little-known secret.—SY

Star York & B.C. Nowlin Manitou Galleries 123 W Palace, 505-986-0440, manitougalleries.com August 6–20, reception August 6, 5–7:30 pm York has been something of a Santa Fe fixture (if not a sensation) since she arrived here 25 years ago. Trained in the Baltimore-D.C. area where she grew up, she likes all things western: cowboys, Indians, wildlife. Horses, she especially loves, and bears she’s equally gifted at depicting. But there seems to be a refined sense of touch(ingness) in her human figures, whose contemplative aura—their stillness—makes them all the more intriguing. Nowlin, another stud of Indian life (though not himself Native—and yes, it sort of does make a difference) and western landscapes, here checks in with pieces as cinematic and visionary as his fans (such as Robert Plant and Tanya Tucker) have come to expect. Only here, they’re almost religious in their intensity.—DJ


PREVIEWS Joanne Lefrak: Past as Presence Box Gallery, 1611 Paseo de Peralta 505-989-4897, boxgallerysf.com August 27–October 2, reception August 27, 5–7 pm I’m a sucker when it comes to anything dealing with ephemerality, especially when it deals with the ephemerality of art. And these so-called “shadow drawings” of Lefrak’s—her barely there, almost white-on-white drawings scratched onto Plexiglas mounted directly to the wall—illustrate ingeniously yet subtly the realities of transience. How? Her etched sheets of frangibility project photographically precise images of the Trinity Site in White Sands, where the U.S. tested its first atomic bombs. But only when enough light passes through. There is no image without light. There is no life without light. There’s been no brighter light seen than that emitted by these bombs. Light brings life, light brings art, light brings death. Put that syllogism in your artistic pipe and smoke it.—DJ

Joanne Lefrak, Trinity Site (Ground Zero), scratched Plexiglas, ink, shadow, 34 x 26"

Kent Williams: Solo Exhibition EVOKE Contemporary 130 Lincoln, Suite F 505-995-9902, evokecontemporary.com September 2–30, reception September 2, 6–8 pm Somewhere between the sordid worlds opened up by Francis Bacon in one generation and John Currin in this one—with a healthy(?) dose of Lucien Freud’s bony joints, odd perspectives, odder angles, and dessicatedly fleshy models tossed into the mix—artists such as Williams’s have been able to let their freak flags fly with welcome abandon. Williams work is decidedly claustrophobic and proud to flaunt naked, torqued, Kent Williams, Blond Natalia with Studio Arrangement, oil and somewhat tortured, and definitively disconnected-from-eachmixed media on linen, 40 x 48" other characters in viewer’s faces, but there’s something bizarrely charismatic about his monkeylike people. Or if not charismatic, somehow deserving of sympathy—especially given the clever way Williams accentuates the lack of light here (in a woman’s eyes) with a shock of light there (on a man’s shoulder).—DJ

Gunnar Plake: The Space Beneath Chiaroscuro Contemporary Art, 7021/2 Canyon 505-992-0711, chiaroscurosantafe.com September 17–October 16, reception September 17, 5–7 pm One of the lessons to be learned from the successes (not financial but aesthetic) of outsider art and artists is to deteach yourself. And then apply what you’ve unlearned. Which is not to say that a man as sophisticated and talented as Plake dumbed himself down to rethink his approach to photographing a landscape as overly photographed as the Grand Canyon (where many of these slow-speed images were shot, often Gunnar Plake, Golden Tower, type C print on aluminum, 48 x 59" with Plake moving his handheld camera during exposure). Fascinated by time and the aesthetics of landscape, by the western landscape, and especially by the most iconic of all landscapes, Plake uses blurry, outsidery, otherworldly shots to bring movement to a most immovable force.—DJ

Poteet Victory, The Red Headdress, oil on canvas, 34 x 26"

Poteet Victory: New Paintings McLarry Modern 225 Canyon, 505-983-8589 mclarrymodern.com August 20 reception August 20, 5–7 pm There’s nothing simple about Victory’s oils. There could be (in lesser hands) or might appear to be (to lesser eyes), but something about that trademark murk, those bleeding clouds of quasi-diaphanous orange, sky blue, and yellow, hints at almost esoteric forces. But it’s only a hint—not an outand-out abstraction, which allows for these softer areas of his paintings to accentuate the stronger line and more figurative elements in such a way as to tweak the subconscious. The symbols are Native American (as is Victory) and personal, but symbols of what and personal to whom is what niggles. To Victory, to be sure. But as much—somehow, on some level—to us as well.—DJ

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David Brookover, Yuugasa, platinum palladium print, 11 x 13"

David Brookover: The Road Brookover Gallery 725 Canyon, 505-988-8913 brookovergallery.com Book signing August 13–14 Photographer Brookover has been roaming the planet with his largeformat camera for three decades. His new book The Road, with more than 50 amazing black-and-white and platinum palladium prints, chronicles both his travels and the beauty found everywhere in nature.—DD

Indian Market Group Show The Gallery at 822 Canyon 505-989-1700, gallery822.com Private collector’s party, August 19, 4:30–8 pm reception (public) August 20, 5–8 pm Non-Natives painting Natives is often a phenomenon rife with contradictions, and often very problematic ones at that. Are they merely perpetuating romanticized stereotypes? Should there be rules as to how they represent Natives? Or do we accept them for what they can do—and do well and distinctively? This Indian Market–timed show raises such familiar questions, even though Robert Taylor’s the one ringer in this trio (an actual Native). So his roots add depth to an already interesting penchant K. Henderson, When We Dream, oil on linen, 30 x 40" for surreal symbolism. And Amy Ringholz seems fond mostly of animals, so she’s off the hook. It’s K. Henderson, though, who stirs things up—with her gorgeously rendered realist portraits: more of the sentimentalized same? Or might this work transcend such criticism?—DJ Simon McWilliams: The New Metropolis Skotia Gallery 150 W Marcy, Ste 103, 505-820-7787 skotiagallery.com, August 5–30, preview August 5, 6–8 pm, opening August 6, 5–7 pm Originally from Northern Ireland, McWilliams exploits the light and dimensional audacity of urban settings by observing and regurgitating them through the vortex of his own bold imagination. Highly detailed for such a heavy impasto style, the work manages to deliver a realistic figure through an abstract lens that allows a stagnant subject to breath life onto our retinas and into our lungs. These feelings of life pull us into McWilliams’s almost Day-Glo urban milieus. Balancing structural chaos with sound color harmonies, McWilliams brings us into a symbiotic partnership with his imagined big-city surroundings, a healthy antidote to the real-world sensation of being loose pieces scurrying around a maze of concrete buildings.—SY Simon McWilliams, Red Arc & Steam, oil on canvas, 64 x 68"

Sally Hepler, Joie de Vivre, hand-fabricated bronze, 26 x 26 x 19"

Sally Hepler: Joie de Vivre Karan Ruhlen Gallery 225 Canyon, 505-820-0807 karanruhlen.com September 24–October 7 reception September 24, 5–7 pm In Hepler’s hand-fabricated, abstract sculptures, ribbons of metal—usually stainless steel or bronze—curve and twist gracefully, often coming back to reconnect in full circle. It’s not surprising that her work stands out for both its craftsmanship and the rhythmic flow; the Santa Fe–based artist has said that for her, execution is as important as meaning.—DD 162



Wayne Thiebaud, Heart Ridge, 1969, oil on canvas, 22 x 15" (art © Wayne Thiebaud, licensed by VAGA, New York, NY)

Wayne Thiebaud: Wayne Thiebaud Mountains Gerald Peters Gallery 1011 Paseo de Peralta, 505-954-5700, gpgallery.com August 6–September 25, reception August 6, 5–7 pm One of the giants of pop art, though somehow independent of the very movement he, Roy Lichtenstein, Jim Dine, Ed Ruscha, Andy Warhol, and others helped launch with their 1962 group show at the Pasadena Art Museum, this master of the still life—whose luscious renditions of pies and cakes and other pastries are unmistakable—actually taught at Santa Fe’s then newly founded Institute of American Indian Arts (1964–69). Right around the same time, he painted these singularly Thiebaudian cakelike oils of Yosemite, Sacramento Valley, and other great western landscapes. His smooth, sententious brushstrokes, slathery, creamy, as if wiping paint on glass, are even more complementary to his subject matter here. Every ridge and mountaintop and slope becoming that much more majestic.—DJ

Group Show: Un-Titled (Abstraction) David Richard Contemporary 130 Lincoln, 505-983-9555, davidrichardcontemporary.com Through August 28 There’s abstract and then there’s abstract. This show, well within the neon-bright spirit of this wonderful new space downtown, fits snugly into the latter category. Clean, crisp, techy, digital, glossy, and when not pixilated almost airbrushed, this group show explores two of the more contemporary camps of the abstract movement—as it has evolved from the days of expressionism and minimalism into a world more clearly informed by photography and computer imagery. No matter what their background or bent, the artists here all seem to gravitate toward a palette heavy on colory, optical brilliance. Jay Davis’s surreal, richly delineated objects are particularly whimsical, as are Shirley Kaneda’s slowly crafted elegies to effulgence.—DJ

Jay Davis, Untitled (bamboo collage), acrylic and vinyl on Plexiglas, 28 x 21"

Ronald Davis Charlotte Jackson Fine Art 200 W Marcy, Ste 101, 505-989-8688 charlottejackson.com WWJAS? What would Josef Albers say? One can only imagine how the crusty old German-born American Bauhaus student and propagator of color theory—epitomized by the hundreds of paintings and prints comprising his Homage to the Square series—would have responded to these equally obsessive geometric color boxes. Albers’s series is one Davis seemingly has in mind, updating it technologically, relying not on the clumsy hand-applied techniques of old or organic, plane-volatile, perishRonald Davis, Gold-Green Square Twist, acrylic on expanded PVC, 20 x 20 x 3" able mediums but on acrylic on expanded PVC surfaces. I’m sure glad Davis characterized his digital 3-D objects as “meaningless” before I ever could. Because as flawless as they may be in color quality, saturation, and range, they lack texture. And I, for one, equate texture with life.—DJ Kathleen Doyle Cook: Abstraction New Concept Gallery 610 Canyon, 505-795-7570, newconceptgallery.com August 27–September 26, reception August 27, 5–7 pm Warm golds, oranges, and teals light up Cook’s acrylic and mixed media “sensory landscapes,” which she creates intuitively, without conscious reference to any real-world scene. Still, she has obviously been influenced by northern New Mexico (to which she moved from Massachusetts), with the highly abstracted shapes of adobe buildings apparent in her work. Even in paintings where buildings are recognizable, the expanses of luminous color and texture that surround them fight for the eye’s attention. As the artist has said, “It is these rich surfaces that invite an exploration of the levels of awareness found in the spaces between a ‘known image’ and its layers of possibilities.”—DD Kathleen Doyle Cook, Sitework #15, acrylic/mixed media on canvas, 46 x 42"



Desmond O’Hagan, Train Stop, San Francisco, oil, 18 x 24"

Desmond O’Hagan: Vistas & Venues The Peterson-Cody Gallery, 130 W Palace, 505-820-0010 petersoncodygallery.com August 6–31, reception August 6, 5–7:30 pm Whether he’s rendering a city street at dusk or the sunny interior of a pub, O’Hagan is interested in the effects of light—and the way people interact with each other and their environments—in urban settings. Born in Germany and raised in the United States, O’Hagan creates painterly oils and pastels that are snapshots of life in cities like Paris, Dublin, and Denver, which he currently calls home.—DD

Alvin Gill-Tapia, San Miguel acrylic and gold leaf on panel, 30 x 30"

Sacred Earth: The Missions of Alvin Gill-Tapia Arroyo Gallery, 241 Delgado 505-988-1002, arroyosantafe.com August 20–September 9, reception August 20, 5–7 pm Gill-Tapia, a native Santa Fean, spent years in Europe and New York developing his artistic style before bringing his worldly perspective back home to reconnect with his roots (he comes from a long line of New Mexican ranchers). Traditional Hispanic architecture inspires his abstract yet three-dimensional subjects, where the evening sunlight burns with the soul of the southwestern structures as contrasted against the monochromatic sky.—SY

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John Nieto & Rebecca Tobey: Indian Market 2010 Ventana Fine Art 400 Canyon, 505-983-8815 ventanafineart.com August 20–September 30 reception August 20, 5–7 pm Nieto’s longtime fans will be pleased with his latest works: iconic Southwestern subjects (coyotes, Native American dancers) painted with bold lines and his trademark colors—electric blues, acidy greens, vibrant pinks, and purples. Tobey, too, uses color expertly. Rich, earthy patinas giver her fetish-like animal and Native American-themed bronzes an almost sacred quality.—DD Rebecca Tobey, The Conflict, bronze, 13 x 12 x 21"

Jennie Cooley, Live Like Your Hair’s on Fire, monotype print, 20 x 16"

Jennie Cooley: Uppity Women Jennie Cooley Gallery 826 Canyon, 505-983-2630 jenniecooley.com August 6–18 reception July 30, 5–7 pm Cooley’s cartoony acrylic canvasses shout playfulness— sometimes a bit puerilely (“Unfuck Yourself,” reads one), at other times more in the vein of a Jenny Holzer nugget (“I hope I don’t suck ”). Despite the cute, youthful feelings her smiling subjects conjure up, Cooley’s zany explosions of color mask a deeper sense of societal if not personal anxiety that’s intense if not outright confrontational. —SY

Gugger Petter: Barking Dogs Jane Sauer Gallery 652 Canyon, 505-955-8513, jsauergallery.com August 20–September 27, reception August 20, 5–7 pm Petter’s unique medium—newspapers tightly rolled into tubes and then woven together—determines her color palette: mostly shades of gray, with color popping up here and there thanks to sections like the Sunday funnies. Each tapestrylike piece depicts an “oversized image of an observation of daily life,” whether it’s bolsjer (candy) from her native Denmark, portraits inspired by Byzantine icons, or, as in this exhibition, barking canines surrounded by the legs of their human caretakers. “The weaving technique permits me to create the desired heavy textured structure—a surface of controlled chaos, which I often treat as a canvas by applying paint to the finished surface,” says the California-based artist. “Since each piece I create holds all the world/local news of that particular time frame, it becomes a historic piece within itself.”—DD

Eric Boyer, Ascension, steel wire mesh, 45 x 24 x 6"




Gugger Petter, Barking Dogs, newspaper and hemp, 4 x 72"

Eric Boyer Hunter Kirkland Contemporary 200B Canyon, 505-984-2111, hunterkirklandcontemporary.com September 10–October 4, reception September 10, 5–7 pm As sensuous as they are, it’s hard to simply enjoy the forms— and not wonder, “How’d he do it?”—while viewing Boyer’s nude relief sculptures. The headless torsos look as though they were made by molding soft fabric directly against incredibly athletic (miniature) male and female bodies. In reality, Boyer creates his nudes from memory, relying on years of anatomical study to carefully coax sheets of stiff, steel-wire mesh into soft-looking shapes with subtle, beautifully realistic ripples and curves. “Occasionally the figures have a story to tell,” the artist has said. “A visual pun. An excuse for an obscure literary or musical reference. A new interpretation of Greek mythology.” Get beyond the sheer coolness of craftsmanship, and you’ll appreciate those stories too.—DD



Brad Smith, Mariposa, oil on canvas 60 x 60"

Brad Smith: Wings of Love Brad Smith Gallery 714 Canyon, 505-983-1133 bradsmithgallery.com August 13–31 reception August 13, 5–8 pm Smith’s jungly canvasses explode with color and movement and swirly shapes and globs of texture. A professional musician in Dallas before relocating to the City Different in 2000, Smith has a bit of the Art Brut in him, as well as the compositional elan of a Gauguin and a fascination—or so it seems—with winged creatures and mazes.—DJ

Tonabe Mitsuko, Prayer torachiku bamboo, 15 x 11 x 8"

A Different Sensitivity: Women in Bamboo Art TAI Gallery, 1601 B Paseo de Peralta 505-984-1387, taigallery.com August 6–14 reception August 6, 5–7 pm Bamboo art can be a rather lonely pursuit—even more so, it seems, for women. “Many bamboo artists must take part-time jobs,” explains Kajiwara Aya. “You cannot become rich as a bamboo artist.” And in what’s still largely a man’s world, that makes these wonderful objects all the more impressive.—DJ august/september 2010

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Native Music Rocks Concert August 20 & 21 Hilton Hotel, 100 Sandoval, time tba Led by Grammy-winning singer, songwriter, musician, and mixed blood (Cherokee and Comanche) Native American Micki Free, this summer’s native music rocks tour will feature Native American artists performing rock, country, roots rock, Native folk, gospel, blues, and reggae on a major crosscountry trek. Santa Fe Indian Market August 21 & 22, 7 am–5 pm Santa Fe Plaza, downtown Santa Fe, free The 89th Annual Indian Market opens with more than 1,100 artists, food, and demonstration booths, entertainment, and more. David Boxley & the Tsimshian Dance Troupe

August 21, 11 am, August 22, Noon Plaza stage Join artist and Fellowship winner David Boxley for a kid-friendly—and kid-encouraged—performance of Tsimshian oral traditions, dancing, and singing. Houser and Povika Awards Presentation August 21, 12–1 pm Santa Fe Plaza, downtown, free SWAIA’s two highest honors: The Houser recognizes the contributions by a distinguished Native American artist to Native arts and Native culture, and the Povika recognizes service, leadership, and support that Native and nonNative people provide to Indian Market and to Native artists and their communities. SWAIA and Apache Skateboards Presents the 2nd Annual Skateploitation! August 21, 1–4 pm Cathedral Place, free Skateboarding competition and demonstra-

tions from Douglas Miles and his Apache Skateboards team. Santa Fe Indian Market Gala Dinner and Auctions August 21, 5–9:30 pm La Fonda on the Plaza, 100 E San Francisco tickets: 505-983-5220 The Gala Dinner and Auctions is the most glamorous event during Indian Market Week. Guests enjoy a fabulous evening of gourmet food and entertainment, while bidding on stunning Native art. Native American Clothing Contest August 22, 9 am–12 pm Santa Fe Plaza, downtown, free One of Market’s most beloved and anticipated events, the contest includes categories for traditional and contemporary Native American fashions, features children and adult participants, and awards prizes in over 20 categories.

other Indian Market-related events Dry Ice: Alaska Native Artists and the Landscape August 2–January 2 Opening August 19, 5–7 pm Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777, iaia.edu Works by contemporary artists that explore the multiple meanings of the Alaskan landscape. Reading Between the Lines: Contemporary Ledger Art August 9–September 4 Receptions August 19 and 20, 5–7 pm Morning Star Gallery, 513 Canyon 505-982-8187, morningstargallery.com Featuring works by leading contemporary ledger artists. Native Pulse: Indian Market Group Show August 13–September 10 Reception August 21, 6 pm POP Gallery, 133 W Water, 505-820-0788 popsantafe.com Featuring emerging contemporary Native artists. Maria Martinez and Family: 12th Annual Pottery Show and Sale August 13–September 17 Medicine Man Gallery, 602 A Canyon 505-820-7451, medicinemangallery.com The annual event features more than 70 pieces handcrafted by San Ildefonso potter Maria Martinez and members of her family. 166



Shiprock Santa Fe Fifth Annual Opening Event August 14 Shiprock Santa Fe, 53 Old Santa Fe Trail 505-982-8478, shiprocksantafe.com Featuring Native jewelry, sculpture, textiles, kachinas, beadwork, pottery, and more.

Virgil Ortiz: Revolt August 19 Shiprock Santa Fe, 53 Old Santa Fe Trail 982-8478, shiprocksantafe.com New works in clay by master Cochiti Pueblo artist Virgil Ortiz.

Identity and Pride: Aesthetic Expressions in Plains Art August 14–September 4 Reception August 14, 6–8 pm Morning Star Gallery, 513 Canyon 505-982-8187, morningstargallery.com The gallery’s annual August exhibition focuses on Plains art.

Legends Santa Fe Indian Market Exhibits August 19–August 21 Legends Santa Fe, 143 Lincoln, 505-983-5639, legendssantafe.com. August 19 Jody Naranjo and Lillian Pitt; August 20, Kevin Red Star and Henry Payer; August 21, JD Challenger.

Invitational Antique Indian Art Show August 15–17 Aug 16–17 10 am–5 pm, $10 Santa Fe Community Convention Center, 201 W Marcy, 505-992-8929 whitehawkshows.com Antique Indian art objects are offered. Gala preview opening August 15 6–9 pm, $75; Annual Denise Wallace Showcase August 16–September 12 Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777, iaia.edu The Museum Store and Lloyd Kiva New Gallery celebrate the jewelery of Denise Wallace (Chugach Aleut).

New Works by Shonto Begay August 20–September 24 Medicine Man Gallery, 602A Canyon 505-820-7451, medicinemangallery.com A selection of new paintings by nationally acclaimed Navajo artist Begay. Reception Aug 20, 2–4 pm. IAIA Alumni and Students Art Market August 21 and 22 Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777, iaia.edu Alumni and students from the Institute of American Indian Arts sell their beautiful creations. Call 505.983.8900 for more information.

Award Winning Artists Attending Santa Fe Indian Market Argus Dowdy Booth # 212 PAL-N *Sculpture *Pipes

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Art Exchange Gallery Jeff Tabor, Music Art Collage, acrylic and collage on canvas, 24 x 30"

Art Exchange Gallery features nationally known artists like Jeff Tabor and many others during Indian Market and throughout the months of August and September. Brad Price, painter and author, will be featured in a book signing and reception, August 6, 2–6 pm. Rance Hood, Al Bahe, Willie Murphy, and other Native American artists are represented as well.

618 Canyon

Janet Lippincott Landscape, oil on canvas, 25 x 34”

505-982-6329 aegallery.com

From a private estate art collection, we are offering for the first time, four original paintings by Santa Fe Modernist Janet Lippincott (1918–2007). These are extraordinary examples of her abstract work from the late 1950s through the early 1960s. Each oil painting represents a uniqueness that can only be seen in Lippincott’s highly collectible and accomplished art. For pricing and to obtain more information about this opportunity to purchase these paintings. Contact: 505-920-4646 janet-lippincott-art@comcast.net artbyjanetlippincott.com

Andrews Pueblo Pottery & Art Gallery Dominique Toya, micaceous swirl jar, natural clay, 5 x 7"

In Old Town Albuquerque: authentic Native American art, including works by award-winning artists, past and present; pottery from all working New Mexico pueblos, the Hopi and Navajo reservations; katsinas; baskets; fetish carvings; and the paintings and sculptures of Sheldon Harvey. 303 Romero NW, Albuquerque, 505-243-0414 andrewspp.com



Adobe Gallery Artist unknown, polychrome Zia Pueblo olla, 9 x 11" diameter

Southwest indigenous potters have been incorporating bird motifs in pottery designs for more than 1,000 years. Experience magnificent historic avian-themed pots dating from 1850–1930 in the exhibition, “Birds on Pueblo Pottery,” at Adobe Gallery through the month of August.

221 Canyon, 505-955-0550 adobegallery.com





The William & Joseph Gallery New works by Ira Lujan

The gallery will host a special reception and preview for Indian Market Thursday August 19 from 5–7 pm. The artist will be in attendance.

727 Canyon, 505-982-9404 thewilliamandjosephgallery.com

Keedah Andrew Hobson, Harvest Guardian #3, acrylic on canvas, 4 x 5'

Andrew’s artwork depicts the song and dance of his Native culture through his colorful and powerful imagery. His artwork contains an engaging variety of rhythm, music, and pattern that is built around the structure of Navajo sand paintings, basketry, and weaving. Andrew believes that his artwork celebrates his culture and life experiences in a unique contemporary style. 2010 Santa Fe Indian Market in booth #270 PAL, keedah.com

Heidi Loewen Porcelain Gallery Heidi Loewen, Smoked Merlot, smoke-fired and carved porcelain platter 30" diameter

View Heidi’s large, smoked porcelain vessels. Watch her demonstrate in her gallery. Commission Heidi to create a platter or sculpture unique for your home. Add 22-karat gold leaf for a great glow. Heidi also teaches privately to any age, any time. Opening Receptions: August 20 and 27, 5–8 pm. 315 Johnson, 505-988-2225 heidiloewen.com

Act I Gallery Suzanne Betz

Betz uses a painting’s surface as the threshold to a world beyond. Without ground or horizon, sophisticated color fields create an ambiguous space to be filled with the viewer’s imagination. Her paintings embody a presence, and yet any sense of the material is defied by the alluring effects of luminosity and transparency. 218 Paseo del Pueblo Norte, Taos, 877-228-1278 actonegallery.com

august/september 2010

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The Great Southwest David Caricato, Fancy Dancer, with removable mask

Located in the Old Depot Square just west of the Antlers Hilton in downtown Colorado Springs, The Great Southwest lives up to its name by providing a great selection of both traditional and contemporary southwest jewelry, arts, and furntiture. Representing well known regional artists including: David Caricato, Richard Lindsay, Leon Loughridge, Peter Ortega, and many others. Appraisal services. 76 S. Sierra Madre, #C, Colorado Springs, CO, 719-471-7772, cajswap@aol.com

Rose Silvertooth Jewelry Tonya June Rafael (Navajo Diné), BOOTH #217 PAL-N

This original design purse is handmade of sterling silver and natural red coral. It measures 5 x 4 x 3" and has a flexible handle and a sterling silver chain shoulder strap. For more jewelry from this artist and others, please check our web-site: rosesilvertoothjewelry.com 603 W Omega, Henrietta, TX, 940-538-6604

Gallery 822 Joshua Tobey, Disciple of the Bear, 52 x 31 x 69", bronze, edition of 15

Indian Market Group Exhibition, new works by all of our artists. Join us for an artists’ reception on Friday, August 20 from 5–8 pm.

822 Canyon, 505-989-1700 gallery822.com

Finale Fine Art Gallery Yingzhao Liu, Sunshine, oil on canvas, 28 x 22

To Yingzhao Liu, light is a magic, and he’s been working for decades to catch it right. With a reception August 6 at 5:30 pm, Liu will share his magical light with you through his new paintings! Other Chinese artists’ works in the gallery would offer you the Eastern exquisite aesthetics as well. 717 Canyon, 505-983-1228, finalefineart.com





The Brookover Gallery Bonita, Platinum/palladium print, 30 x 41"

Utilizing handmade Japanese and French substrates and proven archival printing methods, the Brookover Gallery is known as the gallery that creates and sells museum-quality prints with a proven archival history. Come see the future of photography, deeply rooted in the past. We incorporate only the finest Italian and American hardwood mouldings with linen/silk mats to complement the art and the buyer. 725 Canyon, 505-988-8913 brookovergallery.com

Wheelwright Museum of the American Indian

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

Galen Arts

The art construct expresses intentional textural variation, in two-dimensional scale formed by found metal pieces. The vertical/horizontal bands and color utility, interrelate to line context and texture. The art is inspired by the genius of the ancients. Gale Davis, 505-984-1377, galenarts.com

Torres Gallery Robert Rivera, Turtle Storyteller, gourd, 9 x 12"

Robert Rivera is able to challenge the boundaries of gourd art by continually evolving and creating new and innovative art pieces from the lowly gourd. His masks, pots, figures, wall hangings, etc. are his interpretations of ancient and present cultures.

207 W Water, 505-986-8914 info@ torresgallery.com

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Sunti World Art Gallery

Capturing the historical authenticity and spiritual essence of the American continent, international master of realistic sculpture, Sunti Pichetchaiyakul, revives the stories of celebrated figures in his life-size bronze collection, Legends of the Americas. Commissions offered to professional interior designers. 459 Electric Avenue, Bigfork, MT, 406-837-9998 suntiworldart.com

Indigenous Sculptors Society

Adrian Wall, Kathy Whitman, Rick Nez, Tim Washburn, Oreland Joe, John DeCelles Evelyn Fredericks, Robert Dale Tsosie, Cliff Fragua indigenoussculptorssociety.org

Posters of Santa Fe TC Cannon Poster, Collector 5, poster size 33 x 23"

Bringing you to the heart of art! Your source for SWAIA retail merchandise. This year’s official poster and T-shirts come with a 10 percent discount to SWAIA members. Great affordable collection of Native American arts and crafts. A SWAIA retail business partnership. 111 E Palace, 800-827-6745, postersofsantafe.com

GF Contemporary CJ Wells, Plasma Monkey, oil on canvas, 60 x 60"

GF Contemporary presents Le Bal Macabre, 11 new abstract paintings by legendary Santa Fe artist CJ Wells. “I paint for the brain,” says Wells. “Art is psychological, but even for abstract work you need symmetry, harmony, and balance.” Show opens August 20.

707 Canyon, 505-983-3707, gfcontemporary.com





Kelly Church and Cherish Parrish Contemporary/traditional black ash basketry

Kelly and Cherish are award-winning basket weavers from Michigan. They specialize in unique traditional and contemporary baskets woven with black ash copper, and in photographs, hand-carved cradleboards, etched black-ash bark baskets, and birch bark bitings. booth #336 FR-S artcove@hotmail.com, blackash.org

Frank Howell Gallery Atira’s Dream, giclée, 46 x 32"

Located on the northwest corner of the Plaza, the Frank Howell Gallery has operated for over 20 years, showcasing worldrenowned artists, including Frank Howell, Bill Worrell, Ray Tracey, and Pedro Jimenez III. We are always interested in purchasing Frank Howell originals. 103 Washington, 505-984-1074, frankhowellgallery.com

Kiva Fine Art Yellowman, one of his Cheyenne Dog Soldiers

Art, music, tasty snacks. 6–8 pm Friday, August 20. Saturday 8 am–8 pm. Sunday 8 Artists in attendance: Yellowman, Ben Nelson, David K. John, Mary Hunt, Michael Horse, and Roark Griffin.

am–6 pm.

102 E Water, 505-820-7413, info@kivaindianart.com kivaindianart.com

Jennie Cooley Make Art on Canyon Road

We supply everything you or your guest needs to produce 3–4 prints—no experience necessary! We will demonstrate easy, simple, and “can’t miss” techniques for the beginner to the advanced visitor to make (one-of-a-kind prints) monotypes. This is a fun and unique adventure for exploring the easiest and most spontaneous form of printmaking. Each session lasts about three hours. Reservations must be made at least 24 hours prior to session. This is a one-on-one class in the gallery. The cost is $300 and includes discounts on all art in the gallery during your art adventure. Gift certificates are available. Credit cards accepted, deposit required upon reservation. Parking available behind the gallery. 505-983-2630, 826 Canyon, jenniecooley.com

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enchanted treasures Bryan’s Gallery Gregory Lomayesva, three-dimensional wooden Hopi mask. Bryan’s Gallery presents prolific painter, sculptor, mixed-media artist Gregory Lomayesva. Playful, innovated, exceptional. Fear no color. Visit Bryan’s Gallery in Taos. 121 Kit Carson, Taos 575-758-9407, 800-833-7631 bryansgallery.com

Packard’s on the Plaza Sassy and sophisticated stones, beads, pearls, and gems in every color of the spectrum. Drape, string, coil, or snake on one of Pam Springall’s necklaces in your favorite hue to wear to lunch or to the opera, only at Packard’s on the Plaza. Vintage coral beads with handmade signature 14k gold clasp. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241 packards-santafe.com

Turquoise Direct Inspired by the classic cluster bracelets of the 1940s, this incredible one-of-a-kind set created by awardwinning Navajo artist Sammie Kescoli Begay features 56 rare, gem-grade, Carico Lake, spiderweb turquoise cabochons. The stones feature outstanding hues of deep lime green with tan and chocolate brown webbing. Begay revives the classic tradition of hand rolling and hammering ingot sterling silver. The pieces include intricate designs with hand-twisted wire, petite sterling silver droplets, and fine bezel work. 505-934-5294, turquoisedirect.com

Tresa Vorenberg Goldsmiths Fabulous creations of high-karat gold and gemstone beaded jewelry by Donna Diglio. Meet the artist and experience her luscious collection. Saturday, August 14, 11 am–5:30 pm. Daily, August 15–28, 2–4 pm. Tresa Vorenberg Goldsmiths. 656 Canyon, 505-988-7215 tvgoldsmiths.com




KatieO Jewelry This one-of-a-kind necklace is from the KatieO Jewelry Treasure Chest Collection. It combines a tusk from an African wild boar and beautiful hand-cut amber quartz beads from Afghanistan. 954-638-9118, katieojewelry.com

Charlotte Santa Fe Interchangeable jewelry. These black high-tech ceramic rings from Germany can be interchanged by the customer to fit both mood and budget. Each can be worn as a ring or on a bracelet and pendant with matching earrings. Starting at $370. On the Plaza, 66 E San Francisco, 505-660-8614 charlotteshop.com

Karen Melfi Collection For 20 years the Karen Melfi Collection has been representing the finest local and national jewelry, wearable art, and contemporary craft artists. Located on Canyon Road, KMC offers a wide selection of high-quality, handcrafted items in all price ranges. 225 Canyon, 505-982-3032 karenmelfi.com

Gossamer Wings Santa Fe The most luxurious emerald and chocolate suede halter tops, hand-beaded right here in our Santa Fe studio. Gossamer Wings by Barbara Grimes specializes in fancy leathers, suedes, and shearlings. The beadwork and designs for women are all original. We do custom orders for men. We also make belts, beaded hats, and jewelry. 505-424-7771, gossamerwingssantafe.com

ROZ Santa Fe Wearable Santa Fe designer silk scarves from paintings by distinguished Native American Artist POTEET VICTORY. Luxurious heavy silk twill with hand rolled edges in an elegant gift box. Eight limited edition images will be available in two formats of 36”x36” or 70”x19” after July 21st. McLarry Modern Gallery, 225 Canyon 505-983-8589, rozsantafe.com august/september 2010

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DesertLtd. Son of Santa Fe James Reid,

Fabulous from around globe. From belts on site to handBy virtue of integrityhandbags, of design footwear, and qualityand of belts execution, James the Reid, Ltd. is Santa Fe’smade best-known madeand western boots by Stallion and Tres Outlaws and representing Travel maker of silver gold belt buckles and accessories. Established in 1979, theHenry houseBeguelin. is famous for the world of styleofwithout this shop on Canyon Road. original interpretations westernleaving Americana, as well as designs that transcend the parochial and 725international. Canyon, 505-982-9499 aspire to the You know by the front that our name is on the back. 114 E Palace, 800-545-2056, jrltd.com

Norma Sharon Enchanting hand-molded cowhide purses in the shape of a human face are surefire conversation starters. Wearable art that evokes the artist within will have your friends and family asking, “Where did you get that purse?” Plaza Mercado, 137 W Water, 505-984-3005 normasharon.com

Packard’s on the Plaza

The Golden Eye

Dian Malouf’s distinctive designs in bold concepts and subtle textures. Feel the passion in unique artifacts, iconic styles and gorgeous chunky stones set in sterling silver and 14K gold. Always at Packard’s on the Plaza. Chrysoprase, chalcedony, and turquoise with sterling silver and 14K gold. 61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241, packards-santafe.com

Since 1971, the Golden Eye has specialized in fine, handcrafted jewelry in high-karat gold, paired with exotic gemstones and pearls. One of the first to use the ancient rose-cut diamond in contemporary jewelry. Design your own unique earrings from our collection of “ear-rangements,” handcrafted here in Santa Fe of 18-karat gold. One or many, mix and match. 115 Don Gaspar, 505-984-0040, 800-784-0038, goldeneyesantafe.com





For y mos brac 503


Bryan’s Gallery Estate jewelry, buying and selling. Gibson Nez, Ben Nighthorse Campbell, Tommy Singer, old pawn and estate jewelry. Bryan’s Gallery is the best place to find an eclectic mix of old pawn and estate jewelry, pottery, Zuni fetishes, contemporary and traditional art. A collector’s heaven (or jackpot). 121 Kit Carson, Taos, 575-758-9407, 800-833-7631, bryansgallery.com

Desert Son of Santa Fe Dawn Wallace’s jewelry has been infuenced by many things—her Aleut Heritage, growing up in Santa Fe, and the beauty of Hawaii—where her family moved to when she was 16. Surrounded by a family of amazing jewelers, she then went on to study jewelry design at FIT in NYC.”I am so fortunate to represent her work in Santa Fe, and I love being surrounded by her pieces” says Mindy, owner of Desert Son of Santa Fe. 725 Canyon Rd, 505-982-9499, desertsonofsantafe.com

Boots & Boogie Ojo Caliente Mineral Springs Resort & Spa Soak your bones at this legendary hot springs resort. Healing mineral waters and mud pool. Full-service spa. Enchanting suites, charming cottages, and private homes. Hiking, mountain biking, and yoga. Award-winning restaurant and wine bar. Just north of Santa Fe. Open every day. 800-222-9162, 505-583-2233, ojospa.com

Santa Fe’s premier gallery of fine handcrafted boots. Elegant while still being comfortable. Owner Roy Flynn will personally and expertly size you in the finest and most beautiful alligator boots both belly and Hornback in a myriad of colors and at the most competitive prices in the industry. Boots and Boogie utilizies five bootmakers and is committed to style, elegance, customer comfort, and satisfaction. Whether it’s the classic alligator or any of the hundreds of other designs available, Boots and Boogie outfits you with style. 227 Don Gaspar Ave, 505-983-0777 august/september 2010

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architecture | design | people

Architect and general contractor Gabriel Browne, of Santa Fe–based Praxis, incorporated elements of traditional Santa Fe style—massive walls, simple lines, and earth tones—with more contemporary features—like sharp corners, large expanses of glass, and steel accents—when he designed this 4,700-square-foot home in the Sangre de Cristos foothills. He also kept Santa Fe’s one-of-a-kind vistas in mind. “This site has a magnificent view, and the whole house was designed to make that part of the living experience,” he says. “You get a glimpse of it when you walk in the front door, but the portal is where you can bask in it.” The outdoor living space blends seamlessly with the home’s interior: Large windows and wide doors connect the areas, and both feature exposed concrete floors, along with sleek steel fixtures designed by local artist Jeff Overlie. A hand-hewn stone wall (with an outdoor fireplace) starts on one side of the patio and runs through the inside of house, providing visual continuity, structural support, and a cost-effective, energy-saving way to regulate temperatures.—Dianna Delling august/september 2010


Tour the Praxis house during Haciendas—A Parade of Homes, August 13–15 and 20–22. The annual event features self-guided tours of some of Santa Fe’s most stunning new and remodeled homes. For details, visit sfahba.com.

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the beta parade a builde r ’s pe r s pect ive on t he lat e st Hacie nda s showca se by Kim Sha naha n

Above: the exterior of one of builder Michael Percy Grant’s houses, from Percy Home Design; top right: the great green room in one of builder Michael Hurlocker’s homes 180



Santa Fe builders are an interesting and resilient lot. They are some of the most progressive builders in America, and Santa Fe is seen as the ultimate beta test market for new ideas and techniques. It is often said that there has never been a wall system invented that hasn’t been tried by a Santa Fe builder. It’s true! When we think about the extreme left-brained/right-brained nature of our market, it is no wonder Santa Fe builders have evolved the way they have. Many of the neo-adobe passive-solar sensibilities of current practitioners have their roots in the back-to-earth communal movement of the early seventies. That youthful exuberance—and can-do and do-it-all attitudes—still infuses many of our custom builders. As they matured and sought out clients who understood what they were up to, Santa Fe’s builders found they could satisfy the extremes of the nuclear physicist living in Los Alamos as much as the eccentric artist on Canyon Road. Talk about opposite sides of the brain! But as far apart as they might be, they could often find common ground on the elegant and enduring style of Santa Fe homes. This year’s Haciendas—A Parade of Homes continues the tradition of sensible, practical, and progressive Santa Fe builders adapting to changing times. The fabulous is still very much a part of our vernacular and always will be. The world mints new millionaires every day, and we continue to appeal to international patrons drawn to the mystique of our varied cultures, arts, and geography. But while we celebrate what luxurious construction budgets can conjure from our imaginations, we remain cognizant of the footprints we leave and the need for solid, efficient shelter for all who need our services as Santa Fe builders. Kim Shanahan, a Santa Fe builder for 25 years, is currently the executive officer of the Santa Fe Area Home Builders Association. For more information about Haciendas—A Parade of Homes, call 505-982-1774 or visit sfahba.com.


You would think after participating in over a dozen Haciendas—A Parade of Homes, I would know “the look” pretty well. Sad to say, not so much. As a builder focused on finishing in time and then hosting and working the crowds on weekends, I never had much time to make the whole tour and see all the variety. I would squeeze in an occasional Sunday afternoon of the last day to see homes of a few close friends, but you can’t say I’m a Haciendas aficionado. This year, though, I’m going to hit them all! If there is any upside to the downswing of our local housing market, it is that the 2010 Haciendas Parade is a very manageable 17 homes. And while less than half that of two years ago, it is a strong showing relative to many markets. The Denver area cancelled its parade in 2009 and Albuquerque is nervous about its event in October. Santa Fe’s parade may be more compact this year, but it’s no less exciting or diverse than in years past. In fact, some of Santa Fe’s best and most prolific custom builders will be showcasing their artistry and skill. Past award winners back in the mix are as varied as ever and include Sharon Woods, the boys from Tierra Concepts, Jack Fisher and the Schmitt brothers, Michael Hurlocker, Frank Gonzales of Gianardi Construction, and the Chapman family. Those builders are deluxe; the diversity is represented by some of the smallest, greenest, and most affordable homes, including a Habitat for Humanity “Women’s Build” home. Also expecting to squeak into the Parade is the new offering by HomeWise, a much-anticipated project off Old Las Vegas Highway (an epic winter pushed back the start of that one). Another must-see is Artistic Homes’s net zero energy home in Oshara Village. Solar everything! This year’s Haciendas event also features a couple of newcomers with whole-house remodeling projects that show how green ideas can be creatively employed on downtown remodels, one in the historic district. And then there is the fabulous penthouse flat by the Pinson Brothers, a block off the Plaza overlooking City Hall and the Santa Fe Community Convention Center.

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room to grow A s ha r p n e w fac i l ity, prof e s sionally de corate d, h elps te e ns i n cri si s by Scott Yor ko


There’s no place like home, especially when you’re a teen who’s been dealt a shoddy hand and ended up alone on the streets with nowhere to go. When kids find themselves at the bottom of the barrel, simply having a roof overhead and a stable support system can be all they need to get their lives on track to becoming responsible, functioning adults. That’s the idea behind the new Barbara Richardson Transitional Living Facility, a housing complex designed for people ages 16 to 21 who need a little guidance but are determined to change their lives for the better. Built and managed by the Santa Fe nonprofit Youth Shelters— which also provides emergency shelter, street outreach, and counseling programs for homeless youth—the supervised facility opened in April and is already full, with 14 residents and a growing waiting list. Residents whose applications are accepted can stay up to 18 months as they learn to live independently and build life skills such as working, paying rent, and pursuing educational goals. The colorful, angular buildings on Airport Road are inviting, with wide sidewalks winding past a sturdy basketball hoop and a swaying heavy bag. The units are cleaner than your mother’s house—and likely more contemporary. “This program provides an aesthetically pleasing, peaceful place,” says Youth Shelters executive director Karen Rowell. “The colors are cheerful,

Above and top right: a colorful exterior welcomes young residents at the Barbara Richardson Transitional Living Facility, which opened its doors in April. 182



the setup is cheerful, it’s private, it’s safe, and it’s theirs. So for a lot of kids who’ve never had their own room or dresser or kitchen, it’s a place to settle in. And then there’s predictability.” One area without much predictability is the economy, which made building the new facility a challenge. New Mexico’s first lady, Barbara Richardson, was very supportive and included Youth Shelters as part of her capital campaign agenda. But the $880,000 in capital outlay from the state, even when combined with federal funding and local support, was only enough to cover bricks and mortar for the $1.8 million project. When it came to furnishing and decorating the place, Youth Shelters accepted a helping hand from Santa Fe Interior Designers Presents (SFIDP). SFIDP, a local group of talented interior designers, was looking to get involved in a volunteer project, as they do each year. They pitched in to furnish, decorate, and help budget for the transitional living facility, raising almost $15,000 for the project and donating about 200 man-hours of work. In addition, using their professional experience and purchasing ability, members of SFIDP saved Youth Shelters thousands of dollars on carpeting, paint, tiles, kitchenware, sofas, and more. “They are all interior designers with their own businesses,” says Rowell. “This was something they did on a volunteer basis . . . They really lit the fire. It’s been fabulous.” The building may differ from some of the Eastside and Tesuque homes these designers have decorated, but they approached it the same as they would a million-dollar mansion. “All good designers respond to the client,” says designer Barbara Templeman, who serves as president of the New Mexico Interior Design Board and chaired the Transitional Living Facility project’s steering committee. “We were responding and trying to fulfill the needs of the people who would be living in the space. With their young demographic, we tried to select materials that were durable and have a fresh, clean look.” The SFIDP plans to continue to work with Youth Shelters for the next couple of years, and both hope for the opportunity to build additional housing units for teens in crisis. As Rowell says optimistically, “Santa Feans are becoming more aware of the problem of teen homelessness in our town . . . and that’s what changes lives.” If you’re inspired to help, Youth Shelters’ 30th anniversary fundraising event will be held August 27 at the Governor’s Mansion, with First Lady Richardson in attendance (see youthshelters.org). Proceeds from Design Santa Fe, the September 30–October 2 celebration of the city’s home and interior design talent, also benefit the transitional living facility (see designsantafe.org).





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santa fean Indian Market 183 6/29/2010 10:05:10 AM

Photo: Clay Ellis

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Great Clouds of Dust (detail), Gary Niblett, 2010. Oil on canvas, 26" x 36". Courtesy of the artist.

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Reading Between the Lines: Contemporary Ledger Art The Santa Fe Concorso is the Southwest’s premier gathering of rare and exotic cars, including autos from the Ralph Lauren Collection and the Al Unser Museum. � � � �

September 26, 2010, 10:00 a.m. to 4:00 p.m. Ticket price: General Admission $45 • VIP $125 At the legendary La Mesita ranch in the Nambé Valley Tickets: The Lensic Performing Arts Center: 505-988-1234 or at www.ticketssantafe.org

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santa fean Indian Market 187

History, charm, and proximity to the city center are what make Santa Fe’s Eastside a standout. A richly diverse residential area, it‘s nestled in the foothills of the Sangre de Cristo mountains, home to art-filled Canyon Road, and within easy walking distance of the Plaza, the Capitol, and a slew of galleries, museums, shops, and restaurants. On the Eastside, still-unpaved roads meander along the Santa Fe River—ideal for a leisurely stroll in the daytime sun or the crisp, high-desert night—and swaying deciduous trees shade one-story homes surrounded by wooden fences or shoulder-high adobe walls. The Eastside is home to some of the oldest structures in the country (don’t forget, Santa Fe was a capital city long before the Pilgrims ever 188



even landed), along with numerous houses built in the Pueblo Revival style, and the Historic Design Review Board adamantly preserves the traditional aesthetic of many of these buildings. The neighborhood‘s unique layout recalls the area’s agricultural roots from over 400 years ago. And the architecture only enhances the natural environment: The adobe and adobe-style homes tend to be low, flat-roofed, and thick-walled, and some back up to orchards— orchards still irrigated by the centuries-old Acequia Madre waterway that runs alongside the streets. Secluded, cozy, and neighborly, the Eastside offers the perfect combination of stimulation and quiet, the contemporary and the historic.


Eastside Story
























523 East Alameda Suzy Eskridge Santa Fe Properties 1000 Paseo De Peralta 505-310-4116 Mobile 505-946-0410 Direct 505-982-4466 seskridge@santafeproperties.com

A really smart buy! Incredible location. Beauty. Privacy. Own this elegant, restored historic territorial 3 blocks from the Plaza and one block from Canyon Road. Three br , 2 bath main house. Fabulous 2 br , 2 bath guesthouse with private patio. Sweeping drive and lush gardens complete this amazing property. MLS#201002364 $1,795,000

201-C Williams St. Coleen Dearing Coldwell Banker Trails West Realty, Ltd 2000 Old Pecos Trail 505-930-9102 505-988-7285 ext. 334 coleen@coleendearing.com

Settle in, relax, and sip a refreshing glass of wine, cuddle with your sweetheart, or entertain a group of friends … Located just a few blocks from the Plaza is this private, luxury home in a small, quiet neighborhood. Built in 2005 and featuring 2150 sq. ft. of unmitigated elegance. Includes 3 bedroom suites, gorgeous chef’s kitchen, formal dining room, great floor plan, and outdoor patios. This home is truly turn-key and designed for privacy, inside and out. Great as your home or your home away from home. $695,000

Secluded, cozy, and neighborly, the Eastside offers the perfect combination of stimulation and quiet, the contemporary and the historic. 190



1204 Camino De Cruz Blanca Deborah Bodelson Cary Spier Santa Fe Properties 1000 Paseo de Peralta 505-660-4442 Deborah 505-690-2856 Cary dbodelson@santafeproperties.com cspier@sfprops.com

Behind adobe walls and in the high southeast side of the Sangre de Cristo foothills, this home is magnificent! Surrounded by landscaped grounds, choose where you spend your outdoor living. City lights and panoramic mountain views are yours. The home offers comfortable and elegant living with all the amenities. MLS#201002990 $2,227,000

432 Camino del Monte Sol Clara L. Dougherty Broker Associate Dougherty Real Estate Co., LLC 433 W San Francisco 505-989-7741 (o) 505-690-0471 (c) claradough@gmail.com dresf.com

Inviting 2 b r /2 bath adobe home offers proximity, charm, and ease to all that is offered in the heart of Santa Fe’s Eastside. Just a short distance to Canyon Road, countless galleries, and restaurants, the property is completely updated yet retain s the original ambience.$798,000

Santa Fe - Los Angeles

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The Wine Event with all these Great Wine Dinners Wednesday, September 22

315 Restaurant & 2000 Bordeaux 10 Years After 986-9190 ¡A La Mesa! & Sbragia 988-2836 Andiamo! & Casa Rondeña 995-9595 Joe’s Restaurant & Milagro 471-3800 Osteria d'Assisi & Robert Mondavi 986-5858 Red Sage & Domaine Chandon 780-1435 Ristra & Premiere Vins de France 982-8608 Rooftop Pizzeria & Michael-David 984-0008 Santa Fe Bar & Grill & Murphy-Goode 982-3033 Terra at Rancho Encantado & Pine Ridge 946-5700

Thursday, September 23

¡A La Mesa! & Katherine Hall 988-2836 Amavi & Vin Iberian 988-2355 Andiamo! & Bertani 995-9595 Café Pasqual's & Suttcliff 983-9340 Club at Quail Run & Merryvale 986-2200 Dinner for Two & Rodney Strong 820-2075 Flying Tortilla & Majestic Fine Wines 424-1680 Inn of the Anasazi & Moet Hennessy 988-3236 La Boca & Wines of Spain 982-3433 La Casa Sena & Ramey Wine Cellars 988-9232 La Plazuela at La Fonda & Silver Oak 982-5511 Las Fuentes at Bishop's Lodge & Steele 819-4035 Luminaria & Tablas Creek 984-7931 Milagro 139 & Casa Lapostolle 995-0139 Mine Shaft & Morgan Winery 473-0743 Ore House & Hess Collection 983-8687 Osteria d'Assisi & Premier Vino Italiano di Kobrand 986-5858 Pink Adobe & Penfolds 983-7712 Red Sage & Ehlers Estate 780-1435 Restaurant Martin & Stag's Leap Wine Cellars 820-0919 Rio Chama & Galante 955-0765 Tabla de los Santos & Santa Christina by Antinori 983-5700 Steaksmith & Artisanal Argentinean Wines 988-3333 The Compound & Spottswoode Estate 982-4353 Terra at Rancho Encantado & Summerland 946-5700 Tesuque Village Market & Alma Rosa 988-8848 The Old House at the Eldorado & Chateau Ste. Michelle 995-4530 Vanessie & Chalone Estates 982-9966

www.santafewineandchile.org (505) 438-8060

Photo by Lois Ellen Frank

Friday, September 24

315 Restaurant &Louis Jadot Burgundy 986-9190 Dinner for Two & Cline 820-2075 El Farol & Wines of Chile 983-9912 La Casa Sena & Elk Cove 988-9232 Fuego at La Posada & La Crema 954-9670 Las Fuentes at Bishop's Lodge & Ferrari Carano 819-4035 O Eating House & Banfi 455-5065 Osteria d'Assisi & Antinori Estates 986-5858 Pranzo & Beringer 984-2645 Real Food Nation & Frog's Leap 466-4073 Rio Chama & Justin 955-0765 Sleeping Dog Tavern & Fess Parker 982-4335 The Compound & Champagne Duval-Leroy 982-4353 The Old House at Eldorado & Jordan Winery 995-4530 Vanessie & Van Duzer 982-9966 Ze French Bistro & Foris 984-8500

O Mama Trattoria


You don’t expect to find a stylish, authentic Italian trattoria with fabulous food smack dab in the middle of the Pojoaque Valley, but that is exactly what you get with the O Eating House. Tucked away off Highway 84 in the shopping plaza of the nearby Pojoaque Pueblo, O offers all the usual suspects in Italian dishes: creative pizzas, inspired pastas, and summery salads. The freshness and peppery bite of the arugula watermelon salad with salty feta and the creamy perfection of the mozzarella burrata in a puddle of basil-infused olive oil (pictured here) are delicious reminders of the season at hand. Local and visiting foodies should make the quick trek to check out our area’s most exciting new restaurant—it’s only 15 minutes from Santa Fe’s Plaza.—John Vollertsen O Eating House, 86 Cities of Gold Road, Pojoaque, 505-455-2000

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bull ring-a-ding-ding In a world where folks are going mad for the martini-swigging, cigarette-smoking, stay-at-home–housewife world of the TV show Mad Men, and Broadway sees fit to revive the swinging 60s musical Promises, Promises, everything retro, it seems, is new again. At the popular downtown restaurant the Bull Ring, martinis also abound, along with huge thick steaks and dishes au gratin. Opened in 1971, the Bull Ring was originally located next to the State Capitol. After Harry Georgeades bought the steakhouse in 1984, he relocated it in 1999 to its current spot one block off the Plaza. The fact that the concept here works so well with the clubby stylish decor and classic steakhouse menu proves this trend is here to stay; good food never goes out of fashion. I’d planned on having a night with the boys, so the idea of big martinis and hefty cuts of beef was appealing (followed perhaps by cigars in the moonlight). The only hitch was that my two mates don’t drink or smoke (one’s 13) and it’s been a few years since I’ve been able to knock back a martini and the requisite red wine with a steak dinner in one sitting. My friend’s son, a budding foodie, had a fresh viewpoint of the meal; the next generation of diners clearly gets this culinary reminiscence of another time. Sliding into a cushioned banquette makes me feel like Frank Sinatra. Only I wish I were wearing a shiny suit and skinny tie. I love a room with tables positioned so that diners are looking at other diners, and although we weren’t drinking them, there were so many “elixirs of solitude,” as E.B. White once called them, all around us that we were able to enjoy them vicariously. When a basket of warm bread rolls and a tray of celery and carrot sticks arrived at the table, I was wishing I had Shirley Maclaine on my arm—this is dining of an earlier, swankier, de-lovelier era. As steakhouse menus go, the Bull Ring’s appears standard, with a few contemporary additions that modernize the options. But the preparations are anything but ordinary and the beef is all 100 percent USDA prime—the only restaurant in New Mexico that can make that claim. A vegetarian platter would have been unheard of in the 60s, but here it sounds delicious: broiled tomato, steamed broccoli and asparagus, sautéed mushrooms, and creamed spinach. The large appetizer list includes coconut shrimp, escargot, calamari, mussels, seared tuna, and more. We also can’t pass up jumbo shrimp cocktail, Caesar salad, and plump crab cake with spicy chipotle mayonnaise—all great renditions of classic fare. Potato and vegetables sides are ordered a la carte. Our young guest exclaimed, “Anything au gratin is good,” so both a potato and creamed spinach version are ordered. Junior, as I call him, is a huge salmon fan and pronounced his simply grilled portion to be “excellent.” The sides that arrive are all creamy, bubbly, and cheddar glazed; big enough to share; and as decadent as you’d want them. There are myriad steak cuts to choose from; from the 8-ounce petit filet to the honking porterhouse for two weighing in at 40 ounces. I opt to share a 22-ounce bone-in ribeye with Junior’s dad, and it arrives perfectly seared, as tender and juicy as I remember from my childhood. And the mnemonic effect is not unlike that of Proust’s madeleines. The meal, the meat, sends me back to the 1960s, to Gallagher’s Steakhouse in New York City, to my first encounter with a truly great cut of red meat. After my sublime remembrance passes, Junior and his dad bring me back to the 194



here and now—to the veal chops, lamb chops, pork chops, and ribs that are just as transcendent, as well as chicken, shrimp, lobster combos, and modern main-course salads. Fond of a wine list that has recognizable labels and choices to fit any budget, I opt for the Rodney Strong pinot noir, which is rich enough to stand up to the beef without me having to go the heavy cab route in early summer. For dessert, we Top: the Bull Ring’s vintage martini—in the words of James Thurber: “One martini is all right. Two are too consider the retro cheesemany, and three is not enough.” Above: paraphrasing cake but instead bring on Woody Allen’s Love and Death: Meat—plates and plates the chocolate mousse and of red, red meat. the lemon tart—both of which leave us smiling but bursting. As we’re leaving, Junior spots Hollywood actor/director Jon Favreau dining nearby and I encourage him to go get an autograph. “He was cool,” he says, clutching his signed paper. “This is a good people-watching place.” A restaurant that captures the best of a classic theme but keeps it fresh and contemporary, like the Bull Ring does, will continue to flourish. The Bull Ring will be a hit for Rat Pack generations to come. The Bull Ring, 150 Washington, 505-983-3328, santafebullring.com


by John Vollertsen


night noshing

Recently, a learned friend of mine offered the thought that we should look at the headlines in the newspapers and the topics on television as a “prayer list.” Regardless of your religious beliefs or lack thereof, you’d have to agree with her; we can use a little help down here. At times of duress and uncertainty, I think the way to overcome the anxiety of it all is to turn to our culture. Exploring art, theater, cinema, literature, and gastronomy are all great mood enhancers. I’ve said it before: When the going gets tough, the tough go out to dinner. I believe our actions help form our outlook on the world, and what you put in is what you’ll get out. As the Food + Dining editor, I encourage you to put in fabulous culinary experiences. It’ll boost your disposition. And Santa Fe is the perfect place for a disposition booster, especially during high summer, when culinary fabulousness reigns. In September, I’m delighted to be helping host the Association of

as an “ alternative lifestyle” bar, the Cat may not be the place to take your Aunt Betty from Ohio, but then again that may be exactly what the old gal needs. This welcome addition to the much lacking local gay and lesbian scene is liberal enough to entertain everyone, regardless of your persuasion. An olive’s throw away and upstairs in the former Fusion and Swig space, at the corner Skotia Gallery director Sofia Kanavle of Palace and Grant Avenues, enjoying a martini at The Rouge Cat Koi, a spacious and stylish restaurant that serves an innovative Asian-ish small plates menu, is sided by a revamped nightclub, now called Rize. Koi’s chef, Joel Coleman, made a big splash on the food scene with his Hawaiian French-themed Mauka over in the Sanbusco district. Here, though, he pairs down the portions and the prices but keeps his clever spin and food play with international ingredients. Halibut ceviche with melon “caviar” is served side by side, on a menu that also includes Kurobuta pork spring rolls, the rich Vietnamese soup pho, red-curry tomato gazpacho, and much, much more. The clubbing kids can smack their lips on chicken wings fired up with chile Sambal, while the more serious foodie won’t want to miss the seared scallops with edamame puree, and kimchi-bacon vinaigrette. There is nothing coy (pardon the pun) about this young man’s cooking. Rize features bars on two levels and a lower-level dance floor to help you work off Coleman’s culinary creations. Two great new settings to ensure that this summer is a “hot time in the old town tonight! Rouge Cat, 101 W Marcy, 505-983-6603 Koi Restaurant/Rize Nightclub, 135 W Palace, 505-955-0400 Food Journalists convention. More than 50 food and travel writers from around the country will descend on Santa Fe to see and taste what we’re all about. They’ll get here just in time to sample our native chiles, a crop I expect will be a hot one due to all this heat. Later in the month we top off the season with the Santa Fe Wine and Chile Fiesta, a must-attend for foodies, oenophiles, and chile-heads. So eat up, culture lovers. Living well is the best revenge. And I bet if Herbert Hoover had lived in New Mexico he would have said, “A chile in every pot!”—JV   august/september 2010


The ever-changing landscape of the Santa Fe nightclub scene can be both stimulating and frustrating to the local or visiting reveler. It’s a funny town; we’re not sure if we’re a sleepy little village where folks head off to bed once the sun sets, or a world-class destination that offers something for everyone come the bewitching hour. Ever since the first dry and dusty cowboy bellied up to a bar in search of libation the town nightlife here has been colorful. But we have suffered from some cool-down times where the party options were limited. Oh, there are always places to get liquor (and liquored up), but as our culture and civilization have developed, we yearn for more than a shot of hard whiskey, served in a dive, to entertain the senses and calm the roar of our hectic lives. In many ways the restaurant, as a form of amusement, has become an additional option to the clubbing set: You linger after dinner in a hopefully fashionable and provocative atmosphere. Add a dance floor to the mix and your evening can be set—eat up, drink up, and boogie it off. All that said, this summer the town heats up again with two new venues to help you celebrate your down time. Rouge Cat, at the corner of Marcy Street and Lincoln Avenue, inhabits a former hair salon space. It starts out as a cozy little local bar with cushy lounges upstairs on the street level, but sprawls out downstairs to classic disco with a comfortable dance floor that beats to a state-of-the-art sound system, reportedly the most high-tech of its kind in town. Wednesday night is “Trash Disco” where the best (and worst) of 70s to 80s music gets you on your feet. Described by partners Heidi Spar and Oona Bender Koi’s seared scallops with edamame puree


by John Vollertsen

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taste of the town

n o r t h er n n ew m e x ic o ’ s f i n es t di n i n g e x perie n ces

featured listing Vanessie

434 W. San Francisco 505-982-9966 vanessiesantafe@aol.com

Nowhere else has better basics— straight-ahead steak, lamb, fresh fish, chicken, and gargantuan mounds of onion loaf—than this continental-American Steakhouse; but fantastic food is not the only draw— the festive atmosphere includes a way cool, crowded piano bar.

The Bull Ring 150 Washington, 505-983-3328 Serving Santa Fe since 1971, the legendary Bull Ring is “the prime” steakhouse in Santa Fe. Voted “Best of Santa Fe” year after year, it also offers fresh seafood, chicken, chops, an extensive wine list, a saloon menu, and patio dining. If there’s one thing New Mexico’s politicians can agree on, it’s where to eat in Santa Fe. Conveniently located one block north of the Plaza in the courtyard of the New Mexico Bank & Trust building. For a quick bite after a stroll at the nearby Plaza—or for a late-night snack— the lounge’s bar menu is sure to satisfy. Lunch 11:30 am–2:30 pm, Monday–Friday; dinner nightly starting at 5 pm. Underground parking available on Washington. Chocolate Maven Bakery 821 W San Mateo, Suite C, 505-982-4400, chocolatemaven.com A long-standing local favorite, Chocolate Maven does it all: breakfast, lunch, dinner, high tea, brunch, and every type of pastry, cookie, and cake imaginable! We create delicious, eclectic menus using local, organic produce, meats, and cheeses, which help to support local farmers while bringing you the freshest, most flavorful food possible. Don’t miss this hidden gem on your next visit to Santa Fe. Open 7 days a week. Dinner Tuesday–Saturday 5–8:30 pm; breakfast and lunch Monday–Friday 7 am–3 pm; high tea

Monday–Saturday 3–5 pm; brunch Saturday and Sunday 9–3 pm. The Compound Restaurant 653 Canyon, 505-982-4353 compoundrestaurant.com Recognized by Gourmet magazine’s Guide to America’s Best Restaurants and the New York Times as a destination not to be missed. The James Beard Foundation’s “Best Chef of the Southwest,” chef/owner Mark Kiffin pairs seasonal contemporary American cuisine with professional service in a timeless, elegant adobe building designed by famed architect Alexander Girard. Extensive wine list, full bar, picturesque garden patios, a variety of beautiful settings for wedding receptions, social affairs, or corporate events for 12 to 250 guests. Private parking. Seasonal specialty: tuna tartare topped with Osetra caviar and preserved lemon. Lunch 12–2 pm, Monday– Saturday; bar nightly 5 pm–close; dinner nightly from 6 pm; full lunch and dinner menu available in the bar. Doc Martin’s at the Historic Taos Inn 125 Paseo del Pueblo Norte, Taos 575-758-1977, taosinn.com Doc Martin’s restaurant is an acclaimed fine-dining establishment located in a registered historic landmark. Doc’s is a true Taos tradition, earning multiple awards. Executive chef Zippy White spewww.santafean.com




cializes in organic foods, with chile rellenos being his signature dish. With over 400 wine selections, our world-class wine list has earned Wine Spectator’s “Best Of” award of excellence for 21 consecutive years. The Adobe Bar features complimentary live entertainment nightly. Patio dining as weather permits. Featured dessert: the chocolate-lover’s pie—a rich, silky chocolate mousse, whipped cream, sweet cookie crust. Breakfast is served daily 7:30–11 pm; lunch 11:30 am–2:30 pm; dinner 5:30–9 pm; Saturday and Sunday brunch 7:30 am–2:30 pm. El Mesón 213 Washington, 505-983-6756 elmeson-santafe.com A native of Madrid, Spain, chef/owner David Huertas has been delighting customers since 1997 with family recipes and specialties of his homeland. The paella is classic and legendary— served straight from the flame to your table in black iron pans; the saffron-infused rice is perfectly cooked and heaped with chicken, chorizo, seafood, and more. The house-made sangria is from a generations-old recipe with a splash of brandy. The ¡Chispa! tapas bar offers a fine array of tapas. The full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Occasional musical entertainment and dancing. Dinner is served 5–11 pm, Tuesday–Saturday. Flying Star Café 500 Market, #110, 505-216-3939 flyingstarcafe.com Fine cuisine in a friendly scene. We’re your locally owned neighborhood café featuring made-from-scratch food, handmade desserts, and pastries. We open early and stay open late for breakfast, lunch, dinner, and everything in between. Free Wi-Fi, diverse magazines, locally roasted coffee, fine beer and wine, and a bakery in the heart of our café. Deliciousness awaits. Monday–Thursday 6 am–10 pm; Friday and Saturday 6 am–midnight. Galisteo Bistro 227 Galisteo 505-982-3700, galisteobistro.com Chef-owned and “made by hand,” featuring eclectic, innovative international cuisine known for its

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ritos, have made this eatery a local favorite, with additional chef’s specials offered daily. Also available: beer and wine, dine in or take out, catering for all occasions, and a small private dining room for special events. Located next to Lowe’s and Regal 14 cinemas, off Cerrillos at Zafarano. Open for lunch and dinner. Summer hours: 11:30 am–9 pm Tuesday–Saturday; 11:30 am–8 pm Sunday; closed Mondays.

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

Coyote Cafe continues to be Santa Fe’s most famous and celebrated restaurant, feted by critics and return visitors alike. Executive chef/ owner is world-renowned chef Eric DiStefano, who brings with him his contemporary global style of cooking that has French-Asian influences accompanied with Coyote Cafe’s known southwestern style.

open kitchen, quality menu offerings, and attentive service in a casual, comfortable downtown setting. Just a short walk to the historic Santa Fe Plaza, the Lensic Performing Arts Center, hotels, and museums. “I admire a restaurateur who says, Hey, I want to cook the foods I love, like a musician who says, I want to play the music I enjoy. He would have made a great conductor; his orchestra of a staff is playing lovely food in perfect harmony. If music be the food of love—long may the Galisteo Bistro play on.”—John Vollertsen, Santa Fean. Wednesday–Sunday 5–9 pm. Geronimo 724 Canyon, 505-982-1500 geronimorestaurant.com Señor Geronimo Lopes would be very pleased if he knew how famous his 250-year-old hacienda on Canyon Road has become. The landmark adobe is now home to a cutting-edge restaurant—elegant, contemporary—serving the highest-quality, creative food. Award-winning chef Eric DiStefano serves up a creative mix of French sauces and technique with culinary influences of Asia, the Southwest, and his own roots in Italy, blended to bring taste to new levels. Geronimo is New Mexico’s only restaurant to hold both Mobil 4 Star and AAA 4 Diamond awards. Dinner seven days a week, beginning at 5:45 pm. Il Piatto 95 W Marcy, 505-984-1091 Locally owned Italian trattoria located one block north of the Plaza. Nationally acclaimed and affordable, il Piatto features local organic produce and house-made pastas. Prix fixe three-course lunch, $14.95. Dinner, three courses $29.50,

or four courses $37.50 (anything on the menu, including specials). No restrictions. Lunch, Monday–Friday 11:30 am–2 pm; dinner seven nights a week at 5 pm. “Everything is right at il Piatto, including the price.”—Albuquerque Journal India Palace 227 Don Gaspar, 505-986-5859 indiapalace.com Voted “Best Ethnic Restaurant” in Santa Fe. Located in downtown Santa Fe, just one block from the Plaza, India Palace specializes in the dynamic, complex cuisine of northern India and uses ayurvedic (the science of longevity) cooking principles. Homemade cheese, yogurt, ghee, and kulfi (pistachio ice cream), and tandoori-fired traditional breads complement the extensive menu, which includes chicken, lamb, seafood, and vegetarian dishes. Entrees may be ordered mild, medium, or hot. No artificial flavors or MSG. Vegan and gluten-free meals also available. Open seven days a week. Lunch 11:30 am–2:30 pm; dinner 5–10 pm. Josh’s Barbecue 3486 Zafarano, 505-474-6466 joshsbbq.com Voted “Best New Restaurant” of 2008! Savor the flavor of classic American barbecue created with a special New Mexican twist. Chef/owner Josh Baum, with his manager Rodney Estrada, dishes up a huge fresh daily selection of slowsmoked, mouth-watering meat choices, including tender brisket and succulent natural ribs, served with a choice of sides, sauces, and desserts, all house-made. Special regional dishes, like smoked chicken tacquitos and green-chile brisket bur-

La Casa Sena 125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in the heart of old Santa Fe, in the historic Sena Plaza. Featuring innovative American-southwestern cuisine, an extensive wine list, and a spectacular outdoor patio, La Casa Sena is one of Santa Fe’s most popular restaurants. Recipient of the Award of Excellence from Wine Spectator. For a more casual dining experience, visit La Cantina and be entertained by a waitstaff performing jazz and Broadway musical reviews nightly. Lunch is served 11:30 am–3 pm Monday–Saturday; dinner 5:30–10 pm nightly. Sunday brunch in a beautiful patio setting 11 am–3 pm. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open 11 am–8 pm Monday–Saturday; noon–6 pm Sunday. La Plazuela at La Fonda On the Plaza 100 E San Francisco, 505-995-2334 lafondasantafe.com La Plazuela at la Fonda on the Plaza is a feast for the senses. The room is stunning and the menu sophisticated, showcasing old favorites with New World twists and truly authentic Northern New Mexican cuisine. Our wine list is award-winning, our service is impeccable and, according to the reviewers, you’ll be dining in the “best of Santa Fe style.” Come make memories with us! La Plazuela hours: Breakfast 7-11:30 am daily. Lunch 11:30 am–2 pm Monday–Friday; 11:30 am–3 pm Saturday and Sunday. Dinner 5:30–10 pm daily. Luminaria Restaurant and Patio 211 Old Santa Fe Trail, 505-984-7915 Innatloretto.com Located at The Inn and Spa at Loretto, Luminaria Restaurant and Patio’s Executive Chef Brian Cooper’s eclectic menu includes items such as

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bistro, situated in the historic Padre Gallegos House, offers your guests the classic Santa Fe backdrop. Step into the pristine experience Santacafé has been consistently providing for more than 25 years. New American cuisine is tweaked in a southwestern context, and the food is simply and elegantly presented. Frequented by the famous and infamous, the Santacafé patio offers some of the best people watching in Santa Fe! During high season, our courtyard, protected by a sun canopy, becomes one of the most coveted locales in Santa Fe. Open daily for lunch and dinner.

315 Restaurant & Wine Bar 315 Old Santa Fe Trail 505-986-9190 315santafe.com

315 Restaurant & Wine Bar offers native Santa Feans and savvy visitors a true French experience. Join us in the newly renovated dining room for an impressive menu of classically prepared French cuisine, complemented by an extensive, global wine list.

open face steak, egg and green chile torta, aged fontina cheese and artichoke flameado, spring pea soup with fresh cheese gnocchi, and pork adovada flautas with black bean puree. Take advantage of the early evening Cena Pronto three course dinner from 5:00-6:30pm for just $29. Dine outdoors on a patio adjacent to the hotel’s garden and Loretto Chapel. Dine al fresco under the stars in a romantic veranda lit by hanging lanterns. Don’t forget about informal dining and libations in The Living Room, featuring happy hour and late night specials with weekend entertainment. Proud to feature a Wine Spectator award winning wine list and organic wine, beer and spirits. Luminaria: Breakfast, lunch, dinner seven days. Weekly Sunday brunch. The Living Room: 2:00pm to midnight daily. mangiamo pronto! 228 Old Santa Fe Trail, 505-989-1904 mangiamopronto.com A little slice of Tuscany in Santa Fe. This warm and chic café Italiano recently relocated from the Railyard area, where it established a loyal local following, to a more visible location on Old Santa Fe Trail, across from the Inn at Loretto. In the vein of traditional Italian espresso bars, pronto offers fine coffee, pastries, frittata, panini, pizza, zuppa, insalata, dolci, vino, birra, and gelato. You may truly feel you’re in Italy. Serving breakfast, lunch, and happy hour apertivo, Monday–Saturday 8 am–7 pm, Sunday 8 am–5 pm. Maria’s New Mexican Kitchen 555 W Cordova, 505-983-7929 marias-santafe.com We wrote the book on margaritas! The Great

Margarita Book, published by Random House. Maria’s features over 160 margaritas, chosen “Best Margarita” in Santa Fe 14 years in a row. Each is hand poured and hand shaken, using only premium tequila, triple-sec, and pure fresh-squeezed lemon juice (no mixes; no sugar). A Santa Fe tradition since 1950, specializing in old Santa Fe home-style cooking, with steaks, burgers, and fajitas. You can even watch tortillas being made by hand! Lunch and dinner 11 am –10 pm Monday–Friday; noon–10 pm Saturday and Sunday. Reservations are suggested. Rancho de Chimayó Santa Fe County Rd 98 on the scenic “High Road to Taos,” 505-984-2100 ranchodechimayo.com The restaurante is now open! Serving worldrenowned traditional and contemporary native New Mexican cuisine in an exceptional setting since 1965. Enjoy outdoor dining or soak up the culture and ambience indoors at this century-old adobe home. Try the Rancho de Chimayó’s specialty: carne adovada—marinated pork simmered in a spicy, red-chile-caribe sauce. Come cherish the memories and make new ones. Rancho de Chimayó is a treasured part of New Mexico’s history and heritage. A timeless tradition. Open seven days a week, May to October 11:30 am–9 pm. Online store is open now! Santacafé 231 Washington, 505-984-1788 santacafe.com Centrally located in Santa Fe’s distinguished downtown district, this charming southwestern www.santafean.com




Tabla de Los Santos 210 Don Gaspar, 505-992-6354 hotelstfrancis.com Tabla de Los Santos, located inside the Hotel St. Francis, is Santa Fe’s new dining treasure, featuring exquisite cuisine made from fresh, organic, local, and seasonal ingredients. Experience delectable food based on the right traditions of New Mexico as chef Estevan Garcia redefines New Mexico cuisine with a fresh, simplified, and uncomplicated approach. Enjoy a relaxing dining experience in the restaurant or on the lovely outdoor patio. Open for breakfast 7:30– 10:30 am, lunch 11:30 am–2 pm, dinner 5–9 pm. Three Forks Restaurant Rancho de San Juan Country Inn 34020 US Hwy 285, 505-753-6818 ranchodesanjuan.com Exquisite world-class, award-winning restaurant. Sixteen years strong and aging like a fine wine. Enjoy comfortable dining in an elegant but casual atmosphere. Savor innovative continental cuisine with a southwestern flair. Check our website for special events, wine dinners, Passport Dining Adventures, plus Easter, Mother’s Day, and Saturday lunches. Enjoy our award-winning staffYou’re and attentive service. Relax on our patio with an afternoon cocktail and check our outstanding wine list with reasonable prices to complement your dining experience. Zagat Survey winner number one in New Mexico. Condé Nast Traveler number 23 on the Top 100 in the USA list. Come celebrate that special occasion. Reservations required. Two seatings only, 6:30 and 8 pm Tuesday–Saturday. Table is yours for the evening. Saturday lunch, 11:30 am and 12:30 pm seatings. Closed on Sunday and Monday.



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Zuill Bailey’s Bach’s Cello Suites rode to the top of the classical music charts earlier this year. Hear the acclaimed cellist play solo pieces from the CD on August 7 at St. Francis Auditorium (5 pm, 107 W Palace). It’s part of the 37th annual Santa Fe Chamber Music Festival, which runs July 18–August 23 and includes more than 80 concerts in Santa Fe and Albuquerque. Tickets: $26–$33, 505-988-1234 sfcmf.org, tickets.com SANTA FE CHAMBER MUSIC FESTIVAL


Zuill Bailey

Pop Goes the Opera M U S I C Forget lyric sopranos. The Santa Fe Opera will echo with laidback folk-pop on August 31 when singer/ songwriters David Gray and Ray LaMontagne share the stage at 7 pm on August 31. England’s Gray (“Babylon,” “Sail Away”) released his newest CD, Draw the Line, in 2009; Maine-based LaMontagne’s latest, God Willin’ and the Creek Don’t Rise, hits stores in mid-August. Tickets: $25–$54, 505-986-5900, santafeopera.org

Ray LaMontagne

august/september 2010

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RCA MUsic group

Mellow Cello


Lift some spirits and indulge your palate at FESTIVAL the Santa Fe Wine and Chile Fiesta, September 22–26. Now in its twentieth year, the annual celebration features daily tastings, cooking demonstrations, and more at restaurants around town. At the September 25 Grand Food and Wine Tasting—the week’s flagship event—more than 70 chefs and 100 New Mexico and West Coast wineries will offer up their finest on the grounds at the Santa Fe Opera.Tickets: Grand Food and Wine Tasting, $125; other events, $75–$150; 505-438-8060, wineandchilefiesta.org

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Plan Your Trip to Los Angeles!

At the AU T R Y Southern California’s Largest American Indian Arts Market Over 120 artists representing more than 40 tribes November 6 and 7, 2010 Autry National Center

Best of Show ceremony and reception with the artists, Friday, November 5 Autry Members preview sale and breakfast Saturday, November 6, 8:30 a.m. Market open to the public Saturday and Sunday, 10:00 a.m.—5:00 p.m. Weekend events: Seminars for collectors, Native Voices at the Autry staged readings, and artists’ demonstrations 4700 Western Heritage Way Los Angeles, CA 90027-1462 323.667.2000 . TheAutry.org Roger “Sosakete” Perkins (Saint Regis Mohawk), Grandmothers, 2009 Jackie Autry Purchase Award; Best of Pottery













11:07:03 AM



Creatures Great and Small

Northern Delights CLASSICAL When the summer chamber music season ends in Santa Fe, it’s just beginning in northern New Mexico. Music from Angel Fire kicks off its 27th year with an August 20 concert at the Angel Fire Community Center, then follows it up over the next three weeks with 13 more performances—featuring works by Schumann, Brahms, Mozart, and others—at venues in Angel Fire, Las Vegas, Raton, and Taos. Tickets: $20–$30, some events free, 888-377-3223, musicfromangelfire.org

FIESTAS Dogs in tutus, goats wearing ribbons, toddlers pulling rabbits in little red wagons: On September 11 at 10 am, Santa Fe’s kids and their animal companions will march— or, more accurately, meander—through the city’s streets in the Desfile de los Niños, also known as the Pet Parade. It’s always a highlight of Santa Fe Fiesta (santafefiesta. org), the annual four-day celebration that kicks off September 9 with the burning of Zozobra at Fort Marcy Park. Tickets: parade, free Zozobra, $10; 505-9881234, ticketssantafe.com

Hot Wheels


CAR SHOW Classic Bentleys, tricked-out Ferraris, and other drool-worthy automobiles will be on parade at the first-ever Santa Fe Concorso, September 24–26. Participating cars and drivers will tour the High Road to Taos on Saturday; on Sunday, the public is invited to a juried auto show on the elegant grounds of La Mesita ranch in Nambe, about 20 minutes north of Santa Fe. Best of all, a portion of the event’s proceeds benefit the Santa Fe Boys and Girls Club. Tickets: auto show $25–$45; weekend VIP passes, $125–$500; santafeconcorso.com

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


fifth annual event showcases fine ethnographic collectibles, rugs, and textiles, folk art, and antique and contemporary jewelry. More than 30 permanent dealers and six visiting dealers display wares from world-village markets and bazaars. 10 am–6 pm, Traveler’s Market, 153B Paseo de Peralta (behind Office Depot), travelersmarket.net

August 9 Rasputina and Larkin Grimm. Rasputina, the electric cello trio led by Melora Creager, exposes passionate fans to historical tales and inspires young string players to seek alternatives to the classical world. 7 pm, $12 in advance, $15 at the door, Santa Fe Brewing Company patio, 35 Fire Place, 505-9881234, ticketssantafe.com

August 3 Kuok-Wai Lio: Solo Piano Recital. Santa Fe Chamber Music Festival presents a performance of Haydn’s Variations in F Minor and Schumann’s Davidsbündlertänze, Op. 6. Noon, $15–$20, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org

August 7 Dan Hicks & His Hot Licks. Singersongwriter Dan Hicks is truly an American original. Since the early 1960s, Hicks has deftly blended elements of swing, jazz, folk, and country music to create “folk jazz.” 7 pm, $22 in advance, $25 at the door, Santa Fe Brewing Company Pub and Grill, 27 Fire Place, 505-988-1234, ticketssantafe.com

August 10 Solo Piano: Anne-Marie McDermott. Santa Fe Chamber Music Festival presents a solo piano recital with Anne-Marie McDermott. Noon, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org

August 3 Santa Fe Desert Chorale: Song of Songs. With its rich imagery and mix of sacred and secular elements, the Song of Solomon has inspired some of the most stunning music in the choral repertoire spanning five centuries. 8 pm, $20–$55, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, 505-988-1234, ticketssantafe.com

August 7 World Music: Wu Man and Friends. Wu Man and Friends play pipa, banjo, Ukrainian bandura, and Ugandan endongo. 8 pm, $26–$39, noon, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org

August 1 & 2 Haydn/ Mozart/Hahn. Santa Fe Chamber Music Festival presents a performance of Haydn’s Piano Trio No. 43, Mozart’s Piano Quartet, K. 478, and Hahn’s Piano Quintet. 6 pm, $48–$62, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org

August 4 Santa Fe Desert Chorale: Mystics and Mavericks. Explore the transcendent music of Estonian composer Arvo Pärt and other choral visionaries. 8 pm, $30–$45, Loretto Chapel, 207 Old Santa Fe Trail, 505-988-1234, ticketssantafe.com August 5 Mendelssohn/Wong/Mozart. The Santa Fe Chamber Music Festival presents Mendelssohn’s Concert Piece No. 1, Cynthia Lee Wong’s Piano Quartet (2010 co-commission), and Mozart’s Serenade No. 11 for Winds, K. 375. Noon, $15–$20, St. Francis Auditorium, 107 W Palace, 505-9832075, sfcmf.org August 5 Romantic Guitar. From early lute songs to Spanish flamenco, the combination of voices and guitar offers limitless variety. 8 pm, $30–$45, Scottish Rite Temple, 463 Paseo de Peralta, 505988-1234, ticketssantafe.com

August 7 Al Hurricane Baile. Al Hurricane is a Latin musician known as the Godfather of New Mexico music. 7:30 pm, $15 per person, $25 per couple, Santa Fe Community Convention Center, 201 W Marcy, 505-988-1234, ticketssantafe.com August 7 Aspen Santa Fe Ballet: A Gala Evening. After a 33-city tour and appearances at the Kennedy Center, the dancers of Aspen Santa Fe Ballet bring their grace, energy, and athleticism to Santa Fe. 8 pm , $20–$82. The Lensic, 211 W San Francisco, 505988-1234, ticketssantafe.com August 7 Los Jardineros Garden Club of Taos Home and Landscape Tour. Four private homes with unique gardens will entice locals and visitors to experience the ambience of life in Taos. 9 am–4 pm, $20 in advance, $25 day of tour, for more information visit gardencluboftaos.com

August 5 Rossini/Kodaly/Dvorak. Santa Fe Chamber Music presents a performance of Rossini’s Wind Quartet No. 4, Kodaly’s Serenade for Two Violins & Viola, Dvorak’s String Quintet No. 2. 6 pm, $29–$61, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org

August 7–8 Loveland Sculpture Invitational in Loveland, CO. Set at the foot of the spectacular Rocky Mountains—with more than 250 artists participating—this 19th annual celebration of sculpture draws thousands of art lovers and collectors from around the country. $5, 920 W 29th, Loveland, CO, lovelandsculptureinvitational.org

August 6 Aspen Santa Fe Ballet: Mixed Repertory. After a 33-city tour and appearances at the Kennedy Center, the dancers of Aspen Santa Fe Ballet bring their grace, energy, and athleticism to Santa Fe. 8 pm, $20–$82, The Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com

August 8 Santa Fe Desert Chorale: HeArt Songs. Enjoy a rare opportunity to hear members of the Desert Chorale perform duets, trios, and quartets on the subject of love. 4 pm, $45, Linda Durham Contemporary Art, 1807 Second Street, #107, 505988-1234, ticketssantafe.com

August 6 Lansky/Wong/Ung. Santa Fe Chamber Music Festival presents a performance of Paul Lansky’s Horizons, Cynthia Lee Wong’s Piano Quartet (2010 co-commission), and Chinary Ung’s Akasa: “Formless Spiral” (2010 co-commission). Preconcert talk with Cynthia Lee Wong and Chinary Ung, 5 pm, O’Keeffe Gallery in the New Mexico Museum of Art. Concert 6 pm, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org

August 8 Joan Baez. The American folk singer, songwriter, and activist performs. 7:30 pm, $36–$72, The Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com

August 6–27 Tribal Arts and Jewelry Show. This 204



August 8 & 9 Mozart/Ung/Smetana. Santa Fe Chamber Music Festival presents Mozart’s Serenade No. 12 for Winds, K. 388, Chinary Ung’s Akasa: “Formless Spiral” (2010 co-commission), and Smetana’s String Quartet, “From My Life.” 6 pm, $48–$62, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org

August 12 Schubert/Stucky/Mozart. Santa Fe Chamber Music Festival presents a performance of Schubert’s Duo for Piano and Violin, D. 574, Stucky’s Piano Quintet (2010 co-commission), and Mozart’s Clarinet Quintet, K. 581. Pre-concert talk with Steven Stucky, 5 pm , O’Keeffe Gallery at the New Mexico Museum of Art. Concert 6 pm , St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org August 13 Santa Fe Desert Chorale: Vespers of 1610. Monteverdi’s masterpiece vespers were composed in 1610, the same year as the founding of the Santa Fe Diocese. 8 pm, $25–$100, gala seats including dinner at Amavi restaurant $275, 505-9881234, ticketssantafe.com August 13–15 and 20–22 Haciendas: A Parade of Homes. The Santa Fe Homebuilders Association invites members of the public to take a self-guided tour of new and remodeled homes in every price range, ranging from the affordable to the luxurious. 11 am–6 pm, $15, 505-988-1234, ticketssantafe.com or sfahba.com August 14 Bach’s Arias for Soprano and Bass. Santa Fe Chamber Music Festival presents a performance of Bach’s Arias for Soprano and Bass,Cantatas Nos. 140, 187, 97, 157, 100, 126, 58. 5 pm, St. Francis Auditorium, 107 W Palace, 505983-2075, sfcmf.org August 14 Rodney Carrington. Carrington is a stand-up comedian, actor, and country music artists who starred in the televition sitcom Rodney and alongside Toby Keith in the 2008 film, Beer for My Horses. 7 pm and 9 pm shows, $39–$69, Buffalo Thunder Resort and Casino, 30 Buffalo Thunder Trail, 800-905-3315, buffalothunderresort.com August 15 John Rangel and Barbara Bentree. Friends of Santa Fe Jazz presents jazz composer and pianist Rangel and jazz singer Bentree. 5:30 pm, $50, Quail Run Clubhouse, for more information visit ticketssantafe.com August 15 & 16 Beethoven/Dean/Schumann. Brett Dean, Opus One, and the Orion String Quartet perform Beethoven’s Piano Quartet, Op. 16, Brett Dean’s Epitaphs for string quintet (2010 co-commission), and Schumann’s Piano Quartet. Pre-concert talk, 5 pm , O’Keeffe Gallery at the New Mexico Museum of Art. Concert 6 pm, $48–$62, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org



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events For the most complete, up-to-date calendar of events in Santa Fe and Northern New Mexico, visit santafean.com August 18 & 19 Leclair/Bridge/Bartok/Mendelssohn. Santa Fe Chamber Music Festival presents Leclair’s Sonata No. 4 for Two Violas, Bridge’s Lament for Two Violas, Bartok’s Contrasts, and Mendelssohn’s Octet. 6 pm, $29–$55, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org August 19 Arensky Quartet. The Santa Fe Chamber Music Festival presents Arensky Quartet, Op. 35, No. 2. Noon, $15–$20, St. Francis Auditorium, 107 W Palace, 505-983-2075, sfcmf.org August 19 The Reverend Horton Heat. The mighty Reverend has had a cult following for 20-plus years, with a musical style that’s rooted in tradition while always breaking it. With Split Lip Rayfield. 6:30 pm, $21 in advance, $25 at the door, Santa Fe Brewing Company Pub & Grill, 35 Fire Place, 505-988-1234, ticketssantafe.com August 20 An Evening of Jazz with the Marcus Roberts Trio. Marcus Roberts is known as one of the most diverse artists in jazz. 8 pm, $15–$39, the Lensic, 211 W San Francisco, 505-988-1324, ticketssantafe.com August 20 A Salute to Indian Market. Concert presented by the Santa Fe Chamber Music Festival. Free, 6:30 pm, St. Francis Auditorium, 107 W Palace, 505983-2075, sfcmf.org August 21 Bach Brandenburg Concertos. Santa Fe Chamber Music Festival presents the Bach Brandenburg Concertos No. 2, BWV 1047; No. 3, BWV 1048; No. 6, BWV 1051. 6 pm, $26–$39, the Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com

Stomp DANCE Thirty-year-old Juan Siddi grew up in Gemrany. But his Spanish mother taught him to appreciate—and master—the art of flamenco, beginning when he was just a child. Santa Fe’s reigning king of Spanish dance and his company of carefully selected dancers from New Mexico and abroad—collectively known as the Juan Siddi Flamenco Theater Company— perform Tuesday through Sunday evenings, through August 22, at the Maria Benitez Theater at the Lodge at Santa Fe (750 N St. Francis).

Tickets: $25–$55, 505-988-1234, ticketssantafe.com 206



August 22 Moszkowski/Brahms/Tchaikovsky. Santa Fe Chamber Music Festival presents Moskowski’s Suite for Two Violins and Piano, Brahms’s Cello Sonata No. 2, Op. 99, and Tchaikovsky’s Souvenir de Florence. 6 pm, $15–$62, the Lensic, 211 W San Francisco, 505988-1234, ticketssantafe.com


September 2 Theater Grottesco’s Shorts V. Short plays created by the Theater Grottesco company, each a complete story and world unto itself. Thursdays– Saturdays at 7 pm, through September 26. theatergrottesco.org September 5 Abiquiu Studio Tour Preview Show. Preview the work of more than 60 artists who’ll be featured in the October studio tour. 505-685-4454, abiquiustudiotour.org September 5 Santa Fe Trail Bicycle Trek. Riders can ride all or part of the 1,100-mile Santa Fe Trail. Trips are non-profit, inexpensive camping trips, with meals provided and all gear carried by trucks. $42 per day, 505-982-1282 for more information September 7 Fiestacita. Fiestacita is an allages celebration to commemorate Don Diego De Vargas’s peaceful reoccupation of the City of Holy Faith. Presented by the Santa Fe Fiesta Council. 7:30 p m , $10, Santa Fe Community Convention Center, 201 W Marcy, 505-988-1234, ticketssantafe.com September 11 Gran Baile. Gran Baile de la Fiesta

has been a much-loved tradition for over a century. Held in honor of the Fiesta royalty, the Gran Baile attire is intricate, historical, and colorful. Presented by the Santa Fe Fiesta Council. 7:30 pm, $10, Santa Fe Community Convention Center, 201 W Marcy, 505988-1234, ticketssantafe.com September 11 Los Alamos Home Tour. Some of the finest homes in Los Alamos open their doors for public viewing. The event benefits Family Strengths Network, a local organization providing family support services. Homes open for viewing 10 am –3 pm , $20 in advance, $25 day of the tour, for details visits lafsn.org September 16 Cook with the Chef: Patrick Gharrity of La Casa Sena. Gharrity prepares and shares a signature dish made from locally sourced, seasonal ingredients at the Santa Fe Farmers Market. 5:30 pm, free, Santa Fe Farmers Market in the Railyard, santafealliance.com September 18 & 19 Pojoaque River Art Tour. Eighteen artists studios in the Pueblo of Pojoaque and along County Road 84 through the traditional communities of Pojoaque, Jacona, Jaconita, and El Rancho will be open to the public. 10 am–5 pm, 505-455-8002, pojoaqueriverarttour.com September 30 Cook with the Chef: Ahmed Obo of Jambo Cafe. Obo prepares and shares a signature dish made from locally sourced, seasonal ingredients at the Santa Fe Farmers Market. 5:30 pm , free, Santa Fe Farmers Market in the Railyard, santafealliance.com

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august/september 2010


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| M I N D + B O DY |

native knowledge indige nou s-inspired spa tre atme nts by Ma ri n Sa rdy SANTA FE IS KNOWN as a center for Eastern health practices, but in recent years, equally ancient influences of a more Western sort have been making their way into local spas. There’s good reason: Native American communities have strong health-care traditions based on some of the best resources avail-

able, like natural hot springs and local herbs. In searching for massages, wraps, masks, and scrubs inspired by regional Native practices, we looked beyond clever marketing to find local spas that offer treatments truly based in indigenous wisdom. These four options are among the most legit (and luxurious) around.


Native American Blue Corn and Prickly Pear Salt Scrub 50 minutes, $85 Ojo Caliente Mineral Springs Resort and Spa 50 Los Baños, Ojo Caliente 505-583-2233, ojospa.com The 142-year-old Ojo Caliente Mineral Springs has earned its authentic, even sacred, vibe. The site was home to a Tewa pueblo, called P’osi-ouinge, long before the bathhouse opened in 1868, and the spa’s logo was inspired by nearby petroglyphs that signify water. Be sure to soak in Ojo’s legendary healing waters before your treatment. The spa’s proprietors, who call themselves “stewards” of the place, keep it quiet and clean but not remotely whitewashed. “It will always be authentic,” says spa director Jeannine Dolan. At her recommendation, I tried a body scrub with exfoliating blue corn and soothing prickly pear. Lead therapist Gwynne Uhruh massaged the bright purple mixture onto my skin, using shallow strokes to stimulate the detoxifying lymph. She then massaged it all off with hot towels soaked in local herb-infused Ojo water, followed with a scalp rub and herbal hair oil. The final touch: a cup of Cota, an “Indian tea” made by Santa Fe–based El Milagro Herbs.

Some of the all-natural ingredients used in the Spa at Encantado’s Mountain Spirit Purification treatment. 208



Mountain Spirit Purification 2 hours, $300 Spa at Encantado, Encantado: An Auberge Resort 198 State Road 592 505-946-5700, encantadoresort.com/spa The chic but natural look of the swanky Spa at Encantado—which was designed to encourage an open connection with the surrounding landscape—says everything you need to know about its signature therapy. Both design and treatment integrate respect for place with attention to every detail, capturing the interconnectedness of the indigenous worldview in the process. After lead therapist Farice Rezabek cleansed the area by burning white sage (“the most widely cherished” variety, he noted) as incense in a smudging ceremony, the multistep Mountain Purification began: mask, wrap, juniper-oil scalp and foot rub, rinse, and hot stone massage. The Adobe Clay Mud Body Mask was the highlight. The mixture of kaolin and bentonite clays, Rezabek told me, would draw out toxins and soften skin while I baked, sweatlodge-style, under hot towels. Afterwards I rinsed off outside, scrubbing down with a cloth of woven ayate—a rough agave-cactus fiber. “This entire package is meant to purify physically, energetically, emotionally, spiritually,” says Rezabek. “All elements fit together to do that.”

Bishop’s lodge ranch resort

Smooth, hot rocks are strategically placed in the Bishop’s Lodge Native Stone Massage.

Native Stone Massage 50 minutes, $135 SháNah Spa, Bishop’s Lodge Ranch Resort, 1297 Bishop’s Lodge Road 505-819-4000, shanahspa.com Drawing in part from shamanic traditions that consider stones to be ancient earth-people, hot stone massage is likely a fusion of practices from around the globe. Most agree, however, that in its modern form the sumptuous spa staple originated in the Southwest. Taking this seriously, SháNah Spa therapists use only natural basalt pebbles gathered from rivers in this region; the smooth, rounded stones are also inlaid in the floors and used to fill the nearby garden. When heated, says lead therapist Tim Blair, they increase circulation and ease away stiffness. Plus, he adds, “There’s really a grounding effect.” For my treatment, therapist Jennifer Primeaux held the preheated stones in her hand as she massaged me with long, gliding strokes, then left the stones to rest behind my neck, along my spine, and in my palms. It was gentle, with the heat doing much of the work, but not by any means dull. When she placed small disc-shaped pebbles between each of my toes, an intense and deep release radiated through me. It was indeed what Blair described as a feeling of “physically merging with the earth.”

Navajo Wellness Package 75 minutes, $150 Downtown Day Spa, 614 Agua Fria 505-986-0113, downtowndayspa.com It was at the 85th Indian Market that C. Sisley-Schatz, owner of Downtown Day Spa, first met Navajo medicine woman Virginia Boone. The two hit it off over at Boone’s booth, where she was selling her Medicine of the People “wild-crafted” oils and salves (medicineofthepeople.net). Using only herbs traditionally gathered near her Marana, Arizona, home, Boone draws from her family’s ancestral knowledge to make her remedies, personally blessing each of them before sale. Her offerings, with all-natural and organic ingredients in traditional handmade blends, are designed for everything from stress relief to soothing sore joints. When I tried them out in a three-step package that includes a facial, massage, and scalp treatment, therapist Valerie Morningstar mixed Boone’s wonders in with facial products by Aubrey Organics—white sage oil in the moisturizer and Beauty Way balm for minor skin ailments. For my massage, I got purifying and calming sage-lavender oil. But most unforgettable was the enriching hair-conditioning oil, which contained ayaheii tsoh, an herb used by the Navajo to keep hair healthy. august/september 2010

santa fean Indian Market 209


allowable 1. All handmade traditional and contemporary pottery forms. allowable with disclosure 1. Kiln-fired and/or double-fired pottery. 2. Pottery made with commercial materials, such as clay, glazes, and temper. 3. All decorative stone, shell, or metal elements (such as turquoise, coral, and silver cabochons), and shell, glass, or metal beads must be properly identified and comply with the same Standards established for allowable materials and non-allowable items for jewelry. non-allowable 1. Slip molds, greenware, non-Indian, or commercial pottery. paintings, drawings, graphics, and photography Native American drawings can be traced back thousands of years, to the petroglyphs and pictographs discovered in caves and kivas throughout the Southwest. Today’s Native American artists embrace ancient tradition as well as the immense range of style and media abundant in the contemporary art world. The only limitation SWAIA places in this category is that hand-pulled prints be limited to editions of 50 or fewer, all of which must be signed and numbered. Indian Market includes a breadth and depth of Native American painting and drawing unsurpassed almost anywhere in the world. allowable 1. Hand-pulled prints, including lithographs and serigraphs, in a numbered and signed edition of no more than 50. It is recommended that a certificate of authenticity from the printer be provided to the consumer. 2. For photography: All works must be signed and numbered in an edition not to exceed 50. non-allowable 1. Any photomechanical reproduction, including note cards, posters, and T-shirts. 2. Giclée, Iris, or other digital photographic reproduction techniques are limited only to photography. pueblo wooden carvings Although the three-dimensional wood carvings of the Hopi and Zuni could be considered sculpture, SWAIA provides them with their own category. Hopi carvings are popularly known as kachinas and must be made from cottonwood root. Zuni artists employ pine and cottonwood root and/or limbs. Other types of woods may be used in contemporary carvings with disclosure. Buyers should consider precision and consistency in technique over size, given that even some of the smallest kachinas can be superb examples of the medium. allowable 1. Carvings must be of the tradition of the carver. 2. Traditional carvings, Division A, made only with traditional materials. a. Hopi carvings must be carved from the root of the cottonwood tree. b. Zuni carvings must be carved from the root and/or limbs of the cottonwood or pine trees. allowable with disclosure 1.Traditional carvings, Division A, (Artificial) fixatives 210



can be used to stabilize pigment, but must be disclosed. Termite-bored or aged wood must be non-infected and disclosed. SWAIA reserves the right to examine and refuse. 2. Contemporary carvings, Division B, can be carved from woods other than cottonwood, but wood must be identified. 3. All feathers used must comply with all current laws and regulations of state and federal agencies. Feathers not allowed include those listed with the Eagle Feather Act and the Migratory Bird Treaty Act. 4. All decorative stone, shell, or metal elements (such as turquoise and coral cabochons), and shell, glass, or metal beads must be properly identified and comply with the same Standards established for allowable materials and non-allowable items for jewelry. non-allowable 1. Feathers not allowed include those listed with the Eagle Feather Act and the Migratory Bird Treaty Act. For more info: atada.org/Legislative_Alert.html sculpture Sculpture, beyond kachinas and the totem poles of the Pacific Northwest, is not a medium traditionally associated with American Indians. Yet today’s artists are masters in the field. Modern sculptors employ a wide range of materials, including alabaster, bronze, marble, glass, wood, and ceramics. SWAIA limits sculptural editions based on size: The larger the work, the lower the number that can be sold. allowable 1. All handwrought materials, such as stone, metal, ceramic, paper, cloth, etc. 2. Cast bronze sculpture in numbered editions not to exceed any dimension: 10 for 6’ (73”) and up; 20 for up to 6’ (72”); 30 for up to 4.5’ (54”); 40 for up to 3’ (36”); 50 for up to 1’ (12”). Measurement will apply to greatest dimension of casting and includes bases. All must be signed, numbered and marked by the foundry. It is recommended that a certificate of authenticity be provided to the consumer. 3. Hand-blown and fabricated glass. 4. Fabricated fiberglass. allowable with disclosure 1. All decorative stone, shell, or metal elements (such as turquoise and coral cabochons) must be properly identified and comply with the same Standards established for allowable materials and non-allowable items for jewelry. 2. Decorative stands that are handwrought and are an integral element to the original sculpture. Stand must not dominate the work. non-allowable 1. Cast resins. 2. Cast miniature sculpture intended for use as jewelry. 3. Production cast open editions. 4. Commercially manufactured stands or props. textiles Cleanly finished edges, a balanced design, and the harmonious use of color are key factors. For textiles (primarily weaving), the best rug will be one that is tightly woven, as stitch count and evenness determine quality. Ask about wools and dyes. Many talented weavers buy their wool and dyes commercially, while some raise and shear their own sheep and create their own colors. SWAIA allows both. Only acrylic yarn is banned.

allowable 1. Weavings may be done on vertical looms (Division A) or horizontal looms (Division B) 2. Weaving, finger weaving, knitting, crochet, sprang, and embroidery are acceptable techniques. allowable with disclosure 1. All attached buttons, conchos, beads, leather, and tin tinklers must be properly identified and comply with the jewelry Standards for allowable and non-allowable items. 2. All feathers must comply with all Federal and New Mexico regulations. non-allowable 1. Commercially made items (such as shirts, jackets, purses, etc.). 2. Liquid embroidery, hot-glue, or iron-on appliqué. 3. Items made from kits, including baskets. 4. Plastic beads, buttons, or other plastic parts. 5. Manufactured or non-Indian–made, die-struck metal buttons, or conchos. 6. Stands or other display items. basketry Baskets are one of the most ancient art forms in the Americas. Tribal styles still flourish along with contemporary work. Buyers can distinguish great from good by looking at the tightness of the weave (unless the design calls for a loose one), the number of stitches per inch in the weft, and the coil count per inch in the warp. Cleanly finished edges, a balanced design, and the harmonious use of color are also key factors. allowable 1. Baskets should be made of plant materials of the tribal tradition of the artist; yucca, willow, three-lobed sumac, honeysuckle root, cottonwood, redbud, split-ash, devil’s claw, fern, etc. 2. All basket materials must be collected, harvested, and processed (split, cleaned, dyed) by the artist. allowable with disclosure 1. All attached buttons, conchos, beads, leather, and tin tinklers must be properly identified and comply with the jewelry Standards for allowable and non-allowable items. 2. All feathers must comply with all Federal and New Mexico regulations. 3. Baskets made of non-plant materials, such as horsehair, yarn, thread, metal, wire, mixed media, raffia, and purchased plant materials. non-allowable 1. Items made from kits, including baskets. 2. Plastic beads, buttons, or other plastic parts. 3. Stands or other display items. diverse art forms A variety of media fall under SWAIA’s Diverse Art forms category, including furniture, stained glass, hides, leather goods, drums, and musical instruments. allowable 1. Purchased glass beads. 2. Commercially processed hides (deer, elk, cow, rabbit, etc.). 3. Handmade items are encouraged, although sewing-

machine work is acceptable. All sewn items must be designed and sewn by the approved artist. 4. All sewn clothing must be labeled, in editions not to exceed five. allowable with disclosure 1. All attached materials, including buttons, collar tabs, beads, leather, and tin tinklers must be properly identified and comply with the same Standards as established for allowable materials and non-allowable items for jewelry. 2. Allowable findings for Indian Market are defined as “an ingredient part of the finished product that adapts the product for wearing or use.” Examples are functional buttons, hooks, etc. 3. Nickel and/or brass beads or buttons not made by the artist must be disclosed. 4. All decorative stone, shell, or metal elements (such as turquoise and coral cabochons), and shell, glass, or metal beads must be properly identified and all items that conform with all current laws and regulations of state and federal agencies and non-allowable items for jewelry. 5. All feathers must comply with all federal and New Mexico regulations and with standards for pueblo wooden carvings. 6. The use of commercial sewing patterns, such as Folklore, Vogue, Simplicity, etc., must be disclosed. darrah st fean1/4 7/3/10 11:48 AM 7. Chip inlay is allowable as long as it com-


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for allowable materials items for jewelry.

non-allowable 1. Plastic or synthetic parts of any kind, for example: beads, buttons, hair, hairpipe, polymer clay (for example, Sculpey). 2. Manufactured or non-Indian–made, die-struck metal charms, buttons, conchos used for ornamental purposes. 3. Commercially made items such as jackets, shirts, and purses. 4. Liquid embroidery kits, hot-glue, or iron-on appliqué. 5. All items that conform with the standards established for non-allowable items for jewelry.

non-allowable 1. Plastic or synthetic parts of any kind. 2. Commercially beaded and manufactured items of any kind. 3. Plastic or synthetic materials of any kind, such as beads, buttons, hair, hairpipe, polymer clay (for example, Sculpey). 4. All items that conform with the standards established for non-allowable items for jewelry.

beadwork and quillwork Beadwork, especially on dolls and clothing, tends to be popular at Indian Market. SWAIA allows only glass beads, with the smaller ones considered more traditional. Consider the level of detail in any beading work. Artists may incorporate larger beads into a design, although smaller beads should still dominate the pattern. Quillwork, undergoing a resurgence, is generally made from the quills of a porcupine, taken from the neck area. They are then washed and flattened before being incorporated into a design. allowable 1. Purchased glass beads. 2. Commercially processed hides. allowable with disclosure 1. Nickel and brass beads that are not made by the artist must be disclosed. 2. Commercially produced objects that are transformed into a work of art by the hand application of beadwork or quillwork such as tennis shoes, bottles, etc. 3. All feathers must comply with all current laws and regulations of state and federal agencies and for pueblo wooden carvings. 4. All attached materials, including buttons, collar tabs, beads, leather, and tin tinklers must be properly identified and comply with the same standards as established

youth This Division will be guided by the same Standards that govern other Indian Market Classifications. Please contact the SWAIA office for the specific “Classification Definitions and Guidelines” that relate to the items you wish to enter for judging. There are separate rules for each. For example: “All paintings, drawings, photographs must be framed, shrink wrapped and wired for hanging.” OR “Plastic beads or parts are not allowed.” The intent is to encourage youth to create a piece of art without the active participation of adult family members. Division A: Ages 12 And Under Division B: Ages 13 Through 17 moving images Film is a new classification at Indian Market this year, in acknowledgement of the growing popularity and access of filmmaking equipment. allowable 1. Due to time limitations, only one moving image entry can be entered. Work needs to be no more than 30 minutes in length. 2. Two(2) copies must be submitted for the jurying/judging process. 3. No less than 50% of your creative team (directors, producers, writers, screen writers) must be Native American of a US Federally Recognized tribe.


plies with jewelry standards.

Indian Market is a tremendously meaningful event every year, not only for the artists who spend many months preparing their work, but also for loyal collectors who travel great distances to be in Santa Fe for this special tradition. Both parties rely on one another to get the most out of the time and money they spend. Local jewelers Pat Pruitt and Cody Sanderson have had much success at Indian Market over the years. Below, they share some wise words of advice on proper conduct when participating in this year’s market. For Artists ● Be courteous. The collectors buying your pieces want to know that much more about you. A lot of people are traveling thousands of miles just to be there for that day. ● Be on time. Don’t start selling before 7 am on Saturday. ● Be (and look) professional if you’re going to have those professional prices. ● Just because your piece may have won an award does not mean its value has increased. ● If you are on a break visiting other artists, be mindful of their time. If friends visit you while you’re busy, put them to work while they talk! For Collectors Don’t occupy too much of the artist’s time, especially Saturday morning. The prime selling time for any artist is that first few hours on Saturday; sales made then can justify the extra-long hours they put in. ● Ask before touching or handling any of the artwork, especially pottery. These are fragile items and can get damaged very easily. ● Do not critique the artwork. These artists put their soul into the work and the judging has already taken place. Do not impose your opinion on their hard work. ● If you have children, please keep a mindful eye on them.—Scott Yorko ●




collectors Own What You Love Indian Market is one of the most important weekends of the year for the artists. But it’s also a big deal for their faithful patrons, who come year after year to see what’s new, talk to artists they follow, and add to their beloved collections. Below, three dedicated collectors of Native art share their passions and Market strategies.—Dianna Delling Name: Susy Calof Hometown: Atherton, California Years Coming to Market: 18 years Collects: Jewelry Memorable Find: Sterling silver chief’s necklace by Tchin (Blackfoot/Narragansett), early 1990s Why Native Art? I like things that are authentic and made by people I can talk to and meet. I’ve found collecting Native jewelry to be deeply satisfying over the years. What She Looks For: I walk very quickly through market first thing in the morning, at 5:30 or 6 am. I go to all the jewelry booths and I talk to the artists to find out what they’re doing and why. I’m always looking for something new, something just a little bit different. Name: Dan Wolfus Hometown: Los Angeles, with another home in Santa Fe Years Coming to Market: 24 Collects: Textiles, kachinas, sculptures, and more Memorable Find: Two Gray Hills rug by Barbara Jean Teller Ornelas (Navajo), 1988 Why Native Art? It’s colorful; it creates a pleasant environment in my home in Santa Fe, where I display it; and it gets me look at and start understanding a culture that’s different from my own. What He Looks For: There are 19 wonderful pueblos around here, and I like to have pieces from each one. I like to mix it all up, so when people come to my house they have somewhat of an appreciation for what all the artists are like. Name: Uschi Butler Hometown: Virginia Beach, Virginia Years Coming to Market: 27 Collects: Kachinas, paintings, bronze sculptures, glass Memorable Finds: In the late 1980s, pieces from young artists like Tony Abeyta (Navajo), Raymond Nordwall (Pawnee, Cherokee, Chippewa) and Roxanne Swentzell (Santa Clara), who are now very well known. Why Native Art? I became interested in American Indian history and causes, and then I started liking Native American art. I like the meaning behind kachinas—they are connected to the spirits. What She Looks For: I look for art that I love, and my husband has to love it too. I also look at the quality of every piece. I don’t speculate when I buy art. If the artists happen to become well-known and the pieces become more valuable later on, that’s just an extra bonus.

division a: narrative shorts Short subject narrative moving images are non-commercial motion pictures that are substantially shorter than the average commercial feature film, no longer than 30 minutes. division b: documentaryshorts A documentary short is a broad category of visual expressions that “document” reality in 30 minutes or less to include video and film. division c: animation Animation shorts are the rapid display of a sequence of images of 2D or 3D artwork or model positions in order to create an illusion of movement. Entries can only be of one story and must be no longer than 30 minutes. division d: experimental Experimental film or experimental cinema describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking. Often characterized by the absence of linear narrative, the use of various abstracting techniques (out of focus, painting or scratching on film, rapid editing), the use of asynchronous (non-diegetic) sound or event the absence of sound track. Must be no longer than 30 minutes. promotional materials allowed for sale 1. Fiction or poetry must be the work of the artist. 2. Tapes and CDs must be the work of the artist. allowed in booths for promotional purposes only (not for sale) 1. Books and videos must be of cultural, historical, or educational content, pertaining to the artist. 2. Magazines or artist portfolios featuring artwork may be in the artist’s booth.

which recognize and encourage both traditional and non-traditional handmade arts. standards for selling work at Indian Market Exhibitors must comply with the New Mexico Indian Arts and Crafts Act for labeling and sales. All items offered for sale must be properly represented. For their own protection, artists should obtain receipts from suppliers that state that raw materials are natural. All artists must follow the Jewelry Standards regarding use of materials. If feathers are used, they must comply with all current laws and regulations of state and federal agencies. It is recommended to the artist that a receipt or statement identifying materials and techniques used to create the finished product, as well as identifying the maker, be given to the consumer. Collaborative pieces are allowed provided the artists are current SWAIA approved. Youth artists should follow the standards established for their classification. Artists must be present in their booths during Indian Market weekend. Everything for sale at Indian Market must be produced by the approved artist(s) in the booth, or their children 17 years and under. Only approved Indian Market vendors and their family members are allowed to sell. No mass production of any kind is allowed. SWAIA requires every item for sale at Indian Market to be identified by having a signature, trademark, tag, or label affixed to it. SWAIA Santa Fe Indian Market uses a rigorous process to invite artists who produce high-quality works of art to sell. However, we remind you that all purchases are between the buyer and artist. The artists set their own prices and receive all proceeds from their sales. Any sales that are promised for future delivery are not guaranteed by Santa Fe Indian Market.

not allowed in booths or for sale at market 1. All photo-mechanically reproduced items, such as note cards, postcards, posters, and jewelry. 2. Commercially produced T-shirts, caps, and non-handmade items. general standards SWAIA Indian Market Standards and Judging criteria reflect the traditional standards and styles established by the tribes of the Southwest, specifically those regarding jewelry, pottery, textiles, and culture-related crafts. In order to maintain equitable Standards, SWAIA strives to be consistent in all media for all artists. SWAIA also recognizes the artistic influences of tribes outside the Southwest, the contemporary art market, and the influence of new materials, techniques, and ideas of artists. Therefore, the Standards are a continually evolving guide for both artists and consumers, august/september 2010

santa fean Indian Market 213

| h is to r y |

the coyote and the conquistador what an act of vandalism revealed about New Mexico’s unwieldy history by Ma ri n Sa rdy symbolic protest by a group of both “Native Americans and native New Mexicans” acting “on behalf of our brothers and sisters of Acoma Pueblo.” The crime was a small but potent reference to Oñate’s own actions 399 years before, when he ordered the amputation of the right foot of 24 Acoma men, and was just one piece of a long-suppressed objection that was slowly surfacing in response to plans to celebrate the establishment of Nuevo Mexico. But it was also much more. In the months and years that followed, statues of Oñate became the focal point for a range of historical conflicts and frustrations. In the process, they revealed what may well be a defining dilemma for contemporary New Mexicans: How can, and should, a history so laden with multiplicities be expressed in the public sphere? It began with a scouting party led by Oñate’s nephew Juan de Zaldívar, who camped at the foot of Acoma Mesa on a survey trip to find the seacoast (which he assumed was nearby). According to local historian Marc Simmons, some of the men “were lured to the summit” and attacked.

Ralph H. Anderson, Palace of the Governors Photo Archives

It was a long, cold northern New Mexican winter night—one like many others that the region’s residents had witnessed for centuries. For the area’s Hispanic nuevomexicano community, that number of centuries came to precisely four. It was January 1998, the Cuarto Centenario (400th anniversary) of Spanish colonization, a year to be commemorated throughout the state by public art commissions such as a bust of the state’s official colonizer, Don Juan de Oñate, to be placed in downtown Albuquerque, and events to be held at the Oñate Monument and Visitors Center in Alcalde. Already standing in Alcalde, a tiny hamlet north of Española, was a 12-foot-tall, 3½-ton bronze statue of Oñate—an artwork erected in 1994 but largely unnoticed until this night, when vandals crept up to it and, working in darkness, used a hacksaw to chop off the conquistador’s right foot. According to anonymous letters and photographs of the severed foot received by local TV stations and the Journal North, the theft was a

Juan de Oñate’s inscription at New Mexico’s Inscription Rock, at El Morro National Monument, which translates: “Passed by here the Governor Don Juan de Oñate, from the discovery of the Sea of the South on the 16th of April, 1605.” 214




Acoma warriors killed Zaldívar and 10 others, and when word reached Oñate, he plotted revenge. What followed was “a brutal assault,” a marathon three-day battle, and an all-out massacre of the Acomans. Then, partly as an example to other Pueblos, Oñate concluded his retribution with “a lopsided trial” and a sentence: 20 years of slavery for all Acomans over age 12, and for men over 25, the loss of a foot. For the Spanish, resolution came in 1607, when Oñate was suspended from office by the Crown and banished from New Mexico (in part due to the objections of friars who had witnessed his harsh tactics). But for the Acomans, the trauma was buried. And on through the centuries—as Native groups and Spanish settlers fought many more times, with both sides raiding and enslaving and seeking vengeance, and as the American armies arrived and finally conquered the tribes—Oñate’s act increasingly symbolized an expanding colonial order. By the time the Alcalde vandalism threw the Acoma incident back into public consciousness 400 years later, many conflated Oñate’s actions not only with the colonization of New Mexico but also with U.S. Indian policy and ongoing Native fears of cultural annihilation. So although only a small number of people were deeply invested in arguments about how to commemorate the Cuarto Centenario, their furor caught the public imagination and held it. Within days after news of the 1998 vandalism broke, sculptor Reynaldo “Sonny” Rivera began crafting a replacement foot, while law enforcement officials publicly pledged to investigate. But no significant leads surfaced, and the vandals were never found. Their message, however, continued to gain momentum in local papers and at Albuquerque City Council meetings about the Oñate monument slated for placement in the city’s Tiguex Park. “That littler piece was an emotional flashpoint,” says assistant state historian Dennis Trujillo of the Alcalde incident. “The larger story is about land, water, ethnicity, who was here first, and colonization.” All of this, in turn, was wrapped up in questions about how to make choices about the present in the face of conflicting cultural memories. Over the course of the following months, stretching into years, objectors and defenders faced off on the public stage, struggling toward a compromise. “The community was dealing with centuries of anguish and trauma,” remembers Santa Clara Pueblo artist Nora Naranjo-Morse. “One woman told me, ‘I never heard of it at home because my grandparents were afraid that if they mentioned it, the black cloud would appear again.’” In late January, the city’s Arts Board ordered a redesign of the statue, to be made collaboratively by Rivera, Naranjo-Morse, and UNM art professor Betty Sabo. The three proposed a design pairing a standing Oñate with about two dozen pairs of moccasins, among which one would be missing. But that plan too faltered, with the Arts Board demanding a second redesign in March. Antonio Trujillo, a Hispanic Catholic priest who served Acoma churches, called for reconciliation as a way to break free from the past,

but it seemed unlikely. The following February, a 13-member committee’s proposal to replace Oñate with a memorial focusing on Hispanic and indigenous coexistence was roundly rejected. Then that July, a group called Circle of Voices presented a complaint to the city’s Human Rights Board, seeking to stop construction altogether. Despite many advocates on all sides consistently encouraging kindness and acceptance, the dialogue at times turned downright nasty. “There was all this misconception,” says Naranjo-Morse, “back and forth, pointing fingers—but there wasn’t a lot of accuracy in allegations on either side.” Even those not deeply invested felt the challenge of handling such persistent contradictions. “You cannot go to the shelf,” points out state historian Rick Hendricks, “and find a single-volume history of New Mexico that is definitive and widely accepted.” Many states do have such a volume, he says, but not New Mexico, and this poses a problem for anyone trying to think in terms of a single, synthesized historical narrative. “If you’re going to celebrate the multicultural nature of New Mexico, you have to understand all that comes with it—and one of the things that comes with it is a very complex view of the history of the area.” It wasn’t until March of 2000 that the city reached a decision: A sculpture titled La Jornada (The Journey), to be built by Rivera and Sabo, would include Oñate as just one figure among a large group of Spanish settlers and would be placed on the more neutral ground of the Albuquerque Museum. Naranjo-Morse was given a separate space for a creative response, for which she produced a conceptual piece of environmental art, in which, she says, “I gave the land back to itself.” Completed in 2005 (seven years late), the project first intended as a monument and then briefly envisioned as a site of collaboration ultimately provided something else: a public space in which various viewpoints exist side by side. Oddly, the same has now come true for the repaired Alcalde statue: The scar on its right ankle serves as a faint but permanent reminder of an alternate history. It seems Oñate finally stumbled onto a path forward, simply by offering us a chance to consider multiple perspectives, however unresolved, as part of a history still being made. The Oñate statue at Alcalde as it appears today—its foot fully restored.


| D AY TR I P |

Villanueva photo by Juli e n McRobe r ts

Location: Villanueva State Park Distance from Santa Fe: 57 miles, 1 hour southeast What’s there: This vast spread of lush cottonwood trees perched along the rippling Pecos River valley lies peacefully under the wide blue skies of a red and yellow sandstone canyon. The family-friendly campground comes with showers, restrooms, and a playground, while maintaining a classical aesthetic: Its adobe-style picnic shelters resemble a 16th-century Spanish hamlet. Moderate hiking trails lead you up to panoramic vantage points and continue across an overarching footbridge to prehistoric Indian ruins. What’s nearby: When you’ve exhausted all your fishing, rafting, and wildlife-viewing options, the adjacent Spanish colonial villages of Villanueva and San Miguel del Vado are historic, quaint, postcard-worthy gems. Info: 888-NMPARKS or emnrd.state.nm.us






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