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albuquerque art

+ design + architecture + cuisine |

abqtrend.com Volume 0 Number 0

THROUGH A GLASS BRIGHTLY

Robert Reck photographs Albuquerque’s past, present, and future

DUKE CITY BEGUILED A youthful, cooperative energy permeates the local art scene

PHOTO BY ROBERT RECK


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his issue marks 15 years of Trend and my own 20th year of producing a print magazine. Selftrained in the art of publishing, I have surfed the economic trends of my chosen profession through waves of prosperity and loss, as well as the economic slumps and technological changes that have challenged print magazines worldwide. I believe my soul and inner guidance have helped me make the choices that have not only kept me alive and able to continue publishing, but more recently have brought me to this important juncture in Trend’s path. Wiser now, and with courage and dedication, I announce that Trend will go back to publishing quarterly, covering not only art, design, and architecture but also cuisine. In addition to our regular Summer and Fall editions, we will also print two new publications per year: our all-new Spring Albuquerque Trend and Winter 2015 Santa Fe Trend. In March 2015 look for a Spring Albuquerque Trend focused on a place that thrives on healthy lifestyles—a city of endless possibility and future entrepreneurship that still has room to evolve and expand in the hearts of our followers. Together we will explore its growth and people, along with our usual coverage of the arts, design, architecture, and cuisine. I am enjoying truly getting to know this resilient, creative, progressive, and friendly city, and look forward to genuinely reflecting its identity back to Trend’s readership.

Cynthia Canyon, publisher, and her children, Amber Delgado, UNM math graduate, and Orion Canyon, age 10

Look for the subscription offer in the premier issue of Spring Albuquerque Trend you are reading now, located after page 32. If you live in central New Mexico, this all-new issue will be our gift to you, mailed right to your door when you subscribe for a year or more. For the last 15 years, this magazine has lavishly covered the Santa Fe, Taos, and Albuquerque region, which has drawn creatives from across the globe to create, work, and live—and to inspire readers everywhere with their talents. It takes months to achieve each issue we print and distribute in most states throughout the country. As publisher and founder, I truly enjoy reflecting my own artistic talents on this creative canvas. And I am fortunate to work with the dedicated team of professionals that makes Trend possible. As I ride the mighty waves of life and evolution, I happily anticipate the opportunity to work with the people of Albuquerque to reflect the beauty and creative edge of this great city. From my family to yours, we wish you health, joy, and prosperity Cynthia Canyon Publisher and Founder


In this issue, Trend previews its new annual magazine, Santa Fe Trend: Fashion of the West, which will officially launch in November 2015. Watch for it on newsstands around Santa Fe and throughout the U.S.

Manufactured and printed in the United States. Copyright 2014 by Santa Fe Trend, LLC. All rights reserved. No part of Santa Fe Trend may be reproduced in any form without prior written consent from the publisher. For reprint infomation, please call 505-988-5007 or send an e-mail to santafetrend@gmail.com.


Own the Majesty CATHEDRALS CANYON Jemez Mountains, New Mexico

ChrisWebster.com +1 (505) 780-9500

Representing and Selling

Santa Fe’s Most Renowned Properties


From the Publisher and Founder

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drawn creatives from across the globe to create, work, and live—and to inspire readers everywhere with their talents. It takes months to achieve each issue we print and distribute in most states throughout the country. As publisher and founder, I truly enjoy reflecting my own artistic talents on this creative canvas. And I am fortunate to work with the dedicated team of professionals that makes Trend possible. As I ride the mighty waves of life and evolution, I happily anticipate the good times and dedicated work of excellence you have come to expect from us. Cynthia Canyon Publisher and Founder

santfetrend.com

BRAD BEALMEAR

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his issue marks 15 years of Trend and my own 20th year of producing a print magazine. Self-trained in the art of publishing, I have surfed the economic trends of my chosen profession through waves of prosperity and loss, as well as the economic slumps and technological changes that have challenged print magazines worldwide. I believe my soul and inner guidance have helped me make the choices that have not only kept me alive and able to continue publishing, but more recently have brought me to this important juncture in Trend’s path. Wiser now, and with courage and dedication, I announce that Trend will go back to publishing quarterly, covering not only art, design, and architecture but also cuisine. In addition to our regular Summer and Fall editions, we will also print two new publications per year, which are previewed inside these pages: our all-new Spring 2015 Albuquerque Trend, and Winter 2015 Santa Fe Trend. On newsstands nationally and online each November, this edition of Trend will be our annual fashion-asdesign publication, and will explore the region’s unique contribution to the world of high fashion through photography and editorial that reflects the creative vision and rare and authentic shopping finds that abound in Santa Fe and throughout the West. Not only will Trend’s print edition evolve, it will also become more of a multimedia experience, offering written content and video clips on our website and through social media. The demand for interactive media at instantly gratifying speeds has driven our industry into new technologies. Because our growing national audience and the global marketplace desire the platform for the art and design inspiration we represent, we now aspire to lead in these additional media formats as well. In 2015 look for a spring Albuquerque Trend focused on a place that thrives on healthy lifestyles—a city of endless possibility and future entrepreneurship that still has room to evolve and expand in the hearts of our followers. Together we will explore its growth and people, along with our usual coverage of the arts, design, architecture, and cuisine. I am enjoying truly getting to know this resilient, creative, progressive, and friendly city, and look forward to genuinely reflecting its identity back to Trend’s readership. To recap, you’ll be seeing Trend on a quarterly basis. Summer will bring our usual large issue, which explores creativity in art, design, and architecture in this region. In fall, we will cover design, architecture, and cuisine in even greater depth. In winter, Santa Fe Trend will allow nationally recognized photographers to present the fashion and style ingenuity from a local perspective. And spring will shift the focus to Albuquerque Trend. For the last 15 years, this magazine has lavishly covered the Santa Fe, Taos, and Albuquerque region, which has


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n a region where cowboy boots and bolos are considered acceptable formal attire, you might not expect the sophistication and creativity that characterize the local fine-arts scene to extend to fashion design. But you’d be wrong. In the following pages, you’ll see what happens when unfettered imagination and creative flair are paired with unexpected materials. Trend’s carefully selected local designers, all of them bona fide artists who draw inspiration from the rugged lifestyle and unique perspectives of 21st-century New Mexico, show us what they can do with “fabrics” as diverse as twigs, recycled foil tops from coffee cans, Caution tape, credit cards, and champagne corks. Even tried-and-true latex, once the sole purview of X-rated shops whose catalogs are mailed in plain brown wrappers, finds new expression here in apparel that understates the sexy while proudly proclaiming the new and the bold. The backdrops and props for these creations—some of which have been displayed in art galleries—are equally unexpected: the auto shop at Española’s Northern New Mexico College, where students learn the fine points of lowrider design and auto technology; art cars built for beauty and speed; and the studio of renowned glass artist Stacey Neff, complete with blast furnace and molten glass. Check out this inspired collection of repurposed, mundane objects and materials—fashion that’s delightfully edgy and undeniably unique.

The Wild West Twigs and trash, latex and lowriders add some rad to Santa Fe fashion

Patricia Michaels’s twig dress

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Ravenna Osgood cork dress, Lucchese boots, Beeman Santa Fe silver bracelets, Jadu Design bone and snake vertebrae earrings

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Previous page: Taos Pueblo native Patricia Michaels, a finalist on the Emmy-winning television show Project Runway and the first Native American to show a collection at New York’s Fashion Week, offers a dress made of twigs to express her connection to the natural environment.

Art-car designer Jeff Brock launched his auto-customizing studio, Rocket Heads, to fuse striking design with high-speed race cars. The studio’s team of sculptors, jewelers, and hot-rod builders is inspired by the marriage of art and speed, as evidenced by Brock’s sleekly seductive Cadillac crew car, which ferries the support team to and from races at Utah’s Bonneville Salt Flats.

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Nancy Judd Caution-tape dress, Freddy Lopez leather bracelet, Jadu Design soapstone and citrine necklace

Waste-management specialist Nancy Judd, former City of Santa Fe recycling coordinator and current owner of Recycle Runway, creates fashions from trash to educate people about conservation and sustainable fashion. Her “Obamanos” coat, made from campaign materials, is part of the permanent collection at the Smithsonian’s National Museum of African American History and Culture. Here she offers an eye-catching dress made of Caution tape. 8

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Ammunition Couture latex dress and boots

Albuquerque-based designer Jeffrey Gonzales of Ammunition Couture creates one-of-a-kind latex garments that temper the provocative quality of the material with embellishments of silk, tulle, and organza. First a hobby, now a profession and mission, working with latex has become a means for Gonzales to pursue an avant-garde aesthetic while participating in charity events and collaborations that benefit the community.

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Contemporary artist Rose B. Simpson of Santa Fe and Santa Clara Pueblo, daughter of renowned sculptor Roxanne Swentzell, applied the ancient symbols of Pueblo pottery to a glossy black El Camino. The car’s next stop is a show at the Denver Art Museum, where Simpson is currently an artist-in-residence. 10

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All clothing by Rose B. Simpson, Lucchese boots, Jadu Design Santa Fe tribal earrings, Jadu Design hippo bone and coral necklace, Beeman silver bracelets

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Ravenna Osgood Cardrageous dress (upcycled credit cards), Jadu Design necklace, Nine West shoes

Ravenna Osgood

tied for first place in the teen division of Santa Fe’s 2013 Trash Fashion Show, and her burgeoning talent is apparent in a dramatic dress made entirely of foil coffee-can liners from Trader Joe’s, another fashioned from credit cards, and one crafted from wine and champagne corks.

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Ravenna Osgood silver lining dress (upcycled coffee foil lids), Beeman silver bracelets, Jadu Design silver drop earrings

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Navajo jewelry designer Aaron Anderson specializes in the ancient technique of tufa casting, in which molten silver is poured into hand-carved porous volcanic stone. Like his father and grandfather before him, Anderson uses this delicate process to create one-of-akind pieces, including this distinctive necklace, custom-made for the Trend photo shoot.

Textile artist and “fashion sculptor� Kay Kahn crafts vessels, hats, armor, headdresses, and more, creating three-dimensional figures from the fabrics that she layers, stitches, and quilts. After the photo shoot, her suit of armor, shown here, was returned to Chiaroscuro Gallery in Santa Fe, where it will be presented as a fine-art sculpture as well as a fashion statement. 14

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Five years ago, former Seattleite John Beeman, whose necklace is shown on the model here, brought his jewelry design business to New Mexico, where he currently collaborates with Native American artists. His hand-crafted, one-of-a-kind designs are informed by his extensive travels throughout the world, incorporating European, Asian, African, and Middle Eastern influences.

CREDITS Photographer

Stylist

Peter Ogilvie

Gilda Meyer-Niehof

Photo Assistants

Models

Cliff Shapiro, Audrey Durell

Deollo Johnson Iman Sterling Sofia Miel Ayla Parker

Graphic Design

Janine Lehmann Production Assistant

Paola Raymi Martini Hair and Makeup Kate Douthit Taylor Lesch Isabel Harkins

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Art Studios and Locations

The Spur Ranch Northern NM College, Career and Technical Education, Automotive Technologies

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Fashion Forward SANTA FE

Photography Peter Ogilvie Fashion Styling Gilda Meyer-Niehof Makeup Kate Douthit Models Felicia Tita Cocq-Rasmussen; MTM Model Management: Dale Fastle, Michaela Klinkmann Photo Assistants Cliff Shapiro, Audrey Durell

LUCCHESE BOOTMAKER Jacqueline’s Place Black dress, Hue silver foil leggings, Lucchese Carina stilettos, Rebecca Moon rings and necklace 57 Old Santa Fe Trail, Santa Fe (505) 820-1883 | lucchese.com


SPIRIT OF THE EARTH Komarov dress and Tony Malmed ruby, tourmaline, and opal jewelry 108 Don Gaspar, Santa Fe 505-988-9558 spiritoftheearth.com

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PINKOYOTE Porto jet jersey X-ray top and black chalk-stripe Plaza pants. Simon Sebbag leather cord necklaces and silver hoop earrings. Amet & Ladoue linen and lurex geometric scarf. 220 Shelby Street, Santa Fe 505-983-3030 pinkoyote.com

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JACQUELINE’S PLACE Black dress, Hue silver foil leggings, PASSAMENTRIE Lucchese Carina stilettos, Rebecca Moon rings and necklace Passamentrie hand-blocked dress, skirt, and tribal fabric belt. Jadu Design 233 Canyon Road, Santa Fe beaded jade and horn pipe belt, silver 505-995-1150 and crystal choker, and African Baoulé and snake earrings 110 Old Santa Fe Trail, Santa Fe 505-989-1262

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BEEMAN JEWELRY DESIGN Silver-plated melon bead necklace with three strands of 25-mm, handmade, silver-plated copper melon beads, faceted onyx, and sterling silver spacers and clasp. Opposite: Vintage Ethiopian Coptic crosses necklace with square onyx rondelles and sterling silver spacers and clasp. 211 West Coal Avenue, Gallup 505-726-9100 beemanjewelrydesign.com

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JADU DESIGN Both models wear Diosa Boutique sari silk tops, Jadu Design sari shawls, and freshwater pearl and crystal earrings. Left: Jadu Design Moroccan tribal bead and chalcedony necklace. Right: Jadu Design smoky quartz African BaoulĂŠ and chalcedony bead necklace. 505-695-0777 jadudesign.com

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made in the usa for 10 years

environmentally conscious fabrics

505.988.5534

senseclothing.com


Feel theWest . . . Photographs by Brad Bealmear

BOOTS AND BOOGIE Turquoise crocodile boots ($3,995) 102 East Water Street, Santa Fe 505-983-0777 santafebootsandboogie.com

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JOHN RIPPEL U.S.A. Left: Gaspeite cobbled inlay sterling silver belt buckle ($850) on Caiman crocodile strap ($325) Colorful inlaid sandcast ring by Steve LaRance ($280) Right: Crocodile and sterling silver purse ($1,250) Cultured freshwater pearl, pavĂŠ diamonds, sterling silver and leather necklace ($2,915) and earrings ($1,375) by Vincent Peach Rutilated quartz and sterling ring by Andi Callahan ($520) Mother of pearl cross in sterling ($420) on pyrite beads ($150) by Gloria Sawin 111 Old Santa Fe Trail, Santa Fe 505-986-9115 johnrippel.com


JACQUELINE’S PLACE S12 dress ($125) Sleeping Beauty vintage turquoise squash necklace ($3,500) R. Ortiz cuff ($2,500) Wayne Aguilar coral and Bisbee, Arizona turquoise choker ($2,400) Ida Cobbs earrings ($150) Belt with turquoise ($150) Dan Post turquoise cowboy boots ($259) 233 Canyon Road, Santa Fe 505-820-6542

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JEWEL MARK Rare platinum and natural fancy yellow diamond ring, 7.30ct Natural fancy yellow diamond pendant and earrings 233 Canyon Road, Santa Fe 505-820-6304 | jewelmark.net


JAMES REID Diamond Ray concho belt, sterling silver, American alligator ($2,700) 114 East Palace Avenue, Santa Fe 800-545-2056 | jrltd.com

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ROCKI GORMAN Linen black and white asymmetrical top ($240) Rocki Gorman raindrop black onyx earrings ($365) Black onyx short necklace ($400) Black onyx long necklace ($970) Large black onyx cross ($880) 119 Old Santa Fe Trail, Santa Fe 505-983-7833 | rockigorman.com


LAURA SHEPPHERD Purple and fuchsia upcycled silk sari kimono ($850) Blue and black silk organza sari kimono belted with gold silk cummerbund ($645) Red vintage bead and brass floral necklace ($565) Gold Pakistani earrings ($155) Two Uzbekistan petit-point handbags ($385, $225) 65 West Marcy Street, Santa Fe 505-986-1444 | laurasheppherd.com

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FAIRCHILD & CO. Paraiba and koi fish ring Muse necklace, Roman Republic coins 22kt. gold and Paraiba tourmaline bracelet 22kt. gold spiral earrings 110 West San Francisco Street, Santa Fe 800-773-8123 | 505-984-1419 fairchildjewelry.com


Patricia Michaels

PM WATERLILY SEEDS Collection

PM Waterlily Haute Couture dress, silk gauze, gunmetal spandex, mica embellishments ($3,200) Silver and mica necklace ($1,200) Silver and mica earrings ($250) Hair styling by Salon Santa Fe

PO Box 2786, Taos 575-779-5322 | patriciamichaelsfashion.com


30 years in Santa Fe — where locals and world travelers buy and sell beauty

PHOTO BY BRAD BEALMEAR

Tom Forrest Broadley Owner and Gemologist

EarthfireGems .com | 121 Galisteo Street, Santa Fe | (505) 982-8750


Coal Miner’s Daughter Knitwear by Dean Cheek

Take a road trip to Madrid’s best-kept secret and unlock your inner fashionista at Coal Miner’s Daughter. Directly off Main street, nestled up the hill, Coal Miner’s Daughter offers a unique line of casually comfortable, luxuriously hand-knitted “country couture” by renowned textile artist Dean Cheek. Indulge yourself in sensuously soft hand-loomed knits featuring cashmere, alpaca, bamboo, and custom textiles; and enjoy a diverse selection of one-of-a-kind hand-crafted jewelry, accessories, and gifts. It’s a trip filled with scenery and beauty, well worth the ride!

FPO

Left: natural variegated skirt ($315), natural linen sweater square ($225), lime chameleon wrap ($169), abalone bracelet ($99), oystershell ring ($89). Right: mint skirt ($225), spring striped sweater square ($225), orange halter top ($89), copper cuff ($135), Druzy ring ($125)

2837 Highway 14, Madrid 505-471-3640 | dcknits.com Find us on Facebook


Reflective Images specializes in exquisitely designed custom wedding rings and jewelry, handmade on site in our studio with recycled and Fair Trade gold, and ethically sourced, conflict-free gems and Canadian diamonds. Stop by our workshop and boutique or call us for a free catalog.

912 Baca Street, Santa Fe | ArtisanWeddingRings.com CelticJewelry.com. | 888-733-5238 106

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Wild Hare

PHOTO BY BRAD BEALMEAR

Extension Studio

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Now shown in these fine boutiques and galleries:

Alice Bailey

Enhancing your inner beauty www.AliceBaileyDesigns.com | Summer 2014 Wholesale welcome TREND MAGAZINE 106 15 YEARS OF inquiries

PHOTO BY BRAD BEALMEAR

Diva Womens Wear, Scottsdale & Sedona The Art Center, Fuller Lodge, Los Alamos Saks Jandel, Chevy Chase, Maryland Asha Handcrafted Jewelry, Houston The Santa Fe Opera Shop, Santa Fe Aurem Jewelry, Jerome, Arizona Options, Healdsburg, California Handwoven Originals, Santa Fe Sumner & Dene, Albuquerque Kuivato Glass Gallery, Sedona Casweck Galleries, Santa Fe Spirit of the Earth, Santa Fe Kiss Me Kate, Scottsdale Uli’s, Santa Fe

Red Coral and Silver, Style #15714 $195.00 Also available in Turquoise, Amethyst, Jade, Lapis, Black onyx, Amazonite, Strawberry quartz, Carved pink coral, Carnelian and Pearls. trendmagazineglobal.com


The year was 2000.

Bill Clinton was still in the White House, although not for much longer, and the dot.com bubble had yet to burst. The Internet was still relatively new, with U.S. users numbering a mere 95 million, a far cry from today’s tally of more than 274 million. Cell phones were popular but not yet ubiquitous—about 109 million people had them, considerably less than today’s 283 million. SITE Santa Fe was just five years old, but had already mounted three biennials exhibiting contemporary work by internationally acclaimed artists, and the number of Santa Fe galleries showing contemporary art was growing exponentially. With the new century rapidly ushering in changes in technologies and tastes, Cynthia Canyon, a veteran of such publications as GuestLife New Mexico, where she was a salesperson, and Performance de Santa Fe and Arte Contemporary, her first solo publishing efforts, decided that the City Different needed a new magazine. While local interest in contemporary art had been growing for a couple of decades, Santa Fe still had a national and international reputation as a destination for “cowboy and Indian” art. Canyon believed that the town was overdue for a high-quality magazine that would showcase the edgier, more forward-thinking side of the Santa Fe art world while still honoring the excellent traditional work and culturally based art forms that had put the town on the map. Guided by that initial inspiration, Santa Fe Trend launched its first issue in summer 2000, introducing a larger format and more expansive use of photography to underscore its mission of bringing local art, design, and architectural innovation to a wider audience in a beautiful, accessible way. As readership grew, Santa Fe Trend was able to offer a broader range of insights and discoveries, covering not only art, design, and architecture, but also music, dance, opera, cuisine, fashion, and new technology–driven art forms. Soon it dropped “Santa Fe” from the title, signaling a move to embrace the world of arts both regionally and beyond, and later it changed the tagline to better reflect its expanding purview. It’s not just the magazine that has undergone changes. Here at Trend, we’ve chronicled shifts both stylistic and fundamental over the years, and nowhere has that been more significant than in the building sector:

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Past and Present “Green” building, once an expensive niche segment, has gone mainstream, with energy-efficient systems and sustainably sourced materials now the norm. In architecture and design, we’ve also seen tastes change to reflect the times, with the once popular— and sometimes over-the-top—grand-scale living rooms designed to impress giving way to more modestly proportioned “great rooms” whose open-concept combination of living, dining, and cooking spaces promotes a more congenial interaction among family members and guests. Interior design has become more personalized, putting residents’ predilections and lifestyles at the forefront and combining practical livability with beauty in ever more creative ways. In the fine arts we’ve noted a more inclusive appreciation of talent across a variety of media, eschewing the earlier fads that alternately exalted youth or worshiped only the big names of many years’ standing. Cuisine has moved from nouvelle plates that wowed but didn’t nourish to a passionate embrace of all foods local, fresh, organic, and sustainable. Through the many changes, Trend’s mission has remained the same: to celebrate talent, quality, innovation, and diversity in all artistic endeavors, with discernment and integrity. Now in our 15th year, we continue to change with the times and avail ourselves of the technology that links people in new ways and offers fresh artistic possibilities. Our website, originally only a mirror of the print edition, has been transformed into a multimedia platform featuring video and original content in addition to presenting the full print magazine to a growing roster of online readers. We explore an ever-broader range of topics and personalities, welcoming the exciting new talents moving into the region while honoring the longtime residents whose impressive work forms the foundation of New Mexico’s distinctive personality. We’re now looking south to Albuquerque as well, embracing the energy of an urban population finding creative expression in collaborative new ventures. Trend is grateful for the community support we’ve received over the years, and we’re excited about the future. Here we bring you a brief look back at some of the inspiring projects and artworks we’ve shared in our pages during the past 15 years. Here’s to many more! >

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TEXT BY NANCY ZIMMERMAN PHOTOGRAPHS BY KATE RUSSELL

A passion for honesty and beautiful things informs this highly personal collection

Magnificent 58

Santa Fe Trend Winter 2005/Spring 2006

Obsession Santa Fe Trend Winter 2005/Spring 2006

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2005

A Santa Fe art lover elevates lifelong acquisition to an art form TexT by Wesley Pulkka | PhoTograPhs by kaTe russell

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he journey into the home of collector and curator Sandy Besser begins quietly enough, with a meandering descent through an enclosed sculpture garden that gently introduces visitors to Besser’s broad-spectrum assemblage of figurative objects. Like a soft musical prelude to an increasingly grand opus, the grouping of distinctive works—a large Nick Abdalla bentwood-and-wicker hanging sculpture, several colorful ceramic works, a limestone carving by Mark Padilla of an early-1950s Chevy pickup filled with beer drinkers— merely hints at the complex wonders that await within. Inside the 5,200-square-foot adobe, replete with viga-supported 12-foot ceilings, one encounters a visual crescendo of artwork that extends up the walls and over every surface. Mysterious masks, wood sculptures, drawings, teapots, religious icons, ceramic sculptures, and puppets share space with scatological, mythological, and politically satirical works, as well as thousands of art books, catalogs, and magazines. The hillside home is built like a vault but feels open and airy, with the collection spilling out onto large patios and into gardens bracketed by stone walls, beyond which are dramatic views of surrounding hills and peaks. The breathtaking density of it all is almost too much to comprehend. The eye falls, for example, on a large white ceramic rabbit by Beth Cavener Stichter poised next to the door to greet visitors to Wonderland; closer inspection reveals it to be a rather randy-looking female hare with legs akimbo and ears askew. It’s only the beginning. On a nearby table sits an array of ceramic sculptures by Jason Walker that are covered with drawings that seem to shift between dimensions and play tricks on the mind. To the side is a giant slip-glazed vase by Peter Gourfain decorated with animal-people hybrids. “These are my friends,” Besser says with a sweep of his hand that encompasses the treasure-filled room. “I want them to do well in the world.” Besser estimates that he has collected at least 10,000 works, although the numbers fluctuate as he donates portions of his collection to museums or deaccessions individual works in order to acquire others. His recent gift and loan of some 700 pieces to the Museum of International Folk Art for its fall exhibit has left a void in his surroundings that may later be filled by new discoveries. Besser is a born collector, and his art-stuffed home mirrors his wry wit, personal warmth, and edgily complex personality. Each room contrasts works of riotous color with an equal number of somber, contemplative pieces in black and white that deal with the shadowy side of life. Besser explains that his urge to collect is the product

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MASTER ARTISAN

TEXT BY NANCY ZIMMERMAN PHOTOGRAPHS BY RENEE LYNN

Ancestral Inspiration Voices from the past inspire a Jemez Pueblo artist to revive a lost tradition

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he wind that whips through the red-rock canyons and across the high, flat mesas of Jemez Pueblo does more than stir the trees’ branches and animate their leaves. To those who know how to listen, it carries the voices of the spirits who have watched over this pueblo through centuries of strife and conflict, healing and rebirth. Pueblo resident Joshua Madalena welcomes these voices as his guides on a singular quest: to revive the ancient art of black-on-white pottery that his people were forced to abandon more than 300 years ago. “Jemez is a very traditional pueblo,” says Madalena. “Ninetyfive percent of us speak Towa, the old language, and our connection to our culture is strong. The majority of the pottery made here is a fairly recent version, from the early 1900s. The black-on-white pottery of our ancestors was created between the 14th and late 17th centuries, but hasn’t been made since.” Madalena explains how the distinctive style of pottery arose at the time his predecessors came from the Four Corners area to occupy the Jemez region. The thin-walled vessels featured a white slip decorated with painted designs depicting key spiritual elements of daily

Joshua Madalena uses traditional tools and materials to create his pots. Yucca fronds function as paintbrushes, cornhusks serve as sandpaper, and sherds from earlier efforts provide spiritual guidance (opposite).

pueblo life, such as corn, feathers, and the steps of a kiva. “The ascending kiva steps, for example, symbolize the journey to the afterlife, while those coming down pertain to rebirth and the reentry into this world,” he says. At the time of the Spanish reconquest of New Mexico in 1692, the people of Jemez made a conscious decision to end the production of black-on-white pottery to protect their precious spiritual expression from being desecrated by raiding soldiers who appropriated the pots, bowls, and jugs for their own use. Utilitarian pottery continued to be produced, but the decorative and symbolic blackon-white ware, which embodied the culture’s identity, was put on hold until such time as the Spanish left and the old ways could be resumed. “Of course, it turns out the Spanish didn’t leave,” continues Madalena. “So, eventually, the secrets of the production techniques were lost to memory.” Madalena’s interest in black-on-white pottery sprang from his deep connection to his culture and a desire to revitalize the pueblo way of life for future generations. He has served as both lieutenant war captain and lieutenant governor at Jemez Pueblo, and is currently an Santa Fe Trend

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2006 TEXT BY ELLEN BERKOVITCH PHOTOS BY ROBERT RECK

CREDIT

Radically Original: The Art of Bart Prince’s Architecture 100

Santa Fe Trend

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COLLECTOR’S CACHE

TEXT BY ELLEN BERKOVITCH PHOTOS BY NICK MERRICK

In Foshay’s library, Kota Ezawa’s Duratrans light box is part of a multimedia array that includes Tony Oursler’s It Never Happened video. Robert Motherwell’s Study for an Elegy sits on the bookshelf. On the table is Liset Castillo’s The Grid. Charlotte Hall’s Orange Record hangs in the stairwell.

The Artful Traveler A wandering patron finds you can go home again, bearing suitcases full of new art

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Bobbie Foshay stands in her hallway holding Lucy. In the left foreground are two polyethylene sculptures by Roxy Paine that the artist made at SITE Santa Fe. Acrylic cubes by Teresita Fernández hang on the wall above the ledge, and, to Foshay’s left, a Jeff Koons porcelain Puppy holds flowers.

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obbie Foshay welcomes a visitor at her wide front door, where a pair of canine greeters—a wire-hair dachshund, Lucy, and a white porcelain Jeff Koons Puppy—are the household gods overseeing the view into rooms hung with major works of art. The collection and the woman who has assembled it speak to the synergistic ways that great collectors and great institutions grow up together. Foshay’s name in Santa Fe is synonymous with SITE Santa Fe, the contemporary art kunsthalle founded here in 1996 to sponsor an international biennial—a once-every-other-year art extravaganza, of a genre that critic Peter Schjeldahl has dubbed “festivalism”—and to fill a niche for art exhibits by players on the global circuit. A slim, intense woman in her early sixties, Foshay has been a contemporary art aficionado since the 1970s. A resident of Santa Fe since ’95, she has been a major champion of SITE since the beginning: She was board president from 1995 to 2004 and chairwoman until 2006. She now chairs the investment committee and is honorary chairwoman of the board. SITE has been Foshay’s passion, an unpaid full-time job to which she has dedicated herself vigorously. She characterizes her decadelong involvement as “quite an adventure.” A tour of her eastside Santa Fe home offers a visual feast and a short course in new art and more new art. A native New Yorker, Foshay still spends time in New York City, where she keeps an apartment. She travels—usually in the company of SITE’s director and board members—to art events, and often comes back toting artworks in her suitcase. In her intimate, wood-paneled library, a Duratrans light box by German artist Kota Ezawa, Central Park Zoo from “The History of Photography” Remix, revisits a setting of Foshay’s Manhattan childhood. Ezawa “remixes,” in a grayscale animation, a scene the great photographer Garry Winogrand framed at the zoo in 1957, of an interracial couple incongruously holding a pair of chimps. Foshay bought the piece in 2005 at Art Basel Miami Beach. New media abounds in this cozy room furnished with black leather Mies daybeds and chairs that Foshay has punctuated with red pillows. A few running cords prove the contemporary collector can never go entirely wireless. A flat-screen monitor projects new artists’ videos. A spongy white head atop a tripod makes an ovoid projection surface, where a grimacing face of a Tony Oursler video—a man’s head

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2008 BY DAWN DEL VECCHIO | PHOTOS BY ROBERT RECK

JEFF HARNAR: A Matter of Thought

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Sleek. Metaphoric. Harmonious. Kinetic. Industrial. Esoteric.

These are the deeply considered ways of the late innovator and architect, Jeff Harnar (1954–2006). He was a native of New Mexico, but about the only Ssouthwestern architectural tradition he embraced was to work with the landscape, not against it. Harnar’s solutions were maverick, daring, and practical. A far cry from the legions of adobes in the region, Harnar’s creations chose featured contemporary materials like such as glass, granite, steel, and concrete. Known for his asymmetrical applications of those atypical materials atypical of the region, Harnar’s creations used a more were interpretive view of tradition. He took cues from the landscape with light and contour. Harnar’s His intention was to mirror the landscape rather than impose upon it. His designs present—and he did so with undulating walls, clear-story (and clerestory) windows, and a variety of finishes to create interior canvases presenting the dance of the ever-changing Ssouthwestern light. Bold rock outcroppings rise from bermed structures and flowing seamlessly into curved walls, echoing a vista of hills beyond Harnar, a prolific, maverick architect, ignored traditional boundaries in not only in materials and but also in vision. “No two projects of Jeff’s were alike,” explains Edie Keeler, a Santa Fe designer, who was an old friend and early collaborator of Harnar’s. “Jeff sought solutions that did not come from books.,” says Keeler. From re-designing the tight spaces of the Trans- Lux Jean Cocteau 68

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Harner’s intention was to mirror the landscape rather than impose upon it.

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PHOTOS BY PETER OGILVIE | TEXT BY SUSAN BELL Long black shadows slice across winter grasses in the late afternoon light. Ten miles west of Lake Powell, we speed past an utterly discrete sign pointing the way to Amangiri. We double back and take a winding road that rises and dips around the bases of enormous sandstone buttes. A dead end at a simple unmarked gate announces our arrival. We press the key pad, which is answered by a female voice in a soft foreign accent. We have arrived at the Amangiri Resort at Canyon Point, Utah. The resort was a an 11-year collaboration between three internationally known Arizona architects—Rick Joy, Wendell Burnette, and Marwan Al-Sayed—who formed I-10 Studio, named for the interstate where they spent so much time while working on this project. The owners brought in Adrian Zecha, founder of the ultraluxe Aman resorts (now 23 strong worldwide), to manage the property. The architects are well-known for their inventive use of the desert vernacular; the building site, selected from 600 wild surrounding acres, reveals their profound sensitivity to this unique landscape. The result is a testament to more than 10 years of careful observation of how light, weather, and the seasons play upon the environment. Just outside the enormous doors to the reception area are four thoughtfully positioned granite blocks. Inscribed on top, at table height, are the four stanzas of a poem by Octavio Paz, Wind and Water and Stone. >

Sandstone Sanctuary At Amangiri Resort, harmony in landscape and form

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PHOTOS BY PETER OGILVIE

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Latex cowl, cotton and viscose tunic, leather harness and rubber cuff. Virgil Ortiz original clay canteen with leather strap.

CREDIT

Leave it to Renaissance man Virgil Ortiz to connect the art of his ancestors to superheroes and high fashion, all while throwing in a history lesson or two. Using the ancient techniques of his Cochiti Pueblo forebears, Ortiz honors the role of pottery making as a chronicle of his people’s lives and culture by perpetuating the technique but updating the content. His apparel line was inspired by this pottery, wherein female superheroes like the Blind Archers reenact pivotal events of the Pueblo Revolt of 1680, evincing fearlessness and adaptability against the forces of opposition. Ortiz’s designs push the underground-Goth-club-scene vibe to a higher level, resulting in strong, empowering fashion statements with a whiff of danger about them.

INSET: KATE RUSSELL

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Photo credits: Tim Keller & Michael Barley

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