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LOOKBOOK summer 2016

HOPI POTTERY in a New Light TOM JOYCE fuses the art and science of metal making PETER SARKISIAN’S sculptural enigmas

SUM 16 $9.95 CDN $9.95 US

US/CAN $9.95















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GRAND CANYON Digital C-Print Face Mounted to Plexiglas Edition of 2 Michael Namingha ©2016

Representing Dan, Arlo, and Michael Namingha 125 Lincoln Avenue • Suite 116 • Santa Fe, NM 87501 • Monday–Saturday, 10am–5pm 505-988-5091 • fax 505-988-1650 • •


THE NEW CLASSIC The LC2 collection now available in various enamel frame and fabric colors.



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The mind imagines. The hands make. Patina Gallery selects the best. Beautiful art is that simple and that profound. Patina is two experiences at once: art that is breathtaking and stories that tell how the artists make it so. Owners Ivan and Allison Barnett stay true to offering one-of-a-kind pieces by the world’s best artists in Santa Fe’s most beautiful gallery.



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Addison Rowe Gallery is a hidden destination for art collectors in Santa Fe, NM. Just a few blocks off the Plaza, Addison Rowe Gallery specializes in 20th century American art with a focus on the Taos Society of Artists, the Taos Moderns, Los Cinco Pintores, the Transcendental Painting Group, and the Stieglitz Circle.


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98 98 | The Makers Deft hands construct alternate realities at Santa Fe’s newest (and biggest) attraction

112 | The Box Beyond Peter Sarkisian turns TV sets into digital sculptures By Devon Jackson | Portraits by Jennifer Esperanza

124 | Bringing It All Back Home Santa Fe collector Steve Elmore finds meaning and a muse in the world of Hopi designs By Nancy Zimmerman | Photos by Daniel Quat

136 | Iron Will Tom Joyce uses the alchemy of metal making to explore the core of our existence By Christina Procter | Photos by Peter Ogilvie

136 50

TREND Summer/Lookbook 2016

Clockwise, from top left: Peter Sarkisian, Videomorphic Figure: Robot #1 (2013), sintered 3D print, powder-coated steel and aluminum, video projection, audio; Chadney Everett, lead fabricator for the Victorian house in Meow Wolf’s House of Eternal Return; Tom Joyce, Core VIII (2013), cast iron (steel filings from projects 1977–present).


Photo Essay by Kate Russell

adornment for the 21st Century

Patina gallery is recognized as one of the most beautiful galleries in Santa Fe. in its 17th year, Patina offers the finest contemporary jewelry, fine art and design

60 Shades of Black

131 W. Palace Ave, Santa Fe, NM +001 (505) 986-3432 Jocelyn Montoya at The Santa Fe Opera wearing Atelier Zobel. Cuff: Silver, platinum, rose cut & black diamonds. Wigs and make-up by David Zimmerman, SFO. Photo: Peter Ogilvie.

departments 56 FROM THE EDITOR 64 FLASH Mabel Dodge Luhan and her brood of Southwest Moderns at Taos’s Harwood Museum of Art; New York architects give SITE Santa Fe a facelift

69 ART MATTERS Bold and barrier-free art from pole to pole articulates a new America at the SITE Santa Fe Biennial By Devon Jackson and Christina Procter

78 LIVING BY DESIGN Philanthropist Nancy Zeckendorf stays true to her dancer’s roots By Gussie Fauntleroy Photos by Kate Russell


158 HOW WE LIVE Glassblower Elodie Holmes and master gardener Jannine Cabossel enjoy life amid the elements By Anya Sebastian Photos by Wendy McEahern and Kate Russell

166 VIEWPOINT Unbridled talent spans genres and mediums among Santa Fe creators Photo essay by Jennifer Esperanza


ARTIST STUDIO Jane Abrams and Aaron Karp walk their own paths By Keiko Ohnuma Portraits by Douglas Merriam

218 LEGACY Millicent Rogers brought her taste and discernment to Northern New Mexico’s art community By Michele Potter

Passion of the Palate


CHEF’S PROFILE Lisa Dahl designs her Sedona restaurants with glamour, grit, and grace By Gussie Fauntleroy Photos by Scott Yates


AT THE TABLE For Chef Mark Kiffin, contemporary American cuisine is gratifyingly old school By Keiko Ohnuma Photos by Kate Russell


Three culinary stars turn over new leaves en route from farm to table By Natalie Bovis Photos by Douglas Merriam

200 LIVING Susan Stamm Evans and Dick Evans share life, love, and art By Gussie Fauntleroy Photos by Kate Russell


The Granddaddy of Western Pop Art breathes new life into iconic subjects By Nancy Zimmerman

212 Aaron Karp, Jovianne (2004), acrylic. Top: Specialties of Joseph’s Culinary Pub in Santa Fe.


TREND Summer/Lookbook 2016

ABOUT THE COVER: Installations by Tim Jag (left) and Somers Randolf (right), part of Meow Wolf ’s House of Eternal Return. Photo by Kate Russell.



David Michael Kennedy Photographic Studio and Gallery

Master of the Platinum Palladium Printing Process 1179 Highway 554 El Rito, New Mexico 87530 open by appointment 575-581-9504

nspiration and grace are the words that best describe what drives me to do what I do against all odds as publisher of Trend magazine these last 17 years. During this time I have seen trends come and go and society evolve through struggle and change. I always worked first and foremost to preserve my publication’s legacy, even if it meant doing so at great personal sacrifice. I also have to give credit to the courage and dedication of my team, a group of people who love what they do and are committed to excellence in editing, writing, photography, and design. Together, trusting our knowledge and our instincts, having faith when the impossible had to become the possible, we have sent Trend out into the world. It has been a great and humbling responsibility, and I am eternally grateful to have been able to achieve it. I know you appreciate the quality of our magazine, and now we are evolving it even further. We present to you a peek into the new format of our annual Lookbook combined here with our regular Summer issue. Last year we launched our Lookbook format, a visual compendium of the best in regional art, design, and cuisine, along with ad sources of excellence and pertinent stories. Publishing once a year in December, the next Lookbook will last through the following summer and into fall 2017. You won’t  want to miss being in such a widely distributed issue, so please consider  advertising. The upcoming Santa Fe Lookbook highlights the work of local photographers and artists and covers the latest culinary and design trends. We distribute this issue year-round, alongside our regular Spring, Summer, and Fall issues of Trend magazine, which inform and inspire our readers through national and Canadian  newsstand distribution in print as well as our extensive international readership online. In 2017 I will take yet another important step in this publication’s evolution. I will continue as publisher of the Lookbook but will offer the rest of Trend magazine for sale. We are  seeking a national buyer with the vision and the means to evolve it into a global magazine of new media merit, including access to national advertising wells of revenue. Our legacy,, created in Santa Fe almost 20 years ago, will be catapulted like an arrow of light to serve at the vanguard of new technology and multimedia sources, bringing together exciting evolutions in print and website publishing while maintaining its longtime creative integrity. The upcoming Santa Fe Lookbook, with expanded content, will remain a publication that focuses on the region and spirit in which it was created. In a time when many galleries are evolving and artists look to secure representation, we are proud to serve as a gallery of another kind, showcasing the artists and some of their latest creations, which help to define this beautiful place we call home. —Cynthia Canyon, Publisher


TREND Summer/Lookbook 2016



from the publisher

Photo: Mark Steven Shepherd

1/4-page 3.75" W x 4.875" H

Jane Smith

I Nte r io r s •


n another late night as our team worked to bring you this issue, the Santa Fe River rushed and the moon was red and half full. In the midst of our labors, the seasons had moved swiftly by. Outside two lilac trees swayed oddly in the late spring wind. They’d grown in opposite directions, perhaps to reach sunlight, but now they moved toward the streetlight between, as if touching hands across a divide. Something I’ve learned in working with the people who contributed to this special issue of Trend is that we never stop benefiting from the expansion of the curious networks that connect us. As sculptor Tom Joyce muses, we originate from single-celled ancestors in the primordial sea, self-sufficient creatures able to reproduce by duplicating themselves and dividing in half. Yet what drove those organisms is what drives us still: the urge to expand, to differentiate and mix things up until we become another, more complex entity. That’s how we evolved, and that is what creative people seek to do, whether it’s a master chef starting a new project by growing local roots or an artist creating work for the new biennial at SITE Santa Fe. While one collector is obsessed by the designs of a Hopi potter, other artists are impelled by each other, and in the case of Meow Wolf—as chronicled by the images of Kate Russell—some are accomplishing the city’s most astonishing and successful collaborations yet. Even the creators who mostly work alone are connected by countless shifting threads to the ideas and people, living and dead, who surround them. From the digital alchemy of Peter Sarkisian to the legacy of


TREND Summer/Lookbook 2016

Mabel Dodge Luhan, their work is part of a conversation, and if they do it well, we become part of it, too. In telling their stories, Trend’s small team works for half a year before going to press. This time, we bring you our arts-based summer issue along with this year’s Lookbook, a photo-story format that Trend launched last winter. The constellation of talents in the making of this rare issue include contributing editors Nancy Zimmerman and Rena Distasio, copy chief Cyndi Wood, art director Janine Lehman (who creates the designs you’ve seen for 16 years now), associate graphic designer Jeanne Lambert, marketing and publishing coordinator May Mandy Han, and the driving force behind us all, publisher Cynthia Canyon. In partnership with photographers and writers who do deep work with their subjects, often over the course of many months, we bring you visions of individuals who remind us of something fundamental: as we evolve ever onward from our origins, there is nothing separate about us now, and that is, after all, part of our art. —Christina Procter, Editor


from the editor

RICK STEVENS Tranquility in Motion June 24 – July 10, 2016

Rick Stevens, Everywhere, Nowhere, 2016, oil on canvas, 48 × 48 inches

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

PUBLISHER Cynthia Marie Canyon

our art director

EDITOR Christina Procter



f taste is innate, it’s certainly an instinct possessed by Janine Lehmann, art director and graphic designer of Trend for over 16 years. With a contemporizing aesthetic and innovative design vision that have shaped the magazine’s personality through time, it’s Lehmann who makes the words dance. And it’s through her choreography that even as trees are felled in the forest of print, Trend grew taller. A New Yorker with a background in fine arts, Lehmann studied film and black and white photography under the tutelage of Roy DeCarava at Hunter College, and advertising design at Fashion Institute of Technology. She worked at interior design and architectural firms and designed a quarterly publication with the Natural Resources Defense Council before answering the call to move to Santa Fe in 1994. Here she applied her distinct and evolving aesthetic as a book designer for John Muir Publications until she went on to start her own graphic design firm in 2000. She then met Cynthia Canyon, publisher of a brand new magazine and a dedicated visionary herself. Along with their editors and through the long days and never-ending nights, the two have conducted work that is more typically completed by staffs of dozens. Yet in the midst of press deadlines, there is always a moment of spontaneous, uncontrollable laughter between them, as if some hilarity were necessary in the quest for perfection—which is what Lehmann is after. Whether designing the look of a feature story, working with photographers to create an extraordinary image, drafting multiple options for the magazine’s cover, or obsessively kerning (adjusting spacing between font characters) to achieve that just noticeable difference to the hawkeyed, Lehmann makes you want to hold a magazine in your hands, where it belongs, and to appreciate it for what it is: a fine art.

CONTRIBUTING EDITORS Nancy Zimmerman and Rena Distasio PRODUCTION MANAGER & ASSOCIATE GRAPHIC DESIGNER Jeanne Lambert COPY CHIEF Cyndi Wood PUBLISHING & MARKETING COORDINATOR May Mandy Han PHOTO PRODUCTION Boncratious REGIONAL SALES DIRECTOR Judith Leyba, 505-988-5007 CONTRIBUTING WRITERS Natalie Bovis, Lynn Cline, Gussie Fauntleroy, Devon Jackson, Keiko Ohnuma, Michele Potter, Christina Procter, Anya Sebastian, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS & ARTISTS Jennifer Esperanza, Michael Holmquist, Ric Lum, Wendy McEahern, Douglas Merriam, Peter Ogilvie, Daniel Quat, Robert Reck, Kate Russell, Scott Yates NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services, SOCIAL MEDIA MARKETING Loka Creative SUBSCRIPTIONS Visit and click “Subscribe,” call 505-988-5007, or send $24.99 for one year (four issues) to Trend, P.O. Box 1951, Santa Fe, NM 87504-1951. PREPRESS Fire Dragon Color, Santa Fe, New Mexico


PRINTING Transcontinental inc., Montréal, Québec Manufactured and printed in Canada. Lisa Paxton, 604-319-6381 Copyright 2016 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 email Trend art + design + architecture + cuisine ISSN 2161-4229 is published 4 times a year, with Spring (circulation 25,000), special issue Summer (17,000), Fall (25,000), and Winter Annual Lookbook Dec. 2016–Dec. 2017 (35,000) issues distributed throughout New Mexico and the nation at premium outlets. Ask your local newsstand (anywhere worldwide) to carry Trend. Find us on Facebook at Trend art + design + architecture + cuisine magazine. Editorial inquiries to Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 505-988-5007 | 58

TREND Summer/Lookbook 2016



oil on canvas





contributors 1

kate russell


peter ogilvie


douglas merriam


jennifer esperanza


keiko ohnuma

3 1




WRITERS Gussie Fauntleroy has had the pleasure of getting to know many strong, creative women (and men) in the course of writing about art, architecture, design, and other topics for the past 25-plus years. Now based in southern Colorado, she returned to her longtime home of Santa Fe to spend time with one of these remarkable women, Nancy Zeckendorf, for this issue. Fauntleroy contributes to national and regional magazines and is the author of three books on visual artists.


yoga, craft beer, and French-flavored critical studies. She lives with her husband and two terrible terriers in Corrales. Anya Sebastian started out as a BBC reporter in London before becoming a freelance writer. British by birth, she has contributed to publications on both sides of the Atlantic, including Vanity Fair, The Telegraph magazine, Broadway World, New Mexico Magazine, and Edible Santa Fe. Based in Santa Fe, she’s also an author and an award-winning radio show host.

Devon Jackson has worked as a freelance writer and editor for publications such as The New York Times, Rolling Stone, Vanity Fair, The Village Voice, Sports Illustrated, New York Newsday, and Entertainment Weekly. His book Conspiranoia! (Dutton) came out in 2000. He is the former editor of the Santa Fean and a writer with Outside. He has had short stories and poems appear in various literary journals, from The Mississippi Review to Nimrod.

Nancy Zimmerman is a freelance writer, editor, and translator who reports frequently on art, design, architecture, travel, and cuisine. 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 is also a scriptwriter and video producer.

Keiko Ohnuma is a writer and editor who went to work in San Francisco and dropped out in Honolulu. Now based in Albuquerque, she has more passions than fit easily in one lifetime, including clay art, animal advocacy, bicycling, Zen practice, international travel, food and cooking, surfing, knitting, hot springs, hatha

PHOTOGRAPHERS Jennifer Esperanza is a culture, travel, wedding, glamour, fashion, editorial, street, and fine art photographer. Her daughter Emily is a filmmaker, her son Gabriel an actor. She enjoys traveling with her partner, artist Richard Kurtz, and the two have a vintage shop

TREND Summer/Lookbook 2016




nancy zimmerman


daniel quat

8 anya




gussie fauntleroy

10 Devon Jackson

8 7


10 9

on Etsy called Esperanza Culture. The couple will soon move from Santa Fe to Miami, where Esperanza looks forward to swimming in the ocean and focusing on her travel and art photography. Douglas Merriam is a travel, food, and lifestyle photographer who has a lot of fun on his assignments, no matter what he’s shooting or for whom. He has an affinity for green chile, lobsters, blueberries, and piñon, and loves cooking with his wife, Shannon, and daughter, Sage. He splits his time between Santa Fe, New Mexico, and Portland, Maine. Peter Ogilvie was raised in Southern California and studied art and architecture at Berkeley. He then 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, he’s lived in San Francisco, Milan, Paris, New York, and New Mexico. He has traveled the world on assignments and won numerous awards for his work with clients like Saks Fifth Avenue, The Gap, AT&T, Sony, Macy’s,  Vogue,  Marie Claire, and GQ. His work shows at galleries in New York and Santa Fe, as well as in Ohio.

Daniel Quat has been a professional photographer for more than 40 years. He loves to capture the essence of his subjects, whether artists, dancers, landscapes, or horses. He began his career in New York City in 1971 as an advertising, still life, annual report, and magazine photographer, and has been published in Architectural Digest, Interior Design, Metropolitan Home, New York, and Museum. Over the past decade, Quat has specialized in environmental portraiture, dance, and equine portraiture. Kate Russell is a nationally recognized photographer based in Santa Fe, and is known for her ability to create evocative images and elevate simplicity. Sensitivity to light and the ability to capture a moment is evident in her work, as seen in The New York Times, Wall Street Journal, Monocle Magazine, T Magazine, and New Mexico Magazine,  among various others. Her images have also been featured in  The Restaurant Martín Cookbook: Sophisticated Home Cooking From the Celebrated Santa Fe Restaurant by Martín Rios with Bill and Cheryl Jamison, Old World Interiors  by David Naylor,  and  Rough Style by Braun Publishers. Russell’s early work with fine arts and with a traveling circus brought her to the world of photography and remains an inspiration. R 61

Be a part of a legacy that inspires and matters.

LOOKBOOK summer 2016

Thomas Gifford Fills Albuquerque In The Burmeisters: Collectors with Minimal Attitude RICOCHET’s Acrobatic Artistry

Spring: all about Albuquerque


+ design + architecture + cuisine |

Clockwise from top left: Kate Russell, Kirk Giddings, Ricardo Mazal, Boncratious

HOPI POTTERY in a New Light TOM JOYCE fuses the art and science of metal making PETER SARKISIAN’S sculptural enigmas Ricardo Mazal Uses Multimedia to Stop Time Behind the Scenes at the Santa Fe Opera John De Puy: Taos Modern Transcendentalist

Ai Weiwei Finds Freedom in Native America

SUM 16 $9.95 CDN $9.95 US

SUMMER 2015 Display through Sept. 2015

U.S. $7.95 Can. $9.95

US/CAN $9.95


Summer: all about art 0


Santa Fe Trend Annual Lookbook: all about photography, art, design, and cuisine

Subscribe to a magazine that matters

Aspen Art Museum Breaks Down Barriers The Force of Riva Yares Wine & Chile Fiesta Turns 25

Art, design, architecture, cuisine, and style

Reserve ad space in our upcoming issue featuring design, architecture, and building, along with an in-depth look into the cultures of our region. We offer project bonuses for advertisers in the design industry (buy a page, get a TrendSource feature on a completed design project) for fall 2016. Don’t miss our 2017 Lookbook, out December 1, 2016, and current through Fall 2017. Advertise your business in the magazine respected nationwide for its coverage of art, design, architecture, and cuisine. Call Cynthia Canyon today at 505-470-6442.

FALL 2015 FALL 15 Display through Dec. 2015 $9.95 CDN $7.95 US

U.S. $7.95 Can. $9.95



25274 98945


Fall: all about design and culture

And don’t forget to subscribe to show your support as well!



1011 PASEO DE PERALTA SANTA FE NM 87501 | 505.954.5800 | PETERSPROJECTS.COM Kiki Smith, Underground, 2012, cotton jacquard tapestry, 119 x 78 inches, edition of 10

modern mother

Mabel’s Legacy


hen Mabel Dodge Luhan moved to Taos in 1918, she wasn’t thinking about putting the remote village in the world’s spotlight. A Buffalo banking heiress, author, activist, and general mover and shaker, she was married at the time to a Russian artist whom she followed from New York City to escape its materialism and fixation on war. In Taos, Luhan found a new world. She also met Tony Luhan, whom she’d eventually marry, and in time she became convinced that the principles of Taos Pueblo religion, art, and reverence for nature could save Western culture. “This is the provocative landscape that stirs the emotions,” she wrote in her book, Taos and its Artists, and from the start, she brought leading luminaries— D.H. Lawrence, Georgia O’Keeffe, Ansel Adams, John Marin, Marsden Hartley, Leo64

TREND Summer/Lookbook 2016

pold Stokowski, Carl Jung, and many others—to see for themselves what she’d discovered. Maurice Sterne, Pueblo Indian Head (1918), bronze. Right: Mabel Dodge Luhan A groundbreaking show, standing in gateway Mabel Dodge Luhan & Company: American Moderns graphs, and other items from the museum’s and the West, is on view at the Harwood Museum of Art in Taos collection and on loan from MoMA, Philadelthrough September 11. “Mabel was in good phia Museum of Art, Art Institute of Chicago, part responsible for enabling the creation and private collectors. There’s a portrait of of a Southwest Modernism that influenced Luhan by Taos artist Nicolai Fechin and a national views on American Modernism Spanish Colonial carved chest that held her as an intercultural exchange among Euro- marriage license to Taos Pueblo Indian Tony American, Hispano, and Native artists,” says Luhan, her fourth and final husband, among co-curator Lois Rudnick, Luhan’s biographer. works by Diego Rivera, Ansel Adams, Rebecca The Harwood’s largest exhibition to date and Salsbury James, Georgia O’Keeffe, and Pueblo the first ever to focus on Luhan, Mabel Dodge easel painter Awa Tsireh. “Authentic, so-called primitive art was a Luhan & Company chronicles Luhan’s influence with 152 works of art, historical photo- modernist interest,” says exhibit co-curator


The mother of Southwest Modernism gets her due



1441 Paseo de Peralta, 505-988-4440


Visit us at MaLin Wilson-Powell. “The artists came to Taos and they saw living cultures. The Hispanos were still devout Catholics who replastered this Brancusi-looking object every year called Ranchos de Taos, which was painted and photographed by O’Keeffe, Ansel Adams, and others. The modernists found a place in Taos, and because of Mabel’s connection to Tony and the Pueblo, they were welcomed into Taos Pueblo, which is one of the most secretive there are.” The exhibition reveals volumes about Luhan and her gift for “collecting people and arranging them like f lowers,” as historian Christopher Lasch observes in The New Radicalism in America, 1889–1963: The Intellectual As a Social Type. “She made a huge contribution wherever she went,” Wilson says. “She brought people together to cross-pollinate and cross-fertilize, and she loved that. She wanted things to happen. She was always open to strangers and strange ideas. That is the cosmopolitan modernist ideal— people who were meeting new things all the time. That sense of openness, that is her contribution.” Luhan lived in Taos until her death in 1962 at age 83, and even at the end of her life, she remained inf luential. “We found some letters from Gore Vidal telling her how important she was,” Wilson-Powell says. “And Steve Martin in his autobiography wrote about how he found her book on Taos artists and he wanted to steal it.” From Taos, Mabel Dodge Luhan & Company travels to the Albuquerque Museum of Art & History for a show October 29 through January 22, 2017, and then to the Burchfield Penney Art Center in Buffalo, New York, on view March 10 through May 28, 2017. —Lynn Cline


A SITE to Behold

An experimental approach to renovation brings new life to Santa Fe’s premier exhibition space

A jutting-prow profile will turn SITE Santa Fe’s converted beer warehouse into a sleek metal ark, anchored and more integrated with the contemporary art museum’s Railyard District.


TREND Summer/Lookbook 2016



eaching for dramatic impact while dutifully upgrading and expanding the space’s capacity, SHoP Architects laid out a new design for SITE Santa Fe this spring in an exhibit that placed the project within the context of the firm’s blue-ribbon accomplishments worldwide. The 180-member New York company is known for an unorthodox approach to design that investigates both the technological and social potential of the built environment. Much of the SITE exhibit WorkSHoP was devoted to exploring the firm’s range of solutions and innovative use of materials in such projects as the Barclays Center arena in Brooklyn, the Botswana Innovation Hub in Africa, and

LaGuardia Airport’s master plan. SITE had drawn up a short list of designers for its long-awaited expansion that would fit a very specific profile, says Director Irene Hofmann, including being “as innovative as the artists we show.” The renovation project is central to the future of SITE as it transitions from a biennial hall to a year-round museum and cultural anchor for Santa Fe, and as Hofmann explains, “we wanted this project to be as important to them as it was to us.” SHoP fit the bill because it had no museums in its portfolio of high-end projects that tend to cost hundreds of millions to billions of dollars. SITE thus offered “an opportunity to show their creativity in the realm of cultural clients,” Hofmann says. “And they have approached it as a project just as important as their very important, very large projects.”

Budget was perhaps the major constraint that SHoP faced in Santa Fe. The team working on the project consisted of Chris Sharples, a principal at the firm, and two younger architects, Ayumi Sugiyama (who was heavily involved in Barclays Center) and Cortez Crosby. The museum laid down the priorities of upgrading its mechanical systems to control for temperature and humidity, which would allow a much wider range of artwork to be shown, and creating multiple exhibition spaces so one gallery could stay open while shows were being switched out. Also desired was more space for events and an expanding education center along with a more welcoming presence to anchor the institution in The Railyard art district. Despite many restrictions ranging from Santa Fe design ordinances to The Railyard master plan, SHoP’s solu-


tion seems to answer all of them. “We were wowed from the very beginning,” Hofmann says of the jutting-prow profile that turns the converted beer warehouse into a sleek metal ark clad in aluminum mesh to both reflect and admit light. Peeking out from beneath this sheath are walls of windows that open the space to the neighborhood— a hallmark of SHoP designs. “One of the challenges of contemporary art is getting people to engage and be curious,” Sharples explains, “and I think the building is going to help with that, and at the same time create a sense of intimacy.” Open to the desert sky during the day, the building will emit a warm glow from within at night, shifting under different lighting conditions to “create an iconic presence at The Railyard.” With the firm’s focus on materiality, its use of space-age fabrication, and a multidisciplinary approach, SHoP’s structures often communicate their full impact only once they’re built, Sharples said—including at Barclays Center, where no one “got” the oculus open to the sky until it was seen at full scale under different weather conditions.

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That may account for the underwhelming response to the SITE design after an industry release in January and at the public exhibition in March. Hofmann, who worked closely with the architects throughout the process, remains impressed by the team’s ingenious response to parameters of budget, sustainability, and problem-solving on an odd-shaped lot and with a laundry list of needed infrastructural improvements. “What we were looking for was the best building for our location and needs, not just a reiteration of a form or style that is on many buildings,” she said of SHoP’s approach, which addressed the project’s performance criteria rather than any stylistic orientation. For a firm of this caliber to engage in an undertaking of this type—not a brand-new building, not very large scale—with the level of enthusiasm, dedication, and ingenuity shown by Sugiyama and her team, this could become a game changer for SITE and the cultural life of Santa Fe, she predicts. The museum expects to break ground on the project in August, and complete it next summer. —Keiko Ohnuma


Infrastructural improvements for expanded gallery spaces will enable the museum to show a greater range of art, which, characteristic to the style of SHoP Architects, will be brought more visibly into its surroundings.


Knowing Our Place

Artists address ideas of place, pain, and possibility at SITE’s Biennial


hen SITE Santa Fe mounted its first biennial in 1996, it was also the first biennial ever to be held in the US. Twenty years later, biennials have become a staple in the American art world, and SITE continues to experiment with the concept. This time around, Director Irene Hoffman has created SITElines, which spans three biennial periods with closely related themes that are explored in depth. The first of the three, Unsettled Landscapes, was held in 2014 and examined the ideas of geography and identity through landscape, territory, and trade. This summer’s second installment, much wider than a line, looks at the interconnectedness of the Americas through, as stated by the museum, “a recognition of colonial legacies, expressions of the vernacular . . . and our relationship to the land.” A team of curators and advisors selected 30 artists from 16 countries for the exhibition, which opens July 16 and runs through January 8, 2017. Many artists were selected for work already made, while others created and installed their projects on site. >

Carla Fernández, The Barefoot Designer: A Workshop to Unlearn, Museo Jumex (2016). 69

“My work Empire deals with the landscape and architectural environment of the Inland Empire,” explains California-based multimedia artist Lewis deSoto of his series of digitally crafted panoramas. These refer to “an ancient terrorism,” he says, “the Spanish American homegrown terrorism of genocide and slavery that is embodied most ironically in mission architecture.” A vast area of San Bernardino and Riverside counties in Southern California colonized by Spanish and Euro-Americans, the Inland Empire is home to the Serrano, Luiseño, Chemehuevi, Cahuilla, and other tribes who live among strip malls, tract housing, freeways, universities, casinos, and golf courses. “Born in the area, and Cahuilla through my father’s side, I have experienced the integration of myth, religion, science, commerce, and the sorrow of loss and success it embodies,” deSoto says. The curators selected a local icon—the Paulo Soleri Amphitheater at the Santa Fe

Erika Verzutti, Cemitério com Neve (2015), concrete, clay, bronze, and found objects. Top: Lewis deSoto, San Bernardino 25 (2013), Epson K3 inks on archival paper. Opposite: Aaron Dysart, Second Growth (2016), live tree installation (representative work). 70


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Indian School, which is slated for demolition—to symbolize the biennial’s focus. An Italian architect known for his “arcology” concept, which refers to ecology tied to architecture, Soleri began work on a planned community, Arcosanti, which is still underway in central Arizona, a site curators visited during preparations for the show. Commissioned in the 1960s by Lloyd Kiva New, then arts director of the Institute of American Indian Arts, to support their curricula in contemporary American Indian drama, Soleri drew upon many of the principles of Native American design to create the amphitheater, whose history is explored by an archival roomwithin-a-room exhibit at SITE. The biennial is replete with artists who, like Soleri, materialize ideas in unexpected arenas. Jorge González of Puerto Rico created portable stools with woven seats to distribute throughout the exhibition space. Fashion designer Carla Fernández of Mexico City has provided five ponchos for guests to wear as they move through the exhibit. “When you wear a garment,” she says, “it connects with how people move in


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Benvenuto Chavajay, Dorotheo Guamuch (2013), digital print. Top: Cildo Meireles, The Southern Cross/Cruzeiro do Sul (1969–1970), wooden cube, oak, and pine.

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the world. It’s like your first home, your first architecture.” Her ponchos are made by people she works with in central Mexico, whose cosmologies incorporate healing into their textiles. “Of all the arts,” says Fernández, “weaving, textiles, clothing—they have their own magic. Embroidery is like drawing with threads, and architecture is like a garment. Fashion can be everything that architectural design is.” DeSoto, meanwhile, has been to Arcosanti and even sat in on lectures by Soleri. “To our eyes,” he says, “Soleri’s work looks odd, ceremonial, religious, but without the idea of a ‘God.’ To me, it has based itself on many principles about relationships to nature, upsetting the notion of the primacy of the human viewpoint.” It’s this type of relationship that’s at the heart of artist Aaron Dysart’s work. A Minnesota native participating in his first biennial, he installed a piñon tree inside SITE that he selected via Skype after doing a feasibility study. Interested in work that’s displayed in public, where people aren’t expecting an aesthetic experience, Dysart enjoys pushing at boundaries. “I like bringing this organic living thing and breaking down the walls of the museum,” he says. “I want people to remember their natural world. I have a problem with the term ‘getting back to nature.’ The problems we have stem from our feeling of being removed from nature, this idea that we’re separate.” Contributor Abel Rodríguez has reasons to feel separate from his home territory in the Amazon rainforest, having been forcibly removed by an armed militia. A Nonuya elder, Rodríguez considers himself a recorder of knowledge, and has long studied the ecology and medicinal properties of the rainforest’s flora and fauna, which he presents with ink drawings. With art ranging from the personal to the socially engaged, this middle segment of SITE Santa Fe’s biennial series involves claiming and reclaiming territory. Like our regional geographies, the exhibition should prove to be much, much wider than a line. Visit R

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ON THE LINE Arts patron Nancy Zeckendorf brings a ballerina’s precision to her Santa Fe home


raditional Santa Fe style was never a natural fit with Nancy Zeckendorf’s design aesthetic, although she loved it as part of the newness of the city she first encountered in the 1960s and again in the ’80s. A former principal ballerina with the Metropolitan Opera company and Santa Fe Opera, Zeckendorf is at home in dance studios—large, spare spaces with high ceilings and straight lines. She appreciates precise visual statements and efficient movement through space with minimal distraction. “Ballet is structured; modern dance is more organic,” she reflects, sitting at the kitchen table in her Los Miradores condo, which she recently remodeled before moving in. Zeckendorf’s history with Los Miradores goes back to the beginning of the treefilled, Pueblo-style gated community near St. John’s College. It was conceived and built in stages between 1983 and 1991 by her late husband, William Zeckendorf Jr., and was the prominent New York developer’s first project in Santa Fe. Bill enlisted his wife as a design consultant, and she soon became its project manager. She enjoyed the work. It engaged her sense for discipline and detail. With an eye to the Texas second-home market, the units of the community incorporated architectural and design elements of Santa Fe style: low profile, stuccoed exteriors, vigas, latillas, kiva fireplaces, rounded corners, Saltillo-tiled f loors. Nancy and Bill lived in three of the units before Bill went on to develop the Sierra del Norte luxury subdivision in the early 1990s in the foothills east of town. There the Zeckendorfs built and lived in two

Inside, Nancy Zeckendorf’s Los Miradores home shows little trace of its former life as a traditional Santa Fe–style condo. Organic elements were removed and rounded edges made ruler-straight.


living by design


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homes until Bill’s death in February 2014. The couple’s first foothills home had high ceilings with white-painted, rounded beams, and their Sierra del Norte house had flat ceilings and more clean-cut lines. After Bill’s passing, Nancy decided she no longer wanted a 6,000-square-foot home, and Los Miradores appealed. “It’s such a charming, quiet, private place, and beautifully looked after,” she says. It was

perfect, except that it was Santa Fe style, and everything about the interior needed to change. “Can we really make this contemporary?” she asked Santa Fe-based interior designer Joan Lombardi, longtime friend and onetime fellow ballet student in New York. “Yes,” replied Lombardi. “We start with the floors.” They worked with David Campbell to replace the Saltillo with large, square

tiles of pale tan travertine throughout the home. The tile’s light color continues into limestone counters and almost all interior walls, doors, and cabinetry, creating an uninterrupted flow. Most interior doors were removed, the ceilings lifted, and doorframes enlarged to reinforce an open, airy feeling. New, larger windows frame views of courtyards landscaped in contemporary Japanese style. Bancos, nichos, and kivas were removed, and rounded edges made ruler-straight. Zeckendorf says, “I’m not a collector, except of good friends.” A few select artworks punctuate the home with color and texture. In the living room hangs a large Rimi Yang painting of a little girl in red shoes on a horse, its theme echoed in a Chinese Tang Dynasty wooden horse that once belonged to Zeckendorf’s friend, actress Joan Fontaine. Two black leather Le Corbusier chairs perfectly suit the linear aesthetic of the pale-hued office. Walking through it into her bedroom, Zeckendorf stops in front of a floor-toceiling poster on the wall beside her bed. “This makes me very, very happy,” she says. It’s a black and white promotional poster from the Metropolitan Opera with a long list of performers’ names, including her maiden name, Nancy King. “When I see it, every name reminds me of someone special.” Dance and music were Zeckendorf’s first loves. She grew up in the small northwestern Pennsylvania town of Tidioute, where her father owned and ran a lumber company and her mother kept the family home “clean and uncluttered; she had very good taste,” Zeckendorf says. From there she went to New York City to study at the Juilliard School of Music and the Metropolitan Opera Ballet School. Among her instructors were Anthony Tudor, Agnes de Mille, and Martha Graham. In 1961 Nancy was in Santa Fe for the Nancy King was a principal dancer with the Metropolitan Opera Company and the Santa Fe Opera. Opposite: Furnishings, including a carpet to set the palette, were reconfigured from Zeckendorf’s prior Santa Fe home by interior designer Joan Lombardi; contemporary Japanese aesthetic of the outdoor living area.


Bill and Nancy Zeckendorf were married in 1963. Opposite: Restored and renovated through a multimillion– dollar capital campaign spearheaded by Nancy Zeckendorf, The Lensic Performing Arts Center in downtown Santa Fe was transformed into a vital, state-of-the-art, multipurpose cultural facility.

first of two summers as principal dancer with the Santa Fe Opera. While here she happened to meet Bill Zeckendorf’s mother and his stepfather, music critic Irving Kolodin. Back in New York, Nancy got a call from Bill’s mother, who said she had extra tickets for the opening of the Bolshoi Ballet and wanted Nancy to attend with her son. They were married 82

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in 1963. Soon afterward Nancy retired from dancing and launched a life of dedicated fundraising for the arts that started with a long association with the American Ballet Theatre. In Santa Fe, as Bill was developing Los Miradores, Sierra del Norte, the Eldorado Hotel, and other projects, Nancy was immersed in support for the Santa Fe

Opera, serving for many years as chair of the committee organizing the Opera’s annual fundraising gala. She served on the board until 1995 and was instrumental in helping raise $21 million for the new opera house completed in 1998. Not long after she’d stepped back from active involvement with the Opera, Bill told her there was another important fundraising project in need. He was arranging a deal for the restoration and renovation of the 1930s-era Lensic Theater in downtown Santa Fe, aiming to transform the rundown theater into a state-of-the-art performing arts center. It would require some $9 million. “Bill knew how to get it going,” Zeckendorf says. “Then he turned to me and said, ‘You have to raise the money. No one else can do it.’ It became a labor of love.” It was also a grassroots effort, with most of the money coming from local donations. “Everyone had a place in their heart for The Lensic,” she says. The renovated space opened in 2001. During the early years of the couple’s involvement in Santa Fe, they split their time between New Mexico and New York. In New York City they lived for a number of years in a penthouse apartment designed for Bill’s father by the internationally acclaimed architect I. M. Pei, who worked for the elder Zeckendorf. The space was open and light, with white tile floors and no interior doors. In the upstate town of Chautauqua, the Zeckendorfs spent eight years in a highly contemporary house with a glass-lined living room. “I like to move,” Zeckendorf says. “I enjoy starting all over. It’s a chance to reassess.” With each move in Santa Fe, her austere design edged out any traces of traditional Pueblo style. “Every time I’ve moved, I’ve straightened the walls more,” she jokes. Her taste for restraint is also reflected in her New York City condominium in Museum Tower, adjacent to the Museum of Modern Art. Remodeled by architect Birch Coffey, it was reconfigured to create a more pleasing flow and efficient use of space. Pale floors again establish a spacious, impeccable look. While she loves New York City, espe-


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cially for ballet and theater, Santa Fe is Zeckendorf’s full-time home these days. She spends a week or so in New York a few times a year, but most mornings wakes to deep blue skies outside the bedroom patio doors of her Los Miradores condo. Typically she’ll do yoga, take a walk, sip tea, and eat breakfast with The New York Times and Santa Fe New Mexican before heading to The Lensic to catch up on paperwork. Back home in the afternoon, she settles in with a book. She is fascinated by classical history; a recent read was Mary Beard’s SPQR: A History of Ancient Rome. Ref lecting on development in Santa Fe, Zeckendorf says she would love to see more opportunities for people to live, work, and shop downtown, as well as more pedestrian-focused streets. She likes The Railyard, where contemporary architecture and art abound. “I think the architectural gate has to open a little. I don’t see taller buildings, and I’m not talking Frank Gehry here, but maybe more architectural expressions that would still fit in.” However, she has no desire to see Santa Fe dramatically change. “I love it here,” she says. “Santa Fe is the most wonderful place in the world to live, with all the culture, the people, the beautiful weather. This is my home.” It’s a sentiment Bill shared and which informed his development projects, and for their significant contributions to the community, in 2011 the couple was named Santa Fe Living Treasures. This fall Bill’s memoir, Developing My Life, is scheduled for release. In conjunction, Zeckendorf will speak in Santa Fe and New York about her husband’s life and career. Founding director and chair of The Lensic Performing Arts Center board, Zeckendorf continues her efforts in financial support for the nonprofit. Her main goal is to establish a larger endowment to lessen the need for ongoing fundraising. “I only do one thing at a time,” she says. “I worked on the American Ballet Theatre, then the Santa Fe Opera, and now The Lensic. It’s part of the dancer mentality— you have to be focused and committed.” R



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The Makers The Meow Wolf Art Complex guides us through alternate realities


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Photo essay by



reaming is a solitary experience, but not here. Santa Fe’s Meow Wolf Art Complex makes the act of dreaming a collective undertaking, jettisoning what we know of exhibition spaces by offering an experience that could be intrusively personal if it weren’t shared by so many. Its first permanent exhibition, House of Eternal Return, is based on a mysterious event that blew a stereotypical Victorian house into a fragmented imagination space driven by user experience. The project’s cohesion could almost lead us to forget the many hands—well over a hundred—and the many shared visions that went into making it. Here we present a brief glimpse of the process and creative minds that helped bring it to fruition.

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Creative director of exhibitions, Caity Kennedy, in the forest. Primary tree structures were hand-forged by Amy Westphal and welded with connecting bridges with the help of Geoff Banzhof. Once installed, the forest was shaped by more than 20 other artists and volunteers using sKratch, a sculpting medium created locally from recycled material and mineralbased binders. Opposite: Mat Crimmins sculpted the plastic bones of a mastodon to include electromagnetic sensors and RGB LED lights; banging on its ribcage produces color and sound. Crimmins and his team also crafted a two-story cave system. Previous pages: A laser harp conceived by Corvas Brinkerhoff and brought to life by the tech team responds to touch with light, sound, and video. A collaboration between Sheldon Bess, Matthew Fernandez, Jake Snider, and the Meow Wolf sound team, the harp is designed for guests to play. 101

Above and right: An old school bus was cut in half and reinforced with a steel substructure by the fabrication team. Opposite, clockwise from top left: Nick Toll’s “Busy Box” room in “Art City,” which looks out onto the forest floor; Chris Clavio of the Meow Wolf tech team, which installed more than 50,000 feet of low-voltage wiring, 12,000 watts of DC power, and 48,000 LEDs; the exhibition audio was created by sound engineers (from left to right) Paul Groetzinger, Ben Wright, Brian Mayhall.

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Amy Westphal with her dog Banjo in the trailer she surfaced in recycled aluminum printing plates. Opposite: Meow Wolf artists and volunteers appear as Mallplex Juviegangers outside the arcade room conceived by Benji Geary with designs by Emily Montoya.

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Erika Wanenmacher’s animatronic Raven Oracle comes to life with 16-gauge steel wings and opens its beak to emit sounds narrated by Scott Cadenasso. Opposite: Leo Brown, left, with Sarah Dallas in their forced-perspective “Charter Room” fabricated with a CNC router and laser-cut plywood. Responsive sensors trigger a video projection created by a third collaborator, Olivia Brown. The Charter Room offers insight into the exhibition’s narrative theme and concepts.

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Matt King stretches out in his conceptualized “Fancy Town,� which was designed mostly from found materials and serves as a venue space providing almost nightly appearances by local and touring musicians. Opposite: Caity Kennedy (left) and Sean Di Ianni, with the architectural plans created by Alexander Dzurec of Autotroph. 109


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Peter Sarkisian turns TV sets into digital sculptures BY DEVON JACKSON | PORTRAITS BY JENNIFER ESPERANZA 113


f you’ve ever seen a Peter Sarkisian film or video sculpture, you know straightaway that there’s very little about his work that’s narrative or even conventionally entertaining. It’s arty, and intentionally so. It’s a heady, one-way journey that plays on opposites. It’s also challenging in a way that can upend our faith in the images moving across the rectangular boxes in front of our eyes, whether on the wall or in our hands. “We’ve always assumed these images belong in a square,” says Sarkisian from within the big, box-like studio he recently built near his northeast Santa Fe home. “Why does that convention persist? Why are we looking at rectangles? I’m trying to blur the line between the viewer and the image plane in a way that causes the viewer to get involved in a more experiential way. So suddenly the viewer stops staring in this reverie and says, ‘What am I staring at?’” In his 1999 piece White Water, for instance, we hear liquid-y sounds and see a stainless steel bowl of grey turning to milky water in a whitish room. Out of the bottom emerges a naked woman (Sarkisian’s future wife), who then turns on her side. She seems to smile. After a minute or so, it’s over. The previous year he released Dusted, perhaps his most famous piece, showing a naked couple confined inside a white cube. They wipe at it from the inside and, while an ethereal female voice whispers inaudibly, clear a view into their world. We see into their cell, which rather resembles an orgy as the cube becomes more and more smeared with their hand wipes. The cube is about the size of a love seat, and its dimensionality compels us to peer in, walk around, and perhaps wipe its sides ourselves. Playing with the form as much as the medium of what we call television, Sarkisian’s videos really just remind us of the enormous plasticity of moving imagery. He shoots most of his films himself. He uses equipment no more sophisticated than that found at the community college. There are amazingly few special effects, if any, in most of his pieces, and virtually no computer-generated sleight of hand. He’s a filmmaker, an artist filmmaker whose genius resides in how he arranges images and projects them. It’s why his films are as much sculptural as they are digital, and it’s what separates his work from video artists like Doug Aitken and Bill Viola. The result is work that relies on us being there. Their sense of humor and playfulness, their contradictoriness, come through viscerally. Most have a trompe l’oeil nature and M.C. Escher-like quality that, as the neuroscientist Vilayanur Ramachandran has said of perceptual paradoxes, “titillate our senses and challenge all our notions of reality and illusion.” When Sarkisian started out somewhat accidentally on his artfilmmaking path a little over 20 years ago, it was well before the omnipresence of the internet and smartphones, before HBO, before streaming and bingeing, and even before TiVo and DVDs, when television was still in thrall to major networks and advertisers. Back then it was dominated by shows like Murder, She Wrote, Home Improvement, and ER, and MTV ruled the televisual landscape. In fact, Sarkisian’s anti-TV inclinations came from his resistance to music television. “MTV turned me off from technology,” he says.

Kevin Thomas

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“That’s partly why I’ve used video—to work against the influence video has on us as viewers. I use it to its own demise. To undermine it.” The challenge, of course, is not being absorbed, like almost everything else, into TV’s insatiable maw. As media critic Mark Crispin Miller put it in his essay “Deride and Conquer,” part of Watching Television, a 1986 Pantheon anthology on popular culture, there’s a “spectatorial posture which TV requires of us,” and “our spectatorial inaction is the only sort of action possible.” Or as New York Magazine critic Matt Zoller Seitz wrote just over a decade ago in response, television “had incorporated selfawareness, even a mild pantomime of self-criticism, as a means of defusing distrust and ensuring its own survival.” Ironically, Sarkisian grew up without electricity or running water, and with a spotty TV that occasionally got PBS (and little else). This was the 1970s in Cerrillos, New Mexico. His parents, painter Paul Sarkisian and sculptor and ceramist Carol McPhee Sarkisian, had relocated from Pasadena to New Mexico when their only child was six. In California, the Sarkisians had a rich circle of friends: physicist Richard Feynman, who played bongos in their living room, as well as curator Walter Hopps, filmmaker Stan Brakhage, actor Dean Stockwell, and artists Ed Kienholz, Llyn Foulkes, and Richard Pettibone. After a brief stay in Albuquerque, the couple bought Cerrillos’s old school. Paul took the gym as his studio, Carol the schoolhouse. The gym also served as a roller skating rink, where Georgia O’Keeffe liked to go when she visited. “We’d roller skate together in our gymnasium, she in her long black robes,” recalls Sarkisian. O’Keeffe would call him “Sonny” and sometimes gave him rocks and colored glass. Carol made some of her black gowns, several of which are now in the O’Keeffe Museum vault, and when O’Keeffe’s vision faded, she went to Sarkisian’s father, who helped her devise a system of painting to compensate for her failing eyesight. Aside from growing up around colorful folks, Paul had the New Mexico outdoors. “When you grow up like that your senses are heightened,” explains Sarkisian. “To have come from that childhood and now working with technology is interesting. It’s a contradiction but it also infuses what I’m trying to do with purpose. To get back to that kind of thinking through technology.” As a kid he was always in touch with what was happening in nature. There were no screens, literally or metaphorically. Now, though, he’s using screens to come full circle, in order “to create a sense of self-awareness, rather than numbing one’s self-awareness,” he says, echoing Miller and Seitz. “Conventional screens are meant to suspend our self-awareness. And the degree to which they do is their success. I’m doing the opposite of that.” During his teens the family moved to Santa Fe, and Peter entered Santa Fe Prep (before that he’d gone to all the alternative schools— Sun Mountain School, the Children’s Workshop, the Brunn School). Things crystallized for him at Prep, where the school’s photography teacher Alex Traube became his mentor. “He was incredibly influential to me,” recalls Sarkisian. Traube encouraged his students to be creative. When Sarkisian’s father brought home a Sony Betacam Camcorder one day, Peter and his buddies knew that film would

Dusted (1998), painted wood cube, video, and audio, illustrates the interpretive visual experience of Sarkisian’s works. Previous pages: The artist in his studio with Cup’a Joe (2011).


Hands of a Similar Man (1999), wood table, rubberized cloth, video projection, audio. Opposite: Morocco is There (1996), found shoe, paint, video projection, audio.

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be their calling. Most of them, Sarkisian and Mike Becker among them, went to film school and never looked back. Becker and Sarkisian were especially industrious. By senior year they’d struck a deal with a Mr. Albright, manager of the Commonwealth Cinemas chain. They’d design his theater’s ads, and in return, he’d let them into The Lensic Theater at midnight twice a week to film their own version of Siskel & Ebert. “We got on the mailing lists of all the studios and they’d send us press kits and U-Matic three-and-a-quarter-inch tapes and we’d edit them at La Farge Library,” remembers Sarkisian, laughing. “We also had a newspaper, The Paper Screen. We got into every movie for free.” Sarkisian then went to the California Institute of the Arts for film. After graduating, he returned to Santa Fe and made a film for admission into the American Film Institute and its directors program in Los Angeles. He was the youngest student they’d had. “I went there because David Lynch had gone there,” he says. But Lynchian it was not, and whereas “CalArts was all about discovering and finding your own answers,” he recalls, “AFI had all the answers.” Nevertheless, “It served a purpose with regard to Hollywood and L.A.” After AFI, he again returned to Santa Fe, where he wrote films, made some award-winning avant-garde shorts, and went to festivals. In 1994 he did a show in Santa Fe with Zane Fischer, Michael Lujan, and Zoe Nauman, called Triskaidekaphobia. “I realized immediately—Wow!” says Sarkisian. “What I struggled with in L.A. was that predetermined structured narrative. You can’t veer from it, and it pulled toward this inevitable destination. Triskaidekaphobia showed me one of the ways to subvert that is spatial—get away from the frame, nothing’s predetermined.” Linda Durham’s gallery snatched him up, and shortly afterward, SITE Santa Fe curator Louis Grachos discovered him while visiting his father’s studio, when he noticed one of Peter’s pieces in the corner. Since then, he’s been in demand, and only last year wound down a four-year international tour of his latest show, 117

From left: Sarkisian holding his VideoMorphic Figure: Robot #3 (2013); Extruded Video Engine (large) (2007); VideoMorphic Figure: Robot #6 v2 (2013), 3-D print, powder-coated steel and aluminum, video projection, audio.

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In Ink Blot (2011, left) and Cup’a Joe (2011), Sarkisian uses found objects with steel, aluminum, video projection, and audio to reference the demise of print in one case and a 1950s middle-class idealism in the other.

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Video Works: 1996–2011. His work is represented in San Francisco’s Modernism, New Orleans’s Jonathan Ferrara Gallery, and New York’s Bryce Wolkowitz Gallery. Yet he’s part of a limited number of artist-filmmakers, an eclectic group that consists of Nam June Paik, Godfrey Reggio (a fellow New Mexican), and Matthew Barney (aka the ex-Mr. Björk). Sarkisian largely works solo, calling on people like Becker and some other longtime film friends when he needs a crew. But because the medium is so technological, “I can’t be in a gridlike environment,” he says of his choice to do what he does here in New Mexico and not in L.A. “When I go outside, it all washes away. So there’s a nice tension.” Still, he admits to being a frustrated filmmaker. “I wear two hats,” says Sarkisian, who has written a somewhat narrative feature that he hopes to make someday. “One gets all the attention. One gets no attention. So on the one hand I love what I do, and on the other I miss the filmmaking process— the mix and jumble of ideas. But I’ve got so many irons in the art-installation world right now.” Those art films allow him to make more of a statement, and even though he’s seemingly juggling just one ball in the air, “that doesn’t make it simpleminded,” he says. “If anything, it makes it more complex.” Complex for him means complex for viewers. Which is partly why art films have such a tough

time getting out of the galleries and museums—and even into galleries and museums. “Museumgoers feel that a TV in the gallery is an abomination,” says Sarkisian. “When I started showing, I got a lot of antagonism from viewers. Why am I using this medium? What’s the difference between this and what I have at home? That’s a big question.” It’s one that forced him to dig deeper, although truly, he considers the question unanswerable. Questions will and should always be asked, believes Sarkisian, and answers should always change. He references the ability of the screens we use to inform our sense of reality and even shape the logic we carry back into the world. “You get lost in some very carefully constructed narrative that somebody put together,” Sarkisian says. “So the last thing we do is snap out of it and say, ‘Whooo, I feel so alive.’ ” Whereas with his work, “The fact that everyone wants to reach out and touch it says that it’s working on some level,” he stresses. “To see kids do that is very gratifying.” It’s something some of his friends from CalArts, the ones now with Pixar, have been able to achieve as well, though in a very different way. “I’m using a medium,” says Sarkisian, “that is at the center of the topic we should all be talking about.” It’s one he’s using to make work that lures us, if not to talk, perhaps to touch, think, or feel. R 121

Rocket heads Studio Looking Forward


Land speed racer & sculptor Jeff Brock presents

Contemporary cuffs, pendants & rings Featuring Black Arrow Agate Portion of proceeds to benefit Jeff Brock Cancer fund

Pop Gallery New Brow Contemporary Art EST. 2007 View Exhibitions and Collections at 125 Lincoln Ave. Santa Fe, NM 505.820.0788

Bringing It All Back Home A Santa Fe collector’s life is transformed by an ancient Hopi art form



hen Steve Elmore was growing up in Carlsbad, New Mexico, all he could think about was getting out of there. He could have followed in the footsteps of his father, who worked in the potash mines, or gone into retail like his mother, who sold dresses at J.C. Penney. But he longed to get see the world, and it was just a question of how. At the time he never dreamed that his life would be forever changed by the legacy of a tiny Hopi woman who had died before he was even born. That transformation came much later. Elmore first headed to Albuquerque to attend the University of New Mexico, then ventured west to study literature at UCLA before settling in northern California to teach English at California State University, Chico. Still restless, he chucked it all and moved to Italy in 1978 to dedicate himself to writing fiction. While there, he took up photography as a hobby, and that’s when things began

to change for him. “I started doing photography just as a way to relax,” he recalls, “so I kind of evolved into being a photographer. When the money ran out, which it always does, I went to New York because I had a lot of fresh images from Europe that I could sell to the travel industry.” Elmore settled there and became a travel photographer, a career that took him to some 13 countries and allowed him to build up a stock library of images. “When I traveled, I always went to all the museums,” he says. “I was nuts about painting and I wanted to see all I could. It wasn’t until I started getting into antiques that I first saw Hopi pottery, and I thought to myself, ‘Who made these pots? Why are the designs so abstracted, so fluid?’ They had a kind of eternal beauty to them, and there’s a resolution to the designs that is unique.” Nobody knew who had made this pottery, as it was mostly unsigned, so he started buying it up as a way to research it. “This was in New York in the early ’90s,” he says. “I’d go to flea markets,

Elmore’s living room has been given over to his collection, covering every available surface with Hopi pots both historic and contemporary. Opposite: A Sikyatki jar circa 1300 AD shows a parrot with “Picasso eyes” hanging upside down from a kiva design. The Sikyatki were direct ancestors of the Hopi people. 125

Nampeyo at home with her exquisitely detailed pots, 1903. Center: Nampeyo fires her pots over open coals, 1901. Bottom: A Nampeyo pot from 1915 features two birdlike creatures on a feathered rainbow. Opposite: A collection of pots created by Nampeyo and her family members includes yellowware, redware, and whiteware. The color of the pot is determined by the clay used and the slip, a thin layer of neutral color over which the designs are painted. 126 TREND Summer/Lookbook 2016


church rummage sales, the antiques shows at the Pier. There was lots of this pottery, but the Easterners just didn’t care about it because they didn’t know what it was. They thought of it as trinkets or souvenirs.” He learned that the finest of the Hopi pottery was made by one woman, Nampeyo, who was born around 1860. Because the Hopi people still lived on the same land that their ancestors had occupied for centuries, there were plenty of potshards and old pieces around, and Nampeyo drew inspiration from the exquisite craftsmanship and sophisticated designs of the pottery made during the 14th, 15th, and 16th centuries. She taught herself to produce pottery in that style, which meant pots that were smoother in their execution, with harder clay. Without a written record to go by, she had to experiment with the different clays, slips, and firing techniques, so this was no small feat. These old pots were superior to the utilitarian ones then being made at Hopi, and Nampeyo worked hard to reclaim the quality and meaning evident in these earlier works. She also visited the ruins of an ancient settlement of the Sikyatki people, the Hopis’ direct ancestors, whose pottery is considered some of the finest ever made by any culture and whose designs seem as fresh and contemporary today as they were centuries ago. Elmore was smitten, and he started collecting as many pots as he could find, many of which he was able to determine were indeed made by Nampeyo. He began traveling back to New Mexico every year, bringing the pots he purchased to sell to dealers in Santa Fe, who had a much better grasp of their worth. “I’d go to the 25th Street flea market in New York and buy old silver jewelry, Navajo rugs, and 127

Pottery made between 1880 and 1925 shows the variety and range of Hopi designs. Bottom: Nampeyo displays her mastery of her medium in these redware pots. The center pot combines two different slips that are integrated by the painted design. Opposite: The design of this redware pot by Nampeyo was influenced by Austrian artist Emry Kopta, who worked with her for 11 years.


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Original Nampeyo designs are reminiscent of the Sikyatki people’s recognizable aesthetic. Top: Nampeyo’s pot, circa 1900, inspired the similar design at right by contemporary Hopi potter Mark Tahbo, reintroducing the horned toad katsina who disappeared from the pantheon years earlier. Opposite: Elmore’s gallery displays pottery by Nampeyo and other Pueblo potters. 130

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pots, and then I’d bring them to Santa Fe to sell them to dealers as a way to pay for my vacation every year,” he says. “I really got to know the scene that way.” During those trips he also started visiting Hopi, seeking more information about Nampeyo, and his transformation really took root. “The first time I saw a katsina dance I realized that we really do need the rituals and the powerful metaphors and imagery that come out of religion.” Exploring the metaphors expressed in the pottery, he came to appreciate their beauty and timelessness. Although he had grown up hiking the canyons near his home looking for potshards and arrowheads, he really hadn’t paid much attention to the actual symbols and the quality of the artistic expression. “Because there’s so much of this stuff around in the Southwest, we tend to take it for granted,” says Elmore. “But it’s important, because we’re really looking into an earlier period of the conscious human mind. There’s something truly deep going on that’s worthy of respectful treatment.” His research revealed that many of the abstracted Hopi designs explored the notion of flight—both literal flight, like the birds, or metaphorical flights of the spirit. “If you think about man’s fascination with birds and flight, even our flight to the moon, you realize that all this came out of the human imagination, and that is what this pottery 131

celebrates. The Hopis are externalizing this in real-world situations, so it makes it easy to see how a part of what’s going on inside of us has been externalized in a really beautiful way. After you see that, it crushes some of the hardness inside you.” Guided by that new awareness, he concluded he just couldn’t go back to his cutthroat, competitive life in New York. “You have to decide what kind of a person you want to be,” he says. “So I had to leave.” Elmore returned to Santa Fe permanently in 1999, his evergrowing collection of pottery in tow, and immersed himself in the world of Hopi history, symbolism, and cosmology. He opened his gallery, Steve Elmore Indian Art, in 2001, a time when the larger world had just begun to catch on to the value and special quality of Hopi pottery. “I couldn’t put together the collection I have today,” he says of the more than 800 historical pieces he currently has, down from a peak of some 2,000. “There aren’t that many pieces available anymore, and they’re much more expensive individually. Before, nobody knew what it was. But having looked at art in scores of museums around the world, I know what good art is. These old pots were as good as anything found, say, on the island of Crete, from the Minoan culture. The Hopi pottery is as well made, well fired, and fascinating in its original designs as any culture has made. It holds up very well next to other ceramics around the world.” He observes that while current ceramics experts aren’t exactly resisting Hopi pottery, they still don’t know much about it. “It’s still seen as kind of an outsider thing in some ways,” he laments. “They think of it as ethnography as opposed to art in your daily life.” Elmore has made it his mission to give this art form its due, and he is particularly passionate about raising the general awareness of Nampeyo and the importance of her work. “I want the world to know about Nampeyo and what she accomplished,” he says. To that end, he drew on his 25 years of research into her life and art to author a book, In Search of Nampeyo: The Early Years, 1875–1892, which he published in 2015. By examining groups of pots and comparing them, he was able to determine that many of the pots, though unsigned, were Nampeyo’s work, and this became the main thrust of his book. His research took him to Harvard, where he studied and photographed the university’s extensive collection of Hopi pottery with the expectation that they would publish his volume, the first of two. But Harvard declined to publish the manuscript—in part, Elmore postulates, because he doesn’t have a PhD to legitimize the conclusions he drew—and they returned the publishing rights to him. He then published it himself, but when the book subsequently won some awards, Harvard reversed its decision and claimed copyright infringement, launching a lawsuit to return the copyright to them. “My attorney tells me I have the law on my side and I will most likely prevail in the lawsuit, but it takes up a lot of money and energy in the meantime,” says Elmore. “The only reason I didn’t just let it go was that it’s important to tell the world about Nampeyo, and I’m


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committed to shedding light on her work and talent so she can get the appreciation she deserves. It’s part of my ‘pact’ with her.” Indeed, to Elmore, Nampeyo is not just a historical figure but rather a living entity whose talent is as meaningful today as it was during her lifetime. He speaks of her in the present tense, citing her as a mentor and muse in his own painting, which he took up after moving to Santa Fe and also sells in his gallery. “The thing about Santa Fe,” he says, “is that because art is accepted as a natural part of life here, anybody can participate in it, at whatever level. There’s more freedom here to express yourself. My paintings are not just intellectual exercises for me, they’re emotional experiences. Most of my paintings come out of this unconscious interaction, which is why I often paint late at night, so I have access to that quality of mystery. That same mystery is what I see in Nampeyo’s work. It has an organic, live quality that’s not explainable.” Nampeyo’s magic may stem in part from the purity of her intent, which was to ensure the continuity of the Hopi art form for the benefit of the community. “She said that she created her designs for her descendants,” explains Elmore. “She knew that her granddaughters would never go hungry because they could always make a pot to give to the traders in exchange for a sack of beans. So that’s really how I first got started, because there weren’t any of Nampeyo’s pots left in Hopi. The Hopi potters didn’t have access to their own culture because it was sitting in dark metal cabinets all over the East. That’s how it happened at Zuni, too,” he continues. “When James Stevenson collected artifacts for the Smithsonian Institution at Zuni in 1879, he bought every pot in the village, more than 2,000 of them. The remaining potters lost all the models, all those designs. So within just a few years they were doing rain bird designs, heart-line deer, and rosettes, but they’d forgotten all the other designs. I didn’t want that to happen at Hopi.” Elmore works with individual Hopi potters to help them make a living at their art. “I’m trying to give young people a place to show their work,” he says. “I don’t have enough cash to buy from all of them, so I work with just four, buying from them several times a year. You want the good ones to keep making pottery. I have a sense of obligation about that. If I don’t have the money, I send them to someone else who will buy their work.” Elmore’s passion for Hopi pottery in general and Nampeyo in particular is evident both in his gallery, where it’s beautifully displayed, and his home, where it fills entire rooms and occupies every available surface. To him, it’s a living, breathing art form that never ceases to inspire him and bring him a sense of peace. “If somebody had told me when I was a young man that my main influence in life would be a Native American woman about five feet tall who died before I was born, I would have been very surprised,” he says. “But you have to open yourself up to these things. I feel her presence in her art. I look forward to the day when this pottery, and all Native art, are just accepted as regular art, not ‘Indian art.’ ” We can learn a lot from this culture, and from its images.” R

Elmore approaches his painting with the same passion that drives his efforts to bring Hopi artistry to a new audience. 133


Friday, September 23

Saturday, September 24 Sunday, September 25

1:00–2:30 p.m. Legends of Racing Santa Fe Municipal Airport

8:00–10:00 a.m. Mountain Tour for entrants Leaving from the Santa Fe Plaza

5:00–8:00 p.m. Friday Night Gathering— Vintage cars and airplanes, Santa Fe Municipal Airport

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

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

The Academy for the Love of Learning is taking the lid off learning, working outside the four walls of our schools to reconnect people, young and old, with their innate wonder and enthusiasm for discovering who we are in the deepest sense, who we are when we come together in relationship, and the impact of the structures and systems we live within.

What might it look like if the community were the classroom? Academy for the Love of Learning founder and president Aaron Stern calls this “school outside of school,” a network of learning relationships fueled not by grades or tests, but by individual interests and talents, and by the innately human desire to teach and learn.

• Institute for Teaching • Institute For Living Story • Foundational Studies and Practices • Research and Resources

Visit us at to find out more Photos © Don J. Usner


Sculptor Tom Joyce fuses the art and science of metal making


hen you heat iron to a certain point, it moves like water,” says Tom Joyce, whose 45-year career could be seen to span several lifetimes— each a current of multidisciplinary investigation into the core substance that lures him. When he speaks of iron, a kind of amazement overcomes the soft-spoken and bright-eyed artist, who will set you at ease as quickly as he’ll surprise you with the quiet brilliance that earned him a MacArthur Fellowship. Joyce works with iron, and that is to say he grapples daily with an element that defines us. Iron oxygenates our bloodstream, he marvels, and has a 4.5-billion-year-old connection with the planet’s earliest days, having formed much of Earth’s core and provided the gravitational pull that would one day keep humans tethered to the planet. It was iron that the ancient, single-cell cyanobacteria consumed in the primordial sea, releasing the oxygen that allowed incipient life to crawl onto the earth and eventually animate the frontal cortex of our species. Which, for all its biological success, is a species unique in its self-awareness, preoccupied by wonderings about how and why we’re here. These are questions that Joyce poses with his sculptures that, through his use of iron, reference ancient origins and the potential for new life. He uses every tool available—from the basic sketchbook or anvil and hammer of his blacksmith’s training to computer-assisted design, CT scanning, 3-D printing, and forging on an industrial scale in factory settings—to illuminate the metal’s rare character. As influential in blacksmithing communities and academia as in the art world, the artist, who turns 60 this year, moves fluidly through his Santa Fe studio. It’s brimming with hundreds of hand-forged tools, all made to their maker’s touch and hung like comrades’ swords on the wall while charred encyclopedias suspended in space and a pile of boulders next to a forge add to the tableau. The smooth, self-contained stones look as if they could fit in the hand and are part of Cairn, a peace memorial Joyce is crafting from industrial scrap metal mixed with soil that he’s collecting from battlefields around the world. It’s in this studio that Joyce spent some 30 years training smiths and artists in an apprenticeship program he started in 1979. Now he juggles life between Santa Fe and Brussels, where he met his wife, Anne-Marie Bouttiaux, an art historian, anthropologist, and former chief of the ethnographic division at Belgium’s Royal Museum for Central Africa. Wherever he may be, Joyce is a whorl of activity, driven from near dawn to midnight each day like a madman in love. “In a lot of ways it’s like waking up in a dream state,” Joyce says. “There’s this place I go inside the work where time collapses and it feels as though in this moment there are thousands of years of process and people sweating over this heated material to coax it into the forms we desire.” Most of Joyce’s source iron and stainless steel is scrap left over from large-scale manufacturing, and he often incorporates fragments of his former works into new alloys. “Everything from the past is pulled into the future,” he says. “There’s this unbroken thread. It’s the same overarching sense that I have about picking up a hammer.” >


it’s like waking up in a dream state. There’s this place “InI goa lotinsideof ways the work where time collapses and it feels as though in this moment there are thousands of years of process and people sweating over this heated material to coax it into the forms we desire.

Imagine the hammer capable of installing 20,000 pounds of stainless steel sculptures above the subway at New York City’s Columbus Circle, where Joyce’s folded Two to One sculptures reside outside the Museum of Arts and Design. Or the responsibility Joyce shouldered when the National September 11 Memorial & Museum sent him sifting through a hangar of contorted debris from the former World Trade Center in order to forge from the collapsed structure’s iron beams a 60-foot-long excerpt from Virgil’s Aeneid in the museum’s lobby: “No day shall erase you from the memory of time.” Were it not for the maker’s pacifism, his sculptures’ tactile allure might feel like a trap—whether it’s the curved, too-soft-to-be-metal surfaces with a patina that emerges over time, or an achingly hard piece like Aureole that pushes the material to its brink at inferno temperatures—it’s as if something is holding its breath on the other side. Joyce’s sculptures activate the sense one might get just before walking into a room of whether it’s empty or not. Beyond the jolting proportions, cohesive distortions, and textural extremes, there’s the impression of something hidden. Joyce was born in Oklahoma to a quilt maker and an archaeologist, both of whom taught him that every part contains a clue to the whole, whether that’s a color, shape, or artifact of civilization. Joyce found his medium when family affairs took his mother and siblings to El Rito, New Mexico. An empathetic third grade teacher there changed the course of his life when she allowed him into the pottery studio one day after school, gave him a lump of clay, and let his hands do the talking. At a time when blacksmithing was nearing extinction, having declined steadily since World War II, rural Northern New Mexico was probably one of the few places in America where a teenager could stumble onto a letterpress printmaking studio and blacksmith shop. At 13, Joyce wandered into the premises of Peter Wells, who was restoring historic printing equipment for the Museum of New Mexico. Wells decided to give the earnest kid a shot, and Joyce ended up with a summer job. “When Peter handed me that first piece of iron, it felt strangely familiar in my hands, as if I already knew what to do with it,” Joyce says. “There was no fear—only a sense of calm, like I was standing in precisely the right place. The older I get the more I realize that it’s such a mystery,” he adds. “I can’t begin to understand why we’re called to certain things, but boy, when it happens, don’t look back.”

When Joyce was 16, he had moved out on his own and was spending long hours toiling alone, learning all he could about hot work with iron. He cites various elders who offered him mentorship, shelter, surrogate familial love, “and generous knowledge in lieu of a conventional upbringing and education path.” Joyce was raised by the community he found in Northern New Mexico, one that in the 1960s and ’70s, he says, “had become a hotbed for the so-called crafts revival, both through indigenous roots and from those migrating from elsewhere.” Back at the shop, Wells must have recognized the signs of a master smith, because one day he handed Joyce the shop keys and left with the letterpress. Joyce kept up with a stream of commissions for farmers, ranchers, and anyone else in need of useful items forged in iron. He dropped out of high school, set to work full time, and struck a deal with the Museum of New Mexico to let him spend hours in their basement with Spanish Colonial objects that he refers to reverently as “teachers.” He learned techniques by tracking the marks made by smiths, and built a canon of potential design solutions. In his early 20s, Joyce moved to Santa Fe and opened his own shop. Graduating to more demanding custom architectural metal work, he continued to seek out teachers. While visiting communist Czechoslovakia in the 1980s, he was invited to aid sculptor Alfred Huber with a Renaissance building restoration, an experience that made an indelible impression. “I went to his studio and realized that his scrap pile consisted of almost nothing. You could hold it in your hands. Everything was reused, every little fragment turned into a rivet or nail.” Joyce worked out of the mud-plastered adobe studio that his family and friends helped him build from the ground up in Arroyo Hondo, then later in an adjacent house. By the ’90s, his commissions had shifted to art and public pieces, including folded bowls based on the Fibonacci sequence, a church’s baptismal font smelted from iron objects contributed by congregation members, and the Rio Grande Gates for the Albuquerque Museum of Art forged from refuse retrieved along the river. Reusing, tracing, and planting source material were early considerations for Joyce. “A lot of times a Fibonacci bowl would have something hidden within, like iron folded around a fragment from an experiment that didn’t quite work out, but which I knew had

Fascinated by the terrestrial and celestial forces that create “violent upheavals, compression and expansion, extreme temperatures, and incessant erosion” in nature, Joyce forges under similar dramatic conditions to create sculptures like Fissure (2015), forged stainless steel and concrete, as well as Berg XV (2013/2014), forged high carbon steel (previous pages).


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potential. Kind of like a little reliquary, a place where the idea can be molded. You still send it out into the world, but it’s a hidden idea.” It’s been decades since he created these works, but Joyce is still finding new tools to help him hide his ideas or expose them. He used casting to create Core Negative sculptures from a mold first designed by sand-cast 3-D printing. “It’s a subtractive process where I make a simple geometric shape, in this case a cube of sand, and I’m excavating it in all these different directions to create a hollow space.” This was then filled with molten iron. “I wanted to make the most complicated interior shape, one absolutely impossible for me to build from a fabrication standpoint using just blacksmithing technology.” This mold was CT-scanned to create images projected as part of Aftershock, Joyce’s show last summer at James Kelly Contemporary Gallery in Santa Fe. He describes imaging the interior of the sculpture, and being able to explore the materiality of iron itself, with fresh marvel. “I used a lens that could get inside the human body, and what I saw was this circulatory system that played with the light

coming in from these different channels. It started to feel like this micro scale inside the body, but also a macro scale, like what we might experience with grand architecture or interstellar activity.” For the past decade, Joyce has taken his work to an industrial scale through a rare relationship with a large factory outside of Chicago, which is bound by a strict confidentiality agreement that forbids Joyce to identify most of what he sees made there. Instead of anvil and hammer, a several-thousand-pound hydraulic press and truck-operated monster tongs manipulate metal at some 2,600 degrees Fahrenheit into the massive sculptures Joyce creates out of “scrap” left over from the 250 million pounds of metal processed by the factory each month. “It stems from taking a precious material that’s been developed for a specific purpose—and often that purpose is something that gives me pause, whether it’s a dam or a mine or a spaceship,” Joyce says, though he is obviously pleased about working with such technologically advanced alloys. “Whether it’s for defense or space—you’re on the edge—the furthest reach that humans have

Iron boulders stacked at the foot of Joyce’s forge are poised for loading soil from battlefields around the world. A vertical band saw, stock rack, and jigs and fixtures are on the shelves to the left, and on the right is a forging area with anvil, leg vice, workbench, working drawings, and the many hand tools mostly forged to form by Joyce. Opposite: Stack (2013/2014), stainless steel, is a 45,000-pound sculpture forged from six industrial remnants squeezed individually under a 3,000-ton press.


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Joyce sketches early in the morning before beginning his workday in the studio and typically models in clay from his drawings; Top: Detail of Corona (2015), illuminated digital chromogenic FujiTrans that reveals the interior structure of a cast iron sculpture. Opposite: Joyce rigs an Aureole sculpture at the studio for finishing work, which he completes with the help of fellow blacksmith and studio manager Caleb Kullman. Previous pages: A detail of Aureole (2015), forged stainless steel, reveals the extreme edge of the material’s potential—steel cools to a molecular grain structure as unique as the patterns found in wood or fingerprints. 145

been able to achieve using three thousand years of knowledge to get to the next step.” His Berg sculptures were cut from such “parent” material, which is more typically along the lines of a nuclear warhead than, say, a massive solar array. “Berg refers to the tip of this larger thing, but I have the offspring, the remnant material, that holds all of the specific DNA, really, of that parent doing its job,” Joyce says. To create the distorted cube sculptures that appear to be in motion, folding inward, he directed the press operator to make four angled cuts in the cardinal directions, based on a clay model he’d executed previously in his studio on a small scale. “I breach the grain,” Joyce explains, “and that breaches the structural integrity of the material. It was made to be the strongest material in the world, and with one cut I’ve rendered it useless for the purpose for which it was intended.” Almost like the severing of an umbilical cord or a circumcision, there’s an element of ritual that one might perceive in the tensions of Joyce sculptures, which resonates with his many years of research into the smithing practices of various groups in Africa, including the Bobo and Mossi of Burkina Faso, the Dogon and Bamana of Mali, and the Ewe and Cabre of Togo. “There’s an idea that the smith tries to produce with a certain frame of mind, so that an object will have the best chance of being used in the proper way out in the world,” explains Joyce. “When they’re making something intended to harvest grain it could also be used to slit someone’s throat. That kind of responsibility is considered when someone sits or stands at the anvil.” Procreative terminology is used to describe the smelting process, and some groups use furnaces sculpted like female torsos. The word midwife, he notes, also means smith in hundreds of African languages. The bloom—which is the industry term for the point when

hard iron becomes a spongy, workable mass—is referred to as a fetus, and is delivered from the furnace chamber by master smelters. Joyce has partnered with ethnomusicologist Stephen Feld to record footage of smiths in Ghana and Togo, work that will become just one part of a traveling exhibition of African art by blacksmiths that he’s co-curating for the Fowler Museum at UCLA. This survey will open in spring of 2018 and will make several stops before ending up at the Musée du quai Branly in Paris. Fowler Director Marla Berns has been working with Joyce for years in preparation for the exhibit. “He can show you a piece of iron and tell you what makes it virtuosic. He can even identify the blows still evident in the material and explain what in the form reveals its mastery of the forging process,” she says, citing Joyce’s infectious reverence. “What makes him so significant to the field, and so important to this exhibition project,” she adds, “is what we can learn from him that others can’t see.” The Berg sculptures that sit outside his home weigh many thousands of pounds. Their weighty curves suggest closed lips, secrets kept. “You’re not sure if it’s clay or iron,” says Joyce. “It has all the soft qualities of what happens inside the center of the Earth when things are moving. There’s a violence, too, but there’s a calm, finished object.” As for what’s to come, whether it’s new collaborations with industries or different tools in his hands, Joyce will continue to track, pantherlike, the character of iron, which also means he’s tracking ourselves. “I think our genetic code is much more than what’s in our bodies,” he says. “I think our environment forms us, and if there’s all this space around these subatomic particles, why wouldn’t we be completely absorbent in our osmosis of everything around us?” Perhaps his sculptures hit us so viscerally because they are, like us, suspended in potential, but earthbound. R

Above and opposite: Joyce’s earliest Aureole experiment in 2009 produced softer tones, and most of his sculptures are treated with a patina that allows the pieces to rust through different colors over time. 147

Malouf on the Plaza 61 Old Santa Fe Trail Santa Fe, NM 505-983-9241


KAREN MELFI collection

Photography by Wendy McEahern

225 Canyon Road Santa Fe, New Mexico 505.982.3032 karenmelďŹ



Handwoven Originals Santa Fe, NM, 505-982-4118 The Santa Fe Opera Shop Santa Fe, NM, 505-986-5949 Uli’s Santa Fe, NM, 505-986-0577 Los Alamos, NM 505-662-4558 Spirit of the Earth Santa Fe, NM, 505-988-9558 Casweck Galleries Santa Fe, NM, 505-988-2966 Buffalo, MN, 763-226-1245 Sugarman Peterson Gallery Santa Fe, NM, 505-982-0340 The Art Center at Fuller Lodge Los Alamos, NM, 505-662-1635 Aurem Jewelry Jerome, AZ, 928-634-3330 Kuivato Glass Gallery Sedona, AZ, 928-282-1212 Magpie Taos, NM, 781-278-0166 Asha Handcrafted Jewelry Houston, TX, 832-350-6666 Kiss Me Kate Scottsdale, AZ, 480-315-1777 Options Healdsburg, CA, 707-431-8861 PHOTO: BONCRATIOUS

Sumner & Dene Albuquerque, NM, 505-842-1400 Diva Womens Wear Scottsdale, AZ, 480-948-8777 Sedona, AZ, 928-828-0527


River of Love, David Griego, 2015. River of Love and David Griego Designs are sold exclusively at Santa Fe Goldworks.

Santa Fe Goldworks 60 E. San Francisco Street Suite 218 Santa Fe, NM 87501 505-983-4562



B E E MAN J E WE L RY D E S I G N 425.422.3990

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272 TREND Winter Annual Lookbook 2015


Earth, Wind, and Fire


ow astrologically appropriate for Elodie Holmes to have been born under a fire sign. A modern-day alchemist, she works with a blazing, white-hot furnace, transforming slivers of colored glass into breathtaking works of art. Fire is not only an essential part of that process—it’s also her partner, requiring constant vigilance and adjustment to achieve the desired result. An energetic woman in her mid 50s, Holmes’s eyes light up as she talks about the process. “It’s all about

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temperature and timing,” she explains. “If one of those things is off, the whole piece could be ruined.” In other words, successful glassblowing requires a perfect blend of art and science. When not taming the forces of fire, Holmes enjoys a home life with her partner of 14 years, Jannine Cabossel, that is solidly down-to-earth. A graphic artist turned master gardener, Cabossel is well known to Santa Fe Farmers Market visitors as The Tomato Lady, since growing heirloom tomatoes is

her specialty. Additionally, the sprawling six-acre property they share on the outskirts of town delivers a rich array of bounty in the growing season, from peaches and strawberries to chile peppers and kale. The grounds are also home to chickens, goats, and other assorted livestock, and over the last few years, the couple also added a music studio and meditation space. “I call myself an artisan farmer,” Cabossel says. “I like to grow varieties you can’t find in a grocery store and I’m also a bit obsessive


A Santa Fe couple crafts an artistic life through elemental mastery

Holmes’s fierty beauties have earned her a series of accolades, including the 2015 Reflections Award for artistic achievement from the Glass Alliance of New Mexico. Opposite: Holmes (left) and Cabossel working at Liquid Light Glass, their studio and shop located in the Baca Street Arts District. 159

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Holmes has created a wonderful series of highly original bee sculptures. “I find bees fascinating,” she says. “The way they work so harmoniously as a colony never ceases to amaze me. So, in a sense, these sculptures are also a wakeup call: no bees, no food.” Born in Washington, DC, and raised in Rockville, Maryland, Holmes remembers


when it comes to food. I like being in control of how it’s grown and where it comes from. But I think that’s a good obsession to have.” Beekeeping is another interest the couple has in common, not only because bees are under threat, but also because of how they live and function in the hive. Cabossel has planted special bee-friendly flower beds and

that she was always attracted to the arts. She grew up playing guitar and singing, and when it came time to go to college, she followed a family legacy and chose ceramics as her course of study. After all, her greatgrandfather was the chief designer for Lenox fine china when Woodrow Wilson was president, and he had the distinction of designing the first service to grace the president’s table. After two years at Montgomery College in Rockville, Holmes had a yen to go West, so she moved on to the California College of the Arts in Oakland. It was there that she met the acclaimed glass artist Marvin Lipofsky and began to blow glass. “I’ve always been attracted to the physical aspects of glassblowing,” she says, “the vibrant colors, shaping it while it’s soft, freezing it in motion, and the chemical reactions that cause colors to change. I’ve always had good hand-eye coordination, and I loved the interaction of fire with glass and the constant movement—it’s like a dance.” As she was nearing graduation and wondering where to go next, she noticed an ad in the newspaper looking for someone to join a small cooperative glass studio and gallery on Canyon Road called The Melting Pot. She had never been to Santa Fe and, she admits, “knew zip about it,” except that it was known to be artist-friendly. When she came to check it out in the spring, a perfect double rainbow greeted her the day she arrived—and of course she stayed. As it turned out, The Melting Pot was the first shop on Canyon Road to specialize in glass, with four artists, including Holmes, sharing studio time and working in the store. It was a different Canyon Road back then, she recalls. “It really was an artistic hub, with lots of artists living on the street, selling work out of their studios. I’ve always been very influenced by my surroundings, so that, together with the multicultural environment, really appealed to me.” Although the shop closed in 1984, Santa Fe remained her home and Holmes immersed herself in community life. She played in a band, developed close friendships with other artists, and settled into what would become a long-term domestic partnership with Janet Murray, a local massage therapist,


with whom she would celebrate the arrival of a daughter, Flynn, in 1989 (Murray sadly succumbed to cancer a number of years ago). The year the shop closed, Holmes was offered an artist-in-residence scholarship at the world-famous Pilchuck Glass School in Stanwood, Washington, to begin the following summer. Tragically, while driving through Utah on her way to Stanwood, in the pouring rain and with dusk approaching, she fell asleep at the wheel, collided with a reinforced concrete culvert and ended up trapped in her vehicle, unconscious and suffering from massive internal and external injuries, including a shattered left arm. “It was devastating, “ she says. “I had no idea if I would even be able to blow glass again.” Sixteen weeks and multiple surgeries later, she was finally able to return to Santa Fe, where she was welcomed with a wave of love and support that clearly still touches her to this day. And her homecoming not only helped heal her body, mind, and spirit, it presented her with opportunities to continue her work. Friend and fellow glassblower Waine Archer suggested she try doing torch work while she recovered her strength. Unlike glassblowing, which is physically demanding, torch work is done sitting at a specially equipped bench, working with tubes of glass and an adjustable flame. It was a perfect way for Holmes to stay creatively connected with glass. She started out small, making things like hearts, chiles, and cactuses, and soon found an outlet at Guadalupe Glass in the Santa Fe Railyard. Guadalupe Glass belonged to Peter VanderLaan, an established glassblower with a studio in La Cienega. The two soon became friends and he eventually invited her to share a booth with him at the Buyers Market of American Craft (now called the American Made Show) in Philadelphia. “That was a huge leg up for me,” Holmes says. “My work was picked up by galleries, designers, and architects, as well as momand-pop shops, all over the country. I’ll always be grateful to Peter for that.” Elodie Holmes in 1999, working at what was then the hot shop at Glory Hole Glassworks, and, opposite, in her Santa Fe home today.

Once Holmes felt able to take up glassblowing again, she went looking for a permanent studio space. In 2000, on a hunch, she approached the owner of Counter Culture, who also owned the art shops and studios on Baca Street, to see if he would sell her that part of the property. He finally agreed, the tenants stayed, and Holmes acquired 2,000

square feet of studio and retail space. Liquid Light Glass was up and running by March of the following year. Elodie Holmes is now one of the premier artists in her field. Her work is featured in galleries and museum outlets all over the country, and in 2015 she was the recipient of Glass Alliance New Mexico’s Artistic 161

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Clockwise from top left: Worker Bee Girls (2013); Honey Queen, detail (2012); Honey Drip, detail (2014). Opposite: Morning Glory Disc (2015).



How We Live

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Cassobel starts all her produce from seed indoors, including the heirloom tomatoes for which she is famous. Opposite: Two Auroras (2015)

Achievement award. Her signature pieces combine both her torch work and glassblowing skills, most recognizably and innovatively incorporating individually made dancing figures into the final design. When the figures are blended with the molten glass and blown—a technique she has perfected over the years—they grow, like images on a balloon. “I love it when people tell me the figures look so alive,” Holmes says, “because, for me, they really are a celebration of life. Having come so close to losing my own, they have a very special meaning for me.” The abstract sculptural quality of her work is perfectly exemplified by her bestselling piece, Aurora, whose fluid shape and brilliant, flowing colors reminded a friend of the aurora borealis. Each piece is, of course, as unique as an appearance of the northern lights. Her peers praise Holmes not only for her vibrant colors but also for the exceptionally broad range of her work and for pushing the creative envelope of an art form often dismissed as merely decorative. Holmes has also introduced Cabossel to

the art of glass blowing, so when the growing season is over, The Tomato Lady can also be found in front of a fiery furnace in the studio on Baca Street, working on her latest creation. “We’re both very artistic,” she says, “and we’ve always been supportive of each other. Elodie taught me to blow glass and I introduced her to beekeeping and taught her fly-fishing. Now she makes bee sculptures and I make glass garden ornaments, but, basically, I run the farm and Elodie runs the glass studio.” After working with glass for more than three decades, Holmes’s passion for her chosen medium has clearly not diminished in the slightest. “If I had several lifetimes to live, I would choose to spend them all around glass,” she says simply. “It has so many different personalities, it’s a constant journey of discovery.” And, fortunately, this is one art form that is not threatened by the advance of technology. “That’s one thing we don’t have to worry about,” Holmes continues, smiling. “No robot, no matter how clever, will ever be able to blow glass.” R 165

Santa Fe Creators Jennifer Esperanza Photo Essay by

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Director James Kleinart and Austen, and, opposite, dancer and choreographer Rulan Tangen 167

Sculptor Laird Hovland 168 TREND Summer/Lookbook 2016

Painter and multimedia artist Alexandra Eldridge 169

Fashion designer and multimedia artist Virgil Ortiz 170 TREND Summer/Lookbook 2016

Singer-songwriter Felecia Ford 171

Painter and multimedia artist Tony Abeyta 172 TREND Summer/Lookbook 2016

Photographer Karen Kuehn with Jetson 173

artist owned


241 Delgado St


Santa Fe NM 87501




g v g c o n t e m p o r a r y. c o m




GVG Contemporary 241 Delgado Street Santa Fe, NM 87501 505-982-1494



Laird Hovland Sculpture Studio 1240 Calle De Comercio Suite G, Santa Fe, New Mexico 87507 505-699-8438



CHARLES PIERCE The Santa Fe Art Gallery 223 E. Palace Ave. Santa Fe New Mexico 87501 505-983-6429


ALEXANDRA ELDRIDGE Nüart Gallery 670 Canyon Road Santa Fe, NM 87501 505-988-3888

Diehl Gallery 155 West Broadway Jackson, WY 83001 307-733-0905

Friesen Gallery 320 First Avenue North Ketchum ID, 83340 208-726-4174


J. KARL BOGARTTE 505-490-7905


FACE, 22” X 24”


FLAMENCA, BRONZE, 8’ X 6’ X 4’ Hollander Gallery 225 Delgado Street Santa Fe, NM 87501 505-927-2072



William Smock 505-610-2600





HANG WALL, ARCHIVAL PRINT, 13” X 20”, (2016)

New Concept Gallery 610 Canyon Road Santa Fe, NM 87501 505-795-7570




New Concept Gallery 610 Canyon Road Santa Fe, NM 87501 505-795-7570



DOUG COFFIN, PROPOSAL FOR SPIRIT TOTEM PROJECT (©2015) For more information, call Jack at 505-984-8596 or Paul at 505-218-0139 |

BRIAN COFFIN, JOURNEY TO THE SOUL’S REFLECTION, OIL ON CANVAS, 56” X 168” Winterowd Fine Art | 701 Canyon Rd, Santa Fe NM 87501 | 505-992-8878 |


Bodies of Water

Represented by: Images can be seen at the gallery or RAILYARD DISTRICT 540 S. GUADALUPE STREET | SANTA FE, NM 87501 505.820.3300 | WILLIAMSIEGAL.COM

Contemporary Hispanic Market

July 30-31, 2016 |

LOST IN THOUGHT, Steel Wire Mesh on Brushed Zinc, 40” x 30”

Kate Russell Photography


AGAPE AGAVE, OILS, 60” X 36” (2015)

Turner Carroll Gallery 725 Canyon Rd, Santa Fe, New Mexico 87501 505-986-9800



Ronnie Layden Fine Art 901 Canyon Rd. Santa Fe, NM


Big, Black, Beautiful

Bronze Reconstructed vintage Ballgown 60” x 12“ |

Orquid (detail), mural oil on canvas, 59˝ x 78.7˝ Flower Fairy (detail), from Mystic Beings series, giclée, 24˝ x 20.5˝

Barbara Fuentes (b. Monterrey, Mexico) was raised in a family where art plays a central role, natural environment and museum exhibitions being the main inspiration for her artistic expression. While getting her degree in History and Fine Arts, Barbara’s career as a painter began with the first solo show of her work at age 18. Her continuous studies combined with artist’s residencies in Florence, Italy, and later in Edinburg, Scottland, led her to be exhibited in countless art shows and exhibitions in England, Holland, Italy, and Spain, as well as in Mexico. She recreates the concept of artist’s residencies and adopts it as a lifestyle, living in different places in Mexico and Europe, all of them reflected in the works of each period. Today Barbara lives between San Miguel de Allende, Mexico, and Santa Fe, New Mexico, where these unique ethnic and cultural mix of these towns inspired her to create Mystic Beings, her most recent work. Next workshops: Santa Fe, New Mexico, USA Valladolid, Yucatan, MX San Miguel de Allende, Gto, MX For more information contact


Thank You to the 90 Artists in 62 Studios & Generous Donors who all contributed to the success of the 2016 Santa Fe Studio Tour Look for the 2017 Santa Fe Studio Tour the last 2 weekends of June For more information visit: Like us on Facebook:


CLOSER, ACRYLIC ON PANEL, 30” X 30” (2014)


Biagi will be showing in the Santa Fe Studio Tour, Summer 2016. Biagi is the Author of The Book Of The Eternal Now and The Woman Out Of Now. Studio 60 at Studio Biagi 17 A Bisbee Ct. Santa Fe, NM 505-424-1745






Prescott Studio, Gallery & Sculpture Garden 1127 Siler Park Lane Santa Fe, NM 87507 505-424-8449

Inn of the Governors Your Home in the Heart of Santa Fe!

Book directly at Inn of the Governors and receive a daily $15 credit to enjoy Del Charro. Call 1-800-234-4534.

One of Santa Fe’s best burgers and our 100% Agave signature Margarita. good food and good drinks at good prices…open late 101 W. Alameda, inside Inn Of The Governors • Santa Fe • 954-0320 •


• O’KEEFFE COUNTRY • Explore 21,000 acres of the dramatic cliffs, red hills and rock formations that inspired Georgia O’Keeffe and Ansel Adams, a landscape that continues to ignite the creative spirit in us all. Year-Round Trail Rides • O’Keeffe Landscape Tours Transformational Workshops • Movie Site Tour Archaeology and Paleontology Tours & Museums Hiking Trails • Camping & Lodging




Ceramist Susan Stamm Evans and painter Dick Evans make a life of love and art


usan Stamm Evans and her husband Dick Evans were deep into planning a new studio for Susan on the couple’s property in the foothills southeast of Santa Fe. It was 2005, and the ceramic artist had shifted from small porcelain figures to larger pieces in bronze. Susan drew out elaborate plans for a new structure 100 yards or so from the home she and Dick built in 1992, where Dick’s painting studio was just down the hall from her now toosmall space. The couple showed Susan’s father the plans. He hesitated, then said, “You know, this just doesn’t seem like the way you two live together—with Susan off in a separate building.” “That was so insightful. It was huge to realize, ‘gosh, he’s right, that’s not us. We do need our studios close.’” After 40 years of marriage, Susan and Dick still enjoy spend-

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ing time together, both as life partners and as artists creating internationally collected work in vastly different mediums. Dick jokes that if Susan were sequestered in a studio, she would zone in and forget everything else. “I can see you going down to your studio and missing lunch,” he says, smiling at her. “And I’d miss you.” This all-encompassing professional and personal interest has infused the couple’s life almost since their first encounter in 1974. A University of New Mexico fine art major, Susan signed up for introductory ceramics as a change of pace from drawing and painting. She remembers the moment Dick Evans walked into the room. “I thought, oh no, I don’t want a professor that handsome; it’s too distracting,” she says, flashing a wide grin. Quickly she realized he was also a great teacher, serious about ceramics as sculpture.

While studying with him she turned her focus entirely toward three-dimensional art. For his part Dick recalls being struck by Susan’s imagination and skill. For the first project, she came in with a detailed clay model of her parents’ Albuquerque house, complete with trees in front, that functioned as a planter. “I thought, who is this person? This is beginning ceramics, where you make a little vessel to put peanuts in.” Susan took another course with Dick and began producing elaborate life-sized, baroquely designed stoneware fireplace facades. He was astonished, and at some point another thought inched forward: “You know, she’s pretty attractive too.” Dick kept this to himself. Divorced and 11 years Susan’s senior, he had a policy of never dating someone who was currently his student. Some time later, when Susan had taken

off a semester to work, the two ran into each other in the parking lot of an Albuquerque restaurant. Dick invited her to accompany him to a show of his ceramic art at the UNM Art Museum, and they ended up having coffee, then walking and talking through the night. A few days later she left a pair of toe-socks on his doorstep as a gift. The characteristically playful gesture was Susan’s way of letting him know she hoped their relationship would grow. Indeed it did. They were married in 1975, just before moving to Wisconsin where Dick had accepted a teaching position at the University of Wisconsin–Milwaukee. He continued to teach until 1987, when he turned his attention to making art, which for a time took the

form of large ceramic murals. These evoked dense, abstracted landscapes of intensely hued sawtooth-edged flora and strange flying creatures—imagery later echoed in some of his paintings. They were arduous and time-consuming to create, involving multiple steps of cutting slabs of porcelain clay, laminating, drying, cutting, glazing, firing, and glazing again. One day in 1991, after the couple moved to Santa Fe, Dick went to his rented studio in La Cienega, opened the kiln, and found it full of ceramic tiles that had warped and cracked. “I thought—why am I doing this? I have a degree in painting. I just closed the lid and didn’t open it again for weeks.” Instead he started painting again. Today he works in

an expansive studio the couple added to the house’s north end, as Susan moved to the larger studio that had been Dick’s, where the western light is not ideal for painting but is fine for working in clay. Everything about the home was designed around the couple’s life in art. When they saw the five-acre hillside lot in 1990, Susan got busy drawing ideas for a house. They needed two studios and a woodworking shop, which they both use. (“When we got married Dick started giving me my own tools,” Susan says.) They needed wall space and ledges for displaying art. They didn’t even plan a guest room at first. At some point they turned to professional assistance, and they were wowed by the

Dick Evans and Susan Stamm Evans designed their home with a focus on their studios and displaying art. In the living room, along with paintings by Dick, are a landscape by William Nichols (top, on white wall) and a wooden figure by Robert Brady. Opposite: Susan Stamm Evans, Interface (2010), bronze. 201


Susan puts final touches on the netting of a new piece, Threads #6. She first sculpted the face in clay and then draped it with wax-dipped, hand-knitted jute netting. The solidified netting, holding the shape of the face, will be cast in bronze to become wall-mounted art. Top: In her studio, Susan uses a stepladder for perspective. 202

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designs produced by Sofia Marquez, a young architect who at the time was with Southwest Solar Design. The contemporary design balances expansive windows, interesting angles, and idiosyncratic touches—including a galley kitchen just big enough for two—with generous wall space where several of Dick’s large-scale abstract paintings set the primary color tone in grays, reds, and touches of black. Every day after breakfast the artists head for work. Susan climbs a 10-foot stepladder to get a better perspective on the five-foot-long face that gazes up from her worktable. She sculpts these faces in clay then creates netting out of jute with a pair of comically huge wooden knitting needles that she made. The jute netting she dips in molten wax to cover the face, where it solidifies in form. Eventually the face-shaped, wax-covered netting is cast in bronze at Shidoni Foundry and ends up on a wall. >

Dick’s studio is just steps from Susan’s, facilitating an almost-continuous exchange between the two artists about their work, art in general, and the life they’ve shared for 40 years. 203


A drawing by Santa Fe artist Karina Noel Hean hangs to the right of the space Susan and Dick refer to as the “guest corral,” outside the two-personsized kitchen. Overhead is a Robert Brady angel sculpture and one of Susan’s earlier figurative pieces rests on a pedestal. Right: Dick’s ceramic wall piece, X Form II, grounds the front hallway. Opposite: Dick in his studio with Keeper of the Keys (2016), acrylic diptych.

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“It’s fun to do something in bronze that has flow to it,” she says. “I like that it’s partially here and partially not. It has a little breath through it.” As with the small porcelain figures and fragmented faces—solid bronze but often with eyes missing—that she was known for earlier in her career, she prefers to leave out any narrative. “Susan has the ability to capture complex human expression in the faces and bodies she sculpts—a tilted face, parted lips, a dangling foot,” says Selby Fleetwood, co-owner of Selby Fleetwood Gallery, where Susan’s work is represented in Santa Fe. “It is in the nuances that human emotion is communicated and it resonates with so many people. The connections are made because they are familiar and true to life.” Down the hall in his painting studio, Dick also aspires to engage the viewer in subtle and varying emotional ways. His distinctive award-winning abstracted paintings contain shapes that could suggest landforms or plants, but at the core of his process is his own

experience of a mark, color, or juxtaposition in forms, and the feelings that arise in response. “I’ve been thinking about how the things that are most personal are the most universal,” he says, standing in front of paintings on a high studio wall covered in a grid of nails, which serve as an adjustable hanging system for working and viewing. The more abstract a painting is, he believes, the less likely it will be experienced through the filter of labels and preconceptions, and the more direct the emotional impact. Notes Chiaroscuro Contemporary Art gallerist James Rutherford, “There is something about his gestural layering of colors and abstract forms that instills a deeper awareness of what we see and how we see—not only his artwork but the everyday world around us.” Which is exactly what Dick is aiming for in his work. “I’m convinced we all have a capacity for seeing a huge amount more than we identify,” he says. “I’ve been trying to distill it down to the very basics, not only with form, but with

emotion. Like this relationship—” He points to a slash of yellow set against a wide curve of white. “It means something to me, the mystery of how this intersects with that, and with the flow of time coming through. Someone else wouldn’t necessarily say it that way, but they might feel it.” As sounding boards for each other, Susan and Dick provide a knowledgeable perspective on the other’s work in process, each having experience in both two- and three-dimensional art. “We’re lucky to have another pair of eyes to give feedback right away,” Susan says. As a result, they are companions in exploring some of the more inscrutable, indefinable aspects of what they do. “Seldom a day passes that we don’t have meaningful discourse about art,” Susan reflects, adding, “I see the landscape differently because of his paintings.” Speaking of both his and Susan’s work and its potential to move the viewer, Dick says, “People respond to it even if they don’t know why. That’s the magic of art.” R


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WARHOL to the WILD WEST The Granddaddy of Western Pop Art creates scenes and characters both contemporary and iconic



Schenck’s work combines elements of Pop Art, photorealism, and Western art. Pueblo Women (2015), oil, and, opposite, Rough Rider (2015), oil.

illy Schenck has always been a misfit—as a child growing up in a small Midwestern town that he prefers to leave nameless, as a bright but incorrigible student who would rather doodle than take notes, as a successful artist whose prodigious output links several genres but who finds no real “home” in any camp. Meet Schenck at his sprawling compound near La Cienega and you’ll find him alternately ebullient and pensive, defiant and conciliatory, but above all passionate—about his work, his legacy, his life in general. And, like his art, his personality is enigmatic: irreverent, slyly subversive, and uncompromising. It all began innocently enough in the 1950s, with Schenck devouring comic books and MAD magazine like most American kids of his era. “By the time I was ten I was collecting comics and imitating them, doing drawings and tracings. It never occurred to me that this was art, or that it would lead to greater things.” That came later, in 1965, after he’d been blown away by his first visit to an art museum, where he saw Andy Warhol’s famous Campbell’s Soup Can series. The rest of the country was still debating whether the paintings were even art, but Schenck was inspired. Although he was still studying art at the Kansas City Art Institute, in 1966 he took off for New York to see what action he could stir up. That’s where things got really crazy. “As luck would have it, I was sitting in a cafe in the Village when I saw a guy I knew,” Schenck recounts. “I mentioned to him that I

was so broke that I didn’t even have money for gas to get back to art school, and he said ‘I can get you a gig with Warhol.’ I said, ‘Are you kidding me?’” At the time Warhol was working over at St. Mark’s Place in the former Polish Embassy, which had been sitting empty. Schenck’s friend brought him there that very day and introduced him to Warhol and the rock band he was nurturing, the Velvet Underground. “They were playing there the entire month,” he recalls. “They were projecting some of Andy’s films in the back behind the band, and also flashing other imagery and using strobe lights. All of this was revolutionary. It had never been done before.” So he hooked up with them and became a gofer, running errands and helping to move equipment. He didn’t yet know who any of these people were—Lou Reed, John Cale, Viva, et al—but he was soon hanging out with them at Max’s Kansas City amid the artists, Trotskyites, and hippies that frequented the legendary place. He found their world both fascinating and terrifying. “As much as I knew how cool, ultra-hip this stuff was, I was still just a country kid. I had been dealing marijuana to pay my way through school, but I wasn’t dealing speed or heroin. This was heavy stuff.” He went back to art school and graduated in 1969, then returned to New York, bought a cheap loft in a former doll factory in Soho before it was even called Soho, and began the next phase of his life. Having spent his summers as a kid in Lander, Wyoming, Schenck had an affinity for the culture and landscape of the West, and he decided he



did I have gallery representation in New York, I had a show and it was sold out! It doesn’t get any better than that. The newspapers uptown were calling and wanting interviews, and I was trying not to sound like an idiot. This was beyond my wildest dreams.” He then hooked up with Lou Meisel, another towering figure in the New York art scene, and proceeded to learn the business from him amid the creative ferment that was New York in the ’60s and ’70s. “All these famous artists that I had studied in art school were living across the street from me or down the block,” he says. “Four doors down was a place called The Kitchen, an art and performance space, and Laurie Anderson was there. I knew Chuck Close, Joseph Beuys. Adolph Gottlieb came to my studio and told me how much he liked my work. Robert Indiana was a big champion of my stuff. This kind of thing just doesn’t happen.” And if it does, it’s rarely destined to last. After three solo shows, in 1972, 1974, and 1975, as well as a solo show in Brussels, Belgium, and a number of museum shows where he shared wall space with artists like Warhol, Lichtenstein, and Claes Oldenburg, his career began to

Earth Angel (2014), oil, and, right, Cliff Opposed Violence (2014), oil.

wanted to paint Western scenes. He got hold of some black and white Western movie stills and began to emulate them, creating flattened, reductivist renderings of the characters and geographic features of the region that blended Pop Art, photo realism, and Western art. He was also inspired by filmmaker Sergio Leone, whose Spaghetti Westerns were breathing new life into the Western genre. “I have a cinematic approach to my imagery anyway,” says Schenck. “Sergio Leone brought a wry, tongue-in-cheek attitude to his work, and he spoke to the moral ambiguity of the era. I figured if Sergio could do this with film, I could do it with art, presenting an alternative vision of Western painting.” At the time the New York art establishment scorned works with narrative—considering them too literal—as well as anything evincing social or political commentary, which they believed made the art seem dated. Schenck ignored the conventional wisdom, producing narrative paintings with subtle social commentary that both celebrated cherished Western myths and poked fun at them. Through his mentor, Ivan Karp, the gallery owner who helped popularize pop artists like Warhol and Lichtenstein, he was introduced to gallerist Warren Benedict, and soon enough he was booked for a show. “It was a Saturday opening,” he says, “and I went down there around 4 o’clock after I’d been drinking all day to get up the nerve to go to my own opening. So I staggered in there, and the whole show was sold out! Un-fucking-believable! I was 24 years old and not only 210 TREND Summer/Lookbook 2016

falter. “I was not quite a photorealist, so already I was marginalized from that group, which was beginning to get traction in a big way,” he says. “I was doing this Pop Art, but the vision was Western movies so I was dealing with mythology instead of doing documentary art. That worked for a while, but I didn’t move from there, so it became boring. I had a solo show with Lou Meisel, who told me he needed to make $11,500 from the show to break even. It sold $7,800, so I’d written my ticket out of New York.” Schenk retreated to a property he’d bought inside Grand Teton National Park in Jackson Hole, Wyoming, and began his career anew, while also becoming adept as a cowboy and champion ranch sorter. With his cowboy bona fides established, he next met Elaine

The cowgirls of Schenck’s imagination, like those in Day of the Dead (2015), oil, rarely get the blues. Bottom: Billy Schenck.


Horwitch, who gave him a show in her Scottsdale gallery in 1976, then another in her Santa Fe gallery in 1978, and he moved to Santa Fe permanently in 1996 after years of visiting for extended periods. His work had begun to sell again as he refined both his technique and his vision while remaining true to the style that had brought him this far. That evolving vision includes expanding the Western canon to

embrace the region’s fiercely competent women. “I do female nudes,” he says, “but I don’t do them in the way others in the Western genre do them—totally misogynistic or voyeuristic, and predictable. These women are strong. Why are people threatened by a powerful woman who happens to be sexy as well? She’s tougher, smarter, and better at everything than you. What’s not to like?” Fabulously prolific and meticulous in his methods, Schenck is known as the Granddaddy of Western Pop Art. His work is in 49 permanent museum collections, including the Denver Art Museum, the Eiteljorg Museum of American Indians and Western Art in Indianapolis, and the Smithsonian Institution, as well as numerous private and corporate collections throughout the world. But despite this unalloyed success, he remains ever the outsider, not quite accepted by the Western art world, which sees his work as too irreverent, nor the contemporary art world, which disdains Western art as too romanticized. “Living in two worlds,” he says, “with the snooty high-handedness of the contemporary scene and the dog-breathers on the Western side, I still get doors closed to me. The Western people see me as the anti-Christ of Western art, and they don’t trust me or my vision. They don’t get it that I can make fun of the art form in a goodnatured way. I’m just as Western as they are. I’ve owned ranches with hundreds of cows. I’ve done rodeos, and won.” He’s also had his art shown with every major name in Western world, and is in museum collections and shows with such mainstays of the genre as Georgia O’Keeffe, Maynard Dixon, and Frederic Remington. But the perception that he is from the contemporary world, and thus not a true Western painter, persists. Still, not unlike Sergio Leone’s nameless heroes, Schenck seems to relish his outsider status. A keen observer of the human condition, he imbues his work with an appreciation of the myths of the West while shattering the stereotypes and offering a contemporary vision of an ancient landscape. “I like the iconography, the sand dunes up against red rocks, mesas, and canyons,” he says. “I like the aloneness. That’s what the West represents to me.” R




Walking their own paths, Jane Abrams and Aaron Karp arrive together at artistic success


ressed in artist-black beside botanical paintings that writhe with color, Jane Abrams embodies the notion of “hidden in plain sight.” Her canvases spill blossoms, leaves, roots, and watery reflections in an intricate chaos that is as orchestrated as an Indian tapestry—and often as large. Her resume likewise runs several screens long with art awards, residencies, and solo exhibitions. Yet the modest painter waves off entire chapters from her 40-year art career so as to “make a long story short.” How to reconcile this runaway fecundity with an artist who gushes not at all? It helps to know that Abrams is, by her own account, “fiercely and privately independent” and introverted by nature, the girl who hid under the dining room table in Wisconsin and drew on the underside. “I tend to be insular,” she admits. “I hide behind my adobe wall and do my work.”

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Now that she has retired from 22 years of teaching art at the University of New Mexico, Abrams can retreat into her backyard studio in Albuquerque’s North Valley and shut the door. Yet, a few steps away behind a shared wall, fellow painter Aaron Karp labors on his own canvases in a partnership that has lasted 46 years but still elicits from Abrams a rueful sigh. Why couldn’t they keep their separate homes and separate studios, as in years past? Alone, she fills her space with a crowd of passions: books, art supplies, half-carved blocks of wood, botanical paraphernalia, and posters and textiles in cryptic scripts. She spent a decade studying Ayurvedic herbalism, learned Sanskrit, and counts among her interests architecture, Spanish poetry, and Vedic chants, all of which are woven enigmatically into serpentine works. Her painted wood carvings wander in another direction, toward a lifelong fascination with alchemy and


Creative Non-collaboration


scientific process. It was science, in fact, that led to her first master’s degree and to teaching school in Florida in the 1960s. It was only after her husband was killed in action in Vietnam that the young mother of two “pursued art things . .. and found out I was pretty good”— good enough to earn a spot in the printmaking program at the University of Indiana, where she eventually met Karp. Thus began the twisting trajectory of twin art careers that has taken them constantly apart, only to reunite. The first separation came when she took a job at the University of New Mexico as its first full-time female professor of art. This was the early 1970s, when future friend Judy Chicago was at Tamarind Institute and universities were grappling with the rise of feminism and identity politics. Incensed by what she perceived as constant attacks and challenges from her male colleagues, Abrams developed a keen sense of the shared oppression of women artists. Once, she even wrote to Georgia O’Keeffe—and the famously severe painter wrote back, commanding the young art professor to visit at an appointed hour. “I thought, you betcha,” Abrams recalls. “I picked some daffodils and drove my truck up there” to Abiquiú. “It was a very interesting afternoon. I can’t remember a thing we talked about, but what was interesting to me was how she ‘did’ her life—the things she kept around her that were beautiful and interesting, the specimens in nichos.” Now as established as O’Keeffe was then, and surrounded by the artifacts of a lifetime of beautiful interests, Abrams has made multiple revolutions since the brightly colored, technically accomplished, surrealistic intaglio prints that won her early notice. In the mid-1980s she became ill from exposure to the acids used in etching, and switched to painting so she could accept a Roswell Artist-in-Residence year. Suddenly, she found, “I could do all these things I couldn’t do with prints, like work large. It was such a relief to choreograph my movements to that scale.” Producing vast expressionistic landscapes in deep, saturated colors was “the scariest thing I could think of,” she says, but in those days, “the scarier the task, the hotter my engine ran.” Travels to Central America and Asia over the following decade inspired moody tableaux of mythical scenes set in jungles, volcanoes, lakes, and ruins, steeped in saturated color and intimations of politi-

Aaron Karp, Lodestar (2012), cal terror, on the one hand, and spiritual acrylic on canvas. Opposite: legacy on the other—the fruits of a curiJane Abrams, Indigo Pond (2005–2006), oil on linen. ous exploration that weaves through her iconography. Abrams still likes to paint large, but her palette has softened, brightened, the landscapes shimmering with the reflections off ponds and rivers—which she maintains is still “political”—but absent any signs of civilization. Instead, plants waving, dancing, hiding, and exposing at dizzyingly close proximity make for the ultimate metaphor of her imagination, dense with private notations. “Often there is a blending of the forces,” she says of her private passions. “They continuously ebb and flow throughout my work.” Step out of Abrams’s studio door and turn left, and your first impression upon entering the studio of Aaron Karp is how utterly dissimilar it is. His space is as empty as hers is full. If she has feathered a Victorian nest, he has carved out a monk’s cavern. “I like having space,” he admits. “I have so much going on in my mind.” A native of New York, Karp struggled to find meaningful work 213


Jane Abrams and Aaron Karp in their studios. Opposite: Swamp Juju (2013), oil on linen, is part of a series Abrams created while she was in residence at the Everglades National Park; Karp created Dry Doc (2005), acrylic on canvas, by superimposing what he calls a “drunken grid.”

anywhere near Abrams once they graduated and she took the job at UNM to support her family. It was during one of their early periods apart, when Karp was managing a gallery in North Carolina in the late 1970s, that he took up painting after years away from making art, and suddenly found himself winning awards. “I developed a fascination with tile, and used tape to deal with the grout lines,” he explains of the technique that kept him at canvas over the next four decades. Laying down masking tape in a grid over an abstract painting, he will repaint, pull the tape, retape, and paint again, in a system that now involves re-painting and re-taping some dozen times on a single painting. “I work on systems in a grid, but they’re all different,” he says of the canvases propped around the studio that bear marks of an eyepopping effect, at once orderly containment and wild abstraction. There are small, static grids like Agnes Martin’s, snakelike swirls that recall the animism of Art Nouveau, and panoramas of orbs floating 214

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in imaginary space that point to nothing so much as a screen saver colliding with a Magic Eye puzzle. Indeed, something about Karp’s work inspires critics to flights of verbosity, reflecting their surprise at a painter so grounded in modernist tradition and yet so original. Curator Sandy Ballatore introduced one of Karp’s shows by referencing his “visual battle between an illusionistic space that contains solid-looking forms and shimmering surface pattern.” William Peterson in another monograph describes his “solidifying forms” that are “counteracted and further complicated by subtly kaleidoscopic shifts between adjacent planes and by the luminous and shimmering mosaic of tiny brushstrokes.” Ever a step ahead of his interpreters, Karp has applied his technique to subjects traditional and experimental with equal aplomb. “Systems on top of systems” is how he explains it, “pushing the system to expand my vocabulary about how you see breaks in color or shape. It has a lot to do with spatial relationships, patterns that together make


a kind of noise or sound.” Thanks to his early success in North Carolina, Karp was able to rejoin Abrams in 1979 as an assistant art professor at UNM. Soon after, he won the first of two Roswell Artist-in-Residence grants, which seeded the ground for his next big break in 1983, when he was invited to show at the Guggenheim Museum in the exhibit New Perspectives in American Art. This led to a long list of solo shows, awards, and residencies to match Abrams’s, so that after five years, he left UNM and started painting full time. Both painters had been impressed in Roswell by the importance of having a work space separate from home. Karp remodeled his northeast Albuquerque home, then eventually moved into one of the two renovated adobes at Abrams’s place in exchange for building their two studios in back. Her children had grown and gone, but it was years before the couple moved into the same house so they could rent out the other; nor did they tell anyone when they finally married on a trip to Thailand in the late 1980s. Yet for all their separateness, what unites them has not changed. “If I see something in her painting that doesn’t work, I’ll let her know,” Karp says, “and hopefully she does the same for me. We are eager to get that feedback, because who else do we have to see it before it’s done?” “I think what he does is amazing—he works so fast,” Abrams says. “Our work is very different and we are very different, but we have a common language and can talk to each other in it.” “People have written about the ‘Pollockesque’ surfaces we both have,” Karp says with a roll of the eyes—not keen to invoke that most unequal of modern art couples (although both Abrams and Karp, incidentally, have won PollockKrasner Foundation Awards). The fact that the two met as printmakers, both taught at UNM, and ended up known for colorful paintings crowded with intricate detail has made it irresistible for writers to speculate about hybridization. Galleries that represent them both know better, steering clear of any such double vision. “I suppose the only overlap would be that they’re both career artists and keep schedules that are like a nine-to-five job,” says William Havu, of Havu Gallery in Denver. Both artists are represented by New Concept Gallery of Santa Fe. Indeed, what is most remarkable about the couple is the shared intensity of their discipline, and how they’ve managed to walk such strenuous paths to success. “I don’t know any other art couples who have actually made it work,” said Kim Arthun, who founded the gallery Exhibit 208 in Albuquerque and has known them since the 1970s. Havu, reflecting on their shared monastacism, says, “This is what they do—this is their life, and they’re married to their studios.” R 215

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Millicent Rogers


TREND Summer/Lookbook 2016

Between artifice and authenticity, a modern style is born


hat was the richest and most glamorous woman in America was doing in a small New Mexico town soon after World War II? Millicent Rogers had just caught her lover Clark Gable, King of Hollywood, practically in flagrante delicto with another woman, according to biographer Cherie Burns. She left caviar, champagne, a goodbye note, and fled. Fortunately her friends, Hollywood couturier Adrian and his wife, actress Janet Gaynor, believed in the geographical cure, and they swept Rogers off to New Mexico. At Horseshoe Curve overlooking the Rio Grande Gorge, Rogers stepped out of the car and said, “Why has no one ever told me about this?” Mary Millicent Abigail Rogers von Salm von Hoogstraeten de Peralta-Ramos Balcom, heiress to the Standard Oil fortune, may have been the richest and most glamorous woman in the world, claims Burns in Searching for Beauty: The Life of Millicent Rogers. Hounded by the media during the magazine age, she travelled with seven dachshunds— often clad in tiny life jackets—and 35 pieces of luggage. Yet Rogers was more than a fashionista, and it was in Taos, by discovering the area’s Native design and folk tradition, that she developed her style. It could be said that she found her most authentic self in the American Southwest. Millicent Rogers moved to Taos soon after her initial visit, where she began meeting artists and asking a lot of questions. Friends and sometimes her teenage son would drive her from Santa Fe pawnshops to Navajo trading posts, where she often got first dibs on blankets, silver, black-on-black Maria Martinez pottery, and basketry. She developed relationships that allowed her to travel to Native ceremonials and tracked down turquoise and textiles from Hopi and Zuni people. She believed in paying real money for real artistry, and within a few years she assembled over 2,000

pieces of pottery, jewelry, weavings, Santos, and furniture, preserving not only objects, but culture. Today many of the objects reside in Taos’s Millicent Rogers Museum, established by her sons 60 years ago. According to Director Caroline Fernald, “Nobody before Rogers cared about Southwest style. She influenced the way that people came to appreciate the Southwest. She never knew how much time she had left,” she adds, referring to the childhood rheumatic fever that left Rogers with recurring illnesses. According to Fernald, Rogers “took on the persona” of the places she lived, which explains the dirndl skirts and Tyrolean hats she wore in Austria and her Navajo-style skirts, crushed velvet jackets, and moccasins—or even bare feet—in Taos. One of her sons declared his mother to be an originator of the bohemian look, but she was hardly a hippie. She was a classical scholar of Greek and Latin, a polyglot who read a book a day and always had her jewelry-making tools on hand. At a time when it was unlikely for a woman to be muse and cocreator, she collaborated with fashion designer Charles James, known as “America’s First Couturier.” Both perfectionists, they’d hash out her drawings and ideas, many of which he incorporated while raising the bar of American fashion. 220

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Millicent Rogers with one of her dachshunds by her home in Taos. Opposite, from left to right: Trinidad Archuleta, Rogers and Charles Harding McCarthy at Apache Lake, 1949. Previous pages: In a 1948 Harper’s Bazaar image, Rogers wears a Charles James blouse with a Russian brooch, Native American turquoise and silver bracelets, Oaxacan necklace, and pearl earrings.

Even Rogers’s homes in Austria, New York, Jamaica, California, and New Mexico did not escape her renovations—plus they gave her stuff a place to live. Italian fashion designer Elsa Schiaparelli once said, “If she had not been so terribly rich, she might, with her vast talent and unlimited generosity, have become a great artist.” But alas, she was rich. So rich, in fact, that her sons nicknamed her S.O.H., short for Standard Oil Heiress. The money from her grandfather Henry Huttleston Rogers, who founded Standard Oil with John D. Rockefeller, allowed Rogers to express a vision—one that placed rare antiques and famous paintings such as those by Renoir, Picasso, and Van Gogh with regional folk art and cemented her reputation as one of America’s tastemakers. Her collection of men was equally impressive. Married three times, she also amassed a list of lovers, including, during the war years, Roald Dahl, Ian Fleming, and Under Secretary of the Navy James Forrestal. Early on she eloped with playboy tennis player Count Ludwig Salm von Hoogestraeten. Together for some months, they had a son, Peter Salm. With her second husband, Arturo PeraltaRamos, a wealthy Argentinean racecar and bobsled enthusiast, she had two more sons, Arturo Jr. and Paul Peralta-Ramos. Marriage to her third husband, Ronald Balcom, a financier and champion skier, lasted five years. Rogers’s cast of characters in the Southwest included three Taos notables: Mabel Dodge Luhan, Frieda Lawrence (D.H. Lawrence’s wife), and painter Dorothy Brett. According to scholar and author Dr. Lois Rudnick, Luhan was jealous of Rogers. First off, her husband Tony Luhan paid too much attention to Rogers, as he did all beautiful women. Apparently Mabel once told her: “You either belong here or you don’t, and you don’t!” Rogers, meanwhile, took up with Tony’s handsome young nephew, who became a close friend and chauffeur. Rudnick rightfully points out that Rogers’s influence was never that of Dodge Luhan, a force of nature who beckoned the who’s who of the world’s literati, artists, and intellectuals to Taos. Dodge Luhan arrived in 1918, Rogers in 1947. “She came too late and died too early,” Rudnick says, adding that for East Coast Anglo intellectuals in the small town of Taos back in the day, “there was no such thing as privacy.” Yet in a sense Rogers, settled in her final days, found just that. She had a particularly comfortable friendship with the real bohemian aristocrat, artist Dorothy Brett. In Searching for Beauty, Brett is quoted as saying, “Millicent had walked into a fantastic world, to which her heart and soul belonged. She was, in her spirit, in her way of life, a part of this world, far more so than that other world of perfect clothes, social standing, and far too much money. Among the Indians she was a home; she was unknown, free, a human being among human beings.” While Rogers’s dress seemed an affectation to some Taos Anglos, Pueblo women apparently appreciated her respect. Fashion spreads in Vogue and Vanity Fair celebrated her look, even if it was borrowed and curated. She may have been the first to raid the Indian cultural closet for fashion ideas, but she was able to appreciate Native American artists in the context of their lives and cultures. In 1951 she joined a group of friends who hired lawyers to lobby for Indian rights and citizenship, and they succeeded in classifying Native American art


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Clockwise, from above: Rogers’s Navajo wearing blanket wrapped around a Charles James dress form; Rogers in Vogue in Charles James and wearing sterling sliver and turquoise Navajo bracelets and ring, and a gold nugget necklace of her own design; gold-dipped lace cuff bracelet, a prototype of an original design by Rogers. Opposite: A necklace purchased at the Gallup Inter-Tribal Indian Ceremonial in 1946, made of nearly 300 pieces of Cerrillos and Blue Gem turquoise. 223

as historic and protected. Southwest style developed as part of classic American fashion, with designers like John Galliano and Ralph Lauren crediting Rogers’s influence. Yet on a winter day in 1952, the always ill but color-obsessed Rogers was dyeing textiles in her bathtub when she had a heart attack and fell, striking her head. She was 50 years old. Rushed to the hospital, she died a few days later, her heart enlarged four times normal size. In Searching for Beauty, Cherie Burns reports that Rogers was buried in “an Apache-style dress made for her by her designer friend and fashion legend Elsa Schiaparelli. A great silver Concho belt was twined at her waist. The large, mostly turquoise, rings that she favored were on her hands and a fine Indian chief blanket was wrapped around her.” Her mother Mary Rogers commandeered a train car from the East and Pueblo people came from nearby on foot. Shortly before, Rogers had written her son Paul a Thoreau-like letter revealing some of the privacy behind the persona: “Life is absolutely beautiful if one will disassociate oneself from noise and talk and live it according to one’s inner light.” The letter is displayed on the walls of the Millicent Rogers Museum. Arturo Peralta-Ramos Jr., her last living son, was buried next to her in Taos this past December, a flood of wilting bouquets still atop his grave. Rogers lies beneath her family crest on an elegant and understated piece of flat granite. More half a century later, Rogers’s granddaughter Christina Lucia Peralta-Ramos appeared at the museum to speak about the woman she never met, but knows well. She wore a pink vintage couture dress, silver fox toque, and heavy gold, including one of Rogers’s oversized bracelets. Rogers’s shadow has a long reach. There again one sees the tall bones, pale skin, impeccable makeup, and quiet manner. Her testimony drew on history extant in a second biography, A Life in Full: Millicent Rogers by Taos writers Arthur J. Bachrach, Nita 224 TREND Summer/Lookbook 2016

Murphy, and Judith Nasse, much of it garnered from the recollections of Rogers’s sons. As Peralta-Ramos tearfully concluded, “There was a woman named Millicent Rogers. She was beautiful and good and brave. We celebrate her as a true Taos visionary.” Afterwards, someone asked a startling question: “What color was she dyeing at the end? Was it red?” “No, no,” said Peralta-Ramos. “It was oxblood.” Ray Trotter, who’s been dealing in Native American art for 40 years, has long been a friend of the museum. “She had an eye for jewelry,” he says. “It was uncanny. Everything was good but most pieces were great. She had a better eye than anybody in Taos.” It was an eye for culture as much as design and authenticity as much as artifice. She could never leave well enough alone, and she could not stop buying. There was reportedly three million dollars worth of debt to reconcile when it was all over. Burns writes that her estate lawyers said “What are we going to do with all this junk?” referring to some of the best examples Southwest jewelry, pottery, Spanish colonial furniture, pottery, rugs, and Hispanic devotional art ever amassed, at least in these parts. The beat goes on. Rogers’s great-granddaughter Sascha PeraltaRamos is a rising star in jewelry design for her line, Mary Millicent, and Rogers’s home is still in the family. The Millicent Rogers Museum is located outside Taos in a traditional hacienda that was donated by Rogers’s friends Claude and Elizabeth Anderson, then modernized and expanded by architect Nathaniel Owings of Skidmore, Owings & Merrill. Beyond an impressive permanent collection, its rotating exhibitions, workshops, archeological tours, and annual miniature show serve to celebrate Northern New Mexico culture in ways that Rogers would understand, including dress, music, dance, and ceremony among the arts. “We follow her lead,” says Fernald. R


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Local chefs and restaurateurs gather at The Compound restaurant. Front row, from left: Louis Moskow (315 Restaurant & Wine Bar), Charles Dale (Bouche Bistro), Mark Kiffin (The Compound), Cheryl Jamison (Cooking with Kids), Jon Sedlar (Eloisa), Quinn Stephenson (Coyote Cafe et al). Back row, from left: Robert Morean (Santacafé), Walter Gallegos (Angel Fire Vodka), Jeff Koscomb (Above Sea Level), Kim Müller (chef and consultant), Greg O’Byrne (Wine & Chile Fiesta), and guest Andre McLaughlin.



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Beyond Farm-to-Table: Community


t’s interesting how, in the world of fine dining, the “next big thing” eventually finds itself integrated into the scene, becoming a given rather than a fad. We’ve seen it with fusion cuisine, molecular gastronomy, small plates, and now farm-to-table, the movement that signaled a shift away from low-quality, factory-farmed meats and produce in favor of fresh, local, organic fare. The notion of caring about the origins of our food is an outgrowth of public demand for a healthier, tastier, more sustainable approach to nutrition to counteract soaring obesity, rampant diabetes, and alarm over the industrial nature of our food supply. With home cooks and celebrated chefs rubbing elbows at farmers markets and planting gardens to supply their kitchens, the farm-to-table trend is now firmly established as the best way to ensure the quality and flavor of our food. In New Mexico, a lesser-noticed byproduct of all this has been a growing sense of community among those who raise our food, those who prepare it, and those who enjoy it. While it’s easy and entertaining to joke about rampant kale-eaters and menus that call out the farmers by name, the fact is that this reconnection with the earth, and the people who wrest a living from it, has brought us together. As we tend our gardens and browse the food stalls of painstakingly cultivated local delicacies, we find that the idea of good food has morphed from one where we try to impress our guests with our arcane culinary skills into one where we respect them by serving dishes that enhance health and well-being. We’ve learned that a freshly picked tomato from the backyard or a rack of grassfed lamb from a local ranch needs very little enhancement; the complexity of unadorned flavors can shine through when it’s not dulled by pesticides, depleted soil, and premature harvesting to facilitate shipping it long distances. And we’ve learned to respect the hard work and vast knowledge of our farmers; unlike the anonymous corporations whose products fill mainstream supermarkets, these growers are our neighbors and friends, and their sacrifices help keep us healthy and happy. Our world has become increasingly technology-driven, with all the isolation that this occasions, making the communal nature of the dinner table increasingly important in our lives. Whether in one of our many fine restaurants or our own homes, the camaraderie of sharing a lovingly prepared meal helps us to reconnect with important life forces: the Earth’s sustaining bounty, the pleasures of preparing it, and the joy of savoring it with friends and family. —Nancy Zimmerman

Opposite (clockwise, from top left): Locally sourced ingredients highlight a blood orange margarita, steak tartare, wilted chicory salad, scallop ceviche, “Dragonfly” chamomile-infused cocktail, duck rillette, and smoked brisket. 235

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The Compound


n the 15 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 lamb with chickpeas, heirloom carrots, and grilled ramps accompanied by


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

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. This year The Compound celebrates 50 years in Santa Fe and they will have a huge celebration with guests from all over the world.

Organic Scottish Salmon with chanterelle and squash blossom risotto, beurre blanc and fried kale. Opposite: The Compound Restaurant Interior. Veal porterhouse with ragout of chanterelle mushrooms, bacon, and sautéed kale and Madeira jus.

chef’s profile


Glamour, Grit, and Grace


Lisa Dahl’s passion distills inspiration from heartbreak

TREND Summer 2016room 240Dahl, Lisa Mariposa dining


y night I like to dress to the nines, but I feel like I cook like a cavewoman,” Lisa Dahl jokes. The award-winning chef and restaurateur is dressed in kitchen whites much of the time, presiding over food preparation in her four Sedona, Arizona restaurants. It’s at the newest of these—Mariposa Latin Inspired Grill—that the fire comes in, with most entrees cooked in a wood-fired oven or over a parrilla grill. Here, at the hearth, Dahl activates what might indeed be elemental knowledge, a balance of masculine and feminine qualities that also define Dahl, in the kitchen and out. Once out of the kitchen and greeting guests at Mariposa, Dahl & Di Luca Ristorante Italiano, Cucina Rustica, or Pisa Lisa, the restaurateur expresses a lifelong affair with fashion through her personal sense of style. In fact, one patron, some years ago, thanked her for “bringing glamor” to Sedona. However, the feminine element she brings to the business involves more than dress. Dahl approaches every aspect of life and work with openness and an unabashed heart. She is unafraid to talk about feelings, including the cataclysm and subsequent spiritual path that brought her to Sedona 20 years ago. Food and fashion have held equal claim to Dahl’s atten-

tion since her childhood in Indianapolis. Her mother owned several high-fashion shops, and Lisa’s reward for good behavior often took the form of dress-up excursions and new clothes. Her eye for keeping up with trends became apparent as a teenager, and she went on to spend 20 years in the fashion industry following in her mother’s footsteps by working with clothing, accessory, and shoe designers. “Clothes are an expression of how I feel,” she says, adding that the body, like a restaurant, is just another canvas to play with color and design. Dahl also grew up learning a love for cooking the simple, fresh food prepared by her mother, grandmother, and Barbara, a nanny from Georgia who started worked for the family when Lisa was young. “I don’t know how I would have been introduced to soul food without Barbara,” she says. “Now, even Italian food I think of as ‘soul’ food—which for me means cooking with love.” By the 1990s, Dahl was living in San Francisco with her young adult son, Justin Wesley Jones, and ready to switch tracks. The two shared a love for food, music, and dancing, and dreamed of opening an all-natural fast-food restaurant. “We were dialing into something novel at the time,” she says. “Maybe it would have happened, maybe not.” On March 27, 1994, an event took place that erased



chef’s profile


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chef’s profile

Clockwise from top left: Milanesestyle vitello osso buco with lemonzested mashed potatoes at Dahl & Di Luca; Dahl gathers fresh organic herbs from raised-bed planters at Mariposa; yellowtail tuna terrine with avocado pico de gallo at Cucina Rustica; Cassata Siciliana, a Mariposa dessert featuring candied citrus and chocolate-chip ricotta.


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Dahl’s design goal for her second Sedona restaurant, Cucina Rustica, shown in the bottom two photos, was to recreate an authentic Italian atmosphere with an emphasis on the romantic. Top: Mariposa’s indoor and outdoor seating accommodates 350 diners.

the dream and radically changed Dahl’s life. While riding a bicycle he borrowed from his mother, Justin witnessed a man stealing a backpack from a fellow with a cane. Justin chased the thief and when he caught up with him, was stabbed to death. He was 23. After the loss of her only child, Dahl remembered Sedona. She’d been there once, and recalled a place of beauty and serenity, one where perhaps she could heal. She moved there in 1995 and with a partner (whom she later bought out) opened Dahl & Di Luca. In 2012, AAA rated Dahl & Di Luca among the top five most romantic restaurants in the nation. The honor speaks to Dahl’s approach to the restaurant experience and her own highly romantic personality. Every element of dining out, she believes, should be a sensory pleasure that makes the everyday world disappear. “When you leave one of my restaurants I want you to feel that something has touched you on more than one level,” she says. In 2003 Dahl opened her second restaurant, Cucina Rustica, featuring “rustic Italian” cuisine in an Old World villa atmosphere with antique Italian doors and windows along with fireplaces and fountains in warm, rich hues. While Dahl is not a certified interior designer, her restaurants reflect a vision and perfectionism that she works with artists and artisans to accomplish. “With each restaurant, I’ve had a love affair with that creative process, the same thing that happens with the food,” she says. All her restaurants also contain a small memorial—a nicho, shrine, or mention on the menu—to Justin, whom she considers a muse. “It’s like he’s co-creator of each of these spaces,” she says. When Dahl opened Pisa Lisa in 2012, she transformed a former Pizza Hut building into a top-rated wood-fired pizzeria. Her aim, she says, was to access the “happy factor that brings out the kid in everyone.” Whimsical, tongue-incheek photo collages by local muralist and mixed-media artist Ann Rhinehart liven the walls, including one of Dahl making


chef’s profile

At the casual wood-fired pizzeria Pisa Lisa, decor includes photo collages by Ann Rhinehart. Pizza specialties are made from organic ingredients.

a pizza while wearing a wreath of mushrooms on her head. “As an artist, I really appreciate Lisa letting me go,” Rhinehart says. For Dahl, there’s mutual inspiration in the process. “You have to give them freedom to express who they are. It has to be someone who can ignite a flame in you and vice versa,” she says. There’s a similar spirit of creativity among her staff. When hiring new servers, she wants to know about their hobbies and lives. “I enjoy when they’re expressing themselves on a soul level,” she says. “And I love it when someone can take on a poetic style using their own words, even when describing a dish.” Dahl’s collaborative efforts have included working with photographer Janise Witt on a food and travel book, The Elixir of Life. The coffee-table-format book tells Dahl’s personal story and documents a food and wine visit to Tuscany alongside lavishly photographed recipes. It earned the 2011 Gold Medal Independent Publisher Book Awards (IPPY) for Cookbook of the Year. Dahl is planning a second book, A Romance with Food, based on the travels to Argentina, Chile, and Uruguay that inspired Mariposa’s cuisine. The massive main door at Mariposa— through which thousands of diners have walked since the restaurant opened in 246

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2015—was created by Dahl and Tucson artist Zee Haag. The abstract butterfly design in translucent quartz crystal, rusted steel, watermelon tourmaline, and other gemstones was one of numerous ideas the artist presented to Dahl during the design process. “She was very particular, so we had to explore every aspect of the potential for the door,” Haag says. In the end, the multiton door is a balance of mass and transparency, solid yet ethereal in the 350seat, architecturally striking space. Built of stone, steel, and expanses of glass, Mariposa commands a bluff with views of Sedona’s famed red rock formations. “We created elements in the overall strength of the architecture to be able to hold its own with the austere physical terrain,” Dahl says. “But I also needed to feel at home in a place so powerful. So we counterbalanced it with the form and elusive symbol of the butterfly.” Likewise, the chef and restaurateur finds herself at home in a field dominated by men, including 98 percent of the kitchen staff in all four of her restaurants. Her drive, self-assurance, and experience allow her to hold her own. After opening each restaurant, Dahl spent almost all her time in the kitchen of the newest establishment, refining and improving menus and recipes and training staff. “I have to work

in the kitchen until I get it right,” she says. Now Mariposa’s kitchen is the focus of her daytime hours. Then, each night, she changes out of her chef’s whites and moves from one restaurant to the next, greeting guests, checking on food, and inspecting plating. This spring she took what was for her a big step and hired a corporate sous chef, who started at Mariposa and then began working with the other restaurants to help achieve Dahl’s goals. Dahl herself sometimes wonders how she does it all. But she has her own word for the enthusiasm that keeps her charged, and considers herself a “passionista.” It’s a combination of fashion and passion, and all the glamor, romance, vitality, and dauntlessness the words imply. “I’m equally devoted to culinary arts, design and décor, and feminine aspects in my world. Passionista expresses all that floats my boat,” she says. Her passion extends to her employees, their families, and the Sedona community, where her restaurants often host well-attended fundraisers. “It’s much more than just running restaurants. It’s a business of humanity, a calling, a sense of gratitude and being in the moment,” she says. “It’s wonderfully insane. I’m seriously devoted to this craft. I don’t think I’d trade it for anything in the world.” R

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New American, Old School Mark Kiffin expounds on contemporary cuisine


hef Mark Kiffin earned his stars at Coyote Cafe in the 1990s, at a time when sweating over a hot stove was just beginning to garner celebrity status among the coastal cognoscenti. He sweated alongside the best of them for decades, he says, so don’t talk to him about farmto-table, or fusion, for that matter. “The thing I have against ‘fusion’ is that chefs don’t stop,” he says, “so the restaurant loses its core. Pretty soon there’s Asian, there’s Latin—and they can’t do them well.” Kiffin harkens back instead to his generation, to chefs who ushered in the New American Cuisine. “Alice Waters does one thing— Provence—and her restaurant is still open,” he says. “She hasn’t run out of ideas.” In other words, don’t mistake Kiffin’s flagship Santa Fe restaurant, The Compound, for fad or fusion, even if it does win awards for contemporary cuisine. Tutored by Mark Miller, who hired him to run the iconic Coyote Cafe from 1990 to 1998, Kiffin learned about the roots of Southwestern cooking on tasting trips to Mexico and concluded that he could open his own fine dining restaurant in Santa Fe. It would be different from Miller’s, but remain true to the region’s roots. It was the start of the current iteration of The Compound, which turns 50 this year. “Everything we do is historical,” he explains, noting that Spanish colonization introduced beef, chicken, tomatoes, and eggplants to the New World. The local mestizo culture combines Native and Mediterranean traditions, he says, making The Compound’s New World menu the true regional food of Santa Fe. “This is farm-to-table,” he says, indicating his composed niçoise salad topped with succulent cubes of seared ahi tuna. “We go to the source. People say, ‘You fly it in?’ We do, but we fly it in from the people who grow it there. You see what I mean? People use the term farm-to-table selectively. Their olive oil isn’t local. The whiskey is not from here. For us it’s more about naturally raised food, finding food at its peak and getting it.” Anyone who has tasted the salads or seafood at


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Wild mushroom and organic stone-ground polenta with black truffle relish, shaved parmesan, and organic arugula. Opposite: Chef Mark Kiffin (left) makes preparations with former general manager Jon Murray.


At the Table

the classic adobe restaurant on Canyon Road is not going to argue about its freshness or take issue with its culinary pedigree. This is world-class cooking, which won Kiffin the prestigious James Beard Foundation Award for Best Chef of the Southwest in 2005 and secured his position among the best. When he first set sight on the 150-yearold building with business partner Brett Kemmerer in 1999, The Compound was a fine French restaurant in its third decade, serving 30 to 40 covers a week. It closed in winter because owner Victor Sagheer hated the cold. Children were not allowed, a jacket and tie were required, and entrées arrived topped by silver domes. That was the state of fine dining in America in the 1960s, when the restaurant opened. 250

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Sagheer did not want to sell the restaurant to him, Kiffin says, “because he thought I would do Coyote Cafe food here.” Kiffin knew that wouldn’t fit. The building’s interior had been designed by Alexander Girard, a friend of the original owners of the house, and the designer’s signature touches—the sanded white walls, snake and rainbow murals, undulating ceiling and sunken bar, the metal sun and moon—remain integral to the building’s identity. “You can’t redo Alexander Girard,” he says. “It’s part of Santa Fe.” Kiffin sat and wrote a sample menu for Sagheer on his laptop. “It had things I still love and we still do, like foie gras and steak tartare. And he said, ‘I will sell to you because I want to come here and eat that food.’”

The Compound reopened under Kiffin in 2000 with a modernized kitchen and seating to accommodate as many as 350, making it Santa Fe’s largest freestanding restaurant. Over the next two decades, Kiffin’s Compound regained the restaurant’s status as Santa Fe’s go-to spot for birthdays and anniversaries, a must-see on culinary roadmaps. Its new owner-chef, meanwhile, gradually wed his future to the place, content to remain in Santa Fe and raise his family at a time when chefs were opening new restaurants at dizzying speed. Kiffin says it’s because he invested his own money in The Compound. “I’m gonna be here for thirty-plus years,” he vows, “and because I love it, I take care of it. When you have skin in the game, you give more—and my

The Compound team includes (back row, from left) event manager Jane Steele, assistant manager Charles Castleberry, Mark Kiffin, executive chef Josh Kalmus and (front row, from left) Jon Murray, pastry chef Rebecca Freeman, and Kiffin’s wife Barbara Brackett with London Kiffin. Opposite: Head bartender Mike O’Keefe chats up the regulars.

At the Table


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Jon Murray (left) and servers Alex Ramirez (on the left) and Will Singleton help cultivate a relaxed atmosphere with down-to-earth delivery. Opposite: Alaskan halibut topped with steamed calamari, baby clam, and mussels along with potato and fennel purée and bouillabaisse broth.

staff knows that.” He is proud to say he feels responsible for the 50 children of his employees, some of them the first in their families to go to college. The Compound marks its 50th anniversary this year, and Kiffin, at 55, is proud to call himself a member of the old school, tracing his lineage to the California cuisine pantheon that was born at Chez Panisse restaurant in Berkeley. It included Alice Waters herself, Jeremiah Tower, Jonathan Waxman, Deborah Madison, and Mark Miller, who called him out of the blue one day while he was overseeing more than a hundred chefs at the Arizona Biltmore. His boss at the time, Executive Chef John Macon, told him not to ask questions but just take the job and go. Two weeks later, he arrived in the kitchen that set him on his life path. “I am old-fashioned because food is oldfashioned,” Kiffin declares. “It’s the one thing we all have in common. It’s a great sense of family, and you see that more

outside the US—talking, having a sense of family, instead of sitting there with the cell phones. You see that these people, their whole lives, are at the table.” It is a philosophy and culture that he strives to recreate at The Compound, riding the cyclical fortunes of a remote Western city not far from where he grew up in Lakewood, Colorado. Kiffin graduated from the Culinary Academy in New York in 1982, and during his 35-year career, he has opened some 20 restaurants, including Star Canyon and AquaKnox in Dallas with owner-chef Stephan Pyles, and a Coyote Cafe at the MGM Grand in Las Vegas, the world’s largest hotel. But since The Compound, he has opened only one: Zacatecas Tacos + Tequila in Albuquerque’s Nob Hill, a moderately priced taqueria based on traditional recipes from the namesake region of Mexico. Targeted to a city that he laments is overrun with chain restaurants,

Zacatecas is his “growth model” for future properties, should he decide to open them. “Because there’s only going to be one Compound,” he says. This one and only fine dining restaurant has benefited from his energy and attention, and it’s grown over the last 15 years into a philosophy of work that goes beyond food and cooking. Kiffin expresses it as a feeling of reverence—for the animals and vegetables that give their lives, the farmers who give their labor, the staff who have stuck by him, and the diners who choose to share moments at his tables. “It’s getting to where I’m not just the chef and owner, I’m the caretaker,” he says. “I want to be like the Korean grocer in New York who’s there year in and out, providing a nice meal, providing for their employees. And I think I can model it for younger chefs just starting out, so they can take a piece of this with them wherever they go.” R


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Raw, Fresh, &Wild 256

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Three culinary stars turn over new leaves en route from farm to table

here must something in the water here. Like the trickle from melting mountain snowcaps carrying life to dust-blown deserts, the promise of a glorious new beginning has lured conquistadors, sung to poets, settled wanderers, and dazzled movie stars. Today’s food-obsessed residents rally both hearts and palates in anticipation when a beloved local chef dons an apron and begins a new chapter. One of Santa Fe’s most buzzed-about openings is State Capital Kitchen. The building itself is a reincarnation, having once been a Pizza Hut, then a slew of varied eateries. The now slickly redesigned structure opened its doors in March, and Chef Mark Connell is dazzling his devoted local following. Who would have guessed that, when the chef began his journey here in 2009, building a life wouldn’t be easy, despite a prior career in Boston eateries? After kicking around kitchens in Santa Fe, he finally made a splash at Max’s and Arroyo Vino and did a stint at the short-lived Hillside Café. Today, the restaurant-going public swarms State Capital Kitchen, seeking what Chef Connell describes as “artisanal American dim sum.” Following the trend of sharedplate dining, the offerings are sophisticated and approachable, and some give a nod to molecular innovation, such as foams, “deconstructed” dishes, and liquid nitrogen ice cream made tableside. The seasonal menu also features spontaneous items conceived à la minute and served from carts wheeled between tables on the restaurant floor. As for libations, wine director Matthew Slaughter curates an inventory for thoughtful pairing, and the venue offers a specialty list of wine and liqueur-based cocktails—a creative use of the restaurant’s wine-and-beer-only license. A Reno, Nevada, native, Connell started cooking at age 17 in a high school program. After a three-year apprenticeship he attended the International School of Italian Cuisine in Piedmont, Italy, and later the Culinary Institute of America in St. Helena, California. He layers texture and flavor, as in a “creamy and crispy” polenta with wild mushrooms and egg, or silky butternut squash soup with crunchy pistachios, pickled raisins, and whipped cider. Connell also adheres to Old World-cum-new-trend practices, such as using the whole animal, by making tasty offal treats from locally raised lamb and pork. To provide additional bounty for his guests, he farms his own twoacre plot that yields seasonal vegetables. In this droughtplagued region, he is one of a growing number of chefs committed to conservation, even if that simply means encouraging kitchen staff not to thaw frozen products under running water or instructing employees to pour excess water into plants rather than down the drain. >

State Capital Kitchen specialties include (clockwise from top right) chicken wings with duck sausage; seared foie gras, apple agnolotti and cider reduction, parsnip puree; duck cromesquis; sunchoke and pear salad with toasted hazlenuts. Opposite: Chef Mark Connell. 257

Bite & Buzz

David Gaspar de Alba, food entrepreneur and former chef of Radish & Rye. Opposite, clockwise from left: Radish & Rye’s specialties include steak tartare with diced beef, Calabrian chili oil, lime, quail egg yolk, and house-made crostini; duck rillette with confit duck leg and pickled baby turnips; scallop ceviche with bay scallops, jalapeùo oil, various fruits, and spices; chamomile-infused bourbon cocktail.


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Bite & Buzz

260 TREND Summer/Lookbook 2016

Joseph Wrede of Joseph’s Culinary Pub and, opposite, his salad of butter lettuce, pomegranate zucchini, squash, and fennel with truffle vinaigrette.

Connell is not alone in his passion for supporting sustainable options. Chef David Gaspar de Alba is one of Santa Fe’s most talked-about new chefs, and he’s committed to the farmer-chef connection. As a youth he spent summers working on farms, and later caught the restaurant bug. A native of El Paso, Texas, he developed his skills in Portland, Oregon, a city where sourcing the season’s ingredients from local growers is the norm. By age 25, he was head chef at Portland’s Yakuza Lounge, a Japanese restaurant that would impact his approach to food. Japanese cuisine has long interested Gaspar de Alba because the common use of raw ingredients plays on sensations while also keeping the palate clean. “Even as a young line cook, I was never a fan of heavy cream sauces masking the flavor of whatever that dish is supposed to be highlighting,” he explains. “I never liked wrap-

ping things in bacon just to wow the consumer. Every item on the plate has a purpose and a chance to create the perfect bite. Truly farm-totable food tastes like it was created, farmed, and grown from the earth.” In 2014, Duke Klauck of Santa Fe’s Ten Thousand Waves lured Gaspar de Alba back to the Southwest with a job at Japanese-inspired Izanami Restaurant. By the following summer, the chef accepted an offer to lead the kitchen at Radish & Rye. His creative approach to seasonal fare brought national attention during the popular eatery’s first year. Having recently departed that position, Gaspar de Alba is again pursuing his lifelong interest in extending sustainable cuisine beyond the confines of a restaurant. In addition to visiting local farms, he tends his plots in Santa Fe’s community garden and makes his own compost. Overseeing seed-to-plant-to-plate is essential to his cooking. “I enjoy taking those wonderful products and manipulating them into delicious, healthy dishes. And I enjoy knowing all the people who took part in that process,” he says. Chef Gaspar de Alba’s new adventure will include bringing dining to the farm itself in upcoming pop-up dinner events. Having impressed Santa Fe foodies, Gaspar de Alba is finding his way amid the farm and culinary crowd. “I’ve never really started over before,” he comments. Luckily for us, his latest chapter has allowed local diners to get a taste of his respect for natural ingredients and “love through food.” On the topic of love, Chef Joseph Wrede is one of the area’s most beloved restaurateurs, and his latest iteration is a refuge of both comfort and culinary delight. The Southwest native was born in Phoenix and grew up in Cincinnati. His journey began as a dishwasher at age 12 and, later, he continued with formal studies at the Institute of Culinary Education in New York. Wrede, now 50, knows there’s always another chapter. His first 261

Bite & Buzz

local acclaim was at Joseph’s Table in Taos. He closed shop there in 2011 and moved to Santa Fe, opening Joseph’s Culinary Pub to serve “contemporary cuisine of the Rio Grande.” The cozy wine bar and homey dining room envelop guests in the softly lit, convivial cocoon of the adobe pub. Here, Wrede adds his flair to back-to-basics dishes, including locally sourced lamb used for bone marrow served with molasses-glazed oyster mushrooms, warm cambozola and toast, and confit of crispy lamb neck with rutabaga veal demi glace, onion fennel pickle, frisée lemon, blackberry and mint yogurt dressing. As for local sourcing, Wrede uses the lamb, beef, and pork available in the high desert, while finding seafood, fruit and vegetables can be more challenging, especially in winter. “It’s a lot easier almost everywhere outside of high-desert Northern New Mexico, but it’s not impossible,” he says. “We are trying to change our techniques and approaches with each season, such as devising smaller winter menus and putting more effort into pressing, preserving, and curing in the spring, summer, and fall.” He adds that eating local “is an effort that both cook and customer must prioritize as life and death to be real.” For Wrede, cooking is creative expression beyond words. He seeks inspiration in exploring flavors, such as how bitter, sour, and acidic flavors relate to fat, protein, fruit, and vegetables. He also includes his staff in the process, and embraces new techniques. While his dishes lure guests back time and again, Wrede considers food only the second-most import aspect of the restaurant business, explaining that everything else, as a whole, is more significant. Stressing ideas of consciousness, place, and purpose, he says, “The culture of the restaurant makes the experience.” The culture of a restaurant is generated and embodied by its chef, and the integrity of a meal is reflected in its ingredients. These chefs’ latest culinary chapters include putting down deep roots—another eddy in the old and ever-changing river of our region’s cuisine. R 262 TREND Summer/Lookbook 2016

An Adventure in Flavor

221 Shelby Street, Santa Fe, NM 87501 | 505-983-8604 |

The Teahouse meets you where the galleries end at the top of historic Canyon Road, tucked in the corner at East Palace Avenue

Now open for dinner 7 nights a week until 9pm

180 exceptional teas from around the globe Chef made-to-order breakfast, lunch, dinner & small plates Extensive wine list & beer options Shaded garden of fruit trees (pet friendly)

Photo (top): Boncratious

Cozy rooms in an historic adobe home

OPEN DAILY 9 am - 9 pm | (505) 992-0972 | 821 Canyon Road



Situated on a beautiful hill between multiple world-class museums, Museum Hill CafĂŠ offers diners a breathtaking hundred-mile view with a full spectrum of beer, wine, and coffee drinks available. Owner Weldon Fulton reinterprets culinary traditions, from Southwestern staples to the time-honored soup, salad and sandwich. Custom events also available year round.

Lunch: 6 days a week 11-3 Closed on Mondays Simple food done well

710 Camino Lejo Santa Fe, NM 87505


Executive Chef Cristian Pontiggia creates Italian cuisine using fresh local Farmer’s Market ingredients, flown in daily seafood, natural locally raised meats, and gluten-free pasta dishes.


Photos left and top right: Kate Russell

Osteria D’Assisi Restaurant & Piano Lounge Tuesday–Saturday 6pm to close Happy Hour 4:30–6:30 Daily

58 South Federal Place, Santa Fe, NM (505) 986-5858 Piano lounge featuring local favorite Tucker Binkley

global eclectic cuisine • local and organic ingredients gluten-free + vegan + vegetarian options

global eclectic cuisine • local and organic ingredients gluten-free + vegan + vegetarian options

breakfast + lunch breakfast + lunch sunday brunch

sunday brunch

thai nights

catering: onsite + offsite thai nights

catering: onsite + offsite

stay connected ++ LIKE like US us STAY CONNECTED

1512 PACHECO STREET / 505.795.7383 1512 PACHECO STREET / 505.795.7383


La Mesa of Santa Fe 505-984-1688...................................................35 Molecule 505-989-9806....................................................28 Moss Outdoor 505-989-7300.................................................6–7 Nativo de Santa Fe 505-820-0239...................................................44 Nedret Rugs & Textiles 505-490-2324...................................................76

Inger Jirby / Wiford Gallery 575-758-7333, 505-982-2403............................228

Biagi 505-424-1745.................................................195

J. Karl Bogartte 505-490-7905.....................................................180

Bill Heckel / New Concept Gallery 505-795-7570.................................................184

James Kelly Contemporary 505-989-1601.......................................................87

Blair Vaughn-Gruler & Ernst Gruler / GVG Contemporary 505-982-1494.................................................174

John De Puy / 203 Fine Art 575-751-1262.....................................................229

Brian Coffin / Winterowd Fine Art 505-992-8878.................................................186 Charles Gurd

King Galleries / Virgil Ortiz 424-259-1685, 480-440-3912..............................29

Santa Kilim 505-986-0340....................................................94

Christopher Thomson 505-470-3140.............................................32, 67

La Mesa of Santa Fe 505-984-1688.................................................35, 67

Violante & Rochford Interiors 505-983-3912....................................2–3, 74–75

David Michael Kennedy 575-581-9504...................................................53

Laird Hovland 505-699-8438......................................................177

Diego J. Velázquez / Santa Fe Metal Design 505-438-3857.................................................188

Larry Bell 575-758-3062, 310-452-3125.............................225

David Naylor Interiors 505-988-3170.............................................17, 23 Jane Smith Interiors 970-618-1221....................................................55 Samuel Design Group 505-820-0239.......................................25, 44, 88 Violante & Rochford Interiors 505-983-3912....................................2–3, 74–75 Wiseman Gale Duncan Interiors 505-984-8544..................................................217 ARTISTS & GALLERIES Addison Rowe Gallery 505-982-1533....................................................34

Doug Coffin 505-984-8596, 505-218-0139........................186 Ed Sandoval Gallery 575-751-3502, 575-770-6360........................232 Elle Maclaren / GVG Contemporary 505-982-1494.................................................176

live entertainment

Kimberly Webber / Untitled Fine Art 575-758-3969.....................................................230

Charles Pierce / The Santa Fe Art Gallery 505-983-6429.................................................178

Archaeo Architects 505-820-7200....................................................18

fine dining

KC Tebbutt / Untitled Fine Art 575-758-3969.....................................................231

Samuel Design Group 505-820-0239.......................................25, 44, 88


boutique inn

Until You Visit Vanessie... You Haven’t Experienced Santa Fe

Mark White Fine Art 505-982-2073.......................................................42 Meow Wolf 505-395-6369................................................90–91 Mill Contemporary 505-983-6668.......................................................43

Reservations Inn: 505-984-1193 Restaurant & Bar: 505-982-9966 Open 7 nights a week

Munson Hunt

Ellsworth Gallery 505-989-7900...................................................37

Niman Fine Art 505-988-5091....................................................4–5

Fredrick Prescott 505-424-8449.................................................196

Patina Gallery 505-986-3432..........................................12–13, 51

GF Contemporary 505-983-3707...................................................27

Paul Biagi 505-424-1745.....................................................195

The Globe Gallery 505-989-3888.................................................123

Peter Harrington / Turner Carroll Gallery 505-986-9800......................................................189

GVG Contemporary 505-982-1494........................................174–176

Peters Projects 505-954-5800.......................................................63


V Ala



W. San Francisco

Water e

HoCoFab Furniture 505-603-7181..................................................110

Barbara Fuentes

Hunter Kirkland Contemporary 505-984-2111.......................................................57

alu p

Gannon’s Antiques & Art 505-982-9668.................................................123

Ann Hosfeld / New Concept Gallery 505-795-7570.................................................185

Heidi Loewen Fine Art 505-988-2225.......................................................22


David Naylor Interiors 505-988-3170.............................................17, 23

Alexandra Eldridge / Nüart Gallery 505-988-3888.................................................179




427 West Water St. Santa Fe, NM 87501


ENTERTAINMENT NIGHTLY w w w.Va n e s s i e S a n ta F e .c o m

A Santa Fe Tradition

ADVERTISERS ARTISTS & GALLERIES CONT. Pop Gallery / Jeff Brock 505-820-0788..................................................122 Prescott Studio 505-424-8449..................................................196 Ronnie Layden Fine Art 505-670-6793..................................................190

Eldorado Dental

Santa Fe Weaving Gallery 505-982-1737.............................................IFC, 86

If your smile isn’t becoming of you, you should be coming to me. - Dr. Haley Ritchey, DDS

Santa Fe Concorso 505-577-5548..............................................134 Santa Fe Studio Tour

Shirley Klinghoffer

Eldorado Dental 505-466-0999..............................................270

Siri Hollander / Hollander Gallery 505-927-2072.........................................181, 207

D-Rock Training 406-580-6226..............................................271

Tansey Contemporary 505-995-8513......................................................1

Oculus Botwin Eye Group 505-988-4442, 505-954-4442.....................8–9

Tracy Collins 505-988-3760....................................................97

The Beauty Bar 505-983-6241................................................68

William Siegal Gallery / Paula Castillo 505-820-3300...................................................BC


Rush Creek Editions 505-982-8293....................................................92

Photo: Daniel Quat Photography

Santa Fe Art Classes 575-404-1801..............................................193



2012 • 2013 • 2014 • 2015

Ghost Ranch 505-685-1000......................................198–199

Selby Fleetwood Gallery 800-992-6855.......................................10–11, 16

William Smock 505-610-2600.........................................182–183


ART Santa Fe 505-988-8883.................................................24

Aaron Anderson 425-422-3990..............................................157 Alice Bailey Designs–153 Beeman Jewelry Design 425-422-3990..............................................156


Earth Elegance 505-988-3760................................................97

Allbright & Lockwood 505-986-1715....................................................33

Fairchild & Co. 505-984-1419.........................................38–39

D Maahs Construction (DMC) 505-992-8382.............................................20, 85

The Golden Eye 505-984-0040.................................................41

Destination Dahl 505-471-1811....................................................30

Jadu Design 505-695-0777..............................................154

Santa Fe by Design 505-988-4111.............................................21, 73

Jennifer Kalled 505-983-9241......................................148–149

Statements in Tile/Lighting/Kitchens/Flooring 505-988-4440....................................................65

Jennifer Jesse Smith 505-470-6650................................................36

Woods Design Builders 505-988-2413....................................................19

John Rippel U.S.A. 505-986-9115................................................84

EDUCATION & EVENTS Academy for the Love of Learning 505-995-1860..................................................135

Karen Melfi 505-982-3032...............................31, 150–151

Malouf on the Plaza 505-983-9241................................................77

Bouche Bistro 505-982-6297..........................................49

Montecristi Hats 505-983-9598................................................93

CAVA Santa Fe 505-988-4455..................................40, 237

Nambe Trading Post 505-455-2819................................................36

The Compound Restaurant 505-982-4353.........................45, 238–239

July 7th - 9th 10 - 5

Passementrie 505-989-1262...............................................89

Del Charro 505-954-0320........................................197

Spanish Market

Peyote Bird Designs 505-986-4900..............................................271

Geronimo 505-982-1500.........................................47

Pinkoyote 505-983-3030.....................................272–IBC

Heritage Hotels and Resorts 877-901-7666.........................40, 236–237

Santa Fe Goldworks / David Griego Designs 505-983-4562..............................................155

High Note 505-231-9918........................................247

Spirit of the Earth 505-988-9558.........................................14–15

Hotel Chaco 866-505-7828........................................237

True West Gallery 505-982-0055................................................26

Inn of the Governors 800-234-4534........................................197


Museum Hill Café 505-984-8900.......................................266

Boncratious 505-216-6250..............................................206 Daniel Quat Photography 505-982-7474................................................95 Mark Steven Shepherd 310-399-5947................................................96 Michael Holmquist 575-779-4699..............................................226

Osteria d’Assisi 505-986-5858.......................................267 Saveur Bistro 505-989-4200..........................................48 Sazón 505-983-8604........................................263 State Capital Kitchen 505-467-8237.......................................265


Sweetwater Harvest Kitchen 505-795-7383........................................268

Adventure Taos 575-770-9798, 877-776-4001.....................227

The Teahouse 505-992-0972.......................................264

Los Alamos National Bank 505-662-5171..............................................262

Vanessie 505-984-1193, 505-982-9966...............269

The Ross Firm, LLC 505-469-7681.............................................207


RESTAURANTS, FOOD, DRINK & LODGING AGAVE Lounge 505-988-4455................................................40

Folk Art Market

July 29th - 30th 10 - 5

Indian Market

August 18th - 20th 10 - 5 Fabulous Jewelry Silver & Turquoise Beading Supplies

50-75% Off 675 Harkle Rd Santa Fe, NM 87505

Open Kitchen 202-285-9840...............................254–255

Peter Ogilvie / William Siegal Gallery 505-820-3300..............................................187

Sotheby’s International Realty 505-988-2533..............................................216

2016 Summer Sales

Loka Creative 505-603-7190........................................111

GET RESULTS NATURALLY • Lose Weight • Heal Injuries • Burn Fat/Get Fit • Stay Healthy • We come to You! Call Today for Your FREE Personal Fitness Assessment! D-ROCK TRAINING Santa Fe - (406) 580-6226 DEREK CRANE, CERTIFIED: C.P.T./C.E.S/F.N.S./C.P.R./A.E.D.


220 Shelby Street, Santa Fe, NM 87501 505-983-3030



Paula Castillo starless dark


Profile for Trend

Trend Summer Lookbook 2016  

Trend Summer Lookbook 2016