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Our 15th Anniversary Issue!

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features Summer 2014


Organic Modernism


Taking It to the Streets


Ready, Set!


A San Antonio architectural firm blends regional roots with contemporary cool in its sustainable designs. By Gussie Fauntleroy

Cutting-edge Native American street art brings to light complex cultural and environmental issues. By Nancy Zimmerman

New Mexico production designers create whole new cinematic worlds. By Stephanie Pearson


The Art of Philanthropy Acclaimed photographer Gus Foster donates his 40-year art collection to Taos’s Harwood Museum. By Lyn Bleiler-Strong | Photos by Lee Clockman




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departments Summer 2014 Santa Fe TREND PREVIEW



Photographer Robert Reck documents the city he calls home.

Santa Fe’s fine-arts scene lends its sophistication and creativity to fashion design.

Photos by Peter Ogilvie and Brad Bealmear

albuquerque TREND PREVIEW



Trend celebrates its 15th year with a look to the past and the future.

Albuquerque’s youthful collaborators create an energetic contemporary arts scene.


By Christopher J. Johnson

16 COLLECTORS Albuquerque gallerist/collector Richard Levy’s eclectic taste extends from Outsider to Pop Art.

By Christina Procter



Photos by Robert Reck

Textile artist Nancy Kozikowski weaves a visual vocabulary of texture, pattern, and color.

By Wesley Pulkka | Photos by Kate Russell

Top local chefs add their favorite flavors to New Mexico’s bounty of fresh ingredients.

Words and Photos By Gabriella Marks ON THE COVER: LAKE HOUSE. PHOTO BY KATE RUSSELL Correction: In our last issue, the top photo on p.188 was incorrectly credited to Zinc Wine Bar & Bistro. The correct restaurant should have been Savoy Bar & Grill.

40 IN THIS ISSUE 42 CONTRIBUTORS 46 FLASH Love and Revolution: SFO Stages Another Diverse Season; UNM Art Museum’s New Director Seeks to Create a Conduit Between Culture and the Community: The North Railyard Gets Back on Track; Out of this World Spaceport Features Down-to-Earth Design.

54 OUTLOOK SITE Santa Fe reinvents the biennial.

By Kathryn M Davis

58 Q&A SITE Santa Fe: A Look Back Craig Anderson interviews former SITE director Louis Grachos.

A creative Hollywood couple finds renewed inspiration in Santa Fe.

By Rena Distasio | Photos by Kate Russell

174 ARTIST STUDIO African-born painter Mokha Laget discovers meaning in the language of Modernism.

By Kathryn M Davis | Photos by Kate Russell

178 TAOS ARTS In its 40th anniversary year, the Taos Arts Festival adds a few new twists.

By Nancy Zimmerman

Fashion of the West 4



Photography by Wendy McEahern

KAREN MELFI collection 225 Canyon Road Santa Fe, New Mexico 505.982.3032

PUBLISHER Cynthia Marie Canyon EDITOR-IN-CHIEF Rena Distasio

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PHOTO AND CONTRIBUTING EDITOR Christina Procter PHOTO PRODUCTION Boncratious CONTRIBUTING WRITERS Craig Anderson, Lyn Bleiler-Strong, Lynn Cline, Kathryn M Davis, Rena Distasio, Gussie Fauntleroy, Christopher J. Johnson, Kelly Koepke, Carole Aine Langrall, Gabriella Marks, Greg Martini, Stephanie Pearson, Rachel Preston Prinz, Christina Procter, Wesley Pulkka, Heidi Utz, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Brad Bealmear, Lee Clockman, Stephen Lang, Gabriella Marks, Douglas Merriam, Peter Ogilvie, Robert Reck, Kate Russell, Alex Traub, Heidi Utz SALES MANAGER Cynthia Canyon, 505-988-5007 SOCIAL MEDIA MARKETING Knock Knock Social SALES AND MARKETING Susan Bercher, Roberta Gore, Carole Aine Langrall, Kimber Lopez REGIONAL SALES DIRECTOR Judith Leyba NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 ACCOUNTING Danna Cooper SUBSCRIPTIONS Visit and click “Subscribe,” call 505-988-5007, or send or send $19.99 for one year (two issues, 2014) or $39.99 for one year (four issues, 2015) to Trend, P.O. Box 1951, Santa Fe, NM 87504 -1951. PREPRESS Fire Dragon Color, Santa Fe, New Mexico PRINTING Publication Printers, Denver, Colorado

Manufactured and printed in the United States.







Copyright 2014 by Santa Fe Trend LLC. All rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-988-5007 or send an e-mail to Trend art + design + architecture ISSN 2161-4229 is published two times in 2014, with Summer (circulation 25,000) and Fall/Winter/Spring issues (circulation 35,000) distributed at outlets throughout northern and central New Mexico and throughout the nation at premium outlets, local grocery stores, Barnes & Noble, and Hastings stores. Please ask your newsstand to carry Trend and friend us on Facebook. Direct editorial inquiries to Trend, P.O. Box 1951, Santa Fe, NM 87504-1951, 505-988-5007


Douglas Coffin

Hulse/Warman Gallery 222 Paseo de Pueblo Norte Taos, NM 87571 575-751-7702 Abiquiu studio 505-685-4510

Almost everyone welcome


Welcome to the 15th anniversary issue of Trend!

albuquerque art

+ design + architecture + cuisine | Volume 0 Number 0


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

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





ithin these pages you will find stories that cover the best of art, architecture, design, and cuisine throughout Santa Fe, Albuquerque, and Taos. As our publisher, Cynthia Canyon, expresses in her letter on page 4 of the fashion section, Trend is expanding its reach in exciting new ways. This issue offers just a sampling of what you can expect as we prepare to go quarterly in 2015. Although we are growing from two to four issues a year, our editorial goals will remain the same: keeping our fingers on the pulse of up-to-theminute events, unearthing previously hidden nuggets that make for great stories, and presenting everything with a fresh perspective, insightful commentary, and world-class photography. The Southwest is not only rich in history but also hosts a cast of characters who for myriad reasons have made this corner of the country their home base for creative expression. From filmmakers to museum directors, architects to fashion designers, these are the people whose stories we strive to tell in ways that inspire as well as entertain. In this issue, we shine our spotlight on a filmmaker-turned-sculptor, a group of Santa Fe–based production designers, and two collectors, among them longtime Albuquerque gallerist Richard Levy. Known for operating one of the Duke City’s best contemporary art galleries, Levy is also a passionate and knowledgeable collector for whom objects both high and low have assumed places of reverence in his heart and home. Another collector, photographer Gus Foster, has spent the past 40 years quietly accumulating a variety of artworks created by his Taos friends and neighbors, including Larry Bell and Ken Price. In a move as intriguing as it is generous, he recently gifted almost his entire collection to Taos’s Harwood Museum, thus adding another chapter to the ongoing history of contemporary art in Northern New Mexico. As important as galleries and museums are to the preservation and dissemination of art both past and present, so too are those artists and their champions who continue to push the boundaries of what comprises venue and vehicle. As Nancy Zimmerman found out while researching her feature, some of the most exciting works created today do not hang in a gallery or sit in a vault. Instead, they are writ large on the walls and billboards of communities both on and off the rez, the output of a group of talented and impassioned Native American artists who are literally taking their messages to the streets. And while our new Albuquerque Trend is set to launch in spring 2015, we decided to give readers a preview of what’s to come by examining the state of the arts in the Duke City today. What we found—a youthful vibe driven by collaborative effort—proves that there is much still to discover about this metropolis. We hope you take the journey with us. R



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Nancy Zimmerman is a writer, editor, and translator based in Tesuque, New Mexico, who writes on issues of sustainability as well as architecture, art, design, and travel. Her experience includes stints as editor-in-chief of Trend, editor-in-chief/associate publisher of Islands, executive editor of Outside magazine’s annual adventure travel issues, and Southwest editor for Sunset. She also produces and writes scripts for film and video.

Craig Anderson has decades of museum experience behind his current business as an arts advisor and consultant. He has been an executive director and curator at Center for Contemporary Arts, director of Exhibits Central at the Museum of New Mexico, and head of exhibitions administration  at SITE Santa Fe. He also served as liaison to Herzog and de Meuron on the new PAMM museum building in Miami while assistant director for exhibitions and collections at MAM.



Robert Reck is an internationally recognized architectural and interior design photographer whose work is distinguished by a masterful use of light, strong composition, and a passion for the design found in nature and the built environment. He holds a master’s degree in art from the University of New Mexico, where he studied with such prominent artists and historians as Thomas F. Barrow, Van Deren Coke, Betty Hahn, Rod Lazorik, and Beaumont Newhall. Reck was a staff photographer for Architectural Digest and has contributed to dozens of publications globally. He was the lead photographer for Santa Fe Style, published by Rizzoli International.

Christina Procter is a writer, educator, and environmental activist living in Santa Fe, New Mexico. Administration and communications manager of New Energy Economy, she is also the editor of EcoSource magazine. Formerly a public high school English teacher in Manhattan, she now works with students at Capital High School through the AVID college readiness program. She is a passionate photographer of the uncanny in the natural world.

Kate Russell is a nationally recognized photographer based in Santa Fe. Known for her ability to create evocative images and elevate simplicity, Russell’s sensitivity to light and the moment can be seen in her photos. Her work has appeared in numerous local and national publications, including The New York Times, Western Interiors, the Santa Fean, and the books Old World Interiors, by David Naylor, and Designers Here and There, by Michele Keith. Kate’s work with a traveling circus and the arts brought her to the world of photography, and they continue to provide inspiration for projects both near and far.


Peter Ogilvie was raised in Southern California and studied art and architecture at University of California at Berkeley. After graduation he moved to Cambridge, Massachusetts, and started making documentary films. Filmmaking led to still photography, both fine-art and commercial. Pursuing his career in advertising, fashion, and fine-art photography, he has lived in San Francisco, Milan, Paris, New York, and now New Mexico. He has traveled the world on assignments and has won numerous advertising and graphics awards for his work with clients like Saks Fifth Avenue, Gap, AT&T, Levi Strauss & Co., Sony, Macy’s, Vogue, Marie Claire, and GQ.



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Love and Revolution SFO Stages Another Diverse Season





ne of the peak experiences of summer in New Mexico is tailgating beside the Santa Fe opera house, sipping mojitos while enjoying the high-desert views before moving inside to watch the sun set and the curtains open onto the stage of a perennial favorite. This year the intrigue begins with Carmen. It’s tempting to hum along with this wildly popular opera, whose infectious tunes have been co-opted by everyone from the Muppets to the Marx Brothers. But this is not the Carmen de su padre. The Santa Fe Opera’s (SFO) latest version has been reset closer to home, in 1950s Mexico— a place where outlaws smuggle people and drugs. If that sounds like a certain NM-based TV show, English director Stephen Lawless (The Elixir of Love, Faust) admits he’s a fan. Breaking Bad, he says, has influenced this revisioning and driven him to emulate that show’s dramatic tension. “Carmen tends to be presented in a sort A rendering of designer Jorge Jara’s costume for Carmen. The new production of this popular opera of stereotypical way,” he notes. “I just wanted to takes place in 1950s Mexico and incorporates onstage film and video. find out whether we could find a way of doing it that wasn’t that, but at the same time wasn’t a betrayal of it.” She stayed with him and was his helpmate and soul mate in his Sharing the mezzo-soprano title role are internationally activities during the revolution.” acclaimed Ana María Martínez and Argentinean Daniela Mack, Directed by James Robinson, the opera deftly weaves Eastern two very different embodiments of the riveting femme fatale. and Western influences—fitting, given that both its subject Another rising star, former apprentice Joyce El-Khoury, will and composer, Huang Ruo, were Chinese-born but also lived play Micaela. in America. Juilliard-educated Ruo notes that his first opera’s To lend additional context, for the first time the company musical style is neither strictly Western nor Chinese, but serves will incorporate onstage film and video. Overall, the production librettist Candace Chong’s text as needed. So while it’s a Westernpromises to uphold SFO’s reputation for innovation, offering style opera with a Western orchestra, it’s sung in Mandarin (a audiences “the potential to experience a new Carmen, something first in the U.S.) and uses Chinese percussion and singing styles. that’s different, that’s dangerous, that isn’t layered in clichés,” Banned in Beijing, the controversial drama has only ever been says SFO general director Charles MacKay. performed in Hong Kong, in 2011. Instrumental in its writing A radically different love story is the American premiere of was acclaimed tenor Warren Mok, who starred in its Hong Kong Dr. Sun Yat-Sen, based on the difficult life of the Chinese revo- premiere and will recreate the lead role for SFO. lutionary known as the “father of modern China,” whose revolt Rounding out the season will be Beethoven’s Fidelio, The ended the monarchy and paved the way for democratization. But Impresario by Mozart (presented in a double bill with Stravinromance trumps politics in this more personal opera. Says SFO sky’s Le Rossignol), and Don Pasquale. “Unique this year are the press director Joyce Idema, “While Sun was in exile in Japan, a Beethoven piece and Dr. Sun Yat-Sen,” says Idema. “There’s young woman, Soong Ching Ling, was sent to be his secretary. something for every operatic taste, and also something for the She was 26 years his junior. They fell in love and he married her. novice.” —Heidi Utz


n e w s, g o s s i p, a n d i n n u e n d o

UNM Art Museum’s New Director Seeks to Create a Conduit Between Culture and the Community

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niversity of New Mexico Art Museum Director Lisa Tamiris Becker burst onto the Albuquerque art scene last September with several exciting exhibits, including the snap, crackle, and pop of Andy Warhol’s candid photographs, Agnes Martin’s pre-grid abstractions, and From Raymond Jonson to Kiki Smith, a celebration of the museum’s stunning collection acquired over its 50-year history. The multilayered multimedia installations were a tour de force achievement for Becker, who had just taken the museum’s helm on April 1 of last year.  Founded in 1963 as an independent unit of the College of Fine Arts, the UNM Art Museum is distinguished by a collection of more than 30,000 Lisa Tamiris Becker envisions UNM as pieces, including 20,000 photographs and works a gateway to the arts in Albuquerque. on paper. The remaining 10,000 works include paintings, sculpture, mixed media, ceramics, and electronic media, representing more than 500 years of art-making.  “American university museums and their collections occupy a unique position in the art world,” Becker says. “They can play a major role in helping to develop cultural understanding between all members of our global community.” While civic and privately owned museums are often heavily influenced by major collectors and donors who may have personal agendas, universities can more easily bridge the gap between their campuses and their communities, enhancing the collective intelligence and bringing to light a broader spectrum of artists. To facilitate this intellectual exchange at UNM, Becker has inaugurated a series of Native American biannual exhibitions, renewed an ongoing schedule of faculty shows, and mounted an aggressive marketing and

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membership program with an emphasis on community involvement. Born in Leeds, England, and raised in the Netherlands and Sweden, Becker completed her BA in mathematics and art history in the Benjamin Franklin Honors Program at the University of Pennsylvania in 1987 and earned an MFA in studio art and art theory in 1995 at the University of Texas at Austin.  Her graduate studies included studio work in experimental sculpture, new media, and installation, as well as extensive coursework in the history and theory of art and architecture.  Not only has she put her energies into organizing more than 50 major exhibitions around the world, she also oversaw the development and construction of the new 25,000-square-foot, state-of-the-art museum and facilities at the University of Colorado, Boulder.  “We designed the museum and the adjacent art studios and art history facility



Genia Chef’s Exotic Species (1995–1997), oil on panel, and Rasputin (2011), oil on canvas

to act as a gateway to the entire university,” Becker explains. “The path between the two facilities is called the Art Walk. The overall design is an invitation to all

members of the community to pursue the wealth of educational opportunity being offered on campus.” In fact, her work at the University of Colorado was one of the reasons why UNM’s administrators were interested in bringing her aboard—and why she accepted the position. A similar expansion of UNM’s art museum is most definitely a goal. “The timeline is probably a ten-year arc and is certainly something I hope to accomplish here.” Becker says. “I was excited by the commitment to Modernist architecture here at UNM, and I look forward to doing something contemporary in terms of revisiting Modernism today, as many architects are doing in innovative ways.”—Wesley Pulkka


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FLASH n e w s , g o s s i p , a n d i n n u e n d o f r o m a r t / d e s i g n / a r c h i t e c t u r e

The North Railyard Gets Back on Track


ovement is happening once again in the North Railyard district. After six years of an unstable economy that has stalled construction projects, two are moving forward. Violet Crown, a state-of-the-art movie complex, will open early next year on Alcaldesa Street, while a short walk away at 500 Market Street, a family-oriented entertainment center opens this summer. The brainchild of owner Bill Banowsky, Violet Crown is an Austin, Texas–based cinema chain devoted to showing primarily independent, documentary, and international films in a luxury environment. Designed by Dallas architect Douglas Payne of Domiteaux + Baggett, the Santa Fe facility will house a 600-seat restaurant/ café and 11 theaters with state-of-the-art digital technology and stadium seating to ensure unobstructed views. Its restaurant will also sell beer and wine that patrons

can take into the auditoriums. The nearly completed family entertainment center on Market Street will sport an eight-lane bowling alley, arcade, large restaurant, bar, and stage for live entertainment. Warehouse 21 executive director Ana Gallegos y Reinhardt is enthusiastic about the possibilities. “The Railyard is an amazing gold mine for Santa Fe. This family center will help fill the void for kids who need more activities,” she says. And area schools, interested in using the space for their bowling clubs, have already been making calls. Overseeing Railyard development is the nonprofit Santa Fe Railyard Community Corporation (SFRCC), which seeks to strengthen and support the city’s economy by encouraging locally owned concerns. Currently, a mix of local and regional businesses shares the district with two national

companies, Verizon and REI. Citing the considerable care that’s gone into choosing occupants, SFRCC executive director Richard Czoski says he’s very encouraged by the new projects. While waiting for both projects to be completed, residents and visitors can enjoy free summer concerts by national artists and a movies-in-the-park program, both courtesy of Heath Concerts. Despite the shaky economy, SFRCC events and marketing director Sandra Brice says the numbers are actually up for Railyard visitors, with more than 700,000 people passing through in 2013. And given the substantial progress made in the North Railyard, the two remaining available plots adjacent to Warehouse 21 and Alcaldesa Street may go fast, making the completed district an even greater attraction for Santa Fe. —Carole Aine Langrall


PATINA GALLERY Celebrates 15 years of Contemporary Soul-Stirring Jewelry

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ATELIER ZOBEL photos courtesy of Atelier Zobel

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Out of this World Spaceport Features Down-to-Earth Design



the New Mexico Spaceport Authority (NMSA) on behalf of Sir Richard Branson’s Virgin Galactic. Says SMPC Architects principal David M. Hassard, “Nothing like this had ever been done before. We had to be patient and learn our way. It takes time to do that. And, [in keeping with] Virgin Galactic’s philosophy, we were interested in safety first.” The firm also wished to respect Sir Branson’s imperative that form and function should minimize environmental impact. Built with local materials and modeled after the nearby Point of Rocks outcropping, the terminal is set into the hillside earthship-style, a single story high at its far end and three stories at its southfacing entrance, which takes advantage of passive solar heating and cooling. The LEED Gold– certified facility is also solar- and wind-powered, utilizes radiant underfloor heating and cooling, and maximizes water efficiency with low-flow toilets and fixtures, xeriscaping, and 100 percent nonpotable reuse of wastewater treated onsite. Specially coated floor-to-ceiling glass curtains

A conceptual rendering of Spaceport America. The world’s first commercial facility for space travel brings sci-fi style to the NM desert near Truth or Consequences.



t looks like something out of a sci-fi movie: an undulating glass and steel structure set against an otherworldly landscape of cloudless sky and scrub-dotted desert, broken only by the sketch of a mountain range shimmering in the distance like an extraterrestrial mirage. But this spaceport is no longer the stuff of fantasy, as Spaceport America has moved into a remote patch of desert about 30 miles southeast of Truth or Consequences, New Mexico. It’s the world’s first project of its kind, a commercial spaceport designed to convey the thrill of space travel while minimally impacting the environment. In 2007 Albuquerque-based SMPC Architects and their collaborators, URS Corporation and Foster + Partners of London, won the contract to design the extraordinary, 110,000-square-foot structure, which marries the spaceport’s hangar with its terminal facilities, thus allowing “citizen explorer” visitors to experience the full breadth of spaceport activities. Its $35-million project budget was administered by the State of New Mexico and

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The real-life version of Spaceport America presents an intriguing form that blends well with the surrounding landscape and features innovative use of available materials and sustainable technologies.

reduce heat transfer and allow for extraordinary views of both the surrounding landscape and the two-mile-long north-south runway. The design was unique enough to have won the 2014 Jeff Harnar Award for Contemporary Architecture in New Mexico. Says the award’s jury chair, Michael Fifield, “This iconic facility seeks inspiration from the context of the surrounding landscape, resulting in a powerful form, but one that blends with the larger context and landscape framework of the region. While providing Spaceport America a memorable identity, the design also demonstrates the innovative utilization of available materials and current technologies, incorporating proven sustainable practices.” SMPC will dedicate the $10,000 award monies to its Endowment for Sustainable Design at the University of New Mexico School of Architecture and Planning. The project is also generating vital revenue for the NMSA, inspiring companies including J. Crew to film commercials onsite. And in the spaceport’s first—but undoubtedly not last—link to science fiction, it stars in a scene from Will Smith’s 2013 movie After Earth. —Rachel Preston Prinz





SITE Santa Fe Reinvents the Biennial





hen Phillips Director and it can make little impact on its host Four New Mexico Chief Curator Irene Hofpopulation. In a phenomenon artists featured in first town’s mann took the helm at SITE called “parachuting,” biennials rely on Santa Fe in 2010, the notion of the SITElines exhibition famous names to draw an audience, international biennial, a spectacle guarthen artists and curators swoop in on anteed to make the curator as much a star as the artists, an exotic location such as Istanbul or Santa Fe, create their had been in question for years. With more than 100 such art, and leave. annual events taking place around the globe, the very Together with the SITE board of directors, Hofmann term “international biennial” had become far less meansought to reinvent this model by creating a collaborative ingful than it was in 1995, when SITE Santa Fe opened structure for the event, developing a vision for continuity its inaugural exhibition, the bewitchingly titled Longing between biennials, and renewing both its commitment to and Belonging: From the Faraway Nearby—a nod to New community and place and its effort to give voice to underMexico’s own art legend Georgia O’Keeffe. At that time the recognized perspectives. only biennial in the country was at New York’s Whitney While business went on as usual at SITE’s eighth Museum of American Art, which began showcasing conbiennial, The Dissolve, Hofmann invited some 12 key temporary U.S. artists in 1931. The biennial concept has figures—among them artists and curators who had parclearly taken off since 1895, when La Biennale was held in ticipated in biennials elsewhere—to attend discussions Venice, Italy. Nowadays, biannual events take place in such at her house in a think-tank kind of environment. “We far-flung destinations as Sydney, Havana, Lyon, São Paulo, maintained a wholly private discussion about biennials, Berlin, Senegal, and Saudi Arabia. asking, ‘Are they still relevant?’ We talked very frankly The problem with the standard model, however, is that about what a biennial can be, what it can do,” she says. This


ARTISTS The Railyard Art Project is currently accepting submissions for temporary works of art to be placed in Santa Fe’s Railyard Park + Plaza. Works are encouraged to be contextual and experiential in nature. Apply at


we live on was Native, Spanish, Mexican, and a territory of the United States, and those histories are present in the current population.” Thus was born SITElines: New Perspectives on Art of the Americas, presenting exhibitions in 2014, 2016, and 2018, each organized by a different team of curators from throughout the Americas. A new programming hub, SITEcenter, will establish and maintain a connection between exhibitions. “Santa Fe is a rich microcosm of the Americas,” says Hoffman. “With SITElines, we build connections from here to the rest of the Americas. We explore untold stories and links between our past and our present.” A key element of this project, she says,

The Convergence Project, a youth-led program of the Story of Place Institute will roll out artistadorned pianos in the Railyard for the community to enjoy.

Patrick Nagatani, Bida Hi (1990). Top: Jamison Chas Banks, Retour des Cendres Vol. 1 (Return of the Ashes) (2014). Previous page: Florence Pierce, Untitled #110 (1994), resin relief.




This summer, we’re proud to present:

rethinking of SITE’s exhibitions went on for three years—an intensely introspective, behind-the-scenes process. The inspiration to create a biennial that focused specifically on the Americas came to Hofmann after she’d been living in Santa Fe for only about three months. While driving the interstate south from Santa Fe to Albuquerque, she noticed a sign for the Pan-American Highway and realized she was following El Camino Real, the historic trade route that connected Santa Fe to Mexico City during its hundreds of years as a Spanish—and briefly, Mexican—outpost. For Hofmann, the route is “a beautiful metaphor for the role of SITE Santa Fe in linking this event to the Americas. Our population and history further support this; the land

is having the curatorial team spend time in New Mexico. Curator Candice Hopkins, from Yukon, Canada, has moved to Albuquerque; Lucía Sanromán, of Mexico, took up residence in Santa Fe in April and will stay for five months. They will join Janet Dees, SITE’s Curator for Special Projects, and Hofmann herself as SITElines’s main curatorial team, which will be augmented by satellite curatorial advisors from Trinidad, Colombia, Argentina, Venezuela, and Canada. Additional SITElines advisors hail from Brazil, Spain, Canada, Cuba, and the U.S. In the first of these exhibitions, Unsettled Landscapes (July 20, 2014–January 2015), three generations of contemporary artists from 15 American countries examine how the creative process is informed by their respective political conditions and historical narratives. The themes of landscape, territory, and trade underscore the interconnectedness of the land, economies, and resources. The show includes the work of four New Mexican artists. Florence Pierce (1918–2007) was an Albuquerque artist and a member of the original Transcendental Painting Group movement that blossomed in the state in the late 1930s; her mirrored Plexiglas and poured-resin pieces are luminous expressions of the light at the heart of New Mexico. Jamison Chas Banks, an instructor at Santa Fe’s Institute of American Indian Arts (IAIA), is a performance artist whose recent works investigate the nature of conflict. Santa Fean Ric Lum will travel the Río Grande corridor, seeking its culinary and community roots from its Colorado headwaters to the Gulf of Mexico. Albuquerque-based photographer Patrick Nagatani’s Nuclear Enchantment series “points to landscapes in New Mexico that are certainly still ‘unsettled’ and abused,” he says. “It’s an experiment,” says Hofmann. “We’re creating an infrastructure that will support long-term projects. The commitment SITE is making to these projects reflects a new way of looking at biennials.” R

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Q +A

With a curatorial vision that focuses on artist-centric exhibitions, collaborative programming, and community outreach, Louis Grachos is one of the most influential figures in the contemporary American art world. Over the past 30 years, he has directed exhibitions at museums and galleries across the United States, including the Center for the Fine Arts in Miami, the Museum of Contemporary Art San Diego, and the Albright-Knox Art Gallery in Buffalo, New York. Grachos was also instrumental in the development of SITE Santa Fe, which he joined as director in 1996, a year after the organization was launched, and led for seven years. In November 2012, he assumed the executive directorship of The Contemporary Austin (TCA), a museum and art school dedicated to bringing innovative and accessible contemporary art to the region. Santa Fe–based museum consultant and curator Craig Anderson recently caught up with Grachos to discuss his work at SITE, his curatorial philosophy, and the direction in which he intends to take The Contemporary Austin.

Craig Anderson: In the early days of SITE, you were making the transition from curator at the Museum of Contemporary Art San Diego to landing in a new community as the director and curator of a fledgling organization. What was SITE like when you arrived? Louis Grachos: The founders’ sense was that SITE Santa Fe should create a program dedicated to contemporary culture that would bring artists, artworks, and ideas into the mix that were not coming through the hundreds of galleries already in Santa Fe. That idea is important because, as an 58


institution, you have to think about the cultural dynamic, what you’re bringing into the community, and not replicating programming that already exists. In terms of the responsibility of running a public organization or museum, ideas and passions are frequently formed in an internalized personal process. But there’s a responsibility as a director and a curator to take an institutional perspective and represent the broad spectrum of artistic expression, and not just simply personal choices or preferences. I think it makes a difference when you step outside of yourself, remain true to your passion

Louis Grachos, former SITE Santa Fe director and curator, now executive director of The Contemporary Austin. Top: Beau Monde: Toward a Redeemed Cosmopolitanism was a 2001 SITE installation.

and your commitment to artists, but acknowledge that there is a bigger art world that has to be expressed. CA: In addition to your interest in internationally recognized artists, you also organized a number of exhibitions for local artists at SITE—Erika Wanenmacher, Harmony Hammond, Allan Graham, Peter Sarkisian, Patrick McFarlin, and Thomas Ashcraft. The comprehensive exhibition Postmark: An Abstract Effect included local artists Florence Pierce and Paul Sarkisian. What did you find engaging about working with these local artists? >


SITE Santa Fe: A Look Back



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LG: One of the things that I recognized, loved, and appreciated about New Mexico was that artists living and working there were without question historically significant beyond our generation. Artists with broad recognition like Bruce Nauman, for example, or Agnes Martin, seemed powerfully inspired by the New Mexico landscape. But I also learned that there were interesting artists that never got to the stature of a national discourse, but their work in my mind had value and was really important to celebrate. That’s why we never turned our backs to the artists who were living and thriving in New Mexico.

publishing exhibition catalogs from that curatorial and institutional point of view?

the things that we thought would bring a great and exciting program to Santa Fe.

LG: Deciding to publish catalogs of exhibitions was twofold. Those publications really supported the artists’ careers. It was also important to document the shows, since we weren’t building a collection. We operated under the Kunsthalle format, so early on the publications became a record of what we were as an institution. As we articulated our growth to potential funders and foundations, the publications program enabled us to express the texture of what we were doing in our exhibitions program.

CA: The SITE biennials were undoubtedly a savvy move, but they also seemed counterintuitive. As ambitious and successful as they were, it seemed unlikely that they would emerge in Santa Fe and not in, say, New York City or Los Angeles. Did you feel at the time that this was a huge calculated risk?

CA: What do you think were the factors that influenced artists and interested them in working with you at SITE?

CA: What were the key institutional factors that supported such creative exhibitions and public programming at SITE during the years you were there?

LG: It was, I think, that artists knew that we would do everything humanly possible to complete their projects, respect their visions, and work with them to help them realize their exhibitions. And in that context in many cases we were able to support new work. CA: SITE is what the Germans call a Kunsthalle, not a museum or gallery per se, but rather a facility that organizes and presents an ongoing series of artistic exhibitions. What’s the importance of

LG: I had really inspirational board leadership at SITE. Bobbie Foshay-Miller, John and Anne Marion, and Joann and Gifford Phillips were extraordinary. Louisa Stude Sarofim, Emily Fisher Landau, and Bill Miller were also supportive. These were people who were really invested in the advancement of SITE Santa Fe in the early days, but even more so they were empowering as board leaders. They weren’t about managing the situation; they were about empowering us to do

LG: It was all about an evolving idea. It got to the point where it was always surprising to me to see how far people would travel to see biennials and, frankly, other exhibitions. There was an enduring confidence that during the high season in Santa Fe, we’d get a critical mass. Perhaps the most provocative biennial was Looking for a Place, curated by Rosa Martinez. She had both a global and local vision for her biennial. She and the artists she chose identified some cultural and political hot zones and challenged us to work within elements of the community that we hadn’t worked with before. CA: Since we’ve been talking, you’ve probably said the word community a dozen times. Do you see exhibitions and arts and culture as indivisible concepts in a museum’s public programming?

Janine Antoni’s Saddle, a life-size sculpture made from rawhide molded over the artist’s body, was part of SITE’s Janine Antoni: taught tether teeter exhibition that ran from September 2002 to January 2003. Right: Liam Gillick’s Raised Laguna Discussion Platform (Job #1073) is located on the grounds of Laguna Gloria, an early-20th-century Italian villa revival that was TCA’s original location. It is now home to the organization’s art school. 60



Q +A


Louis Grachos combined the three elements of the former Austin Museum of Art organization and rebranded everything under TCA. The main museum is now housed at The Contemporary Austin Jones Center, at the corner of Congress Avenue and 7th Street. With two floors of exhibition space, a theater, a community room, and a rooftop deck for events, it is the region’s hub of contemporary and fine arts.

LG: The public programming at SITE was a reflection of our respect for the kind of community we were working in. Patrick Lannan and Lannan Foundation were major collaborators in the early days, helping us evolve by supporting the Readings & Conversations series that brought in great writers and poets. Together we did some very memorable public programming. Those events made SITE a center for cultural activity, but they also made it a go-to place to experience very diverse programming. My hope and aspiration for the arts and culture programming was just that: to acknowledge our community’s thirst for experiences and interactions in the visual arts and cultural events. I learned that Santa Fe is a dedicated community that will support varied cultural expressions and identities—we had really great audiences for these events. I was also very proud of SITE’s Young Curators program and our educational initiatives that reached out to our community’s youth. There was a show at the Governor’s Gallery of works done by kids from the Santa Fe youth detention center that really moved me and demonstrated the possibilities of positive impacts from insightful educational programming. CA: The artists you’ve worked with respected the fact that you were willing to create new gallery spaces for exhibitions, like the Juan Muñoz: Streetwise exhibition and many others. I think people got excited about going to SITE because they

knew it was probably going to be a reconfigured space and a new and immersive experience each time. LG: SITE continues to do that, and that’s part of what I think is important and lasting about the initial idea behind it. Laura Carpenter and other initial founders really wanted to see something like this happen. CA: How do you see SITE Santa Fe now from the perspective of your continuing career? LG: My understanding is that over the years it’s continued to be a vital, relevant contributor to the cultural community of Santa Fe. All that hard work in the late ’90s and early 2000s really paid off. It’s something that again demonstrates the importance of not being afraid to be an artist-centric organization, where the focus is on artist empowerment. That’s why it’s so exciting to see it many years later still thriving and still such a major player on the international scene. CA: I’m wondering if, looking back at SITE Santa Fe, you see some distinct parallels between SITE and your new home at The Contemporary Austin? LG: Well, I see certain parallels in the way that our audiences also embrace all of the arts. There’s an openness in this

community that you see in Santa Fe too. CA: In September 2013, the Dallas-based Edward and Betty Marcus Foundation awarded The Contemporary Austin a $9 million grant. In accepting the gift on behalf of TCA, you stated that it would help transform The Contemporary Austin into an unparalleled outdoor-indoor art destination. Can you share some of your other goals for The Contemporary Austin and the community? LG: Well, it’s still a work in progress. My long-term goal for Austin is to put together projects that parallel the Münster [Germany] sculpture projects that have been evolving every ten years since 1977, concurrently with the dOCUMENTA exhibition. I think it would be really exciting to bring something of that power and value here. Austin is a community that celebrates outdoor life, public interactions, and it’s also a city that’s growing rapidly. I think it’s time to see how we might look at the Münster projects as a series of successful civic engagements with contemporary art and artists. I’d like to get artists involved in urban design relative to the city’s growth and architectural boom. Rather than putting art in a secondary role, placing it after something is built, I think it’s important that we create opportunities to introduce art into the cultural and urban landscape as the city grows. Austin is experiencing a moment of terrific growth. It makes this a good place to be right now. R 15 YEARS OF TREND MAGAZINE | SUMMER 2014




Flickers of Genius

A creative Hollywood couple finds renewed inspiration in Santa Fe


nder a bright sun on a cold January afternoon, the sky a seamless blue above an endless expanse of million-dollar views, Ted Flicker is giving an impassioned tour of his Santa Fe home’s four-acre sculpture garden. That he is battling a lung problem, one that occasionally renders him breathless, does not diminish the 84-year-old’s vitality nor the enthusiasm with which he talks about his work, his narrative delivered with a dramatic flair that comes naturally to this former actor, writer, and director. Seriously involved in one form of art or another, including theater, film, and television, for more than 60 years, he says it was the thrill he felt while being applauded during his first theatrical appearance as Jiminy Cricket in the third grade that hooked him, while his later tenure at the Royal Academy of Arts is what kept him going. Sculpture, “the most profoundly satisfying creative experience I have ever had,” is now Ted Flicker’s medium of choice. Large-scale bronze female forms in repose, in celebration, or as the heroines of his reinterpreted classical mythologies and Biblical stories are his subjects of choice. But please don’t call them nudes, a term he dismisses as anachronism. “If a person hasn’t got any clothes on, they are naked,” he asserts. Regardless, his interest is far from prurient. Dismayed by the manipulation and commodification of female images in today’s mass-marketplace, he strives to imbue his subjects with personality and soul. One gets the sense that much of Ted’s sensitivity to the female form and psyche can be attributed to his wife, Barbara, to whom he has been married a remarkable 47 years. She is, he says, his greatest teacher. “When I met her, I was glad she was beautiful, but I was really turned on by how smart she was. She is



a bloody determined woman. There is nothing she cannot do.” A former model and television actress whose credits include The Rockford Files and Marcus Welby, M.D., she also worked for a time as a commercial stylist and even wrote two “trashy Hollywood novels,” as she calls them. Barbara has happily left the public spotlight to Ted, instead pursuing her longtime passions for cooking, entertaining, and gardening. In fact, she is the architect behind her husband’s sculpture garden, having meticulously created its nearly mile-long path from 30 pallets of woodchips and tons of rocks, all of which she laid by hand, two by two. “I turned 80 this year, and this garden is about the only exercise I do anymore,” she says. “It’s really kept me in good shape.” Seeing this labor of love and creativity, one marvels at the quantity of work and the energy behind it. Ted estimates that since he started sculpting nearly 15 years ago, he has produced more than 60 pieces. Not only is he largely selftaught, he is self-taught at a time in life when most retirees are honing their hobbies, not embarking on new careers. It is, as he has called it, his third act. And it is Barbara’s too. For they are definitely a partnership, one guided not only by love, trust, and respect, but also by a shared sense of reinvention and adventure. When they first met, at the 1966 wedding of Elizabeth Ashley and George Peppard, the Freehold, New Jersey, native had made it big as an actor and playwright in New York, and was about to make it even bigger as a filmmaker in Hollywood. Barbara was a former stewardess from South Bend, Indiana, whose arresting good looks had propelled her into the world of television modeling. While Ted spent the wedding fantasizing about getting lucky, Barbara was fantasizing about getting him a better haircut. Neither happened that evening, but in movie-like fashion, they

Ted and Barbara Flicker in their library. Their mutual love and respect is as strong today as it was when they first met nearly 50 years ago, their marriage the one constant in a life of continual reinvention. Their secret? “Trust,” says Ted. “You can’t have a marriage without trust. Or without learning how to fight.”






Ted Flicker at work behind the camera. Left: directing his “discovery,” Joan Delaney, who played James Coburn’s girlfriend in The President’s Analyst. Delaney married the film’s editor and the couple eventually relocated to Santa Fe, influencing the Flickers to make their own move. Above: Ted directing Where the Ladies Go, a 1980 television movie starring Earl Holliman, Karen Black, and Candy Clark. Opposite: Ted Flicker in his home studio with The Lovers, a wedding present for his niece and her partner.

bumped into each other on the street the next morning. Ted invited her to dinner at his Malibu home, after which they took a long walk on the beach—and planned their wedding. “The question wasn’t if we were getting married,” says Ted, “but when. Two days later she moved in with me, and we’ve been together ever since.” Soon they would become one of Hollywood’s golden couples, wildly entertaining and entertaining widely at the Hollywood Hills home they cheekily dubbed Flickfair, in a nod to Mary Pickford’s place just down the road. By then, Ted had already made a name for himself in the theater. Starting in the mid-1950s, he had honed his sense of comedic timing as a member of the seminal Chicago-based improvisational comedy group the Compass Theater (which later morphed into the Second City), where he

and Elaine May codified the “rules” of improv that still guide humorists today. He would go on to establish the Crystal Palace theater in St. Louis, then the country’s only repertory company, and a New York–based improv group called the Premise Players, whose members included Buck Henry, Joan Darling, Gene Hackman, and George Segal. In 1959 he wrote and directed his first Broadway play, the Beat Generation–inspired comedy The Nervous Set. It wasn’t long before Hollywood beckoned. In 1964 he directed and cowrote with Buck Henry his first film, The Troublemaker. Three years later he followed up with The President’s Analyst, a political satire of government and corporate intrusion that starred James Coburn. Casting an especially unflattering light on an organization clearly modeled after the FBI, the film opened to

great reviews and box office numbers. But as soon as it all began, it ended. When Ted Flicker says that J. Edgar Hoover destroyed his moviemaking career, at first you think he’s just being funny, maybe even a little paranoid. “The reason Hoover went after me,” he says, “was because I knew that the bête noire of his life was not that he was gay but that he was short. I cast him and all the FBI agents with actors under five feet tall.” Funny, yes, but as it turns out, not at all paranoid. The FBI director made enough of a stink about the film’s theme that the studio refused to continue to back it. The President’s Analyst was soon pulled from distribution. “Just like that, my phone stopped ringing,” Ted says. “But that’s Hollywood for you. When you’re up, they kiss your ass. > 15 YEARS OF TREND MAGAZINE | SUMMER 2014





“I’m not allowed to go into his studio without knocking, and he’s not allowed to come into my dressing room without knocking,” says Barbara of the individual spaces she and Ted have carved out for themselves in their home. Designed by Barbara with Art Deco–inspired lines, flattering lighting, and mirrored doors, the space is as much a sanctuary as it is a practicality.




Ted went to the orientation at the New Mexico School for the Arts in Santa Fe and was so impressed that he donated 4,000 of his art, film, theater, and writing books to the school to create a library. Now, he says, his own library is “more of a gallery with some books in it.” Two of Ted’s bronzes are in the foreground, The First Kiss and a sketch for the eventual life-sized portrait of painter Geoffrey Laurence that is part of Ted’s Avenue of the Gods series, in which he sculpts his artist friends as heroic mythological figures. At the far left is a photo Ted took of Barbara in 2012. “When I printed it, I fell in love with her all over again,” he says.

Even though he “didn’t have a bra to burn” in his support of the feminist movement, Ted has long supported female artists and dealt with women’s issues in his own work. After a friend brought the feminist artist Phyllis Yes to one of the Flickers’ parties, he sent her a .45 with instructions to fire 100 rounds and then do whatever she wanted with it. The result is her bejeweled This Art is Loaded. Ted’s own Breaking the Glass Ceiling, a four-foot-high glass and stainless-steel sculpture, deals with what he believes is one of today’s most pressing women’s issues.

When you’re down, they kick it.” But Ted Flicker didn’t stay down. He stuck around for another 15 years, directing several television shows before creating Barney Miller, one of the most popular sitcoms of the late 1970s and early 1980s. Although Barney Miller brought a kind of career redemption, it also yielded its share of headaches, including a soul-sucking lawsuit and resultant seven-month separation from Barbara. Eventually the lawsuit was resolved and the couple reunited. But the Flickers had had enough. “Some people in Hollywood say, ‘Once I do this, once I make this, I’m done,’” Barbara notes. “But they keep changing the goalposts. They never get there. The thing I really admire about Ted

is that he didn’t do that. He woke me up one morning and said, ‘Honey, let’s get out of here.’” After mulling their options, they decided to take a drive to Santa Fe. They were instantly hooked. “I think Santa Fe may be a sacred city,” says Ted. “All the arts are alive—all of them. When we moved here almost 30 years ago, I took off my watch and haven’t worn one since. In Hollywood we lived in the future—‘If I can put this deal together . . .,’ ‘If this series is a hit . . .’. In Santa Fe we learned to live in the now.” Barbara was amazed at how readily they were accepted into the community. “We lived at the Eldorado Hotel for six months before finding this house,” she says. “And we met so many smart, interesting, funny

people. We’d all gather at the bar or go have dinner—sometimes there were 20 of us. And everyone was talking about what they do, not what they did.” Even more refreshing, those friendships weren’t dictated by one’s position on any kind of list, A or otherwise. “The friends we’ve made while living here,” she says, “we’ll have them forever.” At first, Ted’s new calling involved doing what he had always done: writing. In 1996 he published his first novel, The Good American, a tale of a young Jewish boy whose genius with horses brings him all the way from his home in Germany to the United States during the Civil War. While starting his notes for a second work a year later, his interest flagged. He was 15 YEARS OF TREND MAGAZINE | SUMMER 2014




J is Ted’s sculptural interpretation of scholars Harold Bloom’s and David Rosenberg’s theory that an epic poem by a female known only as “J” formed the basis of the Old Testament. Here, Ted has reinterpreted the traditional story of “the people” waiting for Moses at the foot of Mt. Sinai as waiting instead under the mountain for their release by J. Bottom right: Ted’s Avenue of the Gods sculpture of Dan Namingha sets the artist against one of the symbols of duality that is present in much of Namingha’s work. Bottom left: Barbara’s garden in full bloom.

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INTERNATIONAL CONTEMPORARY ART FAIR 65 years old; maybe he needed a break? That didn’t fly either. “I said to myself, ‘You don’t take breaks—you work!’” So he switched gears and decided to scratch a longtime itch. “All my life, I’ve enjoyed working with my hands,” he says. The couple’s massive dining room table was one of his first projects. Then he met Oklahoma-based sculptor Paul Moore and asked him to be his teacher. It was as simple as that. Ted proved to be a more than capable student, and since that moment 15 years ago, he hasn’t written another word professionally. Barbara has embarked on her own transformative adventure, focusing her energies into coaxing masterworks of natural beauty from Santa Fe’s high-desert soil. A 22' x 40' pen overflowing with flowers and vegetables, many of which she starts in her greenhouse, has long furnished friends, family, and neighbors with the bounty of her labors. The sculpture garden is of course an ongoing project. “My garden and Ted’s sculpture just work together,” she says. “They sort of got married the way we did. Ted would come to me with a piece and say, ‘I’m going to put it there,’ and I’d figure out how to make the old path connect to the new path, make it graceful and look natural . . . and suddenly we had this really great place to look at.” Showing no signs of slowing down, the couple believes that the secret to remaining vital is to stay interested. “It’s okay to get older; it’s not okay to get old,” Barbara says. Ted agrees. “It’s important when you get older to figure out what your third act is going to be.” An exercise he learned at the Royal Academy might prove invaluable for those struggling to figure out what that is. “We were taught how to find that place inside where you are centered and calm, and can get in touch with your muse. I like to use the German word for unconscious, Unbekannte, because it also means ‘the unknown.’ I was taught how to get in touch with the unknown and how to leave it open.” And leave it open not just for the moment, but for all the possibilities that can come from it. R



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T E L 5 0 5 . 9 8 8 . 8 8 8 3 / W W W. A R T S A N TA F E . C O M



SATURDAY, JULY 12 / ART Santa Fe Presents keynote speaker JAMES MEYER Associate Curator of Modern Art at the National Gallery of Art, Washington D.C., and professor of Art History at Johns Hopkins University

ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234 1ST ROW: Viviane Brickmanne, Galeria Gaudi, Spain; Robert Turner, Robert Turner Photographs, California 2ND ROW: Brian Goodman, California; Gioconda Rojas, Costa Rica 3RD ROW: Ziya Tacir, MERKUR Galeri, Turkey; Yayoi Kusama, EDEL, Japan; ASF 2013 Art in America Party, lead sponsor Zane Bennett Contemporary Art Opening Night Gala, lead sponsor Art & Antiques 71


Peyton Wright Gallery The new paradigm in the art world is timeless and without boundaries, notes Peyton Wright Gallery owner John Wright Schaefer. Collectors and art dealers around the globe can now connect instantaneously, thanks to technology. And courtesy of its own skilled, in-house team and transport system, Peyton Wright can initiate, place, and install single artworks or entire, carefully planned collections in homes or businesses around the West. The gallery’s diverse, wide-ranging selection features ethnographic and historic art, along with postwar abstraction. It’s a mix that works well, since, as Schaefer explains, “Essential beauty and truth in the visual world are not bound by time.” 237 East Palace Avenue, Santa Fe, NM 505-989-9888 |

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We invite you to attend each of the ART MATTERS programs to experience Santa Fe as one of the most distinctive cultural and art destinations in America. The city-wide events include unique exhibitions, special presentations and critical discussions in the Santa Fe galleries and museums. The focus is on connoisseurship and education by showcasing the diversity and depth of art and collections in Santa Fe. Take this opportunity to meet artists, historians and critics and the scholarly gallery owners, museum directors and curators who create the art, exhibitions and experience.

ART MATTERS | Santa Fe, Oct 17 – 26, 2014

Unique exhibitions and critical discussions

ART MATTERS | Collections, Jan 30 – Feb 8, 2015

Treasured and coveted, shared by collectors

ART MATTERS | Sustenance, Mar 13 – 22, 2015

Food, conversation and art to nourish the body, mind and soul

ART MATTERS | Curated, Apr 17 – 26, 2015

Exhibitions and discussions around particular themes

sponsored by:

for more details & a schedule of all events:



From Japanese porcelain to printmaking, Matthew Rowe has spent his life exploring varied artistic media. Bringing to his work a background in philosophy, Rowe strives to understand the spiritual, emotional, and technical components of the creative process. “Historically, what made New Mexico artists unique is that they valued creating art over selling it,” he says. “That’s why they came here in the first place. I am dedicated to learning everything about art in New Mexico and how it fits into the global art community.” This spirit of enthusiasm permeates the upcoming spring and summer exhibitions at the Addison Rowe Gallery. 229 East Marcy Street, Santa Fe, NM 505-982-1533 |


Addison Rowe Gallery


Martin Cary Horowitz “I’ve been called the maximum Minimalist, or the minimal Maximalist,” Martin Cary Horowitz says. Both would seem true for an artist whose two- and three-dimensional creations show elegant simplicity of form sheathed in sumptuous surfaces of palladium or gold. Like the alchemist’s quest, Horowitz’s decades-long pursuit has involved transmuting physical materials into an expression of the sublime. Along the way he has rediscovered ancient gilding techniques and developed new ones, including methods of applying 23-karat gold leaf or palladium to ultra smooth bronze. Such processes have yielded evocative associations, striking beauty, and fluid visual depth in wall pieces, geometric sculpture, and the artist’s famous series of large-scale gilded armaments. Horowitz graduated from New York’s School of Visual Arts in 1970, when he produced his first work of gilded fine art. His mastery of gilding techniques soon led to a parallel career as a frame-crafter working with numerous New York frame manufacturers. In 1988 he opened Goldleaf Framemakers of Santa Fe, specializing in hand-carved gold-leaf framing for galleries, museums, artists, and businesses throughout the U.S.

James Hart

Meanwhile, a series of technical breakthroughs and aesthetic developments have enabled him to apply various types of gold leaf and lustrous palladium to surfaces including copper, glass, aluminum, and bronze. Horowitz’s solo exhibition at Yares Art Projects in Santa Fe, June 27 through August 2, focuses on the exquisitely simple, ancient form of the disc, transformed by the artist’s alchemical touch.




Carlos Carulo Studio By appointment only 972 Camino De Chelly Santa Fe, NM 87505 505.982.5856

Rosenthal Fine Art, Inc. 3 East Huron Street 2nd Floor Chicago, Il 60611 312.472.2700

Carulo’s Sculpture can be seen at: Hulse Warman Gallery 22 Paseo del Pueblo Norte Taos, NM 87571 575.751.7702


Carlos Carulo


or Chilean-born artist Carlos Carulo, words are not enough to express certain ways of perceiving life and the world. “It would be phenomenal if I could paint poetry,” says Carulo, who draws inspiration from poets like Rainer Maria Rilke and Pablo Neruda. “My approach to painting is to think abstractly while staying rooted in reality. I don’t paint what my eyes see; I paint what I feel when I see.” Carulo settled in Santa Fe in 1974. His creative imagery begins as an action painting in which he viscerally lays down expressive color fields and washes, dusts the surface with pigment, and splashes color in a spontaneous, Jackson Pollock–inspired approach. Then he returns to the painting’s surface with charcoal, mixed media, and pastel. He renders form to the threshold of recognition—and then stops, leaving interpretation to the viewer’s imagination. Carulo’s work is enriched by intellectual vitality, with inspiration from such threads of modern abstract art as Picasso’s Cubism, Kandinsky’s improvisations, and Francis Picabia’s Futurist compositions. One Carulo series, Grand Complications, explores the paradoxical themes of complexity and simplicity. “My paintings could be considered Abstract Expressionism, but I call them Situationalism,” he observes. “My art is my emotional response to situations in life. When beginning a painting, I am always in the moment-to-moment effort of expressing myself through the interaction of paint, color, texture, and form.”

Grand Complication Number 5 (2013), mixed media on canvas board, 24" x 30"

Swirl Holes to Consciencia (2013), mixed media on wood panel, 32" x 25"



Exhibition July 4 - August 31, 2014 Artist Reception Saturday July 26th 6pm

POP Gallery New Brow Contemporary Art

125 Lincoln Avenue, Santa Fe, NM 87501 | 505.820.0788 |

With rumblings of change in the art world, Victoria Addison, owner and founder of Addison Rowe Gallery, has found a new focus in showing Taos, New York, and California artists from the 1950s, ’60s, and ’70s. “I am more exhilarated and excited by the shows we are planning and the estates we are working with than at any time in the last 25 years,” Addison says. While the gallery’s main focus remains early-20th-century American and Southwest Modernism, Addison is expanding boundaries to incorporate post–World War II art. “Bringing my son, Matthew Rowe, into the business has forced me to look forward to the younger generation and what inspires them to collect,” she says. An art consultant and certified appraiser with previous businesses in New York and Chicago, Addison adds that educating the public through creative and informative exhibitions is an important focus for the gallery.


Transcendental Painter

Raymond Jonson (1891 – 1982)

Nedra Matteucci Galleries 1075 Paseo de Peralta, Santa Fe, NM 87501 505-982-4631 •

Celebrating the creative spirit in American Art for over 40 years


Nedra Matteucci Galleries Upholding a tradition of excellence spanning three decades, Nedra Matteucci Galleries invites visitors to discover the exciting trends and developments that have defined art in the Southwest for more than a century. Housed in a rambling historic adobe, the galleries offer a range of important Western and early American painting and sculpture, including works by Georgia O’Keeffe, Nicolai Fechin, and Frederic Remington. In addition, a vibrant, ever-changing collection of works by select contemporary artists extends to a one-acre sculpture garden—an inviting oasis with winding paths and a pond, where visitors can enjoy exceptional artwork throughout the year. 1075 Paseo de Peralta, Santa Fe, NM 505-982-4631 |


Bette Ridgeway Bette Ridgeway’s luminous, richly hued works have been described as feeling like “arrested motion, poised to flare into movement as soon as one turns away.” Created through pouring layers of color—paint on canvas or hand-fired resin on aluminum or steel—Ridgeway’s large-scale abstract imagery also conjures such wonders as interstellar nebulae, feathers, delicate petals, and gossamer wings.

Ridgeway painted in a figurative genre for 20 years before shifting to abstract art. Now, she says, “Every day I pause to wonder at the ambiguity and mystery that emerges from the canvas or metal.” Along with two-dimensional works and jewelry design, she collaborated with Japanese fashion designer Mihara Yasuhiro, whose spring/summer women’s wear collection incorporating Ridgeway’s paintings was presented at Paris’s Palais-Royal in 2012. Inspired by Yasuhiro’s clothing, Ridgeway has created a line of silk scarves and knitwear designs. She also enjoys working with architects and interior designers on sitespecific artworks.


“My paintings are a carefully observed negotiation, manipulated layer upon layer to create a work of art as equivalent as possible to the complexity of life,” the award-winning Santa Fe-based artist says. “They are an attempt to control the almost uncontrollable substance that is swirling, poured paint, and the equally untamable expression of the human condition.” Ridgeway’s work has been exhibited at the London Art Biennale, the Chianciano Art Museum in Tuscany, and London’s Gagliardi Gallery, among other international venues. She is featured as one of “60 Top Contemporary Masters 2014” by Art Tour International Magazine.


“Study of aof Nude” oil on 20”20” x 24” Daniel Graves “Study a Nude” oil linen, on linen, x 24” Daniel Graves

“Milk “Milk Jar with Jar with Turnips” Turnips” oil, 24” oil, x24” 20”x 20” Jeffrey Jeffrey T. Larson T. Larson

“Babushka” oil on12” linen, 12”Nelson x 12” Nelson “Babushka” oil on linen, x 12” Shanks Shanks



S R Brennen Galleries Owner Steve Brennen founded S R Brennen Galleries more than 30 years ago to present contemporary masterpieces to an international audience. Housed at two historic downtown addresses, the gracious Santa Fe galleries represent some of the most admired and accomplished painters and sculptors living today, including Nelson Shanks, Daniel Greene, Graciela Rodo Boulanger, and Adrian Gottlieb. Also on view are works by talented emerging artists from Europe, China, and the Americas. The gallery offers visitors “an invitation to view and acquire museum-quality contemporary art in a relaxed setting,� Brennen says. 555 Canyon Road, Santa Fe, NM | 505-428-0274 124 West Palace Avenue, Santa Fe, NM | 505-467-8295

C A N YO N R OA D E V E N T S Plan to Visit Santa Fe

Historic Canyon Road Paint Out

Canyon Road Farolito Walk

Halloween Trick or Treat

ARTfeast & Edible Art Tour

Passport to the Arts




369 MONTEZUMA #270 SANTA FE, NM 87501 505.795.5703 100 YEARS | 100 GALLERIES

“Touch of Man” 34" x 21" x 10" Bronze, ed. of 30


“Entre Nous” 44" x 48" Acrylic

JEAN RICHARDSON “Movement and Grace” Opening Reception • Friday, July 4, 2014 • 5 to 7pm

VENTANA FINE ART 400 Canyon Road

Santa Fe, NM 87501




Pippin Contemporary Situated at the entrance to Canyon Road, Pippin Contemporary Fine Art Gallery, a sensory experience of color and mood, is an entryway into the fresh, uplifting world of vibrant color as expressed in contemporary abstract art. This richly sensuous visual experience—in painting, glass, and kinetic and stationary sculpture—is complemented by the warm, engaging approach of the gallery’s staff. Artists such as Greg Reiche, Cody Hooper, Tony Griffith, and gallery owner Aleta Pippin present a range of personal perspectives emerging from a passion for depth, feeling, and beauty in art. As Pippin puts it, “That passion creates an element of surprise, offering viewers a venue through which to access their emotions, transporting them to inner worlds.” 200 Canyon Road, Santa Fe, NM 505-795-7476 |

RICK STEVENS Wilderness Within | June 20 – July 6, 2014

CHARLOTTE FOUST Visual Poetry | August 22 – September 7, 2014

RICK STEVENS The Seasons Unfold, 2014, oil on canvas, 39 × 36 inches

CHARLOTTE FOUST From the Depths, 2014, acrylic on canvas, 60 × 48 inches

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


Night in the Port by Fedor Zakharov (1919-1994) Oil on Canvas 34 x 41 inches

Snow is Melting by Fedor Zakharov (1919-1994) Oil on Canvas 25 x 31 inches

Spring Flood 1980 by Fedor Zakharov (1919-1994) Oil on Canvas 20 x 32 inches



201 Canyon Road Santa Fe, NM 87501 (505) 995-9795


Reflection Gallery Among its strong selection of Impressionist and Realist works by American and international artists, Reflection Gallery is especially proud to represent paintings from the estate of 20th-century Ukrainian master Impressionist Fedor Zakharov (1919–1994). After studies at one of Moscow’s most prestigious art academies, Zakharov went on to earn numerous honors within the former Soviet Union, as well as international acclaim. Named the People’s Artist of Ukraine, he also was presented the Crimea’s Laureate of the State Prize. As Reflection Gallery’s art director MK Hargrove puts it, Zakharov was a “consummate artist who was considered a master during his lifetime.” 201 Canyon Road, Santa Fe, NM 505-995-9795 |


DiANA pArDuE “Sticks & Stones”, mixed media on canvas, 48 x 48 inches

ViCki GrANT Covered Jars

ChriSTOphEr ThOMSON “Aspirations”, hand forged steel sculpture

DAMON ThOMAS Spirit Crows

pJ rOGErS Console table, mesquite and steel

ChriSTOphEr ThOMSON “Tendrils Stelae” Hand forged Steel Sculpture 84 x 10 x 10”



225 Canyon Road • Santa Fe NM 505-984-1688 • Photo: Kate Russell

La Mesa of Santa Fe/ Christopher Thomson Ironworks La Mesa of Santa Fe and artist blacksmith Christopher Thomson share the same vision when it comes to objects for the home. Both believe the skill of the craftsperson elevates an item, whether practical or decorative, to a work of art. Thomson’s functional ironwork features furniture, architectural lighting, and fireplace sets, while his sculpture in forged steel or bronze adds rhythmic beauty indoors or out. La Mesa of Santa Fe has carried Thomson’s work for thirty years. With a focus on exquisite color and design, the gallery represents more than 60 artists creating handcrafted items for the home, including tableware, ceramics, sculpture, fine furniture, paintings, and glass art. La Mesa of Santa Fe 225 Canyon Road, Santa Fe, NM 505-984-1688 | Christopher Thomson Ironworks 505-470-3140


David Dornan

Meyer East Gallery

Santa Fe’s Premier Contemporary Representational Gallery.

Meyer East Gallery 225 Canyon Road • Santa Fe, new MexiCo 87501 505-983-1657 • •

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225 Canyon Road • Santa Fe, New Mexico 505.983.8589


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Dineen | Ansel | Juhlin

Aubade, 20 x 36 in, o/c

Circe, 20 x 30 in, o/l

Strata and Flow #9, 12 x 12 in

215 East Palace Avenue, Santa Fe, NM | | 505.989.7900




Lexus of Santa Fe

Leasing options on certified preowned, low-mileage vehicles are always available. Visit Lexus of Santa Fe and experience a memorable performance.

An entirely new pursuit... A passion for performance, comfort, luxury, and design—these are the benchmarks of Lexus of Santa Fe. Offering the highest in standards of service and sales in Northern New Mexico, Lexus of Santa Fe is committed to creating a world-class ownership experience that will keep you coming back. Chase the sunset through the mountains in the sporty and sexy IS 350 F, Car and Driver’s Top Pick for 2014, and experience flawless turns and performance like you’ve never felt before. Or take a family road trip in the environmentally friendly LS 600h L Hybrid, where safety and comfort meet elegance and luxury. It’s all about the journey, and Lexus of Santa Fe has something for every lifestyle. The dealer’s wide selection of cars, SUVs, and hybrids includes the LS, GS, ES, and IS sedans; LFA and IS F Performance; IS C Convertible; LX, GX, and RX Luxury Utility; and LS, GS, RX, HS, and CT Hybrid vehicles, which are always in stock. With options like the new boutique color line of fire agate pearl, claret mica, and deep sea mica, the view only gets better.

6824 Cerrillos Road, Santa Fe | 505-216-3800 |



mark white

twilight deeper

oil on panel

36” x 36”

Mark White Fine Art 414 Canyon Road, Santa Fe, NM 87501 505.982.2073

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Mark White Fine Art A captivating sense of movement, both suggested and real, exemplifies the two- and three-dimensional creations at Mark White Fine Art on Canyon Road. The gallery’s sculpture garden is filled with mesmerizing kinetic sculpture by Mark White, while artwork in the tranquil rooms of the 18th-century adobe includes Ethan White’s haunting imagery in shimmering engraved aluminum, richly hued abstract paintings by Javier Lopez Barbosa, Charles Veilleux’s textural acrylic and mixed-media works, and abstracted figurative sculpture by jd Hansen. Also on display are Mark White’s oil-on-panel paintings—one of which is now in the permanent collection of the Kreeger Museum in Washington, D.C.—which evoke the ever-fluid nature of life. 414 Canyon Road, Santa Fe, NM 505-982-2073 |




Selby Fleetwood Gallery Selby Fleetwood Gallery, in the heart of Canyon Road, has represented compelling and innovative contemporary artists since 2004. The gallery’s 18 artists create in a variety of media and genres. Among them, Christina Chalmers works in two and three dimensions and is inspired by nature, philosophy, and her travels. Olga Antonova’s contemporary still lifes of cups, bowls, and plates are infused with nuance and charm. In the spirit of 20th-century modern artist Balthus, Elena Zolotnitsky’s beautifully rendered androgynous figures, contemporary still lifes, and interiors present an alchemy of composition and materials. Gallery owner Selby Fleetwood extends an invitation to “visit our enchanting, spacious 200-year-old adobe and lush sculpture garden.” 600 Canyon Road, Santa Fe, NM 505-992-8877 |



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Edwina Milner The 60-year career of Edwina Milner, a highly respected painter, philanthropist, and advocate of women in the arts, has come full circle. Her first-ever solo exhibition in Santa Fe takes place June 12 to July 7, with a public reception June 20 from 5 to 7 p.m., at New Concept Gallery. Golden Paths celebrates Milner’s return to the studio after an award-filled journey through various forms of creative expression—including contemporary abstract and realistic painting, costume design, and fashion illustration. Milner started on her artistic path in Texas, where she earned a BFA with honors at the University of Texas, Austin, in 1953. For more than 30 years, while living in Houston with her husband, Charles, she painted, showed her work in Houston galleries, and participated in exhibitions at the Dallas Museum of Art, Witte Museum of Art in San Antonio, and the University of Texas Museum of Art in Austin.


A tireless supporter of women artists on a regional and national scale, Milner has dedicated the past several decades to helping increase their recognition within the fine art world. She founded the New Mexico Committee of the National Museum of Women in the Arts, collects contemporary art by women, and serves on numerous national, regional, and local arts organizations and boards. Among Milner’s many awards and honors are the New Mexico Governor’s Award for Excellence in the Arts and the Santa Fe Mayor’s Award for Excellence in the Arts. Now 83 and based in Santa Fe since 1990, she’s back in the studio painting after many years and finds herself at one of the happiest moments in her long career. “I love it,” she says. “It’s a new life.” 106



Edwina Milner at New Concept Gallery After years of advocating for women in the arts, Milner is celebrating her own return to painting with a solo exhibition at New Concept Gallery, June 12 to July 7. A public reception is set for June 20 from 5 to 7 p.m. Golden Paths features paintings in acrylic and gold leaf on canvas. The work reflects Milner’s vision of her life’s long path, as she puts it, “full of curves and turns, bright lights, beauty, romance, colors, and gold.” Public Reception: June 20, 5:00 – 7:00 pm 610 Canyon Road, Santa Fe, NM 505-795-7570

Almost Touching, 20"x18" Left: Passing Crossroads, 48"x28"




Bill Heckel Wilderness Untamed Whether black and white photography or bronze sculpture, Bill Heckel’s art reflects his mastery of the delicate nuances of space, form, texture, and light. The Wisconsin native settled in Santa Fe in the 1990s, finding endless inspiration in the power and beauty of the land. He has become known for his striking photographs juxtaposing the female form against dramatic features of the New Mexico wilderness. In his sculpture, compelling forms and simple, sumptuous surfaces reflect the artist’s vision of both outer grace and inner strength. Heckel has been represented by New Concept Gallery for the past six years.

610 Canyon Road, Santa Fe, NM | 505-795-7570 |


Wilderness Untamed Series

Pictured Tuffa Tunnel, 2010 archival pigment print

If everything we thought we knew—our Advertisement seemingly solid concepts and sense of self and the world—was like dust that had settled around us too long we and thought suddenlywe wasknew—our swept If everything away, the experience might resemble seemingly solid concepts and sensethe of self imagery in world—was Mark Spencer’s art.that Winds of and the like dust had settled change mayus betoo unsettling, we know that around long andbut suddenly was swept whataway, blowsthe in toexperience replace the old andresemble outdated the might is good. For Spencer, Whirlwind imagery in Markwhose Spencer’s art. series Winds of has been emerging his Santa change may be from unsettling, but Fe westudio know that for the past five in years, thesethe scenes areoutdated like what blows to replace old and snapshots a transform-ative step in the is good.ofFor Spencer, whose Whirlwind series human path. “It’s hasevolutionary been emerging from hisreally Santaabout Fe studio the contradictions all deal in this for the past fivewe years, thesewith scenes are like crazysnapshots world,” the artiststep says. of a64-year-old transformative in the “At the same time it revolves around human evolutionary path. “It’s reallythe about experience of breaking out ego, both the contradictions we of allthe deal with in this collectively and personally—breaking out ofsays. crazy world,” the 64-year-old artist self-made prisons.” “At the same time it revolves around the experience of breaking out of the ego,aboth Nüart Gallery will present Reformations, collectively and personally—breaking out of selection of works from Spencer’s Whirlwind self-made series, in a soloprisons.” show July 18 through August 3. AnNüart artist’s reception place from 5 to a Gallery will takes present Reformations, 7 p.m. on July of Included are paintingsWhirlwind in oil selection from Spencer’s on canvas panel, oil on gessoed paper, series, and in a solo show July 18 through August and 3. monotypes. The series continues the 5 to An artist’s reception takes place from Boston-born artist’s decades-long use ofin oil 7 p.m. on July 18. Included are paintings richlyonsuggestive imagery the inner canvas and panel, to oilreflect on gessoed paper, and outer human journey. of history, the and monotypes. TheAspects series continues mythology, art history, evolution, Boston-born artist’sspiritual decades-long use of and contemporary events are translated intoinner richly suggestive imagery to reflect the visual and symbolic in this evocaand outer humanelements journey. Aspects of history, tive, mythology, deftly rendered work. spiritual evolution, art history, and contemporary events are translated into visual and symbolic elements in this evocative, deftly rendered work.





Mark Spencer Mark Spencer

mark spencer

messenger, 16 x 20 inches

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gf contemporary is dedicated to finding art that is fresh, compelling and meaningful for the environments in which our clients live and work. Our ultimate objective is for the collector to feel engaged in an ongoing relationship which will ultimately result in a life enriched by fine art and the camaraderie of the collecting process.

707 Canyon Rd, Santa Fe, NM 505.983.3707

Cavanaugh Darnell Hudock

Mather Metz Mills

VanNess Pascal Reinemann

Rivera Shapiro

Singer Skillstad Stanfield

Stratman Suaznabar Tamanian

Weaver Wells Wilding


GF Contemporary

Pascal Born in Saint-Rafaël, France, Pascal settled in Santa Fe in 1997, bringing with him a European reputation as a promising young sculptor. His abstract artistic meditations seem to arise directly from the material itself, rather than being born of a conscious plan. An extraordinary rapport with his materials allows him to work with a variety of precious woods, expressing the aesthetic qualities of each. The artist’s goal, he says, is to “give birth to sculpture that offers an opportunity for the viewer to participate with it in a conscious and subconscious dialogue.” A solo show of Pascal’s work opens September 26 at GF Contemporary 707 Canyon Road, Santa Fe, NM 505-983-3707 |

Eric Reinemann Paintings can be static, but life is not. Santa Fe–based painter Eric Reinemann has spent much of his 20-year career addressing this dilemma, using unconventional visual perspectives to create a sense of the “real.” His tools in this endeavor include transparent layers of color and the quiet observation of people and places in their natural, uncontrolled environments. These are woven together to reflect the ephemeral experience of shifting light, passing shadows, and the continuous articulations of change that occur in our world. “I am exploring combining transparent color with direct drawing to weave together the sensation of real space,” the artist says. A solo show of Reinemann’s work opens June 13 at GF Contemporary 707 Canyon Road, Santa Fe, NM 505-983-3707 |


Stan Natchez

Stan Natchez Gallery 201 E. Palace, Santa Fe 505.231.7721 |

Known for his colorful, innovative, neo–Pop Art style, Stan Natchez believes in the importance of merging the past with the present. In his paintings, modern world imagery joins forces with traditional Native American iconic figures to create inspirational pieces that make a statement. Natchez’s objective is to communicate the reality of contemporary Native American culture while dispelling the romantic idealism that has misrepresented his people for centuries. Through the use of United States dollar bills and Monopoly boards, Natchez demonstrates with humor the effects of consumerism on the Native American people. Holding an M.A. in art history from Arizona State University, Natchez has also distinguished himself as a teacher, dancer, and editorial advisor for Native Peoples magazine. Natchez’s sons, Viento and Gino Bear, create sculptural pieces incorporating pop culture and Native icons and can be found at Natchez’s gallery.

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2013–Spring 2014MAGAZINE TREND | SUMMER 2014 15Fall YEARS OF TREND

On back wall, largest painting: Emerging, 42” x 50”, acrylic on canvas Painting on side wall: Equinox, 50” x 32”, acrylic on canvas


“I want to paint to understand the world that surrounds me.” —Stan Natchez

C Gurd

Painter, fine-art photographer, and architect Charles C. Gurd periodically settles in Santa Fe for a “season” of three or four months—when not in Victoria, Canada, or Provence, France—to work on the large-scale paintings he deems “formless events intended to coalesce and communicate an energy that is commonly shared.” A graduate of McGill and Rice Universities, the Montreal native has traveled extensively, working with I. M. Pei and Partners and the Eames Office before opening his own architectural firm. He has exhibited paintings and photographs in 15 solo exhibitions and taught at several universities. Northern New Mexico has been a powerful source of creative energy in his work, not unlike the island of Hydra, Greece, where he has also spent much time. A recent exhibition, Screens of Memory & Flowers Imagined, at 203 Fine Art in Taos, reflected the artist’s longtime contemplation of metaphysical concerns, such as the Eastern realization that our present reality is obscured by the “screens” of past memories. On a typical morning at Gurd’s recently constructed studio off Agua Fria in Santa Fe, a rooster crows before dawn, and doves become a choir to usher in the day. And Gurd continues to paint, absorbing and siphoning the special spirit of this place.

C Gurd Like Monet’s Water Lilies or Pollock’s drip paintings, the imagery of Charles C. Gurd seeks to echo our perception of nature’s complex visual universe. Gurd’s painting is abstract—the material subject has been removed, with the unifying atmosphere taking precedence. The resultant perspective reflects a shift from the exterior world into an inner landscape. The work also expresses the artistic process itself: Paint spills freely from the brush, which never touches the tilted canvas. As the pigment follows its own trajectory, it creates an aesthetic that embraces uncertainty, mystery, and chance. Charles C. Gurd is represented by 203 Fine Art, Taos (

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Celebrate the best of Hispanic culture at our five day festival INCLUDING:

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Traditional Spanish Market ¡Viva! It’s an old word that sums up the newly expanded traditional Spanish Market celebration, which this summer—July 22-27—extends to a week of fun and educational activities related to Spanish Colonial culture and art. As the Spanish Colonial Arts Society’s first major event under new executive director David Francis Setford, Spanish Market week kicks off July 22 with ¡Viva la Familia!, family day at the Museum of Spanish Colonial Art. Each day that week brings special events celebrating the history, food, music, dance, and cinema of New Mexico’s Hispanic culture, culminating with Spanish Market itself, July 26 and 27. 505-982-2226 |

Musician Nacha Mendez

Executive Director David Francis Setford

Musicians from the band Nosotros. L–R: Manuel Ramirez-Ruiz, Dennis Jasso, Carlos Fontana, Randy Sanchez, Russel Scharf, Shane Derk, Gil Uribe





of Philanthropy

Acclaimed photographer Gus Foster transforms the Harwood Museum of Art with a collection 40 years in the making


Like many young boys growing up in the 1950s, Gus Foster loved experimenting

with his Kodak Brownie camera. He got a particular kick out of the almost-magical development process. “It was as close to alchemy as you could get without actually blowing up the house,” he says. Unlike many youngsters, however, he eventually turned his childhood hobby into a grown-up vocation and achieved particular renown for his large-scale panoramic photos of the Rocky Mountain Southwest. 122


Ice Lake (1996), Gus Foster’s panoramic photograph taken in the Eagle Cap Wilderness in Oregon. Opposite: Larry Bell’s Mine Shaft (1988), mixed media on grey canvas. With the exception of Foster’s own photographs, most of the works shown on these pages were shot in Foster’s home before being donated to the Harwood.

Born and raised in Wausau, Wisconsin, Foster lived in Venice, California, for several years before moving to Taos in the mid-1970s. “The Southwest landscape shaped me,” he says. His environs certainly opened an important new chapter in his creative life, one distinguished by breathtaking adventure in pursuit of equally breathtaking imagery, as both an art maker and collector. Over the past 40 years, Gus Foster has quietly amassed several hundred pieces of art by a number of artists connected with Taos. The collection has developed simply enough. “I go to a lot of openings and visit a lot of studios, which continually exposes me to new work, and the walls of my studio continually change and evolve with a blend of new and old, so that I continue to look at the art in new ways.” This remarkable collection is now available to the public, thanks to Foster’s recent gift to the Harwood Museum of Art. The donation coincided with two anniversaries: the Harwood turned 90 as its owner, the University of New Mexico, turned 125. “Since I am associated with both, the timing seemed appropriate,” says Foster. An avid Harwood board member since the early 1990s, Foster participated in two major capital campaigns: the 1996 addition of the octagonal Agnes Martin Gallery to house seven major artist-donated works, and the 2010 addition of the Arthur Bell Auditorium, the MandelmanRibak Gallery, and increased art collection storage. In bestowing this highly personal collection, Foster has single-handedly preserved for posterity important works representing the most recent of three significant Taos art movements, this one with strong ties to Los Angeles and San Francisco. “This remarkable gift demonstrates the impact that a single impassioned collector can have on an institution,” says Harwood director Susan Longhenry.  “As valuable as this collection is to the Harwood Museum of Art, it is ultimately invaluable. This is a transformational gift.” Foster is pragmatic about letting go. “The lifeblood of a museum is the support it gets through gifts and

bequests,” he says. “Giving the work to the museum was hard only in parting with works that I have enjoyed having as part of my everyday existence. The museum is just up the street, so I hope to see old friends on the walls there from time to time. The blank walls at home are an incentive to keep looking for the next exciting work being done now.” Considered one of the foremost collections of contemporary art in the Southwest, the Foster collection includes some 341 paintings, sculptures, prints, photos, textiles, and collages, by 86 artists who have had a creative connection to Taos. Included in this illustrious group are Larry Bell, Ken Price, Ron Davis, Lynda Benglis, Lee Mullican, Earl Stroh, Ron Cooper, Bill Gersh, and Jim Wagner. “What this gift does specifically is fill in a third phase of contemporary art in Taos—the first phase being the Taos Society of Artists, followed by the Taos Moderns, and now this nameless group that I am a part of,” Foster explains. With a degree in art history from Yale, a former curating career at the Minneapolis Institute of Arts, and firsthand experience living in the thick of this latest movement, Foster was uniquely positioned to assemble an extensive representation. “I’ve known Gus since ’66 or ’67, when I was an intern at the Minnesota Institute of Arts, where Gus was curator of prints and drawings,” says Evan Maurer, Director Emeritus of the Minneapolis Institute of Arts. “He took his job very seriously and was a tough mentor. He taught me how to build a collection in a systematic survey, to thoroughly evaluate what you have, identify where the holes are, and how to come to a decision on what to do with limited funding to fill that void—all the while keeping the door open for that extraordinary thing that happens when you find a work of art that really speaks to you. That’s where the magic happens. You have to be able to see that. In Taos, Gus had his own budget, and since he was friends with many of the artists, had a connoisseur’s pick of the best works of art of this group. He was at a great advantage.” > 15 YEARS OF TREND MAGAZINE | SUMMER 2014


Foster is indeed friends with all but a handful of the 86 artists represented in the Harwood gift, making the collection not only an historically important grouping but also a deeply personal one.

Inside Foster’s home, a mirror wreathed in antlers reflects Lobo (1993), a mixed-media work by Bill Gersh. Among the items sitting on the table are Neolithic stone hand axes and a model of a Chinese Han Dynasty tomb house.


And then there are Michelle Cooke’s Sixty Second (c. 2010), Ron Cooper’s Portrait of Marcel Duchamp (c. 1989), and a simple early painting on wood by Ron Davis, along with ten other Davis pieces that, like many of his collected works, evoke fond memories for Foster. The sheer scope of the collection also reflects the significant financial support Foster has given fellow Taos artists over the years. “Gus’s largesse for his community and personal friendship is nothing short of overwhelming,” says Larry Bell. “He is my biggest collector and closest friend. I am thrilled that his gift to the Harwood contains my works. They were made with love and shared with love. [It brings to mind an] old Beatles song that ends with, ‘The love you take is equal to the love you make.’ “I met Gus around 1973, ’74,” Bell recalls. “Although he has said it was earlier. He had moved to Venice after a divorce and a great museum job in Minneapolis. He stayed with someone who had rented my studio in Venice for a while but was leaving, so Gus became my tenant. He was a photographer in his heart, and his best friends were candid ‘picha takers.’ We became very good friends, and when I found an old building in Taos to house my studio,

Foster is indeed friends with all but a handful of the 86 artists represented in the Harwood gift, making the collection not only an historically important grouping, but also a deeply personal one. “These artists are not unknown to me. I know their work. I’ve followed their careers,” he says. Larry Bell, for instance, has been his close friend and neighbor for almost four decades. He had a similar friendship with Ken Price, who died in 2012, for nearly as long. When asked if he has any particular favorites in this collection, Foster says, “It’s like talking about your children. They are all your favorites at one time or another.” That said, he quickly concedes that he’s partial to the late Ken Price installation titled Death Shrine 1 (c.1972–77), from Price’s Happy's Curios series, which has been on permanent display at the Harwood since 2010. A few of Price’s pieces remain at Foster’s home, safe behind a glass-front cabinet. Opening the door carefully to pull one out, he says, “Kenny was a master craftsman who elevated the everyday coffee cup to the finest levels of art.” Foster also treasures 42 works by Larry Bell, including lightweight Light Knots from Bell’s most recent exploration, which embody “everything Larry is known for: light and the transmission of light. And they move,” Foster notes. “So all of these elements—light, space, reflection, and the transmission of light—are present in these new works. They are sensational.”

Gus Foster, right, shooting on Cloud Peak ridge in Wyoming, with assistant Roger Badash and a Globus-Holway panoramic camera. Top: Kevin Cannon’s Split and Bind (1990), leather. Above it hangs an anonymous 19th-century logging photograph. 15 YEARS OF TREND MAGAZINE | SUMMER 2014


Top: Gus Foster’s Tokaido Road #30: Hamamatsu (1991), panoramic photograph. Bottom: Gus Foster with his dog, Cyrano. Above them hangs Foster’s Mt. Sneffels (1986), a panorama taken at the San Juan Range’s Mt. Sneffels Wilderness, Colorado. Opposite: Angie Coleman, Gorge Reflections (2003), color woodcut.




I called him to see if he was interested in coming out to see it. We bought it together to make our scenes work.” And work they did. Bell and Foster purchased what had been a large commercial laundry, along with an adjacent 28-room medical clinic. After making considerable changes and additions, they successfully carved out the separate studios and living spaces they still occupy today. “Gus is a big guy who does big things,” says Bell. With camera in hand, Foster embarked on a series of Herculean journeys—15 years of mountain-climbing adventures that culminated in the acclaimed American Rockies series, a 300-mile walk on Japan’s Tokaido Road, 4,000-mile cross-country treks, and travels throughout the U.S. to document food production. The latter journey resulted in the American Cornucopia series, one photo of which takes an oddly beautiful view of a slaughterhouse reminiscent of Chaïm Soutine’s carcass paintings. Experimenting with a 35 mm Globuscope camera that makes a 360-degree revolution in .8 second, Foster also developed a captivating series of “time photographs” that, he says, tell a short story by capturing up to 2.5 seconds of elapsed real time in an elongated narrative print. While much as been written about Bell’s nine-ton vacuum tank and other unusual lablike equipment, it turns out that nearby in Foster’s studio, similar “weird science” explorations were also underway. In order to print his color images on the scale he wanted (as large as 3 feet high by 16 feet wide), Foster designed and built a one-of-a-kind enlarger to achieve otherwise traditional darkroom processing. Referred to as “the octopus,” this massive contraption moves back and forth on wheels and a track system, has an 11-pound German-optics lens and an optical bench once used to calibrate scientific instruments at Los Alamos National Laboratory, and harnesses 3,000 watts of light, in contrast to



Ron Davis, BLK 65 (1992), stained wood. Opposite: One of Ken Price’s fired clay cups from 1977, encased in glass and wood. Foster considered Price one of his closest friends and a master craftsman of the ceramic arts. Below is Gregory Vose’s Spilt Milk (2003), white and black marble.

a regular enlarger’s 40 watts. A series of black rubber hoses connects to intricate air, exhaust, and cooling systems. Operating the octopus involves a 20-step process conducted in virtual darkness, with only plastic glow-inthe-dark planetary decals as guides. “I have to effectively work like a blind man,” Foster says. “We liked the same kind of gadgets,” Bell explains. “I flirted with ‘picha taking’ in my own work with a panoramic device. Lenses that moved were a passion for both of us.” Reflecting on his long friendship with Foster, Bell adds, “Gus is about as close as any brother could be. In fact, I see more of Gus than my actual brother by an order of magnitude.” In addition to their shared enthusiasm for gadgets, Bell also enjoys Foster’s commitment to his art. “His dedication to his love for panorama photography has been inspiring.” This love often involved wilderness adventures, during which Foster traveled with both a human companion and a team of donkeys. But after one particularly harrowing experience in Utah, in which a dangerous snowstorm forced him to spend two nights hunkered down in a tent 27 miles from the trailhead, Foster realized it was time for a change. “I decided I was going to get a trailer, and furthermore, to train a pack goat,” he says. “Donkeys are good for transporting gear but not for climbing.” Before long, he had adopted a six-week-old male goat, an Alpine-LaMancha cross to whom Foster quickly became “father, son, and holy feedbag,” he jokes. Named after one of Foster’s heroes, photographer William Henry Jackson, 128


the goat became a cherished, albeit high-maintenance, member of the Foster family. The now legendary William Henry lived in a relatively posh enclosure steps from Foster’s front door, with a 100-foot run, a rubber tire rigged in a tree for head-butting, and a wooden plank– like teeter-totter for climbing practice. “Standing on his hind legs, he did a topiary job on the Chinese elm trees and was as effective as a lawn mower in stripping the Virginia creeper,” Foster remembers fondly. “I spent hours teaching William Henry to climb on practice outings to Divisadero Trail and Wheeler Peak.” He eventually grew to 220 pounds, and while pack goats are capable of carrying up to a third of their body weight, Foster only ever asked him to haul 40 pounds. Since William Henry died, Foster’s closest four-legged companion is a charming, interestingly proportioned mutt named Cyrano. According to Foster, after he and Cyrano walked more than 4,000 miles on a cross-country adventure, he had blown through nine pairs of shoes and Cyrano’s legs, it seems, were considerably shorter. In recent years, rapidly changing technology and an explosion in digital photography have had a profound impact on Foster’s process. “With the demise of Kodak, I don’t have access to film, paper, and chemistry,” he says. “I’m an old dog and digital photography is a new trick. I’d become very comfortable with the old format and had found a distinctive voice. Now I’m struggling to find a new one.” While Foster may be taking a break from photography, it appears he is far from retirement. Serving on yet

“Gus’s largesse for his community and personal friendship is nothing short of overwhelming,” says Larry Bell. “He is my biggest collector and closest friend.”

Above: A triad of Larry Bell works, clockwise from left: Cube 46 (2006), amber-coated glass; Acetate Light Knot Study #33 (2013), acetate; Mine Shaft (1988), mixed media on grey canvas. Right: Foster also donated Bell’s Mylar Light Knot #33 (2013) to the Harwood.



Hanging in Foster’s dining room, left to right: Alexandra Benjamin, Slow Lines (2002), acrylic on canvas; Suzanne Wiggin, Due West (2013), oil on canvas; Gus Foster, Japanese Onsen (2013), photographs; and Ron Davis, Square Frame (1996), encaustic with dry pigment on wood.

another University of New Mexico board, he is actively working to preserve the D. H. Lawrence Ranch in San Cristobal, and he continues to support the Taos art community with recent acquisitions. In looking back over his career, Foster says, “You don’t think of yourself as living in history, but if you live long enough, you are history.” Certainly, Foster’s powerful Rocky Mountain panoramas and other large-scale images are not only valuable for their beauty, but also serve as important markers in our rapidly changing natural environment. In an introductory essay for a 1999 exhibit catalog titled The American Rockies: Photographs by Gus Foster, James Moore, former director of the Albuquerque Museum, writes, “Most people who have lived in the American West over the past half-century can describe great changes they have observed in their own lifetime, an indication that our transformation of the landscape is moving at a pace faster than we can control.

Gus’s panoramas are grand vehicles to stir the emotions, but they also present to us an image of complexity and diversity that we will have to understand much better in the next century if we are to survive. Gus’s vision is large. His effort is immense, well beyond what most people are willing to endeavor.” Discerning vision coupled with immense effort: these qualities figure prominently not only in Foster’s own artwork but also in his commitment to the Taos art community and his recent contribution to the Harwood Museum. His gift will ensure that future generations can view and understand this latest chapter in the continuum of Taos art, in which Foster has played a vital part. R An exhibit titled Highlights from the Gus Foster Collection is on display at the University of New Mexico’s Harwood Museum of Art, 238 Ledoux Street, Taos, through September 7, 2014. 15 YEARS OF TREND MAGAZINE | SUMMER 2014


Organic Modernism

A unique collaboration blends regional roots with contemporary cool KATE RUSSELL




he brilliant, no-nonsense San Antonio, Texas, architect O’Neil Ford undoubtedly knew what would happen when he assigned a pair of his firm’s most promising architects to the same project in 1980. They constantly butted heads. “We were two very strong-willed young architects with large egos and an inflated sense of self,” remembers Ted Flato, smiling. Although he and David Lake shared a core philosophy in which architecture responds to and connects with the land, climate, history, and cultural context of a particular place, they had strikingly different views on how those responses should look. Lake was inclined toward an organic, expressive, even eccentric approach to design, while Flato preferred a simple, more Modernist look. For the first couple of years, the two battled for control over designs—until they discovered their clients often liked both. “Over time,” Flato says, “the sparks and flashes turned to a great deal of respect and trust. We both realized: Wow, there can be something better than one mind.” For both partners, it all started with a strong connection to the land. After graduating with a B.S. in architecture from the University of Texas at Austin, David Lake served on the original board of the nonprofit Center for Maximum Potential Building Systems in Austin, one of the country’s first organizations to research resource use and sustainability in the built environment. The energy crisis of the mid-1970s created a sense of urgency, and Lake and others were keen to run with the opportunity it provided. “It was a heady time to be looking into sustainable strategies—water balancing, resource balancing—and letting those strategies dictate design,” the 63-year-old architect recalls. Among his first projects were passive-

solar adobe homes in Ruidoso, New Mexico, and the Texas Panhandle, with sod-roofed homes built into hillsides in Tornado Alley. In 1978 he was ready to take his experience and passion to a larger scale. He moved to San Antonio and joined Ford, Powell & Carson. “O’Neil was a true Modernist, in that he believed a building should express function,” Lake notes. “He was a good systems person but also loved ‘pre-Modernist’ vernacular—architecture that was light on the land, had porches, heated and cooled itself, encouraged engagement with the environment.” This approach, honed over decades and enhanced through material and technology advances, is reflected in every Lake|Flato project, whether residential, commercial, higher education, or urban design. Ted Flato’s architectural perspective also emerged from an early understanding that architecture was a relationship between structure, inhabitant, and setting. As a boy on the Texas Gulf Coast, Flato spent time sailing, camping, and vacationing in an off-grid, one-room cabin his family owned in the Texas Hill Country. In each case, acute awareness of the elements, including prevailing winds and the need for shelter from sun or cold, translated later into an appreciation for such features as broad porches, cupolas, breezeways, and rolling barn doors. Flato earned an architecture degree from Stanford University before joining O’Neil Ford’s firm in 1980. After Ford died, Lake and Flato joined forces to establish Lake|Flato Architects, which this year marks its 30th anniversary. Working around the country but with a majority of its projects in the Southwest and West, Lake|Flato has won more than 60 national design awards and has gained international recognition for sustainable architecture. The firm has also been recognized by the American Institute of Architects (AIA), earning seven Top Ten Green Projects and, in 2004, attaining its highest honor, the Architecture Firm Award. With a staff that now includes almost 30 registered architects, the San

Antonio–based firm continues to produce designs that integrate what Lake calls the “4 Cs”: culture, context, climate, and craft. The development of Lake|Flato’s approach has also been strongly influenced by its principals’ global travels, especially their exposure to indigenous architecture. The narrow streets of Marrakesh in Morocco’s desert environment, Paris’s wide avenues lined with broad-leafed trees, gardens around the world—these places have given the architects a deep appreciation of the space between buildings as much as the buildings themselves. Flato also cites personal inspiration from such 20th-century American architects as Rudolph Schindler and Frank Lloyd Wright. Yet rather than borrowing a style, he and Lake both see the firm’s direction as having emerged from the essential principles that shaped their predecessors’ designs. “There’s a logic to it,” the 59-year-old Flato explains. “We’re always asking: What do the walls or floor really want to be made of? What are the slopes, the soil conditions? There are always decisions, about how light enters a room, how air travels. The answers are different for each building.” For the Lake|Flato team, every design question leads back to the human experience of inhabiting a space. Function and efficiency are integral to the process, but so are such ineffable qualities as a primal sense of comfort and shelter, and an ongoing relationship with the land. The firm’s Bartlit Residence project in Castle Pines, Colorado, is a prime example of a building that provides both. Interior and exterior granite walls echo the timeless solidity of boulders left in place close to the home. Sunlight through expansive windows, warmth and beauty from the generous use of wood, and a sod roof “meadow” above a portion of the house add to the feeling of a shelter that merges with, and appears to emerge from, the wooded landscape itself. “We love saying that we don’t work in any particular style,” Flato declares. “Instead, we believe in the honest use of materials and letting that become an integral part of the architecture, to celebrate the bones of the building and showcase the materials.” Lake agrees. “We don’t seek a signature style,” he says. “It’s more about what’s intrinsically reflective of each owner and each place.” R 15 YEARS OF TREND MAGAZINE | SUMMER 2014


On a long riverside lot in Austin, Texas, Lake House exemplifies Lake|Flato’s vision of fully integrating architectural design with the topography and resources of its site—in this case, water. The award-winning residence was conceived as a “floating fishing village,” with a series of simple, gabled structures housing bedrooms and a study, all of them connected by a 200-foot-long boardwalk beside a manmade canal. At the end of the boardwalk, the main living area is entered through a two-story screened boathouse pavilion with views of the canal and nearby Lake Austin. Lake breezes and a massive fireplace make the screened area comfortable in all four seasons, creating a sense of being both sheltered and seamlessly merged with the outdoors. In the main house, a broad, light-filled corridor joins the home’s public and private spaces, and serves as an art gallery, animated by reflections from the canal. Small courts and inlets off the canal add privacy and an intimate connection to the water for the guest rooms. Outside the master suite, a high wall of local limestone creates a private outdoor living area with views of the lake. Lake|Flato’s signature use of slatted wood, steel, and glass results in a dramatic play of shadows and light throughout the home.


Fishing Village Afloat



Life in the Cube





ed Flato served as lead architect in the design of a Santa Fe vacation home for Tom and Sally Dunning of Dallas. On an open hilltop with wraparound views, the residence echoes the traditional Santa Fe flatroofed, stucco-walled aesthetic, but with a contemporary bent. The home consists of a series of cubes joined by open portales and rooms of steel, wood, and glass centered by a courtyard, “like Donald Judd sculptures connected with porches,” as Flato puts it. A separate guest casita/cube, often used by the Dunnings’s son and grandchildren, contains two bedrooms joined by a glasswalled sitting or play area. “One of the things about Santa Fe is the quality of light,” says Flato, “so we think a lot about where light enters a room, and how it can graze a wall.” The home’s living areas create a sense of comfort and visual simplicity through clean-lined, massive-feeling walls, many of them with deep-set windows, built-in shelves, closets, and pantry space. Sally Dunning, a semiretired Dallas interior designer who has worked with Flato on projects for her clients, especially admires the home’s pleasing scale, practical qualities, and creative elements. “It’s a house that was designed with incredible imagination,” she says.

John Gaw Meme



hen Lake|Flato was selected to design the Graduate Institute building on the Santa Fe campus of St. John’s College, the primary challenge was to create a highly functional, beautiful structure while honoring the aesthetic of John Gaw Meems’s Territorial-inspired campus of 1964. (St. John’s celebrates its 50th anniversary this year.) The 10,500-square-foot Betty and Norman Levan Hall met this challenge in part through the contrast of massive stucco walls and a delicate, two-story portal. In keeping with Lake|Flato’s inclination for visual balance, the building’s mass is contrasted with a delicate-feeling roof supported by relatively narrow steel posts. The yin/yang element in this case is metaphoric as well, says Edward Walpin, a St. John’s faculty member, assistant dean, and chair of the Levan Hall building committee. It reflects the double perspective of the Graduate Institute’s two degree programs, in Western and Eastern Classics. Walpin offers high praise for Lake|Flato and the collaborative process



of conceiving Levan Hall. “They learned a lot about our program and what we do, so that building really sings for us,” he says. The resource-efficient Levan Hall, which has become the campus’s most popular space for receptions as well as classrooms, earned the LEED Gold certification. Among other green elements, the structure features rooftop solar panels, is cut into the hillside for thermal tempering, and employs airflow to draw cooling air inside at night and flush hot air out. “It’s a high-performance envelope, but it fits in,” says David Lake, who with Lake|Flato’s Steve Raike spearheaded the project. The siting of Levan Hall also created an opportunity to improve access and pedestrian flow in the heart of the campus, which had been constrained by a land bridge leading from the administration building to the library’s second floor. “We knew the building would be inserted in the middle of the campus, so we thought about how it should become an important building block to strengthen the overall fabric of the campus,” Lake notes. “The landscape and architecture are always a team; we draw no line between them.”



Spirits in the Material World



he thoughtful transformation of another long-abandoned site resulted in an AIA COTE (Committee on the Environment) Top Ten Green Project Award for Lake|Flato in 2013—in the firm’s hometown. A part of the San Antonio River Walk, the former Pearl Brewery’s 26 industrial acres were revitalized as a mixed-use commercial and community magnet aimed at local residents, with a focus on culinary arts. Lake|Flato produced a master plan, repurposed the original brewery facility and warehouses, and filled it in with structures housing live/work spaces, offices, and businesses, including 12 restaurants and a Culinary Institute of America school. The pedestrian-friendly site incorporates regional materials, among them terra-cotta brick produced at a factory less than 200 miles away. Almost 40 percent of the energy needs for the Full Goods Warehouse is provided by a photovoltaic rooftop array—the largest in Texas at its 2009 completion. “The built environment is responsible for 40 percent of this country’s energy consumption. So now, more than ever, buildings need to be sustainable,” David Lake says. “It’s exciting to see technology interpreted in ways that are also very much directed to making buildings that are comfortable and connected to place.”



Green Bayou



n east Texas near the Louisiana border, a 252-acre environmental learning center called Shangri La put Lake|Flato’s philosophy to use in a very1 different climate and ecological setting. Among the preserve’s facilities are a bird sanctuary, wetlands demonstration gardens, and outdoor classrooms. In an innovative solution to the problem of poor water quality, the visitor center surrounds a manmade lake that serves as one of several on-site wetlands cleansing systems, or “elegant sewer plants,” in Ted Flato’s words. Another creative opportunity arose when the area suffered a direct hit from Hurricane Rita in 2005, just as the project was taking shape. The Lake|Flato team took advantage of the resulting destruction by salvaging fallen trees and using the timber in new construction on the site. With buildings employing such energy-efficient features as photovoltaic energy and a sophisticated, geothermal-based heat pump, Shangri La earned Lake|Flato and its collaborators the first LEED Platinum rating in the state of Texas and the Gulf Coast region.



The Gold Standard





he link between landscape and architecture is also an important element of the academic buildings at Arizona State University’s (ASU) Polytechnic campus in Mesa, Arizona. The five buildings, linked with four courtyards through a series of portales, arcades, and shady open atriums, sit on the site of a decommissioned air force base. Where 14 acres of asphalt once baked in the sun, detention basins and other water-capturing systems now sustain beautiful desert landscaping in the heart of the campus. The LEED Gold–rated project incorporates narrow building sections, solar orientation, and extensive shading to assist in heating and cooling and allow the sun to effectively light 90 percent of its spaces. The design also promotes a sense of community among students and faculty by providing shaded spaces for social interaction, walking between buildings, and outdoor learning opportunities. The ASU facility is among eight Lake|Flato projects in as many years to receive the AIA’s national COTE Top Ten Green Projects Awards. “These are some of the awards we’re most proud of because they celebrate the team of great design and environmental sustainability,” David Lake says, adding that the firm employs a full-time sustainability engineer as part of its team.





Play of Light


lso in Santa Fe, the Desert House draws inspiration from regional architectural styles and their relationship to climate and topography. The residence comprises a series of buildings with long, south-facing exposures and massive walls for thermal storage, connected by three courtyards. Low, thick walls and a human scale suggest traditional Pueblo building styles, while the courtyard oases borrow from Northern New Mexico’s Spanish and Territorial past. “There’s nothing like the visceral sense of walking past a massive wall that is radiating warmth or coolness to your body,” David Lake says. As with virtually all Lake|Flato designs, there is a clear contrast between materials. In this case, heavy masonry walls are juxtaposed with the weightlessness and light created by expanses of glass throughout the home and with rusted corrugated metal roofs and generous overhangs. Direct sunlight is controlled to protect the homeowner’s extensive contemporary art collection while maintaining a sense of connection with the surrounding terrain and sky.








September 26, 27, 28, 2014 Featuring the cars of the Maserati brothers and Indy cars For advanced tickets Held on the grounds of The Club at Las Campanas, Santa Fe, New Mexico. The Santa Fe Concorso is a 501(c)(3) organization. A portion of the proceeds benefits the youth organizations of Santa Fe.




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Taking It to the Streets Native American street art sparks a dialogue about cultural and environmental issues BY NANCY ZIMMERMAN



ack in the mid ’60s, when Simon and Garfunkel sang that “ . . . the words of the prophets are written on the subway walls and tenement halls . . . ,” graffiti was perceived by the Establishment as vandalism and its purveyors as criminals. Fast-forward a few decades, and the landscape has shifted a bit. Simple graffiti phrases—from “Kilroy was here” to “U.S. Out of Vietnam” to “No Blood for Oil”—are still seen by many as an urban blight, but enough graffiti writers have revealed themselves as witty and talented provocateurs to establish the practice as an art form. Add to that a recent proliferation of highly creative murals, billboards, posters, T-shirts, and performance pieces conveying political statements and cris de coeur, many of them produced by formally trained artists and graphic designers, and what was once a crime has become a movement. This outlaw activity has since moved into the salons and galleries of such highbrow bastions as Art Basel Miami and the Venice Biennale, and street artists like Shepard Fairey, Banksy, and the late Jean-Michel Basquiat have become household names. But even as public understanding of its importance and quality as an artistic expression has grown, street art has managed to retain its youthful, gritty immediacy, along with its power to shift the collective conversation to new modes of thought and aesthetic appreciation. And it’s no longer a purely urban phenomenon: now it’s come to the rez. The remote expanses of South Dakota’s Pine Ridge Reservation and the Navajo Nation, which straddles New Mexico and Arizona, might seem unlikely venues for street art to flourish, given their lack of population density, few roads, and even fewer buildings. But flourish it has, and the messages conveyed by its practitioners now resonate with an urgency that extends far beyond the confines of the reservations. “Native American graffiti has actually been around forever,” observes Jaque Fragua, who was raised in New Mexico’s Jemez Pueblo and currently resides in New York. “My first inspiration as an artist came from my people’s ancient petroglyphs and pictographs. They were so minimalist in their expression, getting to the core values of life and speaking volumes in their simplicity and beauty.” Moving from the rustic canyons surrounding his pueblo to the concrete canyons of the city was a natural leap for Fragua, who began his foray into public art as a teenager, dodging the cops while writing graffiti in Denver. “Graffiti was a challenging boot camp,” he says. “I had to represent and defend myself, and fight off the authorities and other graffiti writers.” While he acknowledges the adrenaline high of evading detection while asserting his message, he soon tired of the



Jaque Fragua creates a mural on the wall of the New Mexico Museum of Art during the Live Art event at Santa Fe’s 2013 Indian Market.


arrests and confrontations, and sought other media to give voice to his Native perspective on issues of identity, cultural appropriation, and institutionalized inequality. “It’s about educating people who are ignorant of the fact that there are highly developed cultures that have existed within the Americas for hundreds of years,” says Fragua, who studied at the Institute of American Indian Arts (IAIA) in Santa Fe and has led community-based art workshops, mural projects, and studio classes in figure drawing and painting. He also has helped create exhibits highlighting Native issues for the Smithsonian’s National Museum of the American Indian in Washington, D.C., and the Museum of Contemporary Native Arts and the Museum of Indian Arts & Culture in Santa Fe. “Our differences need to be not just tolerated, but celebrated,” he adds. A major subject of Native street art is cultural appropriation, the general public’s tendency to freely adopt Native themes and symbols without permission, attribution, or, indeed, any real understanding of their meaning to the people from whom they’re taken. From the sports world to the movie industry to history textbooks, Native identity has been exploited in ways few other ethnic groups have endured. After several centuries of watching the Anglo world distort cultural icons, perpetuate insulting stereotypes, and appropriate images for monetary gain, Native Americans are now wielding their power as street artists to reclaim their identities and assert their self-respect. Although galleries and museums around the country and beyond are increasing their recognition of fine art produced by Native Americans, Fragua feels that the art’s inherent messages of cultural autonomy need to be disseminated more widely—and that’s where street art comes in. “Cultural appropriation is kind of an entry-level issue, something a lot of people can understand,” he says. “There are millions of people who never set foot in an art gallery, but they see billboards along the highways and murals and posters on the walls of their city,” he says. “When we put our message beside a freeway or on a building, we can speak to people directly on both a spiritual and intellectual level.” To that end, some of his colorful posters bear tersely worded messages that would be difficult to misconstrue: “Sovereignty,”

“Stop Big Oil on Tribal Soil,” “Protect Mount Taylor.” All speak to the assault on the integrity of Native lands, while informing and engaging people in struggles that ultimately affect all of us. Honor the Treaties (HTT) is a loose collective of street artists that came together organically around 2010 after internationally renowned photojournalist Aaron Huey began exploring the issue of the 1868 Fort Laramie Treaty, which preserved 27 million acres in the Black Hills of South Dakota for the Sioux Nation. The land was illegally usurped and opened up to prospectors and homesteaders despite the treaty, and the Sioux Nation sued to enforce it. Litigated until 1980, the case became the longest-running lawsuit in U.S. history. The Supreme Court finally acknowledged the land theft but awarded the tribe a mere $106 million in compensation. The Sioux refused the payment, declaring, “The Black Hills are not for sale!” That rallying cry fueled a movement to publicize the injustice of the court’s decision after Huey gave a TED talk on the topic, and renowned artists Ernesto Yerena, a Yaqui/Chicano originally from California, and Shepard Fairey, best known for his 2008 Obama “HOPE” poster, collaborated on a street-art campaign to plaster hundreds of walls throughout the country with posters bearing the slogan. Since then the HTT collective, directed by an advisory board whose members include Native American civic leaders, lawyers, educators, musicians, and entrepreneurs, has brought together a diverse group of Native street artists who use their talents to further the effort to protect the culture, water, air, and land by pursuing enforcement of treaties that have been systematically breached. Fiscally sponsored by the Lakota People’s Law Project, the group promotes individual ventures as well as collaborations among Native artists and advocacy organizations. One such effort is the Painted Desert Project, which came into being initially when African-American physician James “Chip” Thomas, a longtime resident of the Navajo Nation, began venturing out into the reservation to photograph the Navajo residents as they went about the business of their daily lives. In 2012 he decided to turn his hobby into a public art project by enlarging the photos and wheatpasting them onto buildings along the roads that wound through the reservation. The idea was to create




Street art is no longer a purely urban phenomenon: now it’s come to the rez.


Tom GreyEyes addresses the degradation of the environment caused by coal-fired power plants with a mural at the Inscription House, a clinic at the junction of Highway 98 and Indian Route 16 in Arizona. Top: The mural is the message—Jaque Fragua collaborated with Shepard Fairey to create poignant but pointed wall art in Los Angeles’s Indian Alley. Opposite: A detail from Nani Chacon’s billboard on Central Avenue in Albuquerque, which urges viewers to “Save Mount Taylor.”





cultural and environmental messages that could be seen by the local residents as well as visitors traveling through the area. Among those participating in both HTT and the Painted Desert Project is Navajo artist Tom GreyEyes, an Arizona resident and recent college graduate who has already achieved acclaim as an artist, teacher, and social activist. In 2012 he was awarded the Phoenix New Times’s Big Brain award in visual art, and he used the prize money to participate in a training camp for nonviolent, direct activism. “I believe in the power of art as a political megaphone,” he says. “It can break through language barriers with visual statements, and it becomes almost a language in itself. Chip Thomas was my introduction to the street-art community, and those artists involved in the Painted Desert Project have taught me a lot. You need stamina and commitment to create art in remote locations, to withstand the hot sun and the dust storms, and the artists really impressed me with their passion for their work.” While the project is directed toward the residents of the Navajo Nation, designed primarily to inspire the younger generation by giving them a positive way to see their culture, GreyEyes observes that both this art and street art in general offer important means of speaking back to power in addition to speaking to each other. “We’re trying to build a movement to inspire people and to engage in dialogue about issues important to our survival. Neocolonialism is still alive in this country, and cultural appropriation is a big issue. Through our art we can make critiques and propose solutions; we can offer a vision of how things could be.” GreyEyes approaches his forays into issue-based street art as research projects, first

“We’re trying to build a movement to inspire people and to engage in dialogue about issues important to our survival.”

Shepard Fairey’s poster helped mobilize protesters at South Dakota’s Pine Ridge reservation. Opposite: Poster art is a quick and compact way to package and disseminate a political message. The artists are Ernesto Yerena (top left), Gregg Deal (top right and bottom left), and Jaque Fragua (bottom center and bottom right).



Above: Nani Chacon (top right) offers a contemporary take on mythological Navajo figures like Spider Woman, who graces the mural She Taught Us to Weave, along a railroad corridor in Albuquerque. Top left: Chacon creates the mural Manifestations of Glittering World in the Allan Houser Art Park at Santa Fe’s Museum of Contemporary Native Arts. By integrating ancient archetypes and designs into pop culture, she gives them new relevance and immediacy.




From the sports world to the movie industry to history textbooks, Native identity has been exploited in ways few other ethnic groups have endured.


Above right: Tom GreyEyes at work on the streets. Above left: In this digitally composited image, GreyEyes explores the concepts of identity and the “masks” people wear in their lives. Top: GreyEyes painted this work on the wall of the Taala Hooghan Infoshop in Flagstaff, Arizona, to protest environmental injustices in the region.





Gregg Deal’s performance pieces and artwork satirize stereotypes and insulting representations of Native Americans. Opposite: In this Banksy-like image, Deal injects an edge of humor by adding a simple element, a balloon, to alter a romanticized version of an Indian.


steeping himself in the background and details before engaging his creative skills. He cites his work with Save the Confluence, a movement organized in response to the proposed Grand Canyon Escalade project, which has split the Navajo Nation and occasioned a groundswell of protest. The project is a multimilliondollar tourism development that would brings tens of thousands of visitors to the eastern edge of the Grand Canyon, threatening a fragile ecosystem and displacing people from their homes in the process. “I did a mural about the political issues surrounding it, but I first had to get information from everyone, read the environmental impact report, and learn the details of the project. Once I had the information, it was up to me as an artist to conceptualize it, create it, and disseminate it.” Another HTT artist, Navajo/Chicana painter and illustrator Nanibah “Nani” Chacon, also paints murals with a message. Raised on the Navajo reservation and now living in Albuquerque, Chacon says her intention is to create a connection between traditional culture and contemporary social perspectives. She accomplishes this through abstracted illustrations featuring a character for whom she crafts a visual narrative. “I really want to create pieces that make a statement that brings Native philosophy into a contemporary context,” she explains. “I feel that the only reference for Native philosophy has been an archaic culture, a relic of the past. I want to show its contemporary relevance through my art.” Her mural She Taught Us to Weave, which was commissioned in 2012 by the City of Albuquerque for the International Symposium on Electronic Art (ISEA) to adorn a railroad corridor in downtown Albuquerque, stars the archetypal Spider Woman and addresses her relationship to technology and the responsibility that goes with it. “In our creation stories, Spider Woman taught us to weave, and to weave with beauty and harmony,” she says. “At the beginning of the mural, the pattern around Spider Woman resembles a rug motif. As it proceeds down the wall, the pattern appears as a circuit board, raising the question, ‘How will we now use the modern technology we have?’” In addition to incorporating elements of traditional textile patterns into the story, Chacon also likes to use the architecture of the building to make each mural site-specific. “My work is definitely different in the respect that I focus on the beauty, the compassionate side of the cultural issues. I believe battles will be won with positive messages. And I feel a sense of responsibility about what I paint because once I put it out there it no longer belongs to me. My particular interest is in

reaching young people with my HTT work,” she adds. “We’re not always going to change the world, or even change a law, but we can open the dialogue.” A more confrontational but wryly humorous approach can be seen in the performance art of Gregg Deal, a Pyramid Lake Paiute painter and graphic artist originally from Utah who now lives in Washington, D.C. His trenchant social commentary is ironic in tone as he explores the misappropriations of Native culture that go back centuries, as seen in his project The Last American Indian on Earth. For this performance piece, Deal dresses up in a stereotypical Indian costume complete with headdress and feathers, then positions himself around town doing ordinary things like buying coffee at Starbucks, mowing the lawn, or visiting the Washington Monument. Video and still cameras record people’s reactions to seeing this Hollywood-style Indian in their midst, and Deal reports that the stunt has occasioned a wide variety of responses and conversations. “The perception of indigenous people in and out of Native culture needs to change,” he says. “We need a dialogue. I take stereotypes and regurgitate them, take relics and place them in the modern world, and people are forced to reconcile the odd juxtapositions. Irony and humor can get through in ways that earnest exposition can’t. Being angry and defensive all the time doesn’t work.” Deal underscores the difference between honoring a culture by borrowing positive elements and acts of true cultural appropriation. “With appropriation, you don’t have a conversation,” he points out. “No one’s asking for permission or even an opinion. Some argue, for example, that naming the city’s football team ‘the Redskins’ is a way of honoring us, but it only ‘honors’ romanticism, the nostalgic notion of an Indian that never actually existed.” Despite the frustration of having to counter these notions—“On the East Coast, the novelty of being Native American is alive and well,” he says—Deal believes that the digital age is “a good time to be Indian. With the advent of social media and the Internet, hashtags, posters, and stickers, we can reach more people than ever before in new, more immediate ways.” > 15 YEARS OF TREND MAGAZINE | SUMMER 2014



The movement continues to spread, not just via the streets and social media but also through film, television, and music. It has attracted support from such notables as Neil Young, who performed a concert to fund a lawsuit against the Tar Sands development in Canada that featured Fragua’s poster and T-shirt designs. “The artists are the ones leading the way for how we see things,” says Fragua. “We connect the issues with the external world to get the message out at the same time that we internalize the message for the Native communities.” Important as it is to Native Americans for the process of decolonization to continue, it is, in fact, equally important to the culture at large. By reclaiming and reasserting their true identity as a people, Native artists open up and share a world that broadens everyone’s understanding of human history and the human condition, and exposes us to a new aesthetic and worldview. Likewise, by drawing attention to the environmental degradation that threatens traditional lands, air, and water sources, they fight for environmental integrity for everyone. Beyond the hip visuals and edgy messages, the Native street-art movement presages a saner, more inclusive world that benefits us all. R



The Painted Desert Project sprang from Dr. Chip Thomas’s photos of Navajo Nation residents. With the help of volunteer artist crews (opposite), he wheatpasted the photos onto structures throughout the reservation, offering positive images to bolster the Navajo sense of identity.


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A Place for Change The mission of the Academy for the Love of Learning is to awaken, enliven, nurture, and sustain the natural love of learning in people of all ages. To achieve our mission, the Academy has developed transformative curricula and methodologies—our learning field inquiry approach—offered through our integrated set of programs, conferences, organizational practices and research. The Academy hosts free monthly Evenings of Exploration and ongoing programs include, Leading by Being, Teacher Renewal, El Otro Lado in the Schools and Lifesongs. The intent of our work is to help stimulate and support the rebirth and renewal of learning and education in America. “The beauty of the Academy is that you don’t just give us permission to be creative; you remind us that it is our responsibility as human beings to be creative in all aspects of our lives, including the classroom. You have inspired me to become the teacher I was born to be. I am truly and completely grateful to you for creating the loving, nurturing, and energizing environment that is the Academy for the Love of Learning.” Laura Cullen, Science Teacher El Dorado Community School The design of the Academy facility allows, supports, and deepens the transformational quality of the Academy’s work. The main program room of the facility was designed with a wonderful view of the natural world, to encourage deeper reflection, and we also took into account considerations of acoustics to create better spaces for reflection and conversation. We incorporated three patios to model the inside-outside flow so crucial to our learning model, the dance between what we take in from the outside and what we experience from within.

Photo Credits: Kate Russell

“Our building also takes a stand for a more respectful relationship with nature, which grows out of our own learning methodology—and calls for a heightened awareness of our impact on everything that surrounds us—and out of the legacy of Ernest Thompson Seton, the great American naturalist, upon whose former estate our campus stands. Surrounded by climate-appropriate landscaping, sun-tracking solar panels, and geothermal wells, our building makes minimal use of nonrenewable resources, and won the 2012 Sustainable Santa Fe award for our innovative water-harvesting techniques. In 2013 we were awarded Gold LEED certification, which was our goal.” Aaron Stern, Academy Founder and President For more information on programs and upcoming events visit



Production designers blend skill, imagination, and serendipity to craft whole new worlds.

By Stephanie Pearson


reaking Bad fanatics have the television series’ original production designer, part-time Santa Fe resident Robb Wilson King, to thank for the suffocating atmosphere that permeated lead character Walter White’s world—right down to his home’s rotting foundation and the pitiful pool in its backyard. Considering that there are hundreds of houses in Albuquerque that resemble White’s crumbling rambler, how hard could it have been to create a set that looked, well, exactly like middle-class Albuquerque? A lot harder than it may seem. While it’s a film’s director who supplies the initial vision, it’s the production designer who is charged with helping the director realize that vision. He (and it’s almost always a “he” in the maledominated world of moviemaking) is the person who establishes the film’s overall aesthetic by drafting the original sets, either by hand or on computer; creating the color palette and tone; and overseeing the entire art department, which includes the art director, set designers, hair and makeup stylists, costume designers, special effects directors, and location manager. Movie sets are known for their almost militaristic job hierarchy, designed to keep films on budget, but the extent to which a production designer has creative

control also has a lot to do with how much leeway the writer, director, and, occasionally, producer are willing to grant. “The minute I read the Breaking Bad script, I knew Mr. White and his family had to be grounded,” says King. “The viewers couldn’t go on this odyssey with Walter without putting him in a place and time that’s real,” he says, adding that series writer and producer Vince Gilligan was wonderfully receptive to his ideas. The settings needed to be relatable, he says, “but you can’t turn the set into a cliché. That’s lazy man’s stuff. You get into the Hispanic influences, and it’s got to be right. Albuquerque was fertile ground because nobody had ever shot the city to the degree we did, and I had a chance to mine it. It really became another character in the With its dark, closed-in series.” interiors, Robb Wilson The ability to seamlessly merge reality King’s set design for with fantasy, no matter the budget, dead- Walter White’s home in Breaking Bad was one line, or genre, is a production designer’s of the most distinctive particular genius, one that’s usually devel- features of the show. oped through experience and happen- Opposite: A scene being shot for the 2011 film stance rather than specifically taught. A Bird of the Air, While classes are now available to help designed by Mark Duran. 15 YEARS OF TREND MAGAZINE | SUMMER 2014


The ability to seamlessly merge reality with fantasy is a production designer’s particular genius. Art Center College of Design in Pasadena. There he met and worked for a woman who created album covers for musicians like Linda Ronstadt. The job evolved into producing commercials and then larger projects, which led to, as he describes it, “an accidental-on-purpose career.” “I just found the whole thing fascinating,” says Barnes. “The people in the movie business were a lot more interesting than the movies themselves.” Bryce Perrin, known for his ability to deliver complex sets in exotic, isolated locations, grew up in Melbourne,

Australia, studied sculpture in art school, then spent eight years working his way through every job in the art department on Australian movie sets. He got restless, took passage on a German container ship bound for Canada, then traveled around the U.S. before migrating to Nicaragua to work as the set decorator on Walker, a 1987 film that was coproduced by Nicaragua’s Sandinista party during the Contra War. “Movie extras were carrying period weapons, while the real guards were carrying AK-47s,” recalls Perrin. "Procuring even the simplest resources was like pulling teeth.” That trying experience and others earned Perrin the title of art director on the Jamaica set of Legends of the Fall, which eventually led to 19 production design credits for films including Ravenous and Anacondas: The Hunt for the Blood Orchid. Mark Alan Duran (who uses his middle name to avoid being confused on IMDB

Breaking Bad’s famous mix of comedy and tragedy is reflected in both its setting and in its number of near-absurd interludes, like this band breaking out in song. In the background, the RV that was the site of Walter and Jesse’s first cooks reached iconic status within only a couple episodes.




students prepare for a career in production design, there is no Harvard University fast-track degree to put you at the top of Hollywood’s A-list. Serendipity seems to be the more common path, as exemplified by many of the designers who now ply their trade in New Mexico. Wilson King, for example, who has 18 episodes of Breaking Bad and more than 50 other production design credits to his name, grew up in Los Angeles as the son of architect Rob King, who designed and built Santa Monica’s iconic Pacific Ocean Park. He attended the San Francisco Art Institute and studied acting in New York before falling into production design. He now divides his time between Santa Fe and Venice, California. Another designer, Guy Barnes, who earned Emmy nominations for the period film Into the West and Seal Team Six: The Raid on Osama Bin Laden, left his Midwest home at age 17 to study photography at


Guy Barnes’s design for the set of Seal Team Six, the 2012 television film about the capture of Osama Bin Laden. Part of his job is to accurately reproduce every detail of the exterior and interior worlds he recreates on film—here he meticulously researched everything from buildings and furnishings to weaponry and children’s toys.

with porn star Mark Duran) is a Santa Fe native whose forte is small-budget indie films that tend to turn into cult classics. He was the host of the popular radio show Lucky's Belvedere Lounge and owner of a Santa Fe Army-Navy surplus store when, in 1996, he managed to obtain a distinctive military hat for the director of a documentary about Enrico Fermi, a lead physicist on the Manhattan Project. Since Duran happened to be a dead ringer for Fermi, he was asked to model the hat, which led to a shoot, which ultimately led to his becoming the talent, property master, and costume designer for the small-budget film.

“It was a tiny production, but it gave me an opportunity to be around the filmmaking process,” says Duran, who was so enamored with that first experience that he joined the International Alliance of Theatrical Stage Employees (IATSE) and took any job on a New Mexico set he could get. Almost 20 years later, Duran, who is now based in Albuquerque, holds 15 production design credits. “It’s rewarding and exciting to make a story,” he says. “We often joke that you’d think we’re saving lives because of the intensity of the work,” he says. “But the point of the whole end product is to relieve people of their stress.

People go to movies to escape their lives.” So how do production designers make the magic? Most would say they don’t do it alone, that films are an intensely collaborative process. To create the potential for making magic, however, a stellar first interview with the writer and director is essential. Like a successful first date, chemistry is required in order to move forward. “You go in listening very hard to what the writer and director are seeing for their story,” says Perrin, who moved from Los Angeles to Santa Fe in 2006 with his wife. “It’s not about your work. It’s about backing them up with the story they want to tell.” The process requires a subtle dance, expressing good ideas without coming off as a control freak. “You’re leading the director, but it’s still the vision of the director,” says Barnes, whose latest project, Good Kill, starring Ethan Hawke and directed by Andrew Niccol, is about a predator drone pilot. Until now, Barnes has handdrawn most of his sets. Good Kill’s set is the first he’s designing completely on the computer, using Arc CAD and SketchUp software. “The actors just sit in chairs and stare at screens,” says Barnes. “A third of the movie takes place in a 7' x 23' room. That’s the challenge. You can’t fit in a room that size with a movie crew. It’s a big puzzle. I’m still trying to figure it out. In some ways it’s more of a challenge than a typical show because you have to design a set that’s shootable, but which also comes apart.” Problem-solving skills rank right up there with collaboration as one of the keys to good production design. “You have to check your logic at the door,” says Duran, whose biggest production design challenge was on the set of the cult classic The Burrowers, a 2008 sci-fi Western about human-sized Jerusalem crickets that came out at night and attacked bad guys who abused indigenous people. Duran and his crew were given three weeks and $85,000 to build a three-walled Victorian house in the middle of nowhere that had to be torn down in a day. “It was beautiful,” says Duran, “but by day five we had to see the landscape without the house, so we had to get rid of it.” For The Tale of Ruby Rose, a film based 15 YEARS OF TREND MAGAZINE | SUMMER 2014




To create an award-winning set, a massive budget always helps—but isn’t always necessary. The total budget for Seal Team Six: The Raid on Osama Bin Laden was $2 million. “The budget was next to nothing, but we thought it would be fun,” says Barnes, who, along with his wife, Wendy Ozols-Barnes, the set designer, recreated bin Laden’s house on the grounds of the old New Mexico state penitentiary. “At the time we were making the set, it was the most famous house in the world,” says Barnes. “We put it together out of thrift stores, spent about a tenth of what they spent on Zero Dark Thirty, and put it up in four weeks. You could have wired it and moved in.” The takeaway, he continues, is that “there’s nothing that doesn’t have a solution. It might not be the solution you want, but there’s a solution. You can’t let production design get in the way of letting a movie get made.” Thanks to New Mexico’s 25 percent refundable tax credit, new filmmaking educational opportunities, a growing pool of talented crew members, and a state-of-theart studio in Albuquerque, an increasing number of production designers are settling here. It helps that New Mexico is just a short


Top: One of Mark Alan Duran’s biggest production design challenges was for the set of the cult classic The Burrowers, a 2008 sci-fi Western about humansized Jerusalem crickets that came out at night and attacked bad guys who abused indigenous people. Duran and his crew were given three weeks and $85,000 to build a three-walled Victorian house for the movie. Right: Mark Alan Duran. Above: While not animal handlers, set designers do consider how to integrate nonhuman characters into the action. For A Bird of the Air, a quirky romantic comedy, Duran worked with both a highly vocal parrot and a kindly basset hound.

on a book by Aussie Richard Flanagan, Perrin supervised flying two halves of a trapper’s cabin into Tasmania’s Walls of Jerusalem National Park. To walk equipment or dailies onto the set required a six-hour hike. “Doing anything convincing and of a particular place requires a lot of research and observation and anchoring the characters to a place,” says Perrin. “What is often said about good design is that it’s invisible, it disappears.” Invisibility is becoming harder to achieve, however, now that most films are made with high-definition (HD) digital cameras, which means that nothing on the set escapes the camera’s crystalline lens—there’s no longer a soft, fuzzy, forgiving background. “The standing comment used to be, ‘Don’t worry, they’ll never see it,’” says Duran. “But HD cameras see everything, which means that there’s a lot you can’t ignore.” “Most of us have mixed feelings about HD cameras, but they’re here to stay,” adds Barnes. “Film used to forgive you in ways that digital technology does not. Unfortunately, it’s removed a few tricks from the toolbox.” Case in point: On one project before the days of HD cameras, Barnes didn’t have the budget to build an entire apartment complex courtyard. So instead, he photographed it, then printed it on a 30' x 90' piece of vinyl, using foam to depict the walkways and railings. “I couldn’t have gotten away with that with digital,” notes Barnes. “I would have had to find that courtyard.”

When not creating exotic locales on a soundstage, set designers work on location. Bryce Perrin has traveled to Australia to create sets for The Tale of Ruby Rose (above), and Tunisia for the 2011 French film Isabelle Eberhardt (left). Like many production designers, Perrin draws detailed sketches of his visions for the sets.


flight from L.A., yet far from the Hollywood fray. But while the state has proven that it has the locations, tax credits, and talent to sustain award-winning films and television series, Wilson King believes it still hasn’t reached its full filmmaking potential. “I have New Mexico completely in my DNA now—the landscape, the people, the poetry of the seasons, and the powerful locations,” he says. “But in most filmmakers’ books, this is still pioneer country. Breaking Bad had some of that New Mexico power to it, but even that didn’t do this amazing place justice. I don’t think my New Mexico film has come to me yet. I don’t think it’s come to New Mexico.” R





Mokha Laget’s Poetics of Color This global citizen finds meaning in the language of Modernism


o visit with the artist Mokha Laget is to become reacquainted with the history of Modernism, particularly Clement Greenberg’s Washington Color School of the late 1950s through mid-1960s, and Color Field painting in general. Her work also reveals the irresistible wonder of a curious mind supported by an impressive intellect. Trained in philosophy as well as art, Laget is paid to travel the globe as a simultaneous translator. She considers this part of her life to be art: “Whatever the field, 174


I’m an interpreter. We think in concepts, not words, because concepts are so much faster and go so much further. It’s about understanding linear multiplicities. That’s what I love about the [contemplative] part of it, these quicksilver flashes.” Laget immerses herself continually and deeply in the paradox of what language reveals and what it masks. The yin of imagery and the yang of words, the tantra of symbolism, what she shorthands as the “visual/verbal presence”—this is the stuff of Laget’s art and life.

The painter splits her time between a house in suburban Santa Fe and her studio in the mountains south of Madrid, New Mexico, where the view encompasses five mountain ranges. It’s a landscape that’s strikingly similar to the former colonies of French West Africa where she grew up, with adobe structures, earthen colors, and a predominance of “bright, bright, bright” sky. When one looks at her older art pieces in this studio, the progression in her work is clear. She has shifted from making literal marks—employing hieroglyphic,

musical, and other symbols in her art—to using color as a deeper, more conceptual way of communicating visually. Those early years in Africa, where her father was an officer in the French foreign service, were formative for the young Laget. “I was always lying on the ground,” she says, eye level with fascinating colors and textures. The vibrant hues of local textiles caught her imagination as well, and it’s no surprise that the artist works

Corcoran faculty member Gene Davis, an American painter known for his vertical stripes of color. Laget and Davis used to speak on the telephone every day. “We talked and argued,” she says. “It was a wonderful time. Unfortunately he had a heart attack and died very suddenly at the age of 64.” In 1987 Laget was commissioned to create public art for the Gene Davis memorial exhibition in D.C. She organized a group


The artist in her studio in the mountains south of Madrid. Many of her early works are stored here, like those, opposite, that reveal her penchant for exploring writing, language, and mark-making.

Blue Diamond (2013), acrylic and clay pigment paint on canvas

with color in creating her architectonic paintings. Laget’s current works, housed in the converted garage that serves as her Santa Fe studio, reveal shaped canvases that derive their forms from the bold geometry of color. The paintings represent the continuation of a series begun in 2008 and shown this past summer at Peyton Wright Gallery in Santa Fe, and they follow, she says, “the lineage of the Color School that I came out of.” Laget found her way to Northern New Mexico in 1992, after having lived not only in Africa and Europe, but also in Japan and Brazil. North America was already home; Laget spent her high school years at the Lycée Français de New York and lived for much of the 1980s in Washington, D.C., where she graduated from the Corcoran College of Art + Design. For four years she served as studio assistant to

of Corcoran students to paint Eighth Street NW in vertical stripes on the block below the National Museum of American Art (since renamed the Smithsonian American Art Museum). The idea was revisited 20 years later. As Laget notes, “There was a big project, ColorField.remix, in Washington. Galleries and museums were reviving the whole Color School period.” In a single weekend, volunteers applied exterior latex paint with rollers to create Davis’s Jubilee. They finished on a Sunday evening in May, just before the festivities started and a thunderstorm threatened to turn the street into a Morris Louis stain painting. By the early ’90s, Laget was looking for new horizons. “Of course I’d been looking for new horizons since I was two years old,” she laughs. “I was very interested in exploring this epiphany I had had as a kid in North Africa: I wanted to go back to that light, that sun, that brilliance—to the 15 YEARS OF TREND MAGAZINE | SUMMER 2014



texture, to the colors, to the earth, to the tribal people.” She arrived in Santa Fe on a translation job with a group of 15 artists from Africa. “We spent one week in Santa Fe. I moved here shortly after that. I had been to New Mexico once before, on a family trip when I was younger, and had been struck by how it resonated with what I loved about North Africa.” The concept of spanning cultures figures strongly in Laget’s art today. Her latest body of work, the Ponte Vecchio series, consists of six shaped canvases that seem as if they might break in two at the narrowest part of the framework. “They’re pretty sturdy,” Laget says. “It’s that tension between the two elements that I’m excited about—they almost look like tango dancers. It’s the whole idea of the bridge, a passage. You wonder sometimes, how does a bridge hold up? There’s the whole gap at the center, yet that is what allows the passage, symbolically,

Laget mixes her own pigments using materials she’s collected from around the globe. She also brings her notebooks along on her travels: “There are so many influences that contribute to my work. I’m constantly sketching, constantly writing down ideas.” Right: Laget uses pure white light in her studio and tests her colors continually. Opposite: Blackjack (2013), acrylic and clay pigment on canvas, is about her travels in the Horn of Africa. “What I see is the environment in terms of the architecture and the colors. It’s what I grew up with.” 176



of knowledge, of culture, of everything. The bridge notion is very, very important to me because I’m a cultural transplant, and because of my work as a translator.” Throughout her life, Laget has nurtured a dual interest in language as expressed through words and image. For her, as much as they run parallel, they overlap a great deal. “To this day, you can look at artists such as René Magritte and Paul Klee, and by extension Ed Ruscha, and say that they were visual linguists. Then there are the more graphic linguists, like Cy Twombly and Mark Tobey. I’m very interested in the concept of an imaginary writing, of always trying to combine the two.” Laget’s latest paintings have a velvety matte surface that is due, in part, to her years of travel. Having collected natural pigments and clay from around the world for years, she reveals that she’s developed her own clay-based paint. “It gives a depth,

a transparency, and yet a tactility that is unexpected,” she says. “I think it was Kenneth Noland who talked about this, the ability to create something out of a razor-thin surface. Of course my work is all about depth and dimensionality and architecture—but not architecture in the classic sense. It’s an internal architecture that almost becomes a visual architecture.” Ultimately, though, Laget’s art is a discourse on color. She relates, “As much as I’ll think about the piece and plan it and really work on the ideas, when it comes to actually making it, I have no idea what the colors are going to be. It’s the first color that usually dictates the progression. It pops into my head.” She is reminded of something her mentor, Gene Davis, once said. “Someone asked him, ‘How do you choose your colors?’, and he said, ‘That’s like asking

a hen how it lays an egg!’” Despite her disclaimers about her use of color, however, Laget brushes pigment on test strips in her studio before applying it to her canvases. She knows what she wants, and years of practice have taught her how to achieve it. Her arrival in New Mexico did, however, change her palette, which now noticeably reflects the land and sky surrounding her mountain studio. Laget cites The Poetics of Space, by French philosopher Gaston Bachelard, one of her “all-time heroes.” Noting that he wrote about the importance of the “immense intimacy and the intimate immensity” of place, she says that is “exactly what I found when I came here. The land reflects mirror images of that immensity that’s going on inside. It was so emotional for me, so overwhelming; that’s why I fell in love with it. It’s not by accident that I’m in New Mexico today. I’ve come full circle.” R 15 YEARS OF TREND MAGAZINE | SUMMER 2014




FORTYAND FABULOUS Taos Arts Fest shakes things up


f any town knows how to throw a party, it’s Taos. The annual Fall Arts Festival is always a great time, and this year’s, its 40th anniversary, promises to be the best yet. But after four decades, even a successful event can become a bit predictable, so they’ve ramped up the offerings to broaden the scope and deliver some innovative, unexpected fun. “Our festival faced a midlife crisis, and also lost its home [the Taos Convention Center],” says Taos Fall Arts Festival (TFAF) copresident Paul Figueroa. “So we decided to enter group therapy, or as it is better known, a community focus group, to see how TFAF can better serve the arts community.” The result is a citywide bash that will keep the town hopping for a full ten days, from September 26 through October 5. Events will take place along a .7-mile, walkable route that encompasses six venues and many outdoor spaces, marking the first time the festival will involve so many locations, including the streets themselves. The core events—the Distinguished Achievement Award Series, the Taos Select invitational exhibition, and the Taos Open exhibition—will continue to anchor the festival. But otherwise it will return to its roots via dance, theater, film, poetry, and visual arts, celebrating the town’s past, present, and future as a destination for art in all its forms. The opening night action begins at 4 p.m. on Friday, September 26, at the Taos Art Museum at Fechin House, the former home and studio of acclaimed Russian-born artist Nicolai Fechin. It now houses paintings by Taos Society of Artists members, who produced stunning work from 1898 through the 1930s. It’s a fitting venue for announcing this year’s winners of the Distinguished Artist Awards and viewing their creative output: ceramics, prints, and traditional wood- and metalwork. At 5 p.m., the Kachina Lodge, which shares this year’s Taos Select exhibition with the Stables Gallery, opens its doors to showcase the invitational artwork. The Kachina will feature a no-host bar, music, and Native American dance performances, along with the popular Miniatures show, offering works no larger than 10" x 10" by local artists for view and sale. An exciting new addition to the opening night festivities is The Paseo, a live arts event in which local, regional, and national




artists create site-specific outdoor works along the route linking the six festival venues. The projects include murals, film projection, and an interactive display on walls, roofs, and sidewalks. Among the Paseo contributors will be performance artist and metal sculptor Christina Sporrong, best known for her choreography of Amortec, a dance between a woman on stilts and a robot. Sporrong is creating an original street performance to help kick off the festival. Also robot-oriented is internationally known sculptor Christian Ristow, whose project is still in development as of press time but expected to be as innovative and inspiring as his renowned annual collaborative performances at California’s Coachella Valley Music and Arts Festival. Interdisciplinary artist Agnes Chavez and sound engineer Alessandro Saccoia have again coproduced their popular (x)trees v.5: order and chaos installation, which will light up The Paseo with an interactive projection of tree forms generated from real-time text, Twitter, and archived data; the trees’ branches grow as audience-supplied messages are added. “The Paseo brings the art outdoors, taking TFAF a step further in bringing art to the community,” says architect-designer Matt Thomas of Studio TAOS, the event’s mastermind and director. “My hope is that we can allow visitors and locals to see Taos anew, almost as if for the first time. It’s about creating new memories and experiences for the community, contributing to Jim Wagner’s Sheets and Pillowcases was selected as the Taos Fall Arts Festival’s 2013 poster image.


Artists of all ages come together to celebrate at Taos’s annual festival. Top: Agnes Chavez and Alessandro Saccoia’s (x)trees v.5: order and chaos installation lights up The Paseo.





the town’s sense of place by connecting past, present, and future through art.” Also new this year is the Taos Fall Arts Festival Passport, available free at all six event locations. Participants get their passports stamped at each site, and once they’ve acquired all six stamps, become eligible to win a prize package of lodging, meals, art, goods, and services donated by local Taos businesses. Among the returning events are the aforementioned Taos Select juried exhibition at the Kachina Lodge and Stables Gallery, and the Taos Open exhibition at Our Lady of Guadalupe Gym on Don Fernando Street. The gym will also host the Wearable Art Show, the Youth Art Show, and the Kid’s Give-Back installation, in which arts programs benefitting schoolchildren will be judged and awarded funding. Over at the Harwood Museum, the juried film festival returns with 20 films of three minutes or less addressing the theme Honoring Our Land. Screenings take place on Saturday and Sunday, September 27–28, and Saturday’s evening premiere will be followed by a Q&A with the winning filmmakers. The Mural Room at the old county courthouse, where early Taos artists Emil Bisttram, Victor Higgins, Ward Lockwood, and Bert Phillips painted WPA murals during the 1930s, will hang a contemporary photography exhibit and present two historical dramatic readings that complement the photos and educate visitors about Taos’s past as an art colony. The annual Memorial Wall, an exhibition of work by deceased Taos artists, has been expanded and moved to the Historic Taos Inn, which also hosts dance, music, and spoken-word performances. Tours of public art and public collections will be conducted at the Taos Library, the Harwood Museum, and the Taos Firehouse, and Centinel Bank will exhibit all 40 posters from past festivals. With Taos’s unique blend of the historical, the funky, the mystical, and the contemporary on display at its best, this year’s festival promises to be a fiesta you won’t want to miss. R






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Edge, Energy, and Entrepreneurial Oomph on Baca Street Welcome to the Baca-nal! Santa Fe’s Baca Street and the Baca Railyard are bursting with boisterous new businesses and established artisans, and have become the rising entrepreneurial epicenter of the city. As the Cerrillos Road gateway to Santa Fe’s Railyard, Baca Street has a distinct and lively culture found nowhere else. A haven for artists and craftspeople since the early 1990s, Baca Street and the Baca Railyard—encompassing the Railyard property southwest of St. Francis Drive—today hum with opportunity and vision. As a connection point between multiple city trails, and with good access to the South Capitol RailRunner stop, it’s a neighborhood that’s easy to get to with or without a car. And the central location between the city’s urban center and the Second Street Triangle District make it a


Edge, Energy, and Entrepreneurial Oomph on Baca Street Welcome to the Baca-nal! Santa Fe’s Baca Street and the Baca Railyard are bursting with boisterous new businesses and established artisans, and has become the rising entrepreneurial epicenter of the city. As the Cerrillos Road gateway to Santa Fe’s Railyard, Baca Street has a distinct and lively culture found nowhere else. A haven for artists and craftspeople since the early 1990s, Baca Street and the Baca Railyard—encompassing the Railyard property southwest of St. Francis Drive—today hums with opportunity and vision. As a connection point between multiple city trails, and with good access to the South Capitol RailRunner stop, it’s a neighborhood that’s easy to get to with or without a car. And the central location between the city’s urban center and the Second Street Triangle District make it a waypoint for students from the Santa Fe University of Art & Design. Businesses like Molecule contemporary industrial design, Recollections consignment, and the always-buzzing Counter Culture café have cultivated a progressive entrepreneurial zeitgeist that has lured Justin Frame Designs, Level Fine Art Services, Mindshare Labs, Talis Fortuna—an artisan tattoo shop—and BoHo, a recent storefront specializing in midcentury Modern furniture and accoutrements. The industrious and quasi-underground 920, with annual BatMart and SquirrelMart events, lends an air of intrigue and folksy Futurism. It’s also a safe bet that more highconcept hairdos are created here each day than at any other place in the city. With the Baca Railyard coming into its own and more businesses taking advantage of Baca Street’s smart Business Capital District zoning, the orgiastic entrepreneurial energy of the Baca bacchanal has become addictive, contagious, and conspicuous. Now’s the time to drop your inhibitions and indulge in a little libertine exploration.


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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

Own the Majesty CATHEDRALS CANYON Jemez Mountains, New Mexico +1 (505) 780-9500

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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



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


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



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



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.



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


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.



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


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



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.



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



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


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


Peter Ogilvie

Gilda Meyer-Niehof

Photo Assistants


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

Art Studios and Locations

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



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 |

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



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

18 18


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


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



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



made in the usa for 10 years

environmentally conscious fabrics


Feel theWest . . . Photographs by Brad Bealmear

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



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

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



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 |

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



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 |

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 |



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

Patricia Michaels


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 |

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


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!


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 | 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 | | 888-733-5238 106 15 YEARS OF TREND MAGAZINE | Summer 2014



Wild Hare


Extension Studio



Now shown in these fine boutiques and galleries:

Alice Bailey

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


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.

The year was 2000.

Bill Clinton was still in the White House, although not for much longer, and the 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:



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! >




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



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


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

2006 44




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


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




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

Santa Fe Trend






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


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.


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

Santa Fe Trend


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

Trend » Summer/Fall 2009

Harner’s intention was to mirror the landscape rather than impose upon it. Summer/Fall 2009 » Trend 69

2009 46


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


Trend » Spring/Summer 2011





TREND Summer 2013

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


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.



Summer 2013 TREND 143




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




516 ARTS/Axle Contemporary’s mobile photo studio for their Heart of the City exhibition, parked in front of architect Bart Prince’s home.



n this issue, we proudly preview our new magazine, Albuquerque Trend, which will debut in Spring 2015. We’re excited to initiate coverage of this free-spirited city, whose exuberant arts scene boasts a distinctly multicultural flavor. Its recent revival has been spearheaded by young artists, who collaborate in music and theater, on colorful murals citywide, and at venues like 516 ARTS, Warehouse 508, and UNM. These words and images begin our exploration of central New Mexico’s creative renaissance.

We Make New Mexico’s Cabinetry and Furniture

Ernest Thompson Furniture & Cabinet Company • Albuquerque and Santa Fe Showrooms • 505 - 344 - 1994 4531 Osuna NE, Albuquerque • 1512 Pacheco St., Santa Fe

When you make a reservation at Heritage Hotels & Resorts, you make a difference.

W hen you stay in any of our one-of-a-kind properties, you’ll encounter a distinctive story that celebrates New Mexico’s rich, multi-cultural legacy. It’s why you visit. It’s why you keep coming back. at’s why we donate a portion of every room night to culturally and artistically signi�cant endeavors. is way, our inspiring traditions will always be here to enchant new visitors. And old friends. Photo by Jeff Caven: Woodcarver Luis Barela, grandson of “The Picasso of the West” Patrocinio Barela

Hotel St. Francis ❖ Hotel Chimayó de Santa Fe ❖ Lodge at Santa Fe Hotel Albuquerque at Old Town ❖ Nativo Lodge Hotel Encanto de Las Cruces Palacio de Marquesa Taos ❖ 1-877-901-ROOM (7666) —



Albuquerque’s youthful entrepreneurs spearhead a high-energy contemporary arts scene BY CHRISTOPHER J. JOHNSON


lbuquerque isn’t Santa Fe and it isn’t Taos. While it shares the same tricultural history, the same agricultural roots, it has also grown into a major urban area with a vibrant student life and the feel of the city as a living, breathing organism. That same urban beat also drives its art scene, one fueled by youthful energy and defined by dynamic, pop-culturally savvy key players who push the boundaries of the medium and the message. Recently, 516 ARTS, an Albuquerque gallery and education center on Central Avenue downtown, has perhaps done more for promoting the arts in the city than any other nonprofit. While showing international, national, and local artists, 516 drew attention by bringing the ISEA2012 “Machine Wilderness” symposium to Albuquerque. Focusing on water, habitat, and how technology and the environment can beneficially coexist, the symposium was conceived by the Dutch organization ISEA International, which fosters interdisciplinary academic discourse and exchange among individuals and organizations working in art, science, and technology, and sponsors yearly symposia to address the most compelling issues in these fields. 8


Clockwise from top left: Fred Paulino, Paulo Henrique Ganso, and Lucas Mafra, Gambiocycle (2012), at ISEA2012 “Machine Wilderness”; a portion of a mural for the Los Altos Skatepark Restoration and Beautification Project; Digital Latin America contributor Jessica Pizana Roberts’s Rosarita (2012); Albuquerque-based Tricklock Company’s Revolutions International Theatre Festival.



Above left (L to R): Nathan Young, Raven Chacon, Cristóbal Martínez, and Kade L. Twist form the art collective Postcommodity, pictured here at the U.S./Mexico border. Above right: Repellent Eye (Winnipeg) (2011). This helium-inflated vinyl and acrylic paint sphere memorializes the history of competing interests for resources and land management between Manitoba Hydro and the local indigenous peoples. Below left: Mother, Teacher, Destroyer (2011), four-channel video with sound and mixedmedia sculpture (wood, deer hide and antler, boar bladder, found materials) Below right: Postcommodity’s critique on computational simulation models and their social uses, Games Remains: Golden Horseshoe (Guelph) (2013) is a socially engaged collaboration and music performance.


“Albuquerque certainly is an attractive spot for events like ISEA on many levels,” says 516 ARTS executive director Suzanne Sbarge, citing intense, grassroots efforts as key to the symposium’s success. “We were able to make that massive endeavor work because we are flexible, agile, nonbureaucratic, and willing to reinvent ourselves and venture into unknown territory. Albuquerque as a city doesn’t have a system for doing what we did because it was an experiment organized by artists.” The nonprofit used that experience to develop this year’s companion project, Digital Latin America, which grew out of the ISEA2012 Latin American Forum. The multisite exhibition opened June 7 with a weekend symposium and block party, and features community programs throughout the summer. 516 also facilitates collaborative relationships between national and local artists. One recent exhibit, Heart of the City, teamed San Francisco–based muralist Aaron Noble and the young artists of Albuquerque’s Warehouse 508. Together they created Quantum Bridge, a permanent, 180-foot mural painted on the side of Warehouse’s First Street NW building. “Cross-disciplinary art is more and more common, due to technological advances and artists who work in a variety of different media to express their ideas,” says Sbarge. “Overall,



Warehouse 508’s Quantum Bridge mural participants. Left to right: Rhiannon Mercer, Claude Smith, Teresa Buscemi, Suzanne Sbarge, Brendan Picker, Sherri Brueggemann, Dan Fuller, Aaron Noble. Below: Jessica Angel’s Hemispherical Immersion (2013), on view at 516 ARTS in Digital Latin America, June 7–August 30, 2014.

I think contemporary art is becoming less insular and more open, and I believe our arts community in Albuquerque reflects that shift. More and more artists and organizations in Albuquerque are finding that success comes from collaboration, especially when resources are scarce.” For instance, the availability of relatively affordable commercial property has allowed individuals and nonprofits to establish a variety of collaborative and DIY art spaces downtown. Venues like The Tan, Small Engine Gallery, and Spirit Abuse offer a wide range of music shows, gallery openings, performances, and community-based arts projects. Free and open-forum, these centrally located venues welcome artists, musicians, and performers of all kinds, ultimately strengthening and expanding the arts community not only in Albuquerque, but throughout the entire Southwest. Often run by artists themselves, these spaces tend to be more flexible in their programming, allowing for the experimental



and emerging arts to find a place in the community. Kade L. Twist and Raven Chacon co-run Spirit Abuse, a year-old performance venue located at Fourth and Mountain that welcomes international, national, and local artists to show work, play music, give lectures, and perform a wide range of other arts. Since the majority of their bookings are music-based, Chacon and Twist have created an active community of followers that comes out to bolster the other artists as well. “It’s a community of people that supports one another,” says Twist of this emerging downtown art scene. “There’s collaboration and respect between venues. Everything is happening in Albuquerque in an impressive way. It inspires optimism.” Twist and Chacon also work together in the Native American artist collective Postcommodity. Twist, a member of Oklahoma’s Cherokee Nation, is a writer and multidisciplinary artist. He sees the rise of video art as one of the more exciting developments in the field. His work has shown at the Art Gallery of Ontario, the Smithsonian’s National Museum of the American Indian, and the Arizona State University Art Museum. Dividing his time between Santa Fe and Albuquerque, he frequents both cities’ art scenes. A well-respected composer of chamber and noise music (nonmusical noise used in a musical way), Chacon studied with American composer Morton Subotnick, who wrote Silver Apples of the Moon, a seminal work of rhythmic electronic music. Chacon has shown his artwork and played music extensively, both solo and with the Postcommodity collective. In 2012 he was awarded a grant from Creative Capital, a New York–based granting committee founded to offset the cutbacks in National Endowment for the Arts funding. Twist and Chacon have also enlisted fellow Postcommodity members Cristóbal Martínez and Nathan Young to implement large-scale arts projects that examine how Native American cultures and traditions impact contemporary life. Their work




Guest lead artist Aaron Noble created the Quantum Bridge mural with artists from Warehouse 508, including Noah de St. Croix and Faustino Villa. Below: a downtown art walk showcases the city’s public art.



frequently incorporates sound, video, and three-dimensional installation. Repellent Fence, their fall 2014 exhibit that will run along the U.S./Mexico border, features a series of “scare balloons”—owl-faced balloons meant to frighten off garden pests and birds. The installation draws attention to the often arbitrary and exclusionist nature of borders in an increasingly global community. Albuquerque, Twist believes, is poised to support a venue similar to SITE Santa Fe or the Center for Contemporary Arts (CCA). “Albuquerque needs places like that, with leadership within the contemporary art scene—intellectual and curatorial leadership.” He thinks UNM could become a SITE or CCA for Albuquerque. “It has the freedom and it has great shows.” Located in the heart of Albuquerque, UNM has a long and rich history of creative writing, dance, theater, and studio arts programs—and of support for cutting-edge cultural initiatives like Bill Gilbert’s Land Arts of the American West project. Land art, also known as Earth art, is a practice in which artists incorporate the natural landscape and/or

Land Arts of the American West installations: Amelia Zaraftis’s and Emily Vosburgh’s Solving salinity one sweep at a time (2012) in Utah’s Bonneville Salt Flats (above) and Jennifer Garlick’s Mirrors (2005), Gila Wilderness (top)



elements of that landscape into their work. A distinguished artist and 2004 LannanEndowed Chair, Gilbert has been active at UNM since 1988, when he became an Art and Art History professor. He has directed UNM’s Land Arts program since 2000, overseeing installations at sites like Chaco Canyon, Hoover Dam, the Grand Canyon, and the Gila Wilderness. The program currently focuses on sustainability, specifically food production and water use in the Southwest. Albuquerque also supports a number of school-based and extracurricular activities for the city’s youth. The Albuquerque Museum’s Lead With the Arts program invites artists to work with high school students to create a museum exhibition, allowing teens the chance to show their work in a professional environment, alongside renowned local and regional artists. The program not only provides students with important instruction, like how to prepare their work for a gallery, but also supplies resources ranging from paints and brushes to fiber-optic cable and speakers for sound installations. Nonprofit community center Warehouse 508 also offers youths the tools, platforms, and instructors that foster their artistic interests. It then incorporates the resulting artwork into larger, community-wide projects. Noah Kessler de St. Croix played a crucial role in developing the center’s programming in 2013, when he implemented creative workshops covering everything from digital arts and Web design to DJ-ing and live performance. In addition, St. Croix helped create such large-scale events as last year’s Ground Up, which included emcees, DJs, live music, belly dancers, a skateboarding competition, and all-ages arts projects. With such happenings, St. Croix considerably raised the level of youth attendance at 508 in a brief time span. St. Croix, who worked on the Quantum Bridge mural with Aaron Noble, is a passionate and active advocate for the arts in Albuquerque. “Albuquerque isn’t just cops and Breaking Bad,” he says. “It is the melting pot of New Mexico. It’s got diversity,



energy, and youth. It’s always moving forward. There’s an energy that a lot of the time isn’t met. We need outreach in the schools, opportunities for the conversation to open up.” He also believes Albuquerque is an important nexus for emerging street artists. “You would say that graffiti borders on vandalism, but a lot of the time it’s just people needing to express themselves, to transform the ugly aspects of their neighborhood.” Murals and street art, he says, are outlets for a community’s suppressed artistic impetus, a way to give voice to what once was silent or marginalized. “Albuquerque has an incredible mural scene . . . so I think that something amazing is working to shift our perception of these young adults as outlaws and empowering them as professional street artists and muralists.” But tangible support for arts programming here is harder to come by than in Santa Fe or Taos. “There needs to be more recognition and support for the arts and artists in Albuquerque,” says Sbarge, “but we don’t necessarily have to have a masterfully planned, top-heavy infrastructure for it. I think smart, selective support from government and business leaders could go a long way in nurturing the resources we currently have.” And, she points out, collaboration among New Mexico’s art centers is vital. “Santa Fe and Taos have rich sales markets and also pipelines to money and talent from other cities, but these overwhelming resources can do just that: overwhelm the development of artists and an art scene. I do believe that the more we work together among communities in New Mexico, the better off we will all be, both culturally and economically. Focusing on the differences among these three cities reinforces our separateness, when we’re all part of the state’s arts industry in a remote location, far from the major art centers in other parts of the country. When we work together, we put New Mexico on the map and make a bigger impact than any of these cities can do individually.” R


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zealous yes E An Albuquerque gallerist and collector sees beauty in the unexpected



clectic, edgy, and experimental, Richard Levy’s art collection represents the bounty of an eversearching mind. “There’s not really a thread,” he says. “I’m the thread.” Levy has assembled a private collection as diverse and striking as the cutting-edge local and international work he has represented at his Albuquerque gallery since 1991. “Whether it’s the most sophisticated contemporary art, Outsider imagery, or Pop Art, Richard’s taste is always on target,” says Joe Traugott, curator of the New Mexico Museum of Art from 1996 to 2013. Levy applies the same instincts to his personal collection, which ranges from the conceptual work of Ed Ruscha and Louise Bourgeois to the lesser-known brilliance of oil painter Maureen Gallace and the transformation of everyday objects in a Robert Therrien drawing. Absent a typology—Levy is equally passionate about baseball and crafting hooked rugs—his predilections have made for a compelling look at contemporary art and Americana for decades.


Francisco State University, but when he learned he was not allowed to take a photography class there, he went sleuthing for other options. With a few Beat poets in its English department, UNM shot to the top of his list, and in 1970 Levy transferred. He soon took up art history and landed in a class taught by Beaumont Newhall, who wrote the seminal The History of Photography and curated the first photographic retrospective at New York’s Museum of Modern Art in 1937. “He would read us letters from Paul Strand and Alfred Stieglitz, and talk about them personally. He would cry during class, he was so passionate about it,” recalls Levy. “I felt like he knew more about the history of photography than anyone on the planet.” Little did Levy know that he had found not only a home but also his vocation. Without a car, he walked the city to find an apartment, then furnished it with items from the now defunct 4th Street flea market. At one point he held a garage sale featuring his finds. It didn’t take him long to realize he could spend $50 and make $100 back. Gathering objects that were still inexpensive, he developed a sense for the Mexican scarf, Hopi basket, or Art Deco silver brooch that, when put in a Photographer Isa Leshko and Richard Levy at her Elderly Animals exhibition, Miami Art Project, 2013. The Richard Levy Gallery new aesthetic context, would sell for exhibited photographs from the series that same year as well. Opposite: Richard Levy was converted to a full-time art collecfour to six times what he’d paid. By tor when he saw Sarah Moon’s 1997 photograph Mode #2 (Yohji Yamamoto) at Art Chicago. the time he graduated in 1973, Levy was ready to open an antiques store. A youth during the 1960s, Levy’s entrée into the world of objects He named it The Silver Sunbeam, after a photography manual. as art began when he was ten. Combing Los Angeles–area flea Levy started out with oak furniture and cultural artifacts, but markets with his grandfather, he would marvel at engine parts, his growing sense of how fast photography was changing led to his chains, and “funky wooden stuff.” His parents would take him buying cyanotypes and Western American survey photographs, and his siblings along to galleries, where they purchased Abstract items soon coveted and purchased by the UNM Museum. He went Expressionist art. They also brought their kids to the peace through a stereoview period, fascinated with the 3-D glimpses of marches streaming through San Francisco, and a teenaged Levy mid-19th-century life, and gathered cartes de visite (CDVs), cabinet once heard Lawrence Ferlinghetti read at City Lights Bookstore. cards, tintypes, and daguerreotypes. He’d search through stacks of His lifetime affair with photography—as a collector and talented photographic exaggerations (early photographers’ attempts at rustic hobbyist—was born during his studies at the University of New humor) until he found what he was after: “Giant ears of corn on a train, a big pumpkin weighing down a truck, that kind of stuff.” > Mexico (UNM). Levy had started out as an English major at San




Photography features predominantly in Levy’s personal collection as well as in his gallery. Siri Kaur’s photograph of a cruiserweight wrestler struck him instantly, and he discovered Natsumi Hayashi through her blog (for Levy, the Internet is the new flea market). Top: Siri Kaur, Kristie from the Cruiserweight collection. Below: Natsumi Hayashi, Today’s Levitation 5/23/2011, Lambda print. 18



Though Levy’s interests zigzagged, they always embraced the fundamentals of good design and abstract aesthetics, focused on colors, patterns, and balance. Early on, he became interested in quilts for their graphics, so he bought pieces from a woman he tracked down in Arizona who collected for the same reason. Levy also saw history everywhere. He took apart and sold separately the pages from graphic novels by Frans Masereel and other popular early-20th-century artists. “I knew these sorts of things were not going to last,” he says. Among the ephemera were advertising posters and limited-edition Warhol and Lichtenstein prints, now worth thousands. Customers snapped up his selections. Soon he went through a spell of postcard-collecting that earned him the nickname “Ricky Postcardo.” Linen versions that first appeared in 1929 struck a chord, and when color Xerox came out in the 1970s and artists began making postcards, he jumped on the trend. “We sold those cards for $5 each, which was a fortune then,” he says. “People brought in sample sets, and I saved every one. I knew that moment wasn’t going to last long, and I knew I was right in the middle of it.” He now has hundreds of thousands of postcards organized by location—a curious asset for a museum someday. While Levy was busy finding these treasures, Dana Asbury, his future wife, found him when she wandered into The Silver Sunbeam. An MFA student in photography at UNM, she was seeking particular postcards of


Top: Levy and Asbury’s dining room, with chairs designed by Ettore Sottsass. Jane Abrams’s oil painting Flood in the Orchard hangs at left, while the adjacent wall displays Ken Aptekar’s Where’d You Get That Red Hair?, oil on wood with sandblasted glass. Right: Levy and Asbury’s formerly Pueblo-style home has been remodeled several times: when the couple first bought it in 1983; in 1990, when architect Garrett Smith redid the dining room, kitchen, and bedrooms; and again in 2003, when architect Jon Anderson renovated the outside, living room, and Asbury’s study.




Levy in the study of his Albuquerque home with the first baseball mitt he ever owned. A devoted fan of America’s favorite pastime, Levy commemorated an Isotopes’ championship in one of his hooked rugs. Top: Levy was first drawn to Ed Ruscha’s work as a child growing up in California. Today, Ruscha’s number 31 of the O series, titled O (Thrift Store Paintings), acrylic on book cover, hangs in his home’s hallway. 20


Levy partnered in the project. The press published such well-known lithographers as James Casebere, Lorna Simpson, and David Levinthal. “The waterless lithograph prints are fast and gorgeous, with qualities that normal stone lithographs don’t have,” says Levy. With 21 Steps, he published a Lorna Simpson portfolio, Wigs: An Installation of Prints on Felt, and it was this sort of cutting-edge lithograph printing that got him accepted into the renowned contemporary exhibition Art Chicago and had collectors looking his way. By his third year at Art Chicago, Levy had begun collecting in earnest, starting with a print by former Vogue photographer Sarah Moon. He asked if he could pay for it, along with a Maurizio Pellegrin piece, over time. At about $4,000 per image, it was the most he’d ever spent on art. The former flea market aficionado now searches online for talent: eBay, Instagram, Pinterest, collect.give—it could be lurking anywhere. While he shows artists’ work nonexclusively, often connecting them with national galleries afterward, he also browses through blogs, following a trail only he can see. That’s how he stumbled across Natsumi Hayashi, the Japanese photographer who posted portraits of herself floating mid-air amid everyday scenes in Tokyo. Captivated by her blog photo project, “Today’s


movie stars. “I knew I didn’t have them,” laughs Levy, “but I kept her there for a while.” Soon Asbury, who went on to work as an editor at UNM Press for many years, started spending more time with Levy. “At one point we learned how to make rubber stamps,” he recalls. “We’d get old catalogs with funny ’40s graphics and use them for cool designs.” The couple was dubbed “Ricky and Lucy Rubber Stamps,” a step up from Ricky Postcardo. After 15 years, Levy closed the antiques store, and in 1991 opened the Richard Levy Gallery. He also teamed up with Jeffrey Ryan of the Tamarind Institute to publish lithographs under the name 21 Steps Editions. Ryan had perfected a waterless lithographic process, and


The Richard Levy Gallery regularly connects Albuquerque to the international art arena by making appearances at such notable events as Art Basel Miami Beach, the Frieze Art Fair, and the Armory Show. Pictured here is the gallery’s booth at Miami Project 2013, featuring work of (from left to right) William Betts, Joe Baldessari, Alex Katz, Manjari Sharma (two pieces), and John Chervinsky.

Levitation,” Levy hustled to track down her Tokyo gallery, from which he ultimately purchased an assortment of Hayashi photographs. After exhibiting them in 2013, he took them along to an art fair, where buyers pounced on them. “Every collector, every dealer, we’re all looking for those gems,” he says. One of his is Garden Pond Centre, an oil painting by Mairead O’hEocha that he discovered while travelling in Wales. Levy wandered into an underground, “cavelike” gallery featuring unframed paintings and saw one he had to have. He now owns three. Since then, O’hEocha’s work has raised interest on the international market, pricing it out of even Levy’s range. Garden Pond Centre hangs in his gallery office, where he looks at it daily. “It’s about her colors and brush strokes,” says Levy. “I love it.” He feels the same way about Alex Gross, the Los Angeles artist who paints characters like the Tin Man and Cowardly Lion over portrait cabinet cards to conceal the Victorian faces. These join the assortment of paintings and photographs and an array of advertising figurines and kiddush cups in his office. Levy splits his personal collection between Albuquerque and his home in Biddeford Pool, Maine, a two-mile stretch of coastal bliss. Having married into a family summer home, he vacationed in Biddeford as just another of the “summer folk,” until one night at a friends’ house, he spied a hooked rug featuring an image of the same teddy bear his daughter had. Intrigued, Levy decided to learn how to hook, and soon captured local scenes with folksy accuracy. Postcards of his rugs began selling at the grocery, and Levy was let in on a secret: A lifelong Biddeford resident looked through the cards, turned one over, and exclaimed, “That’s Richard Levy? Our Richard Levy?!” Sometimes a hooked rug earns you respect. Inside the North Campus Albuquerque residence that Levy and Asbury built before they married in 1984, high ceilings and white walls emphasize its grand mixture of photography, conceptual multimedia art, and Abstract Expressionism. But it is Levy’s room within the rooms that reveals the most about his taste. In his study, treasures that might strike the amateur eye as mere paraphernalia fill the scene. “I like a handmade Polish cup as much as I like Reverend B.F. Perkins,” he says, pointing to an Outsider Art flag painting. “I collect to my aesthetic. I’m not filling in the blanks.” Objects represent various pop cultural moments of the 20th century. There are advertising figures such as Speedy Alka-Seltzer, the Rice Krispies elves, and Cap’n Crunch. Metal umpire masks adorn the walls, and across the room, triple hands emerge from an odd old washing machine spinner to advertise a gentle, handlike wash. “I like some of these things for the same reason,” explains Levy. “They’re everyday objects, beautiful in their own warped way.” R





Universal Language Textile artist Nancy Kozikowski weaves a visual vocabulary of texture, pattern, and color




Kozikowski with her hand-dyed wool tapestry Long Feng (Chinese for “dragon and phoenix”), a deconstruction of the symbols found on a 2,200-year-old Han Dynasty tomb

after a few steps, turn it into yarn as it ran through your hands,” she says. “My imagination and passion for art was triggered by working directly with raw materials and turning them into something beautiful that had meaning.” Kozikowski’s attraction to Native art forms wasn’t random; her grandfather had been taking her to lunch at Fred Harvey’s Alvarado Hotel in Albuquerque since she was a little girl, and they often spent time viewing the hotel’s display of Indian arts. “I grew up loving those baskets, weavings, sculpture, and pottery, while always wondering how the abstract symbols for birds, lightning bolts, and all the rest of their motifs came into being.” She also discovered a Navajo loom and drew pictures of it in order to build one for herself. >


ou could say that Nancy Kozikowski’s journey from starry-eyed teen to internationally renowned multimedia artist started with kisses. Thirteen of them, in fact, bestowed on the 13-year-old Kozikowski’s cheek over the course of two post-show encounters with Elvis Presley, when he played Albuquerque and Las Vegas, Nevada, in 1956. “They were sweet kisses on the cheek, nothing over the top,” she has said of the meetings. “Elvis was giving out autographs, and the kisses were totally appropriate for the situation.”  Certainly, the Elvis kisses were a teenage girl’s fantasy come true. And if the King of Rock and Roll wasn’t directly responsible for her decision that same year to become a professional artist, he did inspire her first foray into showmanship two years later, when Kozikowski found herself impersonating him in front of her Albuquerque public school assembly. “I was thrilled that I could become Elvis convincingly enough, with costume, hair, and makeup, to get the girls in the audience to scream.” It turns out she had something else in common with her rock-and-roll idol: the ability to churn up controversy. “That same year one of the teachers confiscated my drawing tablet because I wasn’t paying attention,” Kozikowski recalls. “When she saw that I was drawing nudes along with everything else, I became a cause célèbre, in a negative way, and they tossed me out of school.”  Rather than punishing her for misbehaving, Kozikowski’s parents, architectural designer/builder Bruce Hebenstreit and watercolorist Ann Hebenstreit, arranged for University of New Mexico art professor John Tatschl to tutor their daughter in the fine arts. She was further provided with a private studio at school, as well as heartfelt support and encouragement from her favorite art teacher, Kay Simms. When she was 15, in another serendipitous coincidence, she met a Navajo weaver while waiting for a bus in Albuquerque, a meeting that sparked what would become the method and meaning of her primary artistic pursuit: the exploration of universal symbolic imagery through tapestry. The teenager’s open curiosity and pleas for more information about the weaver’s craft led the Navajo woman, who worked at a nearby trading post, to teach Kozikowski how to spin yarn.  “I thought it was a miracle that you could take raw wool and,


Butterfly (above left) and Sandia Tile (top) reflect the artist’s longtime fascination with Native American and Chinese symbols. Fire and Ice (above right) was woven in the shape of a robe, with interior silk embroidery. Featuring Chinese and Tibetan symbols for fire and ice, it is Kozikowski’s commentary on humankind’s impact on the environment.




As she was learning how to weave, Kozikowski studied the basics of drawing, painting, sculpture, and design with Tatschl. She also learned how to make furniture, pottery, and sculpture, and how to draw and paint at a high level. Over objections from Tatschl, a strict taskmaster, Kozikowski had her first solo show, comprising paintings, drawings, pottery, hook rugs, and a few sculptures, at the Albuquerque High School library in 1960 at the age of 17. While still in high school, she also met her first husband, writer and performing artist Janusz Kozikowski, a Polish Holocaust refugee studying at UNM. They married following his 1961 graduation and had four children over the next decade. When Janusz lost his teaching job, they began weaving together and eventually opened a full-time studio in Medanales, New Mexico, just south of Abiquiu.  By 1979 their weavings were so widely recognized that the Polish government invited the couple to exhibit in Warsaw. Nancy’s tapestry Black Madonna of Czestochowa was presented as a gift to Pope John Paul II and is now part of the Vatican’s collection.  In 1982 Governor Bruce King honored the couple with the Governor’s Award for Excellence in the Arts for their contribution to the art of weaving in New Mexico. After 26 years of marriage and a staggering number of well-received exhibitions, they divorced in 1987. Throughout the years, Kozikowski’s ongoing research into the origins of visual symbolism has taken her around the world.  In 2000 she developed an interest in the arts of Asia when she and three other New Mexico weavers visited Beijing as participants in the first From Lausanne to Beijing international exhibition of fiber artists. The foursome traveled throughout China visiting indigenous weavers, among them the Li and Miao people, whose intricate designs are profoundly difficult to execute.  “Their designs are so complex, it takes many, many generations or many hundreds of years to be able to do this work, to work out all those complicated techniques. I can’t even imagine doing them myself,” Kozikowski says.  After that first journey to China, Kozikowski emerged as a spokesperson for Southwestern American weaving, an avocation that led her to teach and curate at many of China’s major universities. “It was chaotic at first, with translation being a major issue,” she says. “We finally developed PowerPoint presentations with the Chinese-language version appearing at the bottom of the screen. From then on, it’s been pretty much fun.” What Kozikowski discovered in China were the parallels among the designs, symbols, and motifs of Spanish, Near Eastern, and Southwestern Native American weaving traditions. Upon further research, she learned that many of the basic forms and symbols had traveled from ancient Persia to Moorish-occupied Spain to the New World, as well as to China via the spice and silk trade routes.  The results of her integrated research fill Kozikowski’s Albuquerque studio, in the 14th Street complex that houses DSG Fine Art and her adobe home. The high-ceilinged studio has a long, horizontal, northeast-facing window; a spinning wheel and loom; lots of tabletop areas for layout; and low shelves all 26


around. Drawings and photos of Kozikowski’s work cover the south wall, along with a poster reproduction of a Paul Klee piece that echoes the symbolism she pursues. Sometimes she is joined in the studio by her son David, a recognized weaver who creates Surrealist interdimensional imagery within a traditional tapestry format. In the silk weaving Blue Ruyi, Kozikowski merges cloud imagery from Chinese, American Indian, and Hispanic sources into a pancultural presentation of spirals and squares. Another piece, Tile, boasts a bold, cartoonlike design filled with luscious colors. The work is a woven prototype for her series of Pueblo arts–inspired designs. Many of Kozikowski’s compositions include intertwining spiral and serpentine forms, with which she emblemizes the DNA double helix. The helix binds and bridges art, biology, and culture, she says.  In Endless Time, Kozikowski deconstructs a complex Chinese interlocking pattern she once discovered on an antique coffin; 38 hues of red emulate the peeling layers of lacquer on the original burial chamber.  The entwined serpentine patterns, animal figures, and plant forms were extracted and individualized from the coffin’s high-density, seemingly abstract patterns.  Kozikowski continues to work in a variety of other media as well, adding silk embroidery, painting, and drawing to her growing body of work. The unifying thread among all her creations is her love of universal symbolism. She deconstructs Chinese motifs with the combined passion and dedication of an artist/scientist. This intensely visual and intellectual learning process has made her a stronger, more articulate artist. “What I was shocked to discover is that we all speak the universal visual language of weaving, no matter which culture or spoken language base we find ourselves in,” she says. “I learn something new every day, and whether I’m in China or my Albuquerque studio, I’m able to process and act upon that new information. I am a contemporary artist exploring subconscious language. I have chosen weaving as my main medium because it is culturally universal and ancient. My real love is to explore subconscious communication through art and time.” The frequency of her visits to China led Kozikowski and her current husband, noted gallery owner and artist’s agent John Cacciatore, to purchase an apartment there. For more than ten years now, she has divided her time between the small arts village of Songzhuang, on the outskirts of Beijing, and her studio just west of downtown Albuquerque. “Creativity is the key. The more I explore the nature of raw materials and their transformation into the symbolic language of art, the more questions are raised about the nature and evolution of communication,” Kozikowski says. “The commitment I made 55 years ago to be an artist has opened the world to me in ways I never could have imagined. I am more excited by the wonder of it all every time I work at the loom.” R Kozikowski’s work can be seen at DSG Fine Art, Albuquerque,, 505-266-7751.



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Vintage Albuquerque is a 501c3 not-for-profit organization dedicated to raising funds, and awareness for arts education programs that serve New Mexican children. 2014 beneficiaries are: Albuquerque Museum Foundation, Albuquerque Youth Symphony, NDI-New Mexico and Art in the School.



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bird’s-eye view of Albuquerque reveals a city that is quintessentially Sunbelt. It sprawls rather than rises, its confines pushing against the desert at three of its edges, halted at its fourth by a 10,000foot mountain. Its growth is less a battle between Mother Nature and human will than a carefully choreographed duet—there is no Albuquerque without its wild places or its concrete and steel. Above looms a sky so vast that it dwarfs even the tallest of buildings. Below courses a bosque-lined river, whose banks founding families still farm, managing the life-giving water through an age-old system of communal irrigation. Two interstates, arteries transporting the lifeblood of the state, also snake their way through the city, meeting at a juncture famous enough to have earned it a nickname, “the Big I.” The largest city in New Mexico, Albuquerque boasts a history both ancient and Atomic Age, balancing cultural preservation with progressive revitalization. Industry, commerce, art, and culture thrive, from the shops of historic Old Town to the high-rises of downtown, the boutique businesses that line Central Avenue to the entrepreneurial start-ups of midtown. Here, the photos of renowned photographer and Albuquerque resident Robert Reck present a city that embodies the spirit of the modern American West—respectful of the past, mindful of the present, and ever-optimistic about the future.



When it was originally built in 1966, Albuquerque’s Big I interchange, where Interstates 25 and 40 cross, was designed to move 60,000 vehicles a day. By the year 2000, that number had climbed to 300,000, and bottlenecks during peak commuter times were increasing. Renovating that exchange was New Mexico’s largest public works project to date. Two years and 660 million pounds of concrete later, the new Big I stood as a model of civil engineering and urban planning, a project that came in on time and budget.

Q Opposite: The core of the “Big I” juncture comprises eight flyover bridges designed to move traffic efficiently and safely in all four directions. Made from 650 pre-cast concrete segments weighing 80 tons each, the flyovers are beautiful and functional, arching elegantly over the heart of the city. To landscape both interstates’ medians, local landscape architectural firm Morrow, Reardon, Wilkinson, Miller, Ltd. utilized xeriscaping and hearty native plantings to complement the sky-blue and earth-tone colors used on the flyovers and sound-barrier walls.



Q Situated at the northern edge of Albuquerque in the shadow of the majestic Sandia Mountains, Sandia Resort and Casino is the vision of progressive tribal leadership, who sought to offer visitors to the Albuquerque area a world-class destination resort experience. Designed by internationally renowned architectural firm Leo A. Daly as a modern interpretation of classic Pueblo-style architecture, it features a 228-room hotel, 18-hole championship golf course, full-service spa, Las Vegas–style casino, outdoor amphitheater, and a half-dozen eateries, including the acclaimed fine-dining venue Bien Shur.



The University of New Mexico is home to one of the best medical facilities in the region, including a top-notch cancer treatment center. In 2007 it expanded its services with the opening of the Barbara and Bill Richardson Pavilion, a six-story, 500,000-squarefoot facility that houses a full-service trauma center and New Mexico’s only dedicated children’s hospital. Named after the former governor and first lady and designed by Studio Southwest Architects, the BBRP provides services to nearly 60,000 children with a maternity center, pediatric emergency center, newborn intensive care unit,





As one of the largest postsecondary educational institutions in the state, the University of New Mexico encompasses more than 600 acres in the heart of Albuquerque and currently serves nearly 35,000 students at branches statewide. It also has one of the Southwest’s most distinctive campuses, with buildings that date back to its 1889 founding. As the campus has grown, so too has its architecture, which ranges from traditional Southwestern Pueblo Revival and Territorial styles, including several buildings by John Gaw Meem, to modern structures by such notable architects as Antoine Predock, who designed George

Q Pearl Hall (opposite) to house the School of Architecture and Planning. The structure’s design reflects Predock’s mission to inspire and teach students about the potential of architecture, while illustrating traditional Southwestern relationships between buildings and their environment. Top: Opened in 2011 on a five-acre lot next to The Pit on South Campus, Lobo Village offers UNM students affordable on-campus apartment living with a variety of amenities. It earned a LEED certification for its sustainable building practices as well as its water and energy efficiency, indoor air quality, and sensitivity to the local ecosystem.



Q FBT Architects’s instructional facility at Central New Mexico Community College’s (CNM) Montoya Campus offers students a beautiful and light-filled space in which to pursue their academic goals. As the largest community college in New Mexico, CNM serves more than 30,000 students with associate degree programs, training, and certification in six disciplines at five campuses throughout the Albuquerque metro area. Located in the Northeast Heights, the Montoya Campus is noted for its comprehensive art studio and state-of-the-art chemistry lab.



FBT Architects also designed the Ventana Ranch Elementary School, which serves the Ventana Ranch master-planned community in Albuquerque’s far northwest quadrant. The subdivision epitomizes the best of suburban living, with extensive walking and biking paths, a community center, a swimming pool, tennis courts, and a 17-acre park maintained by the City of Albuquerque.



Q What home becomes an architect most? Usually the one he designs himself. Shown here and opposite is the home of architect Mark Rohde, a principal in Albuquerque’s RMKM Architecture, which provides architectural, planning, and interior design services to educational, healthcare, museum, high-technology, and public clients.



As large as it is, Albuquerque is nonetheless a city of neighborhoods. Foothills and Northeast Heights. University and Downtown. South Valley and North. As a result, it boasts a mix of architectural styles that reflect the history, economy, and needs of its neighborhoods, from Pueblo style to Victorian, 1950s ranch to modern-day sleek.



Q The building that now houses Hotel Parq Central has a storied history, proving that when it comes to neighborhood revitalization, everything old can be new again. Located on Central Avenue in the city’s East Downtown, or EDo, neighborhood, the stately Italianate structure was built in 1926. It served as a hospital for the workers of Atchison, Topeka & Santa Fe Railway, many of whom also built the homes that dot the surrounding residential neighborhoods, known collectively as the Huning Highland Historic District.



In 2010 the building opened as a boutique hotel, whose owners had worked with the city’s historic preservationist planners as well as neighborhood association members to preserve the original structure as much as possible. The façade and layout remain virtually unchanged, while the interiors, designed by Heather Van Luchene of HVL Interiors in Santa Fe, retain the spirit of 1920s and 1930s design.





Opposite: The 1922 building that originally housed the First National Bank at Third Street and Central Avenue downtown was once the tallest in the city. Today this National Register of Historic Places landmark along Route 66 enjoys another “first,” as a luxury high-rise apartment complex, with office and live/work space available as well. Top: The Banque Lofts (the name is a play on “bank” and “Burque”) maintains the building’s original Renaissance Revival exterior, while its interiors,

Q designed locally by the Moses Design Group and Rekow Designs, are decidedly modern and glamorous. The building also features private parking, secure entry, and an 8,000-square-foot rooftop terrace with 360-degree views. Offering the best in downtown living, with easy access to restaurant, shops, boutiques, and galleries, it is no surprise that the Banque has also been a favorite rental with visitors, including movie industry members in town to shoot.



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The Spice of Life

ow many American Top local chefs add their favorite flavors to fruits, and/or vegetables, with restaurants can trace an emphasis on their favorite New Mexico’s bounty of fresh ingredients spice or herb. Joining the chefs their roots back to 1731? That’s the first were farmers Tom and Mary date documented for General Don Diego de Vargas’s Dixon, of Green Tractor Farm in La Cienega, and son-inland grant to the Sena family of what’s still known law Ned Conwell, who supplied fresh organic produce today as Sena Plaza. More than a century later, in 1864, a for the dinner. descendant, Major José Sena, constructed the first adobe Chris Milligan, noted mixologist and manager of home on the inherited land. Throughout its rich history, Hotel St. Francis’s Secreto Lounge, started the event with this plaza and its structures have served variously as a family one of his inventive cocktails, a Thai basil gimlet. For this residence complete with ballroom, the home of the state legislature, verdant concoction, Milligan infused a lime cordial and muddled a tearoom, and office space for the Manhattan Project. It resumed basil with Wheeler’s gin, locally distilled at Santa Fe Spirits. its role in hospitality in the early 1980s, when art dealer Gerald Named after the adventurer and cartographer George Wheeler, Peters acquired the historic home and debuted the restaurant we who explored New Mexico’s tallest peak, Wheeler’s embellishes now know as La Casa Sena. the traditional juniper-based liquor with osha root and hops Given that many thousands of meals have been served at this site f lowers to create a striking and truly local f lavor. Milligan further over the past four centuries, it was an especially fitting venue for distinguishes the drink with a dash of The Bitter End Thai one of Trend’s community meals, for which we invite a collection of bitters, produced by Santa Fe’s mad alchemist and entrepreneur respected local chefs to prepare a home-style, potluck dinner. Our Bill York. York’s quest is to amplify the f lavor spectrum of bitters chefs were asked to cook a dish made from locally sourced protein, with unusual combinations like Thai chile, quassia, coriander,



galangal, lemongrass, Kaffir lime, and spearmint, which he feels “capture the smoky, citrusy f lavors of great Thai food.” Cocktails in hand, our chefs proceeded to assemble their signature dishes table-side while nibbling on the appetizers provided by Jonah Prokopiak and Zach Hulbert of the Real Butcher Shop: crisp crackers topped with turkeyliver mousse pâté and garnished with Muscovy duck “cracklins.” Prokopiak was eager to take advantage of the foie gras–like texture of the livers from the Black Spanish breed heritage turkey raised by Tom Delehanty of Pollo Real. According to butcher Hulbert, who works beside Prokopiak at the shop, heritage turkeys—originally from North America, later cultivated in Spain, and now regaining popularity in the U.S.—are birds with longer legs, smaller breasts, and an altogether finer texture to their meat. Delehanty’s birds are pasture-raised rather than corn-fed, enhancing flavor and quality. > Clockwise from top left: Jonah Prokopiak and Tanya Story sample the Surgarloaf Mountain Merlot. Bartender and mixologist Chris Milligan, with his Thai basil gimlet. Mary Dixon of Green Tractor Farm serves her spinach salad, comprised entirely of produce raised on the farm. Opposite: Our chefs prepare to dive in. From left to right: Ned Conwell (Green Tractor Farm), Roland Richter (Joe’s Diner), Matt Gonzalez (La Casa Sena), Tanya Story and Rocky Durham (Santa Fe Culinary Academy), Josh Gerwin (Dr. Field Goods), and Tom Dixon (Green Tractor Farm).




Next came two salads. Mary Dixon’s elegantly simple version mingled fresh organic spinach with beets, red onion, and French breakfast radish, an heirloom variety. The crimson color of each ingredient contrasted vividly with the greens, and the peppery tang and crisp bite of the radish was a natural complement. Rachel, the Dixons’s daughter, and her husband Ned returned to New Mexico to raise their own daughter and join the family business, beginning the transition to the next generation’s running and expanding the small but prolific family farm. According to Ned, the spinach salad was typical of a farm lunch held weekly at Green Tractor for crew members and volunteers, who take turns preparing a family-style meal sourced entirely from the organic produce harvested by their own hands. Chef Patrick Gharrity of La Casa Sena cranked up the volume with his salad, an elaborate blend of flavors, colors, and textures, featuring local greens, carrots, summer squash, daikon, pea shoots, and oyster mushrooms dressed with a toasted-cumin vinaigrette and accompanied by Coonridge chèvre and red chile–paprika parsnip croutons. By toasting the cumin seed, Gharrity enhanced the spice’s flavor, revealing a slightly smoky quality that works in a vinaigrette, a mole sauce, or even a barbecue rub. The 292


rich rouge of the cumin, red chile, and paprika gave the salad a visual appeal that echoed the native New Mexican landscape. Color was also a key component of the collard-green rolls prepared by chef Lizz Redman of Body Café. Redman is a recent addition to Santa Fe’s culinary scene, having arrived from Bozeman, Montana, where she completed a master’s degree in sustainable food systems. For her collard rolls, she pickled kohlrabi from Matt Romero Farms with mustard seed and fresh turmeric. Somewhat reminiscent of ginger but with darker skin and a deep orange flesh, fresh turmeric is a popular ingredient among healthconscious chefs because of its anti-inflammatory and antioxidant properties. Redman garnished the collard rolls with clusters of fenugreek sprouts from Khalsa Greenhouses in Española. No Santa Fe potluck would be truly complete without the prominent presence of the official state flavor: chile, both red and green. Locavore chef Josh Gerwin of Dr. Field Goods Kitchen celebrated classic New Mexican fare, lavishing his chicken and buffalo enchiladas with his own homemade green and red chile sauce. Gerwin, who believes in using local ingredients in all he cooks, acknowledges that it’s often difficult for a home cook to spend the time and effort

Our chefs and their ingredients, top row, left to right: Tanya Story, Santa Fe Culinary Academy (prickly pear and peach); Patrick Gharrity, La Casa Sena (toasted cumin); Zach Hulbert, the Real Butcher Shop (heritage breed Spanish turkey); Lizz Redman, Body Café (raw turmeric); Rocky Durham, Santa Fe Culinary Academy (parsley). Middle row, left to right: Bonn Macy, Phyteau Functionals (sage, nixtamal); Mary Dixon, Green Tractor Farm (French radish); Josh Gerwin, Dr. Field Goods (Chimayó red and Hatch green chile); Roland Richter, Joe’s Diner (thyme); Chris Milligan, Secreto Bar at Hotel St. Francis (basil). Bottom: Jonah Prokopiak, the Real Butcher Shop (Oloroso sherry).

Top row (L to R): Durham’s braised beef short ribs with a risotto of fresh peas, parsley, and lemon pistou; Richter’s lamb shanks braised in Chablis. Middle: Gerwin’s red chile buffalo enchiladas; Dixon’s spinach salad with radish; Lizz Redman’s collard-green roll with sausage and pickled kohlrabi. Bottom: Milligan’s Thai basil gimlet, Gharrity’s salad dressed in toasted-cumin vinaigrette, Prokopiak’s turkey-liver mousse paté.




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to source everything locally, but he considers it an essential part of his own repertoire to add distinction to otherwise ubiquitous dishes like enchiladas. For this particular feast he obtained buffalo meat from LaMont’s Wild West Buffalo, a hunting outfitter in Bosque Farms; chicken from Pollo Real in Socorro, red chile from Chimayó; and green chile from Young Guns Produce in Hatch. Gerwin confesses to a particular fondness for the hot green from Young Guns because they hand-peel the chiles, rather than processing them mechanically, to preserve the precious capsaicin oils that make the flavor distinctive. Chef Roland Richter of Joe’s Diner reinterpreted a cold-season mainstay, braised lamb shanks, as a summer’s meal by creating a braising liquid based on white wine and citrus rather than the traditional hearty tomato and red Ned Conwell of Green Tractor Farm plating up, family style. wine. The resulting sauce was light and velvety, accented with thyme sprigs and multicolored peppercorns. The lamb was accompanied by fresh greens from Camino de Paz Farm and School, a Montessori middle school for grades seven through nine in Santa Cruz. Richter is impressed not only by the quality of their produce but also their mission to teach both the techniques and business of farming to a new generation of producers. Using technology like insulated hoop houses gives farmers the ability to grow fresh produce year-round despite New Mexico’s short growing season, he says, so chefs have access to a richer supply of greens and vegetables. Santa Fe Culinary Academy’s Rocky Durham chose an emerald-hued accompaniment to lighten his dish of braised beef short ribs: risotto made with fresh peas, and a parsley and lemon pistou. The dish is a classic example of the use of locally grown produce at the Academy, which Durham co-founded with pastry chef Tanya Story. Durham is passionate about getting away from what he calls the “dirty carrot syndrome,” where expensive farmer’s market treasures are treated more like centerpiece ornaments than pure, simple ingredients. With the parsley and lemon pistou, he explored a more transformative approach for the aromatics, creating an original broth for the risotto that uses the aromatics as a foundation for the flavor, not merely as a garnish. He was also drawn to the idea of incorporating ingredients typically used with lighter proteins like fish and poultry. By pairing lemon and parsley with the short ribs, he created a brighter, more summery presentation. Durham considers parsley a “noble aromatic” that he seeks to rescue from “being relegated to the side of a Denny’s plate.” James Selby, wine consultant with Southern Wine and Spirits, generously supplied the wine, a merlot from Willamette Valley–based Sineann Winery, a small producer of highly complex wines. This Sugarloaf Mountain Merlot from Napa is a muscular, darkly-fruited, lush vintage, with great acidity. Having explored the flavors of the main courses, the chefs yielded the creative spotlight to Bonn Macy, as he began to slice up his tender, moist—and gluten-free—nixtamal 294



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Top row (L to R): Josh Gerwin, Tom Dixon, and Roland Richter. Middle: Patrick Gharrity, Tanya Story’s peaches with Bavarian cream and prickly-pear syrup, Bonn Macy’s nixtamal cake with blackberry-sage ice cream. Bottom: Lizz Redman. Opposite: Bonn Macy and Jonah Prokopiak.

cake. While not a professional restaurateur, Macy is no stranger to great food. He leads Phyteau Functionals, a functional food company that is developing plant extracts for use as nutritional supplements to help treat metabolic and blood-sugar imbalances. His passion for nourishing ingredients and an innate sense of experimentation led him to develop for the day new recipes that highlighted underrecognized nutritional ingredients from local producers. His nixtamal, or posole, cake is rich in niacin, with a nutty flavor profile distinct from the more typical corn cake. As an accompaniment, Macy’s herb of choice was sage, which he paired with blackberry to create a soft, indigo-colored ice cream with piney, herbaceous notes that fellow chefs dared each other to identify before the herb was revealed. Macy respects sage as an ingredient suited to more than just Thanksgiving stuffing, and he values blackberries for their antioxidant and fiber-rich qualities—as healthy as the much-hyped açai berry but more flavorful, affordable, and readily available. 15 YEARS OF TREND MAGAZINE | SUMMER 2014



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Santa Fe Culinary Academy co-founder, campus director, and executive pastry chef Tanya Story finds that the peak of summer is captured most perfectly in the form of a ripe, sweet peach. For her dessert, she combined decadence and elegance in martini glasses layered with sliced peaches, Bavarian cream, and prickly-pear syrup. Basil, toasted cumin, parsley, sage, Oloroso sherry, green chile, red chile, thyme, prickly pear, fresh turmeric. Potlucks are like that: an eclectic collaboration, a mingling of flavors and the chefs that created them. For these professionals, perhaps the most magical aspect of the afternoon was the opportunity to escape their own kitchens and pass some time talking shop, drinking wine, and enjoying a collegial moment of community in celebration of the passion at the heart of it all: the love of making and sharing good food, in good company. R

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ew Mexico’s dynamic culinary scene is rooted in a unique, centuries-old heritage, from the corn, squash, and beans that comprise the original Native diet, to the chile that was first introduced by Spanish settlers via Mexico, to the possibilities offered by exotic ingredients imported via railroad and hotel developers. Today, family farmers, ranchers, winemakers, artisan cheese-makers, and others add their own local flavor to the mix, while the state’s passionate cooks— from mom-and-pop café owners to James Beard Award–winning chefs praised in worldwide publications—continue to push the boundaries of what defines New Mexican cuisine And foodies everywhere are taking notice. While chile forms the basis for much of our regional cuisine, we’re not all about the pod. Our chefs fuse regional ingredients with flavors and techniques from around the globe, resulting in a style all its own. Consider such unusual menu items as black mussels in white wine and red chile at Bouche in Santa Fe, buffalo tamales in a bowl of Hatch green chile at El Meze in Taos, and duck and goat cheese rellenos and manchamantel canela (spicy fruit) sauce at Zacatecas in Albuquerque. You’ll also find an impressive range of dining choices that extends well beyond the regional. At Elaine’s in Albuquerque, executive chef Andrew Gorski mixes a passion for creative plating with a mission to source local ingredients and use them in innovative ways. Dr. Field Goods’s Josh Gerwin




Vinaigrette’s Harvest Moon salad: kale, free-range chicken, ricotta salata, local apple, red onion, and lemon vinaigrette.

continues to draw Santa Fe diners with his creative gastropub offerings, while executive chef and owner George Bartel adapts classical French techniques to varied global culinary traditions at his Taos restaurant, Mosaic. And speaking of global, French, Indian, German, Thai, African, Salvadoran, Chinese, and Japanese cuisines—as well as organic, gluten-free, locally sourced, and farm-to-table foods—are all available for sampling by adventurous New Mexico foodies. The efforts of our state’s chefs and purveyors have not gone unnoticed. This year alone, six New Mexico chefs were James Beard nominees in the category of Best Chef Southwest: Jennifer James of Albuquerque’s Jennifer James 101; Martín Ríos of Santa Fe’s Restaurant Martín; James Campbell Caruso of La Boca and Taberna la Boca in Santa Fe and Más in Albuquerque; Jonathan Perno of La Merienda at Los Poblanos Historic Inn & Organic Farm in Los Ranchos; Rob Connoley of The Curious Kumquat in Silver City; and Frederick Muller of El Meze in Taos. Ron Cooper of Del Maguey Single Village Mezcal in Ranchos de Taos made it to the finals for the Outstanding Wine, Spirits, or Beer Professional award; and Izanami, at Santa Fe’s Ten Thousand Waves spa, is in the running for Best New Restaurant. From the authentic flavors of a perfectly prepared enchilada to the latest in cutting-edge culinary techniques and ingredients, New Mexico is the place to sample it all. R


New Mexico’s creative cuisine reflects influences from around the globe

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Top: Seared New Mexican grass-fed New York strip steak with cipollini onion, wild mushroom ragout, and roasted bone marrow. Bottom: Ovenroasted Alaskan halibut with a bloodorange chicory salad and fresh herb citrus vinaigrette.




aute cuisine in Santa Fe is all about honoring the traditional while embracing the contemporary, and Geronimo on Canyon Road is the quintessential expression of that May-December marriage. Housed in the Borrego House, built in 1756, it exudes the kind of historic Santa Fe charm that gives the city its distinctive flavor: thick adobe walls, kiva fireplaces, and wooden beams, with an understated décor that’s both elegant and comfortable. But it’s the distinctive flavors on the plate that continue to garner such accolades as the AAA Four Diamond and Forbes Four Star awards. Executive chef Eric DiStefano and chef de cuisine Paul Novak have crafted a seasonally changing menu that brings together inventive and artistically presented combinations of flavors and textures. Try the locally raised lamb chops accompanied by panfried red potato cakes and candied shal-

724 Canyon Road, Santa Fe 505-982-1500 |

lots with hot mustard and chile-mint sauces. Or sample the vegetarian tasting menu that features such unexpected selections as Japanese eggplant–black truffle ricotta lasagne. Among the sensual, creamy desserts are a fresh Meyer lemon crepe with candied lemon, Limoncello syrup, and lemon curd; and a mandarin orange Creamsicle cake, featuring praline crunch, hazelnut mousse, caramel crème anglaise, and blood-orange sauce. The lounge offers a tempting bar menu and an intriguing selection of signature cocktails. Choose from such offerings as the Norteño margarita, made with silver tequila infused with Hatch green chile, or go really fancy with the Seven-Twenty-Four martini, shaken with a touch of citrus and spiced plum bitters. There’s also a stellar wine list for traditionalists who can’t imagine dining on such superlative fare without an equally superlative vintage to complement it.

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The Compound



lamb with fava beans, heirloom carrots, and grilled ramps accompanied by salsa verde and romesco sauce; or a pan-roasted chicken breast stuffed with house-made chorizo, roasted sweet pepper, and cilantro alongside a fingerling potato stew. The wine list pairs especially well with the food, so don’t miss the opportunity to sample a new vintage. Desserts are inventive as well, ranging from decadent to refreshing—or a mix of both, such as ruby grapefruit granita with grapefruit-basil salad and poppy-seed cake, or frozen passion fruit– white chocolate mousse in a blueberry-ginger port glaze. Outside the elegant dining room are a flower-filled patio and a smaller garden patio for private parties. All private dining rooms can be reserved for groups of 10 to 200 people, with special tasting menus available.



n the 14 years since chef-owner Mark Kiffin took over this venerable Canyon Road institution, The Compound has shed its outdated ambience and reestablished itself as one of Santa Fe’s prime destinations for fine dining. Blending the classic appeal of traditional Santa Fe architecture with a sleekly minimalist aesthetic, Kiffin has managed to honor the city’s past while reflecting its hipper, more accessible present. In keeping with this intention, he’s also fashioned a menu that pays homage to classic Continental cooking while fusing fresh ingredients and flawless technique, yielding an updated take on contemporary American cuisine that has garnered some of the culinary world’s highest awards. Expect favorites to be prepared with innovative flourishes, like roasted rack of

653 Canyon Road, Santa Fe, New Mexico 505-982-4353 |

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Roasted rack of lamb with fava beans, carrots, and grilled ramps, accompanied by salsa verde and romesco sauces. Opposite top: Pea tortelloni filled with pork belly, mint, and hazelnut. Opposite bottom: the Alexander Girard-designed dining room.

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Coyote Café

132 West Water Street, Santa Fe 505-983-1615 |





he eatery that first put Southwestern cuisine on the map, Coyote Café continues to offer its signature blend of cocktails, inventive menus, friendly service, and a special brand of elegance that’s festive, not fussy. Equally suitable for celebrations or intimate date nights, the Coyote is one of those places that bears revisiting if you haven’t been there in a while. Chef Eric DiStefano specializes in regional flavors prepared with classic French and Asian techniques. The menu celebrates farmto-table, organic ingredients with dishes like the baby lettuce salad with saffron poached pears, finished with a cider vinaigrette, and the signature Tellicherry-pepper elk tenderloin with applewood-smoked bacon and brandied mushroom sauce. The classic “cowboy cut” prime-rib chop served with red-chile onion rings remains a favorite, as does the pan-seared Alaskan halibut with french potato and chicory salad, finished with a citrus vinaigrette. Desserts are equally inventive. Pair your meal with a choice of fine vintages from the well-chosen wine list, or try one of mixologist Quinn Stephenson’s inventive cocktails—such as the Norteño margarita featuring Hatch green chile– infused tequila, or the Sleeping Dragon, a shot of absinthe embellished with liquid nitrogen, yuzu, and rosemary. Still a Santa Fe institution, Coyote Café manages to surprise and impress while maintaining a consistent reputation for excellence.

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Colorado Rosen rack of lamb with sunchoke gnocchi. Opposite top: The dining area. Opposite bottom: Hawaiian ahi tuna sashimi over vegetable ribbon salad with sweet soy sauce.



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Museum Hill Café

710 Camino Lejo, Santa Fe 505-984-8900 |


Fresh grilled salmon with grilled asparagus and tomato salad. Opposite: Brazilian Food Popular, which includes such delicacies as the queso fundido, a duck tostada and empanada, a prosciutto-wrapped shrimp skewer in a light barbecue sauce, a steak skewer with Brazilian spice rub served on feijoada, and orange flan for dessert.




ffering a high-end experience at appealing prices, Museum Hill Café combines sophisticated cuisine with matchless views of the city and mountains beyond. Located steps from several renowned museums on appropriately named Museum Hill, the café reminds us why Santa Fe draws lovers of art, culture, and cuisine from around the world. Take advantage of the airy portal while enjoying a glass of Joel Gott Chardonnay and the café’s signature gazpacho alongside a summer salad of corn, tricolor peppers, squash, and tomatoes. Or dive into a fourcourse tasting menu of vibrant Brazilian specialties, inspired by the adjacent Museum of International Folk Art’s latest exhibition, Brasil and Arte Popular. “Brazil is all about big flavors, while each individual dish is tapa-sized,” says owner Weldon Fulton. Upscale interpretations of classic Brazilian favorites, like feijoada, churrasco-style steak, and duck tostaditas, can be paired with wine specially selected to complement their flavors. The café also hosts private parties and monthly jazz concerts put on by the Santa Fe Music Collective. Reservations are recommended for the bustling lunch service, while concert reservations can be made at There’s plenty of free parking, so make a day of it with a visit to the museums, or come just for lunch and






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Saveur Bistro

204 Montezuma Avenue (at Cerrillos Road), Santa Fe 505-989-4200 |



The self-service buffet counter features a variety of local and organic offerings, roasted vegetables, fresh fruits, housemade specialty salads, and appetizers. The hot foods vary daily, and often include beef Bourguignon, pork tenderloin, fried calamari, and poached salmon.



fter more than a decade of serving house-made soups, salads, and seasonal entrées, Bernie and Dee Rusanowski, owners of Saveur Bistro in Santa Fe, have no intention of changing their winning formula. “We believe in what we do,” says Bernie, whose bistro favorites like French onion soup, beef Bourguignon, quiche, and crepes have turned Saveur into a favorite destination for American and French–style breakfast and lunch. The cheerful dining areas, presided over by the warmly welcoming Dee, invite guests to linger in the homelike ambience—although everything at Saveur, from the fresh salad-bar buffet to made-to-order sandwiches and gourmet entrées, can be packed for takeout, too. “We strive to support local and organic producers, and when possible use products that promote a sustainable and healthy environment,” says Dee. Because food quality is of primary concern to the couple, details like freshly baked bread, certified Black Angus beef seasoned with a house blend of herbs, and organic fruits and vegetables make all the difference when it comes to flavor. Even the soup stocks are made from scratch and simmer in the kitchen under Bernie’s watchful eye. A seasoned, experienced staff means consistent service, appreciated by the many regular customers who consider Saveur an institution. The quality of preparation is another plus. “We hear a lot of people comment that everything is cooked just right,” says Bernie. “We’re pretty proud of that.”

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The bistro’s outdoor patio and garden. Bottom: Seared honey-cured, bacon-wrapped pork tenderloin with roasted, gingered sweet-potato puree, sautéed broccolini, and habanero-pineapple sauce.

Midtown Bistro

901 West San Mateo, Santa Fe 505-820-3121 |


fter its late-2012 grand opening, Midtown Bistro quickly drew a crowd, and reservations for lunch or dinner are still recommended. Sited in a light-industrial neighborhood near Second Street Brewery, the restaurant creates a pleasurable dining experience for patrons seeking an alternative to Plaza or Railyard offerings. In a loftlike setting, the bistro’s red leather armchairs, white linens, and fresh flowers on every table give the open, airy room a sophisticated, urban ambience. Executive chef Angel Estrada has assembled a refined menu of creative choices in steak and fish, perfectly prepared and beautifully presented, with the occasional Southwestern twist. Try the honey-cured, bacon-wrapped pork tenderloin with a roasted, gingered sweet-potato puree, or the grilled filet mignon with roasted potato-poblano gratin in truffle-oil butter. The libations list here is approachable and well-rounded, with beer, wine, and champagne by the glass or bottle. Desserts such as the chocolate mousse and tres leches cake are known for their irresistibility. In season, the bistro serves Sunday brunch on its outdoor patio amid peaceful gardens and waterfalls. A varied slate of breakfast standards and lunch entrées includes ruby trout with risotto, Pacific blue crab cakes with mango salsa and lemon aioli, and steak and eggs with a new-potato hash.



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Bouche Bistro

451 West Alameda Street, Santa Fe 505-982-6297 |



ere’s real culinary magic: a French-born, widely traveled, internationally acclaimed chef who apprenticed and trained with masters of contemporary cuisine, who conceived and oversaw award-winning restaurants for more than 30 years, whose hands-on approach has earned him clear understanding of all aspects of the culinary arts—and who now has found his heart’s home in the apparent simplicity of an intimate neighborhood restaurant in Santa Fe. Chef Charles Dale opened Bouche Bistro in February 2013. Since then, a loyal clientele with adventurous tastes has guided the menu’s evolution into intrepid expressions—sautéed sweetbreads with artichoke and wild mushrooms, calf’s liver Dijonnaise with spinach and onions—while retaining Bouche’s version of such popular bistro classics as pan-seared halibut and steak au poivre with pommes frites. Dale relies substantially on local and regional farms and producers to provision the kitchen, leaning heavily on seasonal ingredients and flavors. This summer that means a grilled market vegetable terrine with tomato vinaigrette, and such southern France–inspired delights as frog legs Provençal style. While nightly specials offer room for culinary exploration, a strong, inspired menu keeps bringing folks back. As Dale puts it, “This is probably the Chef/owner Charles Dale most authentic restaurant I’ve crewith chef de cuisine Sllin Cruz and maître d’ Paul ated because it’s the food I love to Montoya. Bottom: Beef cook and love to eat.” short ribs pot-au-feu style.




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315 Restaurant & Wine Bar 315 Old Santa Fe Trail, Santa Fe | 505-986-9190 |



ith its bold and inventive style, 315 Restaurant and Wine Bar has served classic French cuisine in Santa Fe for nearly two decades. This candlelit bistro in an old adobe on Old Santa Fe Trail delights with its intimate atmosphere and superlative cuisine. Owner and executive chef Louis Moskow, who trained with the likes of Alfred Portale and Emeril Lagasse, consistently demonstrates his enthusiasm for fresh ingredients and farmer’s market produce perfectly matched to the season. Moskow’s expertise also extends to fine wines, a lifelong passion. 315’s wine bar is known as the largest and most well-curated in the region, with more than 250 bottles. Occasionally the restaurant hosts lavish wine dinners featuring some of the world’s most renowned vineyards paired to each course. In addition, 315 offers a selection of fine bourbons and Scotch worthy of the connoisseur. Bistro favorites, such as the basil-wrapped shrimp with apricot chutney and Madras curry sauce, or steak frites served either au poivre, with herb butter, or with Bearnaise sauce, are available year round. They’re complemented by daily specials that can include squash blossom beignets with goat cheese fondue and tomato coulis, and grilled veal steak with pea flan, pea tendrils, and wild mushroom fricassee. During summer, diners can cap off the evening by enjoying live music with a postprandial port or sherry in the romantic courtyard.

House-made charcuterie with smoked ham, bresaola, mortadella, smoked duck breast. Top: Sole française with golden raisins and pine nuts, scalloped white vegetables with black truffles, and sautéed local greens.




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221 Shelby Street, Santa Fe | 505-988-2355 |

lending Southern European cuisine with Santa Fe influences, Tanti Luce 221 offers a creative dining experience in a romantic, century-old, traditional adobe hacienda just steps from the Plaza. Inside, candles glow from every table, imparting an intimate dining experience. Outside, the seasonal 10,000-square-foot deck offers live music; signature cocktails; and lunch, bar, and dinner menus. Its expansive views make this the perfect spot for fine sunset dining during temperate months. But it’s the food that really has diners buzzing. The menu includes such favorites as braised pork belly with maple glaze and arugula, grilled Texas quail with cherry


anise sauce, and chicken piccata with wild mushroom risotto and caper—white wine sauce. Desserts feature the ridiculously delicious Missy’s Heart of Darkness Chocolate Madness, a soft-center chocolate cake baked to order. While Tanti Luce serves serious food in an elegant atmosphere, the attitude is far from stuffy. “We have a lot of humor about everything we do, and we like our guests to feel at home when they are here,” says general manger Missy Auge. “We’re the kind of place where you can order amazing Barolo-braised buffalo short ribs and a $986 bottle of wine, and hear Journey playing on the stereo in the main dining room.” Because, after all, who doesn’t like Journey?


Tanti Luce 221

Molasses-glazed pork tenderloin in red-wine sauce with green chile–mashed sweet potatoes and herbed brussels sprouts. Top: Roasted beet salad with New Mexico goat cheese, aged balsamic vinegar, and artichokes.


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Osteria d’Assisi Pizzeria da Lino & 204 North Guadalupe Street, Santa Fe 505-982-8474 |

58 South Federal Plaza, Santa Fe 505-986-5858 |



he osteria and the pizzeria are two of the most beloved expressions of Italian dining, the first being a neighborhood restaurant and the second specializing in one of the world’s favorite foods. Santa Fe is immensely fortunate to have both from one award-winning proprietor/chef. Raised in northern Italy’s Lake Como region and taught by his professional chef father, Lino Pertusini presides over Osteria d’Assisi and Pizzeria da Lino with a gracious, experienced touch. Fresh, local ingredients and meticulous care go into the offerings at both downtown restaurants. Osteria d’Assisi chef Christian Pontiggia presents such classics as osso buco Milanese: organic braised veal shank with local seasonal vegetables and the savory herb condiment gremolata, served with risotto. From antipasti at one end to panna cotta at the other—and an extensive wine list, full service bar, and thoughtful, professional service in between—expect

all the elements of a memorable meal. A few blocks away, Pizzeria da Lino uses venerable Neapolitan dough recipes and an imported wood-burning pizza oven to achieve the ultimate in thin crispy crust with an appealing selection of toppings. Among them: the Quattro Staggioni, whose four “seasons” are represented by artichokes, handpicked wild mushrooms, olives and ham. Other options include small rustic dishes, pastas and salads, rounded out by Italian wines and beers, and desserts including fresh fruit gelato.

Top: Fresh halibut, with cream of basil, sweet Italian peppers, and pancetta dust from Osteria d’Assisi. Bottom: Pepperoni pizza fresh from the oven at Pizzeria da Lino.



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Caffe Greco

233 Canyon Road, Santa Fe 505-820-7996



Veggie panini with grilled vegetables (artichokes, tri-peppers, mushrooms, sun-dried tomatoes) and provolone on fresh-baked sourdough bread.



hen you’re exploring Canyon Road, Caffe Greco is the perfect stop for break fast, lunch, or a snack. Housed in a 300-year-old adobe, the cozy café boasts a colorful interior, a romantic kiva fireplace, and an inviting outdoor patio. Sit down with a cup of Lavazza Italian coffee and peruse the chalkboard’s list of daily specials, such as an Abruzzo roast beef sandwich, a Sorrento salmon, or a Canyon Cobb salad. The kitchen is helmed by chef Cindy Barreras, a fourth-generation New Mexican who uses all-natural ingredients in her New Mexican specialties— breakfast burritos, enchiladas, huevos rancheros—and in her Reubens, panini, soups, fresh salads, and baked goods. You’ll find vegetarian and gluten-free options as well. Inspired by a café they discovered during their travels in Italy, owners Michael and Rita Linder opened Caffe Greco two years ago and plan to expand soon. The Linders have created a welcoming oasis for visitors who need a respite from shopping and for locals who enjoy the delicious food, friendly service, and relaxing ambiance. The restaurant also offers complimentary wi-fi and free parking in the lot across the street.

Dr. Josh Rogoff, D.M.D • Dr. Harvey Simon, D.D.S

Committed to excellence in dentistry as well as progressive, environmental & humanitarian causes.

400 Botulph Lane, Santa Fe, NM • 505.988.3500

At Lakind Dental Group we will continue to focus on bringing Santa Fe the best care we can to keep you smiling - year after year.


 #      #  

Dr. Perea, DC, APC, born and raised in Santa Fe, NM. He recieved Pre-Med Education at UNM, and a Doctorate of Chiropractic from Parker College of Chiropractic. Practicing in Santa Fe for 14 years, he      Practice Chiropractic Physician by the American Chiropractic Physicians Credentialing Center and by the NM Board of Chiropractic Examiners.

Carla Serna, LMT, lead Massage Therapist, is a  

   Therapist. She received her education at Pima Medical Institute of Massage Therapy. Specializing in neuromuscular, sports, deep tissue, myofacial, & energy medicine, her passion as a therapist is to provide bodywork focused on pain relief, rehabilitation, and recovery from injury to a diverse clientele.

Dr. Daniel Craig, DOM graduated from Southwest Acupuncture College in Santa Fe, NM in 2001 with a Master’s of Science in Oriental Medicine. He has been practicing Chinese Medicine since 2003. He has extensive experience in addressing pain syndromes. Dr. Craig is a native New Mexican.




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Whether you’re purchasing, remodeling or building your home, Century Bank has a mortgage loan to fit your needs. Our bank, our community, our Century.

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TIHO DIMITROV Debut album “Sleepless Nights” available on iTunes July, 2014 “Very authentic and yet progressive guitar playing, but the surprise is how strong the songwriting and lyrics are and how heartfelt the vocals are. They always pull me into the track. Very few guitar slingers have this combination - in Tiho’s case, it’s just right!”

– John Kurzweg Multi-Platinum Record Producer & Engineer (Creed, Puddle of Mudd)

“Messed Up World”.... “Nicely Done!”

– Chuck Ainlay Multi-Platinum Record Producer & Engineer (Dire Straits, Mark Knopfler)

Catch Tiho live Monday nights, 8pm, at Santa Fe’s oldest restaurant & cantina, El Farol, on Canyon Road.



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505-852-0444 ...................................................26

PHOTOGRAPHY Brad Bealmear .........................Fashion 38-39 Peter Ogilvie Photography 505-820-6001.................................Fashion 40-41 Robert Reck 505-247-8949 ...........................................ABQ 2

REAL ESTATE, BANKS & MORTGAGE COMPANIES Century Bank 505-955-1200 ................................................316 Chris Webster 505-780-9500 .............................51, Fashion 2-3 Los Alamos National Bank 800-684-5262 ................................................181 Santa Fe Home and Estates / Coldwell Banker 505-988-7285 .............................................32-33 Sotheby’s International Realty 800-409-7325 ..................................................53 RESTAURANTS, LOUNGES, CATERERS & LODGING 315 Restaurant and Bistro 505-986-9190 ...............................................311 Bang Bite 505-469-2345 ................................................298 Bouche French Bistro 505-982-6297 ................................................310 Caffe Greco 505-820-7996 ...............................................314 Casa Chimayo 505-982-0601 ................................................294 The Compound 505-982-4353 ........................................302-303 Counter Culture 505-955-1105 ................................................190 Coyote Café 505-983-1615 .........................................304-305 Duel Brewing 505-474-5301 ................................................297 Elaine’s 505-433-4782 ..........................................ABQ 14 Geronimo 505-982-1500 ...............................................301 Heritage Hotels and Resorts 877-901-7666 ...........................................ABQ 6 Kokoman Fine Wine & Liquor 505-455-2219 ............................................ 299 La Fonda Hotel / 800-833-2211 / 800-678-8946 .....................182 Midtown Bistro 505-820-3121 ...............................................309 Museum Hill Café 505-984-8900 ........................................306-307 Osteria D’Assisi 505-986-5858 .............................................. 313 Pizzeria Da Lino 505-982-8474 .............................................. 313 Santa Fe Spirits 505-467-8892 ................................................ 30 Saveur Bistro 505-989-4200 .............................................. 308 Scalo Northern Italian Grill 505-255-8781 .........................................ABQ 15 Tanti Luce 221 505-988-2355 ...............................................312 TerraCotta Wine Bistro 505-989-1166 ...............................................295

Green on the Rocks

220 SHELBY ST. • SANTA FE, NM 87501 505-983-3030 • WWW.PINKOYOTE.COM


PEYTON WRIGHT 237 East Palace Avenue 800 879-8898

Santa Fe, New Mexico 87501

505 989-9888

Mokha Laget, Skip Tracer, 2014, acrylic and clay pigment paint on shaped canvas, 51 inches by 27 inches

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Trend summer 2014  

Trend Magazine 2014 Summer Issue. Art + Design + Architecture + Cuisine

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Trend Magazine 2014 Summer Issue. Art + Design + Architecture + Cuisine


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