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FAUST LA BOHME GRISELDA THE LAST SAVAGE WOZZECK
GOUNOD PUCCINI VIVALDI MENOTTI BERG
2011 Festival Season: July 1 - August 27. Enjoy video and audio highlights online.
Learn more about the season at www.SantaFeOpera.org 800-280-4654
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FA|LYAFD D|SF|C
540 S GU/D/LUFE SIFEEI S/NI/ FE NM 87501 505.820.3300 WlLLl/MSlEG/L.CCM lNFC@WlLLl/MSlEG/L.CCM
JUDY IUW/LEISIlW/
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Visit the new Railyard Arts District where nine galleries plus SITE Santa Fe boast the best in international
contemporar y art. Housed in spacious warehouse-style buildings within walking distance of each other,
the gal l eries are open year - round and feature an Artwal k from 5- 7pm the l ast Friday of ever y month.
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WAREHOUSE 21
EL MUSEO
CULTURAL
SANTA FE
CLAY
MARKET STATION
SANTA FE
DEPOT
REI
RAILYARD
PARKING
GARAGE
FARMERS MARKET
LEWALLEN
JAMES KELLY
ZANE
BENNETT
BOX
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CAMINO DE LA FAMILIA CAMINO DE LA FAMILIA
CHARLOTTE
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RAILYARD
PLAZA
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WILLIAM SIEGAL R AI L YAR D PAR K
SITE Santa Fe
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BOX GALLERY
Emerging & Established
Contemporary Art
1611A Paseo de Peralta
505-989-4897
www.boxgallerysf.com
GEBERT CONTEMPORARY
Monumental & Contemporary
Art & Sculpture
544 S. Guadalupe Street
505-983-3838
www.gebertcontemporary.com
CHARLOTTE JACKSON FINE ART
American & European
Contemporary Art
554 S. Guadalupe Street
505-989-8688
www.charlottejackson.com
JAMES KELLY CONTEMPORARY
Post-War European
& American Art
1601 Paseo de Peralta
505-989-1601
www.jameskelly.com
LEWALLEN GALLERIES
Contemporary & Modern Art
1613 Paseo de Peralta
505-988-3250
www.lewallengalleries.com
SANTA FE CLAY
Gallery and Ceramic Art Center
545 Camino de la Familia
505-984-1122
www.santafeclay.com
WILLIAM SIEGAL GALLERY
Ancient Textiles, Objects,
& Contemporary Art
540 South Guadalupe Street
505-820-3300
www.williamsiegal.com
TAI GALLERY
Contemporary Japanese
Bamboo Art and Photography
1601B Paseo de Peralta
505-984-1387
www.taigallery.com
ZANE BENNETT CONTEMPORARY ART
International Contemporary Art
435 S. Guadalupe Street
505-982-8111
www.zanebennettgallery.com
SITE SANTA FE
International Contemporary
Art Museum
1606 Paseo de Peralta
505-989-1199
www.sitesantafe.org
RAILYARD ARTS DISTRICT SITE MAP
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C H A R L O T T E J A C K S O N F I N E A R T
I n t he Rai l yard Ar t s Di st r i ct / 554 Sout h Guadal upe St reet , Sant a Fe, NM 87501
T e l 5 0 5 . 9 8 9 . 8 6 8 8 / w w w . c h a r l o t t e j a c k s o n . c o m
ZANE BENNETT CONTEMPORARY ART IS PLEASED TO ANNOUNCE THE EXCLUSIVE REPRESENTATION OF
MI MMO PAL ADI NO
Sculptures and Prints July 29 through August 19, 2011
435 South Guadalupe Street, Santa Fe, NM 87501
505 982-8111 www.zanebennettgallery.com
MonSat 10 am 5 pm, Sun 12 noon 4 pm or by appointment
Railyard Arts District Walk last Friday of every month
C O N T E MP O R A R Y A R T
ZANEBENNETT
PLEASE VISIT US AT:
Dallas Art Fair, April 8 11, 2011, Booth A4
Art Chicago, April 29 May 2, 2011, Booth 12-148
Houston Fine Art Fair, September 16 18, 2011
Shield 3, 1999 Etching and serigraph, 48 x 48 inches
Photo courtesy of Mimmo Paladino
www.visionsdesigngroup.com 505.88.31Z0
111 N St Francis Dr Santa Fe MM 8Z501
Dovid Moylor Bo|sy Bouor Kris|in Urbonik
V I S I O N S
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Southern California Painting,
the 1970s: Painting PER SE
curated by Peter Frank and David Eichholtz
July 1 31, 2011 | Opening reception Friday, July 8, 5:00 - 8:00 PM
Featuring:
Karl Benjamin
Jerrold Burchman
Hans Burkhardt
Karen Carson
Judy Chicago
Ron Davis
Tony DeLap
Charles Garabedian
Marvin Harden
Maxwell Hendler
Matsumi Kanemitsu
Craig Kauffman
Helen Lundeberg
Ed Moses
Peter Plagens
Tom Wudl
Norman Zammitt
and others
David richard Contemporary
130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 983-9555 | f (505) 983-1284
www.DavidRichardContemporary.com | info@DavidRichardContemporary.com
Jerrold Burchman, Spectrum, 1970, Acrylic/Rhoplex on paper , 114 x 108 inches
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ALA ARTS
Galleries At Lincoln Avenue
rst friday artwaIk monthIy 5 - 7pm
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ComeexperiencetheexcitingenergyoftheGALAArtsDistrict,justoffthehistoricSantaFeplazaon
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ArtsDistrictinvitesthepublictojoininthecelebrationofnewandcutting-edgeexhibitions.Discover
the artwork of more than 500 contemporary artists in nine distinctive venues while strolling along
prominent Lincoln Avenue where you will fnd renowned museums of art and history, exceptional
shopping,innovativecuisinebyawardwinningrestaurantsandnightlifeallinastimulatingwel-
comingatmosphere.EnjoyexploringSantaFesmostvibrantartcommunity,theGALAArtsDistrict!
+
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S DISTRICT
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WWW. SFGALA. ORG
VIEW OUR UPCOMING EVENTS
CONTENTS
Spring/Summer 2011
Santeros in a Time
of FewSaints
Tradition confronts modernity at the
Spanish Colonial Arts Society.
By Keiko Ohnuma | Photos by Peter Ogilvie
Sandstone Sanctuary
A stunning work of contemporary architecture
blends right into Utah canyon country.
Photos by Peter Ogilvie | Text by Susan Bell
Features
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Serious Fun
Eclectic yet thoughtful, the artwork collected by SITE Santa Fe
trustee Bill Miller testifies to heartfelt convictions.
By Keiko Ohnuma | Photos by Kate Russell
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16 Trend Spring/Summer 2011 trendmagazineglobal.com
DAN NAMI NGHA
MASK ASSEMBLAGE #4 acrylic on canvas 30 x 40 Dan Namingha 2011
125 Llncoln Avenue Sulte 116 Santa Fe, NM 87501 MonoaySaturoay, 10am5pm
505-988-5091 |a 505-988-1650 nlmanneart@namlngba.com namlngba.com
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Departments
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96 CONSCIOUS BUILDING
Corrales home answers the needs
of a couple who are polar opposites.
BY STEVEN KOTLER
PHOTOS BY CHAS MCGRATH
126 ART MATTERS
Famous at battling inner demons, artists
dont teach us what most people assume.
BY KATHRYN M DAVIS
134 ARTIST STUDIO
Multimedia artist Carlos Carulo; assemblage
maker Andrea Senutovitch; ceramic sculptor
James Marshall; metalworker Sandy Brown
BY WESLEY PULKKA
PHOTOS BY KATE RUSSELL
148 NATURAL BY DESIGN
Returning otters to New Mexicos rivers
proves beneficial to both.
BY ELIZABETH HARBALL
154 POINT/COUNTERPOINT
Four Zuni artists look at the contradictions in
being labeled contemporary or traditional.
BY TOM R. KENNEDY
PORTRAIT BY KERRY SHERCK
ON THE COVER: Framed by the view from
the Millers living room, Manuel Neris
M.J. Series V 3/4 in painted bronze (2001)
kneels before one of two rugs conceived
and designed by Jenny Holzer, Fear and Yow
(2009 2010). PHOTO BY KATE RUSSELL.
Correction: A photo on the last page of the Fall/Winter
2010 issue misidentified the man pictured with Janis
Joplin. He is Tommy Masters.
20 FROM THE EDITOR
22CONTRIBUTORS
26 FLASH
Robby Romero debuts at U.N.;
Native contemporary dance; art that
breaks social boundaries; classic
theater for contemporary stages
32 TUNES
Donald Rubinstein talks about music,
film, art, teaching, and love.
BY RIC LUM
PHOTOS BY KATE RUSSELL
39 Q&A
A museum veteran faces unique
challenges at the Georgia OKeeffe.
BY KATHRYN M DAVIS
PHOTO BY PETER OGILVIE
44 WORD
The hottest scene in spoken word
finds a home in Albuquerque.
BY BILL NEVINS
PHOTOS BY GINA MARSELLE
18 Trend Spring/Summer 2011 trendmagazineglobal.com
159 GALLERY PERSPECTIVES
An inside look at the people and collec-
tions that make Santa Fe an art capital.
PHOTOS BY KATE RUSSELL
176 WINE & DINE
Three Santa Fe chefs meet the
sustainability challenge.
PHOTOS BY DOUGLAS MERRIAM
188 ART & SCIENCE
Helmut Lohr remembered
192 END QUOTE
176
A
lot of tragedy accompanied the
making of this issue, by
chancedeaths and personal
endings too fresh to enumerate.
The country where I was born suffered a
triple disasterthe third in the last year to
imperil a source of energy on which we des-
perately depend. As publisher Cynthia
Canyon said when we started planning this
issue, these are hard times; people world-
wide are struggling to navigate what feels
like The End, even though its really a new
beginning. It seemed more important than
ever, in our annual art issue, to look at what
relevance art has in this contemporary (post-
contemporary?) landscape, what artists are
doing that matters.
Not all art is beautiful, as Theaterwork
founder David Olson notes (p. 30), but we
turn to it nonetheless to offer solace, depth,
respite from the verbal world that berates us
within and without. That may be because, as
Wes Pulkka discovered while talking with four very different artists (p.134), artists share a
commitment to venturing past received knowledge, conventional wisdom, even common
sense to uncover a truth thatparadoxically, for being originaltouches on the univer-
sally human. Artists do not really advance knowledge; instead they devote all their energy
to investigating what most of us work hard to ignore: What are we here for?
We sent art writer Kathryn Davis on a nebulous mission to discover what artists have
to teach us about how to live (p.126). Rejecting the fantastic Modernist clich about the
inspired artist, Davis suffered a case of writers block that proved to be inspiration itself:
What artists teach us, she found, is that the work isnt about waiting for a gift to arrive, but
resolving to hear an inner voice even when it goes silentbecause hearing it has become
what matters. If you have ever suffered terribly, you know how human it is to latch on to
that barely audible voice, or else lose all hope.
There is in us that eject button that, when the material world falls apart, intuitively
reaches for something beyond. Artists feed the possibility not only of glimpsing it, but of
getting there by way of the material world itself. The inspired artist may be a marketing
gimmick, but inspiration undoubtedly completes the work of art in the vieweras
we were thrilled to find when treated to an art collection (p. 52) that demonstrates how
appreciating art can itself be a creative statement about what matters.
Whether architects, artists, chefs, even scientists, the work of creativity is really the only
way out of the material mess were in. It also turns out to be the reason for our annual art
issue: to trumpet more than the latest breakthrough in manipulating Stuff. Pay attention to
what moves you in the realm of beauty, and together we can, at the least, apply the balm of
hope on universal suffering.
Keiko Ohnuma
Editor
20 Trend Spring/Summer 2011 trendmagazineglobal.com
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FROMTHE EDITOR
Art in Hard Times
Tabletop Store
316 S Guadalupe St.
Santa Fe NM 87501
505.992.1960
Eric Swanson
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CONTRIBUTORS
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Kate Russell is a nationally recognized photographer based in
Santa Fe. Known for her ability to create evocative images and
elevate simplicity, Russells sensitivity to light and the moment
can be seen in her photos. Her work has appeared in numerous
local and national publications, including The New York Times,
Western Interiors, Santa Fean Magazine, and the books Old World
Interiors by David Naylor and Designers Here and There by Michele
Keith. Kates work with a traveling circus and the arts brought her
to the world of photography, and they continue to provide inspi-
ration for projects both near and far.
Elizabeth Harball graduated from St. Johns College, Santa Fe, in 2009
with a degree in liberal arts. She then taught English in southern Japan
for a year before returning to Santa Fe to work as editorial assistant at
THE magazine. Elizabeth has decided thatshe loves working inmaga-
zines and is planning on attending journalism school in the fall.
Tom Kennedy continues to find his work at Zuni Pueblo
something of a surprise, despite having lived or worked in
places as diverse as Nigeria, Texas, Guatemala, Indianapolis,
and St. Lucia. His background in anthropology, museums, and
folk arts has served him well in his 16 years at Zuni, first as
director of the tribal museum and currently as director of
tourism. Photography, arts, music, and collecting exotic plants
remain core passions. He and his wife, Sheri, own and
operate a B&B in the Zuni Mountains. R
Arts writer, critic, and sculptor Wesley Pulkka, PhD., moved from
Boulder to Albuquerques East Mountains in 1992 to restore an old
cabin. Since 1993 hes written columns, features, profiles, and reviews
for the Albuquerque Journal, Architectural Digest, Altitude Magazine,
Ministry and Liturgy, The Collectors Guide, and other publications. His
art has been shown at the UNM Art Museum, Albuquerque Museum,
Baltimore Art Museum, Corcoran Gallery, Harwood Art Center, Harwood
Museum of Art, Seattle Art Museum, and other arts institutions.
Trend Spring/Summer 2011 trendmagazineglobal.com
Raised in Southern California, Peter Ogilvie studied art and
architecture at the University of California at Berkeley. After grad-
uation, he moved to Cambridge, Massachusetts, where he
turned to documentary films, which led to still photography, both
fine art and commercial. Pursuing a career in advertising, fash-
ion, and fine art photography, Ogilvie lived in San Francisco,
Milan, Paris, and New York before Santa Fe. He has traveled the
world on assignments and won numerous advertising and
graphic design awards. The journey continues. His passion
endures. He still loves creating and looking at images.
Enjoy outdoor dining on our
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May 15 (weather permitting)
Open TuesdaySaturday
5:309:30
403
1
/2 Guadalupe St. Santa Fe
505-984-9104
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24 Trend Spring/Summer 2011 trendmagazineglobal.com
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PUBLISHER
Cynthia Marie Canyon
EDITOR
Keiko Ohnuma
ART DIRECTOR
Janine Lehmann
COPY CHIEF
Rena Distasio
ADVERTISING DESIGN AND PRODUCTION
Janine Lehmann
CONTRIBUTING WRITERS
Susan Bell, Kathryn M Davis, Elizabeth Harball,
Tom R. Kennedy, Lesley S. King, Steven Kotler,
Ric Lum, Bill Nevins, Wesley Pulkka, April Reese
CONTRIBUTING PHOTOGRAPHERS AND ARTISTS
Gabriella Marks, Gina Marselle, Douglas Merriam,
Chas McGrath, Peter Ogilvie, Kate Russell,
Kerry Sherck
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People sometimes think of Dennis Hoppers years in New Mex-
ico afterEasy Rider as the lost years, but those were among the
most important years of my young life, says Santa Fe-based
Native recording artist and filmmaker Robby Romero of the time
in the mid-1970s when he would visit the late film star in Taos.
Dennis was my father, my brother, and my friend, says
Romero, who performed his Prayer Song at Hoppers funeral
ceremony last year. Dennis took me out to Los Angeles in 1975
and introduced me to Bob Dylan. I was just a kid then, and I
met Dylans whole cast of his Rolling Thunder Revueand then
I got a recording contract and made a record with Johnny Rivers
. . . a lot to absorb for an indigenous boy from New Mexico!
Romero spoke with Trend as he was doing final sound mixing
for his new documentary film, Whos Gonna Save You, which
was set to debut at the United Nations on Earth Day, April 22,
2011which was declared International Mother Earth Day in
2009 by indigenous Bolivian President Evo Morales. The date
has additional significance for the filmmaker because it is the
birthday of Stacey Thunder, mother of his five children.
I was performing at the Indigenous Peoples Global Summit
on Climate Change in Anchorage, Alaska, Romero recalls.
Indigenous leaders, organizations, and the United Nations Per-
manent Forum on Indigenous Issues encouraged me to create a
music picture with my song Whos Gonna Save You, so I did.
Shot in New Orleans, the picture combines music video and
film into a poetic call to consciousness for the restoration of life
in balance, Romero explains. Its about a teenage Apache
peace warrior who journeys on his skateboard through the Ninth
Ward and the French Quarter five years after Hurricane Katrina.
We chose the Crescent City because this musically historic treas-
ure is an epicenter, symbolic of the natural and manmade dis-
asters to comeand because the aftermath of corporate greed,
corruption, discrimination, relocation, and poverty that followed
is a profound warning and should be of great concern to us all.
The film features all of Romeros childrenDakota, Lorren,
and Savanna singing with me at One-Eyed Jacks, and Stacey
with baby Cheyenne, and River in a cameo appearance in the
French Quarteras well as a number of well-known street
artists: the Los Angeles tagger Jules Muck, skateboard painter
Douglas Miles of San Carlos Apache reservation, and British
street artist Banksy.
Art, in all its forms, is like a mirror and has the ability to
cross boundaries, provoke thought, and shift paradigms,
Romero says. Street art to me can be even more expressive
and inspirational when it comes to the human condition.
Romero, no stranger to the filmmaking medium, remembers
making his Hollywood debut with his mother, Rita Rogers, at
the legendary Troubadour club.I remember her bringing Jon
Voight and Dean Stockwell backstage. They were loaded with
inspiration, and full of good vibes and praise. But he never
thought of his work in terms of a career, he says. Im just play-
ing to the beat of our mother, the earth, with all my relations.
For more information on Robby Romeros projects, visit
eaglethunder.comBill Nevins
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FLASH n e w s , g o s s i p , a n d i n n u e n d o f r o m a r t / d e s i g n / a r c h i t e c t u r e
Musician Robby Romero
Makes Planet Earth Debut
From left, Dennis Hopper, Rita Rogers, Johnny Rivers, and Robby Romero
in Hollywood in 1975. Right: Robby Romero performs at the United
Nations Permanent Forum on Indigenous Issues cultural event.
26 Trend Spring/Summer 2011 trendmagazineglobal.com
27 trendmagazineglobal.com Spring/Summer 2011 Trend
Ive never heard of another Native contemporary dance company in the USA, says Rulan Tangen,
founder of Dancing Earth Indigenous Contemporary Dance Creations. Many Native Americans
who come to their shows had never before seen dance theater, she notes, much less considered
performing it. I love to attract people to this art and show them the possibilities. I think our
overall theme is diversitydifferent body types, ages, origins, and attitudes. Before joining her
company, many of her dancers had performed only at powwows or on the street, never dreaming
that it could be a professional career.
The company was founded in 2004 as a fusion of indigenous dance traditions and experimen-
tal movement, resulting in what Tangen calls an elemental language of bone and blood memory
in motion. Dance is a primal force, she says, that can illuminate issues of cultural, historical,
philosophical, environmental, mythic, and spiritual relevance. Through movement ritual, the
company aims to embody the unique essence of indigenous identity and perspective.
The company performs in Santa Fe in August, headlining the Living Heritage Festival at the
James A. Little Theater the weekend of August 2021. We have invited the amazing Santa Fe
Indian School slam poetry team as our opening act, Tangen notes, for an evening that is sure to
get heart and mind pumping. Bill Nevins
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Native Dance Troupe Puts
Bone and Blood Memory in Motion
Dancing Earth performs Of Bodies Of Elements at Gammage Hall in Phoenix, Arizona.
L
onely little Cuba, New Mexico, at the
base of the Nacimiento Mountains
might not be the first place youd
look for cutting-edge social art. With a host
of social and economic problems made
worse by the recent recession, artmaking
was not at the forefront of too many minds
thereuntil Littleglobe showed up.
The Santa Fe-based collaborative arts
group, which works to connect people with
art and with each other, had been looking
for a new community project. Residents of
Cuba and neighboring Torreon and Ojo
Encino asked the group to bring its unique
form of artistic collaboration to their area
after seeing a presentation nearby.
Six months later, following a series of
weekly workshops where people from
diverse backgrounds discovered talents for
singing, filmmaking, photography, spoken
word, dancing, and other art forms, the
TOC ensemble (for the communities ini-
tials) gave the area its first formal public
art performance.
That type of production has never come
to our local communities, says Kialo Win-
ters, a Navajo in Torreon who helped facili-
tate the project and played guitar during
the performance. Just bringing it here to
a tiny speckle of an area, and just pulling
out creatively all the awesome skills and tal-
ents here and merging it into that kind of
performance, was just awe-inspiring.
The process of creating together made
the community stronger, he adds. A lot of
personal healing occurred, and a lot of
community healing.
Winters says the area struggles with
racism, poverty, alcohol abuse, domestic
violence, your typical type of concerns
within a low-employment region, and a lot
of individuals see themselves as having no
hope in producing something positive. The
Littleglobe workshops allowed people to
just put aside all the barriers and see truly
who we all were . . . All the strength we saw
in each other and the talent we saw in each
other created a close-knit support network.
The community has formed the I-You
Council to keep supporting local artistic
expression. The TOC project exemplifies
what the 10-year-old Littleglobe (little
globe.org) is all about, says Valerie Mar-
tinez, executive director of the nonprofit
organization. Through collaborative art-
making, Littleglobes artists and facilitators
foster life-affirming connections that break
down boundaries that often divide people
of different backgrounds.
What weve seen is, after youve had
this time together, theres this great fel-
lowship and this great sense of capacity,
not just with the ensemble members but
also the [ facilitating] artist, to create some-
thing very meaningful.
Rather than provide a readymade piece
to perform, Littleglobes artists let com-
28 Trend Spring/Summer 2011 trendmagazineglobal.com
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Art in Unlikely Places
FLASH n e w s , g o s s i p , a n d i n n u e n d o
Residents of Torreon, Ojo Encino, and Cuba, New
Mexico, rehearse at a fold-out stage on the rodeo
grounds in Cuba.
munity participantswho are paid
explore different forms of creative expres-
sion and decide for themselves what kind
of project they want to do.
What we do is sort of creative play,
says Martinez, an established poet. You
might sing even though youve never sung
before; you might move your body in a
way thats new. And the group decides
what they want to make together. It could
be a mural or a performance or anything.
Littleglobe got its start in New York City
when artist Molly Sturges, who co-founded
the group with composer Chris Jonas,
facilitated a project with women who had
cancer. Through creative exercises involv-
ing movement, vocalization, and writing,
each woman discovered her creative niche.
The result was a beautiful performance
called Crossings, Martinez says, that helped
the women gain physical and emotional
strength.
A decade later, Littleglobe has a long list
of innovative projects to its credit. Lines
and Circles brought together 11 Santa Fe
families to create unique intergenerational
works of family-focused art and poetry.
Open Books had foster kids tell their sto-
ries through poetry, writing, art, and col-
lage.Music was at the heart of Memorylines,
a community-based opera about Santa
Fes diverse cultures, and Lifesongs, which
brought musicians into nursing homes and
hospice care to help residents create origi-
nal works. Participants have ranged from
elementary school kids to octogenarians.
Littleglobes current projects include
Coal: A Musical Fable, a folk tale about a boy
who finds a magical rock that contains both
creation and destruction, and Crosstown #4,
an interactive opera involving Santa Fe resi-
dents that will premiere on active bus lines.
A performance of Lifesongs will be held Sun-
day, May 8, at the Lensic starting at 4 p.m.
Littleglobe also supports smaller projects
with individual artists, such as Chris Jonas
collaboration with the Del Sol Quartet in
San Francisco, and Garden, a series of
music-driven performances that use trans-
parent screens and projected video to evoke
the last night on Earth after humans have
destroyed the planet. >
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FLASH n e w s , g o s s i p , a n d i n n u e n d o
We really feel that the projects should
be meaningful, Martinez says. We
believe in social justice, and our projects
might be involved in healing or helping
confront and grapple with some of the
toughest issues of our time.
Martinez is hoping to secure enough
funding this year to start paying Littleglobe
staffers, who are all volunteers except for
the administrative coordinator. But she
says the projects enrich them in other
ways: We feel really honored to be able to
do the work.
April Reese
Re-visioning
Classic Drama
D
avid Olson chuckles as he
recalls his first theatrical
venue. My parents were the
first people on our block to have an
automated garage door, he says,
which at age seven he turned into a
theater where I produced long, drawn-
out epics in which my poor sister
Diana often played the star.
The founder and artistic director of
Santa Fes Theaterwork happened
upon his next dramatic venue just as fortuitously. As a cultural anthropology student, he was
invited to work in Bogota, Colombia, where he found himself assisting with story-gathering
projects among the indigenous and marginalized. After meeting some naturally gifted story-
tellers in a youth lock-up, he realized there was a way to tell their important stories through
theater. The resulting Teatro Laboratorio de Bogota was the first incarnation of the 41-year-old
theater company Olson founded with his wife, Paula.
Their current production, Jean Anouilhs Antigone (April 716), will be Theaterworks
100th in New Mexico, where they have been based for the last 15 years. Naturally, the com-
pany has its solid local fan baseyet Olson says he is always thinking of the strangers . . .
new audiences who dont know us and are just now giving us a try.
Ingenious staging and apropos selections strive to reach those Theaterwork virgins. For
example, Antigone, a French 20th century masterpiece based on the classic drama by Sopho-
cles, just happened to coincide with the recent uprisings in Cairo and Tripoli.
And because Anouilh envisioned a theater of all means, the production will be staged in a
dry swimming pool (Santa Fes Tino Griego Pool) rather than their usual James A. Little Theater.
The audience will be seated in the shallow end, and the actors will be at the deep end,
Olson explains. A chorus of young Santa Fe poets will support the lead character with origi-
nal verse, to be recited in a special additional program as well as being painted on the floor of
the set. Theyve become a flow of words on the floor. I think theres a natural affinity between
the traditions of poetry and the theater, Olson notes. It is all a very ancient way of commu-
nicating, to make people laugh and scream, even to stun them into silence.
Theaterworks summer production will be the contemporary fantasy-drama Inventing Van
Gogh by PEN USA Award-winning playwright Steven Dietz (June 1726). The story of a pres-
ent-day art forger confronted by the ghost of the enraged Van Gogh, the play is to Olson
about who really owns art.
In Olsons own case, that question is answered by a lifetime of producing socially conscious
theater. I am proud to be in the beauty business, he declares, although the beautiful is not
always pretty. There is also the terror of beauty. But people need beauty, he concludes, even
if they are a bit scared by it. Bill Nevins R
Gemma Harris, left, Larry Lee, and Angela Janda
perform in Antigone
TONY MALMED
JEWELRY ART
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RL: One of the things I know from my
upbringing is that I was fortunate to be
around magnificently creative people, and
it has affected the way that I see and pro-
duce work. What were your earliest influ-
ences in music?
DR: Probably my brother, who I shared a
room with, because he was heavy into
music. He was five years older, and he was
into both jazz and folk. I began to play
music late in life relative to many, but I
stored up so much interest and inspiration
from my brothers playing music from
Bob Dylan to Thelonious Monktwo of
my main influences as a kid. By the time I
got into high school I had expanded that
and was listening to contemporary classi-
cal music as well. I have a photo of me at
16 holding a Thelonious Monk record with
a Bob Dylan poster behind me and Karl-
heinz Stockhausen tapes spread around
my feet. Thats really what comprised my
entire life is the love of all of those expres-
32 Trend Spring/Summer 2011 trendmagazineglobal.com
BY RIC LUM | PHOTOS BY KATE RUSSELL
Multimedia minstrel Donald Rubinstein steps out of his hermitage
Donald Rubinstein: Composer, troubadour, minstrel of love, cosmic
poet, a man on a journey to orbit the outer edges of the atmosphere
and dive right to the heart of the human condition. His music and art
defy categorizationcomplex scores of moving sound poetry, folk
tunes that bop and rock, storytelling with a deep funky soul. He is a
man who creates in a hermitage of thought and feelings filled with crys-
talline structure and form, buried treasures, ancient memoriesulti-
mately an incredible archeology and encyclopedia of musical forms that
invite us into his own Emerald City.
Rubinstein made his musical debut at age 25, composing the score
to George A. Romeros cult classic film Martin. Since then he has
released 22 CDs, scored several feature films, and performed and
recorded with world-renowned jazz and folk/country artists. Fingers,
his duet with Bill Frisell, was included on JAZZIZ Magazines limited-
edition CD Celebration of the Modern Era. Rubinsteins multimedia and
visual works have been exhibited at the Museum of Modern Art and
Whitney Museum of American Art in collaboration with Kiki Smith.
Currently in progress are Pilgrim, a film based on his life, and the exper-
imental film Fugue For Motorcycle, both by director Miguel Grunstein.
Cosmic Troubadour
TUNES
sions. So when I exploded into music, it
was pretty definitive for me once I knew
that is what I wanted to do forever. I really
regarded music as the highest pursuit one
could haveit spoke to all my dreams and
aspirationsso when I finally realized I
could do it, I went into it full bolt. I think
my brother was my first influence in every-
thing I listened to as a kid.
RL: What came next? Was there some per-
son or a musician that you got to work
with?
DR: I was a pretty private person, and I
think I stored up just a deep love of music.
I gravitated towards figures like Thelonious
Monk, Bob Dylan, Muhammed Ali. They
represented to me an aspiration that I held
dear inside of myself, and they were my
greatest influence because they represented
the far reaches. Also Jackson Pollock was a
big influence. All these people represented
a breaking-out-of and a moving-towards-an
edge of things, and I wanted to go there. Id
say, more than people, this private life I had
that was inhabited by music, art, and books
[was] the [thing] that formed my life.
RL: Were you drawing and painting then as
well?
DR: No, I wasnt. I started to draw and
paint after I went to college in Boston. I
was 21 and my girlfriend was in Brandeis.
[My friends and I] all played music
together, and they were that quintessential
MO of artists who also played music, and
we had a great little creative scene. I was
practicing eight or ten hours a day and
drawing the rest of the time. I had never
drawn before, but I had absorbed a lot, so I
maintained it as a practice all these years.
It has maybe expanded into a full-blown
expression, but it was always for fun, a
relief from music.
RL: When I saw your work, it hit me,
powall the people around Pollock, art
from that era until about the early 80s, and
then its over. Theres not so much progress
anymore. Figures like Barnett Newman live
33 trendmagazineglobal.com Spring/Summer 2011Trend
34 Trend Spring/Summer 2011 trendmagazineglobal.com
TUNES
large in my mind. When I first saw one,
wow!
DR: Rothko was like that for me.
RL: Yeah, Rothko. When I was a kid I would
look at Clyfford Stilltheres a trip, a road
trip to Denver when they open that
museum. Hes rough. For years Id just get
angry sitting in front of his pictures, I didnt
understand it. But I was having this reac-
tion inside, and now its coming out. So
that is a way of learning.
DR: Im a similar type of personality. I went
to the Guggenheim, and I walked in the
door and there was Picasso there. I was so
overwhelmed, I had to leave the museum.
I had to walk around the block two or three
times, I was that blown away.
RL: As that comes through your music,
how do you pass that on? Are there
younger people that are now listening to
your work, do you work with any kids?
DR: I dont work with any kids. I am pretty
solitary in that regard, and fairly guarded
guarding my work and even opportunities
for greater exposure. I have been reluctant
in the past to move in that direction, just
sensitive, perhaps, and a little overwhelmed
by the attention. Ive been lucky enough
from my early film scores with George
Romero to receive letters from people who
are influenced by it. I respond to people
who are like me, to be frank, who are just
out of their minds over music. That I could
even be that for someone is pretty exciting
for me. So when I have had an opportunity
to pass something on, I would take it. I
hope that the work and the way I live my
life is something that will influence some-
body in a positive way, though in time
I may lighten up a little bit and be a little
more outgoing.
RL: Here we arethis is going to be out
there!
DR: Yeah, man! This is great, Im enjoying
it. I want to really share my work. It is such
a pleasure. I was really almost shocked by
people who responded to the work when I
was younger, because I was so internal and
I was so lost in it, it was hard for me to
respond. Now Ive matured, I guess, and
I relish the opportunity to share the work.
I really kept a small circle around me
Bill Frisell, Terry Allen, Ed Harris, Kiki
Smithpeople that I could relate to, and I
often had maybe one person who I was
Donald Rubinstein and Trend interviewer and artist/chef Ric Lum talk at Rubinsteins studio south of Santa Fe.
really intimate with in relation to sharing
the work, and that interaction I would gain
a lot from. George Romero, of course, and
others. Now I am really enjoying the
opportunities to share.
RL: I think for creative young people its
important to hear how other people create,
how they came to it. And its not necessar-
ily that you need to sit in a classroom. Its
about being curious and grabbing on to
the things that really move you, not Now
whats cool, now whats hip?
DR: Theres a funny story about where I
met Bill Frisell, who Ive collaborated with
on a number of things. We were both in
Berklee College of MusicI only lasted
two semesters therebut I was young and
I had done an arrangement of some piece,
and for some reason the teacher put it on
the board and spent most of the class talk-
ing about how it is everything you did not
want to do when you made an arrange-
ment. I was not that affected by it. I
thought he was an idiot, frankly. Anyways,
he just kept going on and on. And then
this guy shuffles up to me after the class
and goes, Excuse me, I just want to tell
you I really liked your arrangement. That
was Bill Frisell, you know! And were both
wearing the same Converse sneakers, and
I think smoking Camel cigarettes, and
bonded there.
So luckily even though I carried, to be
frank, a great deal of insecurity in my life, I
was always brave in terms of the work, and
I was oblivious to opinions in terms of the
work. And that helped me a lot. I guess part
of the reason I stayed a little bit cordoned
off from some opportunities for larger suc-
cess was I needed to protect the work.
I also had a teacher back then I would like
to mention: Madame Margaret Chaloff. She
was fabulous, and after I left Berklee I stud-
ied with her. For those that dont know, she
was a legendary piano teacher who taught
Keith Jarrett, Herbie Hancock, Chick Corea,
Leonard Bernstein, an array of people. The
first thing she said to me when she opened
the door at her place, she looked at me and
said, Youre too stubborn, I cant teach
35 trendmagazineglobal.com Spring/Summer 2011Trend
you. So I said, OK, lady, whatever. But then
she said come in, and I ended up studying
with her twice a week until she passed away
about eight months later. It was an incredi-
ble privilege, and I would be remiss if I did-
nt say as a mentor she really held up that
light of following that goal that originally
inspired me, coupled with a spiritual inten-
sity and spiritual aspiration, which was a
really good thing for me to see. Also she
gave me focus, because for a guy like me
who was a little funky, part jazz, part folk,
part classical, she afforded me this high
level of learning, which was a great gift. So
if I could pay that back to somebody, Id
sure like to, because it was a tremendous
opportunity.
RL: So now the grown-up Donald, whats
really moving you now? Is there music that


36 Trend Spring/Summer 2011 trendmagazineglobal.com
Sky Shudder, Variation 1, by Donald Rubinstein, mixed media on paper (2011).
TUNES
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you are listening to, or visual arts, things in
the world in general, thinking about how
the planet is moving along or how human-
ity is dealing with its neuroses?
DR: I try not to think about it, to be honest.
Not the most magnanimous point of view.
That said, I have great concerns for our
planet, and I am still probably however
internally driven to a fair degree. I am try-
ing to develop, for lack of a better term, a
unified field theory of art and music. I
work in a lot of mediums, and Im really
interested inand have been from the
startreaching a pinnacle from that early
confluence of influences. That inspires me,
almost like a scientist tries to unlock keys
to the universe.
Im inspired by people that are jumping
off the bridge. Im still inspired by that. Im
inspired by people who want to push the
limit of things, who really want to soar.
And in my maturity I recognize and
respect the whole spectrum of effort in this
regard. But what probably excites me the
most is people on the edge of things, in
music, art, and in the world. Im not that
interested in other peoples work, even
though Im always thrilled to be inspired
by it. Love is a great inspiration for me. The
aspiration of love and the ability to love, to
treat people well, to combine all these ele-
mentsto be gracious enough to embrace
peopleall these things are part of that
milieu that makes up my everyday effort.
More down to earth, I am working on a
set of keyboard solos, a score, and I have
two shows coming up, and also working on
an installation piece called Spoke which
tries to address all of those issues. I think
the aspiration of discovery drives me in a
big way. I still want to discover something.
I feel there is something to unlock in the
smallest place that has a great deal of
energy, and thats the focus and the depth
in which I try to go.
RL: Youre also going to get married to a
creative person [dancer Audrey Nadia
Jajich]. That seems like a beautiful future.
DR: Yes it is, man. Im thrilled. It is a great
opportunity to be reborn, really. The great
opportunity is to loveyou know, like
many of us, I have not always been good at
it. I have a lot of love in my heart, but the
ability to engage everyone in my intimate
relationships with consistent love is a chal-
lenge. And in my relationship and mar-
riage to come, I have an opportunity to love
somebody to the best of my abilities, and
the possibilities that might ensue from
thatto love her wildly to the best of my
abilities. Thats my plan!
RL: Beautiful plan! Thanks, Donald. R
38 Trend Spring/Summer 2011 trendmagazineglobal.com
UPCOMING FROM DONALD RUBINSTEIN:
Two-person show at La Tienda Exhibit Space,
opening July 23
Solo show at Fisher Press Gallery,
opening next February
Selections Over Time, a double CD best of
collection on Bare Bones Records
A CD of instrumental keyboard
works on Bare Bones Records
Score for the Audrey Nadia Jajich
film Divisions of a Year
Pilgrim, a feature film by Miguel Grunstein
based on Rubinsteins work and life
For more information: donaldrubinstein.com
TUNES
Hair for One, archival pigment print (2008).
39 trendmagazineglobal.com Spring/Summer 2011 Trend
T
he previous, first director of the
Georgia OKeeffe Museum,
George King, had a patrician air
and the wardrobe to match. By
contrast, the current director, Robert A. Kret,
is fraternalsomeone you might have gone
to grade school with, the Metropolitan
Museums current director, the I am who I
am Thomas P. Campbell as distinct from
his grand persona predecessor, Philippe
de Montebello. One couldnt imagine King
making a misstep in his fine Italian shoes,
whereas Kret is clearly a hands-on, hard-
working guyjust what the OKeeffe needs
now in its second decade.
The museum has moved into the nuts-
and-bolts stage, having passed the hurdle
of credibility with flying colors. The Geor-
gia OKeeffe executorial foundation dis-
solved itself and turned all its assets over to
the museum in 2006, and visitor numbers
have far surpassed anything that might
have been hoped for in its early days. Its
expanded collection and name recognition
would cause most of Krets colleagues in
the American Association of Museums to
turn green with envy.
Two questions now remain: How will the
facility grow, as it surely must, to maintain
its prestige; and how can it engage the com-
munity internationally and locally? These
are the kinds of prospects that Kret is adept
at handling with gusto. In his previous posi-
tion as director of the Hunter Museum of
American Art, he metaphorically allowed its
antebellum-style premises, on a bluff over-
looking the Tennessee River in Chat-
tanooga, to move off the hill (via a glass
bridge) and become part of the 21st Century
Waterfront Project with its fellow anchor
institutions, the Tennessee Aquarium and
the Creative Discovery Museum for kids.
Kret moved to Santa Fe more than a
year ago, and he was joined last summer
by his wife, Teddy, and their two teenage
boys: Sam, 19, a student at the University
of Michigan at Ann Arbor, and Lukas, 14.
Daughter Abby, 22, is a graduate student
at Columbia.
Kret says he was not looking for a new
position, but when this opportunity
knocked he responded because of the
iconic nature of the Georgia OKeeffe
Museum and the perceived cachet of Santa
Fe as an arts destination. He had been
BY KATHRYN M DAVIS | PHOTO BY PETER OGILVIE
Beyond Success
Managing growth is the enviable task
of new Georgia OKeeffe director
Georgia O'Keeffe Museum director Robert A. Kret
has a track record of innovation and inclusion
at his last post, as director of the Hunter Museum
of American Art in Chattanooga, Tennessee.
Q&A
director of the Hunter for 10 years, during
which time Chattanooga had been striving
to build its brand as an arts destination
more like Santa Fe. Trend sat down with
Kret one cold spring morning to discuss his
shift from Eastern to Mountain Time.
KD: Tell us about what you did in Chat-
tanooga, and what drew you to the OKeeffe
Museum.
RK: As with most professions, there are times
when an individual reaches a certain amount
of success. Being in Chattanooga for just
about 10 years gave me the opportunity to do
that . . . . The Waterfront Project raised $120
million to revitalize the area, and also allowed
for additions to the various institutions. That
project was the high-water mark in my career
there, along with delivering the Hunters new
28,000-square-foot wing for contemporary art
on time and on budget.
At that point in a museum directors
career, one of three things usually happens.
Oftentimes its exhausting enough that
directors want to go elsewhere; sometimes
things dont go well, and boards ask direc-
tors to go; then theres my particular deci-
sion, where I pledged to stay to see that the
whole project [ functioned as envisioned].
The Hunter renovation was a $22 million
project that pulled together several aspects
we had been working on. [Before that time]
there were frequent comments that people
could see the Hunter but they couldnt fig-
ure out how to get to it. We also created an
outdoor sculpture plaza, completely reno-
vated the 1905 mansion, and reinstalled the
museums permanent collection.
I was very proud to tell the board before
I left that we had reached a goal: Our walk-
in demographics were mirroring the com-
munitynot the boards make-up! We
received national recognition for some of
our accomplishments, including working
with the county to develop the Normal Park
Museum Magnet School [the nations top
magnet school in 2005]. We trained teach-
ers to use the [museum] collection to
complement their curricula. It was really
exciting to see the teachers with their stu-
dents at the museum.
KD: I would imagine that your personal goals
havent changed much: Youre interested in
community and how a museum functions
within that community. And the OKeeffe is
so clearly a destination museum; I know you
dont have a problem attracting visitors. The
question really is, why focus on the commu-
nity when you already have phenomenal
numbers coming from around the world?
RK: At the Hunter, 75 percent of the visitors
were from within the community. Here at
the OKeeffe, we have about 170,000 visi-
tors per year. The statistic that absolutely
jumps off the page for me is that 80 to 85
percent of those visitors are coming from
out of the state. Were a huge economic
driver for Santa Fe, with transportation to
the museum, hotels, foodall those
aspects of tourism. So we do make a big
contribution to the community. Yet, like all
cultural institutions, we have a responsibil-
ity to the people who live here. And there
were significant programs already in place
prior to my arrival, thanks to [Director of
Education] Jackie M and her department. I
like to joke that our tag line should be, The
Georgia OKeeffe MuseumI had no idea!
What Jackie does with public programming
deserves more visibility. Our Art and Lead-
ership programs for girls and boys are stel-
lar summer programs. But we also have
staff involved right in the schools working
with the kids, and at the Boys and Girls
Club in Abiquiu.
Jackies also going to Albuquerquefor
example, shes working with the University
of New Mexico so that the medical students
there learn to hone their skills in visual
observation. Weve been able to rely so
much on our out-of-state numbers, but
there is an implicit responsibility to be an
active and engaged member of our com-
munity . . . and this is a complicated com-
munity. Im not rushing into making any
assumptions or judgments.
So public programming is the first step.
The second is to work together with my
colleagues. A number of us are new direc-
tors here: Irene Hoffmann at SITE Santa
Fe, Mary Kershaw [at the New Mexico
Museum of Art], Craig Anderson at the
40 Trend Spring/Summer 2011 trendmagazineglobal.com
Q&A
Center for Contemporary Arts. We are
working to meet regularly; weve incorpo-
rated into our meetings individuals who
are involved with SAR [the School for
Advanced Research], SWAIA [which runs
Indian Market], the Folk Art Market. Its
important that we have a unified voice in
terms of our legislators. Cultural tourism
is a huge industry here in New Mexico.
Elected officials come and go; one of my
hopes for the directors group is that we
develop strategies for the national, state,
and city levels. We have to be able to quan-
tify how our cultural institutions add to
the quality of life here.
KD: Whats next for the OKeeffe, in its sec-
ond decade?
RK: I see my responsibility at the OKeeffe
Museum to grow the audience in three
ways: internationally, nationally, and
statewide. One of my goals is to build upon
the success of the first 13 years, and to
work together with the board, staff, and
volunteers to take the organization to
another level. The scope and depth of the
organization are not always apparent to the
public. Im hard-pressed to think of
another institution that has the constella-
tion of assets that the OKeeffe Museum
holds, including the fine arts collection
that has grown from 187 when the
museum opened to somewhere around
1,150 OKeeffe pieces alone. We have the
library, an archive, the Research Center,
historic homes, public programs, extensive
art conservationand, finally, changing art
exhibitions! All of these things occur in the
dynamic setting of northern New Mexico.
KD: I find it fascinating that OKeeffe,
through her husband, Alfred Stieglitz, was
part of an incredibly vibrant group of
artists who were actively seeking to define
an American art, distinct from European
art, in the early 20th century, when Mod-
ernism was in its heyday. And most, if not
all, of the artists in the so-called Stieglitz
group came here, which means that the
place of New Mexico is paramount to our
understanding of American Modernism.
RK: Our mission obviously focuses on the
art and life of Georgia OKeeffe, with a
broader commitment to furthering the
study of American Modernism. Our pro-
grams and exhibitions have expanded
well beyond the focus of a single-artist
museum. Curator Barbara Buhler Lynes is
coordinating traveling exhibitions that will
be touring Rome, Munich, Helsinki, and
Tokyo beginning in 2012. At the OKeeffe,
we have the name recognition that sets us
apart from some of the other institutions;
Im always thinking about how we can
leverage this to benefit the state of New
Mexico, perhaps in partnership with the
tourism department.
KD: I know youre probably not looking at
enlarging the building right now, but how
are you thinking about the facility?
RK: One of the watershed events for this
institution, thanks to George, was the dis-
banding of the OKeeffe Foundation and
the transfer of its assets to the museum.
We received over 800 works by OKeeffe,
the house at Abiquiu, and all of her tangi-
ble propertyher shells, her collection of
bones, her clothes, everything. That hap-
pened in 2006, per the Foundations mis-
sion to disband after 20 years. This was one
of the museums greatest accomplish-
ments, and it also represents one of our
challenges: How do we physically manage
our success?
Weve grown beyond everyones imagi-
nation. Its one of those issues that every
director has to look at. With our relatively
modest 4,000 square feet of exhibition
space, were low in terms of space. Our
assets have grown tremendously since we
opened. Now we have to close the galleries
to change exhibitionslast year, for exam-
ple, we were closed to the public for 39
days. Thats significant. The institution
needs to take a look at what the facilitys
needs are and how we can spread out over
our campus. We have no loading dock;
everything comes in through the front door.
But this is a quality problem for us to have:
Weve got to have a facility that is on a par
with who weve become. R
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I
n Lord Tennysons time,
poets may have been a
shy, sheltered lot, hold-
ing forth in libraries and
college auditoriums. Not any-
more. A revival of the spoken
word that has been gaining
momentum for two decades
has put poetry back in packed
bars and coffee houses across
North America, especially
though it has gained little
official noticein Albu-
querque.
The slam poetry phenom-
enon got its start in Chicago
in 1986, when construction
worker and poet Marc Kelly
Smith began hosting com-
petitive poetry events at the
Green Mill, a Chicago jazz
club, as a way to share the
joy of his art form with his
beer buddies. Smith, who
has written several books
about the international
movement that he fathered,
is now affectionately known
by players as Slampapi, in
a medium that marries the
inspirational aspects of live
performance with the rau-
cous celebration of competitive sport.
The Slam, as it has come to be known, is
a surprising, sexy, entertaining evening of
audience excitement mixed with moments
of sheer awakening. The basic rules of the
game are that performers (or teams) must
write and perform their own original work,
usually not longer than three minutes.
Each poem is judged on a scale of 1 to 10
by three to five volunteer judges randomly
selected from the audience. A score of 1
belongs to a poem that should never have
been written, while a 10 causes simulta-
neous orgasms among everyone in a hun-
dred-mile radius, according to The Rules,
which are ceremonially read aloud before
each slam.
Audiences cheer and jeer without
restraint after the readings, solemn listen-
ing being discouraged, while tipping of
servers and applause for
every performer is part of the
slam code. Poets who rack
up enough points progress
to city, regional, intercolle-
giate, and national competi-
tions, overseen since the
mid-1990s by the group
Poetry Slam Inc.
Albuquerque hosted the
National Slam Finals in
2005still the most well-
attended Slam National ever,
organized by Don McIver,
Susan McAllister, Eric Bod-
well, and their team of hyper-
caffeinated overachievers.
That glorious moment con-
tinues to inspire the Burque
spoken-word community,
deflecting claims that slam is
a passing fad.
In fact, slamwhich has
shared origins with hip-
hophas been celebrated in
films like Slam, Slam Nation,
and the parody The Hum-
berville Poetry Slam; two long-
running HBO series, Def
Poetry Jam and Brave New
Voices; and a Def Poetry Jam
Broadway play. The medium
has its national superstars, such as Sap-
phire, Patricia Smith, Taylor Mali, and
Saul Williams, as well as Albuquerques
Danny Solis, now the citys reigning Slam
Poet Laureate.
Famously inclusive of outsider groups,
slam counts among its heroes the late Nuy-
orican Poets Cafe bard Miguel Pinero and
proud gay slammers like Buddy Wakefield
and ex-Albuquerque star The Outsider.
P
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A
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BY BILL NEVINS | PHOTOS BY GINA MARSELLE WORD
Top row: Sarah Roman and Tracey Pontani, Damien Flores and Hakim Bellamy, Christian Drake, Bob Warren. Second row: Danny
Solis, Marc Kelly Smith, Lisa Gill, Manuel Gonzalez. Third row: Don McIver, Jessica Helen Lopez; Priscilla Candeleria, Tracey Pontani.
Fourth row: Faustino Villa, Carlos Contreras, Idris Goodwin. Fifth row: Bill Nevins, Hakim Bellamy, Buddy Wakefield, Kenn Rodgriguez.
Poetry Slams Find Fertile
Soil in Albuquerque
45 trendmagazineglobal.com Spring/Summer 2011 Trend
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Burque
by Manuel Gonzalez
(performed by the author in the feature film Committing Poetry in Times of War)
With watermelon mountains
Melting misconceptions
In marijuana dreams
And contemplative confessions
I see cholos chasing chicas
Living mi vida loca
Like the ancient mexica
With kicked back khakis
To camouflage clown faces
We smile now
But we cry later
Breakdancing b-boys
Battling the cross fader
My name is Albuquerque
But my friends call me Burque
Mi Madre makes masa
With flour and manteca
Rolling out her tortillas
And scraping her spices in a molcajete
Like the ancient Aztecz
As the Tolteca knowledge
Comes from the Grandfathers
And Mi Madre lights a candle
To la Virgen De Guadalupe
My name is Albuquerque
But my friends call me Burque
Politicians like balloons
Both floating on hot air
As I stare at the sunset
Sending
Yellows
Oranges
Reds
Pinks
Purple
Blues
And that blue black color of the magic hour
Where the mystical existence of spirits
Is evident for those with eyes to see
My name is Albuquerque
But my friends call me Burque
With the Rio Grande pumping life
Through the heart of Aztlan
Pumping life
Through the words of storytellers
The blood of warriors
The tears of mothers
The passion of lovers
That river who knew my grandmother
Who named my son
And protects my daughter
Gave inspiration to my father
To sing songs of our people
My name is Albuquerque
But my friends call me Burque
The sacred sands of the Santuario
Silently sends the sound for my soul
And the patience and perserverance
of the penitents
Plant the seeds that will one day take
me home
And the legions of Mary
Who pray the rosary for humanity
Who doesnt have enough time to bend
their own knees
My name is Albuquerque
But my friends call me Burque
Listening to Saturday morning traditions
Played by musicians
The founding fathers of my self image
Singing rancheras
And cumbias
And those boleros sung with a teardrop
on the vocal cords
My name is Albuquerque
But my friends call me Burque
Im looking at Atrisco and Im thinking
of land grants
Wondering if the chavalitos even have
a chance
As the day turns to night and they begin
to dance
You know I was named after a duke
who never left Spain
And being junior without knowing your
father can bring a lot of pain
My name
Is Albuquerque
But my friends call me Burque
46 Trend Spring/Summer 2011 trendmagazineglobal.com
Inherently iconoclastic and fond of
courting controversy, slammers have been
known to declaim mock haiku in ninja
headbands. A favorite boozy audience
chant is Fuck the rules! Such antics led
literary critic Harold Bloom to characterize
the movement in the Spring 2000 Paris
Review as rant and nonsense . . . the death
of art.
Though often rude and crude, speaking
the language of the streets rather than the
technical niceties of la poesie, slam fans do
relish and cherish their rhymes and
rhymesters, even where no formal meter
is involved. Slam poets do do their home-
work, and many revere the printed-page
classics. Solis proudly acknowledges his
debt to Tennyson, Whitman, and Dickin-
Christian Drake, Damien Flores, Joseph Andres Romero,
and Jessica Helen Lopez performing Out to Play
Poetry and Beer, first Wednesday of every
month. Open mike and slam now held
at the Blackbird Buvette restaurant on
Central Avenue downtown. The oldest
and pre-eminent over-21 slam gathering
crowded, raucous, and joyful, featuring
poets from across the nation and world.
Fixed and Free, fourth Thursday at The
Source yoga studio, for slammers and
other poets of all kinds.
MAS Poetry, third Wednesday, Winnings
Coffee House near UNM. Also, Final Friday
on the last Friday at Winnings. Both are
all-ages events.
OUTspoken, New Mexicos first all-ages
LGBT poetry slam and queer-friendly
open-mike, features guest poets such
as author/radio host Mary Oishi.
Slam Aztlan is a new under-21 youth
slam held the second Saturday at
Warehouse 508.
Firestorm, a womens slam held
quarterly for women of all ages.
Mountainair Poets and Writers Picnic,
held annually in its namesake town, gath-
ers poets statewide, this year on August
27 at Shaffer Hotel garden. (poetsand
writerspicnic.blogspot.com).
Albuquerques Poetry Venues
Albuquerque has a wealth of poetry venues, and new ones are popping up
all the time. Some of the favorites:
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son over pints of oatmeal stout at Albu-
querques Marble Brew Pub. Yeah, all
poets need to read the work that came
before us, he says. Its what nurtures us;
its where we learn our difficult art.
University of New Mexico professor V. B.
Price writes in his afterword to A Bigger
Boat: Slam poetry competitions have
brought poetry back full circle to its per-
formance origins, when poetry not only
created mythology and commented on the
human condition, but was also a major
form of collective entertainment. Levi
Romero, Prices colleague at UNM and
recently appointed New Mexico Centennial
Poet, has zestfully indulged in slam him-
self and can often be seen cheering on his
slamming students.
In fact, a pilgrimage to this city on the
Rio Grande has become de rigueur for
American slam poets, many of whom have
stayed to launch careers. Poets have a rep-
utation for being cliquey, but Albuquerque
has earned a reputation as a welcoming
haven for both veteran and novice writer-
performers.
I think that in the east, the boxes that
artists put themselves in are much more
rigid than out here, says Hakim Bellamy,
a hip-hop-inspired Philadelphia transplant
and Albuquerque slam champ. Albu-
querque is a safe, supportive place to grow
as an artist and even try some things out-
side of ones comfort zone. Its been a
blessing to me.
Carlos Contreras, who along with Bel-
lamy performs the slam-derived stage pro-
duction Urban Verbs, notes that the
egalitarian character of Albuquerque slam
is one of the most accepting scenes of any
kind that I have ever played witness to . . . .
It has meant everything to me. It gave me a
place as a young Latino to find a home.
Successful Latino and black poets, includ-
ing Jessica Helen Lopez, Damien Flores,
and Manuel Gonzalez, among others, have
served as inspirational role models to aspir-
ing poets. There is now a Duke City Youth
Poetry Collective, and a team of young
Albuquerque slammers coached by veteran
poet Kenn Rodriguez competed last year in
Hollywood on Brave New Voices.
Reed Adair, a junior at Albuquerques
Native American Community Academy
high school, credits summer classes at the
National Hispanic Cultural Centers Voces
program, ongoing classes at Warehouse
508, and the example set by older poets for
his achievements, including a profession-
ally produced CD of his performance, due
out soon. Albuquerque is the most gener-
ationally diverse, friendly slam poetry
scene in the country, says Adaira com-
ment echoed by many young poets around
the city.
Albuquerques rising place in the world
of poetry performance was recently
enhanced by the selection of Slam Poet
Laureate Solis, along with two other mas-
ter slam poets, for a visit to Kathmandu,
Nepal, in December 2010. The State
Department-sponsored exchange schooled
aspiring Nepalese poets in the subtleties of
composition and public performance.
State Department spokesperson Marjorie
Ames said the Cultural Envoy program
would send another delegation to Nepal
this April, including New York-based slam
guru Bob Holman.
Back at home, the slam scene has
helped reinvigorate more traditional poetry
circles, especially at events like the annual
Verse/Converse weekend in Taos. Print
poets are welcome at slams, and slam stars
often show up at more sedate gatherings.
Age, it seems, is not even a dividing line
the slam scene includes such veteran poets
as Carol Lewis (in her 70s), Los Lunas bard
Bob Coot Vicious Warren, and this griz-
zled geezer of a reporter. It probably comes
as no surprise that in Albuquerque, a city
where both film and visual arts have
achieved high honors, the fiercely populist,
egalitarian art of slam poetry should also
find rich ground to evolve. At The Slam,
the motto echoes the theme of James
Joyces Finnegans Wake: Here comes
everybody! R
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Viola Frey, Urban Man and Untitled (Standing Man), ceramic, each about 10 feet tall (1989). Though she may have objected to the placement of her
monumental figures on his property, the late ceramic artist would probably sympathize with Millers intention in placing the two suits to signal that its
not all that serious. Miller said he was taken by Freys colorful surface decoration, for which she is known as an heir to Californias Funk ceramic tradi-
tion. Right: Peter Sarkisian, Extruded Video Engine Medium Shape I, Version I, video (2007). Miller had a viewing room built right off the kitchen to house
this piece, part of a series by Sarkisian that gives the medium shape and sound. Sarkisian, who often toys with the idea of the image frame, photographed
bearings at Los Alamos National Laboratory and projected them onto a piece of plastic extruded to match the projection. Miller says he enjoys seeing
people walk by and try to make sense of the odd sounds, scrolling text, and whirring movement coming from a device that seems to float in the darkness.
53 trendmagazineglobal.com Spring/Summer 2011 Trend
Serious Fun
Eclectic collection expresses the strong personal
vision of a SITE Santa Fe trustee
BY KEIKO OHNUMA | PHOTOS BY KATE RUSSELL
B
ill Miller is not a collectors collector. He doesnt chase after the rare piece to complete his trophy case of
such-and-such an artist or genre or movement or medium. He doesnt chase after art at all, really, having walked
into his 300-plus pieces of museum-quality artwork seemingly by connection, chance, and fancy.
Miller and his wife, novelist Alicia Miller, bought their first piece of art in 1964 for $300a fortune at the time, all
the disposable income we had, laughs Bill. (It was a lithograph by Adja Yunkers, which they still own.) They did not
buy another piece until the 70s, and started collecting in earnest only a decade later, when they discovered Santa
Fe. Instead, there was, in the beginning, the house.
It was always about the house, recalls their daughter, Mayo, the middle of three children. We always felt differ-
ent, she says, because of the house designed by award-winning architect Stephen Bucchieri in Chagrin Falls, near
Cleveland. Back then the Millers quest was for a space we could find some comfort in, Bill says with typical under-
statement. But no sooner had they completed that modernist haven than they found themselves shopping for real
estate in New Mexico, where Bill fell unexpectedly in love with the landscape.
He was, at that point, ready for a change. An entrepreneur who consulted to other entrepreneurs, he had reached
the top of his game and was ready to leave behind the suits and all that. Technology let him participate at a distance;
yet it took the Millers another decade and three more houses to attain the near-perfection of their 10,000-square-
foot aerie on a slope near the Santa Fe Opera (A Place for Reflection, Summer/Fall 2005). This stunning gallery of
glass, steel, and stone, also by Bucchieri, is flooded with light and ringed by views that still protect their artwork from
the sun, which slants through the rooms at well-calculated angles.
The Millers also had discovered that they liked buying art. There was a bit of that in Santa Fe, too.
We didnt set out to collect any particular kind, says Bill, noting that their collection includes modern, contem-
porary American and Latin American, video, minimal and figurative sculpture, antique textiles, monumental outdoor
pieces, and an extensive collection of indigenous artifacts. Rather, it was about being in the moment moved. Or buy-
ing something that was New Mexican. Or buying a piece to support charity.
As a trustee of SITE Santa Fe since 1997, a volunteer position for which he received the Governors Award for
Excellence in the Arts in 2009, Bill Miller had a few opportunities to find pieces
to buy.
There are a lot of stories that go with collecting artists. We cultivated those
stories, and ended up with a lot of art, he says easily. Some of the works they
ended up with include a 2007 video by Peter Sarkisian, another by James Drake
from the Venice Biennale, two figurative sculptures by Manuel Neri, one of
Bernar Venets rolled steel arcs in the inner courtyard, and two paintings by
the hard-edged abstractionist Frederick Hammersley. When the latter died in
2009, his sister Susie Stone of Santa Fe brought the Millers a still life that the
artist painted in 1947 that charmingly discloses nothing of his future direction.
Thats what they mean about collecting storiesthe house is full of them.
Heres a paradoxical pair of numbers carved by Hopi artist Gregory
Lomayesva, which turns out to be his response to learning the Millers had
never received his invoice. Heres a wall of intriguing little collages that turn
out to be Christmas cards sent by Mexican-born painter Roberto Marquez,
an artist they took to who is one of the brightest guys I know, says Bill. Out
in a meadow leading up to the house are two larger-than-life ceramic men by
Viola Frey, who was discomfited to learn, Alicia confides, that the Millers liked
the whimsy in her work.
She said, Its not whimsicalits about power, Alicia recalls, adding that
Frey insisted that the men make eye contact with the third figure, a naked
woman who now sits elsewhere on the property. For the Millers, though, the
colorful clay sentinels serve to alert visitors to what the family is aboutthat
its basically not all that serious, as Bill says. They like to have fun with their
art. The selection and placement is tongue in cheek. And for guests who may
have missed that point, heres a photo of Georgia OKeeffe, seated and direct-
Roberto Marquez, Angel Vampiro, mixed media
(1995), left, and Tom Joyce, Berg, IV, forged iron
(2005). The Millers own several dozen pieces by
the enigmatic Roberto Marquez (who now lives
on the East Coast), including this difficult
piece that Bill just loves and Alicia cannot bring
herself to love. The Millers own three pieces by
New Mexico sculptor Tom Joyce, a MacArthur
Fellow who helped reinvent the craft of black-
smithing. The patina-surfaced piece was actually
made in a forge.
ing her penetrating gaze at you above a commode.
The Millers gallery thus contains a few jokes-on-you, good fun for the art aficionados who come to tour the col-
lection. At the front door, for example, among various examples of minimalist sculpture and painting, a paneled tap-
estry usually gets pegged by art connoisseurs as a Shawn Scully. In fact its an ancient Peruvian textile, the most
intriguing area of which is a checkerboard darning right in the center that seems to cry out for interpretation. Its a
test, quips Bill. Likewise the subtle geometric piece in the dining room that he calls his early Agnes Martinit, too,
is a Peruvian textile from the 15th or 16th century.
This is not only a joke, though. Its another sign of what the Millers are all about. Bill did turn his energies at one
point toward serious collecting, choosing the unlikely medium of parflechelarge rawhide containers made by Native
Americans. Though he was motivated by an interest in Native culture, it was also a personal statement about the aes-
thetic debt owed by contemporary to ancient art. The wabi-sabi of patination is dear to both the Millers, and evident
throughout the design of their house. They so love the effects of nature on the manmade that Bill is inclined to let the
pigeons shit on the sculpture, as he says with a mischievous grin.
Weve always thought of artifacts as works of art, he adds, noting that he differs from most collectors of parfleche in
preferring the ones that show signs of wearthe visual and tactile stories that connect the human to the material world.
Alicia, for her part, is more contained, her tastes running decidedly toward minimalism. If you want to know the
ones I picked out, they all look like nothing, she says, deadpan. But even in a vibrant red canvas by the minimalist
Joseph Marioni from 2002, Bill finds a personal, empathic connectiona sense of wonder, beauty, or peace that
seems to derive from nature.
In his profession, Millers genius consisted of finding bright, interesting people and helping them to create their
dream, a process he finds most fun in the early stages. Indeed, entrepreneurs share this quality with real estate devel-
opers and artists: a knack for seeing creative potential overlooked by everyone else. It is the quality that seems to cut
through Bills eclectic taste in artthe surprise of coming across that potential in a piece again and again.
Which explains, maybe, why art collecting is a natural fit for the wunderkind entrepreneur, even if he doesnt take it
all that seriously. When youre Bill Miller, youve got nothing to prove. Collecting can just happen. >
55 trendmagazineglobal.com Spring/Summer 2011 Trend
Peruvian Highlands Mantle (14001532). By the front entrance, what Miller calls (with a wink) his test piece is actually
an antique Incan textile that looks to many, upon first glance, like a canvas by Irish-American abstractionist Shawn Scully.
Upon closer inspection, one finds a fetching embroidery under the third set of bars, a darning in a checkerboard pattern.
56 Trend Spring/Summer 2011 trendmagazineglobal.com
Two Jicarilla Apache parfleche: painted rawhide (circa 1880), left, and painted buffalo
hide (1850s). Miller displays these parfleche envelopes together to demonstrate
a point. The one at right has seen the kind of use these items normally would
weather; at left, a pristine envelope auctioned by Sothebys at a fine-art price. The
motif on both, notes Miller, is actually the samea demonstration of how aging
imbues objects with the subtlety and poignancy of fine art.
Opposite: James Drake, Birds of Paquime, mixed media (2007), left, and Kutenai case
of painted rawhide (circa 1860). New Mexico artist James Drake made a collage of
his drawings over a 30- or 40-year span, incorporated into a contemporary drawing.
The Kutenai case is an example of a well-preserved, little-used parfleche.
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James Drake, Tongue-cut Sparrows (Inside Outside), two-channel video,
edition 4/8 (20062007). Alicia says she finds this piece, from the
Venice Biennale, terribly moving and beautiful. It documents the sign
language created by prisoners in El Paso, Texas, to communicate
secretly with their girlfriends and wives on the street below. Whenever
police left off patrolling the area, Alicia notes, women would jump out
of the bushes and resume their signing. Drake incorporated quotes
referencing loss and distance from the likes of William Shakespeare,
Jorge Luis Borges, and Cormac McCarthy.
Opposite: Frederick Hammersley, Love Me, Love My Dog, #5, oil on
linen (1972). This is one of the pieces that Miller never moves when
he rotates his collection. It needs to be in this space. Hammersley was
a hard-edged abstractionistcontemporary with, but presenting an
alternative to, the reigning Abstract Expressionists. Despite the iciness
implied by the genre, Hammersleys work exudes a warmth that belies
its geometric minimalism and that bridges the tastes of both Millers.
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Bill, Mayo, and Alicia Miller, along with their Westie Buster and black Lab Jessie, surround
Doble Circulo Amarillo, an enameled steel sculpture by Carlos Evangelista (2003).
Bernar Venet, 217.5 Arc x 4, rolled steel,
(2002). French artist Bernar Venet estab-
lished himself in the field of Conceptual
Art in the 1960s and 70s, and has since
focused on study of the line in all its
mathematical variations. His monumen-
tal sculptures have been installed in
cities around the world, including
Hermann Park, Houston, in 2010.
This piece is from his Arc series, many
of which are massive arcs impossibly
balanced, leaning, standing, or rolling
in parks and public places.
Roberto Marquez, El Viudo (PAINGNIT),
oil on canvas (1995), left, and Manuel
Neri Untitled III, painted bronze (1990),
in distance. The erudite Marquez
includes in most paintings allusions
to poetry, myth, scripture, and classical
literature, along with text. Marquez is
among the artists introduced to the
Millers by Santa Fe gallerist Riva Yares.
63 trendmagazineglobal.com Spring/Summer 2011 Trend
Roberto Marquez, Spem in Alium II, oil on canvas (1997). Touched with gold and silver leaf, this
piece seems to recede into the wall of the dining room while drawing the viewer in. The title
translates as Hope in any other, and refers to a sacred text and motet by 16th century composer
Thomas Tallis, one of the painters favorites. The perspective is of an oncoming antique subway car.
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Millers collection of more than 100 parfleche is
among the worlds most significant, much of it
focused on the tribes of the Rio Grande Valley.
The collection is rotated on display in a downstairs
gallery that Miller often uses as his office. The
effects of patination are clearly visible on closer
inspection of these favorite objects.
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Three parfleche, including one from Acoma Pueblo at center, show the effects
of patination. Miller says he was drawn to the ethnographic aspects of
parfleche, which were usually made by women. The designs are characteristic
of the tribe and often reflect what is to be containeddried meat, medicine,
tobacco, ceremonial gear, or craft supplies.
Roberto Marquez, mixed-media shadow boxes (1993). The assemblages in the
Relics series each bear titles such as Max Ernsts Veil, Objects Found in the
Sea Cemetery, and Matches Burnt by Susana San Juan When She Lost Her
Lover, alluding to a literary or biblical narrative. On the table is a clay sculp-
ture by Santa Clara Pueblo artist Roxanne Swentzell, Lets Make Art (2008). R
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Sandstone Sanctuary
At Amangiri Resort, harmony in landscape and form
PHOTOS BY PETER OGILVIE | TEXT BY SUSAN BELL
Long black shadows slice across winter grasses in the late afternoon light. Ten miles west of Lake Powell, we
speed past an utterly discrete sign pointing the way to Amangiri. We double back and take a winding road
that rises and dips around the bases of enormous sandstone buttes. A dead end at a simple unmarked gate
announces our arrival. We press the key pad, which is answered by a female voice in a soft foreign accent.
We have arrived at the Amangiri Resort at Canyon Point, Utah.
The resort was a an 11-year collaboration between three internationally known Arizona architectsRick
Joy, Wendell Burnette, and Marwan Al-Sayedwho formed I-10 Studio, named for the interstate where they
spent so much time while working on this project. The owners brought in Adrian Zecha, founder of the ultra-
luxe Aman resorts (now 23 strong worldwide), to manage the property. The architects are well-known for their
inventive use of the desert vernacular; the building site, selected from 600 wild surrounding acres, reveals
their profound sensitivity to this unique landscape. The result is a testament to more than 10 years of careful
observation of how light, weather, and the seasons play upon the environment.
Just outside the enormous doors to the reception area are four thoughtfully positioned granite blocks.
Inscribed on top, at table height, are the four stanzas of a poem by Octavio Paz, Wind and Water and Stone. >
The water hollowed the stone,
the wind dispersed the water,
the stone stopped the wind.
Water and wind and stone.
The wind sculpted the stone,
the stone is a cup of water,
the water runs off and is wind.
Stone and wind and water.
Silent in slanting dusk light, sandstone cliffs loom behind the thin stripe of buildings tucked
at their base and forming a rhythmical row of concrete verticals, windows, and doors.
The wind sings in its turnings,
the water murmurs as it goes,
the motionless stone is quiet.
Wind and water and stone.
One is the other and is neither:
among their empty names
they pass and disappear,
water and stone and wind.
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The soft foot of a monumental Entrada Sandstone cliff reaches out to the middle of the swimming pool,
the sculptural focus for the living room, dining room, and library. Left: Cushions along one of the spas many
pools invite repose and frame another restful view. Spaces soar. The mind wanders out and becomes quiet.
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In an outdoor lounge, dark Navajo-red shade cloth accents the tall concrete walls, made from sand gathered at the base of the eroding,
subtly pigmented cliffs. The play of light across the perfectly framed view invites contemplation. Left: In the shadow of the cliffs,
two open-air massage studios are accessed across a reflecting pool. Their slatted walls inscribe their spaces with shafts of light.
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No paths cut in front of the private views from each of the 34 suites. Privacy is complete. Exterior beds
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guide guests with soft candlelight. The exercise pavilions lit stairway becomes cubist sculpture. R
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806 Central Ave SE Albuquerque, NM 87102
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he perfect blend of contemporary comfort and
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ADVERTISING
Santeros
In a Time of FewSaints
Spanish Colonial arts reaches a crossroads
Modern impulses are banging down the doors at Spanish Market, and for the first time in its 60-year history, the guardians of
New Mexicos traditional Hispanic art forms are allowing the purity to crack opena little. A new category is being intro-
duced this year by the Spanish Colonial Arts Society, which sets the rules for what can and cannot sell at market: Theyre call-
ing it Innovation Within Tradition. Established artists may now count on seeing some nontraditional work get past the jurors.
Many observers scoff that this is no more than very late recognition of what has already been happening since the
1800s, when homegrown arts such as the painting and sculpting of saints (santos) reached its height. How can anyone,
in fact, be called a colonial artist in 2011? The label is fraught with contradictions, referring sometimes (as in the case
of tinwork) to media that emerged only after the colonial era. Is it any wonder if some of the several hundred artists who
show at Santa Fes two annual Spanish Markets would want to break
out of the moldshow a saint in a modern setting, for a
change, or use pigments out of a tube?
The 82-year-old Spanish Colonial Arts Society
(SCAS) still requires market artists to be at least a
quarter Hispanic and to have family roots in the
region. Within its 20-plus selling categories (the
best known being colcha embroidery, straw
appliqu, tinwork, furniture, and santos
both two- and three-dimensional), exact-
ing requirements have earned its stan-
dards committee the nickname art
Gestapo among sellers.
Typical orthodox imagery
is how most saint-makers (san-
teros) learn their craft, but nearly
all the top artists have since
moved on, using new tech-
niques and subject matter for
off-market sales. How many
Saint Anthonys can you do?
exclaims Marie Romero Cash,
one of the first women to break
into the field in the 1970s. If
I was to still be doing the same
things, Id be taking Xanax.>
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Santo Nio de Atocha, polychrome bulto, artist and date unknown. A traditional bulto from the
1700s contrasts with, at right, the same saint in mixed media including circuit boards, compact
disc, and wire, by Marion C. Martinez (20012002). Opposite: Luis Tapia carves a bulto.
BY KEIKO OHNUMA PHOTOS BY PETER OGILVIE
M
Even a traditionalist like Charlie Carrillo, who was widely criti-
cized for helping to tighten the rules for santeros in the 1980s
because of his insistence on using hand-ground pigments, now
advocates for contemporary iconography. His series of saints driv-
ing pickup trucks has proved popular enough that market director
Maggie Magalnick points to them as a perfect example of what is
meant by Innovation Within Tradition.
For Carrillo, an academic as well as a santero, the key lies in telling
a saints story accurately. He believes that variations in setting, style,
and technique are acceptable interpretations; its when santeros start
using the aesthetic language to comment on social issues that tradi-
tion gets left behind.
His contemporary Luis Tapia is perhaps the best-known example
of that divergence. One of the few santeros to cross over into contem-
porary art museums, Tapia broke ground early on, painting his santos
in bright colors and using them to address such contemporary dilem-
mas as illegal immigration and sexual abuse. Before long, he was
asked to leave Spanish Market.
Tapia says his work still deals with religious themes, so he remains
grounded in the santero traditionthough he calls himself a sculptor
now. He believes its natural for culture to evolve: Stagnant water is
not healthy, he says. The SCAS may have had the noble goal of pre-
serving culture, but from my point of view they were destroying it
suppressing feelings, suppressing life. How can you ask someone to
86
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Charlie Carrillo at work on one of his unconventional santos: San Isidro
Labrador driving a 1954 Ford tractor. Carillos saints-as-truck-drivers are con-
sidered perfect examples of Innovation Within Tradition by the Spanish
Colonial Arts Society. Right: Hey Zeus (2009), an unconventional bulto by Arthur
Lpez that probably would not make it into Spanish Market. R
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Marie Romero Cash at work on one of her bultos. Right: Her Four Horsemen from 2004.
express life as it was 200 years ago? Their motivation, he suspects, is
economic: Many santeros have made good money churning out
traditional saintsthe most successful of them selling out within
minutesand they dont want to change. And those same artists,
Tapia notes, are now going in the direction that I took.
Pressure to allow more innovation may itself be driven by mar-
ket forces, Cash suggests. She says she increasingly overhears buy-
ers at market complain about sameness, putting pressure on
artists to demand change. The paradoxical position at which the
SCAS finds itselfadvocating both innovation and traditionlays
bare the contradictions inherent in its mission to preserve and
commodify tradition.
P
opular legends notwithstanding, New Mexicos santeros
of the 1700s and 1800s hardly sprung up in the cultural
vacuum that their admirers like to claim. Studies have
found strong evidence of Native design motifs, as well as
borrowings from a range of imagery, techniques, and art supplies
introduced by trade.
Moreover, what is now considered traditional Spanish Colonial
is often a more recent hybrid. Nicolasa Chavez, curator of Spanish
Colonial and contemporary Hispano/Latino collections at Santa
Fes Museum of International Folk Art, notes that straw appliqu,
for instance, was never used for religious subjects before the mas-
ter revivalist Eliseo Rodriguez in the 1930safter which everyone
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Fiesta at the Border by Luis Tapia, right, in his studio. Opposite: Luis Tapia, Man Without Heart.
started doing it. The same is true for retablos in tin frames, as
the two media appeared in different time periods. Yet such 20th
century innovations are regularly seen at Spanish Market. In fact,
folk art itself is a history of innovation, Chavez says, with the most
famous masters being typically the ones who pushed their medium
to a new level.
Tey Marianna Nunn, a scholar of Hispanic/Latino art, offers the
additional caveat that categories such as traditional and folk art
tend to reflect the cultural biases of the Anglo art intelligentsia. The
Hispanic community itself, she says, often has a very different rela-
tionship to its art objects.
Santos, for example, started being made by local craftsmen in
the 1700s to fill the huge demand for religious objects needed by
Franciscan missionaries in their goal of converting the Native pop-
ulation. Production peaked in the late 1800s, then died down
quickly with the arrival of imports by railroad. Archbishop Jean
Baptiste Lamy (18141888) also contributed by ordering churches
to destroy the homegrown saints, which he found grotesque and
barbaric, and replace them with prints and plaster imports
though many remained safeguarded by the Penitente Brother-
hood, an influential lay confraternity also suppressed by Lamy.
With the influx of Anglo artists and intellectuals in the 20th cen-
tury, the santos took on a new meaning. Fascinated with folk arts as
a hedge against the dawning machine age, influential newcom-
ers such as Frank Applegate and Mary Austin seized on the village
crafts they found in New Mexico in the 1920s as symbols of an
endangered past. It was in this same period that Indian Market
was createda parallel effort to turn cultural objects into col-
lectible art, thus rescuing culture by commodifying it. The term
Spanish Colonial art was born, along with programs (such as
n
89 trendmagazineglobal.com Spring/Summer 2011 Trend
those created by the federal Works Progress Administration in the
1930s) to promote a renaissance of village arts that would generate
both producers and collectors.
In 1929 a group of influential Anglos founded the SCAS, bor-
rowing use of the label Spanish to describe New Mexicos poor,
brown populationa rhetorical strategy applied since the drive
for statehood to distinguish them from the mistrusted Mexi-
cans. As Charles Montgomery quips in his 2002 critical history
The Spanish Redemption: The cachet of Spanish colonial arts
could attract a following. . . in numbers that Mexican crafts could
not have matched.
Like other labels re-appropriated from the dominant social group,
this one ironically became over time a badge of identity and cultural
pride for New Mexican Hispanos. To call oneself a Spanish colonial
artist in the postmodern era is a very political and deliberate way
of communicating power, place, and identity, says Nunn, who is
now visual arts director at Albuquerques National Hispanic Cultural
Center. It reflects clever positioning by contemporary santeros,
she says, originating from the time when many of them took up
carvingduring the civil rights era.
C
arrillo, Tapia, and Cash all started making santos in the
1970s, and all of them are self-taught. When they dis-
covered the anemic Spanish Market under the portal at
the Palace of Governors, it consisted of a couple dozen
souls who eked out extra income selling unpainted wood carvings
for around $35. All three artists say they were drawn by a desire to
investigate and validate their little-understood Hispanic heritage.
Refused by Santa Fes fine arts museum to exhibit their work, a
group of these artists started mounting their own shows, says Nunn,
which sparked collector interest. The revitalization of Spanish Market
90 Trend Spring/Summer 2011 trendmagazineglobal.com
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Felix Lopez stands with San Isidro, a piece from 1984. Right: Santo Nio de Atocha (2008), carved for the chapel of the same name in Chimayo.
in the 1960s and 70s after
decades of dormancy was thus
driven by artists themselves.
And these artists have always
strived to stretch, says Nunn,
as artists do by nature
though not necessarily in the
easily recognized, boundless
way of contemporary art.
For example, both Carrillo
and Felix Lopez, another
highly respected santero,
researched the use of pig-
ments, gessos, and varnishes
from natural sources; both
speak of it as a conscious
refusal of things modern to
resurrect a past that had been
nearly lost. Growing up in the
1950s, says Lopez, we were
not taught the history of this
areameaning the upper
Rio Grande Valley, where he
still lives. No one taught us
anything about the history of
New Mexico. They were try-
ing to teach us American his-
tory, about Washington and
Lincoln.
Lopez resented the call to
set aside his culture, and in
a spirit of protest he earned a
masters degree and chose to
teach Spanish language at Espaola Valley High School for 21 years.
With the death of his father in 1975, he changed direction and began
to carve saints.
It was not a calling to art per se, nor to the medium of wood, but
rather a mission that arose out of his strong Catholic faith, to honor
his cultural traditions and do something deeply meaningful with his
life. Unlike most santeros, Lopez will not sell to anyone he has not
met, or without a compelling reason. Mostly he takes commissions
for church sculpture and restoration of antique santos.
A soft-spoken, thoughtful man, he has been at work for three
years on a life-size Christ effigy in an open monument for the San-
tuario de Chimay. He credits his parents for strong grounding in
the faith that used to hold together family and community in north-
ern New Mexico against widespread, relentless poverty. Money still
does not interest him, he says. He would prefer to be, as in his child-
hood, rich in other ways.
It used to be that all san-
teros aspired to holy lives, the
better to carve powerful san-
tos. These sculptures were
treated as members of the
family and community, spo-
ken to and dressed according
to the seasons. For Lopez,
this is the crux of tradition:
reconnecting to a time when
community and religious life
were one. The choice to cre-
ate santos traditionallyas
sacred objectsthus repre-
sents a quiet but powerful
form of cultural resistance. It
overturns the Modernist def-
inition of art as a practice in
and for itself that upholds
individual expression above
all else. That his highly
refined sculptures continue
to fly under the radar of the
art-loving public appears to
be just fine with Lopez.
But what does it say about
the place of art in contempo-
rary society? Banished to the
ghettoized category of folk
art, Hispanics who do cre-
ative work within their tradi-
tion, like many others
around the world, suffer
from the same type of stereotyping as in society at large, says Nunn.
Their art is immediately perceived as being not quite important
enough to be studied or shown. Eighty percent of artists repre-
sented in Santa Fe galleries are not residents of this state, Nunn
says heatedly. I think it has a lot to do with the perception of His-
panic art and the people and the community it comes from. It gets
condensed down to what museums and galleries think, as opposed
to the artists dreams of what they could do.
Indeed, those two impulses are now poised to meet in the fight
for the soul of Spanish Marketwhich is taking us out of our com-
fort zone, admits the markets Magalnick. Who or what does Span-
ish Market serve today? Is it the demands of Santa Fes tourism
economy, individual artists need for recognition, or the preserva-
tion of an endangered culture?
Says Carrillo: Innovation Within Tradition has opened the flood-
gates.R
91 trendmagazineglobal.com Spring/Summer 2011 Trend
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San Francisco de Asis con Hermana Muerte (2007),
a piece Lopez made with his son Joseph.
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Produced by The Art Fai r Company, Inc.
Sculpture Objects &
Functional Art Fair +
NEW! The Intuit Show of
Folk and Outsider Art
August 4-7, 2011
Santa Fe Convention Center
Opening Night Wednesday, August 3
Become a fan
Destiny Allison
Artist
Businesswoman
Community Activist
Providing Santa Fe with the most current
interactive platform for events, music,
arts, business, dining and lifestyle.
Debuting Summer 2011
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Santa Fe is my home, my inspiration, my playground...
96 Trend Spring/Summer 2011 trendmagazineglobal.com
CONSCIOUS
BUILDING
Bold and beastly yet soft and tranquil, this home also had to romance its site
BY STEVEN KOTLER | PHOTOS BY CHAS MCGRATH
Reconciling Opposites
97 trendmagazineglobal.com Spring/Summer 2011 Trend
I
t could have been a schizophrenic disaster. When architect Efthimios
Maniatis, 55, set out to build a house for Roger and Mary Downey
in Corrales, north of Albuquerque, the main challenge was one of
integration. The house had three clients: Roger wanted one kind
of house, Mary wanted a second variation, and the monster cottonwood
tree that dominated the lot demanded a third.
Maniatis set out to make them all happy.
It wasnt easy, he says. Mary is quiet, shy, and sensitive. Roger is
loud, opinionated, and bigbigger than life, yet extremely focused and
minimal. He only wears the same three pairs of pants, three shirts, three
pairs of shoes. And I had to build a house that worked for both of them.
Not only did the house have to suit the owners wishes, it also had to
respect the trees.
The tree was my third client, says Maniatis, but not just the tree.
The tree was emblematic of the land and the neighborhood. This house
isnt being built in New York or Wisconsin or Atlanta. Its a New Mexico
house, and it was very important it felt native.
Roger Downey agrees. Im a huge Frank Lloyd Wright fan, he says.
This house satisfies his core concerns: Its natural to the site; it makes
the building belong to the ground.
The result is a stunning synthesis: a bold, modern house (for Roger)
blended with softer, Santa Fe-style architectural themes (for Mary) that
are fused together in a way thatquite literallyworships the tree.
The Downeys house is actually a collection of four square boxes total-
ing 3,400 square feet and arranged in a slightly curved line. The boxes
Encircling an old cottonwood tree that seemed to dictate the design of the house
are, from left, the meditation room, bridge, master bedroom, living room, guest
room, and garage. The rooflines communicate movement with the branches of the
tree, while the colors of the house complement both earth and tree.
Left: A rammed-earth wall bends along one side of the living room to draw attention
to the rusted steel roof over the breezeway leading to the guest house. The combina-
tion of rustic and contemporary elements in the home is meant to elicit both calm
and excitement.
98 Trend Spring/Summer 2011 trendmagazineglobal.com
CONSCIOUS
BUILDING
Roger Downey agrees. Im a huge
Frank Lloyd Wright fan, he says.
This house satisfies his core concerns:
Its natural to the site; it makes the
building belong to the ground.
Roger and Mary Downey
Left: The bridge connecting the main hallway to a
meditation room provides a transition from solidity
to lightness. At the far end of the bridge, the
Rio Grande can be seen through a frameless window.
Top: An open floor plan unites the living room,
dining area, and kitchen, separated from the hallway
by a rammed-earth wall that contrasts with the
softness of the plaster surfaces. The garage/barn
is visible through the windows at left.
99 trendmagazineglobal.com Spring/Summer 2011 Trend
In the bedroom, rammed-earth walls and wood floors offer
rustic counterpoint to contemporary materials such as marble
dust plaster and glass, which lighten the effect. Openings in
unexpected places are designed to create a sense of magical
movement from inside to out.
echo New Mexicos predilection for family compounds, but theyre
linked by a massive hallway, and that hallway is all Roger.
Roger likes to pace, says Maniatis, but he paces like a buffalo.
I built a hallway for that.
His buffalo hallway is 120 feet long and almost 10 feet high,
with two-foot-thick walls of rammed earth on both sides and pol-
ished concrete floors. Its a beast. But it ends at Marys room.
Actually it ends with a transition into Marys room. The hallway
tapers into the bridge, a smaller hallway, quiet and calm. The
exterior is clad in rusted steel, while the interior is lit Japanese
style, with thin horizontal windows at ankle height.
Think of it this way, says Maniatis. Rogers energy is very
high. I wanted to create a spacethe bridgethat calmed him
down before he reached Marys room.
Marys room is also known as the meditation room. The inte-
rior structures are copied from a church in Truchas; the ceiling is a
giant skylight.
Of course, the couple also shares a few spaces, so Maniatis
designed for that as well. The living room, for example, is a place
of mutual coexistence. While the back wall is more Rogerthree
feet thick, of rammed earththe rest of the space is Mary: wood
floors, white plaster around a fireplace, and a classic Santa Fe-style
beamed ceiling.
And the tree?
Well, capping the house is a series of cantilevered slabs of steel.
The area beneath the steel and above the rammed-earth walls is all
windows.
We built it, says Maniatis, so you couldnt ignore the tree. The
house faces the tree, the roof lines converge on the tree, the win-
dows that line the living room reveal the tree.
The tree is also front and center when one crosses another dis-
tinctive feature. On the other side of the line from Marys room is
the guest house, which connects to the main compound via an
outdoor walkway. Its roof is a floating plank of rusted steel, but the
sides are open, and the tree, of course, is visible.
I think if Wright were alive to see it, says Roger, he would
like this house. Its open, simple, and different. Most impor-
tantly, as he stressed, it brings the outside in. R
100 Trend Spring/Summer 2011 trendmagazineglobal.com
General Contracting Team
General Contractor Inteli-works
Roofing Lopez Roofing
Stucco/Interior Plaster Avilla Lath and Plaster
Concrete Advanced Concrete
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101 trendmagazineglobal.com Spring/Summer 2011 Trend
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JOHN AXTON
Where the River Takes Me s July 1, 2011
JEAN RICHARDSON
Grace in Motion s July 15, 2011
DOUG DAWSON
Town and Country s July 29, 2011
INDIAN MARKET
John Axton, John Nieto & Rebecca Tobey
August 19, 2011
MARY SILVERWOOD
Desert Shadows s September 30, 2011
BARRY MCCUAN
Glorious Light s October 14, 2011
ALBERT HANDELL
Quiet Master s October 28, 2011
LYNNE E. WINDSOR
Coming Home s November 25, 2011
TOM NOBLE
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125 trendmagazineglobal.com Spring/Summer 2011 Trend


203 FINE ART
July 8 Aug. 6: Tom Dixon and Shaun Richel,
Abstract Taos, reception July 9
Aug. 12 Sept. 10: Fritz Scholder, Paintings &
Lithographs, reception Aug. 13
Sept. 16 Oct. 15: Jack Smith, Recent Works,
reception Sept.17
CHARLOTTE JACKSON FINE ART
April 29May 31: Michael Roulliard, Framed Light
2005-2011
July 29Sept. 3: Constance DeJong: Sculpture and
Drawing
DARNELL FINE ART
April 26 May 17: Gin Pollock, The Symmetry
of Spring,reception April 29
May 24 June 13: Susan Morosky, Undercurrents,
reception May 27
June 21 July 11: Jeri Ledbetter and Trina Badarak,
Connections, reception June 24
July 19 Aug. 8: Rebecca Crowell and Bill Gingles,
reception July 22
Aug. 9 Aug. 29: Claire McArdle and Rachel Darnell,
Mysterium, reception Aug.12
EVOKE CONTEMPORARY
May: Lee Price, Full, reception May 6
June: Francis Di Fronzo, The Earths Sharp Edge,
Part 2, and David Simon, New Works in Bronze,
reception June 3
July: Decadence, group show curated by
John OHern, reception July 1
August: Louisa McElwain, Annual Solo Show,
reception Aug. 5
GEBERT CONTEMPORARY
Canyon Road location:
May 27 June 25: John Randall Nelson, Alternative
Signs: New Paintings and Sculptures
July 8 Aug. 8: Bim Koehler, Paintings
Aug. 9: Francisco Castro-Lenero, New Paintings,
reception Aug. 12
Sept. 2 Oct. 1: Dirk De Bruycker, New Paintings
South Guadalupe St. location:
July 1 Aug. 9: Jun Kaneko, Dangos, Glass,
and Works on Paper
GERALD PETERS GALLERY
April 29 June 11: Albert Paley, reception April 29,
Michael Glier, reception April 29
May 13 June 4: Naturalism New Works
June 20 July 30: Santa Fe Art Colony
July 1 July 30: Ted Waddell, reception July 1
June 17 July 23: Light, Form, Reverie: Thomas
Aquinas Daly, Elizabeth Wadleigh Leary, Walter Matia,
Thomas Quinn, and John Sharp, reception June 17
July 8 Aug. 6: Carol Anthony and John Felsing,
Landscape of Memory, reception July 8
July 8 Aug. 21: 3 Perspectives: Woodblock Prints and
Pastels by Leon Loughridge, reception July 8
July 29 Sept. 24: Tony Angell, Arturo Chavez, Steve
Kestrel, James Morgan, and Jeri Nichols Quinn,
Romantic Contours, Modern Terrain, reception July 29
Aug. 5 Sept. 17: G. Russell Case, reception Aug. 5
Aug. 12 Sept. 30: Exploitation and Celebration
of the American Landscape, reception Aug. 12
Aug. 19 Sept. 30: Darren Vigil Gray: Creative
Process, reception Aug. 19
HULSE/WARMAN GALLERY
May 22: David Zimmerman photographs,
Desert Landscapes
HUNTER KIRKLAND CONTEMPORARY
May 27 June 12: Jennifer J.L Jones, Serenata,
reception May 27
June 24 July 10: Rick Stevens, Potentiality,
reception June 24
July 22 Aug. 7: Ted Gall and Michael Madzo,
reception July 22
Aug. 12 Aug. 25: Eric Boyer and Charlotte Foust,
reception Aug. 12
JANE SAUER GALLERY
May 20 June 14: Cindy Hickok, Smiling
with the Masters
June 17 July 12: Geoffrey Gorman, Animal Instincts
July 15 Aug. 9: Irina Zaytceva, Magical Worlds
Aug. 12 Sept. 9: Michael Bergt, About Face
MARC NAVARRO GALLERY
June: New line of William Spratling furniture
Aug. 11 13: Marc Navarro Gallery will be in
Booth no. 1 at the Whitehawk Ethnographic Art Show
at the Santa Fe Community Convention Center
NEW CONCEPT GALLERY
May 6 30: Catalyst Arts: An Invitational Exhibition
June 3 July 4: Benefit for the Espanola
Valley Humane Shelter
July 8 Aug. 1:Jane Abrams, Ann Hosfeld,
Reg Loving, Three Visions
Aug. 5 28: Aaron Karp, Lucy Maki, Tim Prythero,
Maximalism
NART GALLERY
May 6 22: Alberto Glvez, En Tierra de Sueos Azules
May 27 June 12: Randall Reid, Evidence of a Society
May 27 June 12: Erin Cone, Denouement
June 24 July 10: Francisco Bentez,Ut Pictura Poesis
July 15 31: Hyunmee Lee
Aug. 5 21: Erik Gonzales
PEYTON WRIGHT GALLERY
May 1 July 1: American Modernist Works from the
Estates
July 1 Aug. 3: Oskar Fischinger, Visual Music
Aug. 5 Sept. 28: Stanton Macdonald-Wright,
Modern Synchronism
PIPPIN MEIKLE FINE ART
May 1: Aleta Pippin is pleased to announce the
opening of a second location, Pippin Contemporary,
at 125 Lincoln Avenue.
TURNER CARROLL GALLERY
May 16 in Dallas: Wet, featuring paintings by Eric
Zener and Conrad Kern, sculpture by Gino Mies
May 20 June 15: Ashley Collins, reception May 20
July 3 July 31: Rex Ray, New Work,
reception July 15
Aug. 1 Sept. 4: Hung Liu, New Work,
reception Aug. 5
VENTANA FINE ART
April 29: All Artists, Spring into Summer
May 13: Tamar Kander, Mystery of Interval
June 17: Debra Corbett and Gregory Smith
July 1: John Axton
July 15: Jean Richardson, Grace in Motion
July 29: Doug Dawson, Town and Country
Aug. 19: John Axton, John Nieto, Rebecca Tobey,
Indian Market
WAXLANDER GALLERY AND
SCULPTURE GARDEN
May 24 June 6: Phyllis Kapp: 80th Birthday
Celebration, reception May 27
June 7 20:Michael Ethridge and Paul Cunningham,
Coalescence, reception June 10
June 28 July 11:Marshall Noice, The Transcendent
Landscape, reception July 1
July 19 Aug. 1:Andree Hudson, Color in Motion,
reception July 22
Aug. 2 15:Suzanne Donazetti, Catching Light,
reception Aug. 5
Aug. 16 29:Bruce King, Journey of My People,
reception Aug. 19
WILLIAM AND JOSEPH GALLERY
May 1 31: paintings by Sally Crain-Jager, vessels
by Bradley Bowers, Dialogue, A Show of Words,
reception May 6
June 1 30: Reid Richardson, Family Tree
WILLIAM SIEGAL GALLERY
May 27 June 21: Jane Cook + Carola Clift
June 24 July 26: Paula Castillo + Indonesian
Lawon textiles
July 29 Aug. 23: Judy Tuwaletstiwa + African
Kuba cloth
Aug. 26 Sept. 27: Woody Shepherd
ZANE BENNETT CONTEMPORARY ART
April 29 May 20: Guy Dill and New Mexico
Women in the Arts
May 27 June 17: Steve Joy and Jonathan Blaustein
June 24 July 22:Holly Roberts and Colette Hosmer
July 29 Aug. 26: Donald Woodman and
Mimmo Paladino
Aug. 26 Sept. 23: Gail Bird, Yazzie Johnson, and
Olivier Mosset (Mosset through Sept. 30)
Summer Art Shows
If you asked the man on the street in Anytown, USA, hed probably tell you that artists
are somehow different from the rest of us, that they live lives of inspiration in a state of
perpetual maniawhen theyre not busy being tortured by their muses. Certainly in
the past we limited our perception of artists as human beings by our expectations that
they were constantly in a state of active creation, with creation understood loosely as
producing original objects.
This Modernist myth of the artist as tortured genius, as borne by those archetypes of
despair, Vincent Van Gogh and Jackson Pollock, taught us that artists were different,
touched by the fevered madness unique to their tribe. Once Postmodernism arrived by
the 1980s in all its baffling pluralism, we countered the old paradigm of the artist-as-
genius with new notions of living artfullysomething anyone anywhere could learn and
commit to. Artists do not need to be epileptic, severely depressed, or untreated alcoholics
to win us over to their unique abilities; madness is no longer required. In the daily news
we look to regular people who make heroic choicesordinary folks like your childs
teacher, a local legislator who stands up to heavily financed lobbyists for the good of the
public, the ordinary people at the soup kitchen who show up every day to feed hungry
familieswho demonstrate how to live with inspiration, as humbly and courageously as
possible. Each of us in our own way seeks to construct a meaningful life. We turn to oth-
ers as role models, particularly when times get tough. Artists today offer particularly good
examples of how to live an examined life.
ART
MATTERS BY KATHRYN M DAVIS
126 Trend Spring/Summer 2011 trendmagazineglobal.com
The world lost a bright and shining
heart in full pursuit of a thoroughly
examined life when conceptual artist
Helmut Lhr, a vibrantly handsome 55-
year-old, died this past Christmas Day.
[See Artist, Science,Visionary, page 188.]
As Cyndi Conn, co-owner of the gallery
Launchprojects, penned in her blog of
January 3, Lohr was an individual of
incredible intuition [who made] remark-
able contributions to the art world. We
have lost an elegant and pioneering voice
in art, performance, music, energy work,
and about how his art meshed with his
way of life . . .. The entirety of his exis-
tence was artful and everyone who made
the pilgrimage to see him [at his home
and studio outside Santa Fe] came back
restored, inspired, joyful. Lohr was first
a gentle man and second an artist whose
What artists have to teach us
about creative block
Living Artfully
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127 trendmagazineglobal.com Spring/Summer 2011 Trend
seems that we expect our artists to take on the role of Christ or Buddha in the guise of
Everyman. Artists offer us hope; not only does their art speak to a kind of fearless faith,
so do their personal lives.
Living artfully means facing our demons, and most of us would rather do anything
but. As the internationally known artist Bruce Nauman said in a 1979 interview (see the
wonderful book Please Pay Attention Please: Bruce Naumans Words, MIT Press, 2003),
An artist is put in the position of questioning ones lifestyle more than most people. A
lifetime of making conceptual art that deals precisely with this question led Nauman to
conclude (in the same interview) that I was an artist and . . . whatever it was I was doing
in the studio must be art. What a relief, then, for a struggling human to discover the
subtly powerful theme that drives the 2001 real-time, six-hour video installation Map-
ping the Studio I: Fat Chance John Cage: that making art includes those dreaded and
dreadfully all-encompassing moments when nothing seems to be happening.
We tend to suppose that creativity looks like a painter attacking the easel, jauntily
laying down passages of pure color; the sculptor feverishly chipping away to free the
figure trapped within the stone; the author typing in a storm of narration, driven by a
brilliant flood of words. But thats not how most artful types experience it. Committing
to a life of vision is an act of intellect and will as much as it entails a certain talentfor
masochism, perhaps. Consider the following from Londons Tate Museum website on
Naumans Mapping the Studio:
work motivated those who came into
contact with him around the world, from
his native Germany to his beloved
adopted New Mexico.
It was Lohr the artist who inspired us,
but it was his integrity and generosity of
spirit as a human being that were inte-
gral to our experience of him as artful.
In pondering our loss, we can bring
Lohrs legacy into the dialogue as we
seek to discover what it is exactly about
art and artists that moves us. Works of
art absolutely excite the phenomenon of
inspiration, but artists as contempo-
raries also serve as models for an art-
ful existenceliving with a willingness
to look deeply and honestly at what it
means to be human in a world filled
with billions of individuals who suffer
and die. In the Western world, at least, it
Bruce Nauman, Mapping the Studio I: Fat Chance John Cage, six-hour multi-channel video installation (2001).
Confronted with What to do? in his studio soon after graduating, Nauman had
the simple but profound realization that if he is an artist, everything he does in
the studio is art. This early revelation is fundamental to understanding his creative
output, and particularly relevant to an exploration of Mapping the Studio where the
artists immediate environmenthis studiobecomes the subject of the art.
Nauman had placed a night-vision video camera in his studio in Galisteo, New Mexico,
ostensibly to track cat-and-mouse activities. The results, Mapping the Studio (in two ver-
sions), reveal more than whether the cats were catching any of that springs unusually
high population of field mice; it shows viewers just how bereft of fecundity the artists stu-
dio can be, and exposes long stretches of nominal goings-on that are necessary as a prel-
udea stewing period, if you willto the making part of art. Read how Michael
Auping, chief curator at the Modern Art Museum of Fort Worth in Texas and a long-time
follower of Naumans, put it in A Thousand Words, his March 2002 Artforuminterview:
Those of us who arent artists dont know the anxiety of emptiness a studio can
provoke. I imagine this piece gets us pretty close. Its this sense of vacuousness
the long periods of inactionthat is the strength of the piece. Nauman is liter-
ally putting us in his place, watching and waiting for the next idea, which happens
to be about watching and waiting for the next idea. C
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128 Trend Spring/Summer 2011 trendmagazineglobal.com
New York Times art critic Michael Kim-
melman admitted to having been con-
founded by the works duration and
dullness. Upon deeper contemplation,
however, he found it a grueling, weirdly
beautiful meditation on nothingness and
artists block.
Meditating on artists block? It takes
courage to seek out and nurture the
Kalian dark side of creation and the near-
daily endurance test of being an artist.
Widely held as one of the worlds best
sculptors until her death at age 98 in
2010, Louise Bourgeois didnt realize suc-
cess until late in life; she embraced it
gleefully after years of persistence and
hard work. Born in 1911, she was finally
given a retrospective exhibition in 1981 at
New Yorks Museum of Modern Art. The
French-born artist lived in New York for
Louise Bourgeois, Destruction of the Father, plaster, latex, wood, fabric, and red light (1974).
ART
MATTERS
129 trendmagazineglobal.com Spring/Summer 2011 Trend
most of her adult life, raising three sons
with her art-historian husband. Even as
late as 1993, she was considered too
unimportant to be included in the Royal
Academy of Arts roundup of American
artists. Now British artists of such
renown as Rachel Whiteread and Stella
Vine cite Bourgeois as one of the great-
est artists ever.
Arguably, she is best known for three
series of works, all autobiographical:
Maman, monumental bronze spiders
that stand in for the patient homemaker
who was the artists mother; Cells, instal-
lation pieces about growing up with psy-
chological uncertainty, even trauma; and
Destruction of the Father, a series that
deals with her relationship, on many lev-
els, with a tyrant for a father. That her
father had an ongoing tacit extramarital
tryst with his daughters English teacher and nanny helped drive Bourgeois determined
investigation into the physicality of memory. Her work is nothing like Naumans, yet
these two have made a life of looking under rocks for the slimy, wriggling bits that are
integral to an honest autobiography. Bourgeois mined her own obsessively hoarded
secretsher hatred and fear of her father and his cruel dominance over his family
while Nauman focuses his work on the most direct question an artist can ask of himself:
What does it mean to be an artist?
This urge toward profound inquiry into the most personal and paradoxically universal
problems artists face as human beings is not exclusive to the established and interna-
tionally known. Emerging artists know, perhaps better than most, the agony of constant
self-examination; alongside financial instability, it is what causes so many to give up work
and get a real job. As young Santa Fe artist Clayton Porter frames his experience with
artists block: You try to incorporate your life into your work. My life informs my work,
so that even though I might feel guilty about not working, Im always working. I dont
directly talk about my life situations in my work, but my art exposes them completely
anyway. In other words, living as an artist demands a certain element of fearless explo-
ration into the darkness of those moments, however long they may persist, before the
voila! of creation reveals itself. After all, concludes Porter, [Making art is] about strug-
gle, and we all deal with iteverybody. I think the best pieces of art are the ones that
expose that struggle. R
Louise Bourgeois, Maman, bronze (1999).
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codysanderson.com | cody@codysanderson.com
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Cody Sanderson
130 Trend Spring/Summer 2011 trendmagazineglobal.com
C
ody Sanderson creates spiky silver bracelets for feisty
women (and men) who like that visually dangerous look.
His playful, inventive pieces in sterling and fine (100 per-
cent) silver and gold sometimes open on hinges, twist,
or offer other surprises for those who crave a bit of childlike wonder.
But mostly he designs for himself, for the pure pleasure of revving his
nonstop imagination, honing traditional and innovative techniques,
and watching to see what will emerge.
Sanderson, of Din (Navajo) heritage, has been creating jewelry full-
time since 2001. His work has earned numerous top awards, includ-
ing Best of Show at the 2008 Heard Museum Guild Indian Fair and
Market, where he wowed the judges with his version of a sterling sil-
ver Rubiks Cube. In bracelets, belt buckles, necklaces, pendants,
and rings, abstract and geometric designs are joined by imagery in-
spired by spiders and crustaceans. All pieces are hand-fabricated
using metalworking methods including casting, forging, bending,
stamping, and repouss.
Another practice the artist enjoys is combining function and fun. The
latest in his series of sterling silver flasks, for example, is a
necklace/pendant in the shape of a fist-sized heart. Incorporating
22-carat gold, the anatomically correct human heart is inlaid with
blood-colored coral. The top screws off so the wearer can carry li-
bations inside. While continuing to create innovative jewelry, Sander-
son hopes to offer his design skills for collaboration with design
houses on such items as home furnishings and fashion hardware,
as well as move into public art. Im not limiting myself to the jewelry
realm, he declares. I feel like Im just getting started.
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131 trendmagazineglobal.com Spring/Summer 2011 Trend
S
anta Fe multimedia artist Carlos Carulo of Santiago, Chile,
moved to the City Different in 1974 after several years of archi-
tecture and fine arts studies and travel around Chile, England,
and Sweden. Following a brief return to Chile to reconnect with
family, Carulo visited friends in Deming, New Mexico, who urged
him to consider Santa Fe as a possible home. At first sight, I fell in
love, and Ive lived here ever since, Carulo says.
For 10 years Carulo has lived and worked in a quiet neighborhood
on Santa Fes west side. Despite high ceilings, uncluttered floors,
and generous track lighting, the voluminous, well-appointed studio
barely contains his creative imagination. The walls teem with mural-
scale paintings interspersed with sketches, beautifully executed
abstract metal sculptures, and small maquettes. Several works in
progress occupy one end of the studio opposite some comfortable
chairs, a round table, and a small sofa. Carulo has manifested a liv-
ing workspace that echoes his disarming, graceful personality.
He is currently preparing for a spring exhibition with Riva Yares
Gallery that will include some works from his Artifacts series that
were included in his new book. Im trying to create whole worlds to
contain the fragments of artifacts Ive already been working with,
he notes with a sweep of his hand toward the easel end of the studio.
Over the years, Carulo has explored a variety of subjects and
styles, including his wildly successful Pueblo series. But he keeps
returning to surrealism and abstraction. His complex compositions
include figurative elements, mechanical references, Mesoamerican
iconography, and his own visual grammar.
My work is always changing, and my newest paintings could be
bracketed in Abstract Expressionism, but I call them Situationalism,
something that [ Jackson] Pollock was talking about during his life-
time. Pollock named what he was doing Situational art, but histori-
ans dropped that ball. I think of my paintings as responses to
emotional situations as they come to you in an abstract way.
Carulos view of abstraction is shared by others, including the late
Taos artist Agnes Martin, who referred to her pale-hued minimalist
paintings as expressions of abstract emotions. His powerful can-
vases and works on paper automatically trigger visceral responses.
The juicily foreboding dark lines, intense colors, and complicated
forms are a far cry from the safely bland corporate office art or hack-
neyed nostalgia occupying many contemporary galleries.
Carulo is an able artist and excellent draftsman who brings skillful
execution and a playful imagination to any medium or style. But his
first love is abstraction. In many ways I see realism as an enemy of
contemporary art. Traditional realism becomes a habit that prevents
many people from being able to see in new and different ways, he
says. Our perception of reality is always changing; there are no fixed
points of reference, so we have to keep our eyes and minds open to
new possibilities.
Carulos expansive view of art is informed in part by his admira-
tion for Chilean artist Roberto Matta, who also studied architecture
before art, and by Pablo Picasso. He sees enormous value in both
artists symbology and mastery of abstraction, and he occasionally
emulates specific works, such as Picassos Guernica or Mattas A
Grave Situation.
Ive always been amused by Picassos statement that master
artists copy, while geniuses steal, he says with a broad smile.
Though Picasso and Matta were also sculptors, Carulos favorite is
Eduardo Chillida, a Basque artist who quit professional soccer to
134 Trend Spring/Summer 2011 trendmagazineglobal.com
Abstract Emotionalism
No single medium or style
can speak this idiosyncratic
visual language
Artist
STUDIO
BY WESLEY PULKKA
PHOTOS BY KATE RUSSELL
Carlos Carulo sits in front of his Artifacto Grande, a 6 6 foot mural in his studio.
Opposite top: Maoi #4, a painted aluminum sculpture, is part of a series inspired
by the monumental heads on Easter Island. Opposite bottom: Several works in
progress surround Carulos mural Reformation over Yellow on the studio wall.
become a world-renowned monumental sculptor. More to the point, Carulo
sees freedom of expression growing from his ability, like that of his artistic
models, to move between two- and three-dimensional media.
Sculpture has been a large part of his creative process, for which he credits
his early architectural studies as well as the three-dimensional quality in many
of his early paintings. But because sculpture is more time-consuming and
labor intensive, for the past four years Carulo has accepted commissions only.
He is also looking forward to teaching a painting class this spring. We are
going to study the philosophical basis for abstract painting while reviewing
art history from the Renaissance to the present. But my goal is to empower the
students not to paint what their eyes see, but to paint what they feel. I want
them to express the emotion of really seeing something or experiencing some-
thing in a specific situation, Carulo says.
Now 61 years old, Carulo says he has to reinvent himself every few years
to pique my curiosity and to ask new questions in my work. The world is
changing so fast, and new ideas flow so rapidly. There is no stopping or final
destination. Every day is a new possibility.R
135 trendmagazineglobal.com Spring/Summer 2011 Trend
DreamWeaver
Assemblage serves as a creative roadmap
to a houseand lifestrewn with memories
Artist
STUDIO BY WESLEY PULKKA | PHOTOS BY KATE RUSSELL
Andrea Senutovitchs dog
Misha guards Reliquary Ship
and several untitled sculptures
in the artists living room.
136 Trend Spring/Summer 2011 trendmagazineglobal.com
137
T
he late Surrealist Salvador Dali would
be jealous of assemblage artist
Andrea Senutovitchs total immer-
sion in the world of dreams and memories.
Her antiquities-adorned Santa Fe home
and underground studio with entrance
hidden behind a hinged bookcase are a
Surrealists paradise. Both spaces are
packed from floor to vigas with fragments
of forgotten eras, including Victorian door
moldings, African sculptures, a wheeled
boat with X-ray film sails, and a tarnished
silver C-melody saxophone.
Visual cacophony does not begin to
express the overwhelming effect of so many
disparate objects occupying every available
nook, cranny, and flat surface. Senutovitch
floats through it all with familiar ease. This
comfortably claustrophobic interior, which
of course spills into the front and back
yards, is her palette, sketchbook, easel,
brush, and chisel. With them, she creates
romantic dramas interlacing fact and fiction
into seamless sagas of the human spirit.
In the catalog for the 2008 exhibition
Alchemy: Collage and Assemblage at 516 Arts in
Albuquerque, Senutovitch wrote of her work:
I am a collector and caretaker of objects with
soul. I work with assemblage and collage
because Im a storyteller by nature. These
objects are my pen, the rhythm of my ink . . ..
They are maps, songs in D-minor, a soup of
intentions, a mix of melancholy, laughter,
loss, hope, and despair. They are made
of dreams and moments of brief awakening.
Senutovitchs comfort among an ever-
growing collection of belongings belies her
childhood spent in foster care while her
father and mother burned through five
marriages each. Born in Espaola and
raised in Santa Fe and on the East Coast,
Senutovitch came home to the City Differ-
ent as an adult in search of her roots and a
place to explore her restless imagination.
She also wanted to establish a real home in
which to finally grow unimpeded by the
expectations of others.
While living back east, Senutovitch was
accepted into the Rhode Island School of
Design. Armed with this validation of her
artistic yearnings, she excitedly contacted
her grandfather, renowned Santa Fe print-
maker Willard Clark, who refused her
request for financial aid because he lacked
confidence in her talent. This came as a
harsh blow to a fledgling artist.
Along the way, Senutovitch married and
divorced photographer Robert Stivers, who
remains a good friend and doting father to
their 20-year-old daughter. The former cou-
ple exhibits together and has an upcoming
show in Los Angeles.
Now in her forties, Senutovitch has
returned to her art studies and is in her jun-
ior year at the Santa Fe University of Art and
Design (formerly College of Santa Fe). She
says she truly enjoys working in an environ-
ment filled with young people with fresh
views of the world.
My real art career began after my grand-
father passed away in 1992, she says. I had
to start at the beginning and discover Tasha
Ostranders butterfly, Joseph Cornells poetic
boxes and eccentric personal life, Salvador
Dalis collages, Marcel Duchamps ready-
mades, Kurt Schwitters collages, and works
by many others. But my most heartfelt
inspiration comes from primitive art and
my grandfathers collection of African art.
Her visit to a Cornell exhibit in San Fran-
cisco brought tears to her eyes. I felt over-
whelmed by his writings and seeing the
pieces in person. I understood their chatter.
I would have liked to have met him.
Senutovitch is blessed with a resilient,
ethereal, magical personality that stiffens
with resolve when confronted with adversity.
She is not cowering in a cluttered corner
steeped in hand-wringing self-pity or regret,
but celebrating her Russian-Armenian aris-
tocratic ancestry as well as her soul connec-
tion with all the storied objects that she
willingly shares with others who love con-
tent-laden narrative art.
There is a certain alchemy that happens,
a type of magic, a secret language spoken
when these objects are assembled in partic-
ular ways, she says. They retell the archae-
ology of their travelsthe owners that
touched them, the reasons they sing.
She writes about beetles, and collects bug
boxes and toy soldiers. Though once attached
to familial things, she is in the process of let-
ting go. Now in midlife she is readying to
take flight and begin life anew. In a year or
so, she will take the love of her life and her
small menagerie of animals, and move.
Senutovitch looks forward, she says, to a
time when she can settle in to write, make
art when it calls out, and just be. R
An untitled sculpture adorns an antique table in
the living room. Left: Senutovitch works on a new
piece in the sculpture studio of the Santa Fe
University of Art and Design.
trendmagazineglobal.com Spring/Summer 2011 Trend
P
oets are able to imagine motion within stone walls or mountainsides.
They understand liminal formthat which is on the verge of coming
into being for the observer. Contemplative ceramic sculptor and edu-
cator James Marshall works at the edge of awareness to create elegant clay
forms bathed in luscious monochrome glazes that speak to the viewers
inner being. His long-running Liminal Objects series is the result of years of
experience in the arts and, more importantly for Marshall, his time spent
hiking, snowshoeing, and skiing.
The nature of the mountains is a real foundational part of my life.
Theres a presence that mountains arethat quietness and solid stillness.
That is a large part of my work.
His sculpture echoes wave forms, rock cliff edges, rolling foothills, and
the things we see not quite in focus nor identifiable, amorphous shapes
that might be ships at sea or trees along the shore or a mountain lion fash-
ioned of logs and stone.
Marshalls home and workshop on the far west side of Santa Fe are
located along an unpaved road that snakes out toward open country. Filled
with pieces both finished and in progress, his cluttered studio is an honest
production environment housing clay, powdered glazes, a large electric kiln,
work tables, lots of shelves, and hand tools.
Like Henri Matisse, Marshall first studied law before turning to art. Then
he took a crafts class in his senior year as an undergraduate. It wasnt even
a fine arts course, but I tried working with clay, and that was it, he says. It
was like waking up from a dream. Im not exaggeratingit was profound.
Four-Dimensional
Sculpture
Clay objects strive to embody
nature and beyond
Artist
STUDIO BY WESLEY PULKKA | PHOTOS BY KATE RUSSELL
Glazed ceramic pieces in progress in Marshalls studio.
After that, Marshall went into the Peace Corps in Guatemala,
where he wound up becoming a potters apprentice, throwing
bowls for five months and working eight hours a day. He followed
this experience with graduate school at the University of Michigan
School of Art, where he earned a master of fine arts and began
work as an independent artist.
By the early 1990s, Marshall was showing at the Sena Galleries in
Santa Fe, where he exhibited mythically inspired wood and mixed-
media sculptures. It all ground to a halt in 1993.
I was living a very one-dimensional life at that point, he
explains. I spent every waking hour building sculpture, looking
for places to show, and in general pushing myself to be successful.
I finally went broke and quit the art scene.
For the next eight years he ran a successful design studio where
he completed and sold more than 130 functional objects and pieces
of furniture in wood, steel, and brass. Once I let go, I finally was
making a living, and for the first time in 20 years I took vacations,
went skiing, walked in the woods, had money in the bank, and had
girlfriends. It was great, he says.
In 1999 he was offered a job as lead instructor in the ceramics
department at Santa Fe Community College, where he still teaches
ceramics, drawing, studio practice, and three-dimensional design.
It was fun working with these high-energy students who also
loved claybut I didnt jump right back into making art again.
Two dreams inspired his return to the studio. I was visiting a
gallery full of really bland ceramic sculpture. As I turned to leave
in disgust, I realized that I was holding a large ball of wet clay. In
the second dream, I visited a show that turned out to be my work.
In the center of the gallery was a four-foot-tall stylized vessel that
looked like a plastic detergent bottle. It was covered with a bub-
blegum-pink glaze.
Until then, Marshall had never worked with bright colors nor
taken interest in industrial shapes. I decided to let those dreams
guide me, and it has turned out to be a very good decision.
In his artist statement for the 2008 Liminal Objects solo show at
Winterowd Fine Art in Santa Fe, Marshall writes: My desire as an
artist is to create beautiful objects that are a colorful presence. The
essence of this work, then, is really color and light and how color
and light of a form radiates into the life. What motivates me is the
question: When does an ordinary object move into other dimen-
sions? It is this unidentified dimension of a form that intrigues
me the most . . .. There is a deep beauty that resides inside of the
indeterminate, the saturated Chroma, the light that radiates out
into the life. A life where everything is what it is and nothing is
what it seems. Where color, energy, light, and form merge into one.
That is where I do my work. R P
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Top left: Orange #330, a glazed ceramic sculpture, explores the liminal edges of form. Bottom left: Blue #355, a
contemplative sculpture of monumental size. Right: James Marshall takes a short break in his ceramics studio.
S
culptor, percussionist (jazz drums and piano), and hands-on
rugged individualist Alexander Sandy Brown built his art
career, home, and studio from the ground upliterally
with a little help from his friends and mentors along the way.
Built from age-old materials, his large adobe home and grand-
scale studio sit on five rural acres atop a winding driveway that
climbs a steep hill southeast of Santa Fe. The property imparts a
sense of antiquity, while showcasing a contemporary sculptors sen-
sitivity to design, form, and the nature of built-to-last architecture.
I spent 20 years working in a one-car adobe garage in Santa Fe,
so when I discovered an inexpensive way to refinance my house
back in 2002, I set aside enough to build a real studio, Brown says.
The soaring structure is adorned with and supported by large
buttresses that recall the St. Francis of Assisi Church in Ranchos
de Taos. Though deeply devoted to his craft as a metalworker and
stonemason, Brown stops short of identifying his studio as an art
temple. Yet a persistent feeling of spirituality remains.
Thanks to Browns sweat equity, careful materials manage-
ment, and the generosity of several friends, the massive building
was completed in five months on a shoestring budget. Under
20-foot ceilings, one finds a hammer mill for steel forming, a
plasma cutter, welding equipment, air compressor, workstations
and benches, and enough hand and power tools to get the job done
in whatever materials strike his fancy.
Brown is well-read and has looked at a lot of art in the past 30
years. He readily acknowledges his work is a blend of Asian and
Western aesthetics. He admires artists like Henry Moore, Larry
Bell, David Smith, Tom Joyce, and Isamu Noguchi, who bridged
Asian and Western art throughout his long career.
Browns hungry eyes have led him to create works that are darkly
medieval and seemingly touched with ancient wisdom yet able to
articulate contemporary art values. In metal works such as Fabula
Mundi, he uses the Chinese symbol of the universe, Pi (bee), as a
basis for a stylized landscape including architectonic elements.
Brown blends stone and steel in Concentric Nirvana, a forceful
work perfectly executed in monumental scale that exudes ageless-
ness. Several works in his home also offer mute testimony to
Browns broad visual vocabulary and perfectionists hand skills.
Current explorations include forms that allow light to pass
through and experiments with pattern formations on vibrating
surfaces. Its hard to know exactly where these models and trials
will take my work, but I really need to clear my head by taking off
on a different point of departure and just see where it leads,
Brown says. I can always do what I already know how to do,
140 Trend Spring/Summer 2011 trendmagazineglobal.com
Artist
STUDIO BY WESLEY PULKKA | PHOTOS BY KATE RUSSELL
Temple of Possibility
The studio and everything in it are questioned by the sculptors hand
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Axiom, of welded and forged steel, unites medieval European
artifacts with contemporary art. Top: In the foreground is
Constellation Dream Box, with an untitled piece on the wall
and Four One on the table, from three series of works in forged
steel. Left: An untitled steel sculpture lies in the doorway of
Browns studio. Opposite: Alexander Sandy Brown designed
and built his huge studio with a group of friends.
when the need arises.
Though he is holding back on major projects until a recent wrist injury
has time to heal, Brown did manage to manifest a large, roughly four-foot-
diameter, circular steel piece made of 1-inch intersecting steel plates that
must weigh at least a thousand pounds. The craft paper maquette, on the
other hand, fits easily in the palm of his hand.
I enjoy building small maquettes, and visualize them at a monumental
scale that you could drive or walk through, Brown says. But those large-
scale commissions are difficult to land.
Conversation with Brown in his living room, with its huge Anasazi-style
stone fireplace and cross-cultural artifacts, covers a myriad of topics, from
art-making to art marketing, philosophy to politics, crop circles to mandalas,
old cars to the latest technologies. He enthusiastically explains that the
builder of an electric bicycle in this last category had included a small trailer
to haul children or groceries. Id love to build one of those for running
errands. Its practical and fun at the same time.
A few minutes later, he is considering the ethical dilemmas of artists who
are under enormous pressure to produce new, original images while being
surrounded by works created by other artists. Who, he asks, owns the vocab-
ulary? Can an artist copyright a triangle or a square? I think we need to share
the language and add our individual voices to the greater context. If you look
at an architect like Antoine Predock, who immediately acknowledges all of
his mentors and influences, you recognize that originality comes from expe-
riencethrough the embrace of everything around you.
It is a model he clearly takes to heart. R
141 trendmagazineglobal.com Spring/Summer 2011 Trend
Counterclockwlse trom top: |ncomparable Llama Love!
Hlke tbe Rockles wltb Wllo Lartb Llama Aoventures.
Doc Martln's Restaurant at tbe Taos |nn speclallzes ln local
ano sustalnable natural tooos, lncluolng a seasonal kltcben
garoen on-premlses. Tbe tamous neon slgn ano tacaoe ot
tbe Hlstorlc Taos |nn.
N
ew Melco's rlcb cultural berltage, outooor actlvltles, ano oppor-
tunltles tor glvlng back botb to tbe protectlon ot wllo ano scenlc
places ano local communltles makes lt a traoemark oestlnatlon
tor Lcotourlsm. Low lmpact travel to natural areas wbere one learns sallent
knowleoge ot tbe placelts plants, people, anlmals, skles, ano llgbtls one ot
tbe nest eamples ot eperlentlal tourlsm ln Nortb Amerlca.
Taos Lcotourlsm bas been blgbllgbteo as one ot tbe state's best places tor
tbls type ot travel, embraclng compelllng vacatlon opportunltles.
WILD EARTH LLAMA ADVENTURES
Knowleogeable guloes ano llovable llamas bave 20 years eperlence
ln creatlng tbe wlloerness aoventure ot a lltetlme! [oln tbem tor one ot tbe
popular Take a Llama to Luncb!" Day Hlkes: or, tor tbe truly aoventurous, a
Multl-Day Wlloerness Lpeoltlon near Taos ano Santa Fe. On tbe trall, gentle,
suretooteo llamas carry tbe gear so you are tree to learn about eolble ano
meolclnal plants, natlve Nora ano tauna, reglonal tolklore, ano survlval skllls.
Gourmet meals are prepareo ano serveo ln scenlc wlloerness backcountry.
www.LlamaAdventures.com
800 758 LAMA {5262}
TAOS ECOTOURISM:
Finding Sanctuary LQWKH Wild
8I\XF] [LNN|FLR HO8SON
PHOTO: JAMIE TEDESCO
ADvLRTOR|AL
LOS RIOS RIVER RUNNERS
Ratt tbe wblte-knuckle wbltewater ot tbe worlo-tamous Taos 8o. Float
tbrougb tbe spectacular Cbama Rlver Canyon ano sleep unoer tbe stars. Lnjoy
a traoltlonal Pueblo |nolan teast atter Noatlng a calm stretcb ot tbe Rlo Granoe
wltb a natlve guloe. Or take your klos on a Rlo Granoe wblte water aoventure
tbey'll remember tbelr wbole llves. Los Rlos Rlver Runners bas more access to
New Melco's rlvers tban any otber rattlng company ano ls tbe oloest, too, wltb
more tban 30 years eperlence.
www.losriosriverrunners.com
800 544 1181
THE HISTORIC TAOS INN
Known as tbe Llvlng Room ot Taos, tbe Hlstorlc Taos |nn ls a legenoary
baven wltb real aoobe constructlon, autbentlc nortbern New Melco arcb-
ltecture, ano tarm-to-table tooos ln tbelr tameo Doc Martln's Restaurant.
Markeo by tbe olo Tbunoerblro neon slgn outsloe tbelr ooor, tbe Taos |nn ls
a malnstay ot local color, but pays equal attentlon to recycllng: tbelr program
lncluoes tbe reuse ot kltcben olls tor blo-tueleo veblcles. Tbls [une tbe Taos |nn
celebrates 75 years ot buslness wltb a commemoratlve menu, orlnk speclals,
ano a llneup ot compelllng llve muslc, lncluolng Grammy Awaro-wlnnlng Taos
Pueblo Nutlst Robert Mlrabal.
www.taosinn.com
888 518 8267
OJO CALIENTE MINERAL SPRINGS
RESORT & SPA
[ust 45 mlnutes trom Taos, Ojo Callente ls celebratlng 143 years as one ot
tbe oloest natural bealtb resorts ln tbe U.S., but lt bas been a beallng oestlnatlon
tor centurles. Deemeo sacreo by tbe Natlve Amerlcans ot tbe area, tbe resort
ltselt ls comprlseo ot over 1,100 acres ot blklng ano blklng tralls ano ls aojacent
to tbousanos ot acres ot publlc lanos lncluolng tbe rulns ot tbe P'osl Pueblo.
www.ojospa.com
800 222 9162
THE BAVARIAN LODGE & RESTAURANT
Hlgb up ln tbe Taos Skl valley, tbls Luropean-style restaurant on tbe eoge ot
natlonal torest wlloerness teatures genulne 8avarlan culslne wltb German beers
on tap, best enjoyeo on tbe magnlcent sunoeck. Looglng avallable as well.
www.thebavarian.com
575 776 8020
Top: Tbe beallng waters ot Ojo Callente Mlneral Sprlngs.
8elow: Rattlng tbe Rlo Granoe Gorge wltb Los Rlos Rlver Runners.
PHOTO: DEL DUBOISE










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A TAOS LANDMARK SI NCE 1936


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SANTA FE CHILDRENS MUSEUM
1050 Ol d Pecos Tr ai l , Sant a Fe, NM 87505 P: 505.989.8359 E: di r ect or @sant af echi l dr ensmuseum. or g
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Come to SFCM and reimagine the possibilities of
play, learning, discovery & growth!
Special Exhibit: May-August, 2011
Entomologist Ollie Greer partners with SFCM to present
Metamorphosis, the return exhibition of 2,300 tropical and local
insects of every size, shape, pattern, and color imaginable. Visitors
will find on display the worlds most exotic insects including birdwing
butterflies, whip spiders, walking sticks, and praying mantises...all your
favorites are coming back for your enjoyment!
For more information: www.santafechildrensmuseum.org
S ANT A F E C HI L DR E NS MUS E UM HAS E XP ANDE D!
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144 Trend Spring/Summer 2011 trendmagazineglobal.com
Sheridan MacKnight
studio 310-488-1796 sheridanmacknight.com
morningstar gallery 505-982-8187 morningstargallery.com
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Natural
by Design
BY ELIZABETH HARBALL
Learning to Go
With the Flow
New Mexicos rivers and otters both
gain from reintroduction
river otter documented in
New Mexico was in 1953,
though their populations
showed extensive damage
starting in the 1890s
because of heavy trapping.
A number of local conserva-
tion groups felt that return-
ing otters to the states
rivers would help restabilize
ecosystems that had been
damaged by their disappear-
ance. New Mexico Friends
of River Otters, formed in
2001, began a long process
of surveys and meetings to
accomplish their goal of
reintroducing otters to New
Mexico.
The North American
river otter is a playful mam-
mal highly adapted to
aquatic life. Its tunnels and
dens are found on the
shores of ponds, rivers, and
lakes. Its webbed feet and
water-repellent fur make it
a fantastic swimmer, with a streamlined
body and tail that propels it swiftly through
the water. Highly social animals, otters are
often observed playing in groups. One of
their favorite pastimes is sliding down
muddy or icy embankments into the water.
Different species of otters live in healthy
rivers all over the world.
Otter reintroduction is not without
precedent. Beginning in the 1970s, 21
states reintroduced river otters to areas
where they were either dwindling or
extinct. Three of New Mexicos neigh-
borsArizona, Colorado, and Utahhave
initiated otter reintroduction programs.
The New Mexico effort began in 2001.
Funded by nongovernmental organiza-
tions, the reintroduction of river otters has
been a major accomplishment for the
many parties involved, including Amigos
Bravos, the Earth Friends
Wild Species Fund, Center
for Biological Diversity,
Defenders of Wildlife, Four
Corners Institute, New
Mexico Wildlife Federa-
tion, Rio Grande Chapter
of the Sierra Club, Upper
Gila Watershed Alliance,
and the U.S. Bureau of
Land Management. Taos
Pueblo was also a major
player, allowing the release
of river otters onto its land.
It was a true collabora-
tion, says Melissa Savage
of Four Corners Institute.
Everyone pitched init
was a very good working
group.
Savage is a retired geog-
raphy professor, and has
been working to preserve
natural resources all her
life. Four Corners Institute
was established to help
New Mexico communities
protect their environments, with a focus
on forest restoration. But Savage found her
involvement in the otter restoration effort
to be one of the most rewarding projects
of her career. With all my work in forest
policy, it is hard to know what the outcome
will be, she says. Two hundred years
from now, there will be otters in New Mex-
ico, and to that I owe a lot of satisfaction
for the work. >
149 trendmagazineglobal.com Spring/Summer 2011 Trend
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Otters were released into the upper Rio Grande in Taos County beginning in October 2008
through an agreement with the U.S. Department of Agricultures Wildlife Services in
Washington state. With the cooperation of Taos Pueblo, New Mexico Game and Fish
Department, and a coalition known as Friends of the River Otter, animals that were considered
a nuisance in Washington were released at Taos Pueblo. Left: Rio Grande Gorge in Taos County.
I
t was a lucky break for 33 Washington state river otters. Their habitat in Puget Sound was
beginning to conflict with housing developments and boat marinas, and residents saw
them as a nuisance. After being trapped by the U.S. Fish and Wildlife Service, it was
likely that the animals would be destroyed. Instead, thanks to a remarkable effort by a
coalition of community groups, the otters recently found a new home in New Mexico.
They are the first otters to live in New Mexico since the 1950s. More than a hundred years
ago they thrived in the Gila, Rio Grande, Mora, San Juan, and Canadian rivers. But overhunt-
ing, habitat destruction, and deteriorating water quality led to their extinction here. The last
Rachel Conn, a founding member of
New Mexico Friends of River Otters, was
also instrumental in the restoration effort.
The otter reintroduction was one of her
first projects with Amigos Bravos as they
helped the New Mexico Department of
Game and Fish compile a feasibility study
and conduct public information meetings.
One of Conns first tasks with New Mex-
ico Friends of River Otters was to discover
whether the otters had indeed disappeared
from New Mexicos rivers. There was some
concern that a subspecies known as the
Southwestern river otter might still exist,
and that the introduction of otters from
elsewhere could dilute and eliminate the
subspecies. Thats why New Mexico lagged
behind other states in its reintroduction
efforts. But after a number of surveys of
the states river systems, no otters of the
subspecies were found.
Other evaluations needed to be made as
well. Before otters could be released, it was
necessary to determine whether targeted
areas provided good habitat and sufficient
food sources. Assessments were made
throughout the state that considered fish
and crayfish populations, water quality,
and consistency of water flow. Beaver pop-
ulations were also a major consideration.
Otters often convert beaver tunnels and
lodges into their own homes, and beaver
dams foster large fish populations that
attract otters.
The otters impact on their new environ-
ment was a concern, as that might not be
apparent immediately as the animals dis-
persed. A number of endangered aquatic
species live in New Mexico, including the
Chiricahua leopard frog, the Gila trout,
and several species of chub. Much care
was taken to ensure that the otters were
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Formed in 1988, Amigos Bravos is a Taos-based conservation group dedicat-
ed to protecting New Mexicos rivers and the Rio Grande watershed. The
organization has three main goals: to hold polluters accountable, to protect
and restore watershed health (which includes reintroducing native species),
and to create a movement to protect New Mexicos rivers. Projects have
included advocating for mining reform at the Molycorp mine in Questa, peti-
tioning for safer dairy-lot regulations, and campaigning for an end to toxic
dumping by Los Alamos National Laboratories. Amigos Bravos aims to ensure
that the states waters remain healthy and safe for river otters and the people
who enjoy them. For more information, go to amigosbravos.org
WILDLIFE RESOURCES
Center for Biological Diversity:
biologicaldiversity.org
New Mexico office: Silver City, 575-388-8799
Four Corners Institute:
Santa Fe, 505-983-8515
New Mexico Wildlife Federation: nmwildlife.org
Albuquerque, 505-299-5404
Upper Gila Watershed Alliance: ugwa.org
Gila, 575-590-5698
Amigos Bravos
Natural
by Design
not released into areas where they would
further threaten these dwindling species.
In deference to local anglers, otters were
not introduced into the San Juan River.
Similar concerns arose with the Gila river
system, which is the last refuge for several
endangered species, but New Mexico
Friends of River Otters believes otters
would not seriously threaten those species.
They might turn out instead to be a natu-
ral method of river restoration. Reintro-
duced otters are expected to prey on
damaging non-native species such as cray-
fish, which feed on the eggs and young of
native fish. In other states where otters
have been introduced, crayfish have
become the bulk of the otters diet. Otters
are also likely to target invasive fish
species such as the white sucker, which
are slower and more abundant than native
species. Jon Klingle, a retired wildlife biol-
ogist and member of New Mexico Friends
of River Otters, believes the risk is far
greater in not pursuing solutions to the
ecological problems faced by New Mexicos
rivers. Otters, he says, offer a chance of
helping to restore the system.
It is with these hopes that river otters
have been welcomed back to New Mexico.
Evaluations were completed in 2006, and
the New Mexico Friends of River Otters
was allowed to release otters into the
upper Rio Grande. The next issue was
where to get the otters. Darren Bruning
provided a solution. Formerly a biologist
for Taos Pueblo, Bruning now works as a
Wildlife Services biologist for the state of
Washington, which was having problems
with otters in Puget Sound. Bruning coor-
dinated the effort in Washington, trapping
the otters and making arrangements to
release them on Taos Pueblo land.
The first release took place October 14,
2008. Trapped otters were transported from
Olympia, Washington, to Taos and moved
into temporary holding pens where they
were allowed to adjust to their surround-
ings. They were also fed three times a day
in order to ensure optimal physical health.
After several days, the pens were opened in
groups of four to six at a time, in what is
called a soft releaseanimals are allowed
to leave their pens at will. It worked out
very well, says Jim Stewart of New Mexico
Game and Fish. The animals came out of
the pen calm and in good shape.
The otters are doing well in their new
habitat so far. They have dispersed widely
and are swimming the Rio Grande as far
north as the Colorado border and as far
south as Cochiti Dam. No reproduction
has been documented yet, but because
they are naturally social animals, the otters
seem to be improvising family groups.
During one of the later releases, a group of
four males was observed swimming
upriver and playing together in front of the
pens, as if to establish seniority over the
newcomers.
The river otters exuberant personalities
have been greeted as a welcome addition
to river life. People are enchanted by them.
Those involved in the restoration effort
describe the animals as charismatic and
joyful to watch. Many otter sightings have
been reported by people who live and work
along the rivers. The animals also make an
excellent educational tool for children
learning about the importance of protect-
ing New Mexicos river systems.
Otters have brought a lot of positive
energy to wildlife viewing along the Rio
Grande, notes Conn. All thanks to posi-
tive group effort that found the otters a
safe new home, giving New Mexicans an
opportunity to see and learn from these
beautiful animals. R
151 trendmagazineglobal.com Spring/Summer 2011 Trend
An otter emerges from one of the pens. Far left: Biologist Darren Bruning
gets help checking an empty fish pen that may have been raided by a
recently released otter. Left: Otter holding pens, or pods, on the bank
of Rio Pueblo de Taos. Otters were held in the pods for a few days after
being moved, so they could be observed as they settled down and fed on
fish from the pens behind, in the river. The pods were then opened so
otters could leave and return at will.
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w

There is a place where the land


and people understand each
other, and the result is an
artistic expression that stands
alone in the world of quality
and design.
The craft of the Navajo
weavers, the Zuni silversmiths,
and the pottery of the Hopi,
Laguna and Acoma people are
but a sample of what you can
experience.
Opposite Page: Navajo Warrior.
Navajo Artist Jimmy Abeita.
Courtesy of a Private Collector.
Top: Red Mesa Rug. 33 x 56.
Navajo Weaver Dralinda Nez.
Courtesy of Richardson Trading, Co..
Above: Zuni Channel Bracelet.
Spiney Oyster Shell.
Navajo Artist Paul Livingston.
Courtesy of Joe Milos Whitewater Trading Co.
Left: Evening Chant.
15 x 10 x 6. Utah Alabaster.
Navajo sculptor Oreland Joe.
800.242.4282
www.thegallupchamber.com
THE WORLD
BUYS IT FROM GALLUP


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POINT
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COUNTERPOINT BY TOM R. KENNEDY | PHOTO BY KERRY SHERCK
154 Trend Spring/Summer 2011 trendmagazineglobal.com
Zuni Artists Speak Out Softly
A roundtable discussion about artistic identity
Zuni artists, from left: Les Namingha, Silvester Hustito, and Gomeo Bobelu gather
at the Firegod Gallery of Native artwork in downtown Albuquerque.
If art can be defined simply as the expression of human creative skill and imagination, then that
opens a universe of interpretations about its various styles, forms, and manifestations. Recently,
three contemporary artists who also happen to be Native Americans from Zuni Pueblo sought to
explore what contemporary art means to each of them as creative individuals striving to succeed in
the mainstream art world. Silversmith Gomeo Bobelu, potter and painter Les Namingha, and
painter/sculptor Silvester Hustito engaged in a free-flowing dialogue about being contemporary
artists against the backdrop of their conservative pueblo upbringing.
Although their situation is little-known to outsiders, Native American artists who reach beyond
community cultural expectations face real, multilayered challenges. Zuni Pueblo is a picturesque
art colony where as many as 80 percent of workers derive a significant portion of their income from
artisanal production. It is also a community where age-old traditions drive a complex calendar of cul-
tural obligations. That creates conditions that run counter to the individualistic freedom implied in
the making of contemporary art. Succeeding in both arenas, traditional and mainstream, determines
how well one will reach beyond the traditional confines of Native art venues. >
1808 Espinacitas Street
Santa Fe, NM 87505
505.983.5264
www.thefirebird.com
Clean Doesnt Mean Compromise
The Renaissance Rumford combines
environmentally responsible clean
woodburning with the traditional romance
of an open fire.
70% less emissions than a typical fireplace
with the door open and 93% less with the
door closed.
Hideaway glass door and screen raise
& lower with just the touch of a finger.
Comprehensive 30 year warranty.
Gomeo: First of all, being here with these
three individuals is a bit overwhelming
established artists with major galleries, a
gallery owner. But right now I consider
myself as an emerging artist, even though
Ive been doing jewelry for about 10 years
now. I have avoided the limelight intention-
ally until my kids were grown up. Though
Im feeling at ease about it, this is all new, to
be exposing myself to the public.
My jewelry work is what I call a hidden
art form that allows me to meditate, heal,
and evolve. My art is deeply connected to my
own spirituality. In fact, I came back to Zuni
to reconnect myself spiritually so I can share
that with the people out there. And I want
to be known as a mentor, to give back to the
community. So I am very proud of my cul-
tural heritage and of the fact that my tribes
esteemed art form of jewelry has been
featured in fashion-world publications such
as Vogue, W Magazine, and Architectural
Digest. I have always believed that one day
our Native art would receive such fame,
without compromising our standards.
Les: I like that you mention Architectural
Digest. This and other publications are my
sources to explore current trends. Im glad
that works from Zuni have been featured
in them.
My work as an artist started in 1989,
when I began making pottery with my aunt
Dextra Quotskuyva, a well-known Tewa-
Hopi potter. Because of her connections to
the art world, it was easy for me to get
established as a potter. Our family was
already known for pottery, and there were
collectors and regular tour groups already
visiting Dextra.
However, my other interest was painting.
During the same time I started in ceramics,
I was studying design and art at [Brigham
Young University]. That experience increased
my passion for contemporary arts. Since
then I have explored painting, albeit infre-
quently. But I would like to become more
involved as a painter, so I feel like I am still
emerging.
Silvester: I grew up in Zuni, but went to
Santa Fe Indian School early on, and that
was my first time away from family. I loved
living in Santa Fe, with all the art galleries
and museums so nearby. I used to skip
campus after school to browse the galleries
around the Plaza, especially on Canyon
Road. I was a nave kid from Zuni, but Id
still look for the big names like Doug Coffin
or Miguel Martinez.
I attended IAIA [the Institute of Ameri-
can Indian Arts] when I was 17, and hung
out with a group of very inspiring and
creative peoplesome who went on to
become successful in the art world. I later
traveled all over, to places like San Fran-
cisco, New York, Denver, D.C.mostly to
areas that had lots of art galleries. I came
back because I really love the energy here
in New Mexico, and started doing my art-
work.
My first showing was at the Wheelwright
Museum at the Case Trading Post, and
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156 Trend Spring/Summer 2011 trendmagazineglobal.com
Gomeo Bobelu's sculptural jewelry pendant depicts WeWha, a famous Zuni
berdache or Man/Woman from the late 1800s, who was an active member of the
Zuni community and often interacted with outsiders. Left: Silvester Hustito,
Eclipse, acrylic on wood. Below: Les Namingha, Smile, mixed media on clay.
POINT
/
COUNTERPOINT
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BE THERE
ART SANTA FE 2011
AN I NT ERNAT I ONAL ART FAI R
SANTA FE CONVENTION CENTER
WWW.ARTSANTAFE.COM 505.988.8883
ART SANTA FE PRESENTS: SATURDAY, JULY 9
ART
SANTA FE
.
2011
J U L Y 7 - 1 0 , 2 0 1 1
157 trendmagazineglobal.com Spring/Summer 2011 Trend
158 Trend Spring/Summer 2011 trendmagazineglobal.com
I was surprised that most of the 12 pieces
I brought sold during their Indian Market
weekend.
I dreamed of a larger space to show my
work along with artists I admired, and so I
opened The Firegod Gallery. It was an
amazing space to show established and cut-
ting-edge Native American artists from the
contemporary art world. And now with my
new gallery in Albuquerque, I am starting
all over again.
Les: I find that discussing contemporary art
as it relates to Native art can be confusing.
I consider myself contemporary because of
my exploration of pure abstractions in my
work. But in spite of this, some of my work
is still labeled as Native pottery. Where I fit
in as an artist, contemporary or Native, is
still a question I ponder every day.
Gomeo: I never really liked the label con-
temporary. I just view it as a period in time,
because I envision my work as traditional.
Silvester: Say 100 years ago, someone came
up with a new design from their own imag-
inationand that would be modern or con-
temporary for that time. The commonality
of all of us here is that we are all different,
but secure in our styles compared to a tra-
ditionalistI feel awkward with that
wordand we dont limit ourselves and
are able to express ourselves with color,
line, even in fashion. We are all different,
from different backgrounds, but were also
from Zuni. And, if possible, we can serve as
role models for younger artists.
Les: Our individual goals might be differ-
ent, but our connection to Zuni definitely
makes us unified in our existence. When
we came into this Pueblo world, we were
taught to be respectful and to do good
things. Hopefully my work can be seen as
being a benefit, and in some way, by exten-
sion, that our Zuni people can be seen in a
positive light.
However, I worry that my art does not
help the Zuni community directly. So I try to
focus on living my life as a positive example.
Silvester: Les, you have been helping people
just by their seeing your work. This helped
me.
Les: But maybe not for most in Zuni, since
my work is heavily influenced by main-
stream contemporary art, which generally is
not accepted because it is so foreign.
Silvester: This is why I would like to create
a contemporary art museum here in
Zunimaybe set below ground with some
of the building sticking out. Perhaps it
could expose Zunis to international artists,
to open their eyes so they could see the
world in a different way and ask questions.
If one can impact even just one person,
that would be great!
Les: Yes, part of being involved with art is
being able to explore other cultures and
their art. What if this museum you men-
tioned, Silvester, hosted a Miro exhibit, or
David Hockney, or even ceramist Ken Price?
I would love to see that type of exposure
and dialogue in Zuni. At the very least, our
community could see the source of our
influences.
Gomeo: I did like visiting the [Pueblo of
Pojoaque] Poeh Center north of Santa Fe,
where you could see a whos-who of Native
arts and artistsexamples from the past,
like sort of a database that people could see
and talk about. Right now Im thinking of
all of Les designs going through my head,
and Im not going to be able to sleep
tonight!
The vast majority of Zuni artists pursue a
traditional path and dont wish to con-
front such dilemmas. But for the few who
answer to an alternative calling, their cre-
ative impulses take them in rewarding
directions that nonetheless continue to col-
lide with the realities of the home culture.
Even this short conversation with Trend
provedfor the artists involved and the
writer, who works at Zuni Puebloto be
fraught with concerns about custom,
image, and propriety. R
POINT
/
COUNTERPOINT
160 Trend Spring/Summer 2011 trendmagazineglobal.com Advertising Section
Gerald Peters Gallery
World-renowned for its outstanding exhibitions in a wide variety
of genres, Gerald Peters Gallery opened in Santa Fe in 1976.
Gerald Peters second gallery is located on New York Citys Upper
East Side. Both art spaces present the work of such icons as
Georgia OKeeffe, Frederic Remington, Charles Russell, Henri
Matisse, Alexander Calder, Pablo Picasso, Joan Mir, and Wayne
Thiebaud. The Santa Fe gallery, with 8,500 square feet of
museum-quality exhibition space, offers extensive collections in
classic Western art, the Taos Society of Artists, the Santa Fe Art
Colony, American Modernism, Naturalism, and contemporary art.
Among highlights of the summer exhibition schedule at the Santa
Fe gallery are shows by contemporary artists Albert Paley and
Mike Glier, which continue into June, and two group shows in
Naturalism in July. Contemporary Western artists Theodore
Waddell and Russell Case are featured in July and August. On
August 12, Exploitation and Celebration of the American Land-
scape opens, an invitational show of contemporary art exploring
current depictions of the American landscape as informed by
dramatic changes in both the environment and global economy.
11 Paseo de Peralta, Santa Fe, NM
505-954-5700 gpgallery.com
GALLERY PERSPECTIVES
Off Paseo de Peralta
Peyton Wright Gallery
Twice a year, Peyton Wright Gallery effects a striking transforma-
tion in which its main exhibition space alternates between two
markedly differentyet both exceptionalrealms of art. Between
December and March the gallery is filled with the rich hues of
Spanish Colonial painting, masterfully crafted silverwork, and
other outstanding examples of the historic art of the Americas.
Each year the show gets bigger, broader, and more far reach-
ing, observes owner John Schaefer. With hundreds of pieces, it
is now the largest exhibition of its kind in a commercial space in
the world, visited by thousands of people annually.
Then, as spring brings renewal to historic downtown Santa Fe,
color and drama infuse the gallerys dozen high-ceilinged, light-
washed rooms in nine months of exhibitions featuring notable
abstract and Modernist artists from the 1920s to 1970s. Peyton
Wright Gallery represents the estates of important American Mod-
ernists Herbert Bayer (1900-1985), Clinton Adams (1918-2002),
Raymond Jonson (1891-1982), William Thomas Lumpkins (1909-
2000), Oskar Fischinger (1900-1967), and Stanton Macdonald-
Wright (1890-1973). All are shown within the adobe walls of a
meticulously preserved 19th century National Register treasure
designed by a French architect and incorporating fine European
artisanal details.
237 East Palace Avenue, Santa Fe, NM
505-989-9888, 800-879-8898 peytonwright.com
161 trendmagazineglobal.com Spring/Summer 2011 Trend Advertising Section
Shidoni Galleries
The oldest gallery in Santa Fe under one owner has seen four
decades in the same splendid locationeight acres of grassy
parkland where visitors can stroll while experiencing outdoor
sculpture in a broad range of materials, sizes, and styles. Indoors,
the Bronze Gallery features traditional, figurative, and contempo-
rary sculptural art. And the Arts Gallery presents two- and three-
dimensional fine crafts and artwork including works in glass and
fiber, exquisite handcrafted wood furniture, stone sculpture,
encaustics, and painted silks.
In 1971 Shidonis founder, artist Tommy Hicks, moved with his
family from Texas to the village of Tesuque, five miles north of
Santa Fe. He established a foundry in a former chicken coop and
a sculpture garden in an apple orchard. Today the expansive
sculpture gardens and two galleries represent the works of more
than 150 artists from around the country. Scott Hicks is Shidonis
second-generation president in a family that has had an active
commitment to the community for 40 years. Visitors are welcome
at the internationally renowned foundry every Saturday to watch
the pouring of bronze.
1508 Bishops Lodge Road, Tesuque, NM
505-988-8001 shidoni.com
Houshangs Gallery
Houshangs Gallery, on the Santa Fe Plaza, reflects the owners
eclectic taste and lifelong involvement with art. Houshang, who is
of Persian ancestry and whose name honors a legendary Persian
king, grew up in the Dallas area, studied art, and became a
painter and sculptor. He opened his first gallery at age 21. After
22 years operating a gallery in Dallas, he moved to Santa Fe,
where he has represented a broad mix of painters and sculptors
of national and international renown since 1990.
Among them is Malcolm Furlow, whose vibrantly hued, award-
winning paintings of Native Americans and animals are in collec-
tions worldwide, including those at the American embassies in
Morocco, Belgium, and Beijing, the White House and the Smith-
sonian Institution, and numerous private, corporate, and museum
collections. Frederick Prescott creates large, playful kinetic sculp-
tures in steel. Wanda Kippenbrocks highly textural landscapes
exude imagination and joy, while the paintings of Jan Guess cre-
ate colorful, impressionistic worlds of gardens and ponds. Other
artists of note at Houshangs include abstract painter Jennifer
Davenport, bronze sculptor Akiva Huber, and minimalist land-
scape painter Karen Moore.
50 E. San Francisco Street, Santa Fe, NM
505-988-3322 houshangart.com
GALLERY PERSPECTIVES
Tesuque
GALLERY PERSPECTIVES
The Plaza
162 Trend Spring/Summer 2011 trendmagazineglobal.com
Niman Fine Art
Three distinct visual voices; two generations of artists; one family,
drawing on deep Native roots to form an important cultural bridge
with the world of contemporary art. At Niman Fine Art, these ele-
ments come together in the work of internationally renowned
painter and sculptor Dan Namingha and his sons, Arlo and Michael
Namingha. The Lincoln Avenue gallery was established in 1990 to
present the work of Dan Namingha, whose striking abstracted
style distills the essence of Tewa/Hopi symbolism and culture. His
sons joined the family-owned gallery as they matured into their
own artistic vision.
Arlo creates contemporary sculpturein wood, clay, stone, and
cast and fabricated bronzesuggestive of the inhabitants, land-
scape, and deities of the ancestral Tewa and Hopi world.
Michael, the youngest son of Dan and Frances Namingha, is an
installation and digital artist who graduated from the Parsons
School of Design in New York. The works of all three are, as Dan
puts it, informed by an unwavering respect for the earth and
the spirit of our ancestry.
125 Lincoln Avenue, Santa Fe, NM
505-988-5091 namingha.com
GALLERY PERSPECTIVES
Galleries at Lincoln Avenue
Advertising Section
David Richard Contemporary
With an aesthetic informed by contemporary art of the 1960s and
70sgeometric, op-art, hard-edged, minimalist, and concep-
tualDavid Eichholtz and Richard Barger established David
Richard Contemporary as a showcase for the kinds of abstract
and non-objective works that have intrigued them both for years.
The Lincoln Avenue gallery, which opened in June 2010, focuses
on mid-career to mature artists from New York and California,
including several who now live around Santa Fe. Also represented
are select emerging artists in the same aesthetic and art historical
context. The older artists help position, place, and conceptualize
the work of the younger artists, Eichholtz explains. Its nice to
see the continuum.
While the gallerys primary focus is painting, the elegantly simple,
light-filled space also exhibits glass art, sculpture, and mixed-
media works. Roland Reiss, Robert Swain, Julian Stanczak, Bev-
erly Fishman, and Peter Chinni are among the established artists,
while emerging artists include Matthew Penkala and Peter
Demos. In July, the first installment of a major multi-part traveling
show will present Southern California paintings from the 1970s,
curated by Los Angeles-based art critic and writer Peter Frank.
130 Lincoln Ave., Suite D, Santa Fe, NM
505-983-9555 davidrichardcontemporary.com
163 trendmagazineglobal.com Spring/Summer 2011 Trend
William Siegal Gallery
I can take just about any piece of contemporary art in the gallery
and show you something done 500 or 5,000 years ago that relates
to it, remarks William Siegal, owner of William Siegal Gallery. A
compelling aesthetic and design dialogue between antiquity and
contemporary art is key to the gallerys presentation of museum-
quality works of both ages. The 5,000-square-foot high-concept
art space, opened in 2007 in the Railyard district, offers the
opportunity to view intriguing pairings of old and new, as well as
extensive collections of each.
Siegal began studying, collecting, and dealing in historic and pre-
historic Columbian textiles in 1971. Since then he has broadened
his scope to include ceremonial objects and artifacts from Meso
and South American cultures, China, Southeast Asia, Africa, and
Indonesia. Removed from historical contexts, these sculptural arti-
facts and textiles display visual sensibilities clearly echoed in con-
temporary painting, sculpture, photography, and monumental
artproviding inspiration for exciting collecting possibilities. In
one way or another, all our contemporary artists have a relation-
ship to antiquities, Siegal observes, because so much of 20th
century abstraction evolved from the arts of the ancient world.
540 South Guadalupe Street, Santa Fe, NM
505-820-3300 williamsiegal.com
Zane Bennett Contemporary Art
With its balconied, two-story, Old Santa Fe feel, Zane Bennett
Contemporary Art blends seamlessly with the historic character
of the Railyard Arts District, where it opened in 2008. On the
inside, however, the art space reveals its utterly contemporary
soul. Spacious, yet containing intimate exhibition rooms, Zane
Bennetts architectural centerpiece is a sky-lit two-story atrium
whose glass staircase and catwalk provide extraordinary per-
spectives for experiencing contemporary art.
Exemplifying that experience are works by internationally recog-
nized artists such as Mark di Suvero, Mimmo Paladino, Franois
Morellet, Olivier Mosset, and Gnther Frg. Blue-chip contempo-
rary masters including Tony Cragg, Jim Dine, Helen Frankenthaler,
Ellsworth Kelly, Robert Motherwell, and Tom Wesselmann are
represented by original works on paper and prints. Among Zane
Bennetts local and regional artists are Colette Hosmer, Mary
Shaffer, Rachel Stevens, Guy Dill, Barry X Ball, Pascal, Holly
Roberts, and Dunham Aurelius, working in media ranging from
paintings to sculpture to glass. The gallery also demonstrates its
commitment to community through film screenings, fundraisers,
and educational events. We believe in creating a community
connected by the arts, says co-owner Sandy Zane.
435 South Guadalupe Street, Santa Fe, NM
505-982-8111 zanebennettgallery.com
GALLERY PERSPECTIVES
Railyard Art District
Advertising Section
Gebert Contemporary at the Railyard
This striking 6,000-square-foot exhibition space earned two American
Institute of Architects design awards and is ideally suited for presenting
large-scale sculpture, paintings, photography, video, and installation.
A curators delight, the gallery takes full advantage of architectural firm
Devendra Narayan Contractors highly contemporary design, featuring a
14-by-20-foot retractable skylight, clean-edged lines, and diamond-
polished concrete and bamboo floors.
Since it opened in 2007, Gebert Contemporary at the Railyard has exhib-
ited monumental sculpture by such internationally recognized artists as
Magdalena Abakanowicz, Manolo Valdes, and Xavier Mascar. Its sister gallery in a historic,
two-story adobe at 558 Canyon Road, Gebert Contemporary, also showcases Stephen and
Ursula Geberts aesthetic vision with a range of contemporary abstract painting, photo-
graphy, works on paper, and sculpture by emerging and established artists from around the
world. An exhibition of Jun Kanekos ceramic dangos and glass sculpture will open on
July 1a true example of the perfect match of art and space.
544 South Guadalupe Street, Santa Fe, NM
505-983-3838 gebertcontemporary.com
GALLERY PERSPECTIVES
Railyard Art District
165 trendmagazineglobal.com Spring/Summer 2011 Trend
Charlotte Jackson Fine Art
For more than two decades, Charlotte Jackson was happy to have
her gallery in a less-traveled area of downtown Santa Fe, where
the staff could linger with visitors curious about the sometimes-
esoteric nature of such genres as Monochrome, Concrete, Mod-
ernism, Color Field painting, and Light and Space art. Now a
steady flow of visitors passes through the gallery doors in the
spacious, light-filled location in the Railyard Arts District. There is
beautiful spreading light on the walls, and a lot of these artists
want this kind of natural light, Jackson observes.
The gallery owner and staff continue to welcome visitors ques-
tions, explaining, for instance, that the aim of Monochrome paint-
ingwhich often contains multiple layers of colorsis simply to
invoke the viewers personal emotional response. And that the
Light and Space movement originated in 1960s California, incor-
porating glass, resin, neon, and other media to explore the effects
of light in space. Jackson is especially pleased to represent a
number of these artists, including Tony DeLap, Ed Moses, Ron
Davis, David Simpson, and Phil Sims, as well as the late Florence
Pierce.
554 South Guadalupe Street, Santa Fe, NM
505-989-8688 charlottejackson.com
Hunter Kirkland Contemporary
At the corner of Canyon Road and Paseo de Peraltathe gate-
way to Canyon RoadHunter Kirkland Contemporary presents
one of Santa Fes most inviting gallery spaces, offering an aes-
thetically pleasing, intellectually satisfying collection by contem-
porary artists with established careers. Owner/director Nancy
Hunter exhibits the work of regionally and nationally known
artists, each of whom has developed a clear and unique artistic
vision. The gallery features nonobjective paintings, as well as
sculpture in bronze, glass/copper, and stone. Also featured are
vibrantly hued landscapes, wire-mesh figurative pieces, and
mixed-media works on canvas, paper, and wood.
Situated in a historic, redesigned compound with three other
well-established galleries, Hunter Kirklands inviting outdoor
sculpture space lends itself to lingering in Santa Fes glorious
summer weather. Hunter and her knowledgeable staff are always
happy to share their expertise with both seasoned and new col-
lectors. As the gallery owner puts it, This is a great opportunity
to view contemporary work in a stunning locationa beautiful
way to begin ones exploration of art on Canyon Road.
200-B Canyon Road, Santa Fe, NM
505-984-2111 hunterkirklandcontemporary.com
GALLERY PERSPECTIVES
Canyon Road
GALLERY PERSPECTIVES
Railyard Art District
Advertising Section
166 Trend Spring/Summer 2011 trendmagazineglobal.com Advertising Section
Pippin Meikle Fine Art
Warm, vibrant, joyful, and approachable: These terms describe
both the artwork carried by Pippin Meikle Fine Art and also the
two artists who founded the gallery, painters Aleta Pippin and
Barbara Meikle. Housed in an early 20th century residence on a
corner of Canyon Road, the five-year-old gallery brings a fresh
sense of color and energy to the world of contemporary art.
Along with the owners work, this uplifting aesthetic is expressed
in a variety of styles and media by painters Robert Burt, Martha
Kennedy, and Ray Wolf, as well as sculptors Gilberto Romero,
Andrew Carson, Warren Cullar, and Nic Noblique. Since opening
in 2006, our goal has been to offer an intimate experience
between the viewer and the artwork, observes Pippin. Weve
purposely limited the number of artists whose work we show,
selecting artists who are as passionate about their work as Bar-
bara and I. Additionally, our artists exhibit the high-key color that is
a trademark of our gallery. Visit the website for their 2011 events.
236 Delgado Street Santa Fe, NM
505-992-0400 pippinmeiklefineart.com
GALLERY PERSPECTIVES
Canyon Road
Turner Carroll Gallery +Art Advisors
With backgrounds rich in art history, Michael and Tonya Turner
Carroll opened the Turner Carroll Gallery in 1991 to share their
passion for museum-quality international contemporary art. The
couples cumulative experience includes Sothebys London, the
Philadelphia Museum of Art, the Israel Museum, and art studies in
Russia and Italy. Both have curated exhibitions internationally
and have written art monographs. With locations in Dallas and
Mexico, the gallery exhibits at major international art fairs.
This year Turner Carroll celebrates its 20th anniversary on Canyon
Road. We consistently hear collectors state how much they
love Canyon Road and the high quality of its boutique galleries
and exquisite restaurants, says Tonya. We enjoy being part of
the history of this unique street that has been deemed one of the
ten most beautiful streets in America. For its 20th season, the
gallery presents landmark exhibitions by Hung Liu, Rex Ray, Ash-
ley Collins, and Igor Melnikov. A painting from the gallery by Hung
Liu will be featured alongside Gustav Klimt and other major
names in Vienna next year, and Turner Carroll will help curate an
exhibition of Melnikov works at the Russian State Museum.
725 Canyon Road, Santa Fe, NM
505-986-9800 turnercarrollgallery.com
167 trendmagazineglobal.com Spring/Summer 2011 Trend Advertising Section
Ventana Fine Art
The gallery in the historic red-brick schoolhouse on Canyon
Roadwith two outdoor sculpture gardens and an inviting, reno-
vated interiorhas gained a reputation over the years for repre-
senting contemporary artists with a passion for excellence,
originality, and powerful aesthetic impact, notes Ventana Gallery
owner Connie Axton. With almost 30 years in the art business,
Axton opened her first gallery at the Inn at Loretto in 1983. Today
she curates each exhibit with the intent of respecting the bril-
liance of each artist. Among other things, this means the
gallerys diverse collection of paintings and sculpture is gener-
ously spaced, well-lit, and centered at eye level.
Established artists at Ventana include Malcolm Alexander, John
Axton, Albert Handell, John Nieto, Tom Noble, Mary Silverwood,
and Rebecca Tobey. Among the gallerys painters and sculptors
moving increasingly into the spotlight are Jim Agius, Barry
McCuan, Robert Ritter, Lynne Windsor, and Tamar Kander. And
younger talents such as Gregory Smith, Debra Corbett, and Kim
Obrzut are poised to gain the attention of collectors and art lovers
on an increasingly broad scale.
400 Canyon Road, Santa Fe, NM
505-983-8815, 800-746-8815 ventanafineart.com
GALLERY PERSPECTIVES
Canyon Road
Jane Sauer
For more than three decades, Jane Sauer has been a passionate
advocate for the artsas a studio artist with work in more than
two dozen museum collections, as a curator, lecturer, and guest
judge around the country and abroad, and as a board member of
arts organizations including president of the American Craft
Council. Sauer brings that same commitment and passion to her
Canyon Road gallery. The artists she represents are scrupulously
selected for their impeccable quality and enthusiasm for pushing
boundaries. Im looking for that creative spark, for artists who
are not afraid of mining new territory, she affirms.
For Sauer, the medium is less important than the vision, sophisti-
cation, and excitement of a piece and the quality of its render-
ingwhether in painting, glass, textiles, ceramics, recycled
materials, basketry, or wood. Equally important, she believes, is
the opportunity the gallery provides to educate the public and
support artists careers. Sauer is proud of her knowledgeable and
interactive assistants, who create educational experiences for
each visitor with every show.
652 Canyon Road, Santa Fe, NM
505-995-8513 jsauergallery.com
168 Trend Spring/Summer 2011 trendmagazineglobal.com Advertising Section
New Concept Gallery
Intrigued by the concept of juxtaposing an artists early and
recent creations, Ann Hosfeld opened New Concept Gallery in
2007. An artist herself, Hosfeld worked in galleries and museums
in New York and Los Angeles before settling in Santa Fe in 1982.
New Concept is housed in a 19th century Canyon Road adobe and
represents a stable of professional artists working in a diverse
mix of mediums and contemporary styles. While the primary
focus is abstraction, the gallery also presents landscapes and
photography, as well as bronze and scrap-metal sculpture.
Among New Concepts 16 artists is acclaimed painter Frank
Ettenberg, who has exhibited his nonobjective paintings in Santa
Fe since the 1980s; Reg Loving, whose recent abstracted land-
scapes in acrylic often incorporate marble dust, achieving a sen-
suous texture; and Aaron Karp, who has lived and painted in New
Mexico for more than three decades. Karp creates dazzling
abstractions using fractured fields of color and space. Contrasting
the artists current work with examples of early explorations pro-
vides a fascinating glimpse at how their distinctive styles have
developed over the years.
610 Canyon Road, Santa Fe, NM
505-795-7570 newconceptgallery.com
Nart Gallery
Celebrating its 10th anniversary this year, Nart Gallery is taking
advantage of its recently expanded and renovated exhibition
space by presenting an average of two shows each month in
2011. Costa Rican-born artist Juan Kelly and his wife, Kim Kelly,
established the gallery in 2001. Last year a wall was opened to
connect with an adjoining Canyon Road building, creating 3,000
square feet of art space with a welcoming, clean-lined feel.
Nart represents some two-dozen mid-career and established
contemporary artists from the United States, Europe, Asia, and
Latin America. The relatively small, select stable reflects the high
standards set by Juan and Kim for a collection diverse in genre
and style. Painting and sculpture range from abstract with organic
or architectural references, to figurative pieces that incline toward
magical realism. Yet several key ingredients unite the gallerys
offerings: masterful composition and surface treatment, and a
strong imaginative element. We represent artists of exceptional
talent and knowledge of their craft, says Juan, adding, We are
passionate about the artwork we carry.
670 Canyon Road, Santa Fe, NM
505-988-3888 nuartgallery.com
GALLERY PERSPECTIVES
Canyon Road
169 trendmagazineglobal.com Spring/Summer 2011 Trend Advertising Section
Darnell Fine Art
There is an ethereal quality to some works of art, a quality that
Rachel Darnell refers to as the purity of beauty. It is art that
speaks with a spiritually uplifting voice, that conveys a depth of
aesthetic pleasure and meaning that takes it well beyond the
level of wall candy, says the artist and gallery owner. This is the
unifying principle behind the broad range of contemporary works
at Darnell Fine Art, a collection whose diversity still presents a
harmonious whole within the gallery space.
Darnell, a lifelong artist with more than 22 years in the gallery
business, settled in Santa Fe 15 years ago and opened her
Canyon Road gallery in 2004. From the Japanese wabi-sabi (the
ephemeral beauty of natures imperfections) to the sublimeas
she puts itDarnell Fine Art offers a contemporary vision that
includes Abstract Expressionism, Postmodern impasto, and
Minimalist color field work, among other styles. Paintings in oil,
acrylic, encaustic, gold leaf, and mixed media join sculpture in
terracotta, stone, bronze, and wood. Im interested in the philo-
sophy of beauty, Darnell affirms, and aesthetically valuable art.
640 Canyon Road, Santa Fe, NM
505-984-0840 darnellfineart.com
GALLERY PERSPECTIVES
Canyon Road
Waxlander Gallery and Sculpture
Garden
The world may be a challenging place, but home can be an
art-filled sanctuary that consistently lifts ones spirits, observes
Phyllis Kapp. As an artist herself and owner of Waxlander Gallery
and Sculpture Garden for more than 27 years, Kapp aspires to this
sensibility for herself and all the artists she represents. The work
always has to come from a deep place in my artists lives to
enrich people in a happy, positive manner, she notes.
This love of life is expressed in the vibrant aesthetic of 30 artists
working in such diverse media as watercolor, oil, acrylic, encaus-
tic, mixed media, photography, woven copper, glass, and bronze
and metal sculpture. The gallerys dozen-plus rooms in an old
Canyon Road adobe provide an attractive setting for works by
numerous award-winning artists: Marshall Noices stunning oils
and pastels of vibrant landscapes, Matthew Higginbothams
prairie and sky paintings in oils, Patrick Matthews depiction of
the Colorado Rockies, Andre Hudsons compelling figurative and
pastoral works, as well as Kapps distinctive visual voice.
622 Canyon Road, Santa Fe, NM
505-984-2202 waxlander.com
170 Trend Spring/Summer 2011 trendmagazineglobal.com Advertising Section
GALLERY PERSPECTIVES
Canyon Road
Michael Smith Gallery
Its easy to envision beautiful objects from the Michael Smith
Gallery in the setting of a comfortable Southwestern-style home
because the gallery is a home. Situated in a thick-walled, 150-year-
old adobe, the gallery space serves as the home of Michael and
his wife, Laiyee. By day, visitors enjoy one of the finest collections
of historic Navajo weavings, antique basketry and other American
Indian art and antiquities, historic and contemporary pottery and
landscape paintings, and exquisite palm leaf baskets by the
Wounaan Indians of Panamas Darien Rainforest.
Michael LeRoy Smith settled in Santa Fe almost 18 years ago. He
opened the 3,000-square-foot Canyon Road gallery eight years
ago as a way of sharing his love of historic and contemporary
Native art. The gallery is our life. The gallery is personal because
these are all the things I have collected, observes Michael, who
draws on decades of experience in educating collectors and visi-
tors. Recently, a visitor told Michael he had learned more about
Navajo weaving in 15 minutes at the gallery than by living in
Santa Fe for 30 years.
526 Canyon Road, Santa Fe, NM
505-995-1013 michaelsmithgallery.com
Karen Melfi Collection
In what its owner calls the best location in Santa Fea com-
pound with plenty of parking that features a variety of fine-art gal-
leriesthe Karen Melfi Collection of handcrafted jewelry and
art-to-wear offers superlatives in both diversity and price range. I
have a wide variety of choices in every price point, from earrings
at $68 to necklaces at $10,000, Melfi notes. The unifying factor is
a focus on New Mexico artists, including weavers, clothing
designers, and jewelry makers.
A jewelry designer herself for 30 years, Karen Melfi entered the
gallery business in 1989. Today she represents some 30 jewelry
artists and an equal number in art-to-wear, with the gallery space
divided to showcase both, as well as a smaller selection of
ceramic art. Specializing in raw, natural-color diamonds set in
gold or silver in a range of contemporary and classic designs, the
jewelry collection also features stone inlay, beadwork, and eth-
nic-inspired work in various materials and styles. Textiles include
hand-woven chenille scarves, shawls, jackets, and other distinc-
tive forms of clothing art.
225 Canyon Road, Santa Fe, NM
505-982-3032 karenmelficollection.com
171 trendmagazineglobal.com Spring/Summer 2011 Trend
GALLERY PERSPECTIVES
Canyon Road
Marc Navarro Gallery
The ancient becomes cutting-edge at the Marc Navarro Gallery,
with extraordinary Aztec- and Maya-inspired silver jewelry and
objects of art. Representing the next generation in the footsteps
of the Old Masters of Taxco, younger artists of Mexico are creat-
ing organic, contemporary, futuristic designs worthy of inclusion
in SOFA exhibitionssuch items as silver containers, perfume
bottles, and candlesticks. These are showcased at Marc Navarro
alongside vintage silver jewelry and hollowware, Mexican Mod-
ernist paintings, and Spanish Colonial textiles, antiques, and art.
Navarro, of Mexican descent, grew up in Los Angeles Chinatown
and fell first for Chinese textiles and other Asian art. Later his
tastes expanded to include Japanese textiles and French art
glass. About 35 years ago he began collecting vintage and con-
temporary Mexican silverwork, which led to Spanish Colonial art.
Among the artists whose work he carries today is the renowned
Antonio Pineda, Sergio Gomez Carbajal, William Spratling, Hector
Aguilar, Los Castillo, Hubert Harmon, and Margot de Taxco. Rep-
resenting various eras and styles, the quality of workmanship
among all of them is superb, he observes.
520 Canyon Road, Santa Fe, NM
505-986-8191 marcnavarrogallery.net
The William and Joseph Gallery
Theres popular art, commercial art, and fine art. And then there
is art that stops you in your tracks, seeps into your soul, and
wont leave. It is art you cant forget, and its what Mary Bonney
had in mind when she opened the William and Joseph Gallery
in 2001. The gallerys first incarnation was in New Orleans, until
Hurricane Katrina hit the eject button. The gallerist landed in
Santa Fe, and since 2008 the gallery named for her brothers and
grandfather has been at home on Canyon Road.
With a background as an international art rep and a contem-
porary painter and photographer, Bonney presents an eclectic
mix of carefully chosen art. Barrett DeBusks charming Fat
Happies joins other three-dimensional pieces in the sculpture
garden. Inside, two- and three-dimensional works include richly
layered beeswax encaustic paintings by Richard Potter, poetic
mixed-media vessels by Bradley Bowers, and Stephanie
Shanks colorful abstract paintings. Check the website for a list
of shows, including glass blowing demonstrations by Ira Lujan
and Patrick Morrissey, and the annual August exhibition of
Richard Potters work.
727 Canyon Road, Santa Fe, NM
505-982-9404 thewilliamandjosephgallery.com
Advertising Section
172 Trend Spring/Summer 2011 trendmagazineglobal.com Advertising Section
GALLERY PERSPECTIVES
Canyon Road
Janine Contemporary
Heres a fun idea with early 19th century roots and a history soaked
in mid-20th century nostalgia: miniature golf. Look for nine holes,
each with outdoor sculpture by a different artist, amid the flowers
and trees of Janine Contemporarys extensive sculpture grounds
a surprising new take on the game. Formerly Mesa House Con-
temporary, this newly renovated and renamed gallery maintains its
aesthetic vision, focusing on mixed-media works by a dozen local,
national, and international artists, says owner/director Janine Stern.
The innovative twist includes regulation golf carpet, glow-in-the-
dark balls, and a chance for visitors to putt-putt aroundand pur-
chasemini courses that also are sculptural art. As each portable,
12- to 16-foot-long, sculpture-adorned hole is sold, another will be
created to replace it, Stern explains. Indoor art includes mixed-
media Buddha imagery by Anthony Abbate, Delos Van Earls gor-
geous enamel paintings embedded with glass, and Rachel Wilsons
life-size hedge wood horses, deer, and elk. Before she opened
Mesa House in 2010, Sternan artist herselfco-owned Edge
Gallery and Tadu Contemporary Art, and directed other art spaces
on Canyon Road.
715 Canyon Road, Santa Fe, NM
505-989-9330 janinecontemporary.com
La Mesa of Santa Fe
The Made in America label may be hard to find these days, but
your home can still be filled with beautifully handcrafted items
reflecting this countrys long, proud history of locally made fine
crafts. La Mesa of Santa Fe began in 1982 as a source of excep-
tional ceramic and glass tableware by area artists. Owner Mary
Larson describes the gallerys vision today as presenting func-
tional and decorative art with a focus on extraordinary color and
design.
Among the gallerys more than 60 artists, Melissa Haid creates
inspired fused-glass pieces for windows, walls, even outdoors.
Sally Bachman weaves both rag and wool rugs that brighten any
interior. Patricia Naylor makes segmented clay wall sculptures,
while Vicki Grants architectural background influences her richly
hued ceramic wall and table art. Just as important as art for the
table is the table as art. Fine handcrafted contemporary furniture
by Scott Ernst, Christoph Neander, and P.J. Rogers provide excel-
lent examples. Paintings are a big part of the gallery, but we
offer art in a very broad range of mediums, Larson says.
225 Canyon Road, Santa Fe, NM
505-984-1688 lamesaofsantafe.com
173 trendmagazineglobal.com Spring/Summer 2011 Trend Advertising Section
McCreery Jordan Studio
Personal interaction with an artist at work is a rare treat for
many, and as McCreery Jordan notes, the pleasure goes both
ways. Jordan, a classically trained painter, sculptor, and mixed-
media artist who settled in Santa Fe in 1993, has discovered the
delights of sharing the creative process with visitors since estab-
lishing a working studio/gallery in the historic heart of Santa Fe.
During a prolific 30-year career, Jordan has garnered numerous
awards and honors for her work, which is represented in collec-
tions internationally. She is known for very large mixed-media fig-
urative paintings whose contemporary sensibility combines
realism with a delicate sense of mystery. Continually exploring
mediums and styles, Jordan also recently began focusing on
sculpture, working in clay or wax while explaining and demystify-
ing the bronze-casting process for visitors. In this medium as well,
Jordan is drawn to mythological, dream-like imagery. My work
is meant to echo my fascination with the passage of time, our
journey through it, and the complex and fragile layers of our exis-
tence, she says.
For directions: 505-501-0415 or mccreeryjordan.com
GALLERY PERSPECTIVES
Canyon Road
GALLERY PERSPECTIVES
Paseo de Pueblo Norte,Taos
Hulse/Warman Gallery
One of the earliest farmhouse compounds in Taos makes a sur-
prising yet delightful setting for a compelling collection of works
by established contemporary artists from Taos and beyond.
Before settling in Taos, Clint Hulse and Jerry Warman owned a
vineyard in Napa Valley, California, where the long-time collectors
initiated the concept of a fine-art gallery in the wine-tasting
room. A painter and sculptor himself, Hulse brought to that
gallery and their current one an experienced artistic sensibility.
Hulse/Warman opened in 2007 with a focus on painting, pho-
tography, sculpture, and glass by mid-career and emerging
artists with a strong aesthetic and intellectual vision. Across
several buildings and courtyard sculpture gardens are the
works of, among others, sculptor Doug Coffin, painter Brian
Coffin, stone sculptor Petro Hul, Michelle Cooke, who incorp-
orates glass in her installation pieces, award-winning photog-
rapher David Zimmerman of New York City and Taos, and
Mexican-born artist Gustavo Ramos Rivera, who hit the San
Francisco art scene in the 1960s and continues to create strik-
ing monotypes and paintings in bright colors.
222 Paseo del Pueblo Norte, Taos, NM
575-751-7702 hulsewarmangallery.com
CELEBRATING FIFTEEN YEARS
ACCLAIMED BY NEW YORK TIMES, ZAGAT, TRAVEL + LEISURE
BON APPETI T AND JAMES BEARD FOUNDATION
LUNCH TUESDAY SATURDAY 11:30AM 2:30PM
DINNER NIGHTLY FROM 5:30 PATIO DINING BAR MENU
548 agua fria G www.ristrarestaurant.com G 505.982.8608
Eric Lamalle & Xavier Grenet
present the new sister
restaurant to Ristra
Offering a creative and fun
menu featuring foods from
the regions surrounding
the Mediterranean
OPENS LATE MAY 2011
Dinner from 5:30pm
428 Agua Fria
505.992.2897
www.azursantafe.com
Advertising Section
203 FineArt
The legacy of the early Taos Modernists continues at 203 Fine
Art, where owner/artists Eric Andrews and Shaun Richel repre-
sent the estate of Louis Ribak and Beatrice Mandelman and deal
in works by such other early luminaries as Andrew Dasburg,
Agnes Martin, Ward Lockwood, Howard Cook, Oli Sihvonen, and
Leo Garel. The Modernists who settled in Taos in the mid-20th
century were quite visionary for their time, Andrews notes. The
gallery also presents a short roster of important contemporary
artists, including Ron Cooper, Robert Ellis, Jack Smith, and the
late Fritz Scholder (19372005) and Ann Saint John (19192011).
Andrews own contemporary paintings combine the influence of
early Modernist landscapes with abstracted figures as viewed
through his aesthetic prism, while Richel creates passionate
abstract works with a nod to the New York School of the 1950s.
The gallerys elegant, museum-like presentationechoing the
owners modernist/contemporary visionis juxtaposed against
the historical setting of a venerable building in one of the oldest
parts of Taos. Check the gallerys website for a schedule of this
years exciting exhibitions.
203 Ledoux Street, Taos, NM
575-751-1262 203FINEART.com R
GALLERY PERSPECTIVES
Ledoux Street, Taos
CELEBRATING FIFTEEN YEARS
ACCLAIMED BY NEW YORK TIMES, ZAGAT, TRAVEL + LEISURE
BON APPETI T AND JAMES BEARD FOUNDATION
LUNCH TUESDAY SATURDAY 11:30AM 2:30PM
DINNER NIGHTLY FROM 5:30 PATIO DINING BAR MENU
548 agua fria G www.ristrarestaurant.com G 505.982.8608
Eric Lamalle & Xavier Grenet
present the new sister
restaurant to Ristra
Offering a creative and fun
menu featuring foods from
the regions surrounding
the Mediterranean
OPENS LATE MAY 2011
Dinner from 5:30pm
428 Agua Fria
505.992.2897
www.azursantafe.com
176 Trend Spring/Summer 2011 trendmagazineglobal.com
One Planet, One Sustainable Pot Luck
BY LESLEY S. KING | PHOTOS BY DOUGLAS MERRIAM
Wine/Dine
177 trendmagazineglobal.com Spring/Summer 2011 Trend
O
ne late spring afternoon, Maria Max Renteria opens the
door to her restaurant Maxs in downtown Santa Fe, and the inti-
mate space with mustard-colored walls fills with an eclectic mix of
chefs. Their goal: an adventurous search for the true heart of sus-
tainable cooking and eating.
The word sustainable, so bandied about these days, has become
confounding, but these chefs live the truth of it daily as they work
to make their businesses thrive. They hold to its main tenets: Buy
locally, use seasonal ingredients when possible, and stay conscious
of preserving our amazing planet. What comes to light today is
that the very constraints that arise from cooking this way offer a
springboard for creativity.
Our first chef to arrive bears a sparkly maroon micaceous pot, its
contents immediately imparting the warm, earthy scent of beans.
Deborah Madison, noteworthy vegetarian chef, cookbook author,
and local farm advocate, has made a gratin using tepary beans
grown by the Tohono Oodham tribe in Arizona and bolita beans
from Rose Trujillo at the Santa Fe Farmers Market.
Bean culture has been important to New Mexicos past, Debo-
rah says, which is why she chose the dish. She goes on to explain
that since dried beans are often abundant at farmers markets
throughout the colder months, the dish fits well with the challenge
of cooking sustainably even in spring, when less variety is available.
Our next arrival proffers a grand platter full of color. Megan
Tucker, executive chef at Amavi, accompanied by her head baker,
Jeremy Dellarosa, has made spinach, red chile, and herbed goat-
cheese tortelloni. The dish uses cheese from Old Windmill Dairy
Megan Tuckers spinach and chile herbed goat-cheese tortelloni. Left: Max Renteria
and Mark Connell enjoy some camaradarie at the front bar of Maxs. Opposite:
A platter full of potato/apple/parsnip cakes, sunchokes, green chile, double red
apples, smoked gouda, buffalo heart, and baguette.
in Estancia and sage, thyme, and parsley
from Keen Ridge Farms in Edgewood.
We head to the kitchen, where Megan
adds a scarlet sauce of pureed beets and
carrots. She explains her passion for cook-
ing sustainably: By spending locally, I put
money right into the farmers pocket
rather than supporting agribusiness. Buy-
ing locally means food doesnt travel long
distances, and so contributes less to the
global carbon footprint. And small farmers
generally care heartily for their land and
water. Each dollar spent this way is a vote
for sustainability, she adds.
Busy at the stove, Mark Connell, execu-
tive chef here at Maxs, prepares what he
calls polenta two ways. He slow-cooks
eggs from KJ Farms near Abiquiu and
ladles them over a mixture of ground local
posole and risotto with white porcini
mushrooms. His strategy today is to focus
on foraged food, such as mushrooms,
which is as sustainable as you can get,
because its grown naturallymeaning it
is planted by nature and picked in the wild.
As he puts together his dish, two more
chefs arrive. Trends contribution to the pot
luck comes from Ric Lum and Tanya Story,
who present a large clay bowl full of appe-
tizers whose ingredients were purchased
at the Santa Fe Farmers Market. Potato-
apple-parsnip cakes provide a welcome
crunch, followed by sunchokes and green
chile, which I sample with smoked gouda
from Old Windmill Dairy on a piece of
baguette that Tanya baked with flour from
Valencia County.
Ric, the chef behind Delicious Revolu-
tion catering in Sun Valley, Idaho, is espe-
cially fond of the foods of indigenous
people, so he adds to the feast a buffalo
heart from LaMonts Wild West Buffalo.
Cooked with Calvados, sage, and cayenne,
the meat is potent in iron. I consider it
prairie foie, Lum says. Its a very special
thing to eata sacred food.
We find our way to a long, white-clothed
table, the delicacies passing among us.
Everyone digs into Deborahs beans, the
conversation suddenly igniting around
them. She explains that both types of beans
have histories tied to where they are grown.
When you go to a farmers market, you
look around and find that theres a unique
flavor for that particular place, she says.
Indeed, this dish tastes like the melding of
two Southwestern cultures: the Native
Americans with their tepary beans, and the
Spanish with their bolitas.
Next, Marks slow-cooked eggs-and-
polenta makes the rounds. I scoop it onto
my plate, the risotto and posole as a bot-
tom crust with the egg on top, with deli-
cate polenta cubes all topped with
mushroom foam. Everyone remarks on
the pure, creamy quality, with a perfect
178 Trend Spring/Summer 2011 trendmagazineglobal.com
Left: Megan carries her platter of tortelloni to the table. Right: Mark adds mushroom foam to his egg and polenta dish.
Wine/Dine
179 trendmagazineglobal.com Spring/Summer 2011 Trend
Jeremy Dellarosa, head baker at Amavi,
samples the Vilafont. Right: The wine
selections include a lively apple wine
from La Chiripada Vineyard in Dixon.
Far right: Deborah Madison takes a
final sip of the Vilafont.
Mark Connells polenta and eggs two ways with its topping of mushroom foam.
Right: Deborah Madisons gratin of tepary and bolita beans.
Heart Gallery 10
th
Anniversary
Heart Gallery
Celebrations
ED
,'ED
&
Friday, June 3
rd
The Gerald Peters Gallery
1011 Paseo de Peralta, Santa Fe
5 pm-7 pm FREE
Z^
Unveiling of stirring portraits of
New Mexico foster children
awaiting adoption
Quinton
Aaron
Sasha
Lazard
Saturday, June 4
th
The Lensic Theater
211 W San Francisco St, Santa Fe
7:30 pm-9 pm
Y^>
Friends
Emcee Quinton Aaron, star of the
award-winning lm e Blind Side,
Singer Sasha Lazard, the Pendulum
dance troupe and the chorus of the
New Mexico School for the Arts
Tickets:
>

crispiness from the cubes and the earthy


richness of mushrooms.
Megans dish brings a stunning bright-
ness to the table. The diners cut into the
tortelloni, enjoying what Mark notes as the
sweetness of the beet, crunch from wal-
nut, and then refreshing mint. Though
all agree the food is outstanding, the ques-
tion arises: How we can commit to cook-
ing this waywhich can cost more and
take additional timewhen lifes chal-
lenges are already so great?
Megan offers that the commitment can
come in stages. Amavi has a long-term
plan to keep adding sustainable compo-
nents. They are now in Phase I, which
focuses on using local produce. In sum-
mer that means 75 to 80 percent of their
food is grown locally. Phase II will include
filtering their own water and baking with
local flour. Both of those are costly and
dont directly profit the restaurant, but
they are in the plan.
The real challenge, all the chefs agree, is
serving certain meats and fish. Mark uses
local, grass-fed beef and lamb, but for his
fish entrees he must choose even more
carefully. He doesnt serve Chilean sea
bass, for instance, because it is severely
overfished and often caught using illegal
and unsustainable methods. Instead he
serves farm-raised sturgeon. Most aqua-
culture practices are very sustainable, he
says. And farm-raised fish are often eco-
nomical as well.
All the chefs agree that cooking sustain-
ably inspires them. When you go to the
farmers market, youll see black radishes,
or some amazing heirloom tomatoes, or
rhubarb, says Mark. You get ideas just
from the produce itself. Deborah adds
that the variety at the market helps people
expand their palates. We have to overcome
our lack of knowledge about certain foods,
become more experimental, she says.
But it seems the most rewarding part of
cooking sustainably is social. Its all about
personal relationshipsand thats what
life is about, says Megan. Max echoes the
sentiment: Sometimes I see so many peo-
ple I know at the Santa Fe Farmers Mar-
ket, its almost hard to get anything done.
Ric agrees, describing his day shopping
for appetizers there: It was a super com-
munity thing happening!
Silence falls over the table as everyone
savors their last bites, and possibly, like
me, relishes todays greatest delicacy: the
sense that we are all One, all nourished by
the whole created through our conscious
interaction with each other and our
mother Earth. R
180 Trend Spring/Summer 2011 trendmagazineglobal.com
A succulent platter of lamb ribs from Shepherds
Lamb in Chama. Left: Trend publisher Cynthia
Canyon and artist Ric Lum.
Wine/Dine
181 trendmagazineglobal.com Spring/Summer 2011 Trend
G
reat-tasting food prepared fresh daily and served with a hearty dollop of good cheer has been
Saveurs hallmark from the moment it opened for breakfast and lunch eight years ago. With its
rustic tiled floors, earth-toned walls, gleaming copper pots, and brightly colored ceramics, the
restaurant imparts a French country charm that co-owner Dee Rusanowski considers an extension of her
home. So much so, that if Dee doesnt welcome you by name and with a hug, it simply means youve
never been in before. After that, youre family.
While Dee spreads the love with her infectious enthusiasm for people, her husband, Bernie, does it
with his food: a compendium of carefully crafted American and French-style soups, salads, and sand-
wiches, daily specials, and hot and chilled buffet items sold by the pound. On any given day, the menu
might include corned beef Reuben and croque monsieur, steaming crocks of cheesy French onion soup
and fragrant bowls of chicken noodle, and comfort-food classics like Poulet Blanc, Pork Provencal, and
Yankee Pot Roast.
Dedicated Francophiles, the Rusanowskis make yearly trips to France so Bernie can continue to hone
his culinary skills. Whether hes stuffing an avocado with delicately flavored shrimp, steaming a perfectly
seasoned, to-the-tooth-green bean, or whipping up a crme brule that Gourmet magazine has called the
best in America and France, Bernie shows his culinary knowledge and the depth of his emotional com-
mitment to cooking what he calls food the way it should be cooked, the food you remember from your
childhood, the food that makes you feel good.
Wine/Dine
Advertisement
BY RENA DISTASIO | PHOTOS BY DOUGLAS MERRIAM
Saveur Bistro
204 Montezuma Avenue, Santa Fe, New Mexico
505-989-4200
Partners in marriage for more than 50 years, and
in business for nearly as long, Bernie and Dee
Rusanowski say the secret to their success is a lot
of passion mixed with a dash of compromise.
A favorite chilled buffet item:
a perfectly poached filet of
salmon topped with a dill/sour
cream sauce, accompanied by
crisp asparagus.

P
eople hold an idea of what Santa Fe is about,
says Priscilla Hoback, owner of The Pink
Adobe. It may not yet be a fully crystallized
idea, but when they come inside the restaurant, they say, Ah,
this is it.
The 300-year-old adobe restaurant has captured the
essence of Santa Fe, real and imagined, since Hobacks
mother, Rosalea Murphy, started serving up her favorite
dishes in the former army barracks in 1944. The Pink
remains a family-run operation, with Hoback and her son
Joe Hoback and daughter Denise Lynch now set to become
home to a new generation of diners.
Convivial charm and a superb, eclectic menu keep draw-
ing artists and politicians, locals and tourists to the art-
filled dining room, hot-spot Dragon Bar, and all-new
outdoor patio with inimitable New Mexican atmosphere.
The kitchen boasts a menu as eclectic as the clientele,
ranging from legendary favorites such as Steak Dunigan,
lobster salad, Spaghetti Rossi, and apple pie with rum hard
sauce to perfectly prepared New Mexican classics and the
internationally flavored Tournedos Bordelaise, Poulet
Marengo, and tomatillo-grilled salmon. Hoback continues
her mothers custom of sourcing as much as possible from
regional organic and free-range suppliers.
One foot in the past, with one striding into the future,
she says, grateful for the incredible loyalty and love of her
regular customers. Its that mix that makes us work.
182 Trend Spring/Summer 2011 trendmagazineglobal.com
The Pink Adobe
406 Old Santa Fe Trail, Santa Fe, New Mexico
505-983-7712 | thepinkadobe.com
BY RENA DISTASIO
|
PHOTOS BY DOUGLAS MERRIAM
Wine/Dine
Advertisement
Originally from New Orleans, Rosalea Murphy was
one of the first restaurant owners to bring seafood
to Santa Fe. Today the tradition continues with the
Pinks lobster salad: lobster chunks, hard-boiled
eggs, cheddar cheese, and fresh vegetables with
house seafood dressing.
A family affair: Priscilla Hoback with her son
Joe Hoback and daughter Denise Lynch.
183 trendmagazineglobal.com Spring/Summer 2011 Trend
Like many items on Pink Adobes menu, the world-famous Steak Dunigan is named after a long-time friend and customer. The charbroiled
New York strip is topped with mushrooms and green chile and served with a piping hot potatothe perfect power lunch.
Wine/Dine
Advertisement
184 Trend Spring/Summer 2011 trendmagazineglobal.com
S
urrounded by four world-class museums on a bluff above Santa
Fe, Museum Hill Cafe is dining with an unparalleled view.
Whether from the patio or through the floor-to-ceiling win-
dows, diners are treated to a breathtaking hundred-mile expanse of azure
skies and rolling pion-dotted hills.
Museum Hill Cafe is also a restaurant with a point of view.
Weldon Fulton, who took over ownership in June 2010, delights in rein-
terpreting culinary traditions, from Southwestern staples to the time-
honored soup, salad, and sandwich.
Hearty, comforting options include a piled-high Reuben sandwich or
a jalapeo-sprinkled bowl of Texas-style chili featuring lean, grass-fed
beef from Bonanza Creek Ranch. The same locally produced beef makes
for a superb burger and serves as the perfect foil to the zesty, mint- and
lime-infused albondigas soup.
Lighter fare includes Asian shrimp tacos marinated in mandarin orange
and Chinese chili, grilled salmon on mixed greens with pineapple mango
salsa, and Baja shrimp salad with bacon-buttermilk dressing. South-
western style dishes range from a well-stuffed burrito to smoked-duck
flautas and jalapeo tacos. All deserts and pies are made fresh on site daily,
with ice cream provided by Taos Cow.
Theres always something happening on Museum Hill, and at the
restaurant as well, which puts on events like an occasional Sunday jazz
brunch or Friday night tapas to match extended museum hours. Beer,
wine, and a full spectrum of coffee drinks are available with your meal
or just to sip on the patio while soaking in those hundred-mile views.
BY RENA DISTASIO | PHOTOS BY DOUGLAS MERRIAM
Wine/Dine
Advertisement
MuseumHill Caf
710 Camino Lejo, Santa Fe, New Mexico
505-984-8900 | museumhill.org/dine.php
Mandarin orange and Chinese chili add a burst of bright flavor to the
Asian shrimp tacos. Napa cabbage supplies crunch while corn tortillas
and avocados add local flavor. Above: Bar-style seating along one side
of the restaurant allows diners to enjoy the million-dollar view.
Amavi Restaurant
221 Shelby Street, Santa Fe, New Mexico
505-988-2355 | amavirestaurant.com
185 trendmagazineglobal.com Spring/Summer 2011 Trend
Wine/Dine
Advertisement
C
hef Megan Tucker brings a youthful exu-
berance to the farm-to-table movement
with exquisitely prepared southern Euro-
pean offerings at the acclaimed Amavi Restaurant.
Local products grown in a sustainable manner are
my passion, says Tucker, who can often be found
at the Santa Fe Farmers Market procuring ingredi-
ents and conferring with area farmers.
Located just one block south of the historic
Santa Fe Plaza in a beautifully appointed adobe,
Amavi impresses diners with a combination of Old
World charm and innovative, locally inspired cui-
sine. The ever-changing seasonal menu abounds
with fresh, local ingredients in offerings such as a
beautifully presented roasted cauliflower and
parsnip soup, or the classic Pollo al Mattone with
locally raised organic chicken and house-made
pancetta. Every item at Amavi, from the artisan
breads to divine desserts, is made fresh daily by
Chef Tucker and her talented staff. A seat in the
lovely garden patio or the newly appointed lounge
with its small bites menu is sure to pleaseas is
the eclectic wine list combining Old and New
World offerings. Consistently voted Santa Fes most
romantic dining destination, Amavi Restaurant
delights with a truly sensuous culinary experience.
PHOTOS BY DOUGLAS MERRIAM
Amavis rustic, romantic ambiance makes it the perfect spot to linger over a decadent
Sunday dinner. Above: Megs Benedict is a must: soft-poached cage-free eggs, crispy
roasted potatoes, house-made bacon, spinach, and hollandaise sauce.
Terraat Encantado
An Auberge Resort
198 State Road 592 | Santa Fe, New Mexico
505-946-5800 encantadoresort.com/dining/restaurant/
186 Trend Spring/Summer 2011 trendmagazineglobal.com
J
ust as its award-winning design puts a fresh spin on
classic Southwest architecturerustic materials set in
clean, minimalist linesso does Terras menu marry
simple but elegant flavors with festive regional influences.
This isnt fussy food, explains executive chef Charles Dale,
who helped open Encantado Resorts signature restaurant two
years ago. I dont want to be super serious. I want people to
relax and enjoy themselves.
There is a playfulness to the way the French-born chef
juxtaposes flavors, colors, and textures in a cuisine he calls
Modern Rustic. His seared diver scallops and pork belly are
served with celery root/edamame puree and Sauternes-soy
reduction. The beef tenderloin with foie gras butter and brandy
sauce is accompanied by truffle pommes-frites. And what could
be more fun than make-your-own smores, complete with home-
made marshmallows, chocolate dunking sauce, and crushed
graham cracker, nuts, and Oreo cookie toppings?
But Dales is also a highly focused menu. You dont get named
the Best New Chef in America (by Food &Wine) by being capri-
cious. Take his tamale dish: Stuffed with smoked lamb and
guajillo chile, wrapped in a banana leaf and accompanied by
tomato and corn relish, it exemplifies how he will work with only
three elements on a plate at once.
I want my dishes to make sense, both intellectually and
sensually, while still working within a cultural idiom, he
saysthe perfect culinary enhancement to the expansive
views and tranquil aura of the Encantado Resort and spa, on
Cond Nast Travelers 2011 Gold List of the best places in the
world to stay.
BY RENA DISTASIO | PHOTOS BY DOUGLAS MERRIAM
Wine/Dine
Advertisement
The dining room at Terra is a modern interpretation of classic Western architec-
ture and design. Left: Named the Best New Chef in America in 1995 by Food &
Wine, executive chef Charles Dale is also a two-time James Beard Foundation
nominee for Best American Chef in the Southwest. Right: Lamb two ways illus-
trates Dales simple but focused approach to preparation: roasted rack of lamb
with lamb shank tamale and garnish of tomato relish and Guajillo chile sauce.
187 trendmagazineglobal.com Spring/Summer 2011 Trend
Wine/Dine
Advertisement
Helmut Lohr was well known around Santa Fe as a visionary artist and inspired collabora-
tor with musicians, environmentalists, corporate executives, tradesmen, and scientists, as
well as fellow artists. He told Trend in 2007, I learned more by working in all those different
fields and incorporating the lessons I learned into my artwork. For me, its more important
to satisfy my own needs as an artist than to cater to the needs of the market.
That declaration proved prophetic in the years before his sudden death on Christmas Day
last year, as he turned from writing, musical composition, collage, and industrial design to a
passionate scientific project mitigating the negative effects of electromagnetic radiation. He
consulted to corporations including Bertelsmann Media Worldwide and Six Senses
Resorts & Spas, recommending remedies for sick buildings and work environments.
My artwork is just a tiny, tiny part of my life, he was once quoted as saying. There are
much more important things in life than art, like freeing oneself from the powers of the ego
and looking nonjudgmentally at all facets of life. In December, Helmut Lohr freed himself
from all bonds, includingunfortunately for ushis creative spark. Trend publisher Cynthia
Canyon felt a special obligation in this issue to address the passion of his final years, which
he felt was a mission as important as anything he had done as an artist. She writes:
We miss you, Helmutyour graciousness, your collaborative truth. I am no longer an artist,
you said. Working to heal the planet was now your focus against invisible, harmful radioactive
waves, you told me when we worked on the Trend lounge at the L.A. art show in 2009. You brought
four devices and set them up in our 30 70 foot spacewhich of course was right next to the main
electricity lines, just by chanceyet as things often are, perfect after all. Whatever happened that
weekend, it was clear our lounge was a soothing and clear space that seemed to draw a continu-
ous crowd. And if your devices brought a healing wave of health, no wonder!
It made sense to me when you said metal in buildings acted like antennae to these harmful rays,
and that green building includes removing metal as a structural material. Looking at life through
your perspective opened my eyes to a new way of seeing, and I thank you for that. You bring to
mind another visionary I wrote a poem for the day he died: John Lennon.
Now youre free, nothing can stop you john . . .
No body to inhibit your mind, you inspire us to go on
To question what is right, John you've been our guiding light
You've touched our lives, sang our thoughts from our minds
Given us the words to express ourselves
Brother teacher father friend you take all forms
Laughter tears anger love emotions never end
While our lives paralleled, you gave the answers as we asked the whys
And now you are free, soaring across the heavens, laughing at us all
Holding the ultimate answer with no voice to express
Only the love left in our hearts and minds forever
Cynthia Canyon
ART &
SCIENCE
Artist, Science, Visionary
Helmut Lohr
(1955-2010)
Trend Spring/Summer 2011 trendmagazineglobal.com 188
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AD INDEX
ANTIQUES, HOME FURNISHINGS,
RUGS & ACCENTS
The Accessory Annex
santafebydesign.com
505-983-3007.........................80
Cielo
cielohome.com
505-992-1960.........................20
Constellation Home Electronics
constellationsantafe.com
505-983-9988.............24, 68 69
La Mesa of Santa Fe
lamesaofsantafe.com
505-984-1688 ...............105, 172
Marc Navarro Gallery
marc navarrogallery.net
505-986-8191 ...............110, 171
Onorato
onoratosantafe.com
505-984-2008.........................38
Rekow Designs
rekowdesigns.com
505-239-1156.........................48
Samuel Design Group
samueldesigngroup.c om
505-820-0239.......................147
Santa Kilim
santakilim.com
505-986-0340.......................118
Seret and Sons
seretandsons.com
505-988-9151.........................50
Victoria Price Art & Design
victoriaprice.com
505-982-8632.........................29
Visions Design Group
visionsdesigngroup.com
505-988-3170.........................11
ARCHITECTS, DESIGNERS &
LANDSCAPE COMPANIES
Archiscape
archi-scape.com
505-670-2375...............100101
Barbara Felix Architecture +
Design
bjfelix.com
505-820-1555.........................45
Clemens & Associates
clemensandassociates.com
505-982-4005.........................47
Tent Rock Inc.
tentrockinc.com
505-474-9188...........................2
Victoria Price Art & Design
victoriaprice.com
505-982-8632.........................29
ARTISTS & GALLERIES
203 Fine Art
203fineart.com
575-751-1262.................28, 174
Andrea Fisher Fine Pottery
andreafisherpottery.com
575-986-1234.......................174
Canyon Road Arts
canyonroadarts.com ....102103
Charlotte Jackson Fine Art
charlottejackson.com
505-989-8688...................7, 165
Cody Sanderson
codysanderson.com......130 131
Darnell Fine Art
darnellfineart.com
505-984-0840 ...............115, 169
David Richard Contemporary
davidrichardcontemporary.com
505-983-9555..................13,162
Galleries at Lincoln Avenue
sfgala.org .........................1415
Gebert Contemporary
gebertcontemporary.com
505-983-3838............8, 113, 164
Gerald Peters Gallery
gpgallery.com
505-954-5700 ..........Inside Front
Cover, 160
Houshangs Gallery
houshangart.com
505-988-3322 ................12, 161
Hulse/Warman Gallery
hulsewarmangallery.com
575-751-7702.................41, 173
Hunter Kirkland Contemporary
hunterkirklandcontemporary.com
505-984-2111...............104, 165
Jane Sauer Gallery
jsauergallery.com
505-995-8513 ...............117, 167
Janine Contemporary
janinecontemporary.com
505-989-9330 ...............122, 172
Karen Melfi Collection
karenmelfi.com
505-982-3032...............105, 170
La Mesa of Santa Fe
lamesaofsantafe.com
505-984-1688...............105, 172
McCreery Jordan
mccreeryjordan.com
505-501-0415 ..............124, 173
Michael Smith Gallery
michaelsmithgallery.com
505-995-1013 ..............111, 170
Morning Star Gallery
morningstargallery.com
505-982-8187.......................145
New Concept Gallery
newconceptgallery.com
505-795-7570 ..............112, 168
Niman Fine Art
namingha.com
505-988-5091.................17, 162
Nart Gallery
nuartgallery.com
505-988-3888 ...............116, 168
Pippin Contemporary
pippincontemporary.com ......109
Pippin Meikle Fine Art
pippinmeiklefineart.com
505-995-0400 ................109,166
Peyton Wright Gallery
peytonwright.com
505-989-9888 ...160, Back Cover
Sheridan MacKnight
morningstargallery.com
310-488-1796.......................145
Shidoni Galleries
shidoni.com
505-988-8001 ...........161, inside
back cover
Turner Carroll Gallery
turnercarrollgallery.com
505-986-9800 ...............119, 166
Twigs of Santa Fe
twigssantafe.com
505-424-0563.......................158
Ventana Fine Art
ventanafineart.com
505-983-8815 ..............108, 167
Waxlander Gallery & Sculpture
Garden
waxlander.com
505-984-2202 ..............114, 169
The William & Joseph Gallery
thewilliamandjosephgallery.com
505-982-9404 ..............123, 171
William Siegal Gallery
williamsiegal.com
505-820-3300...................5, 163
Zane Bennett Contemporary Art
zanebennettgallery.com
505-982-8111...................9, 163
BUILDERS, DEVELOPERS &
MATERIALS
D. Maahs Construction
dmaahsconstruction.com
505-992-8382.........................81
Destination Dahl
destinationdahl.com
505-471-1811 .........................23
The Firebird
thefirebird.com
505-983-5264.......................155
H-Haus
h-haus.com
505-989-1613 ..............100101
Santa Fe By Design
santafebydesign.com
505-988-4111 ...........................3
Tent Rock Inc.
tentrockinc.com
505-474-9188...........................4
CITIES, EVENTS & MUSEUMS
AIA Santa Fe
2011 AIA/New Mexico
Convention
aiasantafe.org ........................93
Art Santa Fe
artsantafe.com
505-988-8883.......................157
Canyon Road Merchants
Association
canyonroadarts.com......102-103
Design District/
Pacheco Business Park
pachecopark.com
505-780-1159....................80-81
Design Santa Fe
designsantafe.org ..................95
Destination Marcy Street
destinationmarcyst.com .........33
Gallup
thegallupchamber.com
800-242-4282 ................152-153
Ghost Ranch
ghostranch.org
505-685-4333.........................40
Heart Gallery of New Mexico
heartgallerynmfoundation.com180
Poeh Cultural Center & Museum
poehmuseum.com
505-455-5041 ..............132133
Railyard Arts District ................6
Santa Fe Childrens Museum
santafechildrensmuseum.org
505-989-8359.......................144
SOFA Art & Design Santa Fe
sofaexpo.com
800-563-7632 ........................92
SantaFe.com
santafe.com ..........................94
Santa Fe Opera
santafeopera.org
800-280-4654...........................4
Taos Ecotourism
Eco-Taos.com
1-855-ECO-TAOS
1-855-326-8267 ............142143
FASHION & JEWELRY
Cody Sanderson
codysanderson.com......130131
Fairchild & Co.
fairchildjewelry.com
505-984-1419...........................1
Golden Eye
golden-eye.com
505-984-0040.........................19
The Hatsmith of Santa Fe Inc.
thehatsmith.com
505-995-1091.........................47
Jewel Mark
jewelmark.net
505-820-6304...............106107
Marc Navarro Gallery
marcnavarrogallery.net
505-986-8191 ...............110, 171
Rippel and Company
johnrippel.com
505-986-9115.........................43
Rocki Gorman
rockigorman.com
505-983-7833.........................42
The Shops at La Fonda
lafondasantafe.com
800-523-5002.........................42
Spirit of the Earth
spiritoftheearth.com
505-988-9558.........................31
HEALTH & BEAUTY
Aesthetics Skin Care and
Aesthetics After Care
aestheticssantafe.com
505-982-5883.........................10
The Inn of Five Graces
fivegraces.com
505-992-9745.........................51
Light and Love Naturopathic
Center
lightandlove.info
505-955-9919.........................49
KITCHENS, TILE, LIGHTING,
ELECTRONICS & HARDWARE
The Accessory Annex
santafebydesign.com
505-983-3007.........................80
AllBright & LockWood
505-986-1715.........................25
Destination Dahl
destinationdahl.com
505-471-1811.........................23
Form + Function Contemporary
Lighting
formplusfuction.com
505-820-7872 ........................80
Statements
statementsinsantafe.com
505-988-4440.........................21
PHOTOGRAPHY & DESIGN
SERVICES
Chas McGrath
chasmcgrath.com
505-670-2808.........................30
Peter Ogilvie Photography
ogilviephoto.com
505-820-6001.......................191
REAL ESTATE & BANKS
Los Alamos National Bank
lanb.com
505-662-5171, Los Alamos
505-954-5400, Santa Fe .......157
Robin ZollingerBarker Realty
barkerrealtysf.com
505-660-5170.......................146
RESTAURANTS, CATERERS &
LODGING
Amavi Restaurant
amavirestaurant.com
505-988-2355.......................185
Azur Mediterranean Kitchen
azursantafe.com
505-982-2897.......................175
Geronimo
geronimorestaurant.com
505-982-1500...............120121
The Historic Taos Inn
taosinn.com
888-518-8267.......................144
Hotel Parq Central
hotelparqcentral.com
505-242-0040...................8283
Il Piatto
ilpiattosantafe.com
505-984-1091.........................35
The Inn of Five Graces
fivegraces.com
505-992-9745.........................51
La Boca
labocasf.com
505-982-3433.........................34
Luxx Hotel
luxxhotel.com
505-988-5899.........................37
Maxs
maxssantafe.com
505-984-9104.........................22
Museum Hill Caf
museumhill.org/dine.php
505-984-8900.......................184
The Pink Adobe
thepinkadobe.com
505-983-7712...............182183
Ristra
ristrarestaurant.com
505-982-8608 .......................175
Rouge Cat
rougecat.com
505-983-6603.........................36
Saveur Bistro
505-989-4200.......................181
Terra at Encantado
encantadoresort.com/dining/
restaurant
505-946-5800...............186187
Walter Burke Catering
walterburkecatering.com
505-473-9600.........................46
Trend Spring/Summer 2011 trendmagazineglobal.com 190
END QUOTE

An artist never really finishes his work;


he merely abandons it.

Paul Valry
Antelope Canyon, Arizona PHOTO BY PETER OGILVIE
Trend Spring/Summer 2011 trendmagazineglobal.com 192
237 East Palace Avenue Santa Fe, New Mexico 87501 800 879-8898
505 989-9888 www.peytonwright.com fineart@peytonwright.com
Northern Colombia, Sinu Culture, Double Spiral Ornament, 300-900 AD, Gold, 2.5 inches by 5.75 inches
Ancienl GoId from lhe Nev WorId
Viev lhe coIIeclion onIine or al lhe gaIIerv
Lxperlise bv Roberl Sonin