Trend Fall 2014 - Spring 2015

TREND ART + DESIGN + ARCHITECTURE + CUISINE

CHACO CANYON FALL 2014/WINTER/SPRING 2015

Measuring Time— Same Stars, New Questions Giving Glory to Photo Artist

JOEL-PETER WITKIN

VOLUME 15 ISSUE 2

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“San Carlos” by Billy Schenck, 20”x24”, oil on canvas

features trendmagazineglobal.com

66 Second SITE

An intimate look at the private art collections of SITE Santa Fe board members

By Jake Davidson

80 Visualizing His Truth

Internationally renowned photo artist Joel-Peter Witkin turns out to be as colorful—and engaging and witty and wise—as his black-and-white works.

By Jake Davidson

96 All Roads Lead to Chaco

Amid one of NM’s starkest landscapes, this ancient Anasazi site reveals a fascinating cosmology.

ROBERT RECK

By Rena Distasio

PETER BUREGA Imaginate | October 10 – Oct 26, 2014

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depaRtmeNts Fall 2014/Winter/Spring 2015

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139 218 36 IN THIS ISSUE 38 CONTRIBUTORS

211 ARTIST STUDIO

Artist Ted Larsen talks pushing himself, raising the bar, and making art for the right reasons.

By Craig Smith | Photos by Kate Russell

40 FLASH

43 Q+A Lannan with a plan Craig Smith interviews Lannan Foundation president Patrick Lannan.

52 PROGRESSIVE SOLUTIONS Designer Bart Kaltenbach turns artist Michael Coop’s concrete box into a Postmodern Railyard jewel.

By Seth Biderman | Photos by Kate Russell

120 TAOS LIFESTYLE Taos Ski Valley expands to bring more people to greater heights.

By Lyn Bleiler-Strong | Photos by Kate Russell

TRENDSOURCE 218 DESIGN DIGS

James Satzinger’s latest is a composition of land and form.

By Craig Smith | Photos by Kate Russell

222 OUTLOOK

Master architectural illustrator Paul Stevenson Oles receives a well-deserved 50-year retrospective.

By Charles C. Gurd

ON THE COVER: CHACO CANYON PHOTO BY ROBERT RECK

PASSION OF THE PALATE 3 Appassionato!

For Santa Fe Opera–goers, the show’s the thing in preparing tailgate banquets.

By Craig Smith | Photos by Kate Russell

14 WINE & DINE Acclaimed Los Angeles chef John Rivera Sedlar comes home to open his first local restaurant.

44 Into the Woods

126 TAOS DESIGN

By Jake Davidson

One Santa Fe chef’s love of harvesting food from the forest, with recipes.

By Rocky Durham | Photos by Doug Merriam

Enthusiasts build family cabin atop the Taos Ski Valley.

By Lyn Bleiler-Strong | Photos by Kate Russell

18 Native Cuisine

52 A legacy on Canyon Road

141 TAOS ARTIST STUDIO

Taoseño Paul Pascarella’s Abstract Expressionist paintings blend Native American and East Asian influences.

By Ann Landi | Photos by Kate Russell

Native American chefs consult ancient diets for health and well-being.

By Nancy Zimmerman | Photos by Lois Ellen Frank

30 OUT OF THE BOX In which local artists find inspiration in a new canvas: pizza dough.

By Calmus O’Hanlan | Photos by Kate Russell

Elegant eatery shares its recipe for success.

By Suzanne O’Leary | Photos by Kate Russell

60 CHEF TASTES Albuquerque’s new Farm & Table chef Sean Sinclar carries on the ethos of community and sustainability.

Text and Photos by Sergio Salvador

KATE RUSSELL (2)

A new digital art museum opens in Santa Fe; Portrait photographer Brad Wilson gets very close to animals.

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Aleta Pippin

Known for warm, vibrant color in her art, Pippin believes these qualities can produce a joyful, uplifting resonance in viewers, as do music and light. “It evokes within us something bigger than ourselves,” she says. At the same time, some recent paintings on reflective acrylic panel reveal a cool, shadowy aesthetic, in grey and silvery hues. Another intriguing new direction involves layered acrylic panels with imagery that may be viewed from either front or back. “These ideas are fascinating, and the exciting question is: How far can I follow them?” Pippin relates. “Every time my path of exploration goes in another direction, I bring something back to incorporate into my body of work that I wouldn’t have otherwise discovered.”

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As paint flows and colors exuberantly merge and meld in unexpected combinations and shapes, Aleta Pippin finds herself immersed in the creative process, allowing it to take the lead. “It always feels like unwrapping a present,” the Santa Fe–based abstract artist and owner of Pippin Contemporary fine art gallery observes. “I just follow what’s next and go with that.”

Throughout her career, Pippin has pursued a strong artistic flow, as she continually explores new materials and forms of expression—and collectors have appreciatively followed the results. Over the years these materials have included oil or acrylics on canvas, acrylics on panel with a resin finish, and poured acrylics on YUPO synthetic paper. Recently the artist also has been investigating the use of clear acrylic panel surfaces, sometimes incorporating LED lights within the work.

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Copyright 2014 by Santa Fe Trend LLC. All rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-988-5007, or email santafetrend@gmail.com.

Trend art + design + architecture + cuisine ISSN 2161-4229 is published 4 times a year, with Spring (circulation 30,000), Summer (25,000), Fall (30,000), and Winter (25,000) issues distributed throughout New Mexico and the nation at premium outlets. Ask your local newsstand (anywhere worldwide) to carry Trend. Like us on Facebook at Trend art + design + architecture + cuisine magazine.

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IN THIS ISSUE

elements like hydrogen and helium that, with increasing heat, fused into the calcium, iron, carbon, and oxygen we need.

As Neil de Grasse Tyson notes in A Spacetime Odyssey, not only does everything we know originate from the scattered elements of exploded stars, but over billions of years, the earth has both been battered by asteroids and sent its organic matter out into space. Some of these rocks, possibly bearing microbes and the elements that evolve into complex life, returned to our planet after traveling parts unknown.

In our lives and our stories there are frequently moments of circling back. Perhaps to what we knew as children or to something our ancestors understood and we forgot. But maybe what defines us is less a commonality of star-stuff than the conditions of consciousness—the left-brained will to orient within temporal reality while the other hemisphere, our right-brain, wonders: Is there something else?

As Rena Distasio suggests in her look at Chaco Canyon, we’ll never know what the Anasazi were thinking when they built their vast complex. But it appears to have been used beyond the toils of trade and commerce, as if by marking time with light through stone, our predecessors could better understand its passing and their place in the universe. We cannot know the questions people posed, but we know what they inadvertently got by coming together to ask them—community, connectedness, and a sacred sense of land.

In this issue we examine origins and creations of impact, whether the gut-punch photography of Joel-Peter Witkin, who seems to have a direct line to the fight-or-flight response of our reptilian brains; an unstoppable vision to expand the Taos Ski Valley, passed from one pioneer to the next; or designer Bart Kaltenbach’s conversion of an old concrete structure to a Modern live/work space for artist Michael Coop.

Since great food and drink make everything better, (and because, when we consider origins, food is at center stage), writer Nancy Zimmerman’s “Nourishing Culture” takes a look at a movement among Native American chefs and nutritionists to return to ancient diets for health and well-being, we feature another chef who writes about his experiences of foraging for ingredients, and profile another who serves a high-caliber farm-to-table menu.

At Trend, we know life in temporal reality isn’t easy. Still, we are proud to be stronger than ever and back to quarterly issues. Come spring in mid-March 2015, Albuquerque Trend will explore the city’s thriving, dynamic culture, showcasing the innovations of a fast-expanding metropolis. Summer brings our usual high art to connect our crowd of visitors with more of the region’s creative buzz. Each fall, we explore new expressions in art, with an emphasis on architecture and a TrendSource section on the art of design. Cuisine is also featured in fall, with our expanded Passion of the Palate magazine within Trend. And by late November 2015, we will launch an annual high-fashion of the West magazine, with innovative photography taking an all-new look at the latest fashion and jewelry design, our very own Santa Fe Trend.

We live in a place steeped in history, brimming with potential, and layered with experience. Here we are especially close to those other elements—time, light, and space—and perhaps this has shaped us, our stories and creations, more than we know.

—Christina Procter, Associate Editor

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TREND Fall 2014/Spring/Winter 2015

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COVER PHOTO: ANNE FISHBEIN

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TREND Fall 2014/Spring/Winter 2015

Sergio Salvador is an Albuquerque-based professional photographer, an occasional writer, and a sometime graphic designer. His work has been featured in New Mexico Magazine, Su Casa, The Santa Fean, Sunset, American Way, Vegetarian Times, Edible Santa Fe, and other publications. Sergio lives near UNM with his wife, two little boys, and a dog named Lucy.

KATE RUSSELL STEPHEN MULLER

Dr. Lois Ellen Frank is an awardwinning photographer specializing in food. Based in Santa Fe, she is a Native American food historian, culinary anthropologist, James Beard Award–winning cookbook author, and an organic gardener. She’s also a chef who owns Red Mesa Cuisine, a catering company featuring ancestral Native American foods with a modern twist.

Lois has spent more than 25 years documenting the foods and life ways of Native Americans in the Southwest and serves as an adjunct professor at the Institute of American Indian Arts.

Originally from Montreal and now a City Different devotee, Charles C. Gurd is a Santa Fe part-timer, a painter, and a fine-art photographer who has shown oil paintings at 203 Fine Art in Taos. Fascinated with “nonobjective” painting, he hopes his work challenges viewers to go to a space of metaphysical consideration beyond mind and thinking. In the many years he has practiced architecture, he and Paul Stevenson Oles have frequently crossed paths.

Craig Smith has observed and commented on the Santa Fe arts scene for more than 30 years, including two decades as classical music critic for The Santa Fe New Mexican’s arts magazine, Pasatiempo. His freelance credits include Gramophone (London), Opera (London), New Mexico Magazine, The Santa Fean, USA Today, and Opera Canada. The University of New Mexico Press will publish Smith’s biography of Santa Fe Opera founder John Crosby in 2015.

SHANNON PLUMBER

Santa Fe native Seth Biderman studied literature at Brown University and creative writing at UNM. His reporting on design, sustainability, education, and human rights has appeared in Dwell.com, The New York Times, New Mexico Magazine, and other publications. His short fiction has been published in Colorado Review, Blue Mesa Review, and elsewhere. He anticipates publication of his first novel, Boys, any year now.

SERGIO SALVADOR

SEAN CASEY

MONICA GOMEZ BIDERMAN

CONTRIBUTORS

When photographer Doug Merriam is not on the road shooting assignments, he’s in the garden with his daughter, Sage. They pick food fresh, grill it, and then eat outside at a table overlooking the garden.

Doug and his wife Shannon also develop recipes based on the food they grow. Later this year, Doug will publish the Santa Fe Farmers’ Market Cookbook.

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Photography by Wendy McEahern

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

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

TREND Fall 2014/Spring/Winter 2015

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taf san um se mu art tal igi #d Manfred Mohr, P1011_F1 (2005), pigment ink on canvas

momentum during the 1960s, when videorecording equipment became commercially accessible—as seen in Manfred Mohr’s pioneering computer drawings, shown in Thoma’s inaugural exhibit, tentatively titled “HardEdge/SoftWare.”

As ubiquitous as digital-everything has become, however, digital art has been slow to catch on in the art world. And while Europe’s all over it and Washington D.C.’s National Gallery and New York’s Museum of Modern Art have dedicated curatorial departments to this burgeoning genre (and spaces such as New York’s bitforms

gallery and the Eyebeam Art + Technology Center have caught on as well), the Thoma museum is one of the first digital arts centers in the West.

“Even though this inaugural show is mostly composed of fast technology, many of the artworks in it are rather slow-paced and ask viewers to take their time to watch and to contemplate,” says Foumberg. “In our digital age, information and images move so quickly on our screens. This is the artists’ critique of our computer age.”

—Jake Davidson

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COURTESY OF MANFRED MOHR

W

hile Santa Fe often considers (and markets) itself as sleepy, laid-back, and analog, this fall the City Digitally Challenged is getting, of all things, its own digital museum. To be fair, Santa Fe isn’t really the new media backwater people may regard it as—underneath those mounds of sand and dried mud run plenty of fiber-optic. It’s housed the videoexhibition nonprofit Currents New Media since 2002 (and the CURRENTS: Santa Fe International New Media Festival since 2010), and in 2012 helped Albuquerque host the International Symposium on Electronic Art (alongside previous host cities of Sydney and Istanbul).

Housed in a former home just off Canyon Road, at 213 Delgado, the museum’s official name is the Art House/ Thoma Art Foundation. Largely underwritten by Carl and Marilynn Thoma, and focused on digital art inspired by their collection, the site will also feature contemporary Japanese bamboo art along with Spanish Colonial and American Modernist painting (including Taos School artists and abstract painters from the 1950s through the present).

Carl Thoma serves as managing partner of Chicago’s Thoma Bravo private equity firm; his wife Marilynn co-owns an 82-acre estate winery in Oregon’s Willamette Valley, Van Duzer Vineyards.

They’re smart, informed collectors, as is their daughter, Margo Thoma, who owns Railyard gallery Thai Modern. These part-time Santa Fe residents have established a foundation through which they’ll soon award scholarships in the arts. “The Thoma collection has a major area of focus on artists from the 20th and 21st centuries who have used systematic processes to create their art,” says Thoma’s curator Jason Foumberg. “The Thomas want to share the art they have collected with the public.”

Previously known as “new media” art, those creations that springboarded from the Hard-edge paintings of the late 1950s, digital art nowadays encompasses light (LED), software, computer, interactive, video, and electronic artforms. Digital art gathered

FLASH

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

animal kingdom

COURTESY OF BRAD WILSON

S

ome portrait photographers make careers out of headshots and yearbook photos. Others take portraits that give us more than just a pretty face. And a few go far deeper—getting at something not just personal but private, even primal. Brad Wilson qualifies as one of those few. Only in his just-released first book, Wild Life (Prestel Publishing), he went even further, documenting giraffes, elephants, alligators, and other creatures in a lavishly produced, wonderfully arranged coffee-table of a tome. In it, Wilson gives these critters the same one-on-one treatment you’d expect from Annie Leibovitz or a Sports Brad Wilson, Orangutan #6 (2011), archival digital print Illustrated swimsuit photographer. Only more intimate, less staged, and a bit riskier. better. That isolationist policy melds with what he hopes viewers “The animals I worked with have only had a few years of sus- take away from these portraits. tained human contact—or less,” says Wilson, a 50-year-old, Santa “I wanted to convey a sense of intimacy and proximity that Fe–based commercial and fine art photographer who’s spent most would rarely, if ever, be available in the wild or in zoos,” explains of his career working with highly domesticated models and celebri- Wilson, who spent 12 years in New York City before settling in ties. “For the most part, [the animals are] fully wild, though they’ve Santa Fe in 2004. “So it’s just you and the subject—a private learned to tolerate human presence—up to a point. But they’re encounter of sorts—that gives you a sense of being alone with not trained in the traditional sense, like a dog, so they introduce an the animal.” element of unpredictability and danger to every shoot.”

The zoom images familiar from most nature photography give Using animals from wildlife sanctuaries and from film and TV the impression of seeing something from far away. Wilson used animal handlers, Wilson had to take out a huge insurance policy non-telephoto lenses from close range with a high-resolution, (indemnifying him in case of injury to himself or his subjects) medium-format digital camera, giving his pictures a highly before bringing them into a 90 x 120-foot Los Angeles studio-lot detailed quality. “I’m not forcing a narrative but merely offering an soundstage. He made sure he kept the surroundings calm—no experience devoid of informative context,” he says. And whereas sudden movements, no bright lights, and the fewer humans the James Balog was one of the first photographers to create a body of artificially lit work with animals, documenting them in captive environments (and alongside folks like Isabella Rossellini), his work was more political. Plus, his backgrounds were often Avedon-white, while Wilson’s are always black. The spare environment, inability to dialog, and lack of cages and restraints all enhance his aesthetics.

“Humans and domesticated animals were less compelling to me because of their familiarity,” says Wilson. “I was more connected to these subjects because they were new and unpredictable, and that sense of affinity relates to our extensive shared history. On some level, animals are what we used to be: present in the moment and living purely through instinct and intuition.

When we’re with them, they pull us back into that, like a meditation. In the midst of civilization, with all its technological complexities, animals remain as stark symbols of a simpler life and a wilderness lost.” —Jake Davidson Mountain Lion #1 (2011), archival digital print

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TREND Fall 2014/Winter/Spring 2015

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Q +A

BY CRAIG SMITH

Lannan with a Plan COURTESY OF THE LANNAN FOUNDATION

The foundation’s president talks about fellowships, family, freedom, and the arts Patrick Lannan is a man with a mission. He’s also one of those people fortunate enough to be living a dream. Both circumstances relate to his presidency of the Lannan Foundation, one of the country’s most unobtrusive but influential not-for-profit organizations, and one of Santa Fe’s most noted community partners. In a deliberately understated and quiet way, Lannan consistently provides influential and major assistance for change, activism, and outreach on local, national, and international stages. Founded in 1960 by Lannan’s father, J. Patrick Lannan Sr., a financier and entrepreneur, the foundation has been based in Santa Fe since 1997. Previously it was headquartered in Lake Worth, Florida, then Los Angeles, California. A flourishing organization, its 2012 fiscal year assets exceeded $190 million, with disbursements of nearly $10 million. The support went to preselected individuals and nonprofit organizations working in the foundation’s focal areas: literary arts, contemporary visual art, indigenous communities, and cultural freedom projects. In the process, it has affected the lives of countless thousands, year after year. In July Trend writer Craig Smith sat down with Patrick Lannan to discuss the foundation’s past, current focus, and future.

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Thomas Joshua Cooper, Shoshone Falls: “Bridal Falls,” Shoshone Falls, The Snake River Basin, The West Bank Rim, Jerome County, Idaho, USA (2003-2004).

Selenium and gold chloride toned silver gelatin print, Lannan Foundation Collection.

TREND Fall 2014/Winter/Spring 2015

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Q +A that program each year. We give fellowships. We’re going to announce a couple of lifetime achievement awards in the fall.

We fund a lot of nonprofit presses.

Our Readings & Conversations series is a good program because this is a great community. When you think of what goes on here and all of the interesting, curious people who somehow end up here—it’s kind of amazing, given the size of the community. Why we all end up here, I don’t know, but it’s a great place.

Trend: Those events sell very well.

PL: Yes, they’re very popular. That’s why

The Lannan Foundation has supported the large-scale, transformative work of James Turrell. Included in the Lannan Foundation Collection is Turrell’s Original Crater Contours in Gray (1992), Mylar, beeswax, emulsion, ink, Liquitex, wax, pastel.

we keep doing them! It’s not inexpensive because we bring in really major people and we fly them in. But it’s very rewarding. We podcast them all now. We have for quite a few years. So they’re all available on our website or iTunes. You can subscribe to them. We’re very proud of that series.

We’ve often filled the Lensic, and it seats 800 people. So far as I know, we never get less than 400 or so. We do some events in Chicago, also. We come from Chicago, our family, and we have some people on the board there, and we have this connection. We do at least three or four events in Chicago. They’re getting legs there.

Trend: Most Santa Feans know the foundation from the Readings & Conversations series that take place every year here. What about other areas of support?

Patrick Lannan: The cultural freedom program started 15 years ago, in 1999, when we gave a cultural freedom award to Eduardo Galeano, the Uruguayan writer-journalist of both fiction and nonfiction. He wrote a famous book called Open Veins of Latin America, about the colonial history of Latin America— when he was in exile in Spain, actually, from a dictatorship. We then began to do more special things in that program, and over the last seven to nine years, it has grown quite a bit. So we split it into two programs: cultural freedom and indigenous communities.

Cultural freedom is a funding strategy that speaks to our progressive instincts.

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We can give fellowships to progressive activists, environmental activists. We’ve helped indigenous communities deal with environmental issues for quite a while.

So in the program there’s a thread of environmentalism, there’s a thread of social justice activism, there’s a thread of progressive criminal justice reform.

Our art program isn’t as big as it was at one time. We’re continuing to work on a number of big projects. But we gave away most of our art collection—there was a big deaccessioning effort. That was before we actually moved to Santa Fe. But on the other hand, we still acquire some art, we still have an art collection. We have an exhibition up in one of the galleries right now. Our literary program we’re very committed to. We run a literary residence program in Marfa, Texas. We have about 25 writers who go through

with long-range impact rather than projects that look good in a temporary spotlight.

PL: We say simply that we have money and we want to use it to help good people do good work. And good work often involves changing perspectives and views on things.

We’re not afraid of being on the edge.

We’ve never used public relations or anything to promote the foundation. We just do our stuff. When we first started, we didn’t even know what we were going to do. And we had people—usually from Chicago at that time, and Florida, and L.A.—we had PR people who said, “Boy, you really need our help. We can promote the hell out of you.” We never bought that.

If you do your stuff—and I think I’ve been running it for 28 years since it really went public—the word gets out. There’s more awareness of it now than in the past because of modern media and because we

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COURTESY OF THE LANNAN FOUNDATION (3)

Trend: Lannan Foundation seems concerned

have a website and a Facebook page. So it’s easier to find out about us.

Trend: What has the foundation meant for

TOP: COURTESY OF THE LANNAN FOUNDATION; BOTTOM: DIANNE STROMBERG

you yourself?

PL: It’s been an incredible experience.

Speaking personally, I’ve met people I never would have met. I’ve met people who are so uniquely special and so good at what they do, and so useful at helping others in the world. And it was because of the foundation. Whether you meet a Nobel Prize winner or some leader in the indigenous community, you feel blessed.

I always say to the staff that there’s nothing special about us. Because of circumstances, we ended up with some money. It’s the people we can help who are impressive and important.

[Eduardo] Galeano put it one time, It’s not about charity—that’s top-down. It’s about solidarity. Recognizing that you’re really fortunate to maybe be able to help people who are doing way beyond what you’re doing, because they’re really doing useful work. Often at a great personal cost, sometimes at the risk of their lives, other times just because it’s an alternative to

Patrick Lannan, down-to-earth literary enthusiast and philanthropist. Above: Victoria Sambunaris, Untitled, Near Echo Canyon, West and East, Utah (2007). Chromogenic print, diptych, (Lannan Foundation Collection).

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living a more financially remunerative life.

Trend: It sounds as though both the foundation and your grantees are driven by passion and commitment.

PL: There’s an amazing amount of talented people who really want to do something useful for other people. That puts it in a special channel, in my opinion.

Trend: The foundation has such a focus on literary arts. Are you a creative writer yourself?

PL: No. I don’t think I have a facility for it.

I’ve always been a big reader.

My father was a big reader. My dad was self-educated. He left high school at 16 and got a job with the Ford Motor Company plant in Iron Mountain, Michigan.

He moved there from Duluth. He kind of never looked back. He just kept reading. He was attracted to making friends with people who had much more educational background than he did. But he felt he could learn from them. Then he got to looking at art, started going to theater and cinema.

That certainly wasn’t unusual in his generation. We go every year, a number of us, to a socialism conference in Chicago. And you meet a lot of blue-collar intellectuals there. There’s still a lot of people who are pretty much self-taught, and they’re really smart and they really know what the hell they’re talking about. The common thread is that they’re well read. They mostly read political literature, but they read it and they comprehend it. They believe what they believe.

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Q +A Trend: Progressive ideas seem to run in the family as well as the foundation.

PL: My dad tried to organize a union at the Ford Motor Company plant. He was an apprentice electrician when he was 18. He got married when he was 19 to my mother, who was a college graduate from the University of Michigan. He was a liberal Democrat all his life. But he went into business and made a lot of money, and actually left it all in the foundation because he thought that would be something useful.

He used to say that he’d seen enough impact of inheritance to see that it really didn’t do much good. I inherited that interest in culture and literature and learning, and his belief.

He didn’t really ever have a very specific plan for the foundation. The idea for a foundation was simply to give it back.

Foundations are so common now because there’s so much concentrated wealth. But there were fewer when he started it. I think he did the right thing, and the family’s really stuck together around it.

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Peter Alexander, Untitled (1968), cast polyester resin, (Lannan Foundation Collection)

writers are the same. They’re obsessed with what they’re doing. Nobody yet has taken the money from a fellowship and bought a Porsche or anything. They just keep grinding away at the work.

Trend: So they’d still do it without a grant?

PL: Sometimes they wouldn’t be able to do it. If you’re working on a book project, and

say it requires travel and staying places— unless you’ve got money yourself, you can’t do it. True, there are people you just can’t stop. But it’s a hell of a hard thing. They’re holding a job or working part time as a journalist, trying to hold it together. You want to find a person who wouldn’t give up on it anyway, but you can facilitate it and make it happen in probably a better way.

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DIANNE STROMBERG

Trend: It seems like the Lannan Foundation is interested in setting up generations of grantees in a way, just like the family has been involved with the foundation on the board and as members of the staff.

PL: We have a lot of connection with our grantees. We’re real consistent on some fronts. One of the things I learned is that—and often this has been historically true—a foundation will come in and decide they’re really going to help something, and they try to get some idea of what it needs. We feel we need to find out what they need. We’re not trying to run anything.

If you’re a nonprofit, say, poetry press, you’re always looking for money because it’s very hard to raise money for literature in the U.S. For art, it’s easier. People interested in art also collect it, it involves a lot of money, and often the collection turns out to be quite valuable. But you don’t hang a poetry book above your fireplace and say, “I funded that.” So it’s a little more abstract.

We’re a very consistent funder. In terms of fellowships and individuals, they often need help for awhile. A writer who’s working on a project, for example. Creative

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Q +A Then when the project comes out, you can say you’ve done something useful.

Trend: Even if a project might not be commercially a success, you never know when a book is going to change lives.

PL: Yes. It’s interesting. People keep coming onto our screen. We’ve been working in these areas for a long time. You have a lot of contacts. People drop you an email and say, “I ran across this person. I think they’re doing really interesting work.”

Trend: Do you have an interest in drama as well as literature?

PL: I do, actually. The one thing that is missing in Santa Fe culturally is theater, though I understand there’s some that’s pretty good in Albuquerque. But the big theater cities are really Chicago and New York. I miss that, but there are so many other great things here.

Trend: How did you end up in Santa Fe yourself?

PL: I’ve always had a special place in my heart for Santa Fe and New Mexico itself.

I first came here back in the late ’60s. In 1967 my wife and I stopped here three days—I was moving from New York to Los Angeles—and we stopped here because my dad used to come to New Mexico. We met a couple, Joann and Gifford Phillips. It was early August, and we went to the dance at Santo Domingo—the Corn Dance—because they persuaded us to go. And that really blew the socks right off me. And then we started coming back occasionally for Thanksgiving with the kids, and I skied over here, sometimes at Taos.

I bought a house here in 1986, and I did commute back and forth from Los Angeles, but I’ve been here full-time for 17 years. Sometimes when I’m around art people, they say, “You have a home in Santa Fe?” “I live here,” I say. “You live here all the time?” “This is where I live.

Santa Fe’s it.”

Sometimes you leave at the end of the day and see the mountains, or get off the plane in Albuquerque and see the Sandias, and it hits you. My wife and I talk about it between ourselves—“This is great. Why do we go away at all?” R 48

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progressive solutions

The Vernacular Different A long overdue urban aesthetic arrives in the Railyard

BY SETH BIDERMAN | PHOTOS BY KATE RUSSELL

The Rail Runner commuter train and the Railyard’s signature steel-and-glass Art Yard building enter Michael Coop’s living room via a tubular aluminum storefront curtain wall.

Inside, two of Coop’s paintings are anchored by a rare Florence Knoll credenza.

progressive solutions

The Lot In the winter of 2010, designer Bart Kaltenbach took a client to look at a property he was selling, a run-down concrete block building on the gritty edge of Santa Fe’s Railyard District.

As they stood—for a moment—outside the building, Kaltenbach explained that the tiny property, which he’d purchased for $50,000 in the early 1980s, fell within an ambiguous planning zone called the “Business Capitol District,” which he roughly translated as “anything goes.” Neighbors included the dusty parking lot of a popular local eatery, a few nondescript homes, an auto-body shop, and a homeless shelter. Two blocks behind them, eighteen-wheelers ground past on St. Francis Drive.

Unsurprisingly, the building was in terrible shape. Constructed as a family residence in 1946, it had been used hard for six decades, 54

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housing everything from an answering service company (hundreds of obsolete phone lines still tangled into the basement) to a gang of squatters to a tattoo parlor. Kaltenbach had run his own design/build business out of the structure into the 1990s, using the basement for his office. When he relocated to a bigger space, he rented it out to other builders and designers, until the economy tanked and he was forced to rent on the cheap to less reliable tenants.

Now Kaltenbach and the client stepped quickly through the 1,600 square feet of poorly partitioned, squalid apartments and into the backyard. The Albuquerque commuter train rolled past, so close the two men nodded at the passengers.

Kaltenbach raised his chin at the building.

“Pretty dumpy, huh?”

“Very dumpy,” said the client. “Let’s do it.”

As seen from the Railyard Park, the corrugated steel exterior is walled in by gridded cement blocks. The solar panels offset the building’s electric bill.

Opposite: The studio in a converted basement is bridged by a catwalk, elegantly railed by local metalsmith Adam Rosen.

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progressive solutions

The Client

Above all, Michael Coop is a visual artist. He has a Master’s in art education from Columbia University’s Teachers College and a successful career as an independent consultant. But his is an aesthetic life. For years, he lived in New York City loft spaces, meticulously organizing them around his art studio, midcentury furniture, and an ever-expanding collection of jazz LPs, art books, and African masks.

Mid-1990s, he burned out on the city and lit out for the West. He fell for Santa Fe and settled into an unremarkable residential home, but by 2008, he was done with living rooms and culde-sacs, and began seeking some sort of loft

space where he could reclaim a lifestyle truer to his aesthetic. He loved Santa Fe, but the artist in him needed a more abrasive environment to stay inspired, a live-work-paint space with a touch of urban and grit.

At first glance, the Railyard property seemed a bit too gritty, but Coop trusted Kaltenbach— not only as a seller, but also as an accomplished designer-builder who could transform the property into the space of his dreams. And there was this: standing with Kaltenbach in the overgrown backyard that wintry afternoon in 2010, watching the commuter train pull away, Coop suddenly realized he felt more at home than he had in years.

Left: Steel cabinets intended for a dental office find a home in the kitchen.

Above: Framed by the red iron–welded plate girder, Poulsen light fixtures float above a black walnut Samuel Moyer table; Donald Judd–inspired bookshelves hold Coop’s collection of art books and masks from the Kifwebe tribe in the Congo Basin. Behind, the glass curtain wall frames the Railyard Park and the Sangre de Cristo Mountains.

The Theory In Sun, Sticks & Mud: 1000 Years of Earth Building in the Desert Southwest, Kaltenbach and his partner, Barbara Anschel, describe the challenge of designing in places with preservationist bents— primarily Santa Fe, where for nearly a century, city codes and societal norms encouraged, if not mandated, a uniform vernacular of small windows, rounded edges, flat roofs, and earth-tone stucco.

It’s not that these design elements are ugly. Kaltenbach still remembers being “blown away” by the harmony of architecture and landscape when he first rolled into town in the late 1960s, seeking (as would Coop, many years later) a reprieve from the stodgy East Coast.

But as he developed his career as a designer-builder, Kaltenbach soon learned that the uniformity exacted a toll on artistic expression.

Paraphrasing the Italian philosopher Umberto Eco, Kaltenbach and Anschel propose that architects in places like Santa Fe often feel stuck in a dilemma: either they adopt a conservative design ap-

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proach that reinforces traditional styles, or they dump tradition altogether and foray (mostly outside the city limits) into the avant-garde.

But Eco advocates a way out of this dilemma—a third option. What is needed, he proposes, is a creative approach to design that would acknowledge tradition and would move forward at the same time.

By the time he met Coop, Kaltenbach had reached a similar conclusion. He’d already begun experimenting with that creative third option, slipping new materials, sustainable technologies, and Expressionist flair into the earth tones and rounded edges of his buildings. His commercial spaces and artist studios in the industrial part of town, in particular, had nudged open the door to expressive architecture in Santa Fe. But the Railyard space, given its ambiguous zoning and Coop’s sophisticated aesthetics, presented an opportunity to fling the door open toward Santa Fe Urban, a vernacular different for a traditional town.

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progressive solutions

The Design “[It was] easily one of the most satisfying projects of my career,” Kaltenbach says—a strong statement from a man who’s designed studios for such renowned artists as Bruce Nauman, Susan Rothenberg, and Patrick McFarlin. Philosophically and aesthetically, he and Coop were on the same page from day one, determined not only to keep the dumpy building around, but also to create a two-story space that would pay it homage.

Easier said than done. The 60-year-old concrete walls could barely support their own tar and gravel roof, let alone carry the load of a second story. Kaltenbach reached deep into his playbook for an unconventional move: he contracted a pre-fab red-iron steel company in Oklahoma to build a free-standing second story that literally floats, on eight I-beam stilts, above the original house. (The Oklahomans trucked the kit in, painfully crane-constructed it on Coop’s bento box–sized lot, and never answered a call from Kaltenbach again.)

Today, the home’s long south exterior wall 58

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shoots 24 feet up. The top half flashes a corrugated steel façade, complementing nearby warehouses and trains; the bottom half juxtaposes slate-gray stucco—in homage to the original— with painted cement board panels. The old security bars on the first story windows remain, witnesses to the building’s storied past. As with many structures in this part of town, Coop chose to hem his in with an unstuccoed cement block wall, but his wall’s blocks are gridstacked (instead of offset) to echo the angles of the design.

But the coup de grâce is inside, on the first floor. Behind the remodeled home-office space, the floor drops dangerously, and a wooden catwalk, elegantly railed, spans a room that yawns 18 feet from ceiling to floor. It’s the old basement, now uncovered, where Kaltenbach scratched at so many blueprints. A spiral staircase wends down, past one of the original cement block walls and into a brilliant SoHo-esque studio where Coop can—at last—paint in a room of his own.

In the bedroom, a row of black-topped George Nelson steel-frame cabinets and red Saarinen chairs. Opposite: Exposed barn-door hardware carries the sliding door into the office space. The girder has been painted white to lighten the effect; the steelcable bracings have also been left exposed.

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The Details Kaltenbach, a natural collaborator, involved Coop closely in every step of the design process. Yet apart from a few offset windows, Coop tips his hat to the designer for the major architectural elements.

But when it comes to the interior details, Coop’s own talents shine. Inspired

by Donald Judd, he has created an aesthetic cohesion that runs through the building: cubed shelving and cabinetry, exposed plywood edges, squared-off track-lighting rails, and exceptional steel accents designed with local metal-worker Adam Rosen.

Coop’s interior design goes a step further: like the building itself, the decor blends his-

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torical with contemporary. The bright, open second story, where Coop and his partner, Emily, nest with their newborn daughter, is chock full of vintage midcentury furniture. Saarinen, Platner, Eames, and Louis Poulsen live here. So do Jacobsen, with his iconic egg chairs, and Paul McCobb and his credenzas.

And even the few contemporary pieces have a story to tell: the steely kitchen cabinets come from the world of dentistry, the cabinet handles are Japanese, and the eight-foot wooden dining table was handcrafted by furniture maker Samuel Moyer, who is one of Emily’s personal friends.

progressive solutions

Photography by Wendy McEahern with Parasol Productions for The Essential Guide

The Renaissance From the second story of the Coop space, the east-facing bank of windows now display the rounded Sangre de Cristo Mountains, now the sleek silver of the passing commuter train. There is room for both, somehow. There is also room for the tattoo parlor, the answering service, the architect in the basement, the squatters.

Because rather than attempt to hide or preserve these histories, the Coop space makes room for them all, keeps all of them alive, even though its function has been transformed. And in so doing, it moves Santa Fe one step away from the designer’s dilemma, one step closer to a vibrant new architecture that is neither slave nor cynic to tradition—the Santa Fe Urban, long overdue. R

From the living room porch, the passing train over the metal railing punctuates the building’s new vernacular. Top: The new second story floats above the old cement block home, supported entirely by its steel structure.

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SECOND

SITE

The art tastes behind a contemporary art museum’s board

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Millers

PHOTO BY KATE RUSSELL

BY JAKE DAVIDSON

PHOTO BY KATE RUSSELL

I

f curators are in some way paid collectors, then the homes of some collectors might qualify as museums (or at least galleries). That’s certainly the case with SITE Santa Fe’s board members, whose art is as compelling, daring, weird, big, beautiful, and challenging as that inside SITE. And while theories on collecting and collectors range from the Freudian to the spiritual, people often buy and amass certain works of art for no clearer or deeper reason other than “I liked it” or “It spoke to us.”

Nevertheless, what someone chooses to surround themselves with and what a museum opts to put on view for the public derive from very different, and enlightening, motivations.

“Once you put two or three, five objects in an exhibit in a museum, these objects tell a story.” So said Turkish Nobel Prize–winning author Orhan Pamuk in an interview about his 2008 novel, The Museum of Innocence. “You ask yourself if you visit it, what’s the relationship between them? And that’s a story; that’s a theory.”

And even though Pamuk chose to say museum, the museums his narrator seeks out aren’t as much SITE-like spaces but an individual’s home, or room, or section of a room. The museum is another world, a memory, a work of art in itself. Much like these board members’ homes. Again, Pamuk: “You feel that outside there is a time, modern times, that’s going on, while inside the museum it’s timelessness . . . In fact, in the end we write novels because we just like these sensations; we want to immerse ourselves in these images.”

Writer Kim Herzinger, owner of New York City’s Left Bank Books and himself an avid collector, sees collecting as a passion, and “collecting, like most passions, has the capacity to let you live in another world for a while.” Or in other worlds—the worlds of the artists who created the art. But when arranged in one place—in the collector’s home—those worlds merge and become something else. “A collection is more than the sum of its parts,” London’s Lisson Gallery owner Nicholas Logsdail told Sarah Thornton in her 2008 book, Seven Days in the Art World. “It creates something unique.”

“A collection,” renowned art collectors Don and Mera Rubell told Thornton, “is a personal vision.”

Or, as artist and SITE board member Sande Deitch says, “One reason I buy art is it’s something I’m drawn to. Like with these Joseph Beuys candy wrappers that have been chewed up by ants. I mean, that’s so personal. To him. And who’d ever think that could be art?”

Indeed. It’s a two-way street: Art, and whoever collects it, may just be at its most artistic or personal—or personally appealing—when the person who made it or the person who bought it can’t explain why it is they made it or bought it.

“One thing we always look for,” says SITE exhibition committee co-chair Steve Berkowitz of he and his wife, Karen’s, collection, “is mystery. Most of the work we have—part of the interest for us is the mystery of what is the artist really trying to say?”

Somewhere between avocation and hobby—or obsession and attraction—collecting is very much like assemblage. And if you were to enlarge the boxes of Joseph Cornell while simultaneously incorporating into them George Carlin’s philosophical riff on stuff (and how we mostly keep all our stuff in boxes), then peoples’ homes and museums become giant cabinets of curiosity.

Precursors to museums, these cabinets—also known as Kunstkabinett, Kunstkammer, Wunderkammer, cabinets of wonder, or wonder rooms—arose out of the Renaissance spirit of inquiry and what Philipp Blom, author of To Have and To Hold: An Intiate History of Collectors and Collecting, calls “an emerging secular curiosity about the world.”

And while SITE board members and collectors as sure of themselves as the Berkowitzes, Deitch, and Bill Miller might not agree with the idea that collecting is sometimes a way of understanding the world and one’s place in it, they’d no doubt accept the notions that it has honed their aesthetics, served as another way of organizing their thoughts (on art, on life, on whatever), and enhanced their abilities to observe more acutely, make finer distinctions and comparisons, and tease out and highlight patterns and order. And as solitary an activity as collecting may appear, it’s actually a very communal one, driven as much—if not more— by a desire to share with others as to have for oneself.

FROM THE MILLER COLLECTION Los Angeles/Santa Fe artist Eric Tillinghast’s Empty. Created over 10 years, these cast-iron bowls are part of the artist’s practice that explores water as both subject and medium.

Previous pages: Rico Eastman balances heavy forces in Standing Wave (1999), corten steel.

FROM THE BERKOWITZ COLLECTION Catalan Spanish artist Jaume Plensa’s Soul Under the Stars, a 12' tall, stainless-steel sculpture.

Plensa is known for his monumental works in public spaces, such as the Crown Fountain in Chicago’s Millennium Park. He frequently works with the human form and often incorporates text into his pieces—in this one, the random letters pay homage to his love of literature.

PHOTOS BY PETER OGILVIE

Debra Butterfield’s lead sculpture Horse. Inspired by the equine residents on her Montana ranch, Butterfield is known for her horse sculptures made from found objects. Above: Israeli video and photo artist Michal Rovner’s photo on canvas, Trains. Rovner co-founded the Camera Obscura School of Art in Tel Aviv, the city’s first school for photographers.

FROM THE BERKOWITZ COLLECTION One of the most influential pioneers of Conceptual Art in the 1960s, Mel Bochner sometimes explores the relationship between language and physical space or color. Blah, Blah, Blah is a monoprint with engraving and embossment on hand-dyed, handmade paper.

Left to right: Puerto Rican artist Angel Otero created Untitled (SK-IT) (2012) from fired porcelain, paint, and steel. The Brooklyn painter more recently began experimenting with sculpture. The White House, by Cheryl Laemmle, who was part of NYC’s East Village art scene in the early to mid-1980s. Her depiction of images from childhood in a realistic way can seem almost Surrealistic. French/American painter and video artist Stephen Dean’s Ladder (2005), a 9'8" sculpture made from dichroic glass panels framed by aluminum. Dean examines material culture via color compositions that assign new meaning to ordinary objects. '

FROM THE BERKOWITZ COLLECTION Modernist Guatemalan photographer Luis González Palma, Las Sombras de su Niñez (2004).

Considered one of Latin America’s most significant photographers, González Palma portrays the plight of Guatemala’s indigenous Mayans and mestizo people, often using sepia-tint images layered with paint and distressed to suggest history and the long struggle of his subjects.

FROM THE DEITCH COLLECTION Above, clockwise from left: PA artist Patricia Bellan-Gillen’s Beautiful Stories/Creation, silkscreen and chine collé on handmade paper; Matthew Causey’s ceramic plaque, Peter Voulkos, part of a series of portraits of famous potters; Flat Life Light, one of British product designer Finn Magee’s 2-D images that perform like 3-D objects. Previous page, clockwise from top left: Landscape II, digital print by young Dutch selfportrait photographer Levi van Veluw; Bird’s Nest, by Santa Fe painter Tom Mason-Mancuso; mixed-media piece Vanishing Venice, by London artist Patrick Hughes, who created the “reverspective,” an optical illusion on a 3-D surface in which the elements of the picture that seem farthest away are actually nearest; Lovers Teapot, a 1992 porcelain piece by Seattle ceramic sculptor Akio Takamori, whose work is strongly influenced by his Japanese heritage.

PHOTOS BY PETER OGILVIE

FROM THE DEITCH COLLECTION Artist duo and couple Christo and Jeanne-Claude (who were born on the same day in Bulgaria and Morocco respectively) were best known for grand site-specific installations, from wrapping entire coastlines and monuments to surrounding islands with pink fabric. Above: Wrapping Roman Sculptures (1990), prints and multiples, fabric, polyethylene, twine, masking tape, silkscreen, collotype, and pencil additions.

Christo and Jeanne-Claude, Wrapped Pay Telephone (1988), pay phone, fabric, polyethylene, and rope

PHOTOS BY PETER OGILVIE

VISUALIZING HIS TRUTH The vivid world of B&W photo artist

Joel-Peter Witkin

BY JAKE DAVIDSON PORTRAIT AND STUDIO PHOTOS BY PETER OGILVIE

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Joel-Peter Witkin’s photographic art—primarily rendered in black and white—is anything but minimal, understated, or uninformed. He samples. He collages. He’s like a visual mix-tape DJ taking from Géricault here, a Greek kouros statue there, appropriating, incorporating, letting it all fester in the limbic regions of his brain, the lizardy corners of his psyche, maybe referencing pioneering chronophotographer Étienne-Jules Marey, or alluding to inventor-photographer Louis Daguerre, and then crazy-quilting it all together—but almost seamlessly. Fluidly. And most definitely artistically and aesthetically, and with the utmost technical craftsmanship. His work is not without its precedents or influences. Hans Bellmer, Max Ernst, Francis Bacon, Courbet, Giotto, and E.J. Bellocq spring to mind. Or Bosch, Miro, and Velázquez. Even Goya, della Francesca, and Botticelli.

The controversial aspect of his work, what keeps people wondering just what it is he’s really up to, is his use of dwarfs, transsexuals, hermaphrodites, amputees, dead people, body parts, full-frontal nudity, fat chicks, fat bastards, flesh, fleshy bodies, fleshy textures, bearded ladies, penises on platters, heads on platters, breasts on platters.

“He’s an amazing storyteller, but you don’t know what’s true and what’s fabricated,” says Natasha Egan, executive director of the Museum of Contemporary Photography at Columbia College Chicago and a native of Santa Fe who visited with Witkin in his studio back in the early ’90s. “It’s a mix of truth and fiction, all merged together. That’s his strength—playing with what’s possible. Is it possible he could collect this group of people, creating and using real subjects to create this insane fiction using art history? A lot of people don’t know. I don’t know if anyone really knows. But people are really drawn to him.”

“Those who understand what I do appreciate the determination, love, and courage it takes to find wonder and beauty in people who are considered by society to be damaged, unclean, dysfunctional, or wretched,” says Witkin. “My art is the way I perceive and define life. It is sacred work, since what I make are my prayers.

“The most important thing is to live your truth and make your truth visual,” he continues. “Because my reality is what comes out of me and what’s true for me. It’s a take-it-or-leave-it thing. It’s what I stand behind.”

It’s also where he hasn’t compromised himself. “The search for truth is the foundation of life,” he adds. “It’s like, ‘Do the right thing.’ If you don’t do the right thing, you’re a cop-out and you’ve sold yourself out. We’re in a cultural, moral, aesthetic battle—and it’s always been that way.”

A New York native, Witkin chose not to stay there permanently. Too dirty, too noisy, he says. “I knew I had to get out. I knew I had to change.” He chose the University of New Mexico for graduate school based on having seen and liked one of Albuquerque photographer Van Deren Coke’s exhibits in New York. He’d already been through New Mexico several times—on his way from Texas to Mexico while he was serving in the army as a photographer. He liked the culture, the vibe. But even with a Cooper Union BFA and a Columbia University poetry fellowship in his pocket, he had to go on food stamps and bus tables—at 42—to survive here.

Still, restaurant work allowed him to do his photography and be a part-time dad to his son, now an engineer in New York. “From 1980 on, I was making photographs for myself,” says Witkin. “Always for myself.”

Permanently settled in the Albuquerque home he shares with his wife, Witkin photographs subjects who are mostly locals. He approaches many of them at the public library, and while he knows some of them,

Portrait of Nan, NM (1984), gelatin silver print

COURTESY OF JOEL-PETER WITKIN, CATHERINE EDELMAN GALLERY, CHICAGO

COURTESY OF JOEL-PETER WITKIN, CATHERINE EDELMAN GALLERY, CHICAGO

History of the White World: Arabia, L.A. (2008), gelatin silver print

I don’t want to change the world, but I do want to change the person looking at one of my works.

it’s not sociological. “I get to know them for a time and that’s it,” he explains. “I don’t have friends.

I’m too busy. I think it comes from being a twin.”

Early on, he showed with Robert Mapplethorpe and New Orleans photographer George Dureau and other transgressive artists of the ’80s and ’90s—most of whom, Witkin included, were singled out by the National Endowment for the Arts and fundamentalist groups as filthy and unworthy of federal grants. Ironic, of course, given his repeated insistence that “I’m a longtime practicing Roman Catholic—that’s what drives my life and my work. And I make my work for the good of man and the glory of God. That’s always been where I’m coming from.”

“That’s what I’ve devoted my life to, and my work reflects the growth of my consciousness and my soul,” he adds. “Because if that doesn’t happen, what the fuck is the point? So my work is always out of fashion, because I want to create indelible moral and personal images.” They’re indelible and so hard to shake because of the labor and the love he puts into them.

“All art shows the psychic and aesthetic journey of the soul who created it,” Witkin observes.

“It’s the consciousness of the person. That’s what you’re getting. That’s what’s being left behind.”

Witkin is, above all, a storyteller. “I’m very narrative, but narrative without a story.” His works succeed and endure because of their freedom and openness. His photo creations invite viewers into them.

“With a lot of conceptual art, you need the story,” says Egan. “Not with Joel’s work. They’re complicated and layered enough and full of all these symbols. There’s so much going on, you don’t need his story to enjoy it. You create these stories on your own.”

They’re also as effective as they are because Witkin is canny when it comes to the uncanny. Of his piece involving the dismembered leg of a woman who’d been run over by a train, he says, “It’s a shocker! If I’d just put the woman’s leg and a piece of black cloth near it, it would’ve looked like shit. You need the drama. I’m a dramatist and the romance and the reality of that story—she was run over by a train. And she’s still alive. And here’s her leg, which I cleaned up. It took me two hours to clean it up and it’s great because the gash on the leg looks like caviar and the meat was still dripping out. But it was dry, so I put some mineral spirits on it—one of my tricks from my time in the army as a medical photographer. That made it fresher. And it was a terrific photograph. And I knew that. I knew that!”

Of his predilection for depicting the unusual, he comments, “Why not normal? Look at Richard Avedon’s Americans [actual title: In the American West]. I knew Avedon. And he knew why not normal. Normal people would’ve made for a boring Americans.”

Witkin is anything but boring—in person or in his work, which is as dark and crafted (he produces maybe two dozen prints a year) and demanding as an Ed and Nancy Kienholz sculpture. And the stillness of his works, along with his aversion to color, gives them by turns a spirituality, a surrealness, a timelessness. “Stillness has a kind of holiness,” he says, citing the stone-like figures of Piero della Francesca’s 15th-century paintings. “I don’t mind if people see that in my work, or that people are stilled. Because in a lot of what we see on TV and in these digital images, everybody’s moving.”

And black and white’s plenty expressive enough. “As Robert Frank said, ‘Black and white are the colors of photography,’” he says. “I can’t even think of a color photograph making sense. So I don’t choose color photographs. Color diminishes the emotion.”

The stillness of his works, along with his aversion to color, gives them by turns a spirituality, a surrealness, a timelessness.

As for the viewer’s feelings? “I don’t know what people get out of my work,” he admits. “Usually what people are talking about is rubbish.” At a recent show of his work at UNM, he overheard a woman say to her companion, “I can’t stand looking at that.” When Witkin asked why, she said, “It’s too gruesome.” Witkin wanted to tell her how beautiful it was. But . . . to each his own, he concluded.

“I don’t want to change the world, but I do want to change the person looking at one of my works,” he says. “Not that they’re going to have this Billy Graham conversion. But at least they’re going to see some other aspect of possibility that is somehow a reality—but a good reality. That’s why we’re here—to be the unselfish servants of each other. That’s why Van Gogh—he’s a modernday saint. That’s why Warhol and Jeff Koons will be remembered later on as leaders in the art of deception. John Currin, too. They’re creating work that is sordid and empty. But that kind of emptiness connects with the emptiness of the people who like it.”

It’s a valid argument, and, oddly or not, one sometimes leveled at him. “People get the wrong impression of me because the majority of people who look at the work don’t bother to read anything about why it was made and they have their own take called ‘baggage,’” says Witkin. “And usually their baggage is just full of shit.

“My work,” he continues, “is about empathy and high-quality content that’s very with-it right now. The content of art today is usually a meaningless cliché because we live in an escapist age ruled by greed. A lot of people have great lives, holy lives, all over the world. But just as many people merely exist. They don’t even ask themselves the basic questions: Why am I here? Where do I come from? What’s my purpose in life? What happens after death? I’m comfortable with those questions.”

Comfortable with all of that and, lately, a little less obsessed, or more relaxed, about his place in the grand scheme of things. Part of that ease no doubt comes from maturing, personally and artistically. Just as much, though, he probably owes to his international status.

“We’re constantly putting together shows for him—all over the world—and responding to people’s requests to be in this or that photo anthology,” says Catherine Edelman, owner of Chicago’s Catherine Edelman Gallery, with whom Witkin has exhibited since the early ’90s. “His legacy has already been written and planted, photographically and in two-dimensional works and in the way he records real people who are there physically and not forced together digitally,” she says. “There’s no one out there doing what he does. You may see it in digital work. But Witkin took such a risk, and he’s so edgy. And I think he still holds that territory. I see a lot of derivative work, but not in this vein.”

And despite the many artists he’s influenced and inspired—Nine Inch Nails’ video director and filmmaker Mark Romanek, the visual aesthetics of the heavy metal band Tool, and photographer Catherine Opie, among many others—and the notion that there are no more taboos, that society is now looser and more tolerant and accepting of others—of The Other—than ever before, Witkin puts that idea to sleep with one swift yet sad, cogent observation: “Sure,” he laments, “but we’re much more conservative aesthetically.”

He used to sign his books to people with the inscription: “We are all disguised as ourselves.”

Coyly, it seems, he’d leave out the rest of what François de La Rochefoucauld had written: “In the end, we become disguised to ourselves.” >

Man with Dog, Mexico City (1990), gelatin silver print

COURTESY OF JOEL-PETER WITKIN, CATHERINE EDELMAN GALLERY, CHICAGO

Night in a Small Town, NM (2007), gelatin silver print

COURTESY OF JOEL-PETER WITKIN, CATHERINE EDELMAN GALLERY, CHICAGO (2)

Story From A Book, Paris (1999), gelatin silver print

Feast of Fools, Mexico City (1990), gelatin silver print

Leda Giving Her Lover a Condom, NM (2011), gelatin silver print

COURTESY OF JOEL-PETER WITKIN, CATHERINE EDELMAN GALLERY, CHICAGO (2)

Above: Joel-Peter Witkin in his Albuquerque studio, conceptualizing and creating a new photographic artwork, The Scripts of God and Man, with his model.

Witkin’s storyboards detail the process and plan for this new work.

“I’m a romantic,” Witkin shrugs, almost sheepishly, crediting his Italian mother for his romanticism. “Which means mystery and wonder are the springboards for the purpose of the work.”

Witkin’s work, if nothing else, is a gas. It’s funny. It’s dark, dark humor, to be sure—and sometimes it goes too far, it’s too over the top, and devilishly wicked—but always mischievous and imaginative. And, grim though it can be, at times almost childlike. Persona or no persona, Witkin’s honest about where he’s coming from and what he’s after.

By embracing death and mortality and turning the death-gaze of the art world (and the non–art world) back onto itself, Witkin has taken the power of death out of the hands of these self-appointed masters. He has exposed the violence of society and its capital judgments and subverted them, not with violence in return but with love and grace. How? Through parable.

“My work is about gravitas, and humanity,” he says. “And that’s what’s missing today in painting, in art.”

Having already made arrangements to be buried in the Santa Fe National Cemetery and determined to give up any part of his body that can be harvested, Witkin remains ever busy, ever ready, ever realistic. “Most of my life is over, but I know two things,” he concludes. “I’m making my most meaningful work, and I can’t wait to go home.” R

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All Roads Lead to

CHACO Located amid one of New Mexico’s starkest landscapes, this ancient Anasazi site reveals a fascinating cosmology.

BY RENA DISTASIO | PHOTOS BY BILL CURRY AND ROBERT RECK

PHOTO BY BILL CURRY

I

t is impossible to know exactly when ancient humans began to ponder the workings of the heavens, but even the most focused of our hunter-gatherer ancestors likely paused on occasion to look up and utter a contemplative “hmm.” What did they think as they watched the comings and goings of the sun, the moon, the stars, the planets?

By the time we settled into agrarian-based communities, we had ritualized looking up. Societies as diverse as those in ancient Britain, Babylonia, Egypt, and Mesoamerica left behind towering ziggurats and pyramids, massive stone edifices, and imposing temples decorated with murals and hieroglyphics from which they observed the movements of the sun, moon, and planets. From their observations arose not only calendars governing day-to-day activities but also complex cosmologies of the origins of the universe and humankind’s place within it.

We have a similar construct here in New Mexico—a massive complex comprised of more than a dozen stone “great houses” situated among five square miles inside a remote section of the San Juan Basin in northwestern New Mexico. Built by the Anasazi (likely the ancestors of today’s Hopi, Navajo, and Puebloan peoples) between ~850 and 1150 A.D., Chaco Canyon has fascinated archaeologists since its discovery in the early 1800s.

Theories about Chaco’s establishment abound. Was it a population center and, if so, were some of the meticulously engineered roads that radiate outward vehicles of trade in the quest to feed the estimated 2,000 people living in the stark, infertile canyon?

Or was Chaco instead a ceremonial center, occupied only intermittently but built to exacting architectural standards in order to observe the movements of the sun and moon? And did those observations serve a spiritual as well as practical purpose?

The latter theory was sparked by a pivotal discovery in late June 1977 by Anna Sofaer, a young artist who climbed a remote butte at the northwestern edge of the canyon during a trip to record Chaco petroglyphs. Once there, she spotted three sandstone slabs perched against a cliff face into which two spiral symbols are carved. Upon her return around noon the next day, she peered between the slabs to discover that the sun shone through such that it cast a slim, vertical “dagger” of light through the center of the largest spiral—what her knowledge of ancient astronomy led her to believe was a marking of the summer solstice.

No doubt, the Chacoans were sun- and moon-watchers. They also regarded the cardinal directions as sacred, as revealed by Sofaer’s later discoveries with the Solstice Project, the collaborative research organization she founded that continues to bring us fascinating insights into Chacoan cosmology.

The Chacoans are not the only culture whose genius still mystifies us, and Chaco Canyon is not the only profound spot on earth. As with Stonehenge, Chichen Itza, and the Varanasi sun temples, we sense Chaco’s grander purpose, one not based solely on what the Chacoans built and investigated, but what those investigations meant to their relationship with the Earth, its rhythms, and ultimately with each other. It’s why people continue to go to Chaco, searching for answers to something bigger than themselves.

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Summiting the 400-foot-high Fajada Butte where Anna Sofaer made her discovery is a challenge for even the most experienced hikers. And reaching the Sun Dagger’s location, on a steep ledge near the summit, is an even hairier prospect. The danger of the climb, coupled with visitors’ degradation of the site, prompted its closure to the public in the mid-1980s. In 2006 the Solstice Project completed an interactive computer graphics model of the Sun Dagger, which is available for public viewing at the New Mexico Museum of Natural History and Science in Albuquerque.

PHOTO BY BILL CURRY

Bottom: During the summer solstice, a single dagger of light strikes the middle of the largest of the two spirals at the site. Opposite: At the winter solstice, two daggers appear, one at each end of the spiral.

A marking found throughout ancient sites around the globe, the spiral is thought to represent the cycle of life. These observations were no doubt critical for accurately timed plantings and harvestings—as well as to mark other ceremonial events. If the Chacoans were the ancestors of today’s Hopi, Navajo, and Pueblo peoples, this knowledge was certainly passed down. The Zuni Shalako ceremony, for instance, depends on accurate timing of the winter solstice, and similar sun “observation” sites have been found in several New Mexico pueblos, including Zuni and Cochiti.

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KARL KERNBERGER/© SOLSTICE PROJECT (2)

Unlike similar ancient “calendars” that mark the passage of time by noting the sun’s risings and settings, the Sun Dagger tracks solar declinations, the position of the sun north or south of the Earth’s equator as the Earth orbits the sun, with the sun’s highest and lowest points relative to the equator defining the solstices and equinoxes.

VOLKER ZINSER/© SOLSTICE PROJECT

The ruins of Chaco’s three main great houses hint at the site’s former vastness. Pueblo Bonito sprawled over nearly two-and-a-half acres, rose more than five stories high, and featured 800+ rooms built with millions of meticulously stacked pieces of sandstone. Like nearby great houses Casa Rinconada and Chetro Ketl, it was also built to align with the cardinal directions, which could only have been achieved through accurate, ongoing observations of the movements of the sky.

PHOTO BY ROBERT RECK

Bill’s

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ROBERT RECK

Chaco builders were masterful architects and highly adept at utilizing native stone—the first record of its use by local natives. While many doorways and windows were situated to mark the passage of the sun, it seems the Chacoans also tracked the movements of the moon. The smaller spiral at the Sun Dagger site records major moon movements, and some buildings are aligned with the 18.6-year cycle of minimum and maximum moonrise and moonset.

If nothing else, Chaco reveals a fascinating and complex fusion of the practical and the spiritual: a way of living life as well as divining its purpose.

BILL CURRY (2)

Right: Chaco petroglyphs number in the thousands, featuring anthropomorphic and zoomorphic figures, abstract spirits, and spiral symbols. Top: An aerial view of Pueblo Bonito reveals its distinctive D-shape. Part housing and part storage, it also seems to have served as a ceremonial repository.

Excavations have unearthed a wealth of ritual objects; many, like copper bells, shells, and parrot feathers, may have been acquired far from home, perhaps as far as Mesoamerica. But the complex engineering of Chaco’s roadways reveals a purpose beyond that of mere footpaths. Solstice Project research indicates that the so-called Great North Road that runs 35 miles due north from Chaco’s center seems not to have served any purpose other than to align to that sacred direction. The organization is currently researching the extensive road systems that radiate outward from the complex and positing the question: if they don’t make sense as trade routes, where do they lead?

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The great kiva at Chetro Ketl symbolizes the portal out of which humankind first emerged from the lower into the upper world, its four support beams, again positioned in the cardinal directions, representing the trees planted to aid in the climb. Dozens of kivas once dotted the Chaco complex. So what happened to cause this once-thriving civilization of masterful architects and sun-watchers to abruptly disappear after 300 years? Internal strife, famine brought on by drought, or simple disbursement? We may never know. Still, if no one has yet fully cracked Chaco’s code, those compelled to return again and again to the site contribute to an important ongoing series of investigations into the fascinating sky lore of the American Southwest’s Native people. R

CREDIT

PHOTO BY ROBERT RECK

CREDIT

GALLUP NEW MEXICO

Authentic Cultural Wonder

PHOTOS: BILL CURRY TREND Fall 2014/Winter/Spring 2015 109

Indian Jewelry Capital of the World

BY KATE MCGRAW

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BILL CURRY

G

allup, New Mexico, sits on Historic Route 66, in a nexus where the lands of the Navajo Nation, Zuni and Acoma Pueblos, and the Hopi intersect.

There the sky-blue and blue-green native turquoise of the Southwest is set in impeccable Navajo silver-smithing or slivered into “needlepoint” Zuni style, while coral, sea shells, and other natural stones balance the impact of turquoise, silver, and gold.

The trading center of 20,000 swells to 80,000 on weekends (when it becomes, locals joke, “Pickup Truck Capital of the World”).

Navajos, Zunis, Acomans, and Hopi come to shop, eat, and sell their arts and crafts here.

Traditional trading companies provide some of the best shopping in the world for collectors and tourists. Check out Tanner’s Indian Arts, Perry Null Trading Company, Richardson’s Trading Company and Cash Pawn, the Gallup Trading Company, Stoneweaver Inc., the Ellis Tanner Trading Company, and Milo’s White Water Trading Company (on the road south toward Zuni). All display some of the finest jewelry, rugs, kachinas, pottery, and baskets to be found. And as an old hand advises, “Ask them to show you their pawn room.”

Traditional and contemporary styles of Indian jewelry flow from Gallup and into the world—the jewelry you’ll find in upscale boutiques in Santa Fe, Scottsdale, New York, Zurich, and especially Tokyo very likely began on an artist’s bench in Gallup or the

Antique Afghani glass fish and carved frogs with vermeil spacers and hand carved rock crystal spacers.

BEEMAN PHOTO: LIGHT LANGUAGE

J E W E L RY D E S I G N john@johnbeeman.com 425-422-3990

Casual elegance and Southwestern style, with Kingman Turquoise Squash Blossom necklaces provided by Richardson’s Trading Co. Right: The variety of merchandise found from Gallup traders.

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surrounding reservations. So why not go to the source?

Gallup’s well-known designers include multipleaward-winning Navajo fashion designer Virginia Yazzie-Ballenger, who uses traditional designs to make contemporary clothing, and internationally recognized jewelry designer John Beeman, whose hand-strung “statement” necklaces are fast becoming a byword in fashion circles.

Apart from the trade buzz, the town has enticing restaurants, including three with full menus of New Mexican and Italian cuisine, reflecting the diversity of the groups who settled the area, from thriving Hispanic, Croatian, and Italian communities, to enough descendants of Irish and Welsh miners to hold an annual Celtic festival, and an unexpectedly large and vibrant Japanese-American cohort.

Home to one of New Mexico’s largest Works Progress Administration (WPA) art collection, in the early 2000s the City of Gallup riffed off the 1930s New Deal project by commissioning local artists to create nine wall-size outdoor murals on various downtown businesses. The area’s creatives tackled themes such as mining, trading, reservation lands, and the railroads.

By legislative resolution, Gallup is also the Adventure Tourism Capital of New Mexico. There are miles of

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BILL CURRY (2)

Caption

The Tanners have provided top-quality natural turquoise and gemstones designed by renowned artisans of elite Native American jewelry since 1872.

Collaborating with only the best to craft one-of-a-kind pieces, Joe and Cindy Tanner have created one of the most significant collections of Native American works at their Gallup, NM gallery, located in the heart of Indian country.

TANNER’S

INDIAN ARTS Gallup, New Mexico

By Appointment Only 505.863.6017 tannersindianarts.com

Lose yourself in Gallup—you

T. Willie of Vanderwagen, NM, dressed in the traditional regalia of the Plains Indians.

BILL CURRY

never know what you’ll find.

BILL CURRY

MANUELITO

GALLUP

RICHARDSON’S TRADING CO. & CASH PAWN

ARTISTS

Celebrating 100 Years

One of Largest Collection of Navajo Rugs in the Southwest 505-409-9552 425-422-3990

Lester James Daryl Dean Begay

116 TREND Fall 2014/Winter/Spring 2015

PHOTO: LIGHT LANGUAGE

BELT DESIGN BY AARON ANDERSON

Turquoise Jewelry Indian Pottery 222 West Highway 66, Gallup NM 87301 505-722-4762 richardsonstradingco.com trendmagazineglobal.com

Perry Null TRADING COMPANY

Exquisite Turquoise Art

BILL CURRY

1710 South 2nd Street Gallup, NM 505-722-3806 perrynulltrading.com

PHOTO: LIGHT LANGUAGE

Orville Jack turquoise

by Walter Vandever

308 S. Third Street Gallup, NM 87301 505-863-4052 Showroom 211 West Coal Ave stoneweaver.com

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STONEWEAVER OF NEW MEXICO TREND Fall 2014/Winter/Spring 2015 117

Many thanks to John Beeman for his graceful efforts helping TREND with this reflection of Gallup.

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BILL CURRY (3)

official and unofficial trails and special areas for rock climbers, mountain bikers, off-roaders, hikers, crosscountry skiers, snowmobilers, runners, hunters, and fishers, all in close proximity. The gorgeous McGaffey Recreation Area in the Zuni Mountains is practically next door, offering miles of singletrack biking trails.

As if boredom could ever set in, a host of rodeos run through spring, summer, and fall in Gallup and surrounding areas, including such local favorites as the Lions Club Rodeo and the terrifying (thrilling) Wild Thing Bull-riding Championship.

Then there are the special events, such as the Gallup Inter-Tribal Indian Ceremonial, now in its 93rd year—with its All-Indian Rodeo—and the breathtaking Red Rocks Balloon Rally, the second largest in the world, in December.

Whatever you fancy, you’ll find it in Gallup.

Gallup, New Mexico, where tradition in trading is a legacy of culture that can’t be duplicated.

Clockwise from top left: Gallup receives an additional flood of visitors each year during the Red Rocks Balloon Rally. Upper right: Bill Richardson, young at 96, greets customers as his Historic Route 66 store opens. The museum-quality trading and abundant inventory at Richardson’s Trading Company and Cash Pawn keep collectors coming back. Lower left: Navajo women dressed in their traditional outfits and jewelry for a special occasion during ceremony.

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Gallup Trading Company Featuring the finest collection of jewelry from the areas’ top artists–all made with natural turquoise

“Gallup’s Biggest Little Store”

BILL CURRY

Virginia Yazzie-Ballinger’s Native Spirit clothing.

215 South Third Street Gallup, NM 87301 505-722-5992 galluptrading.com trendmagazineglobal.com

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TAOS LIFESTYLE

BY LYN BLEILER-STRONG

Lift

From one pioneer to another at Taos Ski Valley

W

MICHAEL DEYOUNG

hen Louis Moore Bacon first visited Taos, on a ski trip in 1996, he was a self-made entrepreneur with a love of nature and commitment to conservation—a man who knew what he liked. And when he liked a place well enough, he tended to want to be a part of it. (His holdings now include properties in the Bahamas, southern Colorado, London, Manhattan, private polo grounds in England and New York state, and a Scottish grouse moor.)

Taos he liked plenty—the land, the skiing, the ski area. So much so that he bought a plot of land at the base of lift 4—also known as Kachina Village—a couple miles from the main ski area. Ten years later, after he’d become a certifiable billionaire (the first individual London hedge fund manager, albeit American-raised, to attain that status), Bacon purchased another chunk of land north of the river adjacent to the Taos Ski Valley village.

Other pioneers, Ernie and Rhoda Blake, established this hamlet 50 years earlier.

Before settling in the Taos area, the couple had lived in Santa Fe, where Ernie managed the newly opened Santa Fe Ski Basin. During trips in his Cessna 170 to Santa Fe’s sister ski area in Colorado’s Glenwood Springs, Blake would scour the terrain below for a spot sweet enough to open his own resort. He found it in a basin just north of Wheeler Peak. In 1955 he moved with his wife and kids to the Taos Ski Valley, where they made do in an 11-foot camper while the lodge was being built.

Although never one to prattle on about his background, Blake’s desire to reestablish his roots in what was then an isolated, if beautiful, winter wonderland makes sense in light of his history. He was born Ernst Hermann Bloch in Frankfurt, Germany, in 1913 to a Swiss mother and a German father. If not for his Semitic blood, Bloch, a gifted athlete, might have played for Germany’s ice hockey team in the 1936 Olympics. He’d even met Adolf Hitler—before he’d become der Führer—a few years earlier in Frankfurt. “We were not impressed,” Blake later told Rick Richards in the 1992 book Ski Pioneers: Ernie Blake, His Friends, and the Making of

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Louis Bacon and Ernie and Rhoda Blake (top), original pioneers.

the Taos Ski Valley. After a visit from the Gestapo in 1938, the Bloch family emigrated to New York City.

Two years later, Blake met his future wife, Rhoda Limburg. On a chairlift in Stowe, Vermont—naturally. That summer he followed her to Santa Fe, where she’d come to take art classes. They later married and settled there. During the war Blake joined the U.S. Army as an intelligence officer. But due to the nature of his work—interrogating Germans, including even Hermann Goering—and the mili122 TREND Fall 2014/Winter/Spring 2015

tary’s concern over his given name, he Americanized it.

In time, Blake and his family created the paragon of the family-run ski area.

They transformed the little hill with one rope tow and a couple decent runs into a world-class resort with more than 110 trails and 13 lifts spread over 1,300 acres in the Sangre de Cristos. (Blake named four trails after the German officers who tried to assassinate Hitler in 1944; another he christened Al’s Run, in honor of his friend Al Rosen, a Jewish doctor who supported the area’s development early on.)

In 1989, Blake died at 75. That same year, Bacon founded Moore Capital Management in New York City, now a multibillion-dollar hedge fund enterprise. A year later, he launched his own firm, Moore Global Investments, courtesy of a $25,000 inheritance from his mother.

Bacon’s affair with finance began as a Columbia MBA trading commodities on a low-interest loan. At first unsuccessful, he exposed a flair for the dangerous that would one day win him the reputation of ultimate risk manager in the hedgefund world. From graduate school experiments to stints as a salesman, trader, and broker, Bacon swiftly moved through the ranks and into his own projects. Since

its inception, Moore Global Investments fund has climbed from $1,000/share to more than $42,000, as Bacon, who is ranked the 238th-richest American by the Denver Post, enjoyed an almost unprecedented run of stellar return years (until a few years ago, when even his Midas touch hasn’t been able to turn everything into gold).

The good news for Taos is that Bacon is one billionaire with a vested interest in preserving nature, and enhancing for skiers and hikers that unmatched experience of being with the land. He established the Moore Charitable Foundation in 1992 to support nonprofit organizations that preserve and protect wildlife habitat and improve water systems, and he’s donated more than $1 million to Riverkeeper, a nonprofit vice-chaired by Robert F. Kennedy Jr. that protects the Hudson River and its tributaries. In 2012 he dedicated 90,000 acres of his southern Colorado Trinchera Ranch holdings (more than half the land he’d purchased from Malcolm Forbes in 2007 for a thenrecord price of $175 million) to a permanent conservation easement from the U.S. Fish and Wildlife Service, garnering praise from the likes of former Interior Secretary Ken Salazar.

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CLOCKWISE FROM LEFT TO RIGHT: COURTESY OF TAOS SKI VALLEY (2); COURTESY OF MOORE CHARITABLE FOUNDATION

TAOS LIFESTYLE

MICHAEL DEYOUNG

Beyond fortune and fame, Bacon has become revered as a land baron, conservationist, and champion of natural resources.

Born in Raleigh, North Carolina, he grew up hunting and fishing in Alexandria, Virginia and later stalked deer in the Green Mountains of Vermont while studying American literature at Middlebury College. Twice married (currently to Gabrielle Sacconaghi), he has six children, and he loves to ski and bow-hunt, especially bull elk.

Bacon’s partnership with the Blake family began in the mid-2000s, when the Blakes decided to dynamically improve their Taos property and reached out to Bacon and his local representative. “The

meeting was to say, ‘Instead of you developing land on your acre and a quarter, and us developing land on our acre and a quarter, let’s build one great village,’” recalls Taos Ski Valley CEO Gordon Briner. And so began the business relationship that led to improvements in both the mountain and base areas, approved by the U.S. Forest Service. The following year, the Blake family resolved to sell their interest in the ski area, and Ernie’s son Mickey approached Bacon and made a deal.

“The reality is that I wasn’t looking for a ski area, the ski area was looking for someone like me,” Louis Bacon has stated. “Longtime local skiers and ‘ex-locals’ are part of what makes Taos special–

the Blakes understood that, and I understand that. Hearing people refer to ‘Blake Mountain’ will always serve as a reminder of the visionary legacy of Ernie Blake and other early Taos Ski Valley pioneers . . . .”

Adds local spokesman Peter Talty, “We are dedicated to advancing the Blake family vision . . . by continuing to provide an unmatched skiing experience.”

Bacon’s new business cards say, “Louis Bacon, Ski Impresario.” And it seems to be his hope that the new Taos Ski Valley will compete shoulder-to-shoulder with Whistler and Vail. Thus, a first order of business has been completing the new triple chairlift up Kachina Peak, eliminating the old 45-minute hike up and increasing

No longer necessary is the steep hike to reach the towering Kachina Peak. Bacon’s extensive developments include a triple-seat chairlift (opening this winter season, it will be among the highest in the nation) to bring more people, faster, to greater heights. Skiers seeking a lower dose of adrenaline can select from more than 100 other trails.

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TAOS LIFESTYLE

Bacon plans to lure visitors in with new trails, and hopes that upscale developments at the ski area’s base won’t distract people long from the mountain’s allure. In Ski Pioneers, Ernie Blake said of the early days at the ski valley, “Taos was considered too steep, too remote . . . Those early years were very difficult . . . We carried everything on our backs; we had no way to get a road up.” And of the Kachina Peak that Bacon is making accessible by chairlift, Blake said, “We didn’t admit that it was too steep; we didn’t admit it to anybody but ourselves.” Right: Taos Ski Valley CEO Gordon Briner.

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OPPOSITE (BOTTOM): KATE RUSSELL (2); TOP: ROB ELLIOT

the mountain’s lift service by 50 percent, to approximately 150 acres. Briner notes that, with a summit of 12,450 feet, the Kachina lift is one of the highest chairlifts in North America. From it, skiers can gaze at broad swaths of Northern New Mexico and southern Colorado, and gain access to a wide range of terrain that will include wide-open bowls, as found on Main Street, and narrow, steep lines, such as the K Chutes.

Most of Highline Ridge and West Basin will remain accessible by foot only, and a new, expert, hike-to spot called the Wild West Glades, entered via the West Basin ridge, will consist of 35 acres of some of the best tree-skiing in the country, says Briner. The popular trail to Williams Lake also allows access to Wheeler Peak, New Mexico’s highest, at 13,167 feet.

But packing ’em in year round is Bacon’s goal, one he hopes to accomplish by building bike trails up and down the mountain and installing an aerial adventure park with ziplines and climbing walls.

Originally settled by miners in the

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1800s, the Taos Ski Valley has remained surprisingly close to its original size: The 2010 census registered 69 permanent residents. During peak ski and snowboard season, that figure typically swells to 5,000. But post-development, those numbers are expected to skyrocket—fast.

Even before the master plan’s ink had dried, local realtors were beaming over what the Wall Street Journal called the “Bacon bounce.”

“It’s a different ball game up here, there’s no doubt about it,” says Taos Ski Valley Realty agent Keith Dowell. “I’m as busy as I’ve ever been this year.”

Also hoping to capitalize on the area’s resurgence is Jérôme de Bontin, a Frenchborn businessman who until recently managed the New York Red Bulls soccer team. De Bontin helped fund the Village master plan and, along with several partners, will redevelop three parcels in the base area, including a new “parking club,” where daytime members can shower and enjoy valet services. He also intends to build an upscale hotel and condominiums.

Sure, realtors and developers love it. But longtime Taoseños and four generations of Blakes, many of whom still call Taos home, hope that those now investing in the old mining town will not stray too far from Ernie’s original vision. Sixty-five years ago, a quiet Colorado mountain village named Aspen was transformed into a cultural mecca for artists, musicians, and great thinkers by Chicago industrialists Walter and Elizabeth Paepcke with what they called “the Aspen idea” for cultivating mind, body, and spirit. Might Taos be headed in that direction?

“A lot of it will be what Ernie Blake envisioned, an area where people come to ski,” Briner states. “With the resources being put in, both on the mountain and at the base area, it allows us to broaden that experience. With Louis Bacon’s background as an avid conservationist, the ingredients are there to take Taos Ski Valley to a place it hasn’t been before.”

And the Blake-Bacon vision is about just that: a love for nature and the endless search for higher peaks. R TREND Fall 2014/Winter/Spring 2015 125

TAOS design

BY LYN BLEILER-STRONG | PHOTOS BY KATE RUSSELL

Highest Peak Retreat Enthusiasts build family cabin atop the Taos Ski Valley

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ROB ELLIOT

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uilding a vacation home from the ground up can be a daunting enterprise. Especially one with such sitespecific challenges: a steep, wooded lot with a 44-foot drop at 9,630 feet above sea level, with an average snowfall of 25 feet and temperatures that plunge to –30 degrees. But Dallas-based property owners Kimberley and Scott Sheffield attribute their Taos Ski Valley home’s successful completion in 2013 to the caliber of their architect, design, and building partners. “We had a great team, and we all stayed friends through what could have been a grueling process,” says Kimberley.

“And my husband and I are still together, too.”

Taos Ski Valley has long been a favorite place for the Sheffields.

Lubbock native Kimberley has fond memories of summer vacations in the mountains of Northern New Mexico, and Pioneer Natural Resources’ chairman/CEO Scott has skied Taos for decades.

“We know so many people from Texas who have been going to Taos and feel like that’s the best skiing you can get anywhere in the world,” says Kimberley. “[It is a place] that is really close to our hearts, especially Scott’s, since he’s skied here for so long.”

Several years ago, when the Snakedance Inn converted to condos, they bought in. But with a growing family of five children and ten grandchildren, the Sheffields became eager to build a larger home to accommodate family gatherings. When lots became available above the recently installed Pioneer ski lift in Pioneer Glade, they pounced.

When it came time to design and build, the Sheffields kept their new project somewhat in the family. As with their Las Campanas home and Santa Fe guesthouse, the couple called on Woods Design

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Builders, Santa Fe’s oldest family- Sitting near the Pioneer lift, the home owned and -operated design/build is built with the land’s indigenous materials—timber vigas, rock, cedar firm. Woods had been friends shingles, and stucco—rearranged in of the Sheffields since their first a style reminiscent of the mountain’s home-building experience togeth- mining days with a decidely forest-y er 10 years ago. The firm is known feel. Opposite: From outside, the cabin is like something tucked away throughout New Mexico for its in a fairy tale. Within a magic of suraward-winning projects, includ- prising proportion unfolds, designed ing a number of luxury residences by Violante & Rochford Interiors.

A large, rock fireplace with a handfeatured in the recently released hewn viga mantle divides the cabin’s Woods Design Builders Celebrates shared spaces, and and the white-oak floors have also been crafted by hand.

50 Homes in Las Campanas.

The company’s CEO, founder, and designer, Sharon Woods, coauthored the iconic 1986 book Santa Fe Style, as well as Santa Fe Houses (2002), and serves on Santa Fe’s Historic Design Review Board. Like the Sheffields, her family has personal ties to the Taos Ski Valley. Sharon and her three grown children own a ski-in, skiout cabin that once belonged to former New Mexico governor Gary Johnson.

As for who to design the building, the Sheffields recruited architect Jay Bush. “Jay is such an artist, but he also has an amazing eye for detail,” says Kimberley. “He is laser-beam focused.

And Sharon has a tremendous eye, too. No one sites a house better.” Because of the tree line and mountain drop, “if it had been off by even a little bit,” adds Kimberley, “the house wouldn’t be nearly as spectacular as it is.”

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TAOS design

Perhaps it’s the liveliness of the wood that makes the open floor plan so inviting. The kitchen, itself substantial, seems an afterthought in the openness of the room (and the sense it gives that one is both indoors and deep within the forest). Custom alder cabinets and a forest-green, marble countertop 128 TREND Fall 2014/Winter/Spring 2015 are backsplashed by Syzygy tiles.

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TAOS design

A pitched ceiling and its vigas arc a tall space above the dining room, which opens to a wide balcony. There is a Diamondfinish custom plaster on the walls and intersecting vigas.

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ROB ELLIOT (2)

The Woods, in addition to designing the home, are good friends with the Sheffields and visit the cabin frequently.

From left: Shane Woods, Eugene Fayerberg, Amber Fayerberg, Rob Elliott, Sharon Woods, Rob Woods, Christa Woods.

Bottom, left to right: Christa Woods, Nolan Woods, and Rob Woods.

involved, the result was a sophisticated yet rustic three-story home nestled among 70- to 100-foot-tall aspen and spruce with far-reaching views of the ski valley below.

The architectural style, with Corten corrugated, rusted-metal roofing, cedar-shake siding, and massive log construction, references the Taos Ski Valley’s origins as a mining camp. Builders minimized tree removal, incorporated indigenous materials whenever possible, and extensively used stone inside and out to further anchor the structure to its surroundings.

Woods took great care in making the home safe and accessible during winter, when snow heights commonly reach 10 feet or more. “There are a lot of technical details that need to be employed when building a ski house,” she notes. “This is an extreme climate.” Steeply pitched roofs were designed such that snow slides off in controlled locations, while covered stairs over the second-floor main entrance minimize the need for snow removal. A

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TAOS design

As if to complete the fairy tale, a guest bedroom has a turreted, room-in-a-tower space. With two queen beds and a built-in daybed, it is one of six bedrooms.

second-story wraparound portal, complete with hot tub and barbeque, is carefully protected by shallow-pitched roofing, making this expansive living space with bird’s-eye views of mountains, ski slopes, and village usable year round.

For interior design details, the Sheffields brought in highly regarded, Santa Fe–based Violante & Rochford Interiors to realize their vision. “The goal was to make the home user-friendly, as the Sheffields planned to entertain and host extended family,” says Michael Violante.

“Both the house and setting have a very Telluride sensibility.”

The “cabin,” as the home is affectionately called, can comfortably accommodate 19 overnight guests. The upper level is dedicated to guest quarters, with three bedrooms, two baths, and a total of nine beds. A small bonus room on the top floor serves as a cozy upstairs office space.

Accessed by a well-protected welcoming entrance with stairs leading from the driveway, or by downstairs elevator, the home’s middle (main) level contains an 132 TREND Fall 2014/Winter/Spring 2015

open-floor-plan great room that capitalizes on the expansive views. Kitchen and living room spaces are separated from a dining area by an impressive, floor-toceiling, two-sided stone fireplace, which allows for easy flow on either side. Custom features such as a built-in bar, cabinetry, hand-hewn floors, and distressed finishes add to the ambience. Also on this floor is a well-appointed master suite with a corner fireplace, walk-in closet, and outdoor portal access.

A tasteful color palette throughout the residence was mostly inspired by a forestgreen marble the Sheffields found for the kitchen counter and by several rugs the couple acquired during a trip to Turkey.

“They were exactly the right size and exactly the right color for almost every room in the house,” Kimberley says enthusiastically. The rugs also lend an informal feeling to the rooms that appeals to her.

The ground level is a young person’s paradise. A designated kid’s zone game room—featuring a fireplace, foosball table, large-screen TV, and refreshment

area—is decorated with Scott’s prized sports memorabilia. A well-organized ski closet, complete with boot warmer and custom ski bays, spills onto a ski-in, ski-out porch (steps away from the top of Pioneer lift) and a bona fide bunk room, with three custom-built log bunk beds to sleep six—ideal for late-night fun and family bonding. “That was absolutely the goal,” says Kimberley. “I’m really hoping that the cousins can get close, whether we are skiing or rafting or riding horses or hiking during the day. I hope they all have really good memories of being together in that room.”

The mountain home was completed at the end of 2013—just in time for a fitting celebration. “We had 11 people sleeping over and 30 people for New Year’s Eve dinner,” says Kimberley. “We were able to watch the fireworks from up there.

The house christening was perfect, absolutely perfect.”

With prime ski conditions predicted this winter, it seems that for the Sheffield family, it’s all downhill from here. R

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Geraint Smith

“You cannot come to Taos without feeling that here is one of the chosen spots on earth.”

—D.H. Lawrence

Enter to win a free TAOS trip

TAOS.org/trend

Look + Book

Photo by Jim Cox

Breathtaking Sights and Culture Unite With gorgeous sights over the gorge and an endless blue sky, Taos offers a chance to slow down, perfect for getting in touch with nature.

From the river to the mountains, Taos is a place of natural inspiration—a place that energizes you, dares you to be more.

With an elevation of over 7,000 feet, Taos is a year-round playground for outdoor adventurers!

Our magnificent landscape and natural surroundings invite endless possibilities for those of all abilities and interests. Opportunities abound—from incredible moonlit snowshoeing to hiking picturesque mountain peaks to hot air ballooning in the Rio Grande Gorge to worldclass downhill skiing and snowboarding.

Events & Happenings: Grand Fall Arts

September 26–November 30

• Harwood Museum of Art’s Post-Pop work of 150 artists from across the country • Taos Fall Arts Festival’s 40th Anniversary • The Paseo’s Inaugural Multimedia Outdoor Art Festival • Live Opera from the Met at Taos Center for the Arts 11am Saturdays • Quick Draw Live Auction

TAOS.org/fall2014

San Geronimo Day

September 30 at Taos Pueblo taospueblo.com/events

After taking in the sights outdoors, travelers can immerse themselves in the rich history of the Pueblo. Visitors can take in the traditional feast days of the Pueblo and observe religious ceremonies, steeped in culture preserved throughout the centuries, or just stop in to learn a little history up close and personal.

The Wool Festival at Taos

Creativity is everywhere. In addition to enjoying the great outdoors, visitors continue to flock to Taos year after year, awestruck and amazed by the lively and truly unique arts community of Taos. Explore an art-lover’s paradise down our winding alleys with shops tucked everywhere, where you can browse handmade arts, crafts, and jewelry made by local artists. With an active schedule of live music and theater performances, there’s always something to celebrate on the plaza and in our parks! In Taos, creativity is a tradition and a way of life.

World Class Skiing at Taos Ski Valley

One-of-a-kind experiences. Famously full

of local shops, art and conversations, there is a wide range of eclectic and international shopping and cuisine in and around the historic downtown district. Educational seminars, workshops and free activities keep locals and visitors mingling year-round. In Taos, creativity is a tradition and a way of life.

Check TAOS.org/trend for what’s happening and register to win a free weekend get-away.

October 4–5 TaosWoolFestival.org

Taos Art Glass Invitational October 11–November 9 TigaNM.org

Opening Day–November 27, 9am SkiTaos.org

Yuletide in Taos

• Lighting Ledoux Street • Christmas Eve at the Pueblo • New Years at the Pueblo • Seasonal Concerts Town-wide

TAOS.org/art/festivals

100th Anniversary of the Taos Society of Artists January–December 2015 TaosGalleryAssoc.com

Taos Winter Wine Festival January 28–31, 2015

75 different wines from 20 wineries and delectables from a dozen local restaurants.

TaosWinterWineFest.com

Taos Shortz Film Fest March 19–22, 2015

In its 8th year, this exceptional, internationally known short film festival has been buzzed as “the Sundance of short films.”

TaosShortz.com

Look + Book

The road named after the well-known trapper/mountain man/linguist/oppressor has long attracted artists and entrepreneurs. Top right: El Rincón, in operation since before New Mexico was a state, offers unique bedrooms and a popular gathering place. Below: A quite different character of Taos today, artist Ed Sandoval often rides his stallion downtown, where his work is represented at the Studio de Colores Gallery.

Kit Carson Historic artists and traders paved the road to a creative legacy

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egend, adventure, and a landscape of untamed beauty—these are the road markers that shaped the Kit Carson thruway for nearly two centuries. As the slogan goes, this is “where the enchantment began” (on a road winding from the Plaza to the Sangre de Cristo Mountains) and where it continues.

Kit Carson would undoubtedly be shocked to see how his adobe home has become a museum and National Historic Landmark, drawing in more than 20,000 visitors from around the world each year. The history of his house is as varied as the mountain man himself, with six different owners before the Masonic lodge purchased it in 1911. Dilapidated, the rustic property got a makeover by Carson’s Freemason brothers and was opened to the public in the mid-1950s as the Kit Carson Home and Museum.

Today the museum holds an extensive archival library along with a selection of literature on his contemporaries and the next generation of accomplished Taoseños. There is also a 20-minute History Channel documentary about the first part of Carson’s life (his great-grandson plays the role of the famed trapper, scout, and brevetted general).

But Carson wasn’t the end of the journey for the eponymous road.

In the late 1800s, a new group of adventurers arrived. When Cincinnati artist Joseph Henry Sharp told his contemporaries about the area’s allure, they too headed west, forming the Taos Society of Artists in 1915. The founders—Ernest L. Blumenschein, Bert Geer Phillips, Oscar E. Berninghaus, Eanger Irving Couse, and William Herbert “Buck” Dunton, along with Sharp—attracted cutting-edge artists, including Catherine Carter Critcher (who became the only female member). They settled into Taos, some permanently, with Sharp and Couse moving to the ever-expanding Kit Carson Road.

Years after Sharp’s death, his studio became part of the CouseSharp Historic Site, where Couse’s granddaughter, Virginia

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Couse Leavitt, maintains the property and conducts open houses and private tours. The rooms are how the artist and his wife left them, and the back garden hosts an assortment of heirloom plants still flourishing today.

“So much of our past is part of our present, and it only seems to get more colorful,” says Rena Rosequist of Mission Gallery, which has occupied Sharp’s former home for over 50 years. There is also a tide of new creative influences in the work represented by the road’s many fine art establishments, including Reata Fine Art, Wilder Nightingale Fine Art, The Ranch at Taos, Angie Coleman Fine Arts, and Michael Vigil Studio, and the Studio de Colores, Copper Moon, Living Light, Total Arts, David Anthony Fine Art (DAFA), Untitled Fine Art, Greg Moon Art, and Bryans galleries.

But Taos is as fashionable and hospitable as it is artistic. Aventura offers bold, contemporized blanket coats, capes, and vests designed by Lynn Wilkinson. Antiques and all things cowboy can be found at Horsefeathers Etc, and excellent food and service can be had at La Doña Luz Inn, Casa Benavides Bed & Breakfast Inn, Caffe Tazza, and Inn on the Rio. And the road doesn’t end at the Couse-Sharp Historic Site. A quick turn down the hill leads to the elegant El Monte Sagrado resort and spa, and just past a wildflower pasture is the must-see Thom Wheeler Studio Gallery and home, where cupolas adorn gingerbread Victorian accents against a Pueblo-style façade.

In an area that has long drawn the adventurous and artistic, it seems that the enchanting ride never ends.

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DAVID MAPES (2), JIM COX

BY CAROLE AINE LANGRALL

Thom Wheeler

sculpture

New Mexico Rain 48 x 60” enamel on patinated copper

Since 1982 in Taos Contemporary & Old Pawn Indian Jewelry & Art

ANGIE YAZZIE, TAOS PUEBLO POTTERY

939 Kit Carson Road, Taos, NM. 87571 575 758 8870 www.thomwheeler.com

thom@thomwheeler.com

Take a little trip.

LODGING, DINING & LIVE MUSIC NIGHTLY at The HISTORIC TAOS INN

LANDER BLUE TURQUOISE & 14 KT GOLD ZUNI PENDANT

121 Kit Carson road • taos nM 575.758.9407

575.758.2233 trendmagazineglobal.com

taosinn.com

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“Pony Soldier” Acrylic on paper 22” x 30” (detail)

Rory Wagner 1950 - 2010

kit carson home and museum open daily the original taos home of kit and josefa carson gift shop - historic courtyard

575.758.4945 | www.kitcarsonmuseum.org 113 kit carson road taos, new mexico 87571

119 Kit Carson Road | Taos, NM 87571 |575-758-3255 www.wnightingale.com

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SANTA KILIM A Cultural Experience You Won’t Want to Miss

Left and right: Kate Russell. Center: Wendy McEahern

AN AMAZING COLLECTION OF IMPORTS FROM MOROCCO AND AROUND THE WORLD

717 Canyon Road, Santa Fe • 505-986-0340 10am to 6pm Daily • On-site Parking • santakilim.com

Taos Artist STUDIO

TEXT BY ANN LANDI

Finding Harmony in the Liminal Paul Pascarella’s mixedmedia abstractions blend Native and Asian influences

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New Moon 5, Summer of Love (2011)

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n the floor of Paul Pascarella’s barnlike studio just outside Arroyo Seco, New Mexico, is a series of postcard-sized vistas from a Sung dynasty scroll painting. Look closely at these pages he’s torn from an old art book and you’ll see the atmospheric mountains and fierce but strangely comical dragons that typify the period. On one wall hangs a five-foot double portrait of “Gonzo” journalist Hunter S. Thompson, Hunter’s World, a mixed-media piece he made soon after Thompson’s 2005 suicide. Scattered about, on shelves and tabletops, are artifacts of Native American culture—drums, rattles, feathers, and the like.

On the far wall, commanding center stage, hangs a recent Pascarella triptych, a large-scale work with vaguely Asian visual references, rendered in vivid scarlet and gold hues with bits of exotic collage. It’s a knockout piece, typical of the charged, lyrically gestural canvases he’s been making lately, several of which were shown in his “New Moon” series at the David Richard Gallery in Santa Fe last spring.

It’s clear from his surroundings that many influences have fed Pascarella’s psyche and art, and now, in his vigorous seventh decade, he feels that it’s all coming together. “When I came to Taos, I still didn’t know what I was doing,” he says. “I was in my forties when I got here, and by the time I was 50, I would look at certain ideas, certain things, and I would have a clearer vision of what they were. Somehow the place was working on me without my knowing it.”

A compact, athletic man with silver hair, Pascarella, 66, has been on a journey that’s taken him a long way from his roots as a child of first-generation Polish and Italian immigrants in Emerson, New Jersey, into the army, through head trips with Thompson, to Hollywood, and finally to Northern New Mexico. In many ways, TREND Fall 2014/Winter/Spring 2015

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it’s an odyssey typical of those who came of age during the social and political upheavals of the 1960s, when quests for meaning led people into uncharted territories of experience and investigations into “alternative” cultures were almost de rigueur.

But despite growing up in a large and encouraging clan, the artist’s origins were postwar prosaic. As a child, he discovered a talent for drawing and thought about going into art school after graduating from high school. Instead, he enlisted in the army. “It was my form of rebellion, but within three days I realized what a dreadful mistake I’d made,” he recalls. At first slated to be in an airborne division, he wound up sorting mail in Fort Leonard Wood, Missouri.

Stuck in one of the dullest jobs on the base, he relieved the tedium with painting. One piece, a poster-sized mock reenlistment image with an Alfred E. Newman character—“grungy-looking, drunk, and with hero medals”—caught the attention of a Green Beret, who borrowed it for the recruiting center to poke fun at “lifers,” soldiers who reenlisted again and again.

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A few days later, the Green Beret returned to offer Pascarella a job at the John F. Kennedy Special Warfare Center, in Fort Bragg, North Carolina. Over the next two years, he designed brochures and “propaganda-type images” with some of the country’s best commercial designers and illustrators.

Upon discharge, the 21-year-old Pascarella entered Parsons School of Design, where he focused less on fine art and more on photography and film. One project, in which he set a quasi-abstract sequence based on Molly Bloom’s soliloquy in James Joyce’s Dubliners to a Henry Mancini movie score, so impressed his professors that it earned him a teaching gig at Fordham. He turned it down.

In 1968, after graduating with a graphic design degree, a romantic crisis propelled Pascarella to Aspen, Colorado, where he’d intended to just ski. Eventually he crossed paths with Thompson; they hit it off, and the two remained lifelong friends. “I could probably have used that as a more constructive time,” Pascarella says of that period (spent largely between Aspen and Los Angeles). “I knew I wanted to make art, but I didn’t really know what to do.”

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KATE RUSSELL, PREVIOUS PAGE: COURTESY OF DAVID RICHARD GALLERY

Taos Artist STUDIO

COURTESY OF DAVID RICHARD GALLERY

Ten years later, he moved to Los Angeles and found work as a design consultant and title designer. While working on the 1981 remake of The Postman Always Rings Twice, he got to know Bob Rafelson and Jack Nicholson. “I might have been decent at making movies, but I don’t think I was ready.”

While in L.A., Pascarella became intrigued by Native American traditions, particularly those of the Lakota, which he discovered via a medicine man who lived in the Valley. “There were these sweat lodges in suburban houses, and this old medicine man who came out to teach us,” he recalls. “We would go up to South Dakota and Colorado and perform these ceremonies.” Pascarella got into the rituals, and made drawings and videos of his experiences—especially those concerning the buffalo. “I got interested in the buffalo thing because I saw this buffalo skull in a restaurant, and I said, ‘That’s where America started going wrong, moving west with no regard for what was there.’”

The experience led Pascarella to a bigger choice in the mid-1980s.

“I decided, if I can’t make movies here in Hollywood, I’ll work on

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my paintings and be low-key somewhere Imaginary Beings (2014), acrylic, and just paint and draw.” The where was oil stick, collage on panel.

Opposite: Paul Pascarella with Santa Fe, specifically a borrowed garage an untitled triptych that hangs in studio in Tesuque. “All I had to do was his studio. paint during the day, and it was terrifying,” he remembers. “I think it was the hardest thing I ever did. The community there was a gallery community, not an art community.”

Within a short time, he longed to get out of the city and back in the country again and discovered Taos and its now-famous circle of L.A. émigrés: Ron Davis, Ron Cooper, Ken Price, Larry Bell, and others. “When I came here, it was desert—and mountains.

Colorado slaps you in the face with its beauty, its awesomeness, but there’s more mystery here than in most places, and there are old spirits, the Native indigenous [images] left in the rocks. From here you can see the rest of America and just how messed up it is.”

Pascarella still participates in Lakota ceremonies every year and has lately become deeply involved with qigong, an ancient Chinese practice that combines meditation, martial arts, and philosophy TREND Fall 2014/Winter/Spring 2015 143

Taos Artist STUDIO

to cultivate a balance in mind and body. “I use my body when I paint— not literally, but my painting comes from my body,” he explains. “I feel the body knows more about painting than the head. When it comes from your body, it’s more honest. Which gets back to that Hunter’s World painting—the honesty there came from letting go of my head.”

Examining the scroll-painting reproduction on his studio floor, he notes, “The mist and water, clouds and fog—it’s part of the mystery of the Tao. These dragons are not ferocious but elusive. You can see the Tao in this landscape.

When your eyes focus on the dragon, this one is appearing somewhere else, and this one is in your periphery . . . they could blend into the fog and rock.

It’s what I try to do with my art. It’s abstract but it’s right on the border of that feeling of looking at clouds, where you see things in them. You see these figurative elements.”

In looking from the 1,200-year-old scroll to the wholly abstract Pascarellas on the wall, the connection becomes clearer. Shapes move in and out of visibility, never quite coalescing into concrete images but finding a harmony that seems both Western and Asian. “All the influences are coming together now more than ever,” he notes. “The Native American and the Asian—they’re interwoven inside both me and my art. They give me a perspective I didn’t have earlier in my life.” And then, with a reflective critical eye, he adds, “This isn’t it yet.” R 144

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COURTESY OF DAVID RICHARD GALLERY (2)

New Year New Moon (2011), acrylic, oil stick, and collage on panel. Right: Spring Snow (2012), acrylic, oil stick, collage on panel.

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ON THE COVER: Chef John Rivera Sedlar serving day boat scallops with organic spinach on a baroque King Dragon serving tray—a taste of what’s to come at Eloisa, his new restaurant opening in November 2014.

PHOTO BY ANNE FISHBEIN

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BONCRATIOUS

CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Boncratious, Anne Fishbein, Lois Ellen Frank, Stephen Lang, Douglas Merriam, Kate Russell, Sergio Salvador

Appassionato!

For Every Opera, a Feast

BY CRAIG SMITH | PHOTOS BY KATE RUSSELL

P Previous page: Santa Fe Opera–goers celebrate the 2013 season–opening performance of The Grand Duchess of Gerolstein with costumes, fabulous food, and revelry.

Opposite: Tailgaters at the 2011 Santa Fe Opera season opener of Gounod’s Faust.

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People who appreciate fine food tend to appreciate other sophisticated experiences as well. Fine art. Theater. Music . . . opera. It’s no coincidence that cities with the finest operas can also have lay claim to having some of the world’s best restaurants. Santa Fe is right up there on both counts. And while it’s hard to say how much the clientele of one pushes the other to ever greater heights, it’s no surprise that the two have an almost symbiotic relationship, especially in the City Different, where Santa Fe Opera–goers seek out first-rate dramatic performances just as enthusiastically as they patronize local restaurants, from the rustic to the refined.

And the parallel is obvious. Opera, no matter its period or type, is rooted in such basic drives as love, hate, desire, nobility, and revenge. Yet it amalgamates many of the arts—music, dance, design, architecture, song, and drama—into a highly sophisticated experience. In the same way, our food is of the earth, earthy; but in inspired culinary hands, basic elements can become transformative, uniting all five senses into a rapturous whole.

Operagoers here know that gustatory pleasures need not be confined to an indoor meal.

One of SFO aficionados’ most cherished rituals

is the tailgate picnic, the pre-show parking lot dinner that’s become a local tradition. Meals are usually planned in accordance with the night’s opera and its potential food allusions, and are often quite elegantly, even if simply, presented.

At opening night of the freshly completed 2014 season, dining situations ranged from a be-linen’d table for two to an impeccably served, five-course sit-down dinner for 20 beneath a tent. In a nod to Stephen Lawless’ new adaptation of Carmen, most of those supping planned their menus around Spanish-inspired cuisine— sometimes with costumes, hats, and music to match.

Making the rounds, we found such basic fare as a coarse but delectable Spanish salad made of meltingly ripe sliced tomatoes, heaped with chopped onions; a variety of wrinkled but piquant Spanish olives; goat’s, cow’s, and even ewe’s milk cheese; and “Gypsy Chicken,” a casseroled catchall that traditionally involves fowl, green peppers, garlic, onions, and whatever herbs one might find growing in the back garden, or even wild.

Equally appropriate was the huge dish of paella one group feasted on, replete with chicken, shrimp, and lobster pieces, like jewels in a chest

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CREDIT

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CREDIT

of precious coins, amid smooth Valencia rice. The Tastes of pungent, sweet, sour, bitter, and salty.

Left: Families and friends, locals and traditional cold gazpacho, that most refreshing of Santa Fe Opera’s 2011 season opener.

Meanwhile, Beethoven’s Fidelio offered German soups, began more than one dinner, and delec- Right: Food, frolic, and festivities at cuisine–lovers a wide range of mouth-melting table flan made a frequent appearance as a dessert the 2014 opening for Carmen. On food opportunities, including cabbage rolls, sauthe menu: ensalada caprese served course. Wine ranging from smoothly ingratiating with 2010 Rafael Palacios “Louro do erbraten, hot potato salad with bacon, and even Bolo” Godello, and a 2012 Veramonte to sharp as a tack adorned many a table. rabbit-packed hasenpfeffer.

But feasting wasn’t confined to opening night. Sauvignon Blanc, “La Gloria” Reserva; Not only patrons have to eat, of course. Shakepaella de mariscos, paired with a 2012 Every pre-opera period drew earnest, creative din- Rio Madre Graciano, Rioja DOCa; speare famously said, “If music be the food of love, ers out in force. Before Donizetti’s Don Pasquale, green beans with water chestnuts and play on.” But as far as musicians are concerned, the dill; Key lime cheesecake served with many planned their menus around traditional a 2006 Maison Nicolas Sauternes famous line from Twelfth Night really means that 19th-century Italian cuisine—perhaps as basic and a 2007 Evenus Zinfandel Port. food is one of the loves of musicians, and the table as pasta drizzled in olive oil and garlic, or as had better be well spread. sumptuous as roast lamb or osso buco. Stravinsky’s Le Rossignol There’s always been a special affinity between food and perinspired others to gormandize Russian blintzes, borscht, lamb, formers. Emperor Nero believed that honey cakes sweetened his and buckwheat-stuffed sausages, in a nod to the composer’s dulcet tones, while flutes and lyres heralded the appearance of homeland. Other patrons celebrated the story’s Asian setting by lampreys and mullets at Roman banquets. During the famous consuming Chinese-themed victuals. feast in Petronius’ Satyricon, at the nouveau riche Trimalchio’s In much the same way, the American premiere of Huang house, it’s hard to know when the singing or trumpet playing ends Ruo’s Dr. Sun Yat-Sen led tailgaters to concentrate on Chinese and the next course begins. fare, some going so far as preparing dishes that balanced the Then there are the scores of recipes named after great opertraditional Four Natures of hot, warm, cool, and cold, and the Five atic luminaries. Among them: peach melba (Australian soprano

The tailgate service setup in celebration of the Santa Fe Opera’s 2012 opener of Puccini’s Tosca.

Nellie Melba), chicken Tetrazzini (Italian soprano Luisa Tetrazzini), chicken Nordica (American soprano Lillian Nordica), and tournedos Rossini (composer Gioachino Rossini). And for famed tenor Enrico Caruso . . . what else but spaghetti Caruso?

Rossini loved food, especially truffles. When he invented a salad dressing that included lemon juice, pepper, olive oil, and a finely sliced truffle, he assured a friend it would interest him “much more than my new opera.” The waggish composer also said he wept only three times in his life: at the failure of his first opera, La cambiale di matrimonio, at the triumph of The Barber of Seville, and when a truffled goose fell into a lake on the way to a picnic.

Giacomo Puccini loved food, too. “I am a mighty hunter of wild fowl, beautiful women, and good libretti,” the composer once said. As a poor student, he used to fill up on “thick broth, thin broth, and thinner broth” until “the stomach is satisfied.” When he was given a nice cash advance for his first opera, Le Villi, he treated himself to roast beef with mushrooms and asparagus, wine, Roquefort cheese, and fresh strawberries.

What is it about food that it preoccupies so many musicians, especially singers? Well, you can’t run an engine without fuel, and musicians who put out oceans of effort need plenty of provender—just like ordinary folk. The danger comes when intake overtakes output and the superstructure gets too big. Of course, some believe that to maintain a voice, extra

weight is needed, especially for bigger guns. Yet SFO’s chorus put the lie to that wisdom: in 2014 one and all were fit and lissome, fine examples of what the French call physique du rôle—both looking and singing the part.

Past singers who did have the grand amplitude of clipper ships included coloratura soprano Tetrazzini, who noted, “I must not diet. If I diet, my face sag.” English contralto Marguerite d’Alvarez remarked, “I don’t go in for slimming. My hips are part of my personality.” And d’Alvarez always had the last word. Once she told a dinner-party hostess, “What a delicious soufflé. It tastes like angels’ saliva. I must send my photo to your cook!”

Perhaps more than any other artistic genre, then, opera brings out the feast in people. And a desire not just to gorge but to savor. To slow down and appreciate and come together and share in something unique. All qualities that Santa Fe brings out in people as well. The fact that the city also boasts a world-class opera and top-notch restaurants only makes it all the more exceptional. R

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CREDIT

Left: At the opening for 2013’s The Grand Duchess of Gerolstein, operagoers dine on “Short ribs on a Shingle,” in honor of Candace Walsh’s 1920’s-themed “Haute-Military Chuck Wagon” tailgate dinner party. Top: paella de mariscos, one of the delectable offerings at the tailgate party for 2014’s Carmen.

Photos: Boncratious

Fine wine and dining Decadent desserts Indoor and patio seating Private parties 901 West San Mateo, Santa Fe Reservations 505-820-3121

DOUGLAS MERRIAM (2))

How could it get any better? Coyote Café is already known as the most exciting restaurant in Santa Fe, with its open-kitchen experience of gastronomic magic in action, a wall of 20-foot windows overlooking Water Street, and the Rooftop Cantina’s summertime fiesta mood. It already has one of Santa Fe’s finest wine lists, selected with a sommelier’s discernment and a global approach. And of course it has the charmed culinary creations of Chef Eric DiStefano’s intrepid hand, all served with knowledgeable efficiency and grace.

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

Between two world-class museums on Museum Hill, with 100-mile views

Private parties in the evenings

BOTTOM LEFT: KATE RUSSELL (1); DOUGLAS MERRIAM (3)

Museum Hill Café

Monthly jazz nights with Santa Fe Music Collective

710 Camino Lejo, Santa Fe, NM | 505.984.8900 | museumhillcafe.net Winter hours: Tuesday–Sunday, lunch from 11 am to 3 pm

F R E N C H B I ST R O

Authentic French bistro fare in Santa Fe by award-winning Chef Charles Dale Mains

Photo: David Marlow

Small Plates

Charcuterie Plank

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San Daniele Prosciutto—Saucisson de Lyon—Chicken Liver Mousse Add a Slice of Terrine of Foie Gras 14

Plateau de Fromages

16 | 23

Fruit Mostarda, Marcona Almonds

Seafood Platter

36 | 60

Jumbo Prawns—Seasonal Oysters— Dungeness Crab Classic Cocktail Sauce, Dijon Mayonnaise and Peppercorn Mignonette

Soupe du Soir Market Vegetable Terrine, Tomato Vinaigrette Classic Escargots à la Bourguignonne La Grenouille: Frog Legs Provencal-style Sautéed Fresh Foie Gras (preparation changes nightly) Tenderloin Steak Tartare, Fresh Farm Egg, House Potato Chips Grilled Octopus, Chick Pea Puree and Spanish EV Oil

12 13 14 15 28 18 15

Wild Mushroom Ravioli, Sweet Pea Emulsion 17 | 26 Black Mussels in White Wine and Red Chili 16 | 26 Sautéed Sweetbreads, French Beans, Mushrooms and Shallots 18 | 28 Pan-seared Alaskan Halibut, Jumbo Asparagus and Lemon Butter 34 Calf’s Liver Dijonnaise, with Spinach and Onions 27 Grilled Chicken Paillarde, White Beans, Tomato and Arugula 27 Steak au Poivre with Pommes Frites 32

Seasonal Salads Salade Mesclun, Sherry Dijon Vinaigrette Salade César with Shaved Reggiano and Panisse Croutons Tuna Carpaccio Niçoise, Wild Arugula, Lemon Vinaigrette Heirloom Tomato Salad, Fresh Burratta Cheese, Pistachio Pesto Chilled Jumbo Asparagus, Beets, Crispy Prosciutto, Pumpkin Seed Oil

12 14 16 17 18

Desserts Profiteroles au Chocolat, each Demerara Crème Brûlée Strawberry Tart Chocolate Cherry Bread Pudding Sorbets and Ice Cream (choose two) Lemon, Raspberry, Mango Vanilla, Chocolate, Coffee

6 8 9 9 8

Sides L&L’s Cheese Tots Garlic Spinach Honey-glazed Carrots

7 7 7

Plain or Truffle Frites 7 |9 French Beans, Shallot Vinaigrette 9 Macaroni and Truffles 12

451 W. Alameda St. Santa Fe, NM 87501 www.bouchebistro.com Open Tues to Sat 5:30-9:30 505-982-6297 for reservations

451 W. Alameda St. Santa Fe, NM 87501 (505) 982-6297 bouchebistro.com

Wine & Dine

BY JAKE DAVIDSON

L.A.’s Rock-Star Chef Comes Home John Rivera Sedlar creates Drury Plaza’s new flagship restaurant, Eloisa

B

eloved Los Angeles chef John Rivera Sedlar is coming home. Not to settle down (not yet, anyway). Nor as a prodigal son. He’s returning to Santa Fe, city of his birth, land of many an ancestor and even more memories, to launch Eloisa, his first local restaurant, inside the newly opened Drury Plaza Hotel, where St. Vincent Hospital once stood.

At 22, Sedlar published the definitive volume on modern Southwest cuisine, the first of many cookbooks he’d compile. He went on to apprentice himself to legendary French chef Jean Bertranou of L’Ermitage in Los Angeles.

Since then, the accolades have flowed fast and furiously: youngest chef ever to receive the Silver Spoon Award from Food Arts Magazine, a spot on Food & Wine magazine’s “Honor Roll of American Chefs,” one of Cook’s Magazine’s top 50 “Who’s Who of Cooking in America.” The wonderful dishes he laid out at his Los Angeles pan-Latin fusion restaurant, Rivera, even snagged him Esquire’s 2011 Chef of the Year.

But despite his L.A. acclaim, Sedlar kept one eye on Santa Fe, hoping he might create a space closer to his roots. “I’d been looking to open a restaurant here in Santa Fe for 40 years, but the timing was never right,” says the native New Mexican chef, who’d been scouting around for the right space with longtime friend Christopher Webster, of Webster Enterprises, for about 10 years. “None fit. But when the Drury came up on the horizon, they seemed like the perfect ally.”

Named after his grandmother, and equally inspired by his mother (also a chef) and his mother’s sister, Aunt Gerry, who served as Georgia O’Keeffe’s cook for 15 years, Eloisa will draw liberally and historically from all those connections. For one, Sedlar plans to focus on local cuisine and its historic and cultural roots. “I like to educate people about what they’re eating, and I like my food to tell a story and to connect with history,” says Sedlar, probably the most mild-mannered and erudite of

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chefs ever to reign over a kitchen. “How does it connect to us? As a Hispanic, as Latin food?

Is it organic?” There will also be O’Keeffe tasting menus, prepared in conjunction with the O’Keeffe Museum’s research center, proffering some of the dishes the artist enjoyed eating and serving.

If that sounds like more than just your typical restaurant—and much more than your average hotel restaurant—that’s simply Sedlar’s way.

As is spending a decade and a half soaking up firsthand knowledge of Latin foods, from Mexico City to Machu Picchu to San Juan to Madrid and everywhere in between. Such knowledge has lead him to create and found the first Latino food museum in the U.S., the incipient Museum Tamal, in Los Angeles, due to open soon.

Despite his pedigree, Sedlar sees Eloisa as presenting as great a challenge as any big-city restaurant. “Santa Fe has a lot of talent,” he says.

“The chefs here are off the charts with their creativity, and they have free reign to be übercreative. Everywhere you look there are creative embellishments.”

One of those fun challenges is Eloisa’s cocktail carte, served at two bars on the premises.

This surfeit of inebriants is a nod to the former Patron tequila spokesman’s love of alcohol and its processes, and the way Latin foods mix with cocktails. The bars even look pretty, in an environment designed by creative consultant Laura Carpenter. “It [has] a lighter palette,” says Sedlar, who spent more than a couple nights in the St. Vincent emergency room as a kid. “There’s an adroitness to Laura’s spaces, which are very contemporary but nonthreatening.”

Invoking the current vocabulary of culinary fusion, Eloisa uses Southwest foods as a base from which to mix in a bit of Asia, Latin America, and Europe. “I don’t think we have to casualize the food here at all,” says Sedlar, “even though we’re in a hotel. It’s a new trend for hotels to have a chef. And it’s very positive for the hotel and the city.” Very positive indeed.

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ANNE FISHBEIN

John Rivera Sedlar (center) with chefs Martin Duron (left) and Michael Cena (right) in front of his Los Angeles restaurant, Rivera. Eloisa will open at the Drury Plaza Hotel in Santa Fe this winter.

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Wine/Dine Advertisement

The Compound TOP AND OPPOSITE: BONCRATIOUS. BOTTOM: STEPHEN LANG

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

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n the 14 years since chef-owner Mark Kiffin took over this venerable Canyon Road institution, The Compound has shed its outdated ambience and reestablished itself as one of Santa Fe’s prime destinations for fine dining. Blending the classic appeal of traditional Santa Fe architecture with a sleekly minimalist aesthetic, Kiffin has managed to honor the city’s past while reflecting its hipper, more accessible present.

In keeping with this intention, he’s also fashioned a menu that pays homage to classic Continental cooking while fusing fresh ingredients and flawless technique, yielding an updated take on contemporary American cuisine that has garnered some of the culinary world’s highest awards.

Expect favorites to be prepared with innovative flourishes, like roasted rack of lamb with chickpeas, heirloom carrots, and grilled ramps accompanied

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by salsa verde and romesco sauce; or a pan-roasted chicken breast stuffed with house-made chorizo, roasted sweet pepper, and cilantro alongside a fingerling potato stew. The wine list pairs especially well with the food, so don’t miss the opportunity to sample a new vintage. Desserts are inventive as well, ranging from decadent to refreshing—or a mix of both, such as ruby grapefruit granita with grapefruit-basil salad and poppy-seed cake, or frozen passion fruit–white chocolate mousse in a blueberry-ginger port glaze.

Outside the elegant dining room are a flower-filled patio and a smaller garden patio for private parties. All private dining rooms can be reserved for groups of 10 to 200 people, with special tasting menus available.

Alaskan Halibut Chanterelle Mushroom Veloute Roasted Sweet Peperonata

Nourishing Culture Native American chefs create a healthier future by reclaiming the past

Citrus and nopal cactus salad with toasted red bell peppers and pumpkin seeds in a jalapeùo vinaigrette. Opposite: Tiffany Georgeina Morgan with a sunflower in her grandmother’s garden.

E

BY NANCY ZIMMERMAN | PHOTOS BY LOIS ELLEN FRANK

ating is not only a physical act based on biological necessity, it’s an expression of cultural identity rooted in geography and ancestry, with far-reaching effects on health as well as on a given society’s worldviews and self-definitions. How food is acquired, prepared, and presented informs gender roles, social structures, family relations, rituals, and spiritual beliefs, and it underlies humankind’s earliest artistic endeavors, from crafting baskets and pottery to store and cook food to creating cave and rock art depicting hunting and farming scenes. In Native America, a growing movement to revive traditional cuisines of centuries past addresses issues of health and well-being and, in the process, reclaims a vital cultural heritage.

This movement has been spurred in part by crisis. Throughout the United States, type 2 diabetes has reached epidemic proportions, and Native American communities have been especially hard hit. Related illnesses like obesity, high blood pressure, and heart disease are at alarming rates as well. And while everyone from healthcare professionals to researchers to desperate dieters struggles to find a solution to these growing health threats, a dedicated cadre of Native American chefs, scholars, and educators are working to forge a new path to wellness and cultural continuity via the ancient foodstuffs and dietary practices that may be in danger of being forgotten.

One of the first to recognize the importance of Native cuisine as a cultural force was Loretta Barrett Oden, a Potawatomi chef and food historian from Oklahoma who is revered as a leader in the movement to return to a Native diet. In 1993 she and her son, Clayton Oden, opened the highly acclaimed Corn Dance Café in

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Santa Fe, the first upscale restaurant to offer indigenous foods to sophisticated diners. “My absolute, all-consuming passion is the relationship between food and culture,” she says. “There’s no way to separate one from the other.” Oden spread the word via her cooking show, Seasoned With Spirit, which ran on PBS between 2005 and 2007, as well as through appearances on Good Morning America and The Today Show, among others, and she continues to serve as a consultant on a variety of food-related projects.

Taking the movement to the next level is Santa Fe–based Lois Ellen Frank, PhD, a renowned chef and culinary anthropologist of Kiowa-Sephardic ancestry, who is also an educator, author, food historian, and photographer. Frank has made the revival of traditional foodways her life’s work, and her results so far have been impressive and encouraging.

“Returning to an ancestral, plant-based diet is a way to reclaim our health,” she says. “And when traditional foods are revitalized, all of the cultural traditions associated with them are also revitalized—the songs that go with the planting, the sustainable agricultural techniques that each tribe uses, traditional knowledge of how to harvest wild foods, the foods that have medicinal qualities, the language, the stories, the baskets, everything.”

Frank is the chef/owner of Red Mesa Cuisine, a catering company whose mission is to bring Native American cuisine into today’s kitchen and to promote traditional foods, agricultural practices, and cooking techniques from throughout the Americas. She brings a contemporary flair to ancient recipes while promoting heirloom agriculture and introducing exciting “new” products to receptive diners. Along with Diné chef Walter Whitewater, who TREND Passion of the Palate 2014/2015

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BOTTOM RIGHT: SEAN CASEY

has done turns in the kitchens of such Santa Fe landmarks as Mu Du Noodles, Bishop’s Lodge, and the late but fondly remembered Café Escalera, she prepares meals for a varied clientele.

Whitewater grew up in Pinon, Arizona, outside of Chinle, and he credits his grandmother with teaching him about the traditional foods and imbuing in him a reverence for the sustaining gifts of the land. “I remember the foods my grandmother used to make,” he says, “and the prayers she taught me, the songs that go with the food. Food is our medicine. When we take an animal or a plant for our own use, we make offerings. And we don’t take everything—we must always leave something for others. We need to go back to what we’ve been taught by the elders, and not get lost in the Western way. It’s our seeds that will be our survival, not Chefs Walter Whitewater and Lois Ellen Frank. Top: Grilled quail with a chile-honey glaze our money.” garnished with fresh herbs.

The traditional Southwest diet Whitewater’s grandmother taught him about was based on the Three Sisters: corn, beans, and squash. These symbiotic foods thrived in rice and corn in the upper Midwest; buffalo and grouse in the Great particular when planted together, and they provided nutritional Plains; cranberries and turkey in the Northeast. balance through their well-proportioned mix of fiber and protein.

The forced relocation that sequestered tribes into reservations Cactus fruits and game animals supplemented this fare, which was in the 18th and 19th centuries dealt a huge blow to Native food further expanded when the Spanish arrived and introduced sheep sovereignty and disrupted the chain of knowledge. Many of the along with their own food products. Elsewhere in North America, healthy, natural foods that had sustained people for centuries Native populations enjoyed varied cuisines based on local bounty: were replaced by U.S. government–supplied commodities like salmon, berries, and herbs in parts of the Pacific Northwest; wild flour, lard, and sugar. “It’s when food became commodified by

“

Returning to an ancestral, plant-based diet is a way to reclaim our health.

—Lois Ellen Frank, author and culinary anthropologist

Acorn and piñon soup garnished with wildflowers and chives

”

European immigrants that it lost its intrin- Native American ingredients featuring wilddelicious. But we often do it in healthier ways harvested and cultivated foods. Opposite: Juanita sic value,” Frank says. now, using whole-wheat flour or grilling the and Maria Kavena (Hopi) from Polacca, Arizona, Nephi Craig, executive chef of the fine- eating yellow and red piki bread (a paper-thin bread rather than deep-frying it.” dining restaurant at his White Mountain cornbread). Below: Abiquiú farm growing Native Gallup-based chef Freddie Bitsoie, a food American ingredients and heirloom vegetables.

Apache tribe’s Sunrise Park Resort Hotel historian with a background in cultural near Greer, Arizona, refers to this unfortuanthropology, believes that the move away nate break with the past as the Great Interruption. “Pre-contact, we from traditional food preparation actually pre-dated the introducwere expert farmers, hunters, gatherers, fishermen, and cooks,” tion of government commodity food, suggesting that it goes back he said in a recent interview with Indian Country Today Media to the trading-post era. “The trading post was the McDonald’s of its Network. “Then we suffered a violent clash of cultures that lasted time,” he says. “Instead of growing or hunting food, people started 500 years and ended in the reservation system and cheap, high-fat, buying tinned food.” high-carbohydrate commodity foods.”

Bitsoie sees the devaluation of Native foods as a product of coloniEver resourceful, the people found new uses for these less nutrization, and points out that its effects continue today. “It’s a question tious commodities, creating dishes like fry bread and Indian tacos of respect. Native cuisines have always been seen as inferior because that have since become emblematic of pan-Indian cuisine. Native the Native cultures themselves are seen as inferior,” he says. “People chefs tend to embrace their culinary history in its entirety, both the are willing to pay well for European cuisine, but nobody’s going to good and the bad, so even less-healthy options like fry bread are pay $50 for an Indian taco. Once when I worked at a culinary school, sometimes incorporated into the innovative new approaches to conthe chef objected to my paying $60 a pound for cholla buds, whose temporary cuisine. “It’s part of history, after all,” says Frank, “and it’s harvesting is quite labor-intensive, but he had no problem paying for 22

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French truffles, which cost $3,000 a pound.”

The issue of respect Bitsoie raises is key, and chefs throughout the Southwest are addressing it through a variety of educational initiatives, directed toward both Native Americans and the general public, which emphasize the wisdom of the ancient ways. Frank has created a curriculum for a required four-credit science course at the Institute of American Indian Arts (IAIA ) in Santa Fe that includes a hands-on lab to teach students to cook traditional foods. The course examines the cultural, ecological, and medicinal properties of Native foods and is offered each spring semester. “It provides a blueprint for living within an ecosystem rather than at odds with it, or at the expense of it—a practice that has sustained Native cultures for millennia,” she says.

She also teamed up with Santa Fe Public Schools’ Indian Education Program to create the Kids’ Cooking Camp, which teaches children about such topics as food history, what protein is, how calories are counted, and how food can be medicine. “We use kid-friendly ingredients to make fun dishes like a Native American parfait, a blue-corn pudding layered with a mixed-berry compote,” says Frank. “We also use a 72 percent dark chocolate for our snacks, and teach the students about natural dark chocolate, a cacao product that’s full of antioxidants and native to the Americas, rather than an overly sweetened chocolate. The kids love it!”

Frank’s other projects include a DVD and companion booklet, produced in conjunction with the Physicians Committee for Responsible Medicine based in Washington, D.C., that encourages Native peoples to return to an ancestral diet to combat diabetes, and she is the author and photographer of a popular cookbook, Foods of the Southwest Indian Nations, that received the James Beard Foundation Book Award in the Americana category.

Whitewater, who was the first Native American chef to cook at the James Beard House in New York, worked with Frank as a culinary advisor to test and adapt the recipes in the book, which includes a detailed discussion of the history, ingredients, and cultural meanings of the food. The recipes

It’s our seeds that will be our “survival, not our money. ”

—Diné chef Walter Whitewater

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GOING NATIVE

W

hen artist Kathleen Wall was growing up in Jemez Pueblo, she enjoyed home-cooked meals made from real ingredients, far from the lure of drivethrough “restaurants” and prepackaged meals. “We didn’t have a lot of money,” she says, “so we didn’t buy processed food. We made our own meals from scratch.”

Years later, as a married mother of three living in Albuquerque, she found herself immersed in a fast-food culture that led to weight gain and, for her husband, diabetes. “He was truly addicted to sugary, high-starch foods,” she says, adding that her kids were also inclined to want sodas and fast foods. “Although I had never cared much for that kind of food myself since I wasn’t raised on it, I tended to give in to my husband’s cravings, bringing home boxes of sugary Froot Loops, his favorite breakfast, and not objecting when he ate at McDonald’s.”

His diabetes diagnosis forced Wall to rethink her food priorities, and she decided to move the family back to Jemez Pueblo, where they’d have less exposure to the temptations of the city and more control over their diets. “My husband is much better now,” she says, “and my kids don’t eat fast food or drink sugary sodas. It’s a healthier environment.”

Wall has tried to spread the word about healthy eating, but she has concluded that it’s better to remind people of the good things about a traditional Native diet rather than to harp on what’s bad about the current ways. “I know people get tired of hearing me go on and on about nutrition,” she says, “and I thought that it would be easier to get the message across using art.”

Thus was born Harvesting Traditions, an exhibition at Santa Fe’s Pablita Velarde Museum of Indian Women in the Arts, running through January 4, 2015, which celebrates Native foods.

Working with co-curators Marita Hinds and Marth Becktell, Wall fashioned a show of ceramic clay figures in traditional garb and paired them with paintings relating to indigenous foodways that show the kinds of foods, utensils, and cultural manifestations that made for a healthy lifestyle. A series of live presentations, the Noonday Dialogues, held on the third Thursday of each month, initiates conversations about how food was gathered and prepared and its relevance to the present. —N.Z.

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in tasty dishes like prickly pear–glazed pork ribs, or cholla bud citrus salad with jicama, fresh spinach, and pineapple. The café is a project of Tohono O’odham Community Action, a nonprofit that is dedicated to creating a healthy, culturally vital, and sustainable community on the Tohono O’odham Nation.

Another hot spot in Provo, Utah, is the family-owned Black Sheep Café, a neighborhood café during White Mountain Apache/Navajo chef Nephi Craig the day and a fineat work in the Sunrise Park Resort kitchen. Left: dining restaurant in Navajo Chef Freddie Bitsoie. the evening, where Diné chef Mark Mason serves up an imaginative mix of Navajo-, Pueblo-, and Hopiinfluenced creations. His signature dishes include appetizers like spicy chicken wings served with creamy cotija-chipotle-lime dressing, and an entrée of braised beef short ribs in a Cabernetguajillo mole sauce, served over yellow-corn polenta enlivened with lime zest and mascarpone.

Designed as an authentic representation of the Gila River Indian Community’s heritage and culture, the Sheraton Wild Horse Pass Resort and Spa in Phoenix features a fine-dining restaurant, Kai, that uses locally farmed ingredients and heirloom products. Its menu includes entrees like grilled tenderloin of buffalo accompanied by smoked-corn puree, cholla buds, and scarlet runner-bean chili with saguaro-blossom syrup.

Amaya at Hotel Santa Fe, the city’s only Native American– owned lodging, features a seasonally changing menu of fresh ingredients and traditional regional foods from around the country that highlights local Pueblo and Northern New Mexico influences.

The Native food movement continues to gather steam, fueled by the passion of its proponents and their congenial camaraderie, which fosters cooperative efforts to reach out to ever-larger constituencies. This outreach has effects beyond the immediate community—it benefits the population as a whole, many of whose members suffer from the same diet-induced ailments as the Native Americans. As healthy traditional fare joins forces with haute cuisine, it becomes more than just the fad du jour— the movement is going mainstream.

Times and tastes may change but ancient wisdom endures, offering us fresh opportunities to heal ourselves and find common ground through our shared human need: nourishing, satisfying food. R

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LEFT: DOUG YAZZIE (EYEBEHOLD PHOTO)

showcase indigenous ingredients in ways that appeal to contemporary tastes in dishes like blue cornmeal and piñon hotcakes with prickly-pear syrup and peach honey, and spicy pinto bean ravioli with corn and chile cream sauce.

Frank also teaches classes for the general public at the Santa Fe School of Cooking, and travels extensively, along with Whitewater, to offer demonstrations and lectures at museums and organizations. Even her Red Mesa Cuisine catering company uses an educational approach. “We always bring the story in,” she says.

“We’re not an ordinary catering company.” Adds Whitewater, who tends a flock of 15 churro sheep on the Navajo reservation when he’s not at the stove, “We like to do a presentation that includes a blessing to start the meal and a song at the end, and we explain about the foods and what they mean to the culture.”

One of Frank’s newest projects is a cookbook that includes information about sourcing local foods that stresses the concept of terroir, the French term for the natural growing environment and its influence on a plant’s flavor. “I like to include all of the ‘scapes,’” she says. “It’s important not only to appreciate the landscape but also to listen to the soundscape, the noises made by the plants and animals, and let your body be in the moment so you’re aware of your own bodyscape and mindscape. The foodscape is thus embodied in the food that you eat.

It’s a way of becoming more mindful about your food, and about life in general.”

Bitsoie, too, has his own catering company, FJ Bits Concepts, and, like Frank, has appeared at events and institutions around the country, among them Kraft Foods, the Heard Museum, and Yale University, to promote a healthy, traditional diet brought up to date with modern flourishes. His creations include such dishes as Navajo herb-rubbed roasted lamb, blue corncakes, and pumpkin bread pudding, and he uses traditional ingredients like tepary beans, acorn squash, corn, and cholla buds. He won the Native Chef Competition at the Smithsonian National Museum of the American Indian in 2013 and is currently working on a pilot for a television cooking show, Rezervations Not Required, that he hopes will get picked up by a national network.

Native cooking generally is attracting attention and carving out a place for itself in the larger world of contemporary cuisine. The popular Desert Rain Café in Sells, Arizona, about 60 miles southwest of Tucson, celebrates traditional Tohono O’odham foods that have sustained these people for countless generations. According to consulting chef Mary Paganelli Votto, each dish on the menu contains at least one traditional ingredient, such as cholla buds, tepary beans, or saguaro fruit syrup, which are brought together

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Johnson Street Experience

BY CHRISTINA PROCTER

I

f you wander down the two neighborly blocks that make up Johnson Street in downtown Santa Fe, you may catch Heidi Loewen tending plants outside her porcelain gallery and school, or bouncing about within, crafting one of her sophisticated, surprising pieces. The pottery wheel spins as she talks about “The Johnson Street Experience,” a community-style street fair that took place in June and will happen again in October. Loewen is one of two organizers who wanted people to connect with the area, which is sometimes passed over despite its prime geography; range of cuisine, art, and services; and truly local business ethos.

Anchored by The Santa Fe School of Cooking at Guadalupe Street and the stately Andrew Smith Gallery on Grant Avenue, Johnson is as local as it gets, from the contemporized traditional menu at Shohko Cafe, the City’s first Japanese restaurant, to the School of Cooking (celebrating 25 years this December), with secrets of the culinary Southwest divulged in classes like Native American II, Red Chile Workshop, and Mole and More.

When Loewen met up one evening with Emily Mayer, wine buyer and bar manager of TerraCotta Wine Bistro across the road, they struck up a conversation about Johnson Street’s unique character, and how to acquaint more people with it. Loewen suggested a block party “so people would know what a diverse, artistic, delicious street we are.”

Mayer was game.

This October, Johnson Street will again open its many doors, offering the gamut of cuisine-sampling (Italian, contemporary American,

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Japanese, and Southwestern), art-making at the Georgia O’Keeffe Museum, and wine-tasting at TerraCotta (picture flights of rosé and complimentary brisket sandwiches). Beals & Co., which displays art for various local hotels including the Eldorado, will also run a live demonstration of graffiti, street, and mural arts. Downtown Doggie Daycare will offer tours of the new facilities, with treats for dogs of all breeds and sizes. Worth checking out is the open-house at Asian Adobe, which will hold a rare sale on its Ming-style antique furniture, along with other art and accessories. Then there’s the strange, dimensional, and flawless work at David Copher Gallery. Returning by popular demand, two local groups—The Wild Marimbas and Smokin’ Bachi Taiko drummers—will play through the afternoon. Some of the newer kids on the block include Georgia, a restaurant serving contemporary American cuisine on the grill, and Sweet Lily Bakery, with longtime baker Melinda Gipson’s specialty pies.

Back at Heidi Loewen Porcelain Gallery & School, the buoyant artist will guide participants in shaping bowls from hunks of clay to be developed with fine trimming and fired in the kiln. “I work with children of all ages on the wheel,” Loewen says with a grin.

“What we have here is an extremely short but distinct street—a neighborhood,” she concludes. Indeed.

The next Johnson Street Experience takes place Saturday, October 11, 2014, from noon until 4:00 p.m. trendmagazineglobal.com

PHOTOS COURTESY OF JOHNSON STREET COLLABORATORS

A block party for locals

Heidi Loewen Porcelain Gallery & School

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Curtis & Ammerman

The school features hands-on and demonstration classes taught by some of Santa Fe’s best chefs and a market filled with your favorite New Mexican products and foods. Our signature restaurant walking tours are your entrée to the delicious flavors of Santa Fe and our beautiful new space and outdoor patio are perfect for your special events and private gatherings. Visit us online at santafeschoolofcooking.com.

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shohko café

A Santa Fe institution since 1975 and perennial local favorite. More than modern, clean sushi, Shohko also specializes in healthy, updated renditions of traditional Japanese dishes with an occasional Santa Fe twist. Named one of Santa Fe’s “Ten Best” restaurants by USA Today Travel in 2013.

sushi • sake • japanese cuisine

321 Johnson Street at Guadalupe Santa Fe, NM 87501 505-982-9708 www.shohkocafe.com

321 Johnson Street at Guadalupe, Santa Fe, NM

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Frances Ehrenberg-Hyman

Come see why our customers are so happy!

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307 Johnson Street Santa Fe, New Mexico

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Thursday-Monday | 12-7 pm or by Appt. www.davidcopher.com Located 1 block west of the Georgia O’Keefe Museum

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Rose Garden pizza by Stacey Neff

Out of the Box

When artists throw a pizza party, beauty's in the pie of the beholder

BY CALMUS O’HANLAN

T

his past summer featured the usual roundelay of art parties and art openings, restaurant debuts and catered festivities in Santa Fe. But even amid all that crossover of cuisine and aesthetics, only one event celebrated the marriage of great art and great food. The event, hosted by Trend publisher Cynthia Canyon and painter-sculptor Carlos Carulo, took place on an unusually cool but beautiful July evening at Carulo’s eastside home. Canyon and Carulo invited about a half-dozen artists to each create an art pizza.

Aptly named “Beauty is in the Pie of the Beholder,” this happening had very succinct rules: make an edible pizza that’s as artistic as possible and fashion to it your own personal aesthetic, using the dough as your canvas.

Guest chefs included gold-leaf painter/sculptor Martin Horowitz, glass artist Stacey Neff, sculptor Doug Coffin, painter Brian Coffin, filmmaker Godfrey Reggio, and sculptor and fetish artist Mark Swazo-Hinds. Despite some impressive culinary skills on display, none had been trained as a chef. But making something beautiful out of nothing, from a blank canvas, a hunk of clay, fazed not a one. Especially when plenty of great wine and assorted spirits were on hand as well.

The artists were asked to bring goodies with which to create (colorful veggies, utensils to shape the pie, meats, cheese, and sauces).

Then they were left largely to their own devices. Carulo, originally

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PHOTOS BY KATE RUSSELL from Chile, had by chance recently constructed in his home studio a classic New Mexican horno—the outdoor adobe oven used by Native Americans and early Southwest settlers.

An appropriate twist on the usual pizza oven, the horno was fired and brought up to temperature six hours beforehand. Carulo kindled a flavorful combination of oak, cherry, and mesquite woods, all of which would seep into the artists’ pies.

By late afternoon, the horno was ready and the guests began to arrive. Carulo offered a brief tutorial on how to “roll” the canvases for proper cooking, then sleeves were pushed up and the pie-making was on.

Not surprisingly, the artists’ creations seemed to bear some resemblance to their personalities and the type of work they’re known for. Doug Coffin’s had his sense of playfulness and humor.

Neff’s asparagus spears gave her pie that delicate touch of natural form that makes her glass works so unique. Brian Coffin’s had a slightly Pointillist quality to it—or perhaps resembled a sand painting. Swazo-Hinds’ pizza had the delicacy of his fetishes mixed with the heft of his sculptures. While Horowitz embellished his pie with actual leaves of gold.

In the end, the pizzas were beautiful. And edible. And eaten.

And beyond that, people came together for something different.

Something communal and supportive and artistic: a pizza party outside the box.

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CARLOS CARULO Red and Green Over White pizza

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DOUG COFFIN Buffalo Hyde pizza

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From left: Doug Coffin, Stewart Colgate, Carlos Carulo

MARTIN HOROWITZ Gilded pizza

MARK SUAZO-HINDS Bear pizza

STEWART COLGATE

Swimming with Fishes pizza

BRIAN COFFIN

God is in the Details Pizza

Above: Rick Lum (left) and Godfrey Reggio. Right: Brian and Doug Coffin.

STACEY NEFF

Rose Garden pizza

THE HORNO

THE PIZZA TASTERS

Top, left to right: Doug Coffin, Shari Morrison, Stacey Neff, Stewart Colgate, Godfrey Reggio, Martin Horowitz. Bottom left: Doug Coffin. Bottom right: Carlos Carulo and wife Victoria Ferrara.

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Into the Woods

One Santa Fe chef’s love of harvesting food from the forest

BY ROCKY DURHAM | PHOTOS BY DOUGLAS MERRIAM

FORAGE: A WIDE SEARCH OVER AN AREA IN ORDER TO Piatto has foraged for some of his restaurant’s ingredients, as have OBTAIN SOMETHING, ESPECIALLY FOOD OR PROVISIONS . Jennifer James and Nelle Bauer (of Albuquerque’s Jennifer James That pretty much sums up my childhood adventures in and around 101) and Jennifer Hart (of Taos’ The Love Apple). Living close to the Los Cerrillos, New Mexico (a small community south of Santa Fe, mountains obviously helps, but all of New Mexico has pretty easy just off the Turquoise Trail). My friends and I would leave the house and immediate access to all kinds of nutritious wild foods, from and somehow, without the use of cellular phones, GPS, or even a stinging nettles and miner’s lettuce to piñon and cholla buds—and wristwatch, meet up with another small contingent of kids and be of course mushrooms. totally out of touch with any parental figures for most of the day.

The upside of modern agriculture is that it has evolved to feed The arroyos were our highways and the sandstone rock forma- millions of people efficiently and quickly. The downside is that tions our fortresses. We knew of the legitimate dangers—black we are becoming increasingly disconnected from the people who widows, scorpions, rattlesnakes—and how to avoid them. We also grow our food, food that may even be genetically altered, sprayed knew that the wilderness with pesticides and herbiin our backyard provided cides, and processed beyond everything we might need recognition. All reasons for for the day, from our trusty the rebirth of community sticks (a requirement for the gardens, the rise of farmers’ young adventurer) to our markets, and the appeal of picnic lunches. The entirety the Slow Food movement— of my edible plant knowleven the demand for organedge was passed onto me by ic produce and gluten-free other kids. (Autodidacts, the products. And the reason lot of us.) Which is, without why many of us are heading question, the most frighteninto our wild spaces to forage ing aspect of this story. The for edible bounty. items on our foraged menu Mother Earth wants us were delicious and easy to to forage. How do I know? identify: wild raspberry, She places delicious items all piñon, asparagus, purple salaround us. And very few of sify root (which we called them are poisonous. Unless “potato flower”). you think extremely bitter is Compared to previous delicious, in which case you generations, we were softmight be in trouble. Many of ies; by modern standards, nature’s poisons are alkaloid we were wild. and therefore very bitter. Ever Today, for myself and a notice how kids’ palates tend growing number of others to be tuned for less chalhere in New Mexico and lenging flavors? How they’ll throughout the U.S. and readily eat a salad made with Europe, running through sweet butter lettuce but recoil the forest and digging up from a bitter arugula or goodies isn’t just a nostalradicchio? This natural avergic trip back in time or a sion in children never really matter of wanting to be a part of the growing goes away, and surely keeps the risk of accidental Chef Rocky Durham and wife Jody venture artisanal movement. (As movements go, foragalkaloid poisoning among adults very low. into the Sangre de Cristos on a foraging run. ing has had its adherents for years—and preUnfortunately, in the kingdom of fungi those Opposite: Aspens, Santa Fe National Forest. dates the artisanals by a good decade at least.) rules do not apply. A wildcrafter with just a little It’s more primal than that. It’s nutritious. It’s fun. It’s easier knowledge of wild mushrooms is an extremely dangerous breed. than you’d think.

Fungi can be tricky to positively identify. I’ve been harvesting Harvesting wild food—also known as wildcrafting or urban wild mushrooms in New Mexico for years, and I still only feel 100 foraging—is not only among the oldest and most basic of human percent comfortable picking six species—let alone eating them. activities, it’s also what connects us to nature. It’s an ancient prac- That said, I’m also able to positively identify about a dozen toxic tice that attracts modern-day naturalists and outdoorsy folk as varietals. The death cap is one mushroom my dad used to warn well as chefs and restaurant owners. Matt Yohalem of Santa Fe’s Il me about. It doesn’t have an unpleasant appearance, smell, texture, trendmagazineglobal.com

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or flavor. If you were to eat one you’d feel just fine for a few days, until one morning you’d urinate blood and then die from systemic organ failure, and there’d be nothing modern medicine could do to stop it. Frightened? You should be. Harvesting wild fungi should be undertaken only under the closest supervision from the most learned mycologists. Or in my case, an experienced French chef.

Now that I’m older (and most of my foraging buddies have moved away), the urge to harvest hits me hardest during summer monsoon season, when all kinds of goodies seem to spring up overnight. Before dawn or after an evening rainstorm, I head to one of my few secret spots (every forager has them). One of mine can yield 10 to 20 pounds of the king bolete mushroom in an hour of casual harvesting.

But I have learned—the hard way—not to harvest casually. Why? Because there are certain types of culinary fungus that we cannot cultivate, despite all our advances in science and agriculture, and the king bolete is one of them. It’s a finicky fungus when it comes to when and where it will grow. However, if you harvest it correctly, that same area can bear fruit the following day, assuming the conditions remain conducive to the flush. (Flush being the sudden abundance of new plant growth.)

And assuming you can maintain enough self-control not to keep looking. Foraging’s a bit like going on an Easter egg or treasure hunt. Which is why it held such great appeal to me and my buddies: the forest was filled with endless bounty. Even now, when I’m done, I have to force myself to turn around and head back to my truck after a successful outing. And on the way home I still find myself taking the most circuitous route back and craning my head to see what else might be out there.

Getting back to the bolete. In my experience, these mushrooms like areas where pine and aspen trees grow together. They do not necessarily grow on the north face of hills or alongside rotten logs—although they sometimes do. I’ve picked them May through October in dark loam and sand. With such a variety of growing conditions, you would expect them to be more common, but trust me, they can be rare and elusive indeed.

The first outing of the year, it takes a moment to retune my eyes to see the broken earth where an immaculate cep—an edible mushroom distinguished by a smooth reddish-brown cap, stout white stem, and pores rather than gills—is emerging. Once you spot one, others start to come into view; but until you “break the seal,” they remain hidden in plain sight.

Northern New Mexico also hosts several kinds of delicious and edible cacti. One is the prickly pear, more specifically, the paddles of the prickly pear. These can be carefully despined, julienned, and eaten raw in a salad of verdolaga (purslane) and dandelion greens, or sautéed with wild onion and juniper berries. One of the components in cactus paddles helps the body regulate blood sugar and may even offer amazing results when eaten by those with diabetes. The red fruit of the prickly pear is also healthy and delicious. Full of vitamins B and C, they can be carefully peeled and eaten as you would a strawberry, or added to the blender when making margaritas.

The color is wondrous—the brightest magenta.

One reason foraging has taken off is that it can be an urban endeavor—you don’t need to live in the woods. People forage in dense, urban communities across the country, from San Francisco and Los Angeles to Minneapolis and New York. Back in the day, authorities arrested naturalist “Wildman” Steve Brill, who’s been foraging Manhattan for decades, for eating a dandelion. These days he leads local restaurateurs on foraging expeditions throughout some of New York’s parks and nearby wildernesses. And there are now foraging communities in just about every major city.

Before venturing out on your own, however, here are a couple of tips. For one, thoroughly wash everything you gather. (Wash all those dandelion greens, for example, especially if gathered from anywhere near a dog park.)

Also, be sure to familiarize yourself with trespassing

Durham doing his best Bear Grylls imitation

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and property-destruction laws before accidentally poison ourselves.)

The forest’s bounty, clockwise from top left: an aspen bolete, wild picking any fruit.

I’m not suggesting that we abandon arugula, juniper berries, a prickly pear cactus, piñon, dandelions For me, what started out as an escape the urban world and return to the forest has become part of my food philosophy. primeval (the fact that so many of us As our culture moves further away from the land, we lose touch with live in cities is what keeps the wilderness wild). But I do think our wild roots. As a matter of linguistic fact, cultured is an antonym it’s essential to understand the natural world. It is key to our of wild. The very first groups of humans were bands of hunter- continued existence that we recognize the interconnectedness of gatherers—wild and uncultured perhaps, but very much connect- all beings and realize that we are just cogs in the great machine. ed with the Earth and their surroundings. Today’s human is on These truths can be easily assimilated when we derive some of the other side of that arc and almost completely out of touch our sustenance from the land. with nature. Although many of us regularly enjoy time in the As Henry David Thoreau famously put it, “All good things are great outdoors, few of us would likely be able to fend for ourselves if wild and free.” So be wild. Be free. Eat well. And in case you need forced to live off the land. (Most of us would probably starve or some culinary inspiration for your spoils, here are a few recipes.

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Wild Mushroom Paté 1½ lb. wild mushrooms (king bolete, chanterelle, hawk’s wing), cleaned and finely chopped 1 red onion, diced 1 T. wild garlic chives, minced ¼ cup butter ½ cup white wine 2 T. wild parsley, chopped 1 T. sage leaves, chopped Salt and pepper to taste

1. Sauté mushrooms, onions, and garlic chives in butter for 10–12 minutes, stirring occasionally.

5. Press down with a rubber spatula to remove any air pockets and create a smooth, flat surface.

2. Add white wine and simmer for 5 minutes.

6. Cover with plastic wrap and refrigerate overnight.

3. Season with herbs, salt, and pepper and let cool to room temperature.

4. Line a small loaf pan with plastic wrap and fill with mushroom mixture.

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7. Serve with crusty bread, mustard, and pickled vegetables.

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Grilled Cactus Spring Rolls with Juniper Ponzu 1 package rice paper wrappers 2 large prickly pear paddles, thoroughly despined 6 purple salsify roots, cleaned and cut into ¼-inch rings 1 small packet of mung bean noodles, soaked until soft 1/3 cup chopped cilantro 1 T. toasted sesame oil

1. Place paddles on a preheated grill and cook each side for 3-4 minutes or until skin becomes dark green and grill marks are evident.

2 Allow paddles to cool and slice into thin strips.

3. In a large bowl, thoroughly combine cactus, salsify, noodles, cilantro, and sesame oil.

4. Soak 1 rice paper wrapper in room temperature water for 1 minute or until just pliable.

5. Place on a clean work surface and place 3–4 T. of noodle mix in the center of the wrapper.

6. Wrap into a tight roll with the ends folded in and reserve.

For the Juniper Ponzu: 1 T. juniper berries, crushed 1 garlic clove, minced finely 2 tsp. crushed red chile flakes ¼ cup soy sauce

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2 T. lemon juice 2 T. honey

1. Place all ingredients in a small saucepan and bring to a simmer.

2. Take off the heat and steep for 30 minutes.

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Grilled Wild Asparagus with Dandelion Pesto 1½ lbs. wild asparagus spears, blanched in salted water and chilled 6 cups young dandelion greens and verdolaga, thoroughly cleaned ¾ cup toasted piñon nuts, plus more for garnishing 2 T. minced wild garlic chives (reserve flowers for garnishing) ¾ cup olive oil (more as needed) ½ cup local sheep’s cheese, crumbled Salt and pepper to taste

1. Combine greens, piñon, and chives in a food processor and pulse to blend.

With motor running, pour in olive oil.

2. Season to taste with salt and pepper.

3. Lightly oil asparagus spears and place on a preheated grill.

4. Cook for 3-4 minutes or until pronounced grill marks are achieved.

5. Arrange on a platter and spoon pesto over the middle of the spears.

6. Garnish with piñon nuts, chive flowers, and sheep’s cheese.

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Adelitas Alameda Café Anasazi Restaurant Andiamo!

Arroyo Vino Atrisco Café Bert’s Burger Bowl Bouche Bistro Café Pasqual’s Casa Chimayo Coyote Café Del Charro Dr. Field Goods Kitchen El Farol Epazote on the Hillside Fuego at La Posada Gabriel’s Georgia Geronimo Iguana Café Il Piatto izanami Izmi Sushi Jambo Café Jinja Joseph’s of Santa Fe l’Olivier La Boca La Casa Sena La Plazuela Las Fuentes Loyal Hound Luminaria Maria’s Midtown Bistro Omira Grill Osteria d’Assisi Pecos Trail Café

Pizzeria da Lino Plaza Café South Pranzo Pueblo Artist Café Pyramid Café Red Sage Restaurant Martin Rio Chama Ristra San Francisco St. Bar & Grill Santa Fe Bar & Grill Santa Fe Capitol Grill Santacafe Shohko Café Steaksmith at El Gancho Sweet Water Harvest Kitchen Swiss Bistro & Bakery Taberna La Boca Tabla de los Santos Terra at Four Seasons TerraCotta Tesuque Village Market The Bistro at Courtyard The Compound The Galisteo Bistro The Grille at Quail Run The Guesthouse The Old House The Palace The Ranch House The Shed The Teahouse Tomasita’s Tortilla Flats Vanessie Vinaigrette Zia Diner

oto by Lois Ellen Frank

cheers to all these great santa fe restaurants for another great event!

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Geronimo Through the Years LEGENDARY CANYON ROAD EATERY AGES TO PERFECTION

O

n any given day on Canyon Road, a turquoise and white tour bus lingers before the meticulously restored 18th-century adobe that houses Geronimo restaurant. And through his blaring microphone, a tour guide stridently may well announce, “Founded in 1990, this restaurant was named after the Apache Indian who fought against Mexico and Texas during the Apache Wars.” Which sounds entirely plausible.

Except it’s entirely not. Geronimo, says its partner and general manager, Chris Harvey, was named after Geronimo Lopez, who built the adobe house for his family of 13 in 1756. (In 1769 Lopez added a second home to the property, which by then contained crop and pastureland with a 14-tree orchard.)

Harvey should know. He has spent his entire career at Geronimo. “I started as a waiter in the summer of 1992,” he recalls, leaning into one of the brown cowhide–covered chairs he designed and had custom made for the restaurant. “I was intrigued by the owner’s entrepreneurial spirit.”

That former owner was Geronimo founder Cliff Skoglund, who saw culinary potential on a narrow, serpentine street that had suddenly turned into an internationally renowned artistic epicenter. “He created a casual new Southwestern restaurant in a failing space,” says Harvey.

By the time Geronimo arrived, Canyon Road had transformed itself into the artistic artery it is today.

But the road hadn’t even been paved until 1964, and despite an influx of artists beginning in the late 1800s, until then it had remained as much a farming community as an artistic mecca. The ground started to shift in the late ’70s and early ’80s, when artists and their studios grudgingly gave way to art purveyors.

With the advent of “Santa Fe Style,” the town’s art market became the second largest in the world, and Canyon Road blew up.

Yet, aside from El Farol, which opened just up the street from Geronimo in 1985, and The Compound, which had been around since the ’50s and which cemented its current national reputation when chef Mark Kiffin reopened the restaurant in 2000—there

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BY SUZANNE O’LEARY | PHOTOS BY KATE RUSSELL

Geronimo server Barbara Hanna prepares for dinner.

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Geronimo Lopez built this adobe house for his family of 13 in 1756.

Chef Eric DiStefano in his Geronimo kitchen

really wasn’t another quality restaurant on the City Different’s most iconic avenue.

Enter Geronimo. When it arrived in 1990, the timing couldn’t have been more auspicious. Mark Miller had opened Coyote Café in 1987, and the effect was immediate. Coyote not only established Southwestern fare as an imaginative cuisine to be reckoned with and imitated, but foodies from far and wide could add another destination to their bucket list. But Coyote was downtown.

Luckily for Geronimo, those first five years brought little competition, allowing the restaurant to focus on what would become its signature: impeccable service.

The type of service you’d expect at the oldest and finest venues in New York, Paris, Chicago, or London. “The service at the French Laundry and Per Se [the California and New York restaurants started by Thomas Keller] was really the pinnacle for us,” says Harvey, who ate his way across the country in Geronimo’s formative period—not just to savor the great food but to learn from and emulate the overall experiences the best restaurants provided.

“The service at these places was so refined and incredible. Watching these staffs work 56

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together was eye-opening. They all worked as a team, they were happy, and they anticipated every need. You really understood that they cared about your experience.”

After starting out with bistro service (where a waiter takes your order, and a busser busses your table), Geronimo soon eliminated the busser and went with a captain-server model. “We wanted to have knowledgeable professional adults on the floor serving and informing you,” says Harvey. Geronimo also made training a priority; moving from server to captain usually takes six months or longer.

“I believe that while food trends are important and the culinary revolution is real,” adds Harvey, “ultimately, the key to success is the ability to deliver on hospitality.”

Despite its ideals, the restaurant didn’t make the leap into national consciousness until Eric DiStefano arrived in 1995.

Born and raised in Hershey, Pennsylvania, DiStefano was the chef de cuisine at the Hotel Hershey (after apprenticeships and stints from Boca Raton to Scottsdale) when renowned chef Daniel Boulud called to tell him of an opportunity in Santa Fe. The Hacienda del Cerezo, an obscure

bed-and-breakfast, needed a chef. DiStefano accepted the position, and he and his wife relocated—cold—to Santa Fe. After a year and a half there, DiStefano was about to head back East when Geronimo contacted him.

“We were on the hunt for a new chef when we heard about this guy that was working at a little-known B&B,” remembers Harvey. “We both ate at the B&B and were completely blown away. I can still taste the veal chop that he served. For me, his food upon first bite is an explosion of comfort flavors that lend a familiarity and accessibility to it that you know, but then you’re hit with complexities that you might be unfamiliar with that just blow you away. For example, his most popular dish, the elk tenderloin—essentially a steak-and-potatoes dish. But Eric marinates the elk first in beer, hoisin, and garlic, grills it on mesquite to give it a smoky flavor, and creates a brandied mushroom sauce for the potatoes. It’s an explosion of flavors that you literally cannot stop eating. We have guests that come to Santa Fe every year just to get that dish.”

Before DiStefano’s arrival, recalls Harvey, Geronimo’s menu “had been dictated by the local clientele. The food was very casual. Our most popular item was duck rellenos with a mole sauce—very simple food.”

DiStefano quickly changed that. “The original kitchen was a mud hut,” says DiStefano. “And the food was so basic.

Chris gave me carte blanche to remodel the kitchen and change the entire menu.

What a dream, to just go and be creative and feel trusted.” DiStefano’s philosophy has remained simple but ambitious: to meld flavors that are unique and create a global influence.

“I remember the first dish that came out of Eric’s kitchen,” says Harvey. “It was the finest salad I’d ever seen—it was

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so beautiful. And I couldn’t believe how lucky we were to have him. I was beaming, thinking, ‘This is it. We’ve made it now.’”

Indeed, Geronimo had arrived.

For about a decade, all went well. Then Geronimo’s founder overextended the restaurant, putting it in jeopardy. When creditors came after the business for debts

incurred by the former owner, Harvey refused to let his beloved establishment be shut down. He rallied his workers around him, and, with utmost professionalism, he and his staff continued to provide its guests with the same impeccable service and five-star cuisine for which Geronimo had always been known. Not that Harvey

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Partner and general manager Chris Harvey

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Bartender Camille Bremer prepares Geronimo’s signature cocktails, designed by master mixologist Quinn Stevenson.

Casa Chimayo Restaurante 409 W Water St, Santa Fe, NM (505) 428-0391

would ever let on—then or now—about how stressful that time was, or give away any gossipy details. Harvey, true to who and what he is, stuck to the high road.

And while many a restaurant has gone through tough times and has had to put out small fires, few have had to face a virtual conflagration, and have done so with such grace, class, and fortitude. So if there’s a quality that further distinguishes Geronimo from its fellow restaurants and restaurateurs, it’s that Harvey and his staff have weathered the worst and come out stronger, better, and likely more grateful and appreciative. And if so, perhaps that gratitude and appreciation means more, is felt more, and is what’s also passed on to its diners. When Harvey says, “It’s not just about the food,” it’s not. It’s about everything that has gone into it.

But getting back to 2007, Harvey dug deep. He partnered with Lloyd Abrams in taking over ownership. They reorganized, they recapitalized. They stuck it out. And in 2008, DiStefano (still the owner and chef at Coyote back then—and today) returned to Geronimo as chef and partner. “It’s been an evolution to get to where we are today,” says Harvey, looking back somewhat diplomatically at the restaurant’s many iterations. Geronimo’s lifeblood is the brotherhood between Harvey and DiStefano, which stands on a rock-solid foundation 58 TREND Passion of the Palate 2014/2015

defined by a shared vision.

Although its cuisine once rode the long coattails of “Southwestern fusion,” today both partners describe it as “eclectic international cuisine with a French base.”

Remaining constant are its fresh seasonal ingredients (the legacy of DiStefano’s mother’s garden) and the chef’s spot-on flavor combinations—which often come to him in dreams. “I have a notebook on my nightstand, to take notes,” he says.

Geronimo’s menu remains as enticing as when DiStefano first arrived, and four of its early menu staples are still perennial favorites: from the elk tenderloin to the mesquite-grilled Maine lobster tails.

“We’ve never, ever been closed in 23 years,” says Harvey. “We came close once, when we had a fire roaring inside one of the walls. But we tore through the wall, hosed it down, and covered it with an Indian blanket we bought down the street.

That was a long time ago. We filled the wall with concrete and made the fireplaces gas after that incident. We didn’t miss a beat. We were open for dinner that very night!”

“Yep, we’ve had crazy ups and downs,” says DiStefano. “But when the smoke settles, Chris and I will be the last two standing.” And in all likelihood, they’ll still have to explain just how Geronimo got its name. R

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In 1930 Ernest Thompson Seton bought 2500 acres of land outside of Santa Fe. In purchasing this land Seton sought to create a context where humans and wildness and plants and soil interacted in the landscape. Seton’s dream of wildness was not a pastoral fantasy. It was grounded in reality and served by his lifetime of learning in and from nature.

In 2004 The Academy for the Love of Learning acquired Seton’s home and his last 86 acres. The Academy’s work on this land began with the restoration of a property that had become wounded and imbalanced. This fragile place had become bereft and separate from its own regenerative capacity, well being, and community. We had to clear it, we had to see it, and we had to give it the space to become itself. Then and only then could we grow buildings, cultivate learning landscapes, and create activities and programs.

The Academy’s work on this ground continues with a stewardship philosophy that encompasses the way we use the space and place buildings on the land.

Our buildings incorporate state of the art water conservation practices and green energy processes. Adjacent to every structure we have created swales that restore the natural flora and wildlife corridors to welcome back the birds, snakes, rabbits, lizards, and other community creatures. Making this not just a landscape that we learn in but a landscape we learn from. It is a living landscape being cultivated and stewarded in a way that utilizes the Academy’s learning practice.

We understand what Seton was telling us – that the ground we stand on matters. That restoring this land to harmony is the foundation of any learning philosophy. We tend to the ground we stand on so it can hold all that can happen here. This landscape is capable of promoting reflection and provoking disorientation. Which makes it a perfect learning lab for how to live and transform in harmony.

The mission of the Academy for the Love of Learning is to awaken, enliven, nurture, and sustain the natural love of learning in people of all ages. To achieve our mission, the Academy has developed transformative curricula and methodologies – our learning field inquiry approach – offered through our integrated set of programs, conferences, organizational practices and research.

Photo Credit: Kate Russell

The Academy hosts free monthly Evenings of Exploration and ongoing programs include, Leading by Being, Teacher Renewal, El Otro Lado in the Schools and Lifesongs. The intent of our work is to help stimulate and support the rebirth and renewal of learning and education in America.

®

Server Micah Bowman attends Farm & Table’s great room. Right: The restaurant’s newest executive chef, Sean Sinclair.

Chef TASTES

Locally Sourced Chef returns to bring New Mexico farms to the table

S

ean Sinclair knew early on that preparing food was going to be a major part of his life. Long before his first gig frycooking at Wing Stop, he was soaking in the teachings of his beloved grandmother, Dora. “Some of my earliest, and fondest, memories happened in my grandmother’s kitchen,” recalls the 25-year-old. “Since then, I’ve never really thought about doing anything other than cooking for a living.” Now, not so much later, he’s the executive chef of what is arguably Albuquerque’s hottest restaurant: Farm & Table.

The mission at Farm & Table is well documented: a singleminded focus on locally sourced ingredients grown with an emphasis on sustainability. And while widespread press coverage has placed the restaurant firmly on the national culinary map, it makes sense that when the top position opened up late last year, the new executive chef would be sourced locally as well.

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TEXT AND PHOTOS BY SERGIO SALVADOR

Sinclair grew up in Tijeras and graduated from La Cueva High.

He credits time working under Stephen Shook and Jeff Trollinger at Chama River Brewing Company with bridging the gap from his early interest in cooking to having developed a deep passion for it. “It was at Chama River that the fire was lit for me,” says Sinclair, “where the foundational bits my grandmother had shown me were taken to another level through the training I got there.” Clear-minded about his trajectory, Sinclair determined that his next step involved a westward move to the Le Cordon Blue College of Culinary Arts in Portland, Oregon. It was there, and in the kitchens of Portland’s top restaurants, that Sinclair’s eyes were opened to a different level of local sourcing and where he truly hit his stride. “In Portland, using local purveyors isn’t a trend. From food trucks to five-stars, seasonal menus and local ingredients are standard operating procedure.”

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Chef TASTES

Ric Murphy’s Sol Harvest farm (located just west of the restaurant) provides a steady stream of locally grown food each season. Top: Diners on the patio of the North Valley, Albuquerque restaurant

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Portland kitchens, ultimately finding inspiration working alongside chef Jake Martin at the (recently shuttered) five-star Genoa. “Jake was putting out by far the most beautiful food I’d ever seen,” says Sinclair. The menu at Genoa changed each month, and because of its small size, the crew was encouraged to spread their wings creatively. The experience resonated with Sinclair and continues to express itself at Farm & Table, where presentation and plating have become a higher priority since his arrival. The tight-knit, knowledgeable Farm & Table crew take their preparation and menu-planning to new levels of creativity and innovation, benefiting from the trust that owner Cherie Montoya Austin has in Sinclair and his team. He also works closely with general manager Amy Haas to keep the restaurant organized and firing on all cylinders. Farm & Table’s daily menu meetings are designed to educate the servers so that they can help deliver not only delicious food to tables but disseminate a meaningful community message as well. “There is a sense of responsibility and pride that makes working here more a craft than a job,” says Sinclair.

A key to the Farm & Table mission is found in Sinclair’s relationship with onsite farmer Ric Murphy and his Sol Harvest farm. “We talk every day,” says Sinclair. “Ric and the farm provide a constant reminder about where the food on our menu is coming from, and diners can look out from their table and see the source for much of what is on their plate.” Chef and farmer sit down together a couple times each week and plan for the future by going over seed catalogs and thinking about ways the menu can be inspired by the farm’s direction and vice versa. Says Montoya Austin, “If I need Sean for something and can’t find him, more often than not I’ll peek outside and see him on the farm. He’s very connected to it.”

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Owner Cherie Montoya Austin

Chef TASTES

Heirloom tomatoes with a caramelized onion mostarda. Below: Lamb T-bone with fregola salad and fried green tomatoes.

Farm & Table’s goal of 100 percent local sourcing for their menu is an ambitious one, but they are not so far away. As of this writing, the menu is 80 percent locally sourced, according to Montoya Austin. Sinclair works with more than 65 local purveyors, running the gamut from small North Valley heirloom tomato growers to

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chicken-egg harvesters like St. Francis Farms in the South Valley.

Fresh pork is brought in from Albuquerque’s Kyzer Farms. And Alameda Farms, owned by Montoya Austin’s father, David Montoya, supplies the beef from the same 10-acre property as the restaurant.

Since his arrival at Farm & Table, Sinclair has effortlessly fallen into step with the restaurant’s mission, while also pushing the staff and purveyors to take the menu to another level.

Young for an executive chef, Sinclair projects an enthusiasm that can be missing in kitchens with chefs who feel they’ve arrived or are set in their ways. “His energy—the eagerness to continue learning and to grow—is amazing,” says Montoya Austin. “And it matches the dynamic of our evolving, ever-changing restaurant perfectly.”

Sinclair’s youthful exuberance and energy are balanced by an even-keeled demeanor that Montoya Austin says has been a trademark of all three chefs who have worked at Farm & Table. It’s one of the first traits she looks for in the person wanting to steer the ship, one she immediately saw in him.

“His respect for the people he works with fits into the teamoriented restaurant we strive to be,” says Montoya Austin, “and his ability to take the air out of difficult situations is something we really need in this business.”

Far from the clichéd hierarchy with a screaming sociopath chef at the top, the “reality TV” version we love to hatewatch on cable, Farm & Table is instead a restaurant that holds the basic integrity of food and a sense of community at its core. R

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Screen of Memory “These recent formless painting events are intended to coalesce an energy that we all share�

C Gurd charlescgurd.com

Santa Fe Independent Film Festival october 15-19, 2014 Meet the FilMMakers experience the Movies

5 DayS, 5 theaterS

over 100 Films and events one of MovieMaker Magazine’s 25 coolest Film Festivals 2013

The Santa Fe Independent Film Festival takes place in downtown Santa Fe, with screenings at The Lensic Performing Arts Center • CCA Cinematheque • Jean Cocteau • The Screen “an all-inclusive resort for cinephiles…” – Filmmaker Magazine “a young Sundance” – IndieWire

www.SantaFeIndependent.com 418 Montezuma Ave. Suite 15 Santa Fe, New Mexico 87501 505.349.1414

Partial Funding Provided by the City of Santa Fe 1% Lodgers’ tax

Artist STUDIO

TEXT BY CRAIG SMITH | PHOTOS BY KATE RUSSELL

Trouble with the

Curve

Angular artist Ted Larsen wrestles with scene + planes + higher bar

T

ed Larsen has the eyes of an artist, the hands of a man used to working with materials and machinery, and the mind of a philosopher-visionary.

For him, making art is as much about the contemplation and planning that goes into a piece as it is about the actual construction of the work—or even the finished piece itself. He cares deeply about art and its interface with both the theoretical world and the practical; and when the tall, lean Larsen comes into his intimate studio, he fits it to himself as if it were a shimmering carapace he drapes over his being.

Considering the range of works produced in it—from constructed pieces and paintings to objects meant to be attached to a wall or placed on the floor or a plinth—the studio is surprisingly modest.

Not for Larsen a giant loft with a north-facing skylight, or a salonlike reception room where importunate fans can crowd about and watch him work. His light-saturated single room, located in a mixed industrial-residential area of Santa Fe, has

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white walls on which hang various pieces and a cubic space just adequate to contain the tools and machines Larsen uses both skillfully and carefully.

Tables and shelves stand against some of the walls; the artist moves them around fairly frequently to create work surfaces that fit the needs of the moment. Pieces of scrap metal and wood are carefully placed here and there, but always ready to use. Works in progress line the room. His pieces range from not-quite paintings to not-quite sculptures, and are f luidly geometric, Matisse-like, mini Serras and/or Eschers in 3-D. And textured, all of them; not for Larsen the sheen-y shiny surface.

“The pictorial plane is quite interesting to me,” he says. “The image that occurs in that plane is an absolute. It is exactly what it is. It might take on metaphor or additional meaning depending on who looks at it, but it is always concrete.” Similarly, while his paintings and constructed pieces provide “a portal to the mind,” each work “is also an object. It sits in real space, it occupies an TREND Fall 2014/Winter/Spring 2015

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Artist STUDIO

Two of Larsen’s repurposed-metal constructs.

True Lies (2012), fashioned of steel, marinegrade plywood, silicone, and vulcanized rubber, stands on a welded steel plinth in his studio. Previous page: Better Than New (2014). Larsen’s metals often come from older wrecked cars with chalky, lead-based paints, which he finds in salvage yards near his home.

The artist takes a break in his studio, where he’s currently preparing for upcoming solo exhibitions at several prominent Texas galleries. Right: Larsen enjoys working with non-art and salvage materials, repurposing them and reidentifying their meanings in an ongoing experiment with contexts, hybrids, and scale.

environment, even if it’s painted on a wall.” Reality is all, though it’s up to individuals to define that reality according to their reaction to the work.

Larsen moved from Michigan to Santa Fe with his family as a child and grew up here. After graduating from Santa Fe Preparatory School, he earned a Bachelor of Arts degree from Northern Arizona University in Flagstaff. He was then considering moving to California or New York when family matters called him back to the City Different.

“I really didn’t intend on staying,” he confesses, but things changed when he met his future wife. “She had businesses here, and so here we are 25 years later,” he says. Besides his family and art, Larsen is devoted to outdoor living: he competes in mountain bike races and is an avid skier all

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winter long. Such activities are an important counterbalance to the many hours he spends in the studio, whether that time is spent in contemplation or action.

Passionate about making art for what he calls the right reasons, he admits that it’s not always easy to define them— “though you can always tell when work is done for the wrong reasons.” Along that line, he feels that Santa Fe artists do not always live up to their potential—which means that the art scene itself is held back from realizing its full impact.

“There’s a lot of pleasant stuff to look at,” he muses. “There’s reams of it in this world. There are so many people who make pleasant things to look at.

There are not a lot of people who make worthy things to look at. Though worthy things might be pleasant to look at.

They might be appealing. They might even have qualities to them that could be called decorative.

“But the worthy, that’s a hard place to stand, especially in a town like Santa Fe,” he continues. “I would love to see people with ability challenge themselves more. I think the level of discourse that we have available to us here could be significantly increased. We have a lot of amazing people around here who could push themselves more.”

Larsen has certainly pushed himself.

His work has been widely exhibited throughout the United States, with shows in more than 80 galleries, and exhibitions at museums including the New Mexico Museum of Art, the Albuquerque Museum, and the Philadelphia Museum of Art. He has also done residencies from New TREND Fall 2014/Winter/Spring 2015 213

Artist STUDIO

York to Morocco and lectured throughout the country.

Eventually, as Larsen expounds on art and the art world, it becomes apparent that his attitude and philosophy are as rigorous and deliberate as his finely crafted geometric sculptures. Sculptures that play—whimsically and intellectually— with Constructivism and ready-mades, assemblage and the pictorial plane.

“There are some amazing people in this community who raise the bar and hold the bar to a high standard,” he says, winding down. “I think it’s our obligation, our responsibility, to meet that standard.”

Happy as he is with his studio, Larsen is as practical about its limitations as about its benefits. “It’s hard to be in here sometimes,” he acknowledges. “Sometimes it’s hot, sometimes it’s really cold. It also can be dangerous working with tools—table saws are not safe machines! The fabrication techniques have some parts I have to be careful around. So I have to be very mindful and attentive.”

That attentiveness is also what Larsen’s works demand of the viewer—intentionally and unintentionally but never dogmatically. Simple as they may appear, their simplicity is not so elementary.

“Some of my work has to be made very exactly and very precisely,” he says.

“There’s a part of my personality that enjoys that, and a part of my personality that wants to be real slapdash and haphazard—anything but precise. I have to make myself contained environments or ways of working so I can explore those different aspects of myself in a way that illuminates them.”

Each work of art, then, contains all those different elements of his working environment—studio, tools, materials— and that sense of containment gives each piece an intensity, a tension.

“At the same time, I tend to develop a way of working or a strategy for a group of work that both deals with the perceptual issues I’m dealing with, as well as what the significance may be for me in making that work,” he says. “It’s a personal sort of confrontation. It’s a way of discovering who I am.” R 214 TREND Fall 2014/Winter/Spring 2015

coming to a digital device near you

This is Our Century.

Nathan and Shalene Dailey, Homeowners

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

216 TREND Fall 2014/Winter/Spring 2015

Santa Fe Albuquerque Rio Rancho EspaĂąola Las Cruces

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TRENDsource Creating the perfect space is an art—from architectural conception to masterful construction to impeccable touches in landscaping and interior design. TrendSource 2014 presents a look at the diverse talents of Santa Fe and Albuquerque firms devoted to the art of the perfect home.

DESIGN DIGS

BY CRAIG SMITH | PHOTOS BY KATE RUSSELL

Have no deck

house music

I

f architecture is, as Goethe once said, “frozen music,” James Satzinger is a modern Mozart of materials—a man whose designs have the inevitability of melody, and their realizations the power of consistent harmony.

Both show strongly in Satzinger Design’s current project, Casa Carolina, a new residence at 129 Circle Drive in Santa Fe. The home combines contemporary construction techniques with inspired design, and Western practicality with a serenely Eastern sense of spareness and quiet. It’s also a visual statement of Satzinger’s views on how architecture functions—as an art form, as a way to provide grounding within a landscape, and as contemporary form defined by function, giving residents both a metaphysical hearth and a practical home.

“I’m in my forty-first year of business, I’m happy to say,” notes Satzinger, current president of the American Institute of Architects’ (AIA) New Mexico chapter, which will host the AIA Western Mountain Region conference this October 16 to 19 in Santa Fe. Speakers include the parent of New Urbanism in city planning, Greek Los Angeles architect Stefanos Polyzoides; Bronx-born conceptual artist and landscape architect Vito Acconci; and wife-husband duo Billie Tsien and Tod Williams. David Lake of Lake|Flato Architects will jury a design competition, and a panel of experts will give talks on everything from indigenous planning and the design of the

218 TREND Fall 2014/Winter/Spring 2015

James Satzinger’s newest Parade of Homes winner is simple, clean, and green

Spaceport to a nature patterns workshop and the role of social media in architecture.

“I started out when I was 22, as a union carpenter, having dropped out of graduate school in fine arts in California. Pretty soon I started drawing plans, and my father recognized my talent.” In 1973 he fronted his son enough capital to design and build his first house.

From that start, Satzinger didn’t look back. He progressed from carpenter to contractor, and later passed the professional architecture examination with colors flying. His original practical background still stands him in good stead, as he continues to do some finishing work and insists on every detail being as perfect as the general whole.

Over the years, Satzinger’s work has evolved from a love of geodesic domes and earthy California coastal wood structures, to adobe architecture and construction influenced by his move to Santa Fe, then on to more Modern ideas over time. Of the local style, he notes, “With our flat-roof vernacular, it’s much easier to do Modern design here than in places where roofs are pulled down over a building’s forehead.”

Casa Carolina’s modernity and clean design do not mean a lack of practicality, however. The 3,463-square-foot single-family residence offers three bedrooms, four baths, a two-car garage, additional parking, and a generous studio-office area that could serve as guest quarters or a separate, fourth bedroom. Most rooms provide

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Guest quarters or work/play studio, as viewed from a sheltered courtyard, where walking surfaces include New Mexico flagstone, colored concrete, and washed aggregate. Left: The open dining room/kitchen features colored concrete floors, hard-troweled gypsum-plastered walls and ceilings, and Douglas fir timber, with natural stone accents. The kitchen, shown in part at right, contains cherry-faced cabinets and an eating bar.

Cover page: Entry gallery into the living room, with dining room and kitchen to the left and sheltered courtyard to the right. The home’s furnishings were designed by HVL Interiors.

DESIGN DIGS

wide-open views from the house’s extensive portal and terrace to the mountains beyond. High-quality construction guarantees reliability, while the frank, open spaces invite owners to manifest their personal touches. Clearly, the house could absorb a variety of floor coverings and furniture, and accept a wide range of visual art—from paintings and prints to sculpture. And its many reflective surfaces enhance the already fine acoustics—perfect for a live piano or guitar and the invisible sound system throughout the house.

On the smart/green side, Carolina incorporated sufficient sustainable materials and construction to earn the project a Green Build New Mexico Emerald Rating, the top certification level. The house will be fully powered by a 4.4-kilowatt photovoltaic solar system and conserve energy through hydronic radiant underfloor heating.

And Satzinger was just as conscientious about the home’s water usage, including such features as thermal solar hot water, a watercatchment system, and low-flow plumbing fixtures. Each courtyard, patio, and portal is precisely located for maximum privacy, shade, Architect James Satzinger at Casa Carolina. Above: With views to the southeast, the home’s living room contains south clerestory windows and a light shelf for passive solar gain and balanced daylighting. Its vigas and ceiling decking derive from Douglas fir harvested in the aftermath of the 2011 Santa Clara Canyon fire.

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and sun-capture, and all lighting is LED, which consumes about 20 percent of the energy of incandescent lighting.

For Satzinger, the music is between the site and the materials. He incorporates Santa Fe style with a contemporary flair. “The strong stucco masses anchor the fine wood detailing, which adds warmth and a human touch,” he says.

The site and views are noteworthy as well. Tucked into a hillside plot (“the house basically ladders with the natural contours,” says Satzinger), the home offers notable visual security as well as outlooks to mountain views, from the Santa Fe Ski Basin and Sangre de Cristos in the East, to Sun and Moon Mountains in the South.

point against an outer wall. “This is more subtle. It doesn’t demand to be designed around,” he continues. “It’s more like a piece of furniture in the room.

“I think the continuity of surfaces in the house is really kind of cool,” Satzinger adds. “There are a lot of lines that form T intersections, often next to openings.” There’s also a hierarchy of space and detail—the private rooms have more intimate, seven-foot doors, windows, and soffit heights, while shared spaces sport eight-foot openings, both with ceilings extending several feet above, creating a permeating sense of calm and order. “I create pockets above major windows and doors for shades so the necessary hardware—practi-

In the master bedroom, smooth-finish gypsum plaster is accented by Douglas fir timbers, shelves, and doors.

The home’s living and dining rooms, kitchen, bedrooms, and baths all utilize light, views, or both to bring the New Mexico landscape and light into the house without sacrificing privacy. “I think I walk the line between modern and respect for tradition,” says Satzinger.

“Every project begins at its location. Then it’s figuring out how to enhance instead of ruin the beauty of the land. Sometimes you can bring out a whole environment that was otherwise unseen.”

Carolina, like all Satzinger homes, was built to its site. “I’ve created an open living area with gallery wall spaces flowing into each other and with as much access to the outdoor spaces on either side as possible,” explains Satzinger, who believes that a living room should be lived in, not languish as a frozen display area. Carolina’s fireplace occupies the center of the area instead of forming a focal

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cal but not always attractive—is hidden.” Another nice continuoussurface touch, more personal, is in the master bath, where a wide banco encases the bathtub and provides seating for the tub and glassed-in shower.

“Each site and each client speaks to me,” says Satzinger, looking with justifiable pride on his house, “and the product of that intervention between the site and the needs of the owner, user, or client are what yield the ultimate design.

“I think my job is to set the trend, not to follow it,” he adds. “This is basically Satzinger Design saying to the public, ‘This is how we think you should live in a residence this year . . . with all of the latest features and all of the most practical things, and all the joy that we can muster.’” R TREND Fall 2014/Winter/Spring 2015 221

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ARCHITECT If you were to come across Paul Stevenson Oles on the road, blasting past you astride his black 2008 Triumph Bonneville motorcycle, you might well mistake him for a Wild Hogs extra, not one of the great architectural illustrators of modern history. And while most folks in his line of work tend toward gentler recreational pursuits, Oles’ rarified, hyperfocused, nano-detail-level day job seems to demand an equally intense after-work release. After all, Oles has spent most of his career bent over a drafting board with a black Prismacolor 935 wax-based pencil, bringing to spectacular life the blueprint skeletons of such architectural giants as Edward Larrabee Barnes, Moshe Safdie, Lord Norman Foster, Buckminster Fuller, I.M. Pei, and Cesar Pelli.

This fall, Oles, 78, is being honored with a 50-year retrospective by the Friends of Architecture Santa Fe. Coinciding with the American Institute of Architects’ Western Mountain Region conference being held in Santa Fe this October, the exhibit will most likely include some of the drawings featured here. The Santa Fe resident describes himself as “sporadically retired,” taking on the occasional nonrevenue project that’s close to his heart.

The LIFE + WORK + DRAWINGS of Master

Architectural Illustrator PAUL STEVENSON OLES OUTLOOK

BY CHARLES C. GURD DRAWINGS BY PAUL STEVENSON OLES

PAUL STEVENSON OLES

After earning degrees from Texas Tech and Yale Universities, Oles honed his rare skill during a stint with Walter Gropius and perfected it in the years he ran his own architectural firm (Interface Architects, Newton, Massachusetts) and taught at the Rhode Island School of Design, Yale, MIT, and Harvard. Having been described by the American Institute of Architects’ exclusive College of Fellows as “the dean of architectural illustrators in America,” he’s also known for cofounding the American Society of Architectural Illustrators in 1984.

Oles’ particular talent is in not only rendering a building before it is built but also in eliciting an emotional response from the viewer. Relying almost entirely on an architect’s two-dimensional drawings, Oles transforms their visions into nearthree-dimensional construction perspectives, drawings so lifelike that designing architects can clearly view their proposed buildings. The results can be revealing— or shattering. On most occasions, they lead to minor tweaks and adjustments, at other times the architect makes extensive changes.

Typically hired by architects, Oles’ illustrations are routinely shown to their clients, to a building’s owner, and/or to committees, customers, and the general public, and his realistic models have often been used for presentations, fundraising events, and sales pitches. His uncanny ability to render space informed by natural or artificial light can be so accurate that viewers sometimes confuse post-completion photos with Oles’ prior illustrations. “I fought tenaciously to avoid being pigeonholed as a ‘drawer,’ but it turned out to be what I did best,” he says. “So, as a pragmatist, I finally accepted the role, primarily, of visualizer.”

Growing up, Oles says he was more a fan of Frank Lloyd Wright than Gropius.

“It was highly ironic that, almost as an accident following my graduate degree from Yale, I was hired by Gropius’ firm in Cambridge,” recalls Oles. Ironic because Oles had been schooled as an undergrad in the then-very-old-fashioned Beaux Arts method, which taught him how to draw.

And draw well. Gropius, though, hailed from the Bauhaus School, which patently rejected drawing, particularly in the Beaux TREND Fall 2014/Winter/Spring 2015 223

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Above and previous page: Oles’ 1984 white wax-based pencil drawing of I.M. Pei’s Le Grand Louvre. Previous page, inset: Oles visited the building on a trip to Paris in 2009.

Arts style. “So due to an accident of misplacement, I found myself designated as ‘Grope’s Pencil,’ since I was practically the only one in the office who could draw like architects used to, and still needed to,” he says.

Although vernacular architecture has been around since the stitching together of the first lean-to and fort, the position of architect—or one person taking sole credit for a building—didn’t arise until the boom in cathedrals during the medieval era, and only concretely in Renaissance Europe in the 1400s. And while there’s no definitive date for when the architectural 224

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illustrator first appeared, up to the advent of AutoCAD software in 1982, most perspectivists (also known as renderers) did their work by hand.

“After experimentation with all the major wet and dry illustration media available at the time of my undergraduate training—pencil, inks, watercolor, opaque liquid media, various pastels and chalks, charcoal, etc.,” explains Oles, “I settled on developing a technique utilizing the waxbased pencil.”

And so, while the preferred drawing tool for most illustrators was a graphite pencil, Oles far preferred the wax-based

version, his trusty Prismacolor 935. “It was important in two ways,” he explains.

“One, it was less susceptible to smudging as the work progressed, and two, it produced a much deeper, matte black than the darkest tone obtainable with graphite.”

The latter distinction was crucial, as it allowed the exploitation of the full range of darks possible to obtain on a paper or film surface. This in turn provided an opportunity to create more realistic, “photographic” and reproducible images, which for most purposes were superior to the paler, less dramatic images yielded by graphite.

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PETER OGILVIE

The architect enjoys seeing NM on his beloved Triumph, sometimes tooling around Taos, Sipapu, Angel Fire, and Mora.

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But his use of this medium had other benefits. “Rapid, highly controllable textural variation was another critical advantage of the wax-based pencil, particularly when used on a board or paper with a degree of surface coarseness,” says Oles.

“By carefully varying the textural scale throughout the image, the illusion of depth could be easily obtained.” He also discovered that a certain degree of compositional control was possible through textural variation—by directing the viewer’s eye to those areas of greater importance in the image that require greater detail, and away from the edges and corners of 226 TREND Fall 2014/Winter/Spring 2015

the format.

Oles completed much of his work and established his reputation as an architectural illustrator nonpareil before the widespread use of software programs and their initially very awkward capacity to generate 3-D renderings based largely on a vector analysis of 2-D data. Prior to the introduction of computer-aided design (CAD) software in the mid-’70s, most of the methods available for generating a perspectival image were quite limited, and all required the manual sketching or drafting of a linear, “wireframe”-type base. The standard “office method” of perspective

and shadow construction was quite timeconsuming to learn and execute accurately. Thus, architects under short deadlines often settled for a freehand sketch, usually with predictably inaccurate results.

Oles, though, never really cottoned to such sketches. “Except in the case of an early, preliminary sketch, it has never been my practice to trust such freehand approximations,” he says. “Realistic architectural representation is almost always highly useful in generating or modifying a design while in process. Physical models, of course, can be useful as well. However, the amount of time required to construct

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as the design progressed by stages from a large, central, enclosed space to an airy, glass-covered cortile.” Oles’ illustrations revealed the implications of natural lighting, and thus convinced Pei to open the space to the sky using a glazed space frame instead of a concrete ceiling.

In addition to helping architects see things they hadn’t seen before and allowing them to make an alteration here or there, Oles’ illustrations have also led to entire project reformulations. For example, after project supervisors viewed his representation of the Washington, D.C., Naval Memorial, they deemed the original design too old-fashioned and European

primitive digital prints and images were limited largely to static 2-D wireframes, it was apparent that the future of the illustration profession would be transformed.”

Unfortunately, once the technology was developed, computer graphics remained in the purview of large corporations and the bigger firms. That all changed in the 1990s, with the arrival of the personal computer. Since then, AutoCAD and other programs have offered easy access to many. “The whole field of architectural illustration has been ‘democratized,’ with perspective and shadow-modeling software made more easy, more accurate, faster—and accessible to all,” says Oles.

I.M. Pei called on Oles to render his rigidly geometrical East Building for the National Gallery of Art. Left: initial drawing of the interior design development series. Above: final version. The building was completed in 1978.

or modify such models tends to make them more efficient later in the development of the design.”

For example, when he worked with Pei on interior design development for the National Gallery East Building in Washington, D.C., perspective drawings were more enlightening than physical models. “For complicated or unusual interior spaces—the Gallery interior is triangular in plan—simple interiors are of limited use and can even be misleading,” explains Oles. “Accordingly, Mr. Pei commissioned a comprehensive, ongoing series of perspective drawings from key viewpoints,

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for Pennsylvania Avenue. “The original proposals for the Naval Memorial and the National Holocaust Memorial were both superseded by other designs,” he notes.

While one might assume that a person so dedicated to his Prismacolor 935 would resist the advent of computer-aided design with every ounce of his illustrative being, Oles has embraced such technological advances. “As a practitioner trained in the laborious tradition of hand-drafted perspective and shadow construction, I personally welcomed computer-generated graphics,” says Oles, who’s still a part of the SketchUp software development team. “Even as early as the mid-’60s, when

“The not-so-good news is now that anybody and everybody can illustrate architecture, the level of judgment and skill, as well as the general quality of product, has deteriorated. Particularly with the advent of globalization and the Internet, very inexpensive illustrations obtainable from everywhere—often of mediocre accuracy or quality—has become the norm.”

But the technology is only as good as the people who’ve made it. Many, if not most, of the perceptual rules that apply to traditional, 2-D representation of 3-D objects or scenes (i.e., architecture and environments) also apply to computergenerated images. For instance, as Oles TREND Fall 2014/Winter/Spring 2015 227

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points out, the width of view from a given station point, which may easily be adjusted to an unrealistically wide angle in most computer software, can yield a distorted representation of distance and space. “The human perceptual mechanism is the constant limiting factor in the effectiveness of presented images— whether they’re traditional or digital,” he says. “The computer has, of course, added a fourth dimension, i.e., time, to the list of illustration options.”

And the virtual-reality “fly-by,” or “walkthrough,” which is now almost de rigueur among those hoping to sell their prospective buildings to clients or the public, is usually possible only with the help of the computer. “There are situations where movement is highly useful in communicating the design intent of an unbuilt project,” admits Oles, “and in the hands of expert practitioners, the image in motion can be extremely effective.”

As much as architectural illustration has advanced, and continues to change, though, the key is establishing that emotional connection with the viewer, be it the architect, client, or general public. As one of the recipients of the Hugh Ferriss Memorial Prize, awarded annually for excellence in the graphic representation of architecture, Oles continues to hold true to a potential building’s feeling as much as he’s obligated to render its technical

aspects in as accurate a manner as possible. Ferriss, too, working in relative obscurity, most times with nothing more than his charcoal pencil, tapped into people’s emotions—and helped give rise to some of New York City’s most iconic skyscrapers, from the Chrysler Building and Rockefeller Center to the Woolworth Building, the United Nations Headquarters, and the Daily News Building.

Oles’ and his fellow illustrators’ impact

Oles’ 1981 rendering of the Washington, D.C., Vietnam Veteran’s Memorial, designed by Maya Lin. Lin specifically requested that she appear in the drawing. She and her signature porkpie hat appear next to Oles at left. Top: Oles’ color rendering of the National Gallery of Art/East Building, which houses the museum’s modern and contemporary collections.

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Paul Stevenson Oles’ new exhibit, Truth in Architecture Retrospective, will feature his drawings and renderings. Presented by Friends of Architecture Santa Fe, the show will run from Friday, October 10, through Saturday, October 25, 2014.

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TOURS nn LECTURES LECTURES TOURS EXHIBITIONS EXHIBITIONS FILMS nn PUBLICATIONS PUBLICATIONS FILMS STEVE STEVEOLES, OLES,1602 1602CITY CITYLIGHTS/ LIGHTS/PROSPECTIVE PROSPECTIVEVIEW/ VIEW/‘05 ‘05

cannot be underestimated. Even as architects, designers, and renderers increasingly rely on technological advances. “Two words summarize my idea of the future direction of architectural illustration,” he says, “virtualization and fashion. And by “fashion,” he means branding. “In my view, form in architecture no longer primarily follows function, but fashion. Trend. What’s hot, or cool, or ‘in.’ More of a sense of what the punditry, opinion-makers, and other oftenself-appointed stylemongers dictate than an independent, intellectual, or even directly emotional response would support. And computerization has already affected, and will increasingly affect, the nature of architectural design.”

One need look no further than Frank Gehry’s Bilbao Guggenheim or the Disney Concert Hall to sense the profundity of shift from Cartesian to morphic architectural design, Oles adds. “‘Blob’ or ‘squishy’ architecture—made possible by the computer—is categorically distinct from the older, primarily orthogonal (‘rational’) design of the mid-20th century.” Similarly , the work of Zaha Hadid, Rem Koolhaas, and Daniel Libeskind suggests that the quiet, rational, primarily orthogonal mainstream design of the ’80s and ’90s will be seen less and less—at least in the magazines, museums, and galleries. What we’ll probably see more of, says Oles, “will be explosions or collisions of soft or angular architecture and less [of] ‘boxes.’”

“As the world shrinks,” muses Oles, looking not so far into the future, “and style supplants substance (and often functionality), the increasing tendency of mainstream cultures to embrace ‘branding’ will continue to lead to an aesthetic market dominated by high-visibility ‘starchitects,’ at the cost of less glamorous, but in many cases highly thoughtful and deserving, ‘locatects.’ And so it is cautionary, as my friend I.M. Pei reminds me, that while contemporary architects continue to impose modernity, the beginning of architecture can never be forgotten.” R

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FRANK YARDMAN CONSTRUCTION & DREAM TEAM Johnson Residence | Santa Fe

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ourth-generation native Santa Fean, third-generation contractor, Frank Yardman and his family-run company know how to build for Santa Fe, and they know how to collaborate with a world-class design/build team. Case in point, the 2014 Grand Hacienda Award–winning home. Yardman teamed up for the project with Hoopes + Associates Architects, Ltd., Annie O’Carroll Interior Design, and Serquis + Associates Landscape Architecture. The team’s combined talents produced a synergistic effect, with each element—including materials, lines, color, texture, and views— complementing and supporting every part in an integrated whole, indoors and out. With almost 4,500 square feet, the home was designed for entertaining, yet also incorporates intimate spaces that invite quiet reflection and rest. Among its many other striking features are a butterfly ceiling and 10-foot-tall window walls with glass pocket doors in the great room, a stacked stone fireplace, and a glass-walled wine room. A sculpture garden is visually experienced as an integral part of the owners’ indoor collection of art, while other outdoor spaces are Zen-like sanctuaries, with some opening into the natural landscape and views. Parade of Homes visitors and even the judges were compelled to sit and just enjoy the home, Hoopes says. “They didn’t want to leave.”

WENDY MCEAHERN

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2014 GRAND HACIENDA AWARD WINNER

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Santa Fe

hat does it take to create a home that rightly earns the top award among dozens of spectacular entries in the Santa Fe Area Home Builders Association’s annual Parade of Homes? For one thing, seamless collaboration among a team of professionals. The 2014 Grand Hacienda Award winner by Frank Yardman Construction reflects the combined talents of Frank Yardman and Penny Yardman-Gonzales as builders, architect Craig Hoopes, interior designer Annie O’Carroll, and Serquis + Associates Landscape Architecture. Hoopes invoked mid-20th-century architectural roots with the vernacular of Pueblo style. “It harkens back to that era of grand exploration in architecture, yet at the same time feels very much of Santa Fe,” he notes. O’Carroll established an interior palette of soft taupe, cream, and aqua hues with red accents to complement the homeowners’ furnishings and art. Serquis + Associates connected indoor and outdoor spaces with no less than four thoughtfully designed gardens and six portals. And Yardman’s team put it all together with masterful craftsmanship in record time.

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The homeowners, world travelers who retired in Santa Fe, wanted a home that showcases their extensive collection of art. They granted the design/build team a significant level of trust—and were rewarded with extraordinary results. At left, the bar area reflects the home’s exquisite finishes and textural contrasts. At right, masterful craftsmanship and touches of color in the powder room.

Opposite page: Front, left to right: Homeowners Mike and Carol Johnson, Interior Designer Annie O’Carroll, Landscape Architect Solange Serquis, Builder Penny Yardman-Gonzales. Back, left to right: Architect Craig Hoopes, Builder Frank J. Yardman III.

PROJECT TEAM Frank Yardman Construction 52 Paseo de Aguila, Santa Fe 505.471.3439 | frankyardmanconstruction.com Hoopes + Associates, Ltd. 333 Montezuma Ave., Santa Fe 505.986.1010 | hoopesarchitects.com Annie O’Carroll Interior Design 1512 Pacheco St., A104, Santa Fe 505.983.7055 | annieocarroll.com Serquis + Associates Landscape Architecture 15 Camino Esperanza, Santa Fe 505.629.1009 | serquis.com

STEPHEN LANG (2), WENDY MCEAHERN (3)

Middle: A pair of blue/grey granite water tables sets an elegant yet relaxing tone at the home’s entryway. Diverse outdoor living spaces provide opportunities for entertaining with expansive views and for the serene courtyard spaces.

Left: The home’s soft contemporary look combines strong, clean lines with the warmth of texture and color on a foundation of soothing neutral hues—always with an eye to the integral relationship between indoors and outdoors.

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DAVID NAYLOR INTERIORS Private Residence | Florida

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ow often does a Santa Fe–based interior designer get to work on a project with the ocean just steps away? David Naylor brought his eclectic eye, in-house craftsmanship, and broad experience to this new Addison Mizner–style south Florida home. With the outdoor kitchen, the owners wanted to convey the feeling of “happy picnic party time.” The covered cantina does just that, with a combination of soft-underfoot quarry stone and colorful Talavera tile, a flat-screen TV, and high-end appliances. “It works like a great kitchen,” Naylor says. Except that through the large arched and columned opening lies an eight-foot stretch of beach, and then the sea.

111 North Saint Francis Drive, Santa Fe 505.988.3170 | DavidNaylorInteriors.com

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SAMUEL DESIGN GROUP Private Residence | Santa Fe

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lose to Canyon Road in Santa Fe’s historic district, a Pueblo-style home reveals a delightfully modern surprise inside. Gone is the rustic, rough-edged feel in this not-so-old home, transformed into a chic, serenely airy space. Clean-lined, reconfigured cabinetry added function and storage, while dark granite countertops gave way to engineered quartz, glass, and natural stone tile. New lighting and white replastered walls set the stage for a thoroughly modern aesthetic in calming, neutral hues.

Among the home’s furnishings custom-designed by Samuel and locally built: a sleek wood media cabinet and dining room buffet. The designer’s task was to create an utterly altered look that would fit beautifully in a Pueblo-style home. “It really works,” she says.

428 Sandoval Street, Suite B, Santa Fe 505.820.0239 | samueldesigngroup.com

KATE RUSSELL

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VIOLANTE & ROCHFORD INTERIORS Historic Home | Santa Fe

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beautifully transformed historic Santa Fe home deserves an elegant, classic, perhaps contemporary look. But it also deserves a little funk—in a good way. That’s the consensus of Michael Violante, Paul Rochford, and the owners of this magnificent property. After a Woods Design Builders remodel gave it freshness and light, Violante & Rochford designed a stunning interior that smartly contrasts formal qualities and fun. Quiet shades of grey and white throughout the home are punctuated with purple, violet, turquoise, and bright green. In the living room, for example, classic George Smith silver-grey mohair sofas gain a happy touch with a velvet ottoman in deep aubergine. “The home has formal qualities, although nothing stuffy, but we definitely had fun making it playful,” Violante says.

405 Paseo de Peralta, Santa Fe, NM 505.983.3912 | vrinteriors.com

WENDY MCEAHERN

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RESIDE HOME Santa Fe

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lassic Connoisseur. Exuberant Spirit. Urban Curator. Modern Explorer. Which one best describes your lifestyle aesthetic? Reside Home’s design-based, boutique home furnishings showroom has been thoughtfully curated to help answer that question. Longtime Santa Fe interior designer Jeff Fenton, along with partners Chris Martinez and Kendra Henning offer personalized guidance in everything from sofa fabric selection to whole home interior design. Opened in December 2013, the sophisticated showroom fills a niche in mid-market price-point furnishings and accessories with a focus on the soft contemporary look. “As design trends move more toward the contemporary, we focus on the transitional lifestyle— between traditional and modern,” notes Fenton. “It’s a cleaner, more tailored look, yet still eclectic and fresh.”

PAUL HENNING

340 Read Street, Santa Fe 505.780.5658 | residesfe.com

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ALLBRIGHT & LOCKWOOD

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Private Residence | Santa Fe

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hen the homeowners are in Seattle and their home-in-progress is in Santa Fe, getting all the details right requires design collaboration and trust. Allbright & Lockwood earned that trust in providing all the lighting, tile, and cabinet and door hardware for this new home, with its sophisticated, soft-contemporary style. An open floor plan allows full visual access to the kitchen, featuring a striking wall-sized backsplash of random-patterned plank and glass mosaic tile. Satin nickel hardware sets off the contemporary flat-front cabinetry, while five tulip-shaped pendant lights illuminate the island. Remarks Judith Reeder, Allbright & Lockwood’s co-owner with her husband Arthur Reeder, “It was very satisfying to come up with a design the clients are so pleased with.”

STEPHEN LANG

621 Old Santa Fe Trail, #5, Santa Fe 505.986.1715 | allbrightlockwood.com

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ACC FINE FURNISHINGS AND DESIGN

t ACC Fine Furnishings and Design, the emphasis is always on the customer. Personalizing every part of the design process, from floor to ceiling, the professional staff can help you with a single room or a whole house project. ACC’s showroom—which earned the 2011 Dallas Market Center ART (Accessories Resource Team) Award—offers more than 150 sources for high-quality furnishings, fabrics, rugs, wall color, lighting, and accessories. As Santa Fe’s premier design destination showroom, ACC is there to help you create your traditional, transitional, contemporary, or eclectic lifestyle. The experienced design team of Peggy Garcia, Ilyse Mendel, and Heidi Basile provides professional guidance to inspire you to “love the way you live.”

KATE RUSSELL

620 Cerrillos Road, Santa Fe | 505.984.0955 | accsantafe.com

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CONSTELLATION HOME ELECTRONICS Private Residence | Santa Fe

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KATE RUSSELL

hen what you want is the most mind-blowingly immersive home theater experience possible, today’s technology can provide it. And as this audiophile, film-loving homeowner learned, Constellation has the products, as well as the design, engineering, and installation expertise to put it all together. In this Santa Fe remodel, that meant a dedicated media room with a largescreen, ultra-HD projection system and an array of skillfully located state-of-the-art speakers set in acoustically treated walls. The homeowner’s desire: surround-sound audio as close as possible to the studio experience of a film’s soundtrack mixing engineer. With interior designer–selected wall fabric for acoustical balance, it’s also beautiful. But Constellation President Bill O’Connor notes that the homeowner’s single favorite element is the system’s one-remote, one-button ease of control.

215 North Guadalupe Street, Santa Fe 505.983.9988 | constellationsantafe.com

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D MAAHS CONSTRUCTION Haupert/Brooks Residence | Santa Fe

S

ince when do you want a makeover subject to end up looking older?

When you’re enhancing Santa Fe charm and Old World craftsmanship and style. This whole-house remodel by D Maahs Construction and interior designer Chandler Prewitt, with furnishings by ACC Fine Furnishings and Design, unified and enriched the home’s existing character. The project included such artisan-crafted touches as wrought-iron chandeliers, oil-rubbed bronze door and cabinet hardware, hand-stenciled vegetable-dyed fabrics, carved wood, and handpainted tile. In the master bedroom, wall paint was replaced by a soothing gradation of grey-beige plaster in American Clay. Inspired by the work of Santa Fe sculptor David Pearson, Prewitt transformed the room into a relaxing, dreamlike space. The homeowners’ response? “They’re totally in love with it,” Maahs says.

STEPHEN LANG

1512 Pacheco St., Suite A206, Santa Fe 505.992.8382 | dmaahsconstruction.com

244 TREND Fall 2014/Winter/Spring 2015

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CLEMENS & ASSOCIATES, INC.

Private Residence | Santa Fe

T

he former view from a large window in this home was a narrow, unlandscaped space bordered by two walls. It needed movement. It needed visual pop. The homeowners, Clemens & Associates maintenance clients, asked Maintenance Division Manager Kristin Erchinger for help. Erchinger produced the attractive solution of a dry streambed with multihued rocks accented with larger stones and xeric plants.

For a focal point, owner Catherine Clemens added a bright red, kiln-formed glass bowl, which she designed and created at Bullseye Glass in Santa Fe. The monthslong project included learning to cut, fuse, shape, fire, and finish the glass bowl. “We offer a full range of construction and landscaping services for our maintenance clients,�

Clemens says.

STEPHEN LANG

1012 Marquez Place, #202 Santa Fe | 505.982.4005 clemensandassociates.com

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DAHL LIGHTING SHOWROOM Sherwoods Spirit of America | Santa Fe

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STEPHEN LANG

mong the many revolutionary qualities of LED lighting is the protection it offers valuable art and artifacts against deterioration from ultraviolet radiation that old-style halogen lights can cause. Dahl Lighting has helped more than 35 Santa Fe galleries retrofit their art spaces with LED lighting. For Sherwoods Spirit of America’s new Palace Avenue location, Dahl’s team of experts installed high-quality LED light bars and track and recessed lighting throughout the gallery. The project was custom-designed with an eye toward placement, flexibility, longevity, and appropriate color temperature. As Dahl Lighting Showroom Supervisor Kurt Segur points out, the new lighting not only protects color pigment in Sherwoods’ Native American artifacts, it uses 80 percent less energy than halogen lights.

1000 Siler Park Lane, Suite A, Santa Fe 505.471.7272 | dahllighting.com 246 TREND Fall 2014/Winter/Spring 2015

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STATEMENTS IN TILE/LIGHTING/ KITCHENS/FLOORING Las Colinas de Santa Fe

W

ithin the overarching vision of designer Wendi Odai of Piedra Partners, each of the 13 homes in this new eastside, village-concept development is custom-designed to the homeowners’ taste. Odai chose Statements for bath and kitchen tile to offer her clients the widest range of style options and price points. Of the nine units currently sold in the hillside enclave off Gonzales Road, the aesthetics range from traditional to contemporary. This bath, for example, contrasts sophisticated, geometric limestone mosaic with large-format limestone tile for a fresh, elegant look. Other areas feature eye-catching combinations of materials, including linen-textured limestone flooring and bas-relief glazed tiles. Notes Statements’ owner Kim White, “Each home has its own personality, and Statements can provide tile perfectly suited to each.”

KATE RUSSELL

1441 Paseo De Peralta, Santa Fe, NM 505.988.4440 | statementsinsantafe.com

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ARREDIAMO Santa Fe

O

ver thousands of years, one thing has been a constant in houses around the world: beautiful vegetable-dyed, hand-spun wool and silk carpets. The timeless quality, comfort, and heirloom durability of rugs from Iran, Afghanistan, Nepal, Turkey, and the Caucasus Mountain region creates a distinctive starting point for any style of room. Arrediamo offers the largest selection of antique, traditional, contemporary, and tribal carpets in New Mexico. With more than 40 years of collective experience, owner Rem Yildirim and manager Mike Leyden provide such services as home delivery with the option of living with your new carpet a few days to ensure the perfect choice.

Arrediamo’s goal: “a wonderful, fun experience that will bring you back for more rugs,” Leyden says.

STEPHEN LANG

214 Galisteo Street, Santa Fe | 505.820.2231 | arrediamo.com

248 TREND Fall 2014/Winter/Spring 2015

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DESTINATION DAHL Warshawski Residence | Santa Fe

A

new heating and cooling system may not be the most visible part of a remodel, but when it’s done right, the resulting cost savings, comfort, and energy efficiency—as well as aesthetic benefits—are an important part of the homeowners’ experience all year long. Dahl Plumbing provided the complete package, including heating/cooling and plumbing design, materials, and fixtures, for an extensive remodel of this 5,000-square-foot, 4½-bath Santa Fe home. The home’s outdated electric wall heat system was replaced with an integral, high-velocity Unico heating and air conditioning system. Builders of the West owner Kevin Beacom, who served as plumbing and mechanical contractor for the project, notes that the system’s compact, unobtrusive air outlets virtually disappear into ceilings and walls.

STEPHEN LANG

Dahl Plumbing of Santa Fe 1000 Siler Park Lane, Santa Fe 505.465.8304 | dahlplumbingsantafe.com Builders of the West, LLC: 505.490.0660

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ARRAY

or those searching for something out of the ordinary, a shopping trip turns into a welcome treasure hunt at Array, in the Design Center. This “modern-day mercantile” presents a floor-to-ceiling, constantly changing assortment of home and gift offerings with an eye to the playful, whimsical, organic, textural, and artisan-made.

Items for sale include greeting cards, candles, tableware, artist-made jewelry, body products, antiques, and original art. Every day, co-owners Tom Stark and Larry Redelin say, people come in, look around in amazement, discover delightful finds—and keep coming back.

CHRISTOPHER THOMSON IRONWORKS STUDIO AND GALLERY arlier in life, artist Christopher Thomson immersed himself for weeks alone in deserted Southwestern canyons, walking and playing the flute for entire days and nights until his mind stilled and music, nature, and self were one. Now, after 30 years as an ironwork and steel artist, in magic moments he finds himself surrendering to that same intuitive, improvisational experience— grounded in decades of practice—as he forges hot steel.

Blooms, Thomson’s newest series of powder-coated steel sculpture, expresses this sense of mindful freedom in exuberant, vibrantly colored forms.

418 Cerrillos Road, Suite 1C, Santa Fe 505.699.2760 | arrayhome.com

250 TREND Fall 2014/Winter/Spring 2015

29 Metzger Drive, San Jose, NM 505.470.3140 | christopherthomsonironworks.com

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STEPHEN LANG; SUSAN LIVERMORE

E

Blooms

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MARC COAN DESIGNS Private Residence | Albuquerque

C ROBERT RECK

an you say transformation? The owners of this Albuquerque home were tired of their old kitchen, with its distressed, stripped-painted cabinets and concrete countertops. So when they decided to upgrade appliances and brought in Marc Coan Designs, it was the perfect opportunity for a new look—contemporary yet warm and fun. New bamboo-veneer cabinetry sports doors and drawers stained in random hues. Concrete counters have been replaced with Radianz engineered quartz and elegantly offset by a stainless-steel backsplash. The biggest challenge was fitting in a Wolf steam oven and larger refrigerator, which Coan accomplished through creative cabinetry and borrowing of adjacent entryway closet space. “It was great to take what they wanted and make it work for them,” Coan says.

3301 Menaul Blvd. NE, Albuquerque 505.837.8888 | marccoandesigns.com

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

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

400 Botulph Lane, Santa Fe, NM • 505.988.3500 252 TREND Fall 2014/Winter/Spring 2015 252 TREND Fall 2014/Winter/Spring 2015

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

LakindDentalGroup.com trendmagazineglobal.com trendmagazineglobal.com

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ADVERTISERS ANTIQUES, HOME FURNISHINGS, RUGS & ACCENTS ACC Fine Furnishings accsantafe.com 505-984-0955 ....................................24, 242 Array arrayhome.com 505-699-2760.....................................60, 250 Arrediamo Santa Fe arrediamo.com 505-820-2231.............inside front cover, 248 Constellation Home Electronics constellationsantafe.com 505-983-9988.....................................34, 243 Ernest Thompson ernestthompson.com 505-988-1229, 505-344-1994 ..............50-51 House of Ancestors houseofancestorsantiques.com 505-490-2653 ............................................63 Justin’s Frames Design (JFD) santafeframing.com 505-955-1911.............................................63 Mediterránia mediterraniaantiques.com 505-989-7948 ............................................49 Reside Home residesfe.com 505-780-5658 ....................................18, 240 Samuel Design Group samueldesigngroup.com 505-820-0239 .............................15, 236-237 Santa Kilim 505-986-0340 ..........................................140 Violante & Rochford Interiors vrinteriors.com 505-983-3912 ...............................1, 238-239 ARCHITECTS, DESIGNERS & LANDSCAPE COMPANIES Anagram anagr.am 505-490-6577.............................................62 Annie O’Carroll Interior Design annieocarroll.com 505-983-7055 ...................................230-233 Clemens & Associates clemensandassociates.com 505-982-4005 ....................................64, 245 David Naylor Interiors davidnaylorinteriors.com 505-988-3170................................7, 234-235 Frank Yardman Construction frankyardmanconstruction.com 505-471-3439 .........................26-27, 230-233 Hoopes + Associates hoopesarchitects.com 505-986-1010 ....................................230-233 Mark Coan Designs markccoandesigns.com 505-837-8888 .....................................35, 251 Samuel Design Group samueldesigngroup.com 505-820-0239 ..............................15, 236-237 Santa Fe By Design santafebydesign.com 505-988-4111 ...............................................9 Serquis + Associates Landscape Architects serquis.com 505-629-1009 ....................................230-233 Woods Design Builders woodsbuilders.com 505-988-2413 ........................................10-11 ARTISTS & GALLERIES Barbara Meikle Fine Art meiklefineart.com 505-992-0400 .............................................64 Bette Ridgeway ridgewaystudio.com ...................................95 Blue Rain Gallery blueraingallery.com 505-954-9902 ...............................................2

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Bryans Gallery bryansgallery.com 575-758-9407 .............................................137 Charles Gurd charlescgurd.com 505-204-2295 .............................................209 Charlotte Jackson Fine Art charlottejackson.com 505-989-8688 .................................................3 Christopher Thomson christopherthomsonironworks.com 575-470-3140 .......................................61, 250 Dana Newmann dananewmann.com.....Passion of the Palate 43 David Anthony Fine Art (DAFA) davidanthonyfineart.com 575-758-7113 .............................................139 David Copher Gallery davidcopher.com 505-235-3641..............Passion of the Palate 28 GF Contemporary gfcontemporary.com 505-983-3707..................................................5 Heidi Loewen Porcelain heidiloewen.com 505-988-2225 .............Passion of the Palate 27 Hunter Kirkland Contemporary hunterkirklandcontemporary.com 505-984-2111................................................31 Jett Gallery jettgallery.com 505-988-1414 ...............................................59 La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688 ...............................................42 Liquid Light Glass liquidlightglass.com 505-820-2222 ...............................................63 Mark White Fine Art markwhitefineart.com 505-982-2073 ...............................................17 Michael Wigley Galleries michaelwigleygalleries.com 505-984-8986 ...............................................94 Pink Adobe Productions/Loren Haynes pinkadobefilms.com 310-684-3098 .................................................6 Pippin Contemporary pippincontemporary.com 505-795-7476 ...............................................33 Sorrel Sky Gallery sorrelsky.com 505-501-6555 ...............................................29 S R Brennen Galleries srbrennengalleries.com 505.428.0274 ...............................................12 Tansey Contemporary tanseycontemporary.com 505-995-8513 .................................................4 Thom Wheeler Studio Gallery thomwheeler.com 575-758-8870 .............................................137 Wilder Nightingale Fine Art wnightingale.com 575-758-3255 .............................................138 AUTOMOBILES BMW santafebmw.com 505-474-0066 ...............................................25 Land Rover landroveralbuquerque.com 505.474.0888 ................................................21 Lexus of Santa Fe lexusofsantafe.com 505-216-3800 ...............................................65 BANKS Century Bank mycenturybank.com 505-995-1200 .............................................216 Los Alamos National Bank lanb.com 505-662-5171 .............................................214

BUILDERS, CRAFTSPEOPLE, DEVELOPERS & MATERIALS Allbright & Lockwood allbrightlockwood.com 505-986-1715 ....................................37, 241 Art Handlers arthandlers.com 505-982-0228 ............................................63 D Maahs Construction (DMC) dmaahsconstruction.com 505-992-8382 ......................................8, 244 Dahl Lighting Showroom dahllighting.com 505-471-7272 ....................................20, 246 Dahl destinationdahl.com 505-471-1811.....................................48, 249 Statements statementsinsantafe.com 505-988-4440 ....................................19, 247 CITIES, EVENTS, MUSEUMS & EDUCATION Academy for the Love of Learning aloveoflearning.org 505-995-1860 ..........Passion of the Palate 59 American Institute of Architects Western Mountain Region Conference aiawmr2014.org ......................................252 Friends of Architecture Santa Fe architecturesantafe.org 505-428-9056 ..........................................229 Gallup-McKinley County Chamber of Commerce thegallupchamber.com 505-722-2228 ..........................................119 Hutton Broadcasting santafe.com 505-471-1067...........................................215 Kit Carson Home and Museum kitcarsonhomeandmuseum.com 575-758-4945 ..........................................138 Santa Fe Independent Film Festival santafeindependent.com 505-349-1414 ..........................................210 Santa Fe Symphony santafesymphony.org 505-983-3530 .........................................253 Taos Art Glass Invitational 2014 tiganm.org; taos.org 575-613-6484 ...................................133-135 Wine & Chile Fiesta santafewineandchile.org 505-438-8060 ..........Passion of the Palate 51 FASHION, JEWELRY & ACCESSORIES Beeman Jewelry Design beemanjewelrydesign.com 425-422-3990 ..........................................111 Ellis Tanner Trading Company etanner.com 505-863-4434 ..........................................119 Gallup Manuelito Artists 505-490-9552, 425-422-3990..................116 Gallup Trading Company galluptrading.com 505-722-5992 ..........................................119 Handwoven Originals handwovenoriginals.com 505-982-4118 ............................................61 Jacqueline’s Place 505-820-6542............................................ 22 Jett Gallery jettgallery.com 505-988-1414 ..............................................5 Jewel Mark jewelmark.net 505-820-6304 ............................................39 Karen Melfi karenmelficollection.com 505-982-3032 ............................................39 Malouf on the Plaza maloufontheplaza.com 505-983-9241 ............................................16

O’Farrell Hat Company ofarrellhatco.com 505-989-9666 ............................................28 Passementrie ilovepassementrie.com 505-989-1262.............................................14 Perry Null Trading Company perrynulltrading.com 505-863-5249 ..........................................117 Richardson’s Trading Co. & Cash Pawn richardsontrading.com 505-772-4762 ..........................................116 Rocki Gorman rockigorman.com 505-983-7833.............................................13 Sign of the Pampered Maiden pamperedmaiden.com 505-982-5948 ...................Inside Back Cover Stoneweaver 505-863-4052 ..........................................117 Tanner’s Indian Arts tannersindianarts.com 505-863-6017...........................................113 HEALTH & BEAUTY Companions Grooming & Downtown Doggie Daycare 505-982-7882 505-954-1049 ..........Passion of the Palate 29 Firma Energy Wear firmaenergywearusa.com 505-983-8213 ..........Passion of the Palate 28 Lakind Dental Group lakinddentalgroup.com 505-988-3500 ..........................................252 PHOTOGRAPHY Robert Reck Photography robertreck.com 505-247-8949 ............................................47 RESTAURANTS, FOOD, CATERERS & LODGING Bouche Bistro bouchebistro.com 505-982-6297....Passion of the Palate IFC, 13 Buffalo Thunder Resort & Casino buffalothunderresort.com 877-848-6337............................... Back Cover Casa Chimayo casachimayosantafe.com 505-428-0391...........Passion of the Palate 58 The Compound compoundrestaurant.com 505-982-4353 .....Passion of the Palate 16-17 Coyote Café coyotecafe.com 505-983-1615 .....Passion of the Palate 10-11 Galisteo Bistro galisteobistro.com 505-982-3700 ............Passion of the Palate 2 Kokoman kokomanliquors.com 505-455-2219 ...........Passion of the Palate 57 Midtown Bistro midtownbistrosf.com 505-820-3121.............Passion of the Palate 9 Museum Hill Café museumhillcafe.net 505-984-8900 ..........Passion of the Palate 12 Santa Fe School of Cooking santafeschoolofcooking.com 505-983-4511 .........Passion of the Palate 27 Señor Murphy Candymaker senormurphy.com 505-988-4311 ..........................................216 Shohko Café shohkocafe.com 505-982-9708 .........Passion of the Palate 28 Taos Inn taosinn.com 575-758-2233 ..........................................137 SOCIAL MEDIA Knock Knock Social knockknocksocial.com 203-788-1993 ..........................................255

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knockknock social media marketing with intention, integrity & style Half page vert ads p. 255

we post-it, pin-it, like-it, link-it & tweet-it just for you.

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END QUOTE

A vortex of light emanates from the corona of a supermassive black hole, which forms when a large star collapses. As in our own galaxy, the Hubble Space Telescope has found there is likely a supermassive black hole at the center of every large galaxy. COURTESY OF NASA/JET PROPULSION LIBRARY, CALTECH

“. . . As we grow older The world becomes stranger, the pattern more complicated Of dead and living. Not the intense moment Isolated, with no before and after, But a lifetime burning in every moment And not the lifetime of one man only But of old stones that cannot be deciphered.”

—T.S. Eliot, Four Quartets

There is a reason we have been here for 46 years

123 W. Water St. • Downtown Santa Fe • 505-982-5948 www.pamperedmaiden.com visit us on facebook Blouse by Johnny Was

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