gallery portfolio â€˘ performing arts â€˘ native arts insert
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Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate brokers affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. 505.988.8088
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Girl With A Lost Dog, oil on panel , 16 x 20”
Gigi Mills Prima Materia
September 20th - OctOber 4th Opening receptiOn September 20th 5-7pm “In a world filled with spectacular visual effects, instagram influencers and an endless stream of images that incessantly vie for our attention, where nations with awe and wonder. Many of us try to turn to art or science to help explain the inscrutable, the mysteries or the voice of angels. Along the way we learn there are no easy answers, and the way Gigi Mills’ sees it, there really shouldn’t be. We don’t need the unexplained revealed, rather we need to go deeper into our confusion and see what lurks beneath our beliefs and guiding principles. Mills wants you to look directly into the event horizon and embrace the longing and loneliness we all carry.” - Mark Oppenheimer
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Peonies, Oil on Canvas 30“x50“
Four Whites on Yellow, Oil on Canvas 48“x48“
Bouquet and Red Ruby, Oil on Canvas 48“x48“
Karen Haynes‘ solo exhibition Perfectly Opposed September 6th - September 29th Opening Reception 5-7pm, Friday, September 6th
August 31 | 8:00pm
The Lensic Performing Arts Center
a BUSINESS PARTNER
p MEDIA SPONSORS
GOVERNMENT / FOUNDATIONS Melville Hankins
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. PHOTO: ROSALIE O’CONNOR
PHOTO: JAMES MCGREW
2019 August and September Exhibitions
Francis Livingston | August 16 - 22
Natalie Featherston | September 13 - 19
Aimee Erickson | August 30 - Semptember 7
Robert LaDuke | September 27 - October 3
To view our entire 2019 exhibition schedule visit our website Artist receptions are on Friday evenings between 5-7pm and are open to the public. 225 Canyon Road Santa Fe, NM 87501 | 800.779.7387 | 505.983.1434 | www.MeyerGalleries.com
Â© Kate Russell
Ar t + A nt iq u e s + De s i g n St udio 55 4 Ca n y o n Ro a d | Sa n ta F e 505.780.8206 | Gl o ri a De v an.com
MARK WHITE FINE ART
Mark White Suzanne Donazetti David Meredith
414 Canyon Road | Santa Fe, NM 87501 | 505.982.2073 www.markwhitefineart.com | email@example.com
28 the arts + culture issue
August / September 2019
Symphony, chamber music, Lensic Presents, ballet, flamenco, Santa Fe Music Week, and more: what’s happening on the city's stages
36 Gallery Portfolio
Profiles of Santa Fe’s most interesting galleries, large and small
22 Publisher’s Note 26 City Different
Zozobra, Whitehawk Indian and Ethnographic Art Show, Objects of Art, Antique American Indian Art Show, Santa Fe Wine and Chile Fiesta
Fall studio tours, visits with Roseta Santiago and JD Wellborn, Santa Fe’s goldsmiths, and previews of upcoming exhibits in the galleries
Wine is the foundation for the renovation of a Santa Fe home
plata de santa fe
Chef Johnny Vee finds fabulous Chinese dumplings and tries out Jimmy D’s, two new options for Downtown dining
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gallery portfolio • performing arts • native arts insert
ON THE COVER Laura Wait, Polar Regions, acrylic on panel, 48 x 40" Courtesy Hunter Squared Gallery
AUGUST AND SEPTEMBER are months of sensory overload in Santa Fe. Beauty surrounds us this time of year and comes to a crescendo during our summer season, and music is always in the air. Whether it be opera, chamber music, jazz, rock, blues, or almost any other style of music, it can all be found here during the next 10 weeks. The same is true of artistic endeavors. The galleries of Santa Fe are busy featuring their top artists through openings, demonstrations, and other events. While we have included many of the highlights in this issue, be sure to go to SantaFean.com and click on our calendar page—it will give you an even vaster array of possibilities. Behind every single one of these musical, theatrical, and artistic productions lies the spirit of creative people at work—men and women who completely dedicate themselves to creating beauty. The monetary rewards don’t even begin to compensate their hard work, passion, dedication, and talent. There is something far more important that drives them to produce the extraordinary results that we get to witness. My own experience with creative pursuits convinces me that we each have something to articulate—something that has to be said. What stirs inside artists and performers is so important that they are compelled, despite often daunting odds, to release it into the world. And release it they do. In this Arts + Culture issue of Santa Fean, we have done our best to capture the amazing creativity that is on display during Indian Market, throughout the art galleries, and on every stage, real or impromptu, within our city and surrounding area. Seeing the results of this creativity—and allowing it to stir the creativity living within all of us— is exciting. But, remember that professional artists don’t have the market cornered on creativity. You might hear or see something in the coming weeks that triggers your own creative soul. It may compel you to make a purchase or it may inspire your own musical or artistic endeavors. Who knows what shape it will take, but I promise you satisfaction from the process.
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Seen photographs by Around Lisa Law
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Copyright 2019. Reproduction in whole or in part without permission is prohibited. Santa Fean (ISSN 1094-1487), Volume 47, Number 4, August/September 2019. Santa Fean is published bimonthly by Bella Media, LLC, at Pacheco Park, 1512 Pacheco St, Ste D-105, Santa Fe, NM 87505, USA, Phone (505) 983-1444. ©Copyright 2019 by Bella Media, LLC. All rights reserved. CPM # 40065056. Basic annual subscription rate is $14.95. Annual subscription rates for Canada and Mexico is $24.95; other international countries $39.95. U.S. single-copy price is $5.99. Back issues are $6.95 each. Subscription Customer Service: Santa Fean, P.O. Box 16946, North Hollywood, CA 91615-6946, Phone 818-286-3165, fax 800-869-0040, firstname.lastname@example.org, Monday–Friday, 7 am –5 pm PST. santafean.com
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photo Â© Wendy McEahern
Objects of Art
Objects of Art features more than 70 exhibitors selling fine art of all kinds, including jewelry, furniture, clothing, textiles, books, painting, sculpture, and more. Materials range from contemporary to historic, and work comes from all around the world. Some participating galleries and exhibitors are local—like Elephants and Trees by Albert Lubaki, whose work Artemis Gallery, Chimayo will be shown at Objects of Art. Trading del Norte, and John Ruddy Textile Art, all from Santa Fe—while others come from elsewhere in the state and country. At the opening night party and preceding cocktail hour, August 8, enjoy wine, hors d’oeuvres, and general merriment. Opening Night Party, August 8, 6–9 pm, $75; Objects of Art, August 9–11, 2019, 11 am–5 pm, $15/day, $25 for run-of-show ticket; El Museo Cultural de Santa Fe, SHOW
the buzz around town by Sarah Eddy
Whitehawk Indian & Ethnographic Art Show Whitehawk Indian & Ethnographic Art Show has been a Santa Fe tradition for over 40 years. The massive event features more than 100 art dealers selling antique ethnographic, tribal, and antique Native American artwork at the Santa Fe Community Convention Above: Morning Star Traders, one of the many booths at the Center. Some of the Whitehawk Indian & Ethnographic show. merchandise, which includes textiles, jewelry, painting, basket work, pottery, and much more, is not found anywhere else. The opening night party includes heavy hors d’oeuvres, a complimentary drink, live entertainment, and a cash bar. Whitehawk Antique Indian and Ethnographic Art Show, opening night party, August 9, 6–9 pm, $85; August 10–12, 10 am–5 pm, $15/day, $25 for run-of-show ticket; Santa Fe Community Convention Center, 201 W Marcy, whitehawkshows.com
The Burning of Zozobra
courtesy whitehawk antique shows
event Each year at Santa Fe’s hottest party, the public sends Old Man Gloom up in flames. Zozobra, a 50-foot effigy designed in 1924 by artist Will Shuster, is one of the world’s tallest, fully functioning marionettes. The monstrous figure, which has large ears, pointing fingers, and glowing eyes, is stuffed with slips of paper inscribed with gloomy thoughts and disappointments. In a wild extravaganza, Zozobra is burned against a backdrop of colorful fireworks. The weekend before the big night, Zozobra is introduced at ZozoFest, a free public party and art show at the Santa Fe Place Mall. Souvenirs are for sale and anyone can add report cards, divorce papers, pink slips, and written grievances to the doomed puppet’s pile of kindling. ZozoFest, August 23, 6–9 pm; August 24, 10 am–7 pm; August 25, 12–4 pm, free, Santa Fe Place Mall, 4250 Cerrillos The Burning of Zozobra, August 30, 4–10 pm, $10, Fort Marcy Park, 490 Bishop’s Lodge, burnzozobra.com
The Antique American Indian Art Show
Above: A beaded vest, ca. 1900, for sale by Clear Sky American Indian Art of Sonoma, California. 26
SHOW More than 65 of the world’s experts in antique Native American art come together for this show, offering basketry, jewelry, textiles, katsinas, sculptures, pottery, and more for viewing and purchase at El Museo Cultural in the Railyard. For its sixth year, the show includes a pair of special exhibitions accompanying the main event. The first shows photographs by Edward S. Curtis, who began traveling to Native ceremonies across the West in 1900. The second is a show of 70 pieces of jewelry by Julian Lovato (Santo Domingo Pueblo) (1925–2018). Lovato’s work is marked by what he called “raised dimensional design.” The opening night gala happens Tuesday, August 13, from 6–9 pm. The Antique American Indian Show, opening night August 13, 6–9 pm; $75, August 14–16, 11 am–5 pm, $15/day, $25 for run-of-show ticket; El Museo Cultural de Santa Fe, 555 Camino de la Familia, antiqueindianartshow.com
Zozobra’s final moments before going up in flames.
Santa Fe Wine and Chile Fiesta
The highly anticipated Santa Fe Wine and Chile Fiesta offers an overflowing schedule of events—tastings, chef demos and luncheons, seminars, auctions, and a film fiesta are all Drink up at the Santa Fe on the menu. All-star chefs Wine and Chile Fiesta. Ravi Kapur, Neal Fraser, Mark Kiffin, and Peter Barlow join forces for a luncheon followed by a live auction on September 26 at the Eldorado Hotel (tickets are $150 per person). The Grand Tasting, featuring tastes from 75 of Santa Fe’s restaurants and 100 world-class wineries, happens on Saturday, September 28, at the Santa Fe Opera ($175 per person). The Champagne and Dirty Boots Brunch at the Rancho Encantado Four Seasons rounds out the week on September 30 ($125 per person). Santa Fe Wine and Chile Fiesta, September 22–29, times and prices vary, Santa Fe Community Convention Center, 201 W Marcy, and various other locations, santafewineandchile.org events
Felicia Fragua works on pottery at the Wheelwright Museum Benefit Sale.
Wheelwright Museum Benefit Sale
At the 44th Annual Wheelwright Museum Benefit Sale, find Native American art both contemporary and historical, including jewelry, pottery, textiles, baskets, and folk art. The sale is the Wheelwright Museum of the American Indian’s biggest fundraiser of the year, supporting educational programs, new exhibits, and an eight-decade-long commitment to presenting Native American art. The event starts Wednesday, August 14, with a 3–6 pm preview of benefit sale items. The $20 entry fee covers hors d’oeuvres. On Thursday, August 15 is the Case Trading Post Artist Showcase from 10 am–noon. Then the sale, which is free to attend, is open from 9 am–4 pm. On Friday, August 16, the Case Trading Post artist demonstrations take place from 9 am–noon with the sale open from 9 am–4 pm. 44th Annual Wheelwright Museum Benefit Sale, preview August 14, 3–6 pm, $20; sale August 15–16, 9 am–4 pm, free, Wheelwright Museum of the American Indian, 704 Camino Lejo, wheelwright.org Fundraiser
The 12th Annual Santa Fe Renaissance Faire
event At the Santa Fe Renaissance Faire, travel back in time to a land of humble lords and ladies, lively court dancing, and courageous displays of hand-to-hand combat. The immersive two-day affair is packed with opportunities to experience life in the Middle Ages—from bardic recitations to armored fighting demonstrations, there’s never a dull moment. There are also magic shows, dancing lessons and performances, arts and sciences talks, royal tea parties, children’s activities, and, of course, plenty to feast on. The noble weekend raises funds for El Rancho de las Golondrinas and the Santa Fe School for the Arts and Sciences. The 12th Annual Santa Fe Renaissance Faire, September 14–15, 10 am–5 pm, $10–$12, El Rancho de las Golondrinas, 334 Los Pinos, golondrinas.org
events For more than 300 years, exuberant cries of “¡Viva la Fiesta!” have reverberated through the historic Downtown Santa Fe area each autumn. The Santa Fe Fiesta Council put on the first Fiesta de Santa Fe in September of 1712 to commemorate the anniversary of the city’s 1692 reconquest. During this history-laden festival, Downtown is full of mariachi performances, arts and crafts booths, and food vendors. Events include food booths and live music; the Fiesta Fine Arts and Crafts market on the weekends of August 31–September 2 and September 6–8; parades during the latter weekend; special masses; and the final candlelit procession to the Cross of the Martyrs the evening of September 8. Don’t miss the Desfile de los Niños, better known as the pet parade, September 7 at 9 am and the Desfile de los Gente, the historical/hysterical parade, September 8, beginning at 1 pm. Fiesta de Santa Fe, August 31–September 8, 2019, free, Santa Fe Plaza, 63 Lincoln, and other locations, santafefiesta.org
courtesy of the wheelwright museum
Fiesta de Santa Fe
Above: Jesters and performers at the Santa Fe Renaissance Faire. august/september 2019
The Santa Fe Opera Santa Fe Opera Above: Soprano Vanessa Vasquez plays the doomed Mimì, a seamstress, in La bohème.
the old and the new
the old and the new
Above: Soprano Vanessa Vasquez plays the doomed Mimì, a seamstress, in La bohème.
Above: Johannes Debus, who has conducted at the Metropolitan Opera, conducts Jenůfa.
Above: Soprano Amanda Majeski plays Fiordiligi in Mozart’s Così fan tutte.
Below: Bass Solomon Howard plays philosopher Colline in La bohème.
The Pearl Fishers, conducted by Timothy Myers For its 63RD season, The Santa Fe Opera and directed by Shawna Lucey, was a favorite of the presents two well-known operas, La bohème The Pearl Fishers, conducted by timothy Myers santa Fe opera critics when The Santa Fe Opera last staged it in and Così fanand tutte,directed and two lesserbysomewhat shawna Lucey, was a favorite of the s, La bohème 2012. Composed by Georges Bizet, it focuses on the critics when the santa Fe opera last staged it in what lesserknown productions, The Pearl Fishers and Jenůůfa. close friendship between two pearl fishers. 2012. Composed by Georges Bizet, it focuses on the Internationally noted for introducing new operas, ůůfa. shers and Jen close friendship between two pearl fishers. Jenůůfa was composed by Czech composer Leoš company is also staging the world premiere ucing newthe operas, of The Thirteenth by by theCzech Brothers JenůůChild, world premiere fa wasinspired composed composerJaná Leošcč ek in the early 20th century. A dark tale of infanticide and redemption, the story follows a Grimm. The season ends 24, century. with perby the Brothers Janá cč vek in theAugust early 20th a dark tale of young in village politics. Johannes happening days a week. t 24, withformances perinfanticide several and redemption, the August story follows a woman tangled Above: Soprano Amanda Majeski plays . Debus conducts the award-winning by startwoman at 8 pmtangled ys a week.performances august young in village politics. Johannes Fiordiligi in Mozart’s Così fan staging tutte. Part of theDebus standard Italianthe opera repertory, LastagingDavid conducts award-winning by Alden for the English National Opera. bohème the “charming andenglish terriblenational lives” of opera.The Thirteenth Child is a fairy tale-inspired opera by era repertory, La follows David alden for the Below: Solomon Howard plays acclaimed six young bohemians 19th-century one ofBass today’s most highly The Thirteenth Child is ainfairy tale-inspiredPoul operaRuders, by terrible lives” of and lovestruck philosopher Colline in La bohème. Paris. Conductor Jader Bignamini and director composers. The protagonist is Princess Lyra, who ns in 19th-century Poul ruders, one of today’s most highly acclaimed Mary Birnbaum work together to bring composer embarks i and director composers. the protagonist is Princess Lyra, who on a quest to find her long-lost brothers. Giacomo Puccini’s life. to find her long-lost brothers. Finally, the most affordable production of the bring composer embarksscore on ato quest The comedicFinally, Così fanthe tuttemost was composed Mozart summer affordableby production of the is the Apprentice Showcase on August 11 inMozart collaboration with Lorenzo Da Ponte.showcase It tells theon august and 18. summer is the apprentice 11Numerous singers and technical apprenomposed by tices have launched distinguished careers from The storythe of two and young who test the and fidelity of Ponte. it tells 18.soldiers numerous singers technical apprenSantathe Fe Opera’s comprehensive apprentice protheiroffiancéestices by attempting to court them in disguise. st the fidelity have launched distinguished careers from Santa Fe Opera Director Harry Bicket grams.—Sarah Eddy urt them inThe disguise. santa FeMusic opera’s comprehensive apprentice proThe Santa Fe Opera, santafeopera.org and directorgrams.—Sarah R. B. SchlatherEddy lead the production. tor Harry Bicket he production. The Santa Fe Opera, santafeopera.org
Above: Johannes Debus, who has conducted at the Metropolitan Opera, conducts Jenůfa.
The Pearl Fishers was a favorite of the critics when The Santa Fe Opera staged it in 2012. It returns this season for an encore.
courtesy of the artist
Singer-songwriter Valerie June performs her unique mix of folk, blues, gospel, soul, country, Appalachian, and bluegrass in a free concert on August 24.
AMP Concerts turn up the music AMP Concerts is packing the late-summer haze with can’tmiss events, many of them free. The Levitt AMP Santa Fe Music series returns to the Santa Fe Railyard Plaza with free concerts most Saturdays throughout August. Reverend Horton Heat, a rockabilly and psychobilly trio formed in 1986 by Jim Heath, performs August 3. On August 10, Grammynominated gypsy indie rock quartet DeVotchKa plays its intense, hypnotic music. Then the series takes a week off before Americana artist Valerie June performs on August 24, followed by Fantastic Negrito’s gritty, Grammy-winning blues music on August 31. All shows start at 7 pm. Food vendors will be onsite, but outside food and non-alcoholic beverages are welcome. Once the Levitt AMP collaboration winds down, AMP puts on several big-name concerts at The Santa Fe Opera and the Lensic. On August 31 at the Opera, Kacey Musgraves performs the neotraditional country and pop music that won her 2018’s “Album of the Year” Grammy. The National plays indie and alternative rock on September 8, and country singer-songwriter Dwight Yoakam appears on September 17. At the Lensic, Oscar winner Glen Hansard performs folk and rock music on September 17. If music’s not your thing, AMP’s free movie series in Santa Fe Railyard Park continues through August with Wall-E on the ninth and Incredibles 2 on the 23rd.—SE AMP Concerts, ampconcerts.org
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Santa Fe Pro Musica
Above: Pianist Jeremy Denk, winner of a MacArthur “Genius Grant,” plays in January.
Santa Fe Pro Musica (SFPM) is looking to both the past and the future in their upcoming season. Thomas O’Connor and his wife, Carol Redman, founded the group in 1980, and O’Connor has served as music director, principal oboist, and chief conductor over the years. Now in his early 70s, he has announced that the 2019–2020 season will be his last. On May 14 SFPM will hold a dinner at The Compound celebrating O’Connor; watch for an announcement naming his successor as early as this fall. O’Connor is not easing out—he will conduct all five of the season’s orchestral concerts. Colin Jacobsen returns September 21 and 22 to perform Erich Korngold’s violin concerto, each movement based on a theme from one of Korngold’s film scores. Beethoven’s “Eroica” symphony and Julia Adolphe’s Shiver and Bloom complete the concerts. Pianist Anne-Marie McDermott returns to SFPM November 2 and 3. Having presented the complete cycle of Beethoven concertos in 2017 and 2018, she switches to two of Mozart’s concertos for 2019. SFPM’s holiday presentation of Bach’s Brandenburg Concertos was such a hit last year they’re doing it again, this time in the smaller St. Francis Auditorium on December 29 and 30. Jeremy Denk joins the orchestra as piano soloist January 25 and 26, playing pieces by Mendelssohn and Schumann. The concert opens with Melinda Wagner’s Little Moonhead and closes with Haydn’s final symphony, his 104th. For his finale, April 25 and 26, O’Connor has chosen more Haydn—The Creation. Scored for orchestra, chorus, and soprano, tenor, and bass soloists, the piece is an account of no less than the creation of the world. Pro Musica’s Baroque Ensemble upholds its tradition of holiday concerts in the beautiful Loretto Chapel. The Christmas concerts, December 19–24 at 6 and 8 pm, regularly sell out, the combination of baroque and traditional seasonal music performed on period instruments. Likewise, the Holy Week concerts, April 9–11, feature baroque repertoire and instruments of the era. The String Works Series also continues with the Pacifica, Borromeo, and Brentano Quartets on January 12, February 23, and March 22 respectively. SFPM’s Women of Distinction Leadership Initiative continues in the 2019–2020 season. Over the year, associate music director Carol Redman will give a series of lectures, Where Are the Women in Classical Music? And, as in seasons past, SFPM continues to regularly program works by female composers and feature women as soloists.—Lisa J. Van Sickle Above: Carol Redman, a founder of SFPM, Santa Fe Pro Musica, sfpromusica.org speaks on women in classical music.
The Pacifica Quartet opens the 2020 String Works Series.
Above: The Borromeo String Quartet has a 30-year history. Hear them in February, part of SFPM’s String Works Series.
Left: Violinist Colin Jacobsen opens Santa Fe Pro Musica’s season in September with the Korngold concerto.
Soprano Sherezade Panthaki is soloist in the annual Baroque Holy Week concerts.
something old, something new
Courtesy of the artist
something for everyone
Back at the Lensic by popular demand, Storm Large performs in a Christmas show on December 19.
Between September and May, Lensic Presents brings 18 evenings of entertainment to the historic Downtown theater. Annual favorite Wise Fool New Mexico’s Circus Luminous is scheduled for Thanksgiving weekend, and Joe Illick and the New Year’s Eve Orchestra have their customary end-of-year slot. Irish band Lúnasa opens the season September 12. New Power Generation, Prince’s band from 1990–2013, presents Celebrating Prince. Buffy Sainte-Marie gives a benefit performance in October, singer-songwriter Kat Edmondson brightens up February, and Arlo Guthrie returns to town May 8. Jazz fans will want to catch Chick Corea Trilogy in October, and world music fans can choose from Drum Tao 2020, The Peking Acrobats, International Guitar Night, and Mari Boine, who performs in the traditions of the Sámi people of Northern Scandinavia. Dance aficionados can look forward to Hubbard Street Dance Chicago and Nai-Ni Chen Dance Company, accompanied by the Ahn Trio. Storm Large returns with a holiday concert, and the New York Philharmonic String Quartet appears in March. Littleglobe, a local arts organization, examines affordability and displacement in ¡Presente!, October 5. Saturday morning, March 28, The Magic of Kevin Spencer is a “low sensory performance,” meaning the show is suitable for all, including people living with autism, developmental disabilities, or any type of sensory sensitivity.—LVS Lensic Presents, lensic.org
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Santa Fe Opera The Santa The Fe Symphony the old and the new ten concerts of symphonic masterpieces
Above: Soprano Vanessa Vasque doomed Mimì, a seamstress, in
The Santa Fe Opera The Pearl Fishers was a favorite of the critics when The Santa Fe Opera staged it in 2012. It returns this season for an encore.
Above: Soprano doomed Mimì, a
Left: UNM professor Richard White plays a concerto for tuba and orchestra February 11.
Above: Johannes Debus, who h conducted at the Metropolitan O conducts Jenůfa. Far left: Bailey-Michelle Collins appears in the January concert of American composers. She will play George Gershwin’s Piano Concerto in F.
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It’spremiere followed by another Jenůůdouble fa was composed Czechends composer Leoš the company is also staging the world Theby concert with Dvorák’s Symphony No. Above: Johanne concerto Sheridan Seyfried, written in the early9,20th century. a dark tale ofA March 15 conJanácč vek of The Thirteenth Child,violin inspired by thebyBrothers “From the New World.” conducted at the follows a Debussy’sAbove: Grimm. thecloses seasonwith endsTchaikovsky’s august 24, with per- No.infanticide in 2013. The September 15 concert Symphony 4. The sec-and redemption, cert, Hopethe forstory the Planet, pairs La Mer Sopranoconducts Amanda Jenůfa Majes woman tangled inEnglish village politics. 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Novemberand shawna Lucey, was a favorite the April 5 twoBignamini well-known operas, La bohème year. by The dedicates two concerts,ofone work to two bring composer embarks a quest to find long-lost brothers. 23 and 24. The holidayMary popsBirnbaum concert, Treasures, brings the symphony togetheroncritics when theher santa opera staged it inThe April and Christmas Così fantogether tutte, and somewhat lesserand one May 16Feand 17, tolast Beethoven. Giacomo Puccini’s score to life. the most affordable of the 2012. Composed byproduction Georges Bizet, it focuses on the of with the Santa Fe Youth Symphony on December 8. An Appalachian Christmas, the concert includes his overture to The Creatures ůfa. annual known productions, The Pearl Fishers and JenůFinally, the comedic Così fan tutte was composed by Mozartnewsummer showcase on august 11No. 8, winding up closeapprentice friendship between pearl fishers. Christmas Eve concert, features the Mark O’Connor Band. Prometheus and thetwo Symphony internationally noted for introducing operas, is the collaboration with Lorenzo Da it tells the premiere and 18. numerous singers andWendy technical apprenAmerican composersinget a hearing January in staging aPonte. concert works by John Jenůůfawith was composed by Czech composer Leoš conthe on company is19 also theof world cellist Warner in the Dvorák story of two young soldiers who test the fidelity of tices have launched distinguished careers from Corigliano, Joan Tower, Aaron Copland, and George Gershwin. February 11 concert in theThe early 20th century. athe dark tale of Mother Janácč vekcerto. of The Thirteenth Child, inspiredThe by the Brothers May concerts open with Ravel’s their fiancées by attempting to court them in disguise. santa opera’s comprehensive pro-follows infanticide and redemption, theCordero’s story a Grimm. theGuillermo season ends august 24, with perputs local soloists in the spotlight. Conductor Figueroa trades baton for Fe bow Goose Suite and apprentice Ernesto Mariandá por Above: Soprano the santa Fe opera Music Director Harrysubtitled Bicket grams.—Sarah Eddy woman tangled in village Johannes formances happening several days a week. august to play Miguel del Águila’s Concerto for Violin and Orchestra, El Viaje de una young Orquesta Sinfónica. After politics. intermission, the sympho-Fiordiligi in Moz andthe director r. schlather lead the8 production. Santa FeDebus Opera,conducts santafeopera.org pm. theand award-winning staging by perform performances start at Vida. Figueroa premiered piece inB. 2007, having commissioned it when heThe was leading ny, chorus, a quartet of vocal soloists Part ofOrchestra. the standard italian opera opens repertory, for the english opera. the now-defunct New Mexico Symphony The afternoon withLaRichardDavid alden Beethoven’s massive national Symphony No. 9, one of the Below: Bass Solom bohème follows the “charming and terrible lives” ofthe The Thirteenth a fairy tale-inspired opera by White in the Vaughn Williams Tuba Concerto. White, a professor at UNM, was greatest Child worksisever written.—LVS santafean.com august/september 2019 28 philosopher Colline six young in andtuba lovestruck bohemians in 19th-century Poul ruders, one of today’s most highly acclaimed first African-American to earn a doctorate performance. His compelling life story The Santa Fe Symphony, santafesymphony.org Paris. Conductor Jader Bignamini and director composers. the protagonist is Princess Lyra, who Mary Birnbaum work together to bring composer embarks on a quest to find her long-lost brothers. santafean.com august/september 2019 32 Giacomo Puccini’s score to life. Finally, the most affordable production of the the comedic Così fan tutte was composed by Mozart summer is the apprentice showcase on august 11 ken howard
The Pearl Fishers was a The Santa Fe Symphony’s (SFS) favorite of the critics when The 2019–2020 season includes 10 concerts Santa Fe Opera staged it in 2012. It returns this season for between September and May, combining an encore. some of the most beloved pieces in the orches-
Grammy-winning Mark O’Connor Band plays at the annual Appalachian Christmas concert on Christmas Eve.
the old and the
Violin-wielding brothers Timothy (pictured) newand Nikki Chooi play Vivaldi and Seyfried on September 15.
Santa Fe Desert Chorale a season of song
by Bach, Schubert, and Joby Talbot. In the Court of the Sun King features compositions by Couperin, Charpentier, and Rameau, masters of the French baroque era. The smaller Immaculate Heart of Mary Chapel is the setting for this concert on August 4 and 8. Each concert is preceded by a talk for those who want to better understand the music. SFDC’s gives a chamber concert the afternoon of August 9 at St. Bede’s Episcopal Church. Pianist Nathan Salazar accompanies Desert Chorale singers in a recital including repertoire by Samuel Barber and Benjamin Britten.—LVS Santa Fe Desert Chorale, desertchorale.org
The 24-voice Santa Fe Desert Chorale performs in local churches. steven ovitsky
Although Santa Fe Desert Chorale (SFDC) wraps up their summer season on August 9, audiences have more than one chance to hear each of their three 2019 summer programs. The long-enduring pensive moons, performed August 1 and 7 at the Cathedral Basilica, is a tribute to American poet Walt Whitman, born 200 years ago. Other pieces on the program are settings of poetry by Emily Dickinson, Langston Hughes, and E. E. Cummings. Luminosity: The Nature of Celestial Light is scheduled for August 3, 6, and 9 at the Cathedral Basilica. Named for a piece by James Whitbourn, Luminosity also includes pieces
Aspen Santa Fe Ballet evening of dance
Beautiful Decay comments on the realities of aging. james mcgrew
On August 31, the Aspen Santa Fe Ballet presents its first-ever eveninglength ballet. Choreographer Nicolo Fonte’s Beautiful Decay hauntingly juxtaposes bold and skillful athleticism against the harsh realities of aging. Joining the company for this production are guest artists Hilary Cartwright and Gregg Bielemeier, two distinguished performers now in their 70s. The music comes from Vivaldi’s Four Seasons, as well as contemporary composer Max Richter’s interpretation of the same, and original set design is by Tony Award–winner Mimi Lien. The dance company was created in 1996 in Aspen, Colorado, and it spread ballet further across the Southwest by forging a dual-city relationship with Santa Fe in 2000. ASFB places a priority on developing new performances and nurturing relationships with emerging choreographers. It fostered the early career of Fonte, who has now created or staged ballets for the Australian Ballet, the Finnish National Ballet, the Washington Ballet, and many others.—SE Aspen Santa Fe Ballet, aspensantafeballet.com
Santa Fe Music Week
kelly christine sutton
Above: Ringo Starr plays at the Santa Fe Opera August 25.
The Derailers play country on the Plaza August 27.
Left: Neotraditional country and pop singer-songwriter Kacey Musgraves performs at the Santa Fe Opera August 28. Below: The Red Elvises rock out on the Plaza August 24.
Left: Valerie June performs Americana, alternative, blues, and more at a free concert at Railyard Plaza, August 24.
The Platinum Music Awards ceremony includes performances. The Black Eagle Drum Group, from Jemez Pueblo, took the stage in 2018 to honor Malcolm Yepa, the group’s founder.
the City of Santa Fe has designated August 23–31 as Santa Fe Music Week (SFMW). In its second year, it’s a blend of events put on by The Santa Fe Opera, AMP Concerts, and other groups with performances organized by the city. SFMW opens with the Platinum Music Awards, August 23 at the Lensic. A program of the State of New Mexico, the third group of recipients come from the worlds of classical, jazz, mariachi, Native, and New Mexico folk, honored for lifetime achievement. That evening is also Plaza Cruise Night, with entertainment on the bandstand. The last two nights of the opera season are included, The Pearl Fishers on August 23 and La bohème on the 24th. Concerts at The Santa Fe Opera with Ringo Starr and Boz Scaggs are lined up for August 25 and 27, and AMP Concerts has two Saturday shows at the Railyard and Kacey Musgraves at the Opera. Dave’s Jazz Bistro opens at Santa Fe School of Cooking on August 31 with a performance by clarinetist Eddie Daniels. Hard choices on Sunday afternoon: Branden and James are at the Lensic and the Santa Fe Soul Festival, also in its second year, presents God’s House Women’s Choir and operatic bass Solomon Howard at the Cathedral Basilica, both at 4 pm. Branden James, a singer whose resumé includes stints at the Metropolitan Opera and Chicago’s Lyric Opera, and James Clark, a cellist and pianist, will be familiar to some Santa Feans, as they performed regularly at Vanessie a few years back while literally getting their act together. Santa Fe Soul Festival was formed to celebrate African American art forms. SFMW will present mariachis on the Plaza August 26–29 at 3 pm, and the music will continue each of those evenings and also August 24 at 5:30 pm, with the Red Elvises, a group of Russian Americans with a fondness for sequins, pompadours, and rock. Other evening performers include The Derailers August 27 and Stephanie Hatfield August 28. Santa Fe Fiesta events include the annual Mariachi Extravaganza, August 31 at The Santa Fe Opera, and the Plaza Pre-Fiesta Show on the 25th, 3–7 pm. August 30 is the annual burning of Zozobra. Musical entertainment is not yet confirmed, but it begins several hours before Zozobra’s inevitable demise. Events will be added, so check the website for updates.—LVS Santa Fe Music Week, santafe.org
Santa Fe Chamber Music Festival The Santa Fe Chamber Music Festival (SFCMF) season continues through August 19 with their usual mix of works old and new. August 2, 6 pm, the FLUX Quartet premieres three pieces commissioned by SFCMF composed by Matthew Ricketts, Alex Stephenson, and Michael Gandolfi. They complete the concert with RETROCON, a 2015 composition by Tom Chiu, founder of the FLUX Quartet and one of the group’s violinists. In somewhat of a musical marathon, violinist Ida Kavafian and pianist AnneMarie McDermott perform all 10 of Beethoven’s sonatas over three consecutive evenings, August 13–15, at the Lensic, a first for SFCMF. At noon on August 7, mezzo-soprano Susan Graham and pianist Jon Kimura Parker fill St. Francis Auditorium with the sounds of Mahler’s Rückert Lieder and Berlioz’s song cycle Les Nuits d’été. Baroque fans can fill up on J.S. Bach, C.P.E. Bach, and Marcello. Guitarist Łukasz Kuropaczewski appears in works by Benjamin Britten, John Dowland, Marc Neikrug (SFCMF’s artistic director), and Luigi Boccherini— his quintet for guitar and strings that ends with the crowd-pleasing fandango. Pianists Gilles Vonsattel and Zoltán Fejérvári offer recitals on Tuesdays at noon. Twentieth-century composers are represented in works by Korngold, Britten, Shostakovich, and Kodály. The festival ends August 19 with Schubert’s “Trout” Quintet. Scored for violin, viola, cello, bass, and piano, it’s a favorite among musicians and audiences alike.—LVS Santa Fe Chamber Music Festival, santafechambermusic.com
compositions from the past 400 years
Above: New Mexico native Susan Graham returns to the Land of Enchantment to perform with the Santa Fe Chamber Music Festival. Left: The festival’s August schedule offers something for every taste.
Estefania Ramirez and Antonio Granjero are co-director and director of Entreflamenco, respectively.
Estefania Ramirez has performed and taught across the U.S., England, Spain, Panama, Colombia, Canada, and Germany.
Entreflamenco, the resident flamenco company at El Flamenco restaurant and performance space, continues its busy summer season through September 1. The company’s fall season runs from September 18 to October 12. In August, special guest dancers from Spain—Angel Muñoz and Charo Espino—join lead dancers Antonio Granjero and Estefania Ramirez, guitarist Angel Ruiz, bassist Marco Topo, percussionist Francisco Orozco, flutist Magela Herrera, and technical director Antonio Hidalgo. Shows happen Wednesday through Sunday. From August 5–10, the company hosts an international flamenco dance workshop with the four above-mentioned dancers. The workshop is open to flamenco dancers and enthusiasts of all skill levels. Participants are invited to parallel activities such as artist gatherings and receptions. The fall show is a completely distinct production from the summer season. Featuring the resident crew lead by Antonio Granjero, shows run Wednesday through Saturday with doors opening at 6:30 pm and the dancing beginning at 7:30 pm. As always, to sate your appetite during the dramatic entertainment, beer, wine, and authentic Spanish tapas are available for purchase at all performances.—SE Entreflamenco, entreflamenco.com
the spirit of Spain
Above: John Charbonneau, Thinking Outside the Nest, archival pigment print face-mounted on acrylic glazing and backed with Dibond, 40 x 40"
It’s the high summer season in our high desert city, so let Santa Fean magazine guide you to the must-see artists and don’t-miss exhibitions at dozens of galleries in and around town.
Pippin Contemporary John Charbonneau
Pippin Contemporary selects artists for their energetic and tactile expressions. Says founder Aleta Pippin, “Their passion creates an element of surprise and beauty, offering you, the viewer, an opportunity to reflect, to access emotions, and to explore your thoughts.” John Charbonneau is a photographer and digital artist who places animal heads, especially bird heads, onto dapper human bodies. His subjects inhabit dreamlike, whimsical worlds often redolent of the steam age. Ranging from humorous to philosophical, his work often plays with political, scientific, and religious themes. “My work is philosophically driven and raises questions in a comical way,” the artist says. “When making imagery, I start with an interesting irony or absurdity.”—Sarah Eddy pippincontemporary.com 36
Chiaroscuro Contemporary Art Rose B. Simpson
Located on Canyon Road, Chiaroscuro Contemporary Art displays the work of 20 artists using diverse media from steel to silk. They carry the art of Australian Aboriginal painters, have pieces from the estate of the late Harry Fonseca (Nisenan Maidu), and represent a number of Native American artists working in contemporary, abstract styles. Rose B. Simpson is one of Chiaroscuro’s younger artists, still in her 30s. She is a descendant of Santa Clara Pueblo, where she was raised and continues to live. Simpson works in ceramic sculpture, metal, music, and custom cars. She finished an MFA in creative writing last year to go with the MFA she earned in ceramics in 2011. She shows figurative ceramic and steel sculpture in her 2019 solo show at Chiaroscuro.—LVS Solo Exhibition: Rose B. Simpson, August 9–September 7, reception August 9, 5–7 pm, chiaroscurosantafe.com
Kylie Manning, Augenblick, oil on canvas, 62 x 96"
Ylise Kessler Gallery Kylie Manning
Kylie Manning is an abstract figurative painter whose canvases sweep the viewer into dynamic worlds of color and sensation. Dancing the line between representation and abstraction, her paintings are frenetic, disintegrated landscapes of light and brushwork. Her rhythmic, enigmatic scenes sometimes appear playful and sometimes dystopian. Manning was born in Juneau, Alaska, also spent time in Mexico, and attended the New York Academy of Art and the New Leipzig School in Leipzig, Germany. She is represented by Ylise Kessler Gallery, a relatively new space founded by curator and art advisor Kessler. The gallery shows contemporary art of all flavors.—SE Kylie Manning Solo Exhibition, September 20–November 4, ylisekessler.com Above: Rose B. Simpson, Genesis Squared, ceramic, steel, and mixed media, 77 x 23 x 23" august/september 2019
Giacobbe Fritz Fine Art Ben Steele
Ben Steele melds art history and pop culture references with classic painting techniques. Recognizable brands, images, and figures, like Coca-Cola bottles, George Washington, and Marilyn Monroe, are created through a glaze and scumble process. Steele often plays on famous works by artists such as Andy Warhol, Salvador Dalí, and René Magritte. “Popular imagery, such as famous works of art or well-known photography, floods our visual world and we lose our ability to separate the work from its cultural meaning,” he says. “My intent is to explore this phenomenon and re-expose viewers to the images so they can open up and enjoy the work in a new way.” Steele fits right in at Giacobbe Fritz Fine Art, which represents an eclectic group of artists in a rambling 1880s adobe building on historic Canyon Road.—SE giacobbefritz.com Above: Ben Steele, Orange Appeal, oil on canvas with fiberglass frame, 20 x 30"
Nambe Trading Post Cathy A. Smith
A mile and a half up the High Road to Taos, Nambe Trading Post has a historic ambience well suited to its location. Full of Navajo weavings, Pueblo pottery, Zuni katsinas, paintings, old pawn jewelry, moccasins, and micaceous cookware, the spot also features the work of its curator, costume designer Cathy A. Smith. Smith creates historically accurate Native American clothing from the mid-1800s. She has designed costumes for dozens of Western films, including Dances with Wolves, Comanche Moon, and Son of the Morning Star, for which she won an Emmy. The artist specializes in beadwork and porcupine quillwork of the 19thcentury Plains Indians. She learned the quillwork techniques of the Cheyenne River Sioux, a South Dakotan tribe in which she has relatives.—SE nambetradingpost.com
Left: Cathy A. Smith, Northern Cheyenne War Shirt, brain tanned buckskin, earth paint, Italian seed beads, human hair, porcupine quills, 34 x 52"
Ventana Fine Art
Located in the historic red brick schoolhouse on Canyon Road, Ventana Fine Art is hard to miss. Flanked by two sculpture gardens, the sun-filled gallery shows contemporary American painting and sculpture. Don Tiller’s acrylic paintings depict flowing rural landscapes with cheery colors. They sometimes connect over multiple panels. His love of art started in his youth, when he would often draw cartoon characters, animals, and cars. After running two businesses and raising a family, Tiller began to pursue art full-time. His dreamy, arcadian work has been featured in various national publications and is displayed in private and corporate collections across the country and world.—SE ventanafineart.com
Right: Don Tiller, Spring Creek, acrylic on canvas, 48 x 36"
Barbara Meikle Fine Art Deborah Ashley
Vibrant and bold work fills the walls of Barbara Meikle Fine Art, the eponymous founder’s own sculpture and colorful paintings included. Abstract nature and still life painter Deborah Ashley holds her own among Meikle and her carefully selected crew. Ashley, who is originally from North Carolina, developed an interest in music at a young age. The flowing, rhythmic, and energetic motions in her work pull from her musical roots. She often uses the palette knife to create thick textures in her bright and confident landscapes. Always playful, expressive, and creatively improvisational, Ashley’s explosive still-life abstractions sometimes incorporate graphite, pastels, and collage.—SE meiklefineart.com Left: Deborah Ashley, Purple Dusk, acrylic on canvas, 36 x 36"
Claudio Souza Pinto, My Lady Rose, oil on canvas, 40 x 40"
The Longworth Gallery Claudio Souza Pinto
Stan Berning, December Fields, oil on board, 66 x 48"
David Rothermel Contemporary
Golden Dawn and 3D Gallery
Stan Berning’s gouache, watercolor, and oil paintings shatter the natural landscape into shards of changing light and color. Formerly known for his printmaking and large-scale architectural renderings, the artist has for the past decade focused on figurative abstraction in a variety of media. Both enigmatic and balanced, his work often sets sharp lines and bold, cutting shapes against gently shifting and fading tones of color. Berning has lived in Santa Fe since 1981 and is represented by David Rothermel Contemporary, which showcases a carefully curated selection of nonobjective abstract art from both local and national artists.—SE drcontemporary.com
Claudio Souza Pinto paints colorful and theatrical masked figures. The Brazilian romantic surrealist lived in France for many years training in oil painting, giving his work a detailed, technical quality as well as a heavy European influence. Using elements of fantastic realism, he transforms daily situations into surreal and sometimes comical images that magnify basic human emotions. “All of us have different behavior masks,” the artist says, “and they emerge depending on the occasion in the theater of life.” The painter is represented by The Longworth Gallery. The Longworth Gallery is named for Longworth Road, where gallery director Lisa Rodgers lived in Oxford, England.—SE thelongworthgallery.com
Doylene Hardin Land
Earlier this year Dan McGuinness moved Golden Dawn and 3D Gallery from Downtown to a location about 15 minutes outside Santa Fe, open by appointment. He carries the work of three generations of artists: Pablita Velarde (Santa Clara) (1918–2006); Velarde’s daughter, Helen Hardin (1943– 1984); and Hardin’s daughter and McGuinness’s late wife, Margarete Bagshaw (1964–2015). Each of the women was a painter, and the work of each generation grew increasingly contemporary while retaining some Native American imagery. Bagshaw had a solo show at the Ellen Noël Art Museum in Odessa, Texas, in 2013. The museum director was Doylene Hardin Land, and she and Bagshaw quickly figured out that they descended from the same Hardin ancestors. While pursuing a career as a curator, Land also painted. She now shows her oil paintings at Golden Dawn, and is restoring a 92-year-old Texas church to use as her studio.—LVS goldendawngallery.com Above: Doylene Hardin Land, The Wedding Gift, oil on canvas, 18 x 24"
E. Melinda Morrison, Jackson Sounds, oil on panel, 20 x 24"
ALEXANDRA STEVENS FINE ART E. Melinda Morrison
In a business where longevity isn’t always the rule, Alexandra Stevens is approaching 40 years in the gallery business. She represents nine carefully chosen painters and two sculptors, and the occasional guest artist. All create representational work, and events at the gallery usually include one or more artists painting onsite. E. Melinda Morrison, like most of the artists at Alexandra Stevens Fine Art, is a representational painter with a contemporary sensibility. Like many of her peers, Morrison worked in graphic arts for years before turning to easel painting. She has done series of paintings of orchestral and jazz musicians playing their instruments, people at work in restaurant kitchens, and swimmers half submerged, water distorting line and shape.—LVS alexandrastevens.com
Above: Angela De la Vega, Bloom, bronze, 35 x 12 x 11"
Angela De la Vega Gallery 901’s mission is “to put a piece of original art in every home in America.” To that end, the gallery represents a variety of painters and sculptors, many of whom create smaller works in addition to large, outdoor pieces. One such sculptor is Angela De la Vega. De la Vega’s figurative bronze sculptures celebrate the human spirit, especially the joyful innocence and curiosity of the child. Her creations, which tend to range from less than a foot tall to life-size, dance, fly, and search for treasure. “Upon signing my works in clay, it is difficult to resist the thrill of creation . . . I have a strong sense that nothing is finalized; it continues to develop and grow, as do our children,” she says. “I feel the spirit of life itself is emanating from the sculpture.”—SE gallery901.org
Globe Fine Art
Rich Wodjula, Transitions, mixed media on canvas, 36 x 36"
Large glass and steel sculptures stand outside Globe Fine Art, their contemporary aesthetic repeated inside the Canyon Road gallery. Owner and director Steve Cie represents emerging and established artists whose work has something to say while remaining positive, bright, and uplifting. Most, but not all, of the painting shown in the gallery is abstract, and a love of color is obvious in Cie’s selection of artists. The gallery also carries handcrafted, art deco furniture by Kent Townsend and works in glass. Rich Wodjula is exhibiting paintings at Globe Fine Art. He first trained as a painter but detoured through ceramics and a series of large sculptural pieces before returning to painting in 2002. His paintings are abstract, although elements of the landscape are visible in them, an observation strengthened by their titles.—LVS 41 globefineart.com
William Rogers Presents "A Colorist At Play" Ken Elliott Solo Show August 16th • 31st Artist Reception August 16th • 4-7pm
403 Canyon Rd • Santa Fe, NM 87501 505.983.0062 • dominiqueboisjoli.com
72 Double Arrow Road
This gracious 6700-square-foot home, originally built in 1977 by the first curator of photography for the Museum of Modern Art, has drawn prominent artists, writers, musicians and photographers—including Ansel Adams, who was a regular guest at this beautiful 5.3-acre retreat. Combining the best of a Northern NM ranch style with clean contemporary lines, the main house was recently expanded with artful attention to detail. Clerestory windows, French doors, wrap-around porches, plaster walls, soapstone countertops, fine custom carpentry, and skylights galore all contribute to the unique aesthetic of this light-suffused home. Set under towering cottonwoods in rolling foothills threaded with hiking trails, this partial adobe, clad in stucco and rusted metal exteriors, elegantly exemplifies a modern ranch style. At night, enjoy a carpet of twinkling city lights. Inside, the 4 bedroom, 3 bath main home has a large open kitchen equipped with Viking and Bosch appliances, twin refrigerators and dishwashers, farmhouse sink, and generous walk-in pantry. The detached 700-sq ft casita is perfect for visiting family or a tranquil artist’s retreat. The home offers solar in-floor radiant heat, evaporative cooling and a buried 5000-gallon rainwater collection vessel to irrigate gardens and orchard. When it’s time to get creative, there are two inspiring office options. Or…fade into the landscape on the back portal and soak in the sunset as the next photograph or novel comes to life.
Jim Weyhrauch, Associate Broker 505-660-6032 email@example.com
Manitou Galleries are some of Santa Fe’s largest with locations on Palace Avenue and Canyon Road—there's also a branch in Cheyenne, Wyoming. The gallery’s focus is on Western representational art, both painting and sculpture. William Rogers (Navajo) comes from several generations of artists and silversmiths, although sculpture was not his original vocation. After a stint as an ironworker he embarked on a 21-year career as a firefighter, with a side business forming custom concrete countertops. Rogers turned to art after retiring from the fire department and has become an accomplished sculptor, drawing on skills honed over his varied careers. His large steel sculptures incorporate Native imagery.—LVS manitougalleries.com Below: William Rogers, Rug Maiden, mixed media, 64 x 16 x 16"
Canyon Road Contemporary ART Lorri Acott and Adam Schultz
There’s a bit of everything at Canyon Road Contemporary Art. The gallery, which is housed in a historic building, Delgado House, offers an eclectic mix of contemporary art in media including pastel, oil, acrylic, mixed media, fused glass, and bronze. Lorri Acott and Adam Schultz, married sculptors who both work mainly in bronze, are represented by Canyon Road Contemporary. Acott sculpts impressionistic figures and animals. Her spindly, long-legged creations are simplified and faceless, yet carry an emotional impact. Relying on streamlined gestures, they synthesize intimate and universal feelings, interactions, and realizations. While Acott’s sculptures are thin and elongated, Schultz’s figurative nudes joyfully celebrate a fuller body type. Schultz and Acott live and create in the mountains of Colorado.—SE The Power of Form: Adam Schultz and Lorri Acott, August 30–September 8, reception August 30, 5–7 pm, canyoncontemporary.com
Above: Lorri Acott, Conversation With Myself, bronze, 17 x 9 x 7"
Mark White Fine Art
Kelly Cozart’s bronze sculptures depict inanimate objects, human forms, and especially, animal subjects. From her watchful crows to her stoic bulls, her work seems to carry an ageless, perennial weight. “Nature and music stir my soul,” Cozart says. “Exploring is the adventure that fuels my creativity.” The sculptor, who is originally from Lubbock, Texas, says her art is influenced by ancient Etruscan and Chinese cultures. Cozart is represented by Mark White Fine Art. Mark White creates the eye-catching kinetic sculptures that spin and sparkle outside the Canyon Road gallery he owns with his wife, Sue White. Inside are contemporary paintings and sculpture, many exploring facets of the natural world.—SE markwhitefineart.com Above: Kelly Cozart, Aries Urn II, bronze, 13 x 8 x 8"
Sage Creek Gallery Marilyn Yates
Sage Creek Gallery offers painting and sculpture that share the allure of the American West, from its changing skies and open landscapes to its rich history and varied cultures. The gallery, founded in 2002, features the work of 40 artists. Santa Fe resident Marilyn Yates paints still lifes and the local landscape in watercolor and acrylics. Harmonic colors give her work a sensitive, poetic feel, whether she’s capturing blooming lilacs from her garden or breathtaking views of a nearby mountain range. Originally from Chicago, Yates began painting at the age of five. She studied at California State University and has been a professional artist for over 40 years.—SE sagecreekgallery.com Right: Marilyn Yates, Spring Runoff, acrylic on canvas, 12 x 12"
The Signature Gallery
Bill Kimbell has been working in wood since the age of three, starting with scraps from his grandfather’s furniture-making. Nowadays he creates unique furniture of his own. His wooden sculpture bases are pieces of art on which to display other pieces of art. Perfectly smooth and characterized by graceful, organic curves, the bases are made with a “glue-andstitch” technique that utilizes epoxy resin and fiberglass cloth to create a higher level of strength. Each piece is made by hand and covered in veneer. Charles Pabst founded The Signature Gallery in Scottsdale, Arizona, in 1997. The gallery opened branches in Laguna Beach, California, in 2008, and Santa Fe in 2009. In addition to international artwork, the galleries show art regional to each location.—SE thesignaturegallery.com Left to right: Bill Kimbell, Wakefield I, primavera wood, 14 x 14 x 30" Salisbury I, koa wood, 12 x 12 x 31" Lincoln, imbuia wood, 16 x 16 x 36"
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Sorrel Sky Gallery Darryl Dean and Rebecca Begay
Above: Darryl Dean and Rebecca Begay, Carico Lake medium floral cuff, sterling silver with Carico Lake turquoise, 1 3/4" wide
Shanan Campbell opened Sorrel Sky Gallery in Durango, Colorado, in 2002, bringing experience in art and business to the enterprise. Now with a Santa Fe location as well, Sorrel Sky carries representational painting and sculpture, most of it with a Western flavor. It’s no surprise that the gallery has a large jewelry department, as Campbell is the daughter of renowned silversmith—and former United States Senator—Ben Nighthorse (Northern Cheyenne). Sorrel Sky jewelers Darryl Dean Begay (Navajo) and Rebecca Begay (Navajo) took home the Best of Show award at the 2009 Indian Market for their collaborative jewelry. They cast their one-of-a-kind silver and gold pieces in tufa, a volcanic stone found on the Navajo Nation, and they retain the texture of the tufa in some of the silver to contrast with polished areas. The Begays are considered masters of this old and difficult process. Their work is contemporary in style, often with a floral motif.—LVS sorrelsky.com
William Hook Meyer Gallery has staying power. Darrell and Gerry Meyer dove into the gallery business in 1965 in Park City, Utah, and the family opened the Santa Fe branch in 1987. The Santa Fe location carries the work of dozens of painters and sculptors. William Hook has shown at Meyer Gallery since 1988. He comes from a family of painters, writers, and other creative types who encouraged his art from childhood. Hook is known as a landscape painter, although recently he is moving towards abstraction. His August show will pair 12 small landscape paintings with larger abstracts, based on the landscapes, in an exploration of color, composition, and balance.—LVS Segue No. 2, August 2–8, reception August 2, 5–7 pm, meyergalleries.com
Above: William Hook, Plaster Blaster, acrylic on board, 24 x 24" 46
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Above: Pat Hobaugh, Two Four One, oil and acrylic on panel, 18 x 24”
Counter Culture: Still Lifes of Americana Canyon Road Contemporary Art 622 Canyon canyoncontemporary.com August 9–18 Reception August 9, 5–7 pm
Pat Hobaugh re-examines the idea of the representational still life by realistically painting found objects, especially childhood toys. His dynamic compositions place characters like Superman and Popeye among food, tools, and other bric-a-brac of modern life, mixing nostalgia with commentary on consumerism. “I want the viewers to access the work first through humor—to embrace the playfulness of the paintings,” the artist says. “I also want them to connect with the paintings on a personal level—you might say I’m toying with their emotions by invoking nostalgia for their childhood. But then the paintings are designed so the longer you look at them, you’ll find the deeper layers of meaning and content, so they toy with your mind as well.”—Sarah Eddy
studio tour season artists open their creative spaces to visitors by Sarah Eddy
From gallery openings and sculpture garden tours to artist talks and museum exhibitions, there’s no shortage of opportunities to experience art in Northern New Mexico. One of the most intimate ways, however, is to visit the ground level of local creativity: the studios where artists spend hours painting, sculpting, sketching, weaving, and carving. Various studio tours take place in September, with artists in communities surrounding Santa Fe opening their personal creative spaces for visitors to peruse. The 11th Annual Taos Artist Organization Open Studio Tour happens on Labor Day weekend, August 31 and September 1. Last year, 40 artists in the historic town welcomed visitors into their workspaces. Many of the artist worked in oil, watercolor, or acrylics, with jewelers, photographers, glassworkers, ceramicists, and more also represented. Next on September’s busy lineup is the Rio Costilla Studio Tour, September 7–8. A far-reaching, dual state event, the Rio Costilla Studio Tour encompasses southern Costilla County, Colorado, and northern Taos County, New Mexico. Centered on Garcia, Colorado, and Costilla, New Mexico, the artists stretch as far as Jaroso and San Luis in Colorado and Amalia and Questa, New Mexico. The Pojoaque River Art Tour, September 14–15, bills itself as a tricultural experience, with a variety of Native American, Hispanic, and Anglo artists taking part. The tour was created in 1992 by artists William Preston and Marianne Hornbuckle to increase exposure of artwork independent of the gallery system. Just 20 minutes outside of Santa Fe, it is compact and can be navigated in a single day. 48
Above: Ceramic sculptor Max Lehman opens his art studio to the public during the Pojoaque River Art Tour. Above left: Jeweler Virginia Barreras participates in the Pecos Studio Tour in late September.
Above: Gayle Foss Ewing welcomes visitors to her studio as part of the Pecos Studio Tour. Ewing paints the landscape in pastel.
The High Road Art Tour takes place over two consecutive weekends, September 21–22 and 28–29. Following the High Road to Taos Scenic Byway, which winds through the stunning Sangre de Cristo Mountains between Santa Fe and Taos, the tour allows visitors to drop by several dozen rural art studios. During both weekends there will be farmers markets at Gaucho Blue in Peñasco and High Road Art Gallery in Truchas. Concurrent with the second weekend of the High Road Art Tour, September 28–29, is the Pecos Studio Tour. With 12 artists so far planning to participate, including well-known painters, jewelers, and a fiber artist, the tour is a close look into a small, thriving creative community. To participate in a studio tour, simply print out a map from the event’s website and hit the road. Most studios are open from 10 am–5 pm. Artists sell their work and many demonstrate their creative processes during the studio tours.
Left: Phyllis A. Gunderson shows her rich oil paintings during the Pecos Studio Tour.
taosartistorg.org, riocostillaart.com, pojoaqueriverarttour.com, highroadnewmexico.com, pecosstudiotour.com santa fean
STU D I O
JD Wellborn adding dimension to paper by Jessa Cast photographs by Gabriella Marks
“Going through life, any fork in the road, I knew exactly which one to take,” says JD Wellborn of her chosen vocation. “An artist was all I was going to be.” She loved art from an early age, and eventually earned an art degree from the University of New Mexico. For years she painted in watercolor. Over time, though, she grew tired of the two-dimensionality of the medium and her inspiration dwindled. On a visit to the Guggenheim, Wellborn saw a huge installation of textured, watercolor-painted paper. It was an aha moment—“something magical,” she recalls. After some experimentation, Wellborn has found joy in creating paper art, assemblages of painted, printed, and textured paper and found objects, harmoniously married through color. She begins with objects she’s purchased or discovered on her walks—glass or wood beads, seeds, bamboo—to serve as the centerpieces. She then carefully selects paper to match, and the work grows outward from there. The resulting Above: Paper artist JD Wellborn takes great pleasure in making art in the abundant sunshine of her home studio in Albuquerque. She has friends who come over every week “to play” in her studio, learning Wellborn’s methods of turning twodimensional paper into three-dimensional art.
Above: Placing clear and colored glass beads atop hand-drawn patterns adds another type of dimension to the pieces.
Left: No longer two-dimensional, the paper in this piece now has texture and depth. It’s painted, gilded, and finished with beads and other objects. Below: Ever see an artist work in Sharpie? Wellborn does, drawing patterns and doodles on every scrap of paper she can find.
pieces are three-dimensional and visually intriguing, beautiful whether displayed individually or hung in groups. Customers often purchase a set to hang together. “I’ve done hundreds of these,” Wellborn says, “and every one is different.” They’re dubbed “Mystical Tablets” at Winterowd Fine Art in Santa Fe, where Wellborn shows her work. In fact, it’s the only place she shows, all because of the value gallery owner Karla Winterowd places on her artists. “That’s what’s good about Karla,” says Wellborn. “She has a lot of artists, and she visits our studios regularly. She wants to understand what you’re doing, why you’re doing it, and how you’re doing it.” That value nurtures the artists. Wellborn loves spending time in her home studio in Albuquerque, feeding her soul through her artistic talents. “I just want to do my thing and that’s all,” she says. Winterowd Fine Art, fineartsantafe.com
Left: Wellborn has developed a standard method of backing and attaching hanging wire to her "Mystical Tablets" so they can easily be hung in precisely spaced sets. People usually buy them in sets of three, she says, but they look just as good in fours or even nines.
Above: Wellborn uses all kinds of paper: scraps, leftover watercolor paper, found bits. She has drawers of it. She even cannibalizes her own old, half-finished paintings. august/september 2019
STU D I O
Roseta Santiago stories in oil paint by Lisa J. Van Sickle photographs by Gabriella Marks
Above: Roseta Santiago in her home and studio at Zocalo, contemporary condominiums on Santa Fe’s Northside designed by acclaimed Mexican architect Ricardo Legorreta.
“Painting is my way of saying how I feel about life and all the treasures it holds,” says Roseta Santiago in the foreword to her book, Santiago: Conversations in Paint Language, produced in 2007. “I made a book because I didn’t have a resumé,” she explains, as if anyone would find it a simple matter to put together a hardbound volume of essays and images of their paintings. But that’s just how Santiago is. A career as a graphic artist led her to interior design, which evolved into a specialty in designing and eventually building theme restaurants and nightclubs. She became a contractor, unfazed by blueprints and budgets. For seven years she found herself atop a 60-foot boom lift painting murals—including on the ceilings—for 30 Bass Pro Shops. Painting made sense to Santiago so she took some classes. Before long, she was teaching classes and showing paintings. In 2000 she made the move from Atlanta to Santa Fe, convinced she could make a living here as a painter. She loves the long and deep history of New Mexico, its mix of cultures, and tradition of storytelling, unlike any other place she has lived. Santiago’s earlier paintings tended to feature a single object, often a piece of Pueblo pottery, chiaroscuro giving it form. Her more recent work includes portraits. She often uses Native American models, and more than once she
Below: A few of the pieces in Santiago’s collection of Native American pottery. Her home is filled with Pueblo pottery, katsinas, Plains beadwork, prints, and pieces from Asia as well as the Americas.
Above: Santiago has shown paintings at the Booth Western Art Museum, the Autry Museum of the American West, and at the Eiteljorg Museum.
Below: Santiago taught herself color theory. “It’s just a matter of logic.” She started painting in part to keep a promise to her adult son.
Above: Santiago's interpretation of Waterhouse’s 19th-century Lady of Shalott, moved to an American Western setting, sits on the easel. The large painting of a Native American woman surrendering to fate is sure to be a centerpiece of Santiago’s late August show.
has simply walked up to someone on the street to ask if they would pose. She is currently working on a large oil of a Native American version of The Lady of Shalott, a 19th-century painting by John William Waterhouse based on an 1832 poem of Tennyson’s, in turn taken from Thomas Malory’s tales of King Arthur, first published in England in 1485. “I’m trying to tell you a story, make you ask questions,” she says of the painting. “I love where I’m at today,” is Santiago’s summation of her life and career. She is preparing for her first solo show at Blue Rain Gallery. Expect some surprise guests at the Thursday afternoon talk and demonstration preceding Friday evening’s opening reception. Roseta Santiago, Encantado, Blue Rain Gallery, 544 S Guadalupe, August 30–September 14, demonstration August 29, 12–4 pm, reception August 30, 5–7 pm, blueraingallery.com
Right: After a career designing for others, Santiago asked herself, “What if you design a space that you love for yourself?” She ended up with a place for her life and work, and room for her collection of artifacts, often the subject of her paintings.
Custom Jewelers in Santa Fe the glitter of gold by Lisa J. Van Sickle
Buying jewelry in Santa Fe perhaps means loading up on silver and turquoise, but that’s just the start. This small Southwestern town is also home to a surprising number of goldsmiths, men and women who have spent decades turning gold and gems into handmade, one-of-a-kind creations.
Above: Firebird, matte oxidized sterling silver, 18-kt yellow gold, diamonds, and pink tourmaline, by Belle Brooke Designs.
Above: A striking ring by Marc Howard. The center stone is a pink tourmaline cabochon with trillion diamonds on each side.
Marc Howard moved to Santa Fe in 1988, after studying metalsmithing at Colorado State University and working as a silversmith in Ohio. He made pieces for other local jewelers for a few years before opening his own Downtown showroom in 1996. 2004 brought a move to the Railyard, and last year he moved to his current Paseo de Peralta location in the South Capitol district. As the business’s name, Marc Howard Jewelry Design Studio + Showroom, implies, Howard does custom work and creates pieces for his showroom. He is obviously fond of colored stones and doesn’t hesitate to use several differently colored gems in a single piece. He draws on design motifs from Byzantium to art nouveau. While Howard does not carry work from other contemporary jewelers, he does have a few estate pieces on hand, including some vintage Native American jewelry. Repair, restringing, resetting stones, and restyling old pieces into something new are all among the services he offers.
Belle Brooke Barer has pursued art since childhood. She was working as a photographer in 2001 when she began studying metalsmithing, and she opened Belle Brooke Designs, Inc., in Los Angeles in 2006. Ten years later she relocated to Canyon Road. Barer’s distinctive jewelry is represented by 20 galleries around the United States and Canada, but her Santa Fe studio is the only location that carries the entire collection, including one-of-akind and limited-edition pieces. Barer appreciates that, in the digital age, she uses the same goldsmithing tools and techniques that have been around for centuries. She uses only 100 percent certified recycled metals and insists on ethically sourced diamonds and other stones. Her designs are geometric, arcs and straight lines forming shapes filled with circles, some set with diamonds. She usually works in mixed metal, combining 18-kt gold, silver, and oxidized silver in a single piece.
David Griego is a Santa Fe native, and it shows in his work. He started making jewelry at his kitchen table in 1972. His San Francisco Street shop, Santa Fe Goldworks, is right on the Plaza, and he carries only jewelry of his own design. He and his company make custom pieces as well as stock for the showroom. Griego works in yellow and white gold, and occasionally in silver. His pieces are inlaid with turquoise, coral, or opal, accented with diamonds. Most of his pieces use symbols of New Mexico as part of their design and are inspired Part of David Griego’s River of Love series in turquoise. by the area’s landscape and cultural heritage. His Zia pendants are an example, and the company carries gold charms in the shape of roadrunners, yucca, chile peppers, and Kokopellis, the ancient hump-backed flute player, all made by hand. Santa Fe Goldworks does jewelry repair and cleaning on premises.
Joe De Bella began making jewelry in the early 1970s. He earned a Graduate Gemologist degree through the Gemological Institute of America and found work buying and grading diamonds. He moved to Africa and started a business importing colored gemstones. After returning to the United States and his jeweler’s bench in the early 1980s, De Bella has had three Santa Fe jewelry galleries. He got out of retail in 2003, although he was still traveling to 39 countries buying and selling stones and making pieces for other shops to sell. He and his wife, Judi, packed up their four children and spent a year touring the world. Eventually De Bella found himself missing the interaction with old friends and new clients, so he opened deBella Fine Gems & Jewelry Arts next door to the Lensic five years ago. He carries his own work along with fine watches and some estate jewelry. De Bella has always sought out ethically sourced metals, diamonds, and colored stones.
A delicate, hand-forged gold and tanzanite necklace by Tresa Vorenberg.
Tresa Vorenberg has worked as a silver- and goldsmith for 45 years, beginning in Kansas City. A New Mexico native, she returned to New Mexico in 1981 and settled into her current location on Canyon Road in 1983. Tresa Vorenberg Goldsmiths carries the work of 35 artisans working in gold and silver, all with a complementary aesthetic. One of Vorenberg’s favorite parts of the business is making custom jewelry to mark significant events in her clients’ lives. Customers who purchased wedding rings from her will be back for a piece to mark a milestone birthday or anniversary, and Vorenberg has made jewelry for three generations of one family. She designs her pieces to fit the owner’s hand; a ring for the right hand will be shaped differently than one for the left. She often combines inlaid semiprecious stones, such as turquoise or lapis lazuli, with diamonds or other faceted gems.
Below: James Kallas watching over his eponymous jewelry shop on the south side of Santa Fe.
Above: A ring by Joe De Bella features a 9 1/2-ct citrine set in white gold with diamonds.
Belle Brooke Designs, bellebrooke.net deBella Fine Gems & Jewelry Arts, debellajewelry.com James Kallas Jewelers, jameskallasjewelersinc.com Marc Howard Jewelry Design Studio + Showroom, marc-howard.com Santa Fe Goldworks, santafegoldworks.com Tresa Vorenberg Goldsmiths, tvgoldsmiths.com
James Kallas Jewelers is located on the south side of town, where Rodeo and West Zia Roads converge. Owner James Kallas became interested in making jewelry when he was only 12 years old, and he hasn’t lost his enthusiasm all these years later. He began his career in Florida, opening his Santa Fe store in 1991. Kallas and his staff make half of the jewelry displayed in the shop as well as design and fabricate custom pieces. Kallas’s designs range from sleek gold set with precious stones to silver and mixed metal set with the unusual— petrified dinosaur bone, iridescent ammolite, and copper ore embedded in quartz. The store stocks a large selection of gemstones as well as rough turquoise and coral that can be cut and polished. They do repairs of all sorts as well as remaking old jewelry into something new, and the shop offers engraving to personalize a piece. James Kallas Jewelers also offers formal appraisals for insurance of valuable pieces.
Kevin Horan: Goats and Sheep photo-eye Bookstore + Project Space 1300 Rufina Cir, Ste A3 editiononegallery.com Through September 21 When Kevin Horan moved from busy Chicago to a rural island in the state of Washington, his new neighbors were a little on the furry side: a baaing, bleating flock of amiable goats and sheep greeted him daily. Horan, experienced in portraiture, decided to photograph his new friends as if they were privileged clients, bringing his studio to their farm homes and attempting to capture each animal’s individuality. “Their voices were all so different—sopranos and baritones, shouts and murmurs, rebukes and pleas—that I thought of them as not just a flock but a tight-knit group of individuals,” the artist writes in his book, Goats and Sheep: A Portrait Farm. In collaboration with Edition ONE Gallery, photo-eye’s Bookstore + Project Space hosts an exhibition of Horan’s sharp, dramatic portraits of regal Isabella, goofy Stanwood, arrogant Sherlock, and more.—SE
Right: Kevin Horan, Moolahlah, limited edition archival print on paper, 17 x 13", 30 x 24", or 44 x 36"
Tom Palmore Solo Show David Ligare: Night and Day LewAllen Galleries 1613 Paseo de Peralta lewallengalleries.com August 30–September 28 and October 12 Reception August 30, 5–7 pm Two exhibitions open on August 30 at LewAllen Galleries. Tom Palmore shows a series of drawings instead of his usual acrylic paintings. In addition to displaying his technical prowess, his animal portraits express a true reverence for his subject matter. While highly realistic, his apes, leopards, dogs, and other creatures exude personality and sometimes appear in imaginative contexts. “They’re about other earthlings that we share this planet with . . . and about our relationship with them,” Palmore explains. His show is at LewAllen through September 28. Night and Day concurrently showcases recent paintings by David Ligare. His meditative art contemplates nature, social diversity, and ideals of beauty, knowledge, and myth, portraying movement and stillness in turn. Ligare’s show is up through October 12.—SE Above: David Ligare, Magna Fide, oil on canvas, 60 x 80"
Monden Yuichi TAI Modern 1601 Paseo de Peralta taimodern.com August 30–September 14 Reception August 30, 5–7 pm Monden Yuichi’s father, renowned bamboo artist Monden Kogyoku, discouraged his son from following in his footsteps. Monden heeded his father’s advice and, for financial security, became an engineer. “It was not until late one night in 1975, after my father was asleep, that I ventured into his studio and asked myself, ‘Is it not a waste for me to not try expressing myself through bamboo?’” Monden says. He began to experiment with the medium that night, finishing his first simple basket later that year. In 1998, at the age of 56, he retired from engineering to study bamboo art. Monden’s work honors that of his father by employing his distinctive fallen-pine-needle plaiting style, but it has an energetic voice of its own. His flowing, organic creations, made from hundreds of strips of bamboo, evoke natural imagery.—SE Above: Monden Yuichi, Roaring Seas, madake bamboo and rattan, 20 x 21 x 18" 56
Right: Peter Schmid, earrings, sterling silver, 24-kt, 22-kt, and 18-kt gold, mabe pearls, diamonds, 3 1/2 x 1 1/4"
Passion & Pearls Patina Gallery 131 W Palace patina-gallery.com August 9, 5–7 pm Patina Gallery celebrates its 20th anniversary the evening of August 9. For 18 of those 20 years they have carried the work of German jeweler Peter Schmid, owner of Atelier Zobel. As part of the anniversary celebration, Schmid presents his fourth collection of jewelry inspired by a production at The Santa Fe Opera. The choice was probably quite simple this year: with Georges Bizet’s The Pearl Fishers on the schedule, Passion & Pearls is a natural. Schmid combines seed pearls, large pearls, and a variety of other stones and metals in these pieces. Many begin with oxidized silver overlaid with gold and gold dust to create contrasting patterns and textures, then are set with pearls and colored stones. Perfect for a night at the opera.—LVS
Personal Mythology Calliope 2876 Main St, Madrid calliopemadrid.com August 10–September 30 Reception August 10, 4–6 pm Barbara Harnack displays work in painting, mixed media sculpture, and ceramic sculpture at this solo show. She also reads some of her poems at 5 pm. The prolific artist, who grew up outside of New York City, began her studies as a child with famed Parisian puppet maker Madame Sorrel. She went on to study at Rhode Island School of Design, The Malden Bridge School of Art, California College of Art, Philadelphia College of Art and Parsons School of Design. While she is well known for her raku-fired ceramic sculpture, for the past five years she has largely focused on painting. Her abstract figurative work conjures up mysterious mythological narratives. Harnack owns the Madrid gallery Calliope with her husband, Michael Lancaster.—SE
Native and Natural Canyon Road Contemporary Art 622 Canyon canyoncontemporary.com August 16–24 Reception August 16, 5–7 pm In celebration of the start of Indian Market weekend, Canyon Road Contemporary Art presents an exhibition spotlighting the work of sculptor Molly Heizer. Heizer, who studied archaeology, has a profound interest in ancient civilizations, culture, and spirituality. Her ceramic totems pay homage to Native American cultures of the Southwest. At once original and deeply familiar, her katsina and animal figures contemplate nature and reinterpret tribal folk tales, embodying both charming whimsy and ancient wisdom. While each creation tells a different story, Heizer says that her most important goal is to bring joy to all who view her art. The sculptor has been represented by Canyon Road Contemporary for more than 20 years.—SE Above: Molly Heizer, Buffalo Maiden Kachina, Mocras Mona, clay, 20 x 12 x 14"
Left: Barbara Harnack, Sphinx, mixed media on incised panel, 24 x 24"
Emily’s Garden Obscura Gallery 1405 Paseo de Peralta obscuragallery.net September 6–October 19 Reception September 6, 5–7 pm “My first photographs were of flowers and I suspect my last will be as well,” says Brigitte Carnochan. For this exhibit she combines her love of flowers with another passion, the poetry of Emily Dickinson. Carnochan notes that there are hundreds of flower references in Dickinson’s 1,800 surviving poems, and that the poet was well-versed in the 19th-century “language” of flowers, where particular blooms were symbols of human traits and emotions. She includes lines of texts from the poems in the images. Carnochan’s photographs are distinctive. She makes platinum/palladium prints on handmade Japanese paper backed with gold leaf. Edges of both the image and the paper are uneven, lending an air of antiquity to the print.—LVS
Left: Brigitte Carnochan, Lost in Balms, platinum/ palladium print on gampi paper, gold leaf, 8 x 6 1/2", edition of 15
Below: Don Tiller, Blue Trees Dancing, acrylic on canvas, 20 x 40"
PREVIEWS Pastoral Dreams—Natasha Isenhour, Barry McCuan, and Don Tiller Take It Outside Ventana Fine Art 400 Canyon, ventanafineart.com September 20–October 2 Reception September 20, 5–7 pm The allure of the natural world—both cultivated and untamed—drew three artists represented by Ventana Fine Art to seek out and interpret vistas well off the beaten path. Each artist has a unique take on the rural landscapes. Natasha Isenhour’s oil and pastel paintings lovingly capture serene, private moments among New Mexico’s cliffs, mesas, and waterways. Barry McCuan, who often works en plein air, paints the less-frequented areas of New Mexico, England, Scotland, and France. His renderings are warm and soft-edged. Don Tiller’s acrylic paintings, recognizable for their heavy contours and playful colors, wander into abstract realism. His rolling hills and cheery farmhouses idealize rural life.—SE
Bruce Cascia, Distant Mesas, oil on canvas, 32 x 42"
Below: Donna Diglio, double strand bracelet, 18-kt yellow gold, ruby, apatite, amethyst, and tourmaline, 7"
A Gem Packed Life Tresa Vorenberg Goldsmiths 656 Canyon tvgoldsmiths.com August 9–September 16 Reception August 9, 5–7 pm Jeweler Donna Diglio has an eye for the shiny—she has incorporated high-karat gold, ruby, emerald, sapphire, tourmaline, amethyst, fire opal, coral, turquoise, lapis, pearl, rainbow moonstone, jade, opal, and rose-cut diamonds into her distinctive creations. An interest in high-karat gold beaded jewelry drives much of her recent works. Many of them can be mixed, matched, and even combined, bracelets linking into necklaces. Each piece speaks to Diglio deeply—she often has trouble parting from her jewelry. “I don’t follow trends,” the artist says. “I design original jewelry from my heart that I believe is beautiful. I enjoy designing a wearable piece of art. After all, a lady does like to sparkle.”—SE
Bruce Cascia Giacobbe Fritz Fine Art 702 Canyon, giacobbefritz.com September 1–30 Bruce Cascia paints in a photorealistic style, mostly with oils and sometimes with acrylics. His neon signs, roadside diners, and hot dog stands are nostalgic windows into a past era, and wide-open rural landscapes and vintage cars also flow from his paintbrush. His Dogs in Pickups series grew from an association with the Boulder Humane Society, and a recent focus has been his Chicago Hot Dog series. While his paintings are highly realistic, he often utilizes dramatic skies to instill senses of emotion and scale. Cascia studied at the University of Illinois at ChampaignUrbana. He is represented by Giacobbe Fritz Fine Art in Santa Fe.—SE
Small & Sacred Nedra Matteucci Galleries 1075 Paseo de Peralta matteucci.com August 10–September 14 Reception August 10, 1–3 pm Delicate oil still life compositions by William Acheff, each of them no larger than 10 x 12”, are the focus of this solo show. “These smaller works are particularly striking,” says Nedra Matteucci, owner of Nedra Matteucci Galleries. “The paintings draw us in, creating the sense of a shared secret, offering a story that is both intimate and transformative.” Acheff ’s realistic paintings of pottery, corn, and vintage photographs reflect his interest in the history and Native American cultures of the Southwest. Acheff, who is of Alaskan Athabascan heritage, studied under Italian artist Roberto Lupetti as a young man. In 1973, he moved to Taos and found his niche painting historical artifacts of the Pueblo Indians. His career has spanned over 50 years.—SE 58
Left: William Acheff, Brulé, oil on panel, 9 x 7"
Below: Arlene LaDell Hayes, Fresh Baked, oil and wax on panel, 20 x 16"
Together Again Alexandra Stevens Fine Art 820 Canyon alexandrastevens.com August 23–September 21 Reception August 23, 5–7 pm For Arlene LaDell Hayes, Victoria TaylorGore, and Alexandra Stevens, this show is a celebration of lasting relationships. Stevens represented Hayes from the early 1980s to 2003 in Texas and Taos. When Stevens moved her gallery to Santa Fe, Hayes had representation at Joe Wade Fine Art, her family’s business. After Wade closed earlier this year, Stevens was delighted to welcome Hayes back. Hayes works in a variety of media and styles, and her work has a surreal edge. Taylor-Gore has shown with Stevens since 1995, her pastel paintings of landscapes and architecture bringing a warm glow to the gallery. Stevens is delighted to have both artists back under her gallery roof. Hayes and Taylor-Gore will paint at the gallery August 24, 11 am–3 pm.—LVS
Left: Yasutomo Kodera, cast silver ring with Lone Mountain turquoise cabochon
Yasutomo Kodera: Sky Blue Hawk Shiprock Santa Fe 53 Old Santa Fe Trl shiprocksantafe.com August 16, 2–4 pm Yasutomo Kodera came to the United States to attend college. During his time here, he developed a deep love for Native American jewelry and particularly for turquoise. He now owns Skystone Trading, an upscale gallery near Nagano, Japan, carrying a carefully curated selection of new and vintage Native American–made turquoise jewelry. On August 16 Kodera presents a trunk show at Shiprock of his Sky Blue Hawk line of jewelry, a more affordable option.—LVS
Double Dose of Watercolor The Longworth Gallery 530 & 532 Canyon thelongworthgallery.com September 27–29 Reception September 27, 5–8 pm Each September The Longworth Gallery invites Sandi Lear and Charles Frizzell, both watercolorists, to spend a weekend painting in the gallery. From 10:30 am–1 pm Friday and Sunday and 10:30 am–4 pm Saturday, September 27–29, visitors are invited to watch Frizzell and Lear paint. While oil painters can push and pull the paint, and even scrape it off a canvas if they want to try something differently, watercolorists don’t have that flexibility. Although their style, technique, and subject matter are wildly different—Frizzell paints the vanishing rural West and Lear portrays the world’s wildlife—both artists have mastered the unforgiving medium of watercolor.—LVS Above: Sandi Lear, Aria, watercolor on paper, 16 x 12"
Right: Karen Haynes, Sunflower Night, oil on canvas, 30 x 30"
Perfectly Opposed Globe Fine Art 727 Canyon globefineart.com September 6–29 Reception September 6, 5–7 pm “As a younger painter I always swore I would never paint still life . . . and we all know how that promise worked out,” says oil painter Karen Haynes. Invited to participate in an invitational show of, yes, still life paintings, Haynes gritted her teeth and took a hard look at the subject. Her innate love of inconsistency and contradiction took over. Haynes’s still lifes eschew vases of perfectly arranged flowers. A single stem will be there, arranged horizontally between bricks. Her fondness for abstract expressionism comes through in the textures and patterns of her backgrounds and her use of repetition of form.—LVS august/september 2019
PREVIEWS co.elaboration GVG Contemporary 241 Delgado gvgcontemporary.com August 2–September 15 Reception August 2, 5–7 pm “We’ve been collaborating for decades,” jokes Ernst Gruler, referring to his 30-year relationship with his wife, Blair VaughnGruler. This particular celebration of collaboration marks the tenth anniversary of their Santa Fe gallery, GVG Contemporary. Gruler makes fine furniture, abstract paintings, light fixtures, and sculpture. His furniture, made from wood laminate, is designed to be comfortable and sturdy as well as distinctive. Vaughn-Gruler is a painter, creating abstract works alive with texture and pattern. GVG Contemporary carries the work of a dozen other artists— jewelers, sculptors, and painters—whose aesthetic harmonizes with theirs.—LVS Left: Ernst Gruler, Ayer Table With Six Fame Chairs, wood laminate and mixed media, 94 x 48 x 30"
Inspired by Native Traditions and Nature Sage Creek Gallery 421 Canyon sagecreekgallery.com August 13–18 Reception August 16, 5:30–7:30 pm During Indian Market week, Sage Creek Gallery shows the work of five artists inspired by Native American traditions and the natural world. Sculptors Vala Ola, Ken Rowe, and Scott Rogers will show alongside still life painter Sue Krzyston and basket weaver Jane Chavez. Rogers, Rowe, and Chavez will all demonstrate during the week. All three sculptors work in bronze. Rowe primarily portrays wildlife, everything from quail to bison. Rogers creates scenes of the historic West—cowboys, gunslingers, pioneer women, Native dancers. Ola sculpts figures, singly or in pairs. The years she spent as a portrait painter show in her sculpture. Chavez’s intricate baskets are woven from horsehair and embellished with silver. Krzyston paints Native American artifacts including pottery and beadwork, many pieces from her own collection.—LVS Above: Sue Krzyston, Rich in Texture, oil on canvas, 20 x 24"
All Inclusive Group Show Sorrel Sky Gallery 125 W Palace sorrelsky.com August 16–31 Reception August 16, 5–7:30 pm With a Palace Avenue location just west of the Plaza, Sorrel Sky Gallery is right in the middle of Indian Market festivities. Friday evening, they hold their annual reception for all their artists. This year, the gallery has set up a studio area and invited several of their artists, including jeweler Cody Sanderson (Navajo), sculptor Star Liana York, and painters Kevin Red Star (Crow), Maura Allen, and Lisa Danielle to demonstrate during the weekend.—LVS Left: Maura Allen, Meridian: Pueblo, acrylic on panel, 40 x 40"
Contemporary Visions PREVIEWS Pippin Contemporary 409 Canyon pippincontemporary.com September 18–October 2 Reception September 20, 5–7 pm Three artists—Elizabeth Hahn, Gina Rossi, and Suzanne Wallace Mears—present a group show of their recent work. Hahn’s paintings are instantly recognizable, with midcentury shoes, skirts, and luggage hinting at the outline of a story. Hard edges and straight lines separate Hahn’s bold blocks of color. Gina Rossi’s paintings could not be more different. She paints landscapes, subtly blended color and soft edges forming land and sky. The third artist, Mears, works in kiln glass. Her sculptures are vibrant, incorporating glass of different colors and degrees of opacity as well as dichroic glass and metal elements. Mears enjoys how the pieces change with a room’s lighting.—LVS Above: Gina Rossi, Day Meets Night, oil on panel, 36 x 48"
Above: Ford Ruthling, The Unending Succession of the Seasons #21, embossed painting with mixed media, 29 x 42"
Great New Mexican Modernist Artists: Past and Present William R. Talbot Fine Art 129 W San Francisco #C williamtalbot.com Through September 30 William R. Talbot Fine Art is known for their collection of antique maps, but the gallery also carries prints and paintings, predominantly the work of New Mexico artists. Great New Mexican Modernist Artists includes printmaking by Alexandre Hogue (1898–1994), Woody Gwyn, and Ford Ruthling (1933–2015). Ruthling was raised in Tesuque, exposed to art and artists at every turn. He is remembered as a gardener and man-about-town as well as for his art. He developed a technique for making embossed prints, influenced by folk art, rural life, and New Mexican tinwork, often incorporating a line of verse from Shakespeare or the Bible. In 1977 Ruthling was asked to design a series of postage stamps picturing historic Pueblo pottery.—LVS
Reflections From Russia Gallery 901 555 Canyon gallery901.org August 30–September 30 Reception August 30, 5–7 pm Gallery 901 celebrates the centenary of Fedor Zakharov’s (1919–1994) birth with a retrospective show. Zakharov was born in Ukraine and studied in Moscow. Health issues kept him out of the military, freeing him to continue his studies. Rather than follow the accepted path of painting in the Soviet socialist realist style, showing the joys of life under Stalin’s murderous rule, Zakharov cast his eye back towards a 19th century view of the landscape. He employed loose brushwork and deep color to paint the timeless land and sea of Ukraine.—LVS
Right: Keiko Mita, chevron heart ring, 18-kt yellow gold, 18-kt palladium white gold, champagne diamond, white diamonds, 7/8” wide
Above: Fedor Zakharov, Sunny Morning, oil on panel, 26 x 38" Keiko Mita: Trunk Show Tresa Vorenberg Goldsmiths 656 Canyon tvgoldsmiths.com September 20–October 31 Reception September 20, 5–7 pm Keiko Mita was raised on a small island in Northern Japan. She studied jewelry design in Japan and New York, and was successful from the beginning, winning awards in Japan, the United Kingdom, and the United States. In 2002 she moved to New York and opened her own studio. Mita works in high-karat gold and mixed metals, often set with diamonds and colored stones. The waves and sand of Rebun Island, her native land, often appear in her designs. She will be at the gallery Friday evening and all day Saturday, September 21.—LVS august/september 2019
PREVIEWS Star Liana York: Horses Through History Sorrel Sky Gallery 125 W Palace sorrelsky.com August 1–31 Reception August 2, 5–7:30 pm New and unseen work by bronze sculptor Star Liana York reflects her interest in the long-enduring symbiotic relationship between human and horse. Though she grew up in Maryland, York felt an immediate connection to the Southwest when she moved to New Mexico in 1985. Her sculpture has since expressed a fascination with the diverse cultures and wildlife of the region, and her recent equine-inspired work was spurred in part by her husband’s involvement in a horse shelter program. “My art is like air, I can’t live without it,” York says. “And I’ve had a passion for horses my whole life. To bring the passion that has driven me in my art and the passion I have for horses together for this show is very exciting.”—SE
Left: Star Liana York, Valor Liberté, finished clay, 27 x 24 x 11"
Carole Bowker: Works on Paper Thomas-Carole Bowker Fine Art 815-D Early St thomas-carolebowkerfineart.com September 27–October 31 Reception September 27, 1–7 pm For this exhibition, Carole Bowker focuses on the surroundings of Lake Michigan and Abiquiú, New Mexico. Her pastels simplify the natural world, from roving sand dunes to magnificent peaks, into delicate studies of shape and color. “With a background in painting, design, art history, and the natural sciences, my works integrate a keen interest in color, earth, and form,” Bowker says. “. . . Put very simply, my approach to art is to portray, in a variety of media, the essence, nuance and structure of nature in the least complex way.” Bowker, originally from Ohio and now based in Santa Fe, is inspired by the art of Arthur Dove, Milton Avery, and Georgia O’Keeffe.—SE Above: Carole Bowker, Cerro Polvadera, pastel on paper, 17 x 20"
Aimee Erickson: Solo Exhibition Meyer Gallery 225 Canyon meyergalleries.com August 30–September 7 Reception August 30, 5–7 pm While this is Aimee Erickson’s first solo show at Meyer Gallery, she’s no rookie. More than 20 years ago Erickson became the first female artist commissioned to paint the official portrait of an Oregon governor. Still life, landscape, and city scenes are all within her range, and she is known for her plein air work. Several of the paintings at Meyer are from this spring’s En Train Air event, during which Erickson and five other artists rode Amtrak’s Southwest Chief from Chicago to Los Angeles, stopping for a day or two in small towns along the way to paint the scenery.—LVS
Right: Aimee Erickson, The La Junta Mill and Elevator Company, oil on panel, 9 x 12" 62
Horndeski’s Narrative Paintings Horndeski Contemporary, LLC 716 Canyon horndeskicontemporary.com August 23–October 12 Reception August 23, 5–8 pm This exhibition shows around 25 paintings by Gregory Horndeski. The paintings are “narratives” in the sense that each one tells a story, either in the painted image itself or in text appearing around its frame. Most often, the painting and the surrounding text embellish and complement one another. In some works, large bits of text leave the frame and are incorporated into the composition, melding into Horndeski’s flowing nature scenes. Some of the paintings in this exhibition have doors attached to their frames, concealing and revealing text.—SE
opening doors in santa fe
for 30+ years.
Left: Gregory Horndeski, Perception No. 2, acrylic on masonite, 39 x 24 x 3"
Quartet Hunter Squared Gallery 200-B Canyon huntersquaredgallery.com August 9–25 Reception August 9, 5–7 pm Quartet juxtaposes rhythmic paintings by Laura Wait, flowing wire mesh sculpture by Eric Boyer, Gregory Frank Harris’s painterly landscapes, and gallery newcomer Susan Faust’s abstract paintings in oil. Wait’s work is influenced by medieval illuminated manuscripts, Asian calligraphy, and modern graffiti. Her incorporation of abstracted symbols and words is simultaneously analytical and melodic. Faust’s work is inspired by the natural world. She was a landscape painter for 30 years before moving to abstraction. Boyer’s wire mesh figures express the beauty of the human body. “Even without the face, the ‘window to the soul,’ the body speaks volumes,” he says. Harris takes inspiration from painters stretching from 17th to the 21st century. His paintings are recognizable landscapes, but the influence of abstract painting is strong.—SE
Above: Gregory Frank Harris, Autumn Arroyo, oil on paper board, 40 x 32"
Heidi Brandow: New Works form & concept 435 S Guadalupe formandconcept.center August 16–October 12 Receptions August 16 and 30, 5–7 pm Heidi Brandow works in media as diverse as video, mural, and printmaking. Much of her Above: Heidi Brandow, Dream Chorus, triptych, wood, gesso, plaster, work is done in mixed media. Her educational acrylic, graphite, and resin, 48 x 72" history includes stints at the Institute of American Indian Arts, Istanbul Technical University, and Harvard’s graduate program in design. Her artwork has been shown in Russia, Italy, and Japan. Brandow herself is Native Hawaiian on her mother’s side and Diné on her father’s. She was raised in Hawaii with its strong Asian cultures. Her paintings are full of bright colors, repeated patterns, and shapes inside black outlines. Monsters appear in Brandow paintings, although they are yellow and blue, more peculiar than dangerous. Probably. Other work is less playful, concerned with displaced persons and environmental concerns.—LVS
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PREVIEWS Two Man Show Giacobbe Fritz Fine Art 702 Canyon August 1–31 Reception August 9, 5–7 pm Charlie Meckel and David Kammerzell share the walls in an exhibition at Giacobbe Fritz Fine Art. Meckel is a native New Mexican, now living in Silver City. His early plans to become a paramedic were put aside when he began taking art classes. He lists Hopper, Wyeth, and Sargent as his influences. Meckel’s subject matter includes graffiti-covered train cars and industrial buildings as well as pristine landscapes. Kammerzell paints an idealized version of the West. With a background in graphic animation for television, he brings the sensibility of midcentury commercial art to his work, wanting to “glorify and glamorize” his subjects. He begins his stylized paintings with old photos of actual cowboys and cowgirls.—LVS
Above: Charlie Meckel, Nomis, oil on linen, 20 x 40"
John Nieto—Celebrating a Master Ventana Fine Art 400 Canyon ventanafineart.com August 16–September 11 Reception August 16, 5–7 pm It wouldn’t be Indian Market weekend on Canyon Road without an exhibition of John Nieto’s (1936–2018) paintings at Ventana Fine Art. The past 33 shows featured new paintings; this year’s will include serigraphs, etchings, sculptures, and paintings not previously displayed at Ventana. Nieto was of Hispanic and Native American ancestry. His paintings are instantly recognizable—bold depictions of the people and animals of the Southwest, painted in vivid colors, often set against black or another dark color to further highlight the intensity of the fauvistinfluenced palette he favored. In the last year of his life Nieto had begun an exploration of Cubism, a tribute to Picasso.—LVS Above: John Nieto, Buffalo Hide Painting, acrylic on canvas, 36 x 48"
Michael Azgour: Perceptualism GF Contemporary 707 Canyon gfcontemporary.com August 16–30 Reception August 16, 5–7 pm Michael Azgour’s recent work, inspired by contemporary photography, deals with the ubiquity of imagery in modern life and the disjointed nature of social interaction in digital culture. His subjects stretch and shatter into geometric shapes, as if warped, frozen, and fragmented by a poor internet connection. “I am interested in developing a visual language that speaks to our current experience of exposure to and integration of new technology and the persistence of traditional values despite changing global trends,” Azgour says. “My work references moments of transition, the inevitability of change, and the uncertainty of memory.” Azgour has shown work at galleries across the U.S. and Europe. He teaches drawing and painting courses part-time at Stanford University.—SE 64
Above: Michael Azgour, Biskupia, diptych, acrylic on linen, 55 x 95"
Pablita Velarde (1918-2006) Helen Hardin (1943-1984) Margarete Bagshaw (1964-2015) Doylene Hardin Land
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Aug. 16, 2019 - Jan. 19, 2020 Opening Reception Friday, August 16, at 5 p.m. 108 Cathedral Place, Santa Fe, NM JOANNA UNDERWOOD BLACKBURN | KRISTEN DORSEY | BRENT GREENWOOD | BILL HENSLEY JOSH HINSON | NORMA HOWARD | LISA HUDSON | BRENDA KINGERY | DUSTIN MATER | PAUL MOORE ERIN SHAW | TYRA SHACKLEFORD | MAYA STEWART | MARGARET ROACH WHEELER | DAN WORCESTER
CH ICKASAWART I STS .CO M
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SANTA FE WINE & CHILE FIESTA
SEPTEMBER 22 - 29, 2019
GRAND TASTING Saturday, September 28th at the Santa Fe Opera $175 Early Bird Special $195 After August 31st
FEATURED EVENTS September 22 - 29, 2019 Reserve Tasting & Auction Auction Luncheon with Tablas Creek Rosé All Day Guest Chef Walkaround Champagne Nicolas Feuillatte Brunch Guest Chef Luncheons & Demos Daily Wine Seminars Nightly Wine Dinners SFW&C Film Fiesta Gruet Golf Classic SFW&C Gran Fondo
THERE’S A GOLD RUSH IN SANTA FE FOR THE BEST WINES OF THE WEEK AT THE SFW&C FIESTA RESERVE TASTING & SILENT AUCTION
The top reserve wine from each of the 100 participating wineries is poured with delectable tastes from 10 Santa Fe restaurants. A silent auction of 75 rare wine lots benefits SFW&C education programs. The Gold Pass (limited to only 150 guests) gets you in a half-hour early. Wines so good you will want to start tasting earlier. Gold Pass 3:30 pm to 6:30 pm $150 | Reserve Pass 4:00 pm to 6:30 pm $110 Friday September, 27th | The Santa Fe Community Convention Center
THE SANTA FE WINE & CHILE FIESTA WINEMAKER DINNER SERIES 100 World-Class Wineries partnering with 75 great Santa Fe Restaurants Every night for Winemaker Dinners (Schedule on Website)
SANTAFEWINEANDCHILE.ORG FOR WINEMAKER DINNER SCHEDULE
“Wildlife Royalty” • 48" x 48" • Acrylic
“NIETO: CELEBRATING A MASTER” • Friday, August 16, 2019 • 5 to 7pm
VENTANA FINE ART 400 Canyon Road
Santa Fe, NM 87501
native arts magazine
It’s a funny world. In much of the media, we are entertained by otherworldly places and occurrences that are pure fantasy and make believe. Fantasy can be a beautiful thing, as it takes us out of our everyday world and puts us in a new reality. Native American art is in some ways the complete opposite of fantasy, but it also lures us into other worlds—those of the diverse Native American cultures. The difference is about authenticity. Many of today’s Native American artists utilize ancient techniques, traditional materials from the earth, and design principles that have been passed down through the generations. Their work couldn’t be more authentic. The authentic quality doesn’t end with the physical attributes of the art, but continues as the symbols, characters, and subject matter speak to the earth, the animals, and the spiritual world. They are reminders of the respect that Native American cultures have for the environment surrounding us all. It’s a way of looking at life and nature that is truly genuine—and would serve other cultures as well. While fantasy can be beautiful and carefree, the world we live in is very real and full of challenges that we all must face. When I appreciate Native American art, I feel more in touch with the world. I am in awe of how incredible techniques have crossed the generations and still speak of deeper meaning and authentic approaches to life. I also feel inspired by the current-day Native artists who are developing new styles and techniques for personal discovery, to reflect on history, and to comment on pressing contemporary social issues. This enriches us all.
8 Publisher's Note 16 Up Front
We Are the Seeds and the Free Indian Market show Native arts and crafts
18 Museum Spotlight
Below: Polychrome bowl by Maria and Julian Martinez (San Ildefonso), ca. 1915, shown at the Museum of Indian Arts and Culture. Gift of Mrs. John DeHuff, courtesy of John and Linda Comstock and the Abigail Van Vleck Charitable Trust.
Exhibits of historic and contemporary Native art at the nation’s museums
30 Gallery Portfolio Santa Fe galleries that carry the finest Native art
36 Art Profiles Meet a young woman working at the Smithsonian, a descendant of Maria Martinez, a fifth-generation Indian trader, and four Native jewelers to watch terrance clifford
44 Exhibits Native art and artists showing in the city’s galleries [NMHM/DCA] No. 066674.)
Photograph by t. Harmon Parkhurst
46 History The first exhibit of Native painting in Santa Fe
48 Santa Fe Indian Market The 98th annual market brings artists and collectors together again
native arts 2019
“Morning Prayer”, 1987 Bronze Edition of 5, 107” x 44” x 38” Allan Houser Sculpture Gardens At Haozous Place 20 Miles South of Santa Fe Call for schedules and appointments (505)471-1528 firstname.lastname@example.org
The Allan Houser Gallery 125 Lincoln Avenue, Suite 112 Santa Fe, NM, 87501 Phone (505)982-4705 www.allanhouser.com
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SEPTEMBER 20–22, 2019 S I LVER STREET STU D IOS 2000 Edwards Street, Houston, TX 77007 50 premier exhibitors from across the U.S., Canada, Europe and South America offering fine antique furniture, silver, paintings, bronzes, porcelain, estate jewelry, pottery, rare books, lighting, prints, vintage clothing and accessories, representing all design movements of the 17th, 18th, 19th centuries — and introducing 20th century modern.
H O U RS Friday & Saturday 11–6 | Sunday 11–5
ART OF THE WEST September 7, 2019 | Dallas | Live & Online
native arts magazine
Glenna Goodacre (b.1939) Crossing The Prairie, 2001 68.00” high | bronze | edition of 11 2002 winner of the James Earl Fraser Sculpture Award at the Prix de West Exhibition in Oklahoma City, Oklahoma Estimate: $30,000-$50,000
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ON THE COVER Rebecca Lucario, polychrome jar with four directions and geometric design, pigment on clay, 6" high, 7 1/4" diameter Read more about Lucario on page 30. Courtesy Andrea Fisher Fine Pottery
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LEGACY & SPIRIT
We Are the Seeds
Directors Tailinh Agoyo (Narragansett/ Blackfeet) and Paula Mirabal (Taos Pueblo) are bringing We Are the Seeds Santa Fe to the Railyard once again, Thursday and Friday, August 15–16. The event is anchored by a market where Native artists will show and sell their work. Silversmith Marco Arviso (Diné), potter Gwen Setella (Hopi), and painter Brent Greenwood (Chickasaw/Ponca) will be joined by more than 70 other artists from a variety of regions. Dawn Spears (Narragansett/Choctaw) will run a workshop on making cornhusk dolls. A group of Apache, Pueblo, Coast Salish, and Diné elders who weave baskets will be working in a common area while discussing their own traditions event
Juanita Christine stretches while waiting to have her hair and makeup done before modeling David Naranjo’s design at the Seeds fashion show.
Right: Honey, an R&B singer and Fancy Dancer, performs at We Are the Seeds. Below: Jewelry by JJ Otero (Navajo/ Hopi) is for sale at the We Are the Seeds market.
news and happenings
We Are the Seeds, August 15–16, 10 am–6 pm, suggested donation $10, Santa Fe Railyard Park, 740 Cerrillos, wearetheseeds.org
Free Indian Market event Gregory and Angie Schaaf consider the Free Indian Market, held at the Scottish Rite Center, a “safety net” to provide a soft landing for Native American artists who are no longer invited to show at Indian Market or who no longer care to show there. When SWAIA changed how artists were juried into Indian Market for 2018, including discontinuing tenure, a number of elders who had shown at the market for decades were no longer eligible to participate. Besides feeling strongly that these artists’ work needs to be seen, the Schaafs also realized that many of the people affected rely on August sales to support themselves and their families. Last year’s first Free Indian Market showcased 70 artists, and this year the Schaafs are expecting over 210. Exhibitors include descendants of Maria Martinez (San Ildefonso Pueblo), Lucy Lewis (Acoma Pueblo), and Margaret Tafoya (Santa Clara Pueblo), the matriarchs of pottery at their respective Pueblos. Mike Bird-Romero (Ohkay Owingeh/Taos Pueblo), named a Living Treasure by the Museum Members of the Crespin family of Indian Arts and Culture in 2007, will (Santo Domingo) show work at show his jewelry, and Iva Honyestewa, the Free Indian Market. a Hopi basket weaver and recipient of a fellowship at the School for Advanced Research, will also be there. Others have won Best of Show, Best of Class, and Best of Division at past Indian Markets. Ninety percent of the market’s exhibitors are from the Southwest.
Free Indian Market, August 17–18, 8 am–5 pm, free, Scottish Rite Center, 463 Paseo de Peralta, facebook.com/freeindianmarketshow/
courtesy crespin family
and techniques. Roberto Jackson (Gila River) will have a photography studio set up to make portraits of all the artists, performers, and other participants at We Are the Seeds. A performance stage gives dancers, musicians, speakers, and the annual fashion show a venue. Late in the afternoon of the 15th, Seeds hosts an evening of dinner— Indian tacos and Pueblo stew—and social dances from various tribal traditions. Sherenté Harris (Narragansett), who identifies as Two-Spirit and has won awards for both Eastern War and Fancy Shawl dancing, will lead. Tickets are $15.—LVS
Jean Sahmie - A Special Exhibit
Richard Zane Smith
The Best of the Best
Friday Aug 9 -Sunday Aug 18 Opening Reception Friday Aug 9, Noon-5
Thursday Aug 15 -Sunday Aug 18 Opening Reception Thursday Aug 15, 5-7PM Demonstration Friday Aug 16, 10-3PM
Thursday Aug 15 -Sunday Aug 18 Opening Reception Thursday Aug 15, 10-3PM
Friday Aug 16 -Sunday Aug 18 Parade of the Artists - The Red Carpet Event! Friday Aug 16, 5PM Sharp
100 W San Francisco St, Santa Fe, NM 87501 (505) 986-1234 www.andreafisherpottery.com
by A. N. Pitman
Autry Museum of the American West David Bradley and Harry Fonseca
Above: Border Lands, a mixed media work by David Bradley.
TWO MAJOR EXHIBITIONS by contemporary Native American masters enliven the walls of the Autry Museum of the American West, on view until January 5, 2020. Indian Country: The Art of David Bradley celebrates three decades of artwork by David Bradley (Minnesota Chippewa). His painting, sculpture, and mixed media work draw from a variety of influences, including Santa Fe–style painting from the 1930s and ’40s, Renaissance art, pop culture, advertising, and film. Bradley’s work, at once historical and contemporary, Above: David Bradley’s wide-ranging influences, from Renaissance art serious and fun, confronts questions of to pop culture, are seen in To Sleep, Perchance to Dream. identity, self-determination, self-representation, and tradition in Indian art. This retrospective exhibition, with more than 30 works divided into four sections, is filled with both humor and criticism that Native and non-Native people alike can appreciate. Bradley notes that his art “portrays human conditions and personal relationships that would be too controversial in another form.” He also says, “My art suggests and comments on situations, but doesn’t resolve them.” Originally curated by Valerie Verzuh at the Museum of Indian Arts & Culture, the exhibit currently hangs in the Norman F. Sprague, Jr., Gallery at the Autry. In its debut solo exhibition since the Autry acquired the estate of Harry Fonseca (Nisenan Maidu, Hawaiian, Portuguese)(1946–2006), Coyote Leaves The Res: The Art of Harry Fonseca highlights the artist’s depictions of the recurring figure of Coyote, a trickster capable of moving undetected between different worlds. Grouped into four sections, more than 60 paintings, sketches, and lithographs examine Coyote’s role as an avatar for the artist and a metaphor for exploring his creative, artistic, and ethnic identity within the context of the contemporary world. The Autry’s president and CEO, W. Richard West, Jr. (Southern Cheyenne) states, “Fonseca’s great contribution was in bumping up against and crossing confines that were never previously engaged. His work spoke both internally, to Native Americans, as well as externally, with those outside the ‘res,’ and nimbly traversed artistic and cultural boundaries with ideas about Indianness.” These two exhibitions address very different lived experiences, yet both bring humor, critique, and needed perspective to the current contemporary Native American art discourse. Autry Museum of the American West, theautry.org Left: Harry Fonseca’s posthumous exhibit at the Autry Museum focuses on his depictions of Coyote, a prevalent figure in Native American mythology. Far left: An untitled painting in watercolor and ink on paper by Harry Fonseca.
S A R A H S I L TA L A
I N D I A N M A R K E T O P E N I N G R E C E P T I O N F R I DAY, AU G U S T 1 6 , 5 : 0 0 P M - 7 : 3 0 P M Artists Scott Rogers, Ken Rowe, Vala Ola, & Sue Krzyston in Gallery All Weekend 4 2 1 C A N YO N R OA D, S A N T A F E , N M 8 7 5 0 1
S AG E C R E E KG A L L E RY. C O M
© Estate of Horace Poolaw.
© Estate of Horace Poolaw.
by A. N. Pitman
Eiteljorg Museum celebrating 30 years of art and exhibitions AS THE EITELJORG MUSEUM, located in downtown Indianapolis, Indiana, celebrates its 30th year as a cultural institution, a smattering of fantastic exhibitions piques the interest of locals and visitors alike. Until August 5, the special exhibition A Sense of Beauty: Showcasing the Power and Beauty in Native Art wows viewers with innovative installations of contemporary and traditional Native art. These artworks, collected over the past 30 years, have seldom or have never been on display. Emphasizing the aesthetic beauty of the object and how the pieces engage the senses, visitors can expect to see baskets, pottery, textiles, glass, and jewelry, all donated to the Eiteljorg by the artists, art collectors, and patrons. Perhaps one of the most intriguing new exhibitions, currently on loan from the Smithsonian Institution’s National Museum of the American Indian, features black and white photographs by Horace Poolaw (Kiowa)(1906– 1984) depicting mid-20th-century Southern Plains life. The exhibition, 20
Above: Jerry Poolaw (Kiowa), on leave from duty in the Navy. Anadarko, Oklahoma, ca. 1944. Left: Juanita Daugomah Ahtone (Kiowa), Evalou Ware Russell (center), Kiowa Tribal Princess, and Augustine Campbell Barsh (Kiowa) in the American Indian Exposition parade. Anadarko, Oklahoma, 1941.
entitled For a Love of His People: The Photography of Horace Poolaw, highlights 75 never-before-seen photographs taken by Poolaw. Though Poolaw’s main subjects were friends and family, he also photographed two major Native American–operated inter-tribal events—the American Indian Exposition (or Indian Fair) and the Craterville Indian Fair. His images, created during the 1920s through the 1970s, also include weddings, parades, gatherings, and military recruits in their uniforms. Poolaw makes no attempt to play into the nostalgia of memorializing the forgotten past of the “American Indian,” instead preferring to include the landscape and surroundings in his images to provide a more realistic and natural depiction of his peoples. Co-curated by Tom Jones (Ho-Chuck) and Nancy Marie Mithlo (Chiricahua Apache) the exhibition is included in the museum admission, and is on view in the Hurt and Harvey galleries until April 5, 2020. One of The Eiteljorg’s most highly anticipated events, the annual Quest for the West® Art Show & Sale, opens to the public September 8. The event, now in its 14th year, offers visitors a chance to see paintings and sculpture from over 50 of the most prominent Western artists working today. The exhibition remains on display until October 6. Eiteljorg Museum, eiteljorg.com
craig smith, heard museum
by A. N. Pitman
Color Riot! How Color Changed Navajo Textiles displays more than 80 Navajo textiles from the last quarter of the 19th century.
Heard Museum historic textiles and contemporary beadwork
Basin regions during the late 19th century. Grand Procession is on view until April 17, 2020. The museum also offers several ongoing exhibitions. A Land North: Works from the Heard Museum Collection shows over 100 years of objects, made from 1900 on by Indigenous Alaskan and Canadian First Nations artists. Creating Casting: Bronzes from the Heard Collection displays work from several sculptors including Tammy Garcia (Santa Clara Pueblo), Arlo Namingha (Tewa/Hopi), Allan Houser (Chiricahua Apache), and John Hoover (Unangan). The Third Dimension: Sculptural Stories in Stone and Bronze highlights three-dimensional fine art from the 20th and 21st centuries. Perhaps most important, Away from Home: American Indian Boarding School Stories takes a critical and in-depth look at this often-ignored facet of American history. Heard Museum, heard.org
craig smith, heard museum
LOCATED A STONE’S THROW away, in Phoenix, Arizona, The Heard Museum curates important exhibitions of traditional and contemporary Native American art. Two current exhibits—Color Riot! How Color Changed Navajo Textiles and Grand Procession: Contemporary Plains Indian Dolls from the Charles and Valerie Diker Collection—highlight the Heard Museum’s commitment to the advancement of American Indian art. Through September 2, Color Riot! displays more than 80 Navajo textiles from the last quarter of the 19th century. A series of events and ideas shaped the Navajo people between 1863 and 1868, including their imprisonment in the Bosque Redondo and eventual return to their homeland. The exhibition examines how a combination of this history, exposure to the examples and design system of Hispanic textiles, freedom from market constraints, and the availability of new-to-them materials like aniline dyes and Germantown yarns created the impetus for experimentation and expression for the Navajo working with new colors and design. Grand Procession is a celebration of 23 exquisite, contemporary Native-made dolls, also known as soft sculptures, from five immensely talented artists—Jamie Okuma (Luiseño and ShoshoneBannock), Rhonda Holy Bear (Cheyenne River Sioux and Lakota), and three generations of the Growing Thunder family: Joyce Growing Thunder, Juanita Growing Thunder Fogarty, and Jessa Rae Growing Thunder (Assiniboine and Sioux). Around the exhibition space, historic photographs of Indigenous peoples offer a glimpse back in time and, when paired with the dolls, provide a figurative reference to the Indigenous peoples of the Great Plains and Great
Above: Contemporary Native-made dolls from five talented artists show in an exhibition titled Grand Procession.
DA N N A M I N G H A
KATSINA MESA Acrylic on Canvas
20” X 72”
Dan Namingha © 2019
Reception with Dan, Arlo & Michael Namingha • Friday, August 16, 2019 • 5–7:30pm
125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 Monday–Saturday, 10am–5pm 505-988-5091 • firstname.lastname@example.org • namingha.com •
by A. N. Pitman
Wheelwright Museum of the American Indian
current and upcoming exhibitions
Above: Genesis, 2017, a ceramic, steel, and leather sculpture by Rose B. Simpson, whose work often reflects on her recent journey into motherhood. The sculpture, which is 32" high, is from the collection of the artist.
Above: Old Man Looking Backward, a monotype by Bob Haozous and part of an exhibition of the same name. Done in 2017, it is from the artist’s collection. 24
PERHAPS BEST KNOWN FOR its Jim and Lauris Phillips Center for the Study of Southwestern Jewelry, the Wheelwright also holds the distinction of being the oldest nonprofit, independent museum in New Mexico. Founded in 1937, the museum boasts one of Santa Fe’s oldest continuously operated galleries of Native American art—the Case Trading Post, established in 1975. Two current exhibits on view until October 6 offer two very different takes on contemporary Native art. LIT: The Work of Rose B. Simpson is the first major solo exhibition for this mixed-media artist. Simpson’s sculptures are self-reflective in nature, offering self-portraits at various stages of the artist’s life, including her recent journey into motherhood. Her artworks are typically monumental figures or life-sized clay and mixed media sculptures, some showing her interest in post-apocalyptic themes. The daughter of famous sculptor Roxanne Swentzell (Santa Clara Pueblo) and metal artist Patrick Simpson, Simpson combines the traditional medium of clay with welded steel and leather to create a fascinating marriage of materials and subject. LIT includes a documentary series of photographs of Simpson working in her studio, as well as an illustrated catalog with essays from Native American scholars. Bob Haozous (Warm Springs Chiricahua Apache) is known for his monumental sculpture, as well as his work in other media. His current exhibition, Old Man Looking Backward: Bob Haozous, dives into monoprints, illustrations, and human-sized steel cutouts from his private collection. Through these works, Haozous rethinks concepts of Native identity, cultural appropriation, and the responsibility of artists to address uncomfortable truths about contemporary life. By reworking many of the pieces and adding hand-lettered text, Haozous critiques contemporary American values, advocates for a nature-oriented definition of Indigenous identity, and voices concerns about Native American art in a marketplace. Old Man Looking Backward encourages dialogue and addresses the questions of “the profound problems [and] the complex people we are today. Why shouldn’t an honest self-portrait be the foundation of contemporary Indian art?” Opening in November, Humor and Satire in Native American Arts, curated by Andrew W. Mellon Fellow Denise Neil-Binion (Cherokee/ Delaware), examines paintings, drawings, sculpture, and other items from Native artists in which they have parodied, appropriated, or poked fun at non-Native individuals, non-Native historical figures, and both Native and non-Native culture. By putting a humorous spin on current challenges faced by Native peoples and communities, the exhibition aims to elicit laughter and healing through visual expression. Wheelwright Museum of the American Indian, wheelwright.org
by A. N. Pitman
Museum of Indian Arts and Culture
museum of indian arts and culture
historic and contemporary pottery exhibitions
A polychrome bowl from San Ildefonso made between 1905–1910.
AT THE MUSEUM OF INDIAN ARTS and CULTURE, two pottery exhibitions endeavor to show the breath and depth of the historic and contemporary pottery held in the museum’s collection. Opening August 11 and on view until August 31, 2020, San Ildefonso Pottery: 1600–1930 highlights the true artistry of the pottery created at San Ildefonso Pueblo. For the makers of these works of art, creating pottery is a weighty task. By combining two sacred substances—water and earth—a new life is formed and a visual prayer is brought into existence. The exhibit, curated by Bruce Bernstein, Erik Fender, Russell Sanchez, and in partnership with contemporary potters and community members, employs new methodologies to help visitors appreciate the context and meaning behind San Ildefonso art, culture, and history. San Ildefonso Pottery features pieces from several important collections, many of which have not been previously exhibited. The exhibit also helps tell the story of the museum’s
Above: A ceramic bowl by Diego Romero shows how the artist mixes traditional and non-traditional design elements into his work.
founding and the symbiotic relationship that existed between the early museum and the men and women of the Pueblo. Diego Romero vs. The End of Art, opening October 6 and on view through April 5, 2020, offers a dynamic exploration of the Cochiti Pueblo artist’s lifelong journey as depicted through his artworks. The exhibition’s narrative follows a biographical and cultural history in conflict with the “End of Art,” a shadowy figure of unknown intentions. Family members of the artist act as allies in the story, attempting to help overcome the End of Art. The exhibition, one of the largest assemblages of Romero’s ceramic works and less frequently seen multi-media drawings, engages younger and non-traditional audiences by combining traditional information with elements of a graphic novel. Romero and his brother, painter Mateo Romero, are the museum’s 2019 Living Treasures. Their joint exhibit, The Brothers Chongo: A Tragic Comedy in Two Parts, is up until October 31. Museum of Indian Arts and Culture, miaclab.org native arts 2019
Left: Dustin Mater (Chickasaw), Cosmic Warrior II, mixed media, acrylic on molded plastic, rabbit fur, deer antler, blackslip oyster shell, canvas, 17 x 12 x 12" Loan courtesy of the artist.
by A. N. Pitman
IAIA Museum of Contemporary Native Arts three exhibitions challenge viewers THIS FALL, THE IAIA Museum of Contemporary Native Arts (MoCNA) presents three exhibitions designed to promote critical thinking on contemporary Native art. Each with an opening reception slated for August 16 from 5–7 pm, the exhibits tackle subject matter important to Santa Fe and to an international audience. With significant local importance, Reconciliation showcases work from artists in response to the elimination of La Entrada, a pageant re-enacting a disputed version of the Spanish return to Santa Fe in 1692 after the 1680 Pueblo Revolt, during the city’s annual Fiestas. The works on display come from both Pueblo and Hispano artists, presented in six distinct installations with a healing garden.
With the recognition of the power of art to open a dialogue, the collaborative work of these artists is rooted in wiya eh kodi ani—Tewa for “putting things right again”—and offers to serve as an expression of post-Entrada creativity in Santa Fe and the surrounding communities. Curated by MoCNA’s chief curator, Manuela Well-Off-Man, MoCNA’s curator of collections Tatiana Lomahaftewa-Singer (Hopi/Choctaw), and former state historian and one of the individuals involved in the years-long process to end La Entrada, Dr. Estevan Rael-Gálvez, this exhibition is an important step in moving forward. Reconciliation is on view until January 19, 2020. Visual Voices: Contemporary Chickasaw Art turns an eye to experimental work from 15 emerging and established Chickasaw artists. An emphasis on individuality and diversity of media, style, and process, Visual Voices uses the strong sense of Chickasaw identity to weave connecting threads. The themes of this exhibit run far and wide—from environmental concerns, humans’ relationship with the land and nature, to tribal and personal histories, community life, and the importance of women in Chickasaw culture and society. More than 65 artworks examine the delicate balance between tribal identity and the individual’s cultural roots. Visual Voices is also on view until January 19, 2020. On an international scale, Sámi Intervention/Dáidda Gážada employs video and installation art to create a narrative of visual sovereignty and cultural and intellectual connections with the Indigenous peoples from parts of Norway, Sweden, and Northern Finland, also known as the Sámi. This exhibition, with its title loosely translated as “to make questions with art as a medium,” explores the complex realities of Sámi/American Indian/First Nations identity, the changing terms of Sámi art and political agency, and alternative futurities. Sámi Intervention/Dáidda Gážada brings to Santa Fe the work of three Sámi artists Carola Grahn (Sámi/Sweden), Joar Nango (Sámi/Northern Norway), and Elle-Máijá Tailfeathers (Blackfoot, Kainai First Nation [Blood Reserve]/ Sámi/Northern Norway) in collaboration with local Diné artist Autumn Chacon. The exhibit remains on view until February 16, 2020. IAIA Museum of Contemporary Native Arts, iaia.edu/mocna Left: Bill Hensley (Chickasaw), Young Chickasaw Man, acrylic on canvas, 60 x 48" Loan courtesy of Capital Assets, Inc. Right: Kristen Dorsey (Chickasaw), What Fuels Leadership? Series of two gorgets, fine silver, copper, black rhodium plate, solar panel, leather, plastic, LED lights, batteries, 18" cord, 6 x 3 1/2 x 1" Loan courtesy of the artist.
T.C. Cannon: At the Edge of America Q+A with curator Karen Kramer
by A. N. Pitman
courtesy of Archives of the Institute of american indian arts
THE NATIONAL MUSEUM OF THE AMERICAN INDIAN—New York, part of the Smithsonian Institution, presents one of the most important and impressive T.C. Cannon (Kiowa/Caddo) (1946–1978) exhibitions to date. Exhibition curator Karen Kramer, with the Peabody Essex Museum in Salem, Massachusetts, organized T.C. Cannon: At The Edge of America with support from Joyce Cannon Yi, The Lynch Foundation, and Ellen and Steve Hoffman. Kramer chatted with Native Arts about At The Edge of America and shed light on some special touches in this exhibition, on view through September 16. Native Arts: Please tell us a little about how T.C. Cannon: At the Edge of America came about. Why did you decide to sort the works by subject matter rather than chronologically? Karen Kramer: In the process of researching Cannon and his creative output over time, it became clear how inextricably bound his painting practice was to his poetry and music. It also became evident that ideas and themes ran through his work not chronologically, but consistently. His worldview can’t be neatly separated into chronological compartments. And so, curating the exhibition in this way was a logical and natural decision for me. NA: How many works are in the exhibition? Does a particular time frame or theme have a dominant presence in the exhibition? Above: T.C. Cannon (1946–1978, Caddo/Kiowa), Mama and Papa Have the Going Home Shiprock Blues, 1966. Acrylic and oil on canvas. Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe, New Mexico. © 2019 Estate of T.C. Cannon. Photo by Addison Doty. Above, right: T.C. Cannon, ca. 1965. 28
KK: There are nearly 80 works on view at the Smithsonian’s National Museum of the American Indian— New York. There are about 25 large paintings (including a 20-foot mural), works on paper, poetry, and
Above: T.C. Cannon (1946–1978, Caddo/Kiowa), New Mexico Genre, 1966. Mixed media on canvas. Institute of American Indian Arts, Museum of Contemporary Native Arts, Santa Fe, New Mexico. © 2019 Estate of T.C. Cannon. Photo by Addison Doty. Left: T.C. Cannon (1946–1978, Caddo/Kiowa), Two Guns Arikara, 1974–77. Acrylic and oil on canvas. Anne Aberbach and Family, Paradise Valley, Arizona. © 2019 Estate of T.C. Cannon. Photo by Thosh Collins.
songs. The exhibition also includes letters home from Vietnam, some personal photographs, and rarely heard recordings of T.C. playing guitar and singing. It was a monumental task to secure each and every work in the exhibition, which would not have been possible first and foremost without the collaboration and support of Joyce Cannon Yi, the executor of T.C. Cannon’s estate. Since so much of Cannon’s work resides in private collections, and his work in museum collections is often on view, securing each and every loan mattered. NA: Is there anything that particularly surprised you while you were curating this exhibition? KK: It was surprising to not find a single painting that directly referenced his Vietnam experiences. Certainly, there are allusions to his experiences and this was embedded in all that he produced, and there are direct visual references and descriptions in his works on paper, sketches, and poetry, but nothing overt in his canvases that I was able to find yet. NA: Do you have a favorite painting in the exhibition? What about his work in another medium? KK: I fell in love with so much of his work—it’s a tough question to answer. But I will say that I see something new, and fall in love even harder, every time I’m with his 1966 painting
Mama and Papa Have the Going Home Shiprock Blues. I liken this painting to [Bob] Dylan going electric at Newport in 1965. And, I will never tire of looking at Two Guns Arikara, Cloud Madonna, Pueblo Woman Dancer, or All the Tired Horses in the Sun. See? It’s hard to call out just one favorite. As for his work in another medium, there’s an untitled ink drawing in the Peabody Essex Museum (PEM) collection from 1972. It’s a self-portrait and Cannon is leaning on a heart, and inside the heart is a poem of sorts that he wrote about how some people never find their own hearts. It gets me every time. He signed it “Standing Sun” which is how his Kiowa name loosely translates into English. That itself is a rare signature I haven’t seen on other works. It’s a very special piece. NA: Is there anything else about the exhibition or T.C. Cannon you’d like our readers to know? KK: So many people contributed to making this exhibition, including many rising stars from our Native American Fellowship program at PEM, as well as many Native artists, scholars, poets, and musicians, who all helped me harness Cannon’s vision and voice. This project would not have been what it is without them. National Museum of the American Indian—New York, americanindian.si.edu santa fean
native arts 2019
Steve Elmore Indian Art Hopi Baskets
Primarily carrying antiques, Steve Elmore Indian Art has a large inventory of pieces from the Pueblos along the Rio Grande in New Mexico and from the Hopi reservation in Arizona. Pottery, weavings, silversmithing, and paintings fill the gallery. Owner Steve Elmore also represents some contemporary potters, particularly the descendants of famed Hopi potter Nampeyo. A native New Mexican, Elmore developed a fascination with Southwestern art and artifacts while living in New York and finding Pueblo pottery and Navajo weavings in secondhand stores. The gallery has a nice selection of Hopi basketry, historic and contemporary. These baskets are used by the Hopi in daily life, in ceremonies, and they also serve as a form of currency. Most of Elmore’s inventory of Hopi baskets were made in the first half of the 20th century. Additionally, Elmore shows his own work at the gallery: abstracted, symbolic landscapes executed in oil.—Lisa J. Van Sickle elmoreindianart.com
Right: Unknown Hopi artist, plaque depicting Shalako Mana (corn grinding girl) ca. 1920, wicker, 13 x 12"
Andrea Fisher Fine Pottery Rebecca Lucario
Acoma pottery is unmistakable due to its elegant shape, thin walls, and intricately painted surfaces. Pottery by Rebecca Lucario (Acoma Pueblo) stands out in any setting. The pottery itself is beautifully crafted, and the geometric designs she paints on it freehand, using a traditional yucca brush, are stunning. Lucario began making pottery in 1965 while still a teenager. Her work will be featured in Andrea Fisher Fine Pottery’s Best of the Best show during Indian Market weekend. Andrea Fisher Fine Pottery opened in 1993, carrying only handmade and hand-painted Native American ceramics from the Southwestern United States, the village of Mata Ortiz in Chihuahua, Mexico, and a very few other places. The gallery carries work made from the 1880s to the current day.—LVS Best of the Best and Parade of Artists, August 16–18, parade begins at 5 pm August 16, andreafisherpottery.com Above: Rebecca Lucario, ceramic plate, pigment on clay, 12” diameter
Felipita and Asunción Santo Domingo Pueblo circa 1905-1914
Opening Reception Thursday, August 8th 5 to 7 pm
A must-see for collectors of Native American art 221 Canyon Road Santa Fe 505.955.0550
Building Quality Collections for 41 Years
Blue Rain Gallery Chris Pappan
Founded in 1993, Blue Rain Gallery carries contemporary art by Native American and other regional artists. Paintings, sculpture, ceramics, glass, and jewelry can all be found at the Railyard-area gallery, as can works on paper by artists including Chris Pappan. Pappan is a graduate of the Institute of American Indian Arts and lives in Chicago. He is of Osage, Kaw, Cheyenne River Sioux, and mixed European heritage. At Blue Rain he is showing a series of ledger drawings, bringing the 19th-century art form into the 21st. Pappan uses his razor-sharp drawing skills to comment on perceptions and misperceptions surrounding Native peoples. He describes his style as “Native American Lowbrow.”—LVS blueraingallery.com
Left: Chris Pappan, Definition 1, mixed media on 1925 Evanston municipal ledger, 23 x 18"
native arts 2019
Palace Jewelers at Manitou Galleries
Palace Jewelers is tucked inside Manitou Galleries’ Downtown location. It carries the work of metalsmiths working in both gold and silver, some Native American and some not. The jewelry department is proud to be under Native American management. Wes Willie (Navajo) is one of the jewelers who shows at Palace Jewelers. He works in both silver and gold set with stone. Willie grew up on a ranch on the Navajo Nation and worked as a welder before turning to jewelry. He has won repeated awards at Santa Fe Indian Market and his work can be found adorning collectors across the world. Willie studied with Jesse Monongya, and he likes to give back by teaching others.—LVS
Right: Wes Willie, Chinese turquoise bracelet
While Alexander E. Anthony, Jr., was working as a nuclear engineer in the United States Air Force he developed an interest in Pueblo pottery. In 1978 he started Adobe Gallery, originally in Albuquerque. He opened a Santa Fe branch in 1999, and by 2001 had consolidated operations at the foot of Canyon Road. Considered an expert, Anthony has been tapped to judge pottery at the Santa Fe Indian Market, the New Mexico State Fair, and the Gallup Inter-Tribal Indian Ceremonial. He is also a consultant for Antiques Roadshow. The gallery continues to focus on historic Pueblo pottery, and also carries contemporary pottery, early Pueblo and Diné paintings, textiles, and katsinas. Alexander co-owns Avanyu Publishing, a company that has issued 18 books on Southwestern subjects.—LVS adobegallery.com
Above: Unknown Acoma Pueblo artist, ceramic, 10" tall, 12" diameter
form & concept Ryan Singer
Form & concept shares its Railyard District quarters with its sister gallery, Zane Bennett Contemporary Art. While Zane Bennett carries big-ticket items by well-known artists, form & concept is devoted to exploring the lines between art, craft, and design. They carry the work of emerging artists as well as the more established, and the gallery doesn’t shy away from showing work in uncommon media. A recent show featured pieces made from castoff clothing and pull-tabs from aluminum cans. Ryan Singer (Diné) is a painter who uses images from his Native culture in unexpected ways. He cites punk music and underground art as influences; robots, Star Wars characters, and a Blake’s Lotaburger sign form a 21st century juxtaposition with traditional Navajo grannies, hogans, and the iconic landscape of Monument Valley.—LVS formandconcept.center Left: Ryan Singer, Binary Worlds 2, acrylic on canvas, 30 x 40" 32
Allan Houser Gallery Allan Houser
Allan Houser (Chiricahua Apache)(1914–1994) was one of the most well-known Native American artists of the 20th century. Born in Oklahoma, he left his home state in 1934 to study painting and drawing at the Santa Fe Indian School. He exhibited at the 1939 New York World’s Fair and in 1940 began to explore sculpture through wood carvings, later expanding to work with bronze, stone, and marble. In 1992, he became the first Native American awarded the National Medal of Arts. Houser’s work can be found in collections across the country, including in the Smithsonian Museum of American Art and the National Museum of the American Indian. Allan Houser Gallery represents his work exclusively, presenting small and moderate scale artworks in bronze and stone sculpture, charcoal and pastel drawings, and tempera and acrylic paintings.—Sarah Eddy allanhouser.com
Above: Allan Houser, Dialogue II, bronze, 24 x 9 x 5"
Keshi: The Zuni Connection Keli’i Eli
Right: Keli’i Eli (Zuni Pueblo), Eagle, bumblebee jasper, 3 x 4 x 1 1/2"
Zuni Pueblo is on the western edge of New Mexico, and it is estimated that as much as 80 percent of the Pueblo’s adults make and sell art. Zuni jewelry is intricately inlaid with stone or done in the petit point style, with tiny, regularly cut stones set in delicate silver. Zuni pottery is elaborately painted and often features animal imagery. Keshi carries a huge array of Zuni fetishes: small stone carvings of animals and, occasionally, people. Whether the animal is local, such as a rattlesnake or bobcat, exotic, like an elephant, or from myth—a griffin—the stylized carvings carry meanings associated with the animal’s attributes. Robin Dunlap founded Keshi in 1981 and her daughter, Bronwyn Fox, currently runs it. They lived at Zuni, where Dunlap taught school, and maintain strong ties to the Pueblo and its artisans.—LVS keshi.com
Maria Martinez, Pueblo deer plate, ceramic, 11" diameter
King Galleries represents the Pueblo pottery of many of today’s leading potters, innovative forms and designs often mingling with traditional making and firing techniques. Along with the contemporary work is some that is older, including the pottery of Maria Martinez (San Ildefonso Pueblo)(1887–1980). A legend among Native potters, Martinez developed a highly influential style of black-on-black pottery. Having learned millennia-old ceramic techniques at a young age, Martinez’s skill at creating thin, perfectly symmetrical vessels was noted in her Pueblo. With her husband, in the 1910s she pioneered the style of matte-black design over polished black pottery that launched her to international recognition. Her work can now be found in various permanent museum collections around the world.—SE kinggalleries.com
Located less than a block north of the Plaza, True West is about to celebrate five years in business. Fetishes, jewelry, paintings, weavings, baskets—they carry it all. Much of the inventory is made by Native American artisans. True West’s owners, previously associated with Packard’s on the Plaza, endeavor to combine a warm and friendly atmosphere with solid knowledge of their wares. They carry the work of dozens of Navajo weavers. Most work in the classic styles—pictorial, Ganado, Teec Nos Pos, or Burntwater—while some take a more contemporary approach to design and use of color. True West also stocks some vintage Navajo weavings and pieces by Zapotec weavers, Indigenous people native to the Oaxacan highlands of Southern Mexico.—LVS truewestgallery.com Left: True West carries the work of dozens of Navajo weavers who work in both classic and contemporary styles.
Left: Mary Tafoya, People of the World, 18" panel necklace with hand-rolled beads, conus shell, corie shell, gaspeite, alabaster, Kingman and Nevada turquoise, apple coral, serpentine, malachite, pipestone, anulite, sandstone, bone, black jet backing, sterling silver clasp, each mosaic panel 2 1/2 x 1 1/8"
Plata de Santa Fe Mary Tafoya
Plata de Santa Fe relocated earlier this summer from San Mateo to Guadalupe street. Owner Peggy Gnapp, who brings extensive experience to the business, carries jewelry by Native American, Mexican, and other artisans, as well as leather pieces, folk art, and clothing. All the jewelry is handmade, and pieces are one-of-a-kind, selected for their individuality and quality. Jewelry by Mary Tafoya (Santo Domingo Pueblo) is available at Plata de Santa Fe. Tafoya works in the mosaic style typical of Santo Domingo, where the stones are usually not set in silver. Her designs are bold, with strong geometric shapes and brightly colored stones against a black jet backing. She will use the natural shape of a sliced shell to form an eye-catching pattern, then carefully cut stones to fit around it. Tafoya’s work is traditional in methods and materials yet still stunningly contemporary.—LVS platadesantafejewelry.com Below: Raven Halfmoon, First Encounter, stoneware and glaze, 16 x 14 x 24"
Deborah Fritz opened her third gallery in June of 2018, adding a Railyard sibling to her two Canyon Road establishments. GalleryFRITZ is the most contemporary of the three, and it draws from a rotating group of curators to keep the experience fresh. Some of the artists come from Fritz’s other galleries; others only show at this location. Raven Halfmoon (Caddo Nation) brings dual bachelor’s degrees in ceramics/painting and cultural anthropology to her work. While creating her ceramic busts and other pieces she turns an unflinching gaze on her heritage as a woman, a Native American, and a citizen of the United States in the 21st century.—LVS
native arts 2019
P RO F I L E
Tazbah Gaussoin preservation of heritage by Ana Pacheco
Left: Gaussoin’s grandparents, Carl Tsosie, Sr., of the Navajo Nation and Lydia Duran Tsosie of Picuris Pueblo, ca. 1997.
Tazbah Gaussoin (Picuris Pueblo/Diné), who turned 27 on June 6, attended her first Indian Market when she was just two months old. Her father, Jerry, and older brothers took turns caring for her while her mother, silversmith Connie Tsosie Gaussoin (Picuris Pueblo/Diné), spoke with patrons. That was the beginning of Gaussoin’s experience in the world of Native American arts. Today, Gaussoin works as a museum specialist at the Smithsonian’s National Museum of the American Indian. Her duties include working with approximately 800,000 objects from the 36
Indigenous peoples of the Western Hemisphere, with origins spanning from Greenland all the way down to South America. She recently worked on an exhibition, opening this fall at the Poeh Cultural Center in Pojoaque, that will feature 100 ceramic pots, returned to the Tewa-speaking Pueblos from the Smithsonian. “It’s been an amazing learning experience,” Gaussoin says of her two-year term at the Smithsonian. “I love listening to the history of the people who stop in to tell us about their different objects in our collection. All of these groups have suffered some form of hardship. Many of them
Below: Tazbah Gaussoin modeling a design that she and her brothers created.
were forcibly removed from their native lands. I’m so fortunate that my family has continued to live on the land of our ancestors.” Gaussoin grew up in Santa Fe, cognizant of her mother’s Navajo and Picuris heritage from an early age. “My parents made sure that I was in touch with my Native roots,” she says. “I began dancing at the Picuris Pueblo feast day when I was three and I had my coming of age ceremony, Kinaaldá, on the Navajo Reservation when I was 12.” Gaussoin received her bachelor’s degree in museum studies from the Institute of American Indian Arts in 2016. Her mother and three brothers are jewelers who also work in the mediums of fashion, sculpture, and textiles. Like the rest of her family, she has shown her work at major arts shows and has taken leadership roles in preserving and promoting her Native heritage. One brother, Wayne Nez, is an assistant curator at the Indian Pueblo Cultural Center in Albuquerque while another brother, David, works for the New Mexico Health Equity Partnership. Her eldest brother, Jerry Jr., is an artist and a colonel in the United States Army. When Gaussoin’s stint at the Smithsonian ends, she plans to pursue a career in collections management and continue her work in the preservation of the heritage of Indigenous people.
Below: Gaussoin in 2010, wearing a traditional Navajo rug dress made by her Diné family. The rug in the background was made by Gaussoin.
courtesy Tazbah Gaussoin
courtesy Tazbah Gaussoin
Left: Gaussoin with her parents, Connie and Jerry Gaussoin, and her brother David at her IAIA graduation.
courtesy Tazbah Gaussoin courtesy Tazbah Gaussoin
Courtesy Tazbah Gaussoin.
Left: Tazbah Gaussoin cleans polychrome Tewa pottery at the Smithsonian’s National Museum of the American Indian for an upcoming exhibit at the Poeh Cultural Center.
Left: Gaussoin as a young girl with her mother, Connie Tsosie Gaussoin, at Picuris Pueblo’s San Lorenzo feast day.
native arts 2019
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four contemporary Native jewelers women to watch by Janet Steinberg
Must-sees at this year’s Santa Fe Indian Market are jewelry pieces by four award-winning contemporary jewelry designers, each recognized by the Southwestern Association for Indian Arts for visionary artistry and expertise. All four happen to be women. Each of these designers use sterling silver, 14- and 18-kt gold, and precious and semiprecious stones combined with techniques such as tufa and cuttlefish casting, lapidary, inlay work, stamping, and other methods to execute their traditional and contemporary designs. Sarah Aragon (Diné) lives and works on the same land her grandparents picked out two generations ago. Surrounded by the waterfall, landscape, and treasured memories of her silversmith father and uncles, Aragon’s work is inspired by her husband and her three-year-old son, as well as her ancestors and her family’s Arabian horses. “I see things out there in my surroundings, and those things go into my work,” the jeweler says. “I start with something small and it becomes something beautiful, something unique and unexpected that changes as it grows into itself, as it moves and works itself through itself. I just have to allow the work to move on its own.” Among her many awards and accolades, Aragon was recognized by the Red Earth museum in Oklahoma with a first-place award for a sterling silver headstall she created for one of her horses in 2016. That same year she won a secondplace award for a silver and semiprecious stone clutch in the clothing and personal accessories division by the Autry Indian Below: Sarah Aragon’s unusual silver clutch, set with semiprecious stones, was an award-winner in a show at the Autry Museum of the American West in 2016.
Above: A cuff bracelet by Fortune Huntinghorse is made with Morenci turquoise, diamonds, and rubies set in 14-kt gold.
Arts Marketplace in California. Her work has earned awards yearly at the Heard Museum in Arizona. A member of the Wichita tribe, Fortune Huntinghorse now lives just north of the southern United States border in Marana, Arizona. Her work—traditional and contemporary jewelry pieces, belt buckles, hatbands, and more—comes from “designs that dance in [her] head.” She begins a piece by “doodling” the design on paper to see if she can make it work before forming the piece in sterling silver, 14-kt, and/or 18-kt gold. Huntinghorse sets the silver or gold with semi-precious and precious stones including high-grade natural turquoise, lapis, diamonds, spiny oyster, Mediterranean coral, black jade, sapphires, and rubies. She cuts and polishes many of her own stones. Huntinghorse is passionate about the small creatures and birds of the Sonoran Desert. She couples that passion in her jewelry with inspiration from the work of other renowned Southwest artists, including her late brother-in-law Herbert Taylor (Navajo). Huntinghorse’s work has been honored with multiple awards between 2015 and 2019: from the Autry Indian Arts Marketplace (second place), the Red Earth Festival (first, second, and third places), the Eiteljorg Museum (second place), and the Santa Fe Indian Market (second place and honorable mention). Jennifer Medina (Santo Domingo Pueblo) first began designing jewelry under the tutelage of her acclaimed designer mother, Rose Medina. After studying with the highly regarded Navajo sculptural jeweler Fritz Casuse at Poeh Arts Center in Pojoaque, Medina won an honorable mention award from the Heard Museum in 2015 and a first-place award from the Heard in 2017. Medina also earned a second-place award from the Heard in 2018.
Nampeyo Family Retrospective Celebrating 130 years of the Sikyatki Revival Movement
Above: Robin Waynee combined gold and oxidized silver in this bracelet, then set it with Tahitian pearls, diamonds, and colored stones.
“The Navajo people are known for their mastery in silversmithing. Pueblo people are known for pottery, weaving, and embroidery,” Medina says. “I feel very much validated when I positively compete with Navajo artists and designers.” One such validation came from winning firstplace, best of division, and honorable mention awards at the Santa Fe Indian Market in 2017 and 2018. As a traditional Pueblo designer, Medina’s ideas come from “anywhere . . . the clouds in the sky, my mother’s designs, other artists’ work who are at the top of their game.” Robin Waynee, a member of the Saginaw Chippewa tribe, found her calling as a jewelry designer after working in multiple art disciplines during the mid-1990s, when she moved from Michigan to Santa Fe. Her contemporary designs are inspired by architecture, nature, and the unique stones she chooses. Completely gem-oriented, Waynee’s work isn’t confined to a single genre or style. Her unusual cuts of stone and use of other stones for accents—diamonds, sapphires, garnets—are her signature. She is also known for her unique anodized finishes. Waynee, now an internationally acclaimed jewelry designer, first won awards for her work at Santa Fe Indian Market from 2007–2009. She won first place in silver in the international Saul Bell Design Awards in 2010 and then took home the grand prize for gold jewelry in 2011 and 2012, an unprecedented achievement. Waynee also won a NICHE Award in 2014.
Nampeyo, c. 1905
Daisy Hooee, c. 1935
Sarah Aragon, booth LINW 712; Fortune Huntinghorse, booth 648 PLZ; Jennifer Medina, booth 513 SF; Robin Waynee, booth 250 PAL-N
Dextra Namingha, c. 1975
Left: A sterling silver overlay cuff bracelet by Jennifer Medina. She won multiple awards at Indian Market in 2017 and 2018 for her silversmithing.
Opening on Friday, August 9th | 5-7 pm with Rachel Sahmie
Steve Elmore Indian Art
elmoreindianart.com | 505-995-9677 | 839 Paseo de Peralta, Ste M
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Barbara Gonzales roots of tradition
Courtesy Barbara Gonzales
by Ana Pacheco
Above: A photo of the Martinez family at San Ildelfonso Pueblo in the 1970s. Bottom row left to right, Clara Montoya and Maria Martinez; second row Santana Roybal Martinez and Adam Martinez; third row Anita Martinez and Barbara Gonzales; Cavan Gonzales, top center.
Below: Polychrome revival ware by Cavan Gonzales.
Left: A clay-wash acrylic miniature painting of a skunk by Barbara Gonzales, inspired by her great-uncle, the artist Awa Tsireh.
Barbara Gonzales (San Ildefonso), also called Tahn-Moo-Whé, has fond memories of living with her great-grandmother Povika at San Ildefonso Pueblo. “I lived with her until I was in the fourth grade in a simple house with no running water, gas, or electricity,” she recalls. “Every day I would bring water up to the house from two wells in a small bucket. People were always stopping by to meet her—they were important-looking, from the East, dressed in nice clothes. No matter what she was doing she’d stop and visit with them.” Now in her 70s, Gonzales reflects back on those formative years, which were profoundly influenced by her great-grandmother, world-renowned potter Maria Martinez, whose Tewa name was Povika. Martinez introduced Gonzales, her first great-granddaughter, to clay when she was just five years old. Before long she began making pottery. “I didn’t have any formal instruction, I would just watch my great-grandmother and I learned from her,” Gonzales says. “As time went on, I got better and began selling my work. I used the money I earned from my pottery to pay tuition at St. Catherine’s Indian School in Santa Fe.” Gonzales is the fourth of six generations that continue the traditions of the Maria and Julian Martinez family legacy. Her family has operated the Sunbeam Gallery at San Ildefonso Pueblo since the 1970s. It was originally located on the Pueblo’s plaza, in the one-room house of her grandparents, Adam (Martinez’s eldest son) and Santana Roybal. Today, the gallery is adjacent to Gonzales’s home. Gonzales will forgo tradition this year and not participate in the annual Indian Market sponsored by SWAIA. Instead, her work will be featured that same weekend, August 17–18, at the Scottish Rite Center. This will be the second year that Gonzales and more than a hundred other descendants of the original Indian Market artists will be selling their work in a different setting. “SWAIA has become unfocused,” Gonzales explains. “It used to be a market for Southwest Indian artists. Now they’ve opened it up to other regions and the market has become diluted. These new groups are trying to recapture their roots, whereas the Indigenous people of this area have inborn artistic talent through bloodlines—their art has not assimilated through schooling. It is this type of art that a great many people have come to appreciate.” The Sunbeam Gallery, sunbeamsanildefonso.com
Synergy: A Collaboration in Glass Blue Rain Gallery 544 S Guadalupe blueraingallery.com August 16–31 Reception August 16, 5–8 pm Harlan Reano (Santo Domingo) usually collaborates with Lisa Holt (Cochiti Pueblo), his wife, on the ceramic pieces they are known for. Preston Singletary Preston Singletary and Harlan Reano, Earth Fire, (Tlingit) is a glassworker with blown and sand carved glass, 9 x 10 x 13" a history of working with other Native artists to translate their work into his medium. Singletary and Reano worked together in 2015 on a group of figures, and they came together again this year to explore glass versions of the ceramic vessels Reano and Holt make. “Collaborations are something I like to do because I learn how other people interpret their culture, and I learn new forms,” says Singletary of these partnerships.—LVS Below: Frank Buffalo Hyde, EPOCHS—1979, acrylic on canvas, 48 x 48"
EPOCHS galleryFRITZ 540 S Guadalupe galleryfritz.com August 30–September 22 Reception August 30, 5–7 pm Frank Buffalo Hyde (Onondaga/Nez Perce) detoured through the worlds of rock ‘n’ roll and writing before settling into a career as a painter. He was raised on the Onondaga reservation, just south of Syracuse, New York, and came to Santa Fe to attend the Institute of American Indian Arts and the Santa Fe Art Institute. “You can’t create for this long and not have an idea where your work is going,” says Buffalo Hyde, having put in 25 years with a paintbrush. “I finally feel like I’m fitting into my own shoes.” His humorous yet hard-hitting paintings show that he is very much a 21st-century American with a pop culture sensibility, unafraid to express exasperation with continued cultural appropriation and stereotyping of Indigenous cultures.—LVS
Below: Franklin Peters, parrot water jar, ceramic and pigment, 10" high, 11 3/4" diameter
Verma Nequatewa and Ken Williams, Jr. Shiprock Santa Fe 53 Old Santa Fe Trl shiprocksantafe.com Reception August 15, 2–4 pm Fifty years ago, Verma Nequatewa (Hopi) began her jewelry career as an apprentice, setting stones for her uncle. It’s a time-honored way to learn a skill. Nequatewa’s uncle happened to be the late Charles Loloma (Hopi), the most highly regarded Native jeweler of his generation. She spent almost 20 years working with him, and his influence is seen in her work, which she signs Sonwai. She works in silver and 18-kt gold, set with an array of stones, wood, and fossilized bone. Ken Williams, Jr., (Arapaho/Seneca) is a beadworker. Still in his 30s, his work has been accepted into museum collections and he shows at major Indian art exhibitions. Nequatewa and Williams have collaborated on pieces for this show, and each will show their own work as well.—LVS
Left: Ken Williams, Jr., Squirrely, Squirrely, beaded necklace
Franklin Peters: New Works Richard Zane Smith: New Works Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 15–18 Reception August 15, 10 am–3 pm for Peters Reception August 15, 5–7 pm for Smith Andrea Fisher Fine Pottery celebrates two potters on Thursday of Indian Market week. Franklin Peters (Acoma Pueblo) is descended from a long line of potters. He works in the polychrome tradition, red and black against a white background. In 2011 Peters received a fellowship to study historic Acoma pottery at the School for Advanced Research. The Pueblo’s traditional designs strongly inform Peters’s work. Richard Zane Smith is descended from the Wyandot Nation of Kansas, a group that is not currently federally recognized. His pottery draws from many traditions while remaining completely original. Smith’s pieces are heavily textured and colored, following geometric patterns.—LVS santa fean
native arts 2019
Right: Jed Foutz, owner of Shiprock Santa Fe, is the fifth generation of a family involved in dealing Native art.
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Jed Foutz five generations, 150 years
TK word word word word word word word word word word word word word word word Above: Shiprock Santa Fe’s rug room is a true feast for the eyes. The gallery overlooks the Plaza.
Right: In this undated photo a customer purchases groceries at the trading post. Traders brought groceries, shoes, and tools into the Navajo Nation and traded supplies for wool, livestock, silver jewelry, and weaving. 42
courtesy shiprock santa fe
by Efraín Villa
“There is no line between fine art pieces and works created for utilitarian functions,” says Jed Foutz, owner of Shiprock Santa Fe, a gallery on the Santa Fe Plaza. “I just see beauty, and if beauty is functional, even better.” As a fifth-generation art dealer whose family has been uniting Southwestern artists and collectors since the 1860s, Foutz was initiated in the craft of art trading on the Navajo Nation at the tender age of six. “I count it as one of the finer blessings in my life that I grew up where I did, doing what I did,” says Foutz. “I had constant exposure to beauty and wonderful people and cultures.” Reflecting on his family’s heritage, Foutz remarks that art traders have historically been much more than businessmen, often acting as cultural mediators within the communities where they live and work. “In my family’s case, we were a kind of safe ground for the community,” recalls Foutz. “We had no clan affiliations, we had no direct win-or-lose issues, so community members could bring us their problems and we were this neutral go-between for different people.” The internet intrinsically changed the way art is marketed, but Foutz sees this development as generally good for the arts community. “Now, Native American artists are blessed to have access directly to their clients and a need for representation is nowhere near what it was 10 years ago,” says Foutz. At one point, Foutz owned three trading posts. As he adapted his sales model to focus on his own gallery, he divested from the wholesale business to avoid competing with the galleries he had been supplying.
Jean Sahmie, red canteen 8 3/4" high, tan cylinder 11 1/2" high, red cylinder 16" high
Above: An assortment of concha belts representing the First, Second, and Third Phase styles. Concha belts were first made in the late 1860s, about the time Jed Foutz’s ancestors moved to the Navajo Nation. Below: Norbert Peshlakai has been creating silver pots and jewelry since the 1970s. Shiprock Santa Fe carries his work.
Although embracing change comes naturally to Foutz, he admits moving to Santa Fe was not without challenges. “I mourn the loss of hundreds of interactions with artists and families, but I am very blessed to be doing what I’m doing,” says Foutz. “Coming to Santa Fe was a response to changes that were inevitable and I’m grateful. Santa Fe has been great to us. But my heart, the center of my life, and the contact with my place and community is irreplaceable and, yes, something to be mourned.” Recently, Shiprock Santa Fe launched a new exhibition entitled Plains & Plateau Beadwork. The collection features 19th- and 20thcentury ethnographic pieces as well as items made for sale. “We don’t usually do a lot with Plains artwork,” says Foutz, “but this group is so beautiful that it was one of those things we felt very fortunate to represent.”
Jean Sahmie Andrea Fisher Fine Pottery 100 W San Francisco andreafisherpottery.com August 9–18 Reception August 9, 12–5 pm The gallery bills this exhibit as, “A tribute to a long and productive career.” Jean Sahmie (Hopi/Tewa) has made pottery since 1972, when she was in her mid-20s. She is a great-great granddaughter of Nampeyo (1859–1942), the matriarch of Hopi pottery. Sahmie works in the style developed by Nampeyo, inspired by 15th-century Sikyátki pottery found at Hopi during Nampeyo’s lifetime. Like her predecessors, Sahmie uses local clay and paints her pottery with natural pigments. The shape of her pots and the designs she paints on them have a rare sense of balance and elegance.—LVS
Shiprock Santa Fe, shiprocksantafe.com santa fean
native arts 2019
Phillip Vigil Shiprock Santa Fe 53 Old Santa Fe Trl shiprocksantafe.com Reception August 14 Fourth generation artist Phillip Vigil (Jemez Pueblo/Jicarilla Apache) fell in love with art at a young age, when he discovered that the paintings on the walls were done by his grandfather. Vigil now creates in a variety of media, from photography to charcoal to paint. A blend of inspirations fuels the artist, from 20th-century modernists to admired contemporaries, Above: Phillip Vigil, untitled, oil pastel and ink on paper, but his work remains highly 16 x 12" idiosyncratic. His personalitypacked mixed-media paintings often juxtapose confetti colors and frenetic movements with black and white figures. This show premieres new works on canvas. Vigil is represented by Shiprock Santa Fe and Four Winds Gallery in Pittsburgh, Pennsylvania.—SE
Glen Nipshank Robert Nichols Gallery 419 Canyon robertnicholsgallery.com Reception August 15 and 16, 5–7 pm For Indian Market weekend, Robert Nichols Gallery exhibits pottery by Glen Nipshank (Bigstone Cree Nation). Nipshank grew up in isolated lakeside communities in Alberta, Canada, and he still finds inspiration in the water, woods, and animals of his childhood home. The potter uses white clay, sometimes adding mica and using a colored slip, to reflect his love of nature with alluring organic forms. “There is no perfect world, but I want to make perfectly nice art so people see it and change their outlook,” Nipshank says. “I create playful imagery and form.” Nipshank studied art in Vancouver and Minnesota before moving to Santa Fe in 1990 and graduating from the Institute of American Indian Arts in 1994.—SE
Left: Glen Nipshank, Cosmic Jar with Brown Sand, ceramic, 11" high, 7" diameter
Nampeyo, two vases, ceramic, 24" and 18" high
Art at San Ildefonso Adobe Gallery 221 Canyon adobegallery.com Reception August 12
Nampeyo Family Retrospective: 1885–2019 Steve Elmore Fine Art 839 Paseo de Peralta elmoreindianart.com August 9–October 1 Reception August 9, 5–7 pm Nampeyo (Hopi-Tewa) (1859–1942) was a celebrated potter who used ancient firing techniques and who revived “Old Hopi” designs found on 15th-century pottery shards. This exhibition features ceramics by Nampeyo and many of her descendants, including her daughters, Nellie Douma Nampeyo, Annie Healing Nampeyo, and Fannie Nampeyo, and her granddaughters, Rachel Namingha Nampeyo, Daisy Hooee Nampeyo, and Juanita Healing. Contemporary members of the Nampeyo family, including three daughters of Priscilla Namingha Nampeyo (1924–2008), Nampeyo’s greatgranddaughter, will be present with their work. The show includes pottery spanning over 130 years, from 1885–2019, showcasing the powerful and long-lasting influence of the renowned artist’s Sikyátki revival art movement.—SE 44
Below: José Disiderio Roybal, Oquwa— Rain God, colored ink on paper, 13 x 22"
This exhibition focuses on the historic pottery of San Ildefonso Pueblo, also including early painting and some specially selected contemporary pottery. Among the work, some of which is by artists unknown, is pottery by Tony Da (1940–2008) and painting by José Disiderio Roybal (1922-1978). Da, the grandson of renowned potters Julian and Maria Martinez, was famous for his highly intricate animal designs. A motorcycle accident in the 1980s caused brain damage, cutting his artistic life tragically short. Roybal was particularly known for his finely outlined, jovial depictions of Tewa clowns, also called Koshare or Koosa. He used water-based paints, sometimes incorporated abstract designs, and had a strong attention to color and detail.—SE
Left: Kevin Red Star, Young Parade Pony and Crow Indian Girl, acrylic on canvas, 60 x 48"
The Native American Group Show Sorrel Sky Gallery 125 W Palace sorrelsky.com August 15–31 Reception August 15, 5–7:30 pm During the 98th Annual Santa Fe Indian Market, Sorrel Sky Gallery hosts an exhibition featuring the work of several of the gallery’s represented Native American artists. Kevin Red Star (Crow Nation) was one of the first group of students to attend the Institute of American Indian Arts in Santa Fe in the 1960s. He continues to create paintings that celebrate and reflect on his Native American heritage, giving great attention to color, composition, and historical detail. Other participating artists include Ben Nighthorse (Northern Cheyenne), Ray Tracey (Navajo), and Cody Sanderson (Navajo). In a studio area, some of the artists present painting and sculpting demonstrations for the public to enjoy during the reception.—SE
2019 Auction Lot: Flamingo Road by Bill Schenck
Cochiti Pueblo potter, unknown, dough bowl, clay and pigment, 12" deep, 17" diameter
Pueblo Storage Jars and Dough Bowls Adobe Gallery 221 Canyon adobegallery.com Reception August 5 This exhibition features storage jars and dough bowls from a number of different Southwestern pueblos. While the bowls and jars were made and used for practical, everyday purposes, their intricate designs display a deep reverence for balance, beauty, and symbolism. Easy to find at the show are pieces of pottery such as a Cochiti Pueblo bowl, decorated in a white slip with black decoration, from the 1920s, and a Zuni jar painted with a rain bird and attributed to potter Lawsaiyateseta Lonkeena (1881–1958) ca. 1910.—SE
2019 Auction Lot: Girl in Blue Dress by Gustavo Montoya
3705 N. Bishop Lane | Scottsdale, Arizona 85251 | 480-941-0900 LarsenGallery.com | LarsenArtAuction.com
Photograph by t. Harmon Parkhurst [NMHM/DCA] No. 066674.)
museum of northern arizona photo archives collection, Photograph by christy turner
The Genesis of the Santa Fe Indian Market by Ana Pacheco
Above: Otis Polelonema was born February 2, 1902, on the Hopi reservation at Shungopovi, Arizona. He returned to Shungopovi in 1925 and spent the rest of his life there. He is remembered as a painter, composer, and weaver. Above, top: Awa Tsireh (Alfonso Roybal) was born on February 1, 1898, at San Ildefonso Pueblo. He was a painter and metalsmith who worked in silver and copper.
The first exhibition of Native American art in Santa Fe took place in 1919 at the Museum of New Mexico, then located at the Palace of the Governors. Dance and Ceremonial Drawings opened on March 29 of that year and featured the work of four students from the Santa Fe Indian School (SFIS). The show was organized by Elizabeth DeHuff, the wife of John David DeHuff, the superintendent of SFIS. From the very start, Native American artists found success exhibiting in Santa Fe—all four students from that first show went on to become prominent artists. The four pioneers were Otis Polelonema (Hopi) and Fred Kabotie (Hopi), both from Shungopovi, Arizona; Awa Tsireh (San Ildlefonso Pueblo); and Ma Pe Wi (Zia Pueblo). Otis Polelonema (1902–1981) returned to Arizona in 1925. While raising his family he continued to paint, became a weaver, and composed ceremonial dances from the ancient Hopi language of the Gray Flute Society. During his five decades as an artist, the Heard Museum featured 13 exhibits of his work. Polelonema died during the Solstice Ceremony at Shungopovi. Fred Kabotie (1900–1986) also returned to Shungopovi in 1930 and taught painting at the Hopi High school at Oraibi while raising his family. In addition to the 500 paintings he created during his lifetime, Kabotie helped create a style of jewelry unique to the Hopi people. It involved developing a new, dis-
Benefit Sale Supporting educational programs and future exhibit.
Photograph by t. Harmon Parkhurst [NMHM/DCA] No. 073995.)
Wednesday, August 14
Center for Southwest Research, University of New Mexico
Above: Ma Pe Wi (Velino Shije Herrera) was born on October 22, 1902, at Zia Pueblo. He was a rancher and cowboy as well as a painter, muralist, and art teacher.
3:00 PM - 6:00 PM Early Bird Sale | $25
Thursday, August 15 9:00 AM - 4:00 PM Benefit Sale | Free 10:00 AM - 12:00 PM Case Trading Post Artist Showcase
Friday, August 16 9:00 AM - 4:00 PM Benefit Sale | Free 9:00 AM - 12:00 PM Case Trading Post Artist Demonstrations
Left: Fred Kabotie was born on February 20, 1900, on the Hopi reservation at Shungopovi, Arizona. He was a painter, teacher, scholar, author, curator, and jeweler, one of the founders of the Hopi overlay technique in silver.
tinctive overlay technique and incorporating designs inspired by traditional pottery. His work was featured at the Museum of Modern Art in New York and he received a Guggenheim Fellowship in 1945, the first of many awards throughout his lifetime. Awa Tsireh (1898–1955), also known as Alfonso Roybal, was the brother-in-law of the worldrenowned potter, Maria Martinez. He was a self-taught painter and muralist who conveyed his native roots through symbolism and realism. Tsireh’s artwork is featured in many museums, including the Smithsonian American Art Museum. Ma Pe Wi, also known as Velino Shije Herrera (1902–1973), was from Zia Pueblo. His work was widely exhibited in the United States and Europe and included abstract work based on sacred Pueblo symbolism. That artistic choice, and the fact that he allowed the state of New Mexico to use his design of the Zia symbol for the state flag in 1925, led to his ostracism by Zia Pueblo. Every year since, Zia Pueblo has requested that they be compensated for the use of their Zia symbol and each year the New Mexico Legislature refuses the request. Three years later the Museum of New Mexico sponsored the first Southwest Indian Fair and Industrial Arts and Crafts Exhibition, the event that grew into Indian Market. What a difference a century makes—this year’s Indian Market will highlight the work of over 1,000 artists from 200 federally recognized tribes across the United States and Canada.
Wheelwright Museum 704 Camino Lejo, Santa Fe, NM wheelwright.org
native arts 2019
Santa Fe Indian Market biggest and oldest by Lisa J. Van Sickle photographs by Gabriella Marks
Above, left: Traditional Native dancers perform on the Plaza both days until 4 pm during Indian Market. Above, right: Shondinii Walters (Diné) with one of her paintings. Left: Gia Abeyta (Ohkay Owingeh) participates in the Native American Clothing Contest. Below: Wanda Aragon (Pueblo of Acoma) follows Acoma traditions in gathering clay.
Art fairs are plentiful in Santa Fe and many have been around for decades. Indian Market, presented by the Southwestern Association for Indian Arts (SWAIA), is still the largest and the longest-running. The main event, the market itself, is held August 17 and 18, with associated events beginning earlier in the week. The first Southwest Indian Fair and Industrial Arts and Crafts Exhibition was held in September of 1922, part of the Santa Fe Fiesta. Among the reasons for holding the Indian Fair, museum personnel hoped to give Native artists an impetus to get away from making tourist trinkets and souvenirs by providing a market for finer work. Each piece entered was judged, with cash prizes awarded. From then on, while there were variations in format, scope, and size, some version of a market was held except between 1932 and 1935. Even in those years competitions and prizes continued. Native Cinema Showcase (NCS) opens Tuesday evening. Produced with the National Museum of the American Indian, the festival screens movies made by Native filmmakers. This year’s lineup includes feature length and short films from the Americas, New Zealand, and the Scandinavian countries. SGaawaay K’uuna (Edge of the Knife) is the first film ever made completely in the Haida language—see it Friday evening. Set in the 19th century, it is based on a classic Haida tale. Most films are shown in the auditorium at the New Mexico History Museum. Saturday evening at 8 pm NCS hosts an outdoor film at Railyard Park. Bring lawn chairs or blankets for the family-friendly film Ralph Breaks the Internet. Head down to the Santa Fe Community Convention Center Thursday evening from 7–10 pm for the Indian Market Kick Off Party, a free event. There will be entertainment and a chance to see IM:EDGE, Indian Market’s contemporary show. The curated exhibit, which began in 2015, features the work of Native artists who are using media and techniques that don’t fit within the traditional criteria for inclusion in Indian Market. This year’s theme for IM: EDGE is “Honoring the Strength and Resilience of Native Women.” The show will be open through the weekend. Friday is full of events celebrating the winners of awards in the various types of work shown at the market. The display of pieces entered into competition and those awarded ribbons is a chance to see the best of the best, and there are always a number of pieces guaranteed to amaze you with their creativity and technical skill. Friday’s events are ticketed. Saturday, August 17, Indian Market opens at 7 am. It’s crowded at that hour as serious collectors line up to try to purchase award-winning pieces. More than 600 booths fill the Plaza and surrounding streets, sheltering almost 1,000 artists, each an enrolled member of a tribe recognized by the United States or Canadian government. Market continues until 5 pm Saturday and runs from 8 am–5 pm Sunday. Musicians and dancers perform on the Plaza until 4 pm both days. The Native American Rights Fund sponsors panel discussions on art and activism both afternoons at 1 pm. Sunday, from 9 am–noon, don’t miss the Native American Clothing Contest, always a favorite event. In recent years the Indian Market Haute Couture Fashion Show has also been added to the don’t-miss list. Native designers show their finest in contemporary fashion and accessories. This is a ticketed event. See SWAIA’s website for ticketing information for this and other events. Santa Fe Indian Market, swaia.org
S O N WA I & KEN WILLIAMS JR. Indian Market Celebration
August 15th 2pm – 4pm
An n u a l O p e n i ng August 10th, 5pm – 7pm
Blue Rain Galleryâ€™s Annual Celebration of Native American Art During Native Art Week A U G U S T â€”
G ROU P E X H I B ITION Artist Reception: Thursday August 15th from 5 â€“ 8 pm Hyrum Joe
Featuring artwork by Dan Friday, Jody Naranjo, Chris Pappan, Starr Hardridge, Thomas Breeze Marcus, Hyrum Joe, Lisa Holt and Harlan Reano, and Maria Samora.
544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
A Passion for Stone Thomas-Carole Bowker Fine Art 815D Early St thomas-carolebowkerfineart.com August 30–September 30 Reception August 30, 1–7 pm Thomas Bowker shows hand-carved stone sculpture from his Peace Series and Pisces Series. Inspired by sculptors such as Auguste Rodin, Henry Moore, and Manuel Neri, Bowker often works in limestone, but also carves his fish, hands, and abstracted shapes from materials like alabaster and Colorado yule marble. “My art is a visual, concrete and elemental language represented in two- and three-dimensional works and is done in a direct fashion, rarely making use of a maquette or preliminary drawings,” Bowker says. “I do not try to restrict or narrow its translation, choosing rather to broaden its meaning and impact to the greatest possible audience. I engage the viewer’s mind to think about their closely held beliefs . . . to challenge their aesthetic understanding and question their own values.”—SE
Gigi Mills, Horse, Groom, and Hound/Green Mane and Tail, oil on canvas, 7 x 11"
Left: Thomas Bowker, Released Love, limestone, 20 x 8 x 8"
Gigi Mills: Prima Materia GF Contemporary 707 Canyon, gfcontemporary.com September 20–October 4, Reception September 20, 5–7 pm Gigi Mills uses oil paints to abstract people, animals, and landscapes into uncomplicated silhouettes and flat shapes. A childhood amongst the Mills Brothers’ Circus, experience as a ballet dancer, and studies in theater and choreography at the College of Santa Fe and the University of New Mexico imbue Mills’ work with an awareness of gesture and performance. But in a modern world inundated with visual effects, her paintings pull back from spectacle, paring down the physical sphere in order to simply express what it means to be human. Her subjects are awkward and graceful, lonely and ethereal.—SE
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26” X 26” to the ACRYLIC ON PANEL DAVID ROTHERMEL “Landfall East” 12”x16” oil on canvas
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Gregory Horndeski’s Narrative Paintings
Freeman Gallery Freeman Gallery carries vibrant, soulful artwork to enliven any space. Exhibiting twenty four painters and sculptors working in Oils, Acrylics, Mixed Media, Bronze, Steel, Stone, and Glass. Featured artist and gallery owner Craig Freeman is a lifelong arts educator, and founder of the Northwest College of Art and Design in Washington State. Financing available. 201 Canyon Rd 505-365-2877 freemangallerysantafe.com
Gregory Horndeski, Going Out into the Storm, acrylic on Masonite and wood, 24 x 22 x 3” Showing August 23 through October 12. Opening reception: Friday August 23rd from 5 to 8 pm. Gallery hours are Wednesday through Saturday, 12:30 to 6 pm. Horndeski has always been concerned with the problem of relating stories through paintings. Over the years this pursuit has led him to occasionally paint text on his paintings, as well as on his frames. Some texts are humorous, such as the one appearing on the image shown here, while others, not so much. 716 Canyon Rd, next door to Geronimo’s Restaurant, 505-231-3731 email@example.com horndeskicontemporary.com
The Golden Eye With enough luminosity to generate its own galactic halo, the Marmalade Garnet Andromeda Pendant has universal appeal. Precious gems and high karat gold like you’ve never seen before, hand wrought in the spirit of nature and antiquity… at The Golden Eye, Passionate Purveyors of Functional Opulence. 115 Don Gaspar Ave 505-984-0040, 800-784-0038 GoldenEyeSantaFe.com
enchanted treasures Ojo Optique
Tresa Vorenberg Goldsmiths Designer Jewelry Trunk Show With Donna Diglio “A Gem Packed Life” Meet the Artist Receptions: Friday, August 9, 5 - 7 and Saturday, August 10, 11 - 5 Show Runs Through September 16 656 Canyon Road 505-988-7215 TVGoldsmiths.com 118
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Alexandra Stevens Fine Art Gallery Victoria Taylor-Gore, The Black Shoe, pastel on paper, 13.5 x 10” Victoria Taylor-Gore and Arlene LaDell Hayes “Together Again”. Friday, August 23. Opening Reception 5:30 to 7 pm. 820 Canyon Rd, across from the upper Canyon Rd parking lot 505-988-1311 alexandrastevens.com
opening doors in santa fe
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GVG Contemporary Blair Vaughn-Gruler, Accumulated, oil on canvas, 48 x 48” Ernst Gruler, Ayer Table with 6 Fame Chairs, wood laminate and mixed media, 2019 “We’ve been collaborating for decades,” says Ernst Gruler. “This is the elaboration of our collaboration.” co.elaboration features new work by wife-and-husband team in celebration of their gallery’s 10-year anniversary. Blair Vaughn-Gruler creates meditative paintings with loops, lines, and layers. Gruler presents new furniture, Sound Sculptures, and Tank Lamps built from scrapyard steel parts. co-elaboration’s opening reception is Friday, August 2, 5-7 pm, and runs until September 15. 241 Delgado St, 505-982-1494 gvgcontemporary.com
Thomas-Carole Bowker Fine Art Thomas Bowker, Peace Series: Released Love, hand-carved limestone, 20 x 8 x 8” Thomas and Carole’s gallery blends with their adjoining studios where they showcase contemporary art inspired by northern New Mexico featured in a variety of themes and media. Included in their fresh collection are stone and mixed media sculpture, paintings, pastels, ceramics and designer jewelry. 815 Early St, Suite D, 505-670-9289 firstname.lastname@example.org thomas-carolebowkerfineart.com
Winterowd Fine Art Meet the Artists, Exhibition Opens September 6, 5-7 pm The delightful pairing of Sheryl Zacharia ceramic sculptures and Don Quade’s mixed media paintings make for an exciting exhibit. Two originals who’s optimistic upbeat personalities are reflected in their rhythmic, lyrical art. The joy for both is in the making. Inspiration gives way to visual poetry. Don Quade’s vibrant patterns, sensational colors are hallmarks of his expression. Sheryl Zacharia finds jazz music inspirational as she creates her painterly and visually dynamic ceramics. 701 Canyon Rd, 505-992-8878 fineartsantafe.com
433 W. San Francisco Street Santa Fe, New Mexico 87501 tel: 505.989.7741
A Full Service Real Estate Brokerage
expect more. august/september 2019
a vintner’s Santa Fe home revolves around entertaining, authentic design, and the universal language of wine
A thoughtful melange of contemporary and 17th-century Jacobean furniture, coupled with a sculptural Southwest-style fireplace and antique religious iconography, makes the living room a comfortable and inviting spot for conversation and laughter over a great bottle of wine from Ackerman Family Vineyards.
by Amy G ro s s
Above: Lauren Ackerman loves thrift shops for picking up the antique santos and religious art works that adorn her home. “Every little piece has a story,” she says. 120
photo graph s by Dougla s Me r ria m
IF THERE’S ONE THING Lauren Ackerman has learned, it’s to trust her instincts. They didn’t fail her when she left behind a successful career in information technology and marketing in the early ’90s to try her hand at the winemaking business in Napa, California. And they’ve been instrumental in helping her make other life-changing decisions as well, from buying and renovating houses to making the move to the city she’s loved for over 30 years. “My stepmother, whom I adore, introduced me to Santa Fe when I was in my 20s,” says Ackerman, the owner and operator of Ackerman Family Vineyards, a boutique winery in Coombsville that currently produces five outstanding varietals. “It was through her eyes I fell in love with the art, the culture, the history, the natural beauty, the light—everything.” Though Ackerman and her stepmother had always talked about buying a place here together, sadly, her stepmother is in declining health, and Ackerman decided to take the leap alone. “I realized that life is too short, and that if I didn’t step forward to make this dream of ours possible, that I might never do it.” Prior to moving to Santa Fe, Ackerman had just completed the painstaking and period-authentic restoration of a long-neglected, 1888 Victorian in Napa—a property in which she alone had seen huge potential. After five long years, the renovated house— now called the Ackerman Heritage House—reopened as the winery’s tasting room and culinary experience venue. Though ultimately fulfilling, its return to glory had been an exhausting venture, and when Ackerman started looking for a second home in Santa
Above: A knee-high santo in the living room. Left: The skylit entry area is light and bright, sparsely furnished but adorned with an eclectic combination of Southwest textiles, Spanish antiques, a Jacobean sideboard, and iron sconces designed by Cara Leigh. During parties and chef’s dinners, the open area facilitates flow between the dining room and great room.
Fe, she was leery of another huge renovation project. As fate would have it, the house that spoke the loudest to her needed a lot of work, but once again, her instincts proved spot-on. “It had great bones,” Ackerman says, “and it just had this old world character and feel about it that I loved, and that spoke to all that I had learned to love about Santa Fe—the art, history, culture.” In a serendipitous turn of events, she was introduced to veteran interior designer Cara Leigh of Interiors and Functional Design, and
In the entry is one of Ackerman’s favorite antiques, the crescent-shaped “All-Seeing Eye,” a Spanish piece from the 1600s that was likely a church altarpiece.
“We started a journey of ... getting to know what the house needed—what it wanted—and we refreshed it in a way that brought the best of it to life,” says Lauren Ackerman. Leigh’s husband, contractor Jody Feyas of All New Home Improvement, and the connection between the three was instantaneous. “We started a journey of taking our time, and getting to know what the house needed—what it wanted—and we refreshed it in a way that brought the best of it to life,” says Ackerman. Along the way, she and august/september 2019
The entire renovation of the house revolved around the beautiful, almost church-like, dining room, where a commanding iron chandelier of recent design illuminates a long, narrow table that dates to the 1700s. â€œCan you imagine the dinners and the conversation that were held around this table?â€? asks owner Lauren Ackerman. 122
Visit us at statementsinsantafe.com
Above: Much larger than its predecessor, the current kitchen is loosely divided: cooking space toward the front, and wine at the back. With hospitality at the heart of the kitchen's design, the 12-foot countertop on the far wall easily handles food prep, staging, and pouring.
Leigh developed more than just a designer-client kind of rapport; they quickly became best friends of the finish-each-other’s-sentences variety with a shared vision for the revitalization of the house. Though Leigh is best known for her contemporary aesthetic (Santa Fe Parade of Homes visitors may remember the elegant, tech-forward Dream Home from 2013), 35 years designing in Santa Fe gave her an instant grasp of Ackerman’s desire for old world grace and authentic period design. The two now-besties began sourcing beautiful antique furniture pieces to complement newer furnishings and décor, as well as the homeowner’s collections of santos and religious art works. As it was built in 1979, the house is the antithesis of the modern “open plan” concept; its rooms are clearly defined, yet expertly tied together by a thread of like colors, lighting, furnishings, and textiles. “That absolutely spoke to the traditional feel we wanted to keep, the rambling adobe—add a kid, add a room,” says Leigh. “The lighting and the artwork gave such an opportunity for each room to have a different energy and light, which could then be transferred to the person who’s experiencing that room.” As noted, Leigh likes to name her projects, and the elegant lighting in this house informed its moniker: Casa Luminosa.
STATEMENTS TILE / LIGHTING / KITCHENS / FLOORING 1441 Paseo de Peralta Santa Fe, NM
But the renovation was more than about freshening the house’s appearance; Ackerman’s wine-centric lifestyle, designed around tastings and chef’s dinners, drove the layout and flow of the home, especially in the kitchen. Leigh designed 12 continuous feet of cabinet/countertop space against one wall to accommodate her client’s need for a wine station, plating area, and staging space. The laundry room was booted from its awkward place in the kitchen, creating space for wine storage and a glass washer that cleans wine glasses in just 90 seconds. A vintage door closes the dining room off from the kitchen, so that when a chef is in the house, the chaos of dinner preparation does not diminish the luxurious hospitality experience Ackerman has prepared for her guests. And for this winemaker, the experience is everything. “It’s like an art canvas,” she says of her home and its successful remodel. “You’re painting it in a way to evoke a feeling of grace, of elegance—but not a cloying kind of elegance. It’s just a more authentic way of being, of comfort, of hospitality. And that goes part and parcel to the wine world, which isn’t supposed to be hoity-toity; it’s more about enjoyment and satisfaction. Wine is this pleasurable experience that’s been going on for thousands of years. Sitting at a table and sharing conversation and building relationships, and creating an ambience where you feel comfortable? That’s what it’s all about.” Above: A sweet corner of the kitchen is perfect for coffee and cozy dinners. Leigh covered the banco cushions and accent pillows in autumnal colors and repurposed an old desk as a dining table. Through the door (which can be closed off when a chef is at work) is the formal dining room where larger gatherings and wine dinners happen.
Left: The “Queen” Bedroom, one of two master suites, is Ackerman’s personal retreat. “Lauren said at the beginning: ‘jewel tones and elegance,’” says Leigh of the linens and palette. “Wine actually informed my decisions about these sumptuous fabrics. To me, the bedroom is just delicious!” French doors open to the portal and lovely vistas beyond.
Paul Rau Interiors
Residential Interior Design • Paul Rau & Betsy Bauer 413 Grant Avenue • Santa Fe • 505.231.5294 • PaulRauInteriors.com
Above: An excellent cabernet sauvignon is one of Ackerman Family Vineyards’ five varietals. You can find the brand in over 150 restaurants across the country, including three in Santa Fe: Arroyo Vino, The Compound, and Coyote Cafe. Right: A shared enthusiasm for Santa Fe, home design, and of course, fine wines, brought interior designer Cara Leigh (at left) and Napa winemaker Lauren Ackerman together and helped cement a deep friendship. august/september santa fean 2019 nativesanta arts fean 2019
courtesy santa fe properties Marshall Elias
92 Avenida De Las Casas Located just 10 minutes from Downtown and even closer to The Santa Fe Opera, this five-bedroom, modern Pueblo-style home has beautiful mountain views from every room. The living room has high ceilings with vigas, flagstone floors, a statement-making fireplace, and space for a grand piano. The 7,675-square-foot, single-level home has been upgraded with a gourmet kitchen with stainless steel appliances, a library/media room with custom built-in cabinets and woodwork, a sunroom, and two garages. Other features include a wet bar and a detached guest house with two bedrooms and a studio. Outside, the home has a pool, koi pond, and gardens. It is located in a gated community for safety and security. List Price: $2.65 million Contact: Anna Vanderlaan, 505-231-3410, Keller Williams Realty, luxuryhomes-santafe.com 126
courtesy santa fe properties
[on the market]
144 La Barbaria Road
72 Double Arrow Road
Live a greener lifestyle in this healthy home with three bedrooms and three full baths set spread across 4,596 square feet. It stands out not only because of its many Asian architectural elements, but because of the builder’s commitment to making it eco-friendly: features such as Bau-biologie walls, photovoltaic panels, air filtration, solar radiant floor heating, and a septic system that recycles graywater ensure as wholesome a home as possible. A roof deck provides great views of the 19-plus acres on which the home is sited. The living spaces are just as impressive: the spacious gourmet kitchen has shoji-inspired cabinets and the master bath has a triple shower with steam. Uniquely shaped windows, organic gardens, and a greenhouse under a geodesic dome make this property entirely one-of-a-kind. List Price: $2.5 million Contact: Alan Vorenberg, 505-470-3118, Sotheby’s International Realty, casasagradasantafe.com
Looking for a gorgeous home with an interesting history? This 6,742-square-foot, five-bedroom, three-bath house was built by the first curator of photography for the Museum of Modern Art. Prominent artists, writers, musicians, and photographers such as Ansel Adams, were frequent guests at the estate. Built in 1977, the Northern New Mexico ranch-style home off Old Santa Fe Trail has contemporary lines, orchards, gardens, and hiking trails on 5.3 acres. It has wraparound porches, custom cabinetry, and a spacious open kitchen with soapstone countertops, Viking and Bosch appliances, and a walk-in pantry. At 728 square feet, the detached casita is ideal for guests or as the owner’s office or workspace. Solar in-floor radiant heat and a 5,000-gallon rainwater collection vessel reduce costs to maintain the home and garden. List Price: $3.3 million Contact: Jim Weyhrauch and Dan Wright, 505-660-6032, 505-670-0779, Santa Fe Properties, Inc., santaferealestateteam.com
my little dumpling Still in mourning from the closing of Mu Du Noodles three years ago, I was delighted to hear of a cozy new dumpling shop tucked deep in Plaza Galeria, the arcade between the Plaza and Water Street. Dumpling Tea & Dim Sum isn’t offering the traditional dim sum dishes you expect, but while they’re short on steamed chicken feet, turnip cake, and congee they do have tasty scallion pancakes and some darn good dumplings. The dumplings are rolled in plain view of the dining room and fall into three categories: steamed, fried, and potstickers, all with similar fillings. The pork is my favorite, but the veggie version is delish, too; neither are over-chopped, retaining wonderful texture, and the dough is ethereal. If you like it spicy, order the brothy dan dan noodle dish that bites back. Both the zippy gold coin cucumber salad and the celery peanut salad will cool you off. Santa Feans sure do love their Asian cuisine, and this is the real McCoy!—John Vollertsen Dumpling Tea & Dim Sum, 66 E San Francisco, 93jieyi.wixsite.com/mysite
Dumpling Tea & Dim Sum offers up a range of delicious Chinese dishes, from pork steamed dumplings, above, to spicy dan dan noodles, top. At right, a refreshing cucumber salad.
fun with Jimmy D downtown dine r
Above: The cocktails at Jimmy D's are as pop culture–inspired as the décor: names like the "Panic at the Disco" and the "Surely MacLaine" reference popular music and film. 128
“Slow down, you move too fast,” Simon & Garfunkel sing in “59th Street Bridge Song.” “You got to make the morning last. Just kicking down the cobblestones, looking for fun, and feeling groovy.” Our fast-paced world has become so stressful that I was delighted to discover the fun and delicious food at the recently opened Jimmy D’s. The prime location is at the front of Garrett’s Desert Inn, which is under complete renovation, in the space vacated by Santa Fe Bite. The spot has housed a multitude of restaurants and even a nightclub, but I predict this new incarnation will enjoy a healthy tenancy. Set aside your expectations for “serious dining” when you venture in for breakfast, lunch, or dinner (you can find that at one of Jennifer and Jimmy Day’s other establishments). Here the menu and décor are focused on whimsy. It’s the kind of place that suits any diet, age, or occasion: a diner with attitude and culinary chutzpah. Good news for those mourning the departure of the previous tenant—the burger is a big and juicy one. They also make a serious milkshake.
Above: The pop art design of the dining room at Jimmy D's includes murals and album covers. Large windows have a view of Old Santa Fe Trail, perfect for people-watching. Below: Chef Jen Doughty has cooked up a menu that gives classic diner dishes a creative and gourmet twist.
Right: The portobello mushroom "burger" uses the mushroom for a bun and lettuce for a burger. Avocado, spiced nuts, and goat cheese add a variety of flavors and textures.
Above: Jimmy D's cheeseburgers are big and juicy, the curly fries crisp, and the milkshakes thick.
I mention to a friend who is also a food critic here in town that I am heading to the eatery and she admits she has it on her list to cover as well. We decide to team up and share the experience. We check out the snazzy bar, and it sets the tone for the fun ahead. With a mismatched hodgepodge of furniture, the design is Palm Springs modernism meets the Jetsons. You can almost imagine Austin Powers in a blue suede suit sitting at the bar. We order two different margaritas and are happy with the appropriate tartness and use of fresh juice. The acoustics are, shall we say, vibrant. After drinks and with friends in tow, we settle into a booth in the spacious dining room with its pop art design—record album covers from the past are scattered among cartoonish murals and kitschy drawings—looking out over the large patio and onto Old Santa Fe Trail. Our hungry quartet orders appetizers. Service is professional, friendly, and casual. We note that the fiery chile poppers starter has a “hot” connotation next to it but opt to try it anyway—boy, is it delicious! A classic pimiento dip served with guacamole and club crackers is yummy and reminds me of my youth in Rochester, New York. Both the Caesar salad and the taco pizza are tasty riffs on familiar dishes. Chef Jen Doughty and New Mexico Fine Dining Group corporate chef Andrew MacLauchlan have devised a menu that manages to be both creative and customary: classic dishes given a gourmet boost. We try the fried chicken served with cream gravy, cheesy au gratin potatoes, and collard greens. Both the chicken and the scrumptious fish and chips have a terrific crunch; the chicken breading reminds me of a corn flake crust from the days of yore while the fish batter is light and allows the cod to shine through. The portobello mushroom “burger” is closer to a salad, but it will satisfy the vegetarians in your group, as will the daily veggie pasta. There’s meatloaf, chicken enchiladas, country fried steak, and grilled prime rib I’ll go back for, not to mention a French toast casserole with bananas and spicy pecans that could easily lure me out of bed for breakfast. Never able to pass up key lime pie, here with a dash of tequila, nor banana pudding with real Nilla wafers, we somehow manage to get it all down with the aforementioned thick shakes. I was happy to see my favorite Nobilo sauvignon blanc on the concise wine list, and if you’ve got Champagne taste with pockets to match, Veuve Cliquot is available (try it with the fried chicken!) To summarize my evening at Jimmy D’s, I give it a definite “Groovy, Baby.”—JV Jimmy D’s, 311 Old Santa Fe Trl, jimmydsrestaurant.com
Above: Traditional American diner foods like fried chicken with potatoes au gratin, collard greens, and cream gravy are given a gourmet boost. august/september 2019
taste of the town
digestifs As unpredictable as the weather has been this year, so too has been the topsy-turvy world of the Santa Fe restaurant scene. With openings and closings happening on almost a weekly basis, it keeps me on my toes. There is no question it’s a tough business. I am, however, always amazed at the resilience of our culinary professionals—it makes for an exciting challenge in my writing beat and keeps it interesting for our local and visiting diners. Readers occasionally tell me they like the fact that I never write negative reviews. Others think I might not be harsh enough in my criticism, suggesting that perhaps a restaurant’s inclusion in the Dining section is advertiser-driven. Many periodicals only cover eateries that are also paid advertisers, but this is not the case at Santa Fean. For each issue, the staff and I put our heads together and come up with some suggestions of places that seem worthy of coverage. A few times we have decided on a dining establishment and when I go, I realize they are not quite ready for a review. I then contact the chef and let him or her know that I’d like to give them time to get over their growing pains and will return in the future. I am delighted when I meet Santa Fean readers from out of town and they tell me they planned their vacation dining around my reviews—mission accomplished! There are plenty of new dining destinations to check out. New ownership at Santacafé puts all eyes on Coyote Cafe’s Quinn Stephenson. Santa Fe’s Asian food scene gets a much-needed boost with the opening of Dumpling Tea & Dim Sum (see opener) and Lucky Goat, offering an Asian fusion menu in the space formerly housing State Capital Kitchen. Fans of Italian food are already checking out Sassella, in Maize’s former space. Chef Cristian Pontiggia, formerly at El Nido and Osteria d’Assisi, has put together a menu chock-full of Italian specialties from his native country. I’m hoping he includes his mother’s famous lasagna—upon a visit to his family, it once had him in tears. His mother exclaimed, “Ah, you are crying because you see your mama,” to which Pontiggia replied, “No, I am crying because I love your lasagna so much.” Now that’s Italian!—JV 130
n o r t h e r n n ew m e x ic o ’ s fi n e s t di n i n g e x pe r ie n ce s Cowgirl BBQ 319 S Guadalupe, 505-982-2565 cowgirlsantafe.com For 26 years, the Cowgirl has been serving up Authentic Comfort Food and Fabulous Pit BBQ to fun loving locals and visitors. Saddle up to some killer burgers, great steaks, carefully sourced seafood, creative salads, New Mexican specialties and exceptional seasonal specials. Nightly our restaurant transforms into a rockin’ Western Honky Tonk with Live Music, creating the best small club scene this side of Austin. Don’t miss our soulful week end brunch. Featuring 24 Award Winning Craft Brews on tap and a vast selection of Tequilas, Mezcals and Craft Distilled Spirits. Enjoy the Best Margaritas in Santa Fe on the Best Patio in SF! Open daily at 11 am and serving food and drink til late. Happy Hour Monday to Friday 3–6 pm and 10–CL. All tap beer and appetizers on special! Award Winning Caterer! Look for us on the Food Network. Kid friendly. The Compound Restaurant 653 Canyon, 505-982-4353 compoundrestaurant.com Selected as one of the nation’s finest restaurants and highly regarded for its award-winning seasonal American cuisine, The Compound Restaurant has been a Santa Fe institution since the 1960s. Chef Mark Kiffin, James Beard Award–winning “Best Chef of the Southwest 2005,” has revived this elegant Santa Fe landmark restaurant with a sophisticated menu, an award-winning wine list, and incomparable private dining and special events. Beautiful outdoor patios and private dining available for up to 250 guests. Lunch is served noon–2 pm Monday through Saturday; dinner is served
nightly from 6 pm; bar opens 5 pm. Reservations are recommended. El Flamenco 135 W Palace, 2nd floor 505-209-1302, entreflamenco.com El Flamenco de Santa Fe offers the best of Southern Spain in Santa Fe! Authentic Spanish Tapas, a great wine selection and resident flamenco company Antonio Granjero + Entreflamenco. This restaurant/cabaret is the 2017 Mayor’s Arts Award winner to the City of Santa Fe. Come and enjoy an unforgettable evening of Tapas, Wine and live performance at El Flamenco! Open nightly during high season from 6:30–11 pm. Doors open for Tapas at 6:30 pm, shows start at 7:30, Sunday brunch-matinee at 1:30 pm. El Mesón 213 Washington, 505-983-6756 elmeson-santafe.com A native of Madrid, Spain, chef/owner David Huertas has been delighting customers since 1997 with classic recipes and specialties of his homeland. The paella is classic and legendary—served straight from the flame to your table in black iron pans; the saffroninfused rice is perfectly cooked and heaped with chicken, chorizo, seafood, and more. The house-made sangria is from a generations-old recipe with a splash of brandy. The ¡Chispa! tapas bar offers a fine array of tapas. Full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Musical entertainment and dancing. Dinner is served Tuesday–Saturday 5–11 pm.
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113 Washington, 505-988-3236 rosewoodhotels.com American Cuisine Inspired by Local Ingredients. Menus fuse old world techniques with modern innovative recipes and thoughtful menu creation. Executive Chef, Peter O’Brien’s menus are consistently changing and adapting to reflect the freshest, most seasonal ingredients. The Anasazi Restaurant celebrates the creative spirit of Santa Fe, offering guests a comfortable dining experience with sophisticated but approachable dishes. Santa Fe’s only Tequila Table featuring specialty tequilas, Social Hour Sunday through Thursday and live entertainment Friday and Saturday evenings.
326 South Guadalupe, 505-982-9170 cafesonder.com Located in the Railyard, we pride ourselves in submitting to you a menu wherein food is prepared simply, letting local ingredients speak for themselves. Steps from the year round Farmers Market, we strive to establish relationships with local ranchers, farmers, and foragers. We are committed to crafting a menu of locally driven modern comfort food.
54 Lincoln Ave, 505-982-1664 santafeplazacafe.com The famous Plaza Café, on the historic Santa Fe Plaza, has been serving locals and visitors alike for over 110 years! We are Santa Fe’s oldest restaurant and serve authentic New Mexican cuisines and flavors that span the globe for breakfast, lunch, and dinner. We are the home of fine food and the friendliest folks in town! Open daily from 7 am to 9 pm, we hope you come visit us for a bite to eat!
F o r m o r e G r eat F o o d, vi s I t S anta F ean. com
Anasazi Restaurant, Bar & Lounge
35˚ North Coffee 60 E San Francisco St, 505-983-6138 35northcoffee.com 35˚ North Coffee is made up of a small crew of passionate people who love good coffee and the hard work that goes into every cup. The people and landscape of Santa Fe inspires us to produce coffee that’s both adventurous and creative. We take a hand-crafted approach to sourcing, roasting and brewing our coffee because we care about what we’re drinking and we love sharing it with you. We also serve fresh pastries, beignets and a handful of breakfast classics. Located in the Arcade building on the Plaza, we’re open daily from 7 am to 5 pm.
1501 Paseo de Peralta, 505-955-7805 hotelsantafe.com/amaya Amaya at Hotel Santa Fe. Mixing classic technique, contemporary flair, and fresh seasonal ingredients, Chef Walter Dominguez creates innovative dishes sure to please any palate. Amaya highlights local Pueblo and Northern New Mexican influences, as well as regional foods from around the U.S. Enjoy our newly renovated open air dining room, with lovely garden views.
Rancho de Chimayó 300 Juan Medina Rd. in Chimayó on the scenic “High Road to Taos” 505-984-2100, ranchodechimayo.com Winner of the 2016 James Beard Foundation America’s Classics Award! Rancho de Chimayó Celebrating more than 50 Years! A New Mexico treasure and “A Timeless Tradition,” Rancho de Chimayó is woven into the tapestry of the historic Chimayó Valley. Since 1965, serving world-class, authentic New Mexican cuisine from recipes passed down for generations, Rancho de Chimayó is like coming home. Try our Carne Adovada - a Rancho specialty. Open Tuesday through Sunday from 11:30 am–8:30 pm, closed Mondays. Breakfast served on weekends from 8:30–10:30 am. Shop our online store.
La Casa Sena 125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in downtown Santa Fe in the historic Sena Plaza. We feature New American West cuisine, an award-winning wine list, and a spectacular patio. We are committed to using fresh, local, and seasonal ingredients whenever possible. La Casa Sena has been one of Santa Fe’s most popular restaurants for more than 30 years. Our bar, La Cantina, is open for lunch and dinner. Let La Cantina’s singing waitstaff entertain you nightly with the best of Broadway, jazz, and much more. Open daily 11 am until close. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open Monday–Saturday 11 am–6 pm, Sunday noon–5 pm.
For the most complete, up-to-date calendar of events in Santa Fe and Northern New Mexico, visit santafean.com
August August 8–11 Objects of Art Furniture, books, art, jewelry, and fashion. Opening night $75–$125, 6–9 pm; $15, $25 for “run of the show” ticket, August 9–11, 11 am–5 pm, El Museo Cultural de Santa Fe, 555 Camino de la Familia, objectsofartsantafe.com. August 9–12 Whitehawk Antique Indian and Ethnographic Art Show Antique Native artifacts to show and sell. Opening night, $85, 6–9 pm, $15, $25 for “run of the show” admission, August 10–12, 10 am–5 pm, Santa Fe Community Convention Center, 201 W Marcy, whitehawkshows.com. August 13–16 Antique American Indian Art Show Pre-1950 pottery, baskets, beadwork, and more. Opening night 6–9 pm, $75, show August 14–16, 11 am–5 pm, $15, $25 for run-of-show, El Museo Cultural de Santa Fe, 555 Camino de la Familia, antiqueindianartshow.com.
Plata de Santa Fe Jewelry Step into Santa Fe’s most colorful havens where only the finest “one of a kind” jewelry collection can be seen, showcasing all the rich charm and beauty of Santa Fe! We carry a wonderful balance of both Mexican and Native American jewelry, where we specialize in “over the top, breathtakingly bold” turquoise jewelry to small and dainty pieces! Also, see our collection of western style Italian leather and Mexican tooled leather purses!
“You haven’t seen Santa Fe,
Open: 10 am - 5 pm. Sunday and Tuesday by appointment only.
Through September 1, then September 18– October 12 Entreflamenco World-renowned Spanish flamenco dancers Antonio Granjero, Estefania Ramirez, and more, appearing nightly except Tuesday. $25–$50, 7:30 pm, El Flamenco, 135 W Palace, entreflamenco.com. September 7 Green Chile Cheeseburger Smackdown New Mexico’s competitive chefs compete in a battle of burgers. $20, 2–5 pm, Santa Fe Brewing Company, 37 Fire Pl, santafebrewing.com. September 8 The National The five-man band plays indie and alternative rock, as well as folk rock and post-punk revival. $39–$99, 7:30 pm, The Santa Fe Opera, 301 Opera, ampconcerts.org. September 12–15 CloudTop Comedy Festival Featuring over 40 comedians, including headliners Maria Bamford, Fortune Feimster, and The Second City. Locations TBA. $10–$300, various times and locations, cloudtopcomedy.com. September 15 Santa Fe Thunder A half marathon and 5k runs plus a one-mile walk. The 13.1-mile run has a net drop in elevation of 1000 feet but begins with a 300-foot climb. The courses begin at Ft. Marcy. $30–$85, 7:30 am, 490 Bishop’s Lodge, active.com.
August 15–16 Wheelwright Museum’s Annual Benefit Auction Live and silent auctions of contemporary and historic Native American and Southwestern art and artifacts. Free, 3–5 pm, Wheelwright Museum of the American September 22–29 Santa Fe Wine and Indian, 704 Camino Lejo, wheelwright.org. Chile Fiesta August 13–18 Santa Fe Indian Market Five days celebrating the food, wine, chefs, and Hundreds of artists show and sell their arts and restaurants that make Santa Fe memorable. Films, crafts. Free, 7 am–5 pm Saturday, 8 am–5 pm Sunday, lectures, demonstrations, tastings. $30–$350, varithe Plaza and adjoining streets, swaia.org. ous times and locations, santafewineandchile.org. August 23–25 The Santa Fe Traditional Music Festival A place to play, hear, teach, and share traditional music with fans, friends, and other musicians. Performances, workshops, and jam sessions all weekend. $20–$50, Camp Stoney, 7855 Old Santa Fe Trl, sftradmusic.org. August 30 The Burning of Zozobra The spirit of Old Man Gloom is expelled for the 95th time in flames and fireworks. $10 general admission, children 10 and under free, premium seating up to $200, gates open at 3 pm, entertainment begins at 7 pm, Zozobra burns around 9:30 pm, Fort Marcy Park, burnzozobra.com.
until you’ve been to Plata de Santa Fe!”
August 31–September 8 Fiestas de Santa Fe Fiesta week is full of arts, crafts, music, and culture, culminating in the traditional Fiesta Weekend, with food booths, art, and music on the Plaza. Free, santafefiesta.org.
September 28–29 Northern New Mexico Fine Arts and Crafts Guild Juried Show Art show en plein air at Cathedral Park: this juried exhibit features work from around New Mexico. Free, Saturday and Sunday 10 am–5 pm, Cathedral Park, 213 Cathedral Pl, artsandcraftsguild.org. Copyright 2019. Reproduction in whole or in part without permission is prohibited. Santa Fean (ISSN 1094-1487 ), Volume 47, Number 4, August/September 2019. Santa Fean is published bimonthly by Bella Media, LLC, at Pacheco Park, 1512 Pacheco St, Ste D-105, Santa Fe, NM 87505, USA, Phone (505) 983-1444. © Copyright 2019 by Bella Media, LLC. All rights reserved. CPM # 40065056. Basic annual subscription rate is $14.95. Annual subscription rates for Canada and Mexico is $24.95; other international countries $39.95. U.S. single-copy price is $5.99. Back issues are $6.95 each. Periodicals postage paid at Santa Fe, NM and additional mailing offices. POSTMASTER: Send all UAA to CFS. NON-POSTAL AND MILITARY FACILITIES: send address corrections to Santa Fean, P.O. Box 16946, North Hollywood, CA 91615-6946. Subscription Customer Service: Santa Fean, P.O. Box 16946, North Hollywood, CA 91615-6946, Phone 818-286-3165, fax 800-869-0040, email@example.com, Monday–Friday, 7 am –5 pm PST. santafean.com
Lifting Fog Rancho de las Golondrinas, 2019 | 46 by 50 inches | oil on canvas
LIFE PATHWAYS - Evelyne Boren Solo Show September 14th - 30th Artist Reception Friday September 20th 5-7pm
Acosta Strong Fine Art
Evelyne Boren will be celebrating her 80th birthday this year. We’re planning a big party and show for this amazing woman! 640 Canyon Road • Santa Fe, New Mexico 87501 505-982-2795 • acostastrong.com
J I M VOG E L Dr. El Ocio’s Exhibitus Termino, September 27 – October 12, 2019 Artist Reception: Friday, September 27th from 5 – 7 pm
Exhibitus Termino Oil on canvas panel with hand-made frame, 60" h x 48" w 72" h x 60" w (framed)
544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
The Arts + Culture issue of Santa Fean is always the year’s largest. With the annual Native Arts supplement included, our August/September m...
Published on Aug 6, 2019
The Arts + Culture issue of Santa Fean is always the year’s largest. With the annual Native Arts supplement included, our August/September m...