Santa Fe Trend - Spring - Summer 2010

TREND ART+DESIGN+ARCHITECTURE SPRING/SUMMER 2010

CLARK + DEL VECCHIO Call Santa Fe Home

VOLUME 11 ISSUE 1

HOME FREE

A Dream Design Realized DEAN STOCKWELL His Surrealist Side TRAVEL

trendmagazineglobal.com

CANYON ROAD ART TREK TAOS SKI VALLEY YEAR-ROUND Chill Out at the Bavarian

SPRING/SUMMER 2010 Display through $7.95 AugustUS 2010

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SELF AND FAMILY... A RECENT LOOK guest curated by BOBBIE FOSHAY Monika Bravo / Ellen Harvey / Alex Katz / Hendrik Kerstens C o k e W i s d o m O ’ N e a l / S a n d r a S c o l n i k / K i k i S m i t h

JULY 9 - AUGUST 8

INAUGURAL EXHIBITION

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In the Railyard Art District / 554 South Guadalupe, Santa 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

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M O N TA G E # 1 0 Acrylic on Canvas 60" X " Š2009 Dan Namingha

R E F L E C T I O N # 1 Texas Limestone 9.75" X " X 3.25", 9.75" X " X 1.75" Š2009 Arlo Namingha

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G U M M Y B E A R S ( D E TA I L )

Wallpaper Š2009 Michael Namingha

Celebrating 20 Years on Lincoln Avenue May 28, 2010 to June 11, 2010 Artist Reception. Friday, May 28, 201 PM TO PM

125 Lincoln Avenue s Suite 116 s Santa Fe, NM 87501 s Mondayâ&#x20AC;&#x201C;Saturday, 10 am to 5 pm 505-988-5091 s FAX 5-988-1650 s nimanfineart @namingha COM s www.namingha.com

Opera ’s f rontier.

The Santa Fe Opera J U LY 2 – AU G U S T 2 8 MADAME BUTTERFLY

THE TALES OF HOFFMANN

THE MAGIC FLUTE

PUCCINI

OFFENBACH

MOZART

ALBERT HERRING

LIFE IS A DREAM

BRITTEN

World Premiere

LEWIS SPRATLAN

www.santafeopera.org

800-280-4654

O U R P R E F E R R E D H O T E L PA R T N E R S

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Khang Pham-New

“Embraced” © 2008 granite 86" x 60" x 55" Sculpture on view at Glenn Green Galleries + Sculpture Garden

Eduardo Oropeza

(505) 820-0008

“Reaching For The Future” ©1995 Bronze edition 24" x 21" x 7"

www.glenngreen.com

136 Tesuque Village Road + Hwy 285 N. Exit 168 + Tesuque, NM 87575 + 5 miles north of the Santa Fe Plaza

SHELLEYMUZYLOWSKI ALLEN

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July 8th through July 11th with an opening night preview Wednesday, July 7th

blue rain gallery 130 Lincoln Ave. Ste. C | Santa Fe, New Mexico 87501 505.954.9902 | info@blueraingallery.com | www.blueraingallery.com

CONTENTS

Spring/Summer 2010

Features

52

A Bridge Over the River Colorado

The largest concrete arch span bridge in America, the Hoover Dam bridge project is an epic feat of engineering whose scale is captured beautifully by photographer Jamey Stillings.

BY STEVEN KOTLER

58 Vanishing Point

Roswell, New Mexico, is known mostly for its quirky UFO festival. Almost no one knows that the town is also home to a remarkable art colony built by one visionary patron.

74 Embodied Mind

The photo collages of Matthew Chase-Daniel turn artistic process into art.

66 A Dream Home Deferred Carl and Robin Hardin had their dream home designed but not built three times before the perfect lot in Santa Fe finally brought their vision within reach.

BY GUSSIE FAUNTLEROY | PHOTOS BY KATE RUSSELL

10 Trend ÂťSpring/Summer 2010 trendmagazineglobal.com

CLOCKWISE FROM TOP LEFT: JAMEY STILLINGS; PETER OGILVIE; KATE RUSSELL; MATTHEW CHASE-DANIEL

BY KEIKO OHNUMA | PHOTOS BY PETER OGILVIE

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Departments 14 FROM THE EDITOR; FROM THE PUBLISHER

16 CONTRIBUTORS 18 YOUR LETTERS 20 FLASH

Santa Fe hosts a trio of international art events; VW gets the green bug; New York wakes up to Native fashion

26 Q&A 34

MASTER ARTISANS Two Native silversmiths break the mold with contemporary cuffs.

BY HEIDI ERNST

38

OUTLOOK Fort Worth’s Kimbell and Modern art museums mirror each other in intention and approach.

BY GREGORY ALLEN WAITS

42 COLLECTOR’S CACHE

Clark + Del Vecchio: The last word in postmodern ceramics, they’re making their last stand in Santa Fe.

BY KATHRYN M DAVIS PHOTOS BY PETER OGILVIE

80 CONSCIOUS BUILDING

Low impact extends from the design of the Applewhite home to the found-object interior.

BY STEPHANIE PEARSON PHOTOS BY CHAS MCGRATH

ART FOCUS

90 CANYON ROAD ART TREK Old meets new in a street scene that always feels fresh.

BY RACHEL PRESTON

100

ART UNFRAMED A spotlight on artists and galleries for the collector

TRAVEL

104 New Mexico’s Outer Beauty Petroglyphs reflect the state’s otherworldly spell.

BY TOM R. KENNEDY

106 It Really Is Main Street Albuquerque’s Nob Hill brings historic preservation into the modern age.

BY RACHEL PRESTON

113 Roll Out the Bavarian!

Six cozy cabins offer a new take on practical luxury at Taos Ski Valley’s year-round resort.

BY KATIE ARNOLD

About the cover: Regis Mayot’s filleted plastic bottles, collection of Clark + Del Vecchio PHOTO BY PETER OGILVIE

12

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90

Art trek

120 BUSINESS PROFILES La Puerta; Jardin de Chocolat; Glenn Green Galleries

Chefs’ potluck

124

EARTHLY DELIGHTS Wine/Dine/Performance

124 Gourmet Gallery

When chefs hold a potluck, the meal is a masterpiece.

BY LESLEY S. KING PHOTOS BY DOUGLAS MERRIAM

130 Chefs Get Creative

The bright side of recession

BY LESLEY S. KING

136 Performance Calendar

Summer offerings: music, theater, dance

144 END QUOTE

FROM TOP: KATE RUSSELL; DOUGLAS MERRIAM

Taos actor Dean Stockwell connects his multiple creative passions.

BY AMBYR DAVIS

FROM THE EDITOR

Back to the Roots

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ometimes, what appears to be a random collectionâ&#x20AC;&#x201D;say, the stories gathered for this issueâ&#x20AC;&#x201D;turns out to have a thread of subconscious truth running through it, like a spread of tarot cards. And so I read in these articles what seems like a widespread longing to return to the roots of civilization.

This trend makes the old seem new again. We see it most plainly in the passion for growing and preparing food, but itâ&#x20AC;&#x2122;s also showing up in more subtle ways that cut across cultural boundaries. In many arenas, it seems like the most revolutionary act is a return to the past, to the touchstones that help us navigate the unknown. I dare say that for many of you, one of those is the archaic activity of slowly turning pages, studying pictures in a magazine, and engaging with text at a non-hyperlinked paceâ&#x20AC;&#x201D;making time for inspiration and imagination to alight.

So it happens that in this issue, screenwriter Ambyr Davis finds the accomplished actor Dean Stockwell quietly arranging images and keepsakes into collages and assemblages in his Taos home. Art historian Kathryn Davis finds the hottest new arrivals on the art scene, postmodern ceramic celebrities Garth Clark and Mark Del Vecchio, abandoning New York and L.A. to put down roots in Santa Fe. And photographer Jamey Stillings discovers amid the clamor of a gargantuan feat of structural engineering moments of absolute stillness that unveil an eerie beauty.

Wherever you stand at the crossroads of cyberspace and globalization, I trust that you will continue to find in Trend a reminder of what endures, and take refuge in the infinite possibilities for human ingenuity to serve not only consumption and conquest, but beauty, compassion, and peace.

Keiko Ohnuma Editor

FROM THE PUBLISHER

Finding a New Way

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TOP: JENNIFER ESPERANZA

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hen all was changing so dramatically in the publishing industry last year, I had to ask myself, Am I on the right path? Is what I am doing making a difference? Is Trend worth the all-consuming effort, dedication, love, sweat, and tears?

Yesâ&#x20AC;&#x201D;my commitment through the changes was piercingly focused with every breath, thought, and action. I have started anew, in a way, building on the foundations. Now my goals are multidimensional, an issue-by-issue perspective of time. I am proud to bring you this current issue, a gift of reflection from the creativity that flows from this part of the world to your eyes, hands, and heart.

Like the waves of life, this effort brought new ways for us to see and be. Thank you to the sharp and flexible team of editorial doers, and gracious thanks to the businesses who know that what we are doing makes a difference to us all.

Cynthia Canyon Publisher

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Clockwise: Kate Russell, Jamey Stillings, Gregory Allen Waits, Rachel Preston, Ambyr Davis, Matthew Chase-Daniel

Kate Russell is a photographer and occasional circus performer based in Santa Fe. While her photography takes her around the globe, her continual involvement with Wise Fool New Mexico and the circus world keep her feet (or at least her hands) on the ground. Russell’s sensitivity to light and the moment can be seen in her photos, which have appeared in numerous publications, including The New York Times, Santa Fean magazine, Dance Magazine, and the book Old World Interiors.

Photographer Jamey Stillings has been working on the Hoover Dam bridge project since March 2009, when he first encountered the bridge’s construction in its initial phases. His photography spans fine art, documentary, and advertising. He has traveled and worked throughout the world for a range of national and international clients while continuing to pursue personal projects. Since 1998, Stillings has made Santa Fe his home along with his wife, photographer Esha Chiocchio, and their two young children, Zubin and Ciela.

Gregory Allen Waits received his M.Arch. from the University of New Mexico and brings a diverse background that bridges art, performance, and architecture. He has managed and designed residential, commercial, and public projects that extend perceptions of space, form, and the land and light of the Southwest region. Currently with Lloyd & Associates Architects, he is designing the Blackdom Memorial Gardens on a site in downtown Roswell, New Mexico.

Architectural designer Rachel Preston, founder of Archinia design firm, has worked in the cathedrals and villas of Europe, as well as alongside American architects specializing in religious, historic, and high-end residential design. Her work has included forensic architecture, the preservation and adaptive reuse of historic structures, and the design of bioclimatic residences and commercial structures for nonprofits. Preston is currently completing two books on architecture: The Illustrated Guide to Building Design for Kin Domains and An American Fairy’s Home Companion.

Ambyr Davis had just moved to New Mexico when her short film, Beholden, garnered a Milagro Award at the Santa Fe Film Festival. She received an MFA in screenwriting from Chapman University’s Dodge College of Film and Media Arts and has worked as a screenwriter as well as held the position of director of development for various Hollywood production companies. Davis is currently teaching at the Institute of American Indian Arts while working as a screenwriter.

Born in 1965 in Cambridge, Massachusetts, Matthew Chase-Daniel earned a BA from Sarah Lawrence College in 1987. His studies in art have taken him from his grandmother’s knee (abstract expressionism) to the Pacific Northwest coast (native mask carving) and Paris (filmmaking at the Ecole Pratique des Hautes Etudes). He has lived in Santa Fe for twenty years, creating works of art ranging from photography to sculpture, drawings, fireplaces, houses, and even a son.

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CLOCKWISE FROM TOP LEFT: NIKESHA BREEZE; MIKE SAKAS; JANE BERNARD; DANIEL PRESTON; COURTESY OF AMBYR DAVIS; JENNIFER ESPERANZA

CONTRIBUTORS

YOUR LETTERS

Thank You I am blown away by your Fall/Winter issue!

Your features and department pieces are creative, professional, and beautifully written—your design talents are unequaled. It was an honor to be included in your tenthanniversary masterpiece.

Colette Hosmer

Great Issue I have looked at Trend many times in the past, but was never as engrossed in the articles as I was in the latest issue. Very good work, and evidence that the journalistic tradition hasn’t died completely.

Lloyd Abrams

Home Theater

Home Away from Home When our connecting flight on the way to South Africa took off, I had just my notebook for sketching and note taking. Across the aisle I saw a man reading a lovely art magazine. I kept looking as he was flipping the pages two seats away. The magazine was glistening in the morning sunlight, and I was wishing I had brought an art magazine with me. I was admiring the paper and the design. Could I borrow it? I was thinking, as I was sure I was seeing some great artwork in it. I finally caught the man’s attention and asked him the name of the magazine he was reading so intently. He said, “Trend.” Wow! On my way to South Africa, and I found one of my favorite magazines from my own hometown in Santa Fe! Michele Weston Relkin

Audio & Video Systems Programmed Remote Controls Flat Panel Televisions Home Automation Lighting Control & Shades Speakers & Subwoofers

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SUPERIOR SERVICE EXTRAORDINARY PRODUCTS

We love praise—who doesn’t? But praise alone doesn’t make you better, and we are always aiming to outdo ourselves at Trend. Let us know what didn’t work for you, as well as when we hit the right note. Suggestions about Trend-worthy topics are also welcome. In the age of interactivity, magazines are no longer meant to recite monologues; the articles and images here are intended to open a dialogue on the subjects of art, architecture, and design. So shoot us an e-mail or even an old-fashioned letter. We’d love to hear from you.

—Editor (editor@trendmagazineglobal.com) 18 Trend »Spring/Summer 2010 trendmagazineglobal.com

PUBLISHER Cynthia Marie Canyon EDITOR Keiko Ohnuma ART DIRECTOR Janine Lehmann COPY CHIEF Kym Surridge ADVERTISING DESIGN AND PRODUCTION Jeri Lee Jodice, Janine Lehmann CONTRIBUTING WRITERS Katie Arnold, Ambyr Davis, Kathryn M Davis, Heidi Ernst, Gussie Fauntleroy, Tom R. Kennedy, Lesley S. King, Steven Kotler, Keiko Ohnuma, Stephanie Pearson, Rachel Preston, Wesley Pulkka, Gregory Allen Waits CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Matthew Chase-Daniel, Chas McGrath, Peter Ogilvie, Kate Russell, Jamey Stillings ADVERTISING SALES & MARKETING DIRECTOR Susan Crowe, OnQ Marketing, 505-603-0933 REGIONAL SALES DIRECTOR Judith Leyba, 505-820-6798 NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services 905-619-6565, disticor.com NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 ACCOUNTING Danna Cooper

SUBSCRIPTIONS Visit trendmagazineglobal.com and click “Subscribe” or call 505-988-5007 ext. 3 PREPRESS Fire Dragon Color, Santa Fe, New Mexico 505-699-0850 PRINTING Publication Printers, Denver, Colorado Manufactured and printed in the United States.

Copyright 2010 by Trend, LLC. All rights reserved.

No part of Trend may be reproduced in any form without prior written consent from the publisher.

For reprint information, please call 505-988-5007 or send an e-mail to perform@santafetrend.com.

Trend (circulation 35,000) is published two times in 2010, with Spring/Summer and Fall/Winter issues.

To subscribe, send $15.99 for one year to Trend, P.O. Box 1951, Santa Fe, NM 87504-1951.

Direct editorial inquiries to editor@trendmagazine global.com.

Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 (505) 988-5007

trendmagazineglobal.com Spring/Summer 2010 » Trend 19

Santa Fe Art Goes Global ow that the dust has settled in the newly revamped Railyard, and recently completed gallery spaces have festooned their floors and walls with wares, the explosive growth of contemporary art in Santa Fe is being punctuated by three major international arts events.

This summer SITE Santa Fe celebrates its eighth biennial, while Art Santa Fe ushers in its tenth edition, in its new location at

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went ahead with their projects.”

SITE’s biennial, titled The Dissolve, is curated this year by Sarah Lewis and Daniel Belasco, with architect and exhibition designer David Adjaye. The show presents a new sensibility in contemporary art, mingling state-of-the-art technology and traditional painting, drawing, and sculpture with dance, video, film, and music. The complex installation covering 15,000 square feet

the Santa Fe Convention Center. And SOFA West: Santa Fe returns after an astonishing first-year attendance of 10,000 in 2009— impressive considering SOFA New York gets 16,000, and SOFA Chicago 35,000.

These exciting events are the result of decisions made years ago by gallery owners, arts administrators, and members of the business community.

“When we bought our building and really staked our claim here . . . I think that commitment pulled the trigger on the development around us,” said Laura Steward, director of SITE Santa Fe, in a 2007 interview. “People stopped thinking about it and

introduces emerging experimental artists as well as historical works by the Edison Manufacturing Company and Fleischer Studios.

Also represented are master artists of the moving-image genre: Paul Chan, William Kentridge, Raymond Pettibon, Cindy Sherman, and Federico Solmi.

The presentation ambitiously embraces a paradigm shift away from the separation of media toward a holistic approach to visual expression. “This is a truly energetic, stimulating, and groundbreaking undertaking that we are really looking forward to sharing with the public,” SITE external affairs director Anne Wrinkle said recently. “It presents a historical perspective for an emerging art form that offers new possibilities for artists, viewers, and curators.”

Art Santa Fe director Charlotte Jackson

Above: Art Santa Fe returns for a tenth year of contemporary art and glamour this summer, part of a trio of events marking the city’s arrival on the international art calendar.

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had not confirmed her keynote speaker as of this writing, but if the past is any indication, she is assured of attracting a top player in the arts. Previous speakers have included architect Frank Gehry and New York Times European art critic and author Michael Kimmelman.

Along with hands-on demonstrations of printing processes by Landfall Press, Art Santa Fe offers dining by reservation only—on porcelain rather than Styrofoam—at their in-house Cafe Arte as part of what appears to be a step up the artbuying food chain. Other amenities include large salon-style exhibition areas and a general feeling of spaciousness, charm, and Old World graciousness.

Meanwhile, SOFA Santa Fe opens its second year with an exclusive collectors’ symposium on Native pottery in cooperation with SWAIA, which presents the annual Indian Market. The purpose is threefold: to highlight American Indian contemporary arts, to emphasize arts education for collectors, and to further New Mexico’s renowned craftsmanship.

Artist and gallery owner Jane Sauer has participated at all three SOFA locations over the past 15 years, back to the founding of SOFA Chicago. “I wouldn’t make the commitment if these fairs didn’t work for me.

What I love about SOFA from the inside is their dedication to supporting the community on a long-term basis,” Sauer says.

“Their philosophy is to build relationships, educate the public, and to serve artists, collectors, and gallery owners. The whole organization utilizes local talent and resources while producing an internationally significant experience for visitors.”

Changes this year include a longer schedule of events, the introduction of Italian glass-making techniques, and demonstrations, as well as the collectors’ symposium.

“Keep in mind while visiting SOFA events that all of the individual participants— whether gallery owners, gallery staff, or artists—want to discuss their art, answer questions, and aid in understanding the motivation of the creators,” says SOFA executive director Mark Lyman. “We want visitors to find out not only how the art was

COURTESY OF ART SANTA FE

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

DARNELL FINE ART made, but why it was made. We are looking at deepening visitor understanding and appreciation, whether or not a sale is made.”

While the global economy remains in relative tatters, Santa Fe’s triumvirate of internationally recognized contemporary arts

events will continue to provide heady entertainment and potential collector education while acting as a marketplace for new ideas, providing a brush with luxury, and continually supporting the highest standards of artistic craftsmanship. —Wesley Pulkka

No-Love Bug

COURTESY OF VOLKSWAGEN

The world’s largest carmaker jumps into the battery-powered fray with the L1, which topped out at 314 miles per gallon.

Cute, pug ugly, the next-generation Beetle, a downsized Smart Car, or a giant throat lozenge designed by Claes Oldenburg? Whatever the description, Volkswagen’s prototype L1, with a biomorphic carbon fiber body that was wind-tunnel tested to deliver 258 miles per gallon with two passengers, is yet another controversial offering from the world’s largest car manufacturer.

The first aerodynamic Volkswagen eye popper that people either loved or hated was the Type 1 air-cooled two-door sedan, also known as the Love Bug, Beetle, Slug Bug, Kaferwagen, and to a few harsh critics, Hitler’s Revenge.

Unfortunately, the L1, Volkswagen’s superstar of fuel economy—an ugly duckling that’s loaded with high-tech features including a breathtaking 1.95 drag coefficient (roughly half the wind resistance garnered by most of the fuel-sipping jelly beans on the road)— suffers from an estimated $25,900 retail price, thanks in large part to that featherweight carbon fiber body. Other nits include motorcycle-style fore and aft seating, a noisy 299cc single-cylinder diesel engine, and such a low profile that the average trucker may run over one before noticing it.

Being a VW Beetle fan and owner of eight air-cooled bugs and vans over the years (I still have two Bugs—a ’66 and a ’73), I wouldn’t mind tooling around town in a modified L1.

For me, it has the look of something that Constantin Brancusi or Jean Arp might have designed, and its diminutive length and girth mean you could actually find a parking spot

on Canyon Road. (Of course, jewelry might be the best art purchase to shoehorn into the L1’s cargo area. If it’s a gift, ask the cashier for a small box—and no bow, please.)

OK, so it’s not the most practical car on the road. But designer Ferdinand Piech, former VW chairman and grandson of Ferdinand Porsche, coaxed 314.4 mpg out of the L1 on a trip from Wolfsburg, Germany, to Hamburg while averaging 43.5 miles per hour. Of course, Piech may have driven the 84-mile journey sans shoe, as some proud Prius drivers do, the better to “feel” throttle control and push the car into a more impressive mpg range.

Like safecrackers of old who sandpapered their fingertips to increase feel for the lock tumblers, do Prius drivers rub their bare feet with sandpaper? Maybe that’s why it’s too painful to stop a Prius?

Piech says the lessons learned during the L1’s nearly 12-year development cycle will be incorporated into small, fuel-efficient, lowand high-end cars with two-liter displacement engines and possible hybrid configurations.

Volkswagen, in concert with Suzuki, is already planning a new small car for India in the $4,000 to $5,000 range. But VW has no plans to mass-produce anything close to the L1.

Shucks, I guess I’ll have to hang on to my air-cooled antiques for a few more years. I had hopes of turning them in for that slightly more modern L1. But my Bugs are somewhat warmer, very much drier, and a tad bit safer surrogates for my 40-year love affair with motorcycles. —Wesley Pulkka

trendmagazineglobal.com Spring/Summer 2010 » Trend 21

Cinnabar Mystic 84'' x 16'' Oil & 24k leaf on Canvas

RACHEL DARNELL “New Visions” Dates: August 17– September 7 Reception: Friday, August 20, 5 –7 640 Canyon Road, Santa Fe, NM 87501 505-984-0840 800-984-0840 fax 505-984-0290 www.darnellfineart.com email: art@darnellfineart.com

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

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his year’s premier fashion event in New York City marked a turning point for Native American designers, who are suddenly everywhere on the radar. Thanks to a nonprofit advocacy group called Unreserved Alliance, a half dozen designers of clothing and accessories had a showcase during the beacon event in February—albeit not at Bryant Park itself, but at a spillover site across the street.

The showcase got press coverage in Women’s Wear Daily, Elle, Vogue, and the Los Angeles Times, according to Gail Bruce, cofounder of Unreserved Alliance.

For clothing designer Patricia Michaels, of Taos Pueblo, it was a repeat victory; she made history last year as the first Native American fashion designer to show during Fashion Week.

Even in Santa Fe, where Native fashion has been the rage for centuries, momentum has built recently with a contemporary fashion exhibit at the Museum of Indian Arts and Culture, a fashion show at Buffalo Thunder Resort in January, and trunk shows at the Wheelwright Museum last fall. It would seem to be the moment for Native designers to burst onto the national scene—except that trends do not necessarily reflect social and economic realities. The fact remains that Native designers face enormous obstacles to mainstream acceptance that will not be transformed by an appearance on a New York runway.

Michaels is the first designer to break through the “buckskin barrier” since Lloyd Kiva New hit the heights of women’s fashion in the 1950s, where he has remained unparalleled since. Educated at the Institute of American Indian Arts (IAIA), which was co-founded by New, Michaels gets widespread notice for her hip, elegant, contemporary clothing, which is often based on

only with help from Unreserved Alliance that she got to New York at all.

Bruce explains that very few Native designers know how to bring their art to the marketplace.

“They’re locked in to their ZIP code,” she says, and they mostly produce one-off pieces to sell locally. Many lack the means or even the desire to build a presence in New York or Los Angeles.

Yet the fashion capitals themselves have appropriated Native looks for decades, starting with the homespun hippie look in the 1970s. In the 1980s, Ralph Lauren famously tapped Pueblo artisans to help create his signature Southwest/Navajo look, without acknowledging their contribution.

Meanwhile, Native designers— who truly do embody the contemporary vernacular of indigenous America—have received little or no support from Seventh Avenue. Theirs is “a unique way of looking at the world,” explains Jessica Metcalfe, a Santa Fe–based Chippewa who is writing a dissertation on Native fashion design (and blogs at beyondbuckskin.blogspot.com). Whether with the style of garment construction or the use of materials, symbols, or motifs, Native designers bring to their work a worldview, Metcalfe says, that can’t be aped by outsiders.

Moreover, success does not have the same resonance with Native artists when it reflects only individual achievement. For Michaels, success means contributing to the health and cultural survival of her people. “If we don’t make an industry that’s Native American in terms of opportunities for filmmakers, fashion designers, doctors,

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imagery from her Taos heritage. Yet most of that recognition has remained squarely within the “Native” rubric: Santa Fe Indian Market, Heard Indian Market, the Canadian Aboriginal Festival in Toronto, a cultural exchange program in South Africa.

“I would rather just go out and be a [regular] designer,” Michaels says, explaining why a Native designer would choose to present herself as such and risk being stereotyped. It is difficult for anyone new to break in, she acknowledges, and it was

The flowing, contemporary designs of Native fashion designer Patricia Michaels continue to break ground in New York fashion circles.

JENNIFER ESPERANZA

New York Fashion Week Goes Native

FLASH

www.santafebydesign.com 1512 Pacheco St., C104, Santa Fe, NM 87505 505.983.3007

SITE SANTA FE EIGHTH INTERNATIONAL BIENNIAL SARAH LEWIS and DANIEL BELASCO, Curators ADJAYE ASSOCIATES, Exhibition Designer

JUN. 20, 2010 – JAN. 02, 2011 www.thedissolve.net Opening Weekend Events

JUN. 18 – 20 With a special performance on JUNE 19 by BILL T. JONES/ARNIE ZANE DANCE COMPANY Featuring a new commission in collaboration with OPENENDED GROUP at The Lensic Performing Arts Center The exhibition is made possible in part through generous support from The Andy Warhol Foundation for the Visual Arts, The National Endowment for the Arts, The Burnett Foundation, Jeanne & Michael L. Klein, Agnes Gund, Toby Devan Lewis, Marlene Nathan Meyerson, and the SITE Board of Directors. This announcement made possible in part by the Santa Fe Arts Commission and the 1% Lodgers Tax.

1606 Paseo de Peralta, Santa Fe, NM 87501 | 505.989.1199 | www.sitesantafe.org

24 Trend » Spring/Summer 2010 trendmagazineglobal.com

and lawyers, and we don’t . . . pull each other up, I don’t know how we’re going to survive with the rest of the world,” she says, adding that she hopes to help build a Native American fashion industry on a par with that of France, Italy, and Japan.

That’s why her Native identity is at the forefront of her fashion statement, what she calls “the story being told on your skin.”

Michaels’s symbolism draws from both Taos Pueblo and the New Mexico modernists, as well as reflecting an appreciation of other cultures (in her use of silk, for example).

Pilar Agoyo, a designer in Santa Fe known for her form-fitting punk/goth vinyl creations, similarly emphasizes her need to stay close to her ancestral villages (at Ohkay Owingeh, Cochiti, and Santo Domingo) rather than move to Los Angeles, where she devotes her talents these days to costuming for the film and television industry. Today’s aspiring Native designers actually have fewer opportunities for fashion training in Santa Fe than in her day, she says, since the retirement of Wendy Ponca, who taught a generation of young designers during her 32-year tenure at IAIA. The school stopped offering fashion design after 1994.

Michaels says she makes sure always to have Native interns training with her, and she is now building a studio on Native land to bring jobs to the Pueblo. But as to whether Native fashion is having its moment in the sun, Michaels turns philosophical, reminding us that the Native worldview is not our own.

“Maybe we were better off when we worked with the ancestors who did their own leather and beadwork,” she says wistfully. “Right now we’re using what the next person is using; all our materials come from China. I couldn’t say that it’s better now.” What matters most, she says, is that designers keep alive the Native spirit, which is based on compassion and “has more meaning to it. It could never be ghetto; it could only empower the world.”

—Keiko Ohnuma

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trendmagazineglobal.com Spring/Summer 2010 » Trend

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Q&A

BY AMBYR DAVIS

Dean Stockwell’s Other Calling

Dean Stockwell’s journey as an actor began at age 8 when he was contracted into L. B. Mayer’s roster for the MGM musical Anchors Aweigh. Through his tweens, Stockwell emerged as a major child star with The Boy with Green Hair, among other memorable titles. Then he did the unexpected, striking off on a Kerouacian adventure as an anonymous laborer on a vision quest for three meandering years before returning to Hollywood. His career has spanned the Golden Age of Hollywood, the demise of the studio system, the incendiary Beat Generation, the reemergence of the auteur, and the maturation of television. Stockwell has contributed poignantly to the canon of cinema, but his journey as an artist has led him in a direction he considers more fulfilling than anything he’s created to date. He spoke with Trend about the incredible pilgrimage that landed him in Taos, New Mexico.

26 Trend »Spring/Summer 2010 trendmagazineglobal.com

LEE CLOCKMAN

Art struck a chord with the actor, who responded as any bohemian would—by moving to Taos

George Hermes, Bruce Conner. And I was the only one with any money, because I was a working actor. So I felt separated from them in that way. Even though I made pieces myself, I just didn’t feel on their level. I think the exposure to Berman and the Beat Generation opened a door partway in my mind, just opened a crack.

And I left it there and didn’t open it until way later. I never thought of just devoting myself to art until my children, Austin and Sophia, left the nest. I bought a draftsman’s table and started with, Well, I can make collages. That was summer of 2003, and I haven’t stopped since. I find myself constantly learning about myself as I go through life. And in the ensuing years it just gets easier, and my access to dig deep becomes more facile.

Stockwell holds A Cube of Inspiration. Opposite: Stockwell’s latest work, Black Theatre Piece.

AMBYR DAVIS

AD: Your body of work as an actor is prolific, but one role in particular was responsible for bringing you to Taos.

Stockwell: Sons and Lovers got me to Taos.

I read some essays of D. H. Lawrence, who’s buried here, and said, I’ve gotta go to this place. And I knew: This is it. This is where I’ll end up. That was ’64. I think a phenomenon like coincidence is a spiritual phenomenon. It’s a hell of a coincidence that I portrayed Lawrence, read his work, and found Taos. A spiritual matter brought me here. I’ve traveled all over the world, and there’s no place that even touches this place right here. We’re connected to it. The energy here, it’s higher, higher, higher. It’s incredible!

AD: You’ve done several adaptations of classic literature. Like Hemingway’s The Killers.

Stockwell: I met Hemingway, actually. It was very cool. He comes into New York on a ship, gets off all scruffy with white shit in his beard. I liked him right away. He invited me to his stateroom, way down in the decks, and pulled out this Coca-Cola bottle filled with black syrup. To this day I don’t know what it was. It was strong as

hell. He gave me a big ol’ glass of the stuff.

It was like a cognac concoction of some sort. And we had a nice drink and I went off and did his character, Nick Adams.

AD: You starred in Long Day’s Journey into Night with Katharine Hepburn. Describe your experience of working with her.

Stockwell: It was divine. There were four of us: Jason Robards, Sir Ralph Richardson, Katharine Hepburn, and myself. The three of us guys all worked the same way, but Katie liked to run the scene. Even when they’re doing lighting, she’s running the scene, and I’m running it with her. This is Katharine Hepburn. I’m not gonna say, “You know, I don’t like rehearsals.” For her, I’d read the lines back. So she was special, very special. She tried to get us all to stop drinking, but Jason and I would go off every night. And Ralph would offer up fine cognac. That was a great experience.

AD: Today, you’re an established artist, but that aspect of your creative life began with the Beat Generation.

Stockwell: I met all those artists in Venice [California]: Ed Moses, Wallace Berman,

AD: Your early art intersected rock ’n’ roll history in profound ways. For instance, a photo of Wallace Berman that you snapped actually graces the Beatles’ iconic Sgt. Pepper’s cover. Would you say you’re a fan of the album?

Stockwell: Oh, God. Of course! Berman and I had a friend, an Englishman, curator type, and he knew the Beatles. He was in England when they put the cover together, and he said, “Listen, there’s this artist that should be in this.” So he took the photograph of Wallace that I’d taken, and got it in there. I saw my photograph on the album, and thought, Oh, this is too much!

Another fate deal. That’s a very historical, very heavy album. To have a little photograph on it . . . is not bad.”

AD: How did your album cover of Neil Young’s American Stars ’n’ Bars materialize?

Stockwell: I wrote this screenplay, After the Gold Rush, which I won’t show to anybody.

A copy got to Neil, and that inspired After the Gold Rush. It’s on the album: “inspired by a screenplay written by Dean Stockwell.”

He wanted me to do a map of Topanga as the cover, which would’ve been cool.

But the record company rejected it. One of the great, vivid experiences of my whole life was being in his Topanga studio when he trendmagazineglobal.com Spring/Summer 2010 » Trend 27

Q&A

“I find myself constantly learning about myself as I go through life.

And in the ensuing years it just gets easier, and my access to dig deep becomes more facile.”

A Moment Mismanaged. Right: What Goes Up.

recorded After the Gold Rush. It was fantastic! Time goes by. He starts Stars ’n’ Bars. And I did the cover. I have a gold record for that one.

AD: What’s your process for the collages?

Stockwell: I have a fun process I initially go through. I call it “hunting.” I’ll take issues and find an image that resonates with me. I hunt another I see a relationship with, then build a collage.

I still don’t know what the hell it’s gonna be until the last thing’s finished. I feel it’s as important to know when to stop as when to start. You can just go one step more and wreck it.

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COURTESY OF DEAN STOCKWELL

AD: You utilized Life magazine as source material for the Spagyric Eye collages. Ironically, Life launched the year you were born. What is it about this particular publication that resonates with you personally?

Stockwell: Life magazines were part of my visual existence. They were always around. And it was the first pictorial magazine, the best pictorial. Magazines were all print-and-read stuff, and here was a magazine where you could look and see stuff. A lot of times I’ve come across images I remember from way back. So later on, I felt that was my built-in source.

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Q& A

The Handyman Chorus Line, from the Anon collages

AD: How did the concept of your dice pieces come to fruition?

30 Trend »Spring/Summer 2010 trendmagazineglobal.com

Stockwell: Doug Coffin, my dear friend and a wonderful artist, randomly gave me a thing of six dice. Somehow I made the outrageous conclusion that this was more important than just a casual gift. Everyone has the iconographic concept of a die in their subconscious. Then I thought, What would be the greatest contrast? And I came up with the idea of making the cross out of dice. The subconscious notion of a cross is permanent, rigid, religious. To make it from elements of motion and randomness is a divine contrast.

AD: How did your dice theater pieces evolve?

Stockwell: I decided to make a cube. Then I saw this open space and said, Man, I could make theater pieces. I almost did, but closed it off. Then I started. They’re abstract, but

I like to create a little drama in them. The drama in the black one is provided by the fan, which corresponds with ribbons, a gifted wooden die, and a carved Oriental man whose gown flaps in the fan’s breeze.

I found that carving in L.A. forty years ago.

AD: Is it for your pleasure or for the people looking at the artwork? It’s forty years of creation, a revelation of your life. Or has it somehow been there to sell?

Stockwell: I create for my pleasure. I’ve got enough pieces to give me pleasure that I can sell some, and hopefully they’ll give somebody else pleasure. It’s not for the income. If someone buys something, then it’s important to them. And they’re gonna really respect and get something from it, or they wouldn’t buy it. So it works for me. R

COURTESY OF DEAN STOCKWELL

AD: The Anon collages utilize London Times issues dating back to1902. How did you happen upon those particular collage materials?

Stockwell: They came from Bruce Conner, the artist and a dear lifelong friend. He sent them, without comment, addressed to Anon, care of Robert Dean Stockwell, from Anon, care of Bruce Conner. Two months later, he passed away. And I figured this was his last stash of collage material. So I used them to make the Anon collages. They have a lovely range of color, from black-and-white to sepia. I want them shown in a very prominent venue. I’m doing box sets of the prints here—twenty-two boxes, each with twentytwo images. The boxes are really beautiful with “ANON” embossed in black leather.

MASTER ARTISANS

BY HEIDI ERNST

CUFFS AROUND THE

EDGES Two New Mexico jewelers amp up a traditional shape ike many people, I love a good accessory. I’m not really one to follow the crowd when it comes to clothes, but even though I tend toward the classics (black, denim, and more black), I still like one part of my outfit to make some sort of modern statement—usually an accessory. In my book, you can’t beat jewelry. Compare me (please!) with that perennial style icon Audrey Hepburn in Breakfast at Tiffany’s, wearing an understated monochrome ensemble paired with a killer necklace or large costume earrings.

So when I recently made my way through the jewelry section of the shop at the Indian Pueblo Cultural Center in Albuquerque, New Mexico, I was mesmerized by the work of Pat Pruitt and Aaron Brokeshoulder. I started mentally flipping through my closet to remember what I have that would work with the dozen pieces each of them has on display.

They have such different styles, but each in his own way takes themes or techniques from traditional jewelry design, both Native American and other, and modernizes them.

34 Trend » Spring/Summer 2010 trendmagazineglobal.com

The oxidized sterling silver of Aaron Brokeshoulder’s Pleasant Moon cuff represents the Pueblo, with a charoite stone for the moon above; water flows inside.

Top: On Brokeshoulder’s Corn bracelet, a coral medallion represents the earth, and a corn symbol is stamped on the outside; inside are sunbursts.

TED MARX, TJM IMAGING (2)

L

Pat Pruitt’s stainless-steel tire-tread-design cuff. Below, right: Pruitt’s modern sensibility has led him to create stainless cuffs with timing belt (top) and black stingray skin.

Below, left: Under the charoite spider on this cuff of Brokeshoulder’s is a cutout of the North Star; inside he has stamped planets and stars.

CLOCKWISE FROM TOP RIGHT: COURTESY OF PAT PRUITT (3); TED MARX, TJM IMAGING

The gift shop’s manager, Ira Wilson—guitarist and lead vocalist for Albuquerque’s award-winning rock band Red Earth for more than a decade—likens Pruitt and Brokeshoulder to groundbreaking classic-rock guitarists such as Eddie Van Halen. “Those guitarists started with a Fender or a Les Paul, and see how innovative they were,” says Wilson. “With Aaron and Pat, the basics are the same, but they’re finding a way to express themselves that’s uniquely them.”

Of the two, Pruitt has the rock-star personality, and not just because of his hot-rod hobby. He started learning the silversmithing trade 20 years ago under traditional jewelers on the Laguna reservation in Paguate, New Mexico, an hour west of Albuquerque, but for the past 15 years he has made body-piercing jewelry of all shapes and sizes. He works in stainless steel, so when he began his own jewelry line (because he couldn’t find a whole lot of what he calls “cool guy stuff” out there), he stayed with that material.

Pruitt is one of the few fine jewelers to work in stainless steel exclusively. And he does it well: He was presented with the national Couture Jewelry Award in 2007 in the alternative metals category. His stuff is undoubtedly cool. I love a great cuff bracelet, so I was really attracted to the large ones on display at the Cultural Center, one with a timing belt along the top, another with stingray skin. Pruitt’s materials take the cuff shape to a whole new modern edge.

“I am always looking for work that pushes the envelope. I loved Pat’s work immediately because his quality of

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MASTER ARTISANS

Ira Wilson likens Pruitt and Brokeshoulder to groundbreaking classic-rock guitarists.

workmanship was superb, because it is based on the traditional but goes to the extreme,” says Victoria Price, owner of Victoria Price Art & Design in Santa Fe and daughter of film legend and noted art collector Vincent Price. Her gallery showcases contemporary home decor, art, and jewelry and has featured Pruitt’s work for five years.

“He’s part of a new generation of artists whose work will not just be associated with being Native American or from the Southwest,” she continues, “but will be seen as having national and even international appeal—even as their heritage makes their work more compelling to many.”

Pruitt also makes thinner cuffs inlaid with copper, silver, and/or 24kt gold, and here’s where you’ll notice some of the Native influence in his work. He says I hit the nail on the head when I tell him I see rivers and mountains represented in the thin undulating lines. Often, though, he bucks 36 Trend » Spring/Summer 2010 trendmagazineglobal.com

Pat Pruitt is one of the few fine jewelers to work in stainless steel exclusively.

FROM LEFT: KATE RUSSELL; LEE MARMON

Symbolic storytelling is integral to Aaron Brokeshoulder’s work.

conventional design in favor of what he calls “badassedness.” Says Pruitt, “I take a different approach to my work because with stainless steel there is no tradition.”

Aaron Brokeshoulder, on the other hand, creates designs very much rooted in tradition. I’m drawn instantly to a polished sterling-silver cuff that has rectangular coral inlays along the length, a center medallion of a raised coral, and Native symbols stamped into the inner and outer surfaces of the bracelet.

The symbolic storytelling is integral to Brokeshoulder’s work—and fits the jeweler, whose personality seems more like roadie, or lyricist, if his friend Pruitt is lead guitar.

One bracelet tells of dancers asking a turtle for the blessing of rain. Another depicts two spiders meeting for mating. “I heard stories from my great-grandpa before he passed away, and I incorporate that stuff into my jewelry,” says Brokeshoulder, who works in his garage studio in Albuquerque. He learned smithing from his father at his Santo Domingo Pueblo home. Working his way up until he began designing on his own, Brokeshoulder has now won many artmarket awards—and a national following.

“Aaron’s jewelry is a combination of a continuing approach to tradition that doesn’t necessarily stay in the box,” says IPCC shop manager Wilson. “He likes to hang on the edge.” And that’s exactly where the next cuff I see goes. Also in a traditional shape, this one has a dark, pebbled surface: oxidized silver. It’s a relatively new technique for him, one that resembles sandcasting. Brokeshoulder retains the stamped symbols on the inside of this piece, but the outside has three raised lines—rivers—and four raised dots, which stand for the four directions (north, south, east, and west, traditional Native symbolism).

Both Brokeshoulder and Pruitt are hanging on so many edges in their work—in technique, design, and material. I can’t wait to see their next breakthroughs, but for now I just like dreaming about which one would look best out of the glass cabinet and around my wrist. R

221 Canyon Road Sante Fe 505.955.0550 www.adobegallery.com trendmagazineglobal.com Spring/Summer 2010 » Trend 37

OUTLOOK

BY GREGORY WAITS

InsideOut T

outed as the museum capital of the Southwest, the world-renowned cultural district of Fort Worth, Texas, receives as many as 3.5 million visitors a year to the five museums on its 200-acre site. Just east of downtown, it includes two neighboring masterpieces of architecture: the Kimbell Art Museum, designed by Louis Kahn, and the Modern Art Museum of Fort Worth by Tadao Ando.

The close proximity of the two conveys an immediate sense of their difference.

Because of their intimate spatial connection, 38 Trend » Spring/Summer 2010 trendmagazineglobal.com

Ando said in a 2002 interview, he “felt it was important to maintain the spiritual character achieved in the Kimbell through the repetition of simple spatial units, the use of materials in ways that endow each material with a unique significance, and the solemn light that fills the interior.”

Nevertheless, the placement of the Modern shifts the procession of visitors farther away from the preferred entrance at the Kimbell by reinforcing an orientation toward the automobile, which is how most will approach the buildings—walking map

of the district notwithstanding. We can see in the Kimbell how this pedestrian approach can be undermined by the vehicular (as in the suburban home with attached garage), revealing Kahn’s ambivalence toward the automobile.

In fact, the Kimbell’s primary, pedestrian entry, where Kahn engages water with portico and architecture with nature, is given second status to the vehicular entry. The normal order is here reversed. The museum is entered from the back or side, from the lower level, where it fronts the street and

TIMOTHY HURSLEY

Forth Worth’s Kimbell and Modern art museums reflect each other’s play of light, space, and volume

FROM TOP: TIMOTHY HURSLEY; ANDREAS PRAEFCKE

adjacent parking lot of the Modern. And the sculpture at the Kimbell, Joan Miró’s Woman Addressing the Public, fails to punctuate a gateway presence on approach from the rear.

Inside, the visitor is enveloped in a compact space, with travertine walls that pocket travertine stairwells that lead to the art galleries on opposite wings of the deck above.

Kahn considered this transition from outside to inside a transcendent moment, as he called the stair a “very important event” in a building. It moves the viewer from “servant” space to “served,” in this case from the space of the stairs to the gallery wings, where one finds the vaults and the art, restaurant and bookstore, the light, the view of the park, and the primary entrance. The vaults nudge the eye upward, toward an ingenious fixture that diffuses natural light from a slit running down the center of the vaults.

Kahn skillfully executes variations on this theme—light penetrating the building’s envelope—by engaging glass and cycloid cuts at the ends of walls, creating rooms that express, in his words from his Light Is the Theme: Louis I. Kahn and the Kimbell Art Museum, “all the moods of the time of the day, the seasons of the year, which year for year and day for day are different from the day proceeding.” An open courtyard illuminates the institution’s small collection of Asian, pre-Columbian, and European works, which include the recently acquired Torment of Saint Anthony, the first known painting by Michelangelo. All this can be traversed at the Kimbell without ever engaging the intimate connections with nature provided by the main entry.

For Ando also, the entrance is always important. “It is the birth of the experience and summarizes the experience you will have,” he said in Michael Auping’s Seven Interviews with Tadao Ando. How its

Where the Kimbell is weighty with classical presence, the Modern is light, perched for 21st-century flight.

The signature vaults of the Kimbell Art Museum are seen from the side approach before accessing the portico to the main entry. Top: The Modern Art Museum’s two-level glass lobby is a hub of expansive possibilities—to the bookstore, stairs to the galleries, and more elevated views of the pool and cityscape.

Opposite: Ando’s iconic Y columns appear to hold the cantilevered roof effortlessly above the rectilinear gallery pavilions of the Modern, in contrast to the elliptical roof of the Cafe Modern.

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OUTLOOK

placement “reveals the order of the building upon entering is very important.”

In comparison, the placement of the Modern accepts the automobile as a rite of passage, as nature functions here as an arbor inside. From the busy intersection bounding the 11-acre site, the Modern immediately announces its connection with art, as Richard Serra’s commissioned work Vortex vaults above the museum’s five volumes into the sky. The viewer is pulled into the verticality of the building with its cantilevered roof, while its aluminum and glass skin acts as a shimmering screen, ready to unveil the second skin of concrete within.

The contrast of the travertine-and-concrete-clad Kimbell next to such reflective surfaces draws attention to, and heightens, the materiality of both. Kahn and Ando express a high level of craft with the hands, precision-formed concrete, and rigorous attention to detail where elements meet, casting a pristine serenity. And where the Kimbell is weighty with classical presence, the Modern is light, perched for 21st-century flight. Both museums reach out across the landscape—the Modern to enclose the pool that spans the site, the Kimbell to mix with 40 Trend » Spring/Summer 2010 trendmagazineglobal.com

the trees. Although they are scaled to approximately the same height, the Modern, with its flat concrete cantilevered roof, appears noticeably taller.

This illusion is magnified upon entering the Modern’s two-level glass lobby. A dissolution of boundaries occurs, blending inside with outside, where the three pavilions appear as a panorama floating above the reflecting pool. Indeed, Ando’s iconic Y columns appear to hold the cantilevered roof effortlessly above the pavilions, recalling his vision of a swan landing on a lake.

A sense of stillness is felt as one gazes across the rectilinear form to gather in all the expansive possibilities. Stairs ascend in all directions—to Warhol’s Self-Portrait bracing the upper gallery wing entry, to the large canvas Pope Alexander VI: The Golden Bull by Anselm Kiefer pivoted on the wall between the auditorium doors, to more elevated views of the pool and the cityscape.

The bookstore is also gathered from this hub, as is the elliptical Cafe Modern, which appears ready to cruise away from the rectilinear form. Another elliptical wall creates a threshold before the journey through the first-floor galleries. Keifer’s sculpture Book

with Wings was acquired for this space, and challenges the viewer to take flight mentally before entering the galleries beyond.

The spaces between the concrete and the outer glass wall of the building extend the notion of transitional space. Ando, a master with concrete, uses the glass to mark natural daylight on the walls, creating what he describes as an engawa, a passageway that unites the inside and the outside. “It is psychological as much as physical,” he explains.

“Western architecture is often thought of as a space enclosed by walls; the walls point inside. Asian architecture is more oriented to the outside; it can also be said it is more open to nature.”

Ando brings an Eastern sensibility to the vast Texas landscape. As Kahn does with the Kimbell, Ando employs simple yet varied spaces that order an elegant balance between architecture, art, and nature.

What began in the parking lot, the hustle and bustle of the city, is thus engulfed and transcended at the Modern; less so at the Kimbell from its rear procession. It will be interesting to see how Renzo Piano engages this procession with the new Kimbell annex, sited just opposite the Modern. R

FROM LEFT: DAVID WOO/COURTESY OF MODERN MUSEUM OF ART; JOE MABEL

Left: Anselm Kiefer’s sculpture Book with Wings was acquired for this elliptical anteroom to the galleries beyond. Right: Kahn skillfully diffuses light into the Kimbell Art Museum’s gallery wings by engaging cycloid cuts in the walls and a slit in the ceiling through an ingenious fixture.

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The Third Act They did New York; they did L.A. But ceramic kings Clark and Del Vecchio found a cultural home in Santa Fe.

COLLECTOR’S CACHE | BY KATHRYN M DAVIS | PHOTOS BY PETER OGILVIE

It all began some 30 years ago, when two young gentlemen met the potter and painter Beatrice Wood (1893–1998). Although she was already 87 years old, Wood appreciated a handsome man till the end of her life, and these two were cracklingly intelligent to boot. Something clicked. The two men, Garth Clark, then about 33, and Mark Del Vecchio, some 11 years younger, had a rare and scholarly understanding of ceramics as avant-garde art.

A mere couple more facts about Wood will suffice to outline her role in this narrative: She and Marcel Duchamp were lovers in the late 1910s. Duchamp introduced her to her “first great love,” Henri-Pierre Roché (who is said to have written Jules et Jim about the triangle involving him, Wood, and Duchamp). Later, Wood was dubbed the Mama of Dada because of her association with so many important figures of that movement in New York, including Man Ray and Francis Picabia. She brought Walter and Louise Arensberg into the setting; they would become her lifelong friends.

Thus it was no stretch for Wood to concoct the idea of Clark and Del Vecchio running a successful ceramics gallery, and to encourage them to take that step. Patiently she persuaded them, while continuing to throw her chalices and teapots. After all, this gal had been with Duchamp in 1917, the year his porcelain Fountain (under the name Richard Mutt) was famously rejected from a show by the Society of Independent Artists. And Duchamp, the most avant-garde of the avant-gardistes, encouraged Wood to disregard the rules, which he insisted could prove “fatal to the progress of art.” The international gallery world has Wood, and behind her, Duchamp, to thank for 30 years of Clark + Del Vecchio, the “clay guys” who made the rest of the world see ceramics as fine art.

When Clark and Del Vecchio opened their ceramics gallery on Wilshire Boulevard in Los Angeles in 1981, the inaugural exhibition was Beatrice Wood: A Very Private View, and it sold quite well. “Because of Wood, I am now an art dealer,” Clark wrote in his 2004 book Shards. In 1983, Clark + Del Vecchio opened a second gallery in New York, where they became “medium-size fish in a small bowl,” as Clark, all unassuming charm wrapped in a lovely South African accent, is wont to put

In the master bedroom, two hotly engaged clay goats by Beth Cavener Stichter go at it like, well, goats. Opposite: The dining room riffs on the masculine lair of old, complete with stag sculpture and equine references.

Deer by artist John Byrd, Horse Eyes by Susan Unterberg, and pinched ceramic vessel in the kitchen’s pass-through area by John Pagliaro. trendmagazineglobal.com Spring/Summer 2010 » Trend 43

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“If you stay in New York, nothing changes. The city is so hardwired, you only get one act there.”

A regal pair of Le Corbusier chairs are backed, throne-like, by contemporary Navajo potter Christine McHorse’s four micaceous-clay vessels. On the table: Laszlo Fekete’s porcelain Thief of Baghdad.

Opposite: Clark + Del Vecchio’s “patron saint,” Beatrice Wood, was known for her luster-overglazed chalices—and her affair with Marcel Duchamp. Above the three vessels: etched glass and paper works from the Star Names series by Angelo Detanico and Rafael Lain.

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Regis Mayot’s filleted plastic bottles maintain the integrity of the architecture of a vessel. Opposite: John Baldessari, known for his conceptualist artworks, takes off on Duchamp’s famous urinal piece, Fountain, from 1917. To the far right, Ron Nagle’s frankly priapic cup shows the influences of his teacher, modernist Peter Voulkos, and Nagle’s friend, postmodernist Ken Price.

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“Culturally Santa Fe is as satisfying as New York—if you know how to embrace it.”

it. The two dealers built an excellent reputation internationally on the postmodern clay art they exhibited and the scholarly fashion in which they promoted and curated it. Clark and Del Vecchio know who they were: As Clark freely admits, their New York gallery “became the most important in its field.”

Yet two years ago this summer the pair shut down that gallery— having closed the L.A. gallery in the mid-’90s—and moved to New Mexico, where their very names continue to cause genuflection and drooling among the cognoscenti. At last year’s SOFA West (a highly regarded “crafts as art” fair), theirs were the two names on everyone’s lips: Garth and Mark, Mark and Garth, interchangeably aristocratic, serene, and aware of every detail in the vicinity.

It’s no wonder there’s something of the celebrity about them, given their formidable history. By 1993, the prestigious Art Dealers Association of America had accepted Clark + Del Vecchio into its hallowed company. Another breakthrough came when The New York Times started doing reviews of their exhibitions in the Friday arts section instead of the Thursday home section, the one “with all the recipes,” Del Vecchio quips. It was the critic Roberta Smith who made the crossover, having championed Clark + Del Vecchio as an art gallery for some time. “But,” says Clark, “we didn’t hold up a little jug and say, ‘This is fine art.’” As Del Vecchio states, “We found that pots are very approachable. You could have other art references in it; it could go backwards and forwards.”

Clark had continued his work as an academician and a writer, while Del Vecchio manned the gallery in L.A., immersed since his early 20s in both the theory and the practice of the subject he

loves. Del Vecchio is the author of Postmodern Ceramics, an investigation that handily serves as a text in college classrooms. “The postmodern movement as I see it really started in 1980,” he says. “You see the seeds of it in the sixties and seventies, but it isn’t until the eighties that it really comes together as a reflection of the arts overall; it’s in literature, film, dance. It was my life during that time period.”

Clark, meanwhile, has published more than 50 books, and he swears he will write no more about ceramics. When queried about his next subject, he has a ready reply: “I’ve started a biography about the photographer George Platt Lynes,” whose work they collect. Once Hollywood’s Vogue studios photographer, Lynes (1907–1955) became bored with fashion and pioneered homoerotic imagery in the medium. The Kinsey Institute owns the largest collection of his male nudes, but Clark and Del Vecchio are in possession of a prize: a portrait of the powerfully sexy Yul Brynner (with hair) shot by Lynes in 1942 in California.

Clark recalls the vagaries of dealing outside mainstream art.

“When you’ve got a gallery, the division between arts and crafts is all very real, actually. You can be an artist who is totally influenced by architecture, for example, but that doesn’t make you an architect. In terms of the gallery, however, we took it all. We had craft and we had fine arts and everything in between, so long as it was at the highest level of ceramic expression.”

They did shows all over the world. At one point there were four Clark + Del Vecchio galleries, with London and Kansas City in the mix. The L.A. gallery was closed in 1994 to focus on New York and the international museums. “We had a marvelous time in New trendmagazineglobal.com Spring/Summer 2010 » Trend 47

COLLECTOR’S CACHE

York, but we were just penny ante there,” Clark says. “We had this little perch because there was nobody else in town doing what we were doing. But then we decided to move here.”

After nearly three decades in New York, Clark and Del Vecchio decided they’d had enough of dealing in art. “We wanted a third act in our life. And you know if you stay in New York, nothing changes. The city is so hardwired, you only get one act there.”

Coincidentally, around 2005 they began working with five Native artists. Characteristically, the work fell outside traditional parameters into the relatively unrecognized field of contemporary Indian art. Out of that interest emerged an international exhibition, Free Spirit, which featured works by Nathan Begaye, Susan Folwell, Christine Nofchissey McHorse, Virgil Ortiz, and Diego Romero.

Through Free Spirit, the two became very close friends with the McHorse family, and decided to move to Santa Fe. “New Yorkers all told us, ‘Don’t buy a house, because in six months you’ll be begging to come back,’” Clark recalls. “We’re still here two years later.” Adds Del Vecchio, “And we’re still learning how to live here. Culturally Santa Fe is as satisfying as New York—

if you know how to embrace it.”

In their search for a home that was modern with “a touch of Santa Fe,” they found more Santa Fe than modern. In the end, the pair wound up in a neighborhood off Artist Road in a former territorial-style home that had been butchered by its previous owners.

They sensed good bones underlying the kitschy Santa Fe style that had been imposed over the clean lines of its earlier incarnation.

Now, with the Clark and Del Vecchio touch, the home is an open, well-lit, and utterly unpretentious space, encompassing the vision of the two men who’ve made looking good—personally, intellectually, architecturally, and artistically—a Zen-like rigor in itself.

Approaching the house, there is a strong sense of belonging to the landscape, the view of which extends from Sandía Crest to the Sangre de Cristos. Inside, one passes through a brick-floored hallway lined with black-and-white photography. A self-portrait

by Robert Mapplethorpe is interspersed with several pictures by Lynes, one by Lee Friedlander, a Bauhaus image by Nathan Lerner, and others. The living room is, like its hosts, welcoming and elegant at the same time. In the front room, two black-and-

Mark Del Vecchio (seated) and Garth Clark. Behind them is Hendrik Kerstens’s photograph of his daughter with a plastic bag cleverly placed atop her head to re-create, via postmodernist borrowings, 17th-century Dutch portraiture; on the adjacent wall is The Cocktail Party, Sandy Skoglund’s Cheez Doodles overload. (The couple swore they would never collect color photography. They’ve also mined the realm of hand mirrors, and in the “scullery,” as Clark calls it, is a collection of crosses of all genres and eras. Del Vecchio has collected Doris Day paraphernalia all his life, and calls himself her number one fan.) Opposite: Bicycle Seat Attempting to Become a Sculpture, a cast-ceramic work by the well-known pop artist Claes Oldenburg.

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chrome Le Corbusier chairs are positioned like unassuming thrones in front of four vitrines that exhibit McHorse’s substantial micaceous-clay pots. The deep iron-ore color of the pots hints at potency, a power that is carried out in their rhythm, line, and form.

Just left of the two chairs is a large, man-sized vitrine filled with cut-out bottles in multiple neon colors—“filleted, left to their basic architecture,” says Clark—by the artist Regis Mayot. The pop colors do nicely with the lime green sectional positioned in front of a postmodern altar to Clark and Del Vecchio’s “patron saint,” Beatrice Wood. Three chalices radiate her grace and beauty.

The living room boasts Arman, Virgil Ortiz, Diego Romero, a delightful piece portraying a little boy with his hand in his pants by Akio Takamori, a colorful series

by Ron Nagle, and Claes Oldenburg’s Bicycle Seat Attempting to Become a Sculpture. Two painted urinals by the artist John Baldessari contain this text in reference to the rule-breaking Duchamp: “The artist is a fountain.” And the place of ceramics in all this history? Well, you can read up on it in Garth Clark’s soon-to-be released Homage to R. Mutt. With love, we might add, to Beatrice. R

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A Bridge Over the

River Colorado 52 Trend Âť Spring/Summer 2010 trendmagazineglobal.com

PHOTOS BY JAMEY STILLINGS | TEXT BY STEVEN KOTLER

The Hoover Dam bridge is, well, damn impressive.

When it opens later this year, it will hang 890 feet in the air and stretch some 1,900 feet across the Black Canyon, making it the largest concrete arch span bridge in America, and the fourth largest in the world. Building a bridge longer than six football

fields is no simple task. Officially titled the Mike O’Callaghan–Pat Tillman Memorial Bridge (dubbed the “Mike and Pat” by locals), the bridge is being built under downright hostile weather conditions.

Fascinated by the construction site in March 2009, Santa Fe–based photographer Jamey Stillings vowed to document its progress until the bridge is completed. Through his fantastic eye, here’s a closer look at the battle to build a bridge over the River Colorado.

The bridge itself is only the central portion of the Hoover Dam Bypass Project.

This 3.5-mile corridor designed to bypass multiple slow switchbacks on U.S. Highway 95 actually includes nine bridges in all.

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The scale of the bridge is truly epic, as are the materials required. Made from more than 243 million tons of concrete, the bridge has steel reinforcements that weigh 16 million pounds. The longest of the precast columns supporting the bridge are 280 feet. And the cable strands themselves, before they were woven into shorter strands for construction purposes, stretched more than 100,000 milesâ&#x20AC;&#x201D;almost halfway to the moon.

With a price tag above $240 million, the Hoover Dam Bypass Project will cost five times as much as the dam itself. >

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Dave Zanetell, the project manager for the bridge, believes the most amazing story never told is the extent of cooperation required to pull off the feat of construction. He points to the arch itself as an example. It is composed of 106 24-foot-long segments, each fabricated off-site and lowered into place. Workers began building the arch simultaneously at each end, meeting at the middle. And when Zanetell talks about coordinated efforts, what he really means is that when the final sections were put into place, the gap between them was less than an inch.

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During the summer months, the temperature on-site often climbs above 120 degrees, and workmen have to use liquid nitrogen to keep the concrete from cracking in the heat. The winds are brutal: In 2006, gusts over 60 mph collapsed a giant crane and pulley system used to ferry materials around the site (below, left)â&#x20AC;&#x201D;miraculously injuring no one but setting construction back months. Below, right: The arch has been a longtime solution to a classic engineering problem. Forget the weight the structure will carryâ&#x20AC;&#x201D;the bridge platform itself contains 6,000 cubic yards of concrete and weighs about 20 million pounds. The arch distributes that load outward, forcing the sides of the canyon to do the heavy lifting. R

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point Art blooms where earth meets skyâ&#x20AC;&#x201C;in Roswell, New Mexico

BY KEIKO OHNUMA | PHOTOS BY PETER OGILVIE

I

t is the drive that first informs you where you are. Pass

through the dilapidated outpost of Vaughn, New Mexico, and you descend slowly across a hundred

miles of nothing but grasslands and sky, which renders your speeding vehicle motionless. Wherever they come from, the generations of artists who have made this journey to the city of Roswell in far southeastern New Mexico probably did not expect this of their year in residence at the top of the competitive heap. > trendmagazineglobal.com Spring/Summer 2010 Âť Trend 59

Almost no one knows about the other Roswell, which for the past four decades has been home to a remarkable art colony built by one man.

A gallery devoted to the most prominent New Mexican among the residents, border artist Luis Jimenez. Top: The eclectic arrangement of the Anderson Museum eschews the usual categorizations by era or subject matter.

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Known for the past 15 years as the site of a quirky UFO festival concocted by a former mayor, Roswell is otherwise just an extension of West Texas: flat, dusty, conservative, and Christian, ringed by strip malls and chain stores. Almost no one knows about the other aspect of Roswell, that for the past four decades it has been home to a remarkable art colony built by one man, a visionary art patron who has cultivated a contemporary equivalent of the Renaissance cathedral painters.

Don Anderson came to Roswell from Chicago in 1946, after he and his brother, Robert O. Anderson (founder of the Atlantic Richfield Company), discovered a large oil field near Artesia. An engineer by training, he was also a self-taught painter who missed being around other artists, so he started inviting them to come stay on his ample grounds north of town. Taos painters Howard Cook and Barbara Latham were the first, in 1967.

Piece by piece, Anderson assembled what is surely the most generous art residency in America. Hundreds apply each year, and five are chosen to receive a three-bedroom house and studio, a monthly stipend, and even art materials, in some years, for the space of a year. The 200-plus artists belonging to this club have included the well established (Robert Colescott, Richard Thompson, Kumi Yamashita, and the late Luis Jimenez) alongside painters right out of graduate school, all on equal footing.

The Roswell Artist-in-Residence program has been dubbed â&#x20AC;&#x153;the Gift of Timeâ&#x20AC;? for the unique fact that nothing is demanded of the artists. No one checks on their work. Each gets an exhibition at

the town’s Roswell Museum and Art Center at the end, if desired. And after a year of doing nothing but making art among artists, many realize that no other kind of life will do.

For some, that life, with its sense of community and its focused intensity, exists in purest form in this most unlikely of places.

There is, first of all, the place of Roswell itself: wide-open spaces and dramatic skies, a counterpoint to the unbroken vastness of days in studio, luxurious in silence and solitude.

But there is another element too—a tender, complicated, poetic relationship with the town that has become the artists’ island laboratory of small-town Americana.

Known by a leery town population as the denizens of “Hippie Corners” in the 1970s, Anderson’s tribe treat their time in residence as spiritual, transformational, decisive. “There’s something very unique, magical, about Roswell’s isolation that causes artists to question their work,” says former resident Cristina Gonzalez. “It gives us the freedom to take chances, to risk failure.” At least half a dozen former residents have moved back permanently, building on a devotion to Don and Sally Anderson that is deemed cultish by many in the churchgoing town.

Don Anderson stands in front of a wall of his own paintings in the Anderson Museum. Top: It was resident Robbie Barber’s installation of golf-bag sharks that first prompted Anderson to open up one of his warehouses as a gallery.

“When little seeds get planted, he sees opportunity,” explains residency administrator Nancy Fleming of the taciturn Anderson, who’s now 91. “And he’s the type who can make things happen.”

Tales of Anderson’s magical interventions abound in Roswell.

Painter Diane Marsh recalls coming from New York City in 1979, at age 25, and spending the first two weeks paralyzed by the quiet. But she showed such phenomenal talent in her residency year that Anderson, with characteristic generosity, gave her a large loft space he owned downtown to work in the following year. “He went out and bought dishes, put in a washing machine,” Marsh recalls. “He’s that kind of man—you don’t even know he’s doing it.”

Former resident Scott Greene remembers the humble oilman industriously maneuvering his backhoe around the Compound (as the rustic grounds of the residency is called), planting trees and moving dirt. In 2007 he unveiled a new Compound near his home—itself an idiosyncratic assemblage of architectural styles— with identical white walls, floors, and fluorescent lighting in each tract house. “It really is his vision,” Fleming says of the residency, “so you go with the flow.”

Over the years, Anderson’s low-key patronage has transformed Roswell in ways quite contrary to the flowering of galleries and First Friday art walks of would-be cultural hot spots. For years he poured money into the Roswell Museum, were he initiated the residency program. But when artists started needing more exhibition space, he opened up his warehouse office, expanding it gradually into a 17,000-square-foot museum with nine galleries.

Today the Anderson Museum of Contemporary Art runs the Roswell Artist-in-Residence program through its own foundation.

Home to Anderson’s vast collection of artwork from 40 years of resident artists, it features quite possibly the most fantastic, quirky collection of contemporary art in the Mountain West. Works are hung haphazardly in salon style without any organizational logic and include an enormous cantilevered sculpture by Jimenez, several large installations, and a wall-sized canvas by Greene amid potted plants, oxymoronic conference room furniture—and fluorescent lighting.

Anderson still comes in every day. “It’s his playground,” Fleming says of the museum, one of the main conduits between Anderson’s trendmagazineglobal.com Spring/Summer 2010 » Trend 61

“There’s something very unique, magical, about Roswell’s isolation that causes artists to question their work,” says former artist in residence Cristina Gonzalez.

Current art resident Debra M. Smith, of Kansas City, works with textiles in her studio. Top left: The new Compound where the art residents live consists of nearly identical homes (some with two studios) on the plains north of town near Don Anderson’s home.

Top right: Painter and art resident Lucho Pozo, of Chile and the San Francisco Bay Area, is shown in his studio.

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artists and the people of the town. But “if you knocked on ten doors at random in Roswell, at least half of them would never have heard of the residency or gone to the Roswell Museum,” Fleming adds with exasperation, indicating the neighborhoods of squalid, littered yards and the heavily fortified brick mini-mansions of Roswell’s comfortable class. Change has come too slowly here for many.

For townspeople who do love art, however, access to the best has lit a fire of creative enthusiasm. “It’s easy to get involved,” marvels Brinkman Randall, manager of the deli at Tinnie Mercantile gift shop, who has served on the boards of both the museum and the residency. “And you can do things without being loaded with money.” Randall himself hosts art openings at the shop for craftspeople several times a year.

The striking thing about homegrown venues such as his—the Fine Arts League’s downtown gallery is another—is the polished professionalism of some of the artwork, a far cry from the church bazaars of most little towns 200 miles from the nearest city. Some of this influence is attributable to the artists in residence, many of whom have taught and done public art projects in town. But mainly it is the result of a mysterious osmosis.

Aria Finch has taught ceramics classes at the Roswell Museum Art Center for 30 years, starting with two students and two broken wheels and developing her own tribe of 85 devoted students, plus children. In the 1980s she started offering clay classes to residency

Don Anderson’s home is as eclectic architecturally as his taste in art, and includes a large work of earth and stone called The Henge, which includes underground rooms painted with murals.

artists for free, and found it had a surprising impact on her population of middle-aged women.

Comfortable working alongside top-name artists, Finch and her students started inviting nationally known ceramic artists to teach workshops and help build their gas-fired kilns. Her students’ Pecos Valley Potters Guild raised $50,000 through fund-raisers toward the museum’s $1 million state-of-the-art education center and ceramics studio, completed in 1988.

Finch points to the town’s isolation as one source of chemistry.

“Things are so plain and empty here, people rely on each other to make things rich.” With no decent bookstores, restaurants, or cinemas, Roswell forces creative urges to turn within, where the artist finds a quality of solitude and companionship, and a sense of place nearly extinct in the modern world. “The whole community and art scene down here is a closely held secret,” says Laurie Rufe, director of the Roswell Museum, who also credits Don Anderson’s constant challenge to the town’s wealthy ranchers and oilmen to build worldclass cultural institutions.

Roswell now has a symphony orchestra and a jazz festival, art in the schools, prominent craft guilds, and the Roswell Museum itself, whose twelve sophisticated galleries include half a dozen exhibits each year by residency artists. “It’s not a cow town anymore,” Rufe says. That may help to explain the emergence of such homegrown cultural dynamos as veteran teacher Elaine Howe, who won the Governor’s Award for Excellence in the Arts last year for starting

museum classes for children taught by professional artists—which, like the public museums, are all free.

UFO enthusiasts aside, a town like Roswell—plain, remote, turning reactionary of late—will probably never draw tourists 100 miles off the interstate for art museums and galleries. That means the infrastructure of dealers and critics, cafés and cuisine, is unlikely ever to follow. But that hasn’t kept dreams from taking root among Roswell’s young.

Trey Nesselrodt, a business owner whose family has been in Roswell for five generations, recently became the town’s first art entrepreneur, opening a commercial gallery in a former plumbing supply store that taps into the rich resource of current and former artists in residence. In February Isaac’s Gallery drew a crowd of more than 50 to an art opening that looked surprisingly like San Francisco or Santa Fe, which residency director Stephen Fleming called “a small miracle.”

Outsiders may express skepticism that Nesselrodt and his curator, former art resident Susan Marie Dopp, can convince the townspeople actually to buy such cutting-edge art for their fine homes.

Indeed, it may be precisely because the art studios here remain closed to the public that artwork seeks its own light within.

Vision needs distance, which is to say a kind of loneliness. So it is in such places far removed, surrounded by space and light so vast that it disappears, that perspective sometimes reappears as a new way to see. R trendmagazineglobal.com Spring/Summer 2010 » Trend 63

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BY GUSSIE FAUNTLEROY | PHOTOS BY KATE RUSSELL

ADreamHome Deferred After years of planning and waiting, a couple’s vision is realized

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A

ll you need to build your dream home is plenty of money, a great building site, impeccable architects and interior designers, and a solid sense of what you want. Right?

One would think. But even when every little detail seems lined up, a single star can be hanging askew in the heavens. And the dream falls apart.

Sometimes it happens three times or more before the sparkling glass doors finally swing open to your long-awaited perfect place.

Sitting in the dining/great room of their home in the Las Campanas neighborhood of Santa Fe, New Mexico, a spacious, light-filled contemporary residence with wide glass walls on the east and west sides, Carl and Robin Hardin exchange knowing glances as they launch into their “saga of homes.” Doubtless they’ve told it to visitors before. But there’s a happy ending—we’re sitting in it, gazing out across a golf course fairway and beyond to the Sangre de Cristos— and they don’t mind telling the story again. >

The great room features a massive limestone fireplace whose textured front surface contrasts with smooth-finished sides. The custom woven rug is by New York design and manufacturing firm Martin Patrick Evan. Opposite: Carl and Robin Hardin wanted a contemporary, clean-lined home, but one that also is warm and comfortable.

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Even when every little detail seems lined up, a single star can be hanging askew in the heavens. And the dream falls apart.

Robin and Carl Hardin gave up on a dream home in San Antonio. Opposite: Flow-through views unite indoors and outdoors. An eight-foot-tall granite fountain from Stone Forest in Santa Fe is visible from the master suite and front hallway.

THE FIRST TRY Twenty years ago Carl, a neuroradiologist, joined a radiology group in San Antonio.

The couple’s plan when they moved there was simple: Save money by renting, explore the city, then buy a lot and build a house, which they’d sell when they relocated or Carl retired.

They hired an architect whose work they had admired in Architectural Digest, and an internationally acclaimed interior design team. They spent two years on the planning and design process. They traveled to New York City and Los Angeles to select (but not yet purchase) furnishings, fabrics, lighting fixtures, and colors for each room. Detailed construction drawings were completed.

Finally the project was put out to bid.

The result: a per-square-foot cost three

times higher than the rest of San Antonio’s high-end market. “We could afford it,” Carl relates. “But we knew we wanted to eventually sell the home, and it would be too high.

We were in a funk for six months.”

STRIKE TWO So they modified the plan. They reduced the home size by a third. They spent another full year on planning and design.

But when they put the new project out to bid, the cost was even higher than that of the first home. “So we were really in a funk,” Robin sighs.

They sold the lot and sat tight for a year.

Then they started over with a new architect. They bought another lot, hired the same interior designers, and retraced their steps through showrooms, stone yards,

and perfect-home dreams. This time they firmly conveyed their budget for the project—all to no avail: The bid came in twice as high as their top figure.

Meanwhile, the Hardins spent years in a series of rental homes in San Antonio.

When the last one went on the market, they bought it, ready for a place they could remodel. “One day Carl comes home from work and says, ‘I’ve had it, we need to renovate this house!’ But each improvement made the rest look dated, so we ended up redoing the whole house,” Robin recalls.

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The elements of fire, stone, air, and wood create a calm sanctuary in the master bedroom.

Opposite: Ceramic tile resembling aged steel contrasts with a black galaxy granite hearthstone.

developed—could be realized. “After all this delayed gratification with houses, we were ready to have what we wanted,” Carl says, leaning forward, his long graystreaked hair pulled back smoothly in a ponytail, a red T-shirt hugging his broad shoulders.

Both avid golfers, Robin and Carl frequently vacation at golf course resorts and developments in places such as Scottsdale, Arizona, and Santa Fe. But when they searched for the perfect lot in Las Campanas, nothing in their price range fit their dream. Then one day they accompanied friends to an open house in a newly opened, more expensive section of Las Campanas.

Not actively seeking property there, Carl and Robin casually strolled to the highest point on a nearby lot and gazed out at the 70

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view. Their eyes widened. Their search had ended—although they first had to convince themselves that going over their original budget would be worth it.

THE ROAD HOME Designing and building the Hardins’ 5,300square-foot home was an intensive yet enjoyable team effort, notes Gunnar Burklund. With partner Gari Sprott, he is founder of the San Antonio– and San Francisco–based interior and lighting design firm G2. “The Gs,” as Carl and Robin call them, are the designers who worked on their previous unbuilt homes.

As a result, Burklund and Sprott began this project with a clear sense of their clients’ interests, personalities, and tastes.

“They both are very modern and clean-

lined in their thinking,” Burklund observes.

“The home needed to be modern with a comfortable, warm and cozy feeling. We were able to respect the Santa Fe aesthetic by specifying hand-polished, buff-colored plaster for the walls and ceiling, with slightly eased edges. We also chose stone finishes that were natural, honed, and polished.”

Santa Fe–based Sharon Woods and Woods Design Builders provided architectural and construction professionals, including architects Lorn Tryk and Peter Gozar. The home incorporates some ideas from the Hardins’ first two never-built homes, designed by Holden & Johnson Architects, of Palm Desert, California.

Burklund and Sprott, exceptionally thorough interior designers, also had a hand in the architectural plans. They requested

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The master bath suite features a central shower with iridescent glass-tile walls, a brushed stainless-steel sitting tub surrounded by a pebble channel, and an adjoining exercise room, all with knockout views.

meticulously detailed elevations (architectural drawings) of every interior wall in the house, including closets. G2’s own design drawings added up to almost 40 pages.

“The bulk of the cool ideas came from the Gs,” Carl asserts, adding that perhaps another 20 percent of the home’s features originated with him and Robin. Intensely hands-on, Carl surveyed and approved the roughed-in locations of every electrical outlet and touch-control lighting panel as construction progressed.

“We wanted to be involved in everything about the house—to the point that the Gs sat us down one day and said, ‘You’ve got to trust us to do a few little things on our own,’” Robin recounts, smiling.

The Hardins traveled to Santa Fe on a regular basis during construction, and as the home neared completion, they needed to be on-site on a specific date. Carl had 72

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not taken a single sick day in 20 years, yet the decision-making doctor in his radiology group nixed his request for a switch in vacation dates. So he resigned.

Santa Fe became the Hardins’ full-time residence, a change they don’t for a moment regret. (Carl has begun working as a teleradiologist, interpreting brain and nervous system images from home.) The couple is unconditionally pleased with their home, from the visual flow that joins indoors and outdoors, to the tall cantilevered roof over the east portal, to the fine bamboo used for interior doors, door handles, and other elements throughout the house.

HEAVEN IS IN THE DETAILS Walking through the rooms, Carl points to various features, such as skylights providing natural light over every mirror in the house. He’s pleased with the subtly

warm-hued slate-and-concrete floors, whose grid pattern continues uninterrupted from indoors to outdoors, and the top-lit ceiling beams echoing the straightedged lines of the floor and the glass walls.

In tune with their home’s clean aesthetic, the couple’s art collection is hung with a careful eye. This one area in which G2 was not involved includes a number of pieces purchased over the years during visits to Santa Fe, among them two paintings

by Emmi Whitehorse, and above the piano a striking green-blue abstract painting by Lawrence Fodor.

As with all true works of art, the Hardins’ home came together through “serendipity and a confluence of ideas,” Carl reflects.

“There were a lot of parents for this child, but it’s nice because everyone was happy working together, and it came out to a wonderful, harmonious whole.” R

ARTIST PROJECT

Michael Kessler, 24'' x 24''

EmbodiedMind TEXT AND PHOTOS BY MATTHEW CHASE-DANIEL Recently, I’ve been driving around New Mexico to visit artists in their studios. Each artist has a different approach, and each studio reflects this. Spaces range from large industrial buildings to cramped sheds, windy outdoor portals, converted garages, mountaintop aeries, and dimly lit back rooms. Some are tidy and sparse. Others are strewn with half-finished projects, tools, and lunch. It’s a privilege to be welcomed into these intimate worlds, and to be allowed to collect images of the minutiae of the studio and of the embodied energy of the artists as they work.

I don’t ask artists to pose, but to let me witness some small part of their personal practice. This is where ways of making art become visible. Our creative expression is rooted in our bodies and our environment. Thought is not a product only of the brain, but of the entire body interacting with its surroundings. Mind exists in the hand as well as the head. While one is engaged in the physical act of making, the boundaries between mind, body, art, and environment dissolve.

I show a hint of what it is to be with these artists as they explore and inquire. Many paint, but their processes vary dramatically: working with brushes, trowels, or invented tools; painting 74

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Chris Collins, 41'' x 40''

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Kay Khan, 32'' x 40''

from photos, memories, or sensations. Other artists use found objects, clay, stone, metals, or thread. All have invented new ways of working their materials. As artists, we constantly strive to master our invented craft. I have come to understand that as contemporary artists, we are each inventing our own particular and idiosyncratic technologies. We teach our bodies to speak new languages. Through our fluency in these languages, individual expression can take form.

In this new series of portraits, I engage elements of time, space, and movement that are often found in video, but I release the viewer from video’s constraining aspects. You can tear a photograph out of this magazine and pin it to your fridge and look at it when you like. You can investigate the details, movements, and expressions, or focus on the whole. You can use it as a bookmark and stumble upon it next year, lose it, find it, like it, or disregard it. It doesn’t ask you to watch it for three minutes, but invites you in at your pace, if you choose to enter.

When I first came to Santa Fe from Paris, I had been making art from the aged detritus of daily life, gleaned from late-night excursions through the city streets. I was using references of language and history contained within antiques to create meaning through juxtaposition. I could not continue that work here; I found little to collect. There is a sparseness 76

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Geoffrey Gorman, 43'' x 32''

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David Nakabayashi, 43'' x 32''

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Paula Castillo, 30" x 32"

here that was unfamiliar. The air is dry, the trees spaced far apart. The sky both day and night has a vastness I have seen only here and on the sea. The first year I yearned for a deep canyon with thick vegetation or a crowded urban landscape. Now, many years later, I have come to cherish our space, silence, and freedom as essential elements of my artistic practice. In the thin air of the high desert, we can each vibrate at our own frequency and make our work amid a balance of nature and culture, community and solitude, with a freedom to explore the dimensions of our own process.

Creativity is a force, a dynamic, ever-shifting pattern of action and interaction, some ineffable thing that is in and all around us all the time. The individual working in the material space of the studio is the localized, embodied place where creativity becomes manifest.

We are all engaged in a process of creating the universe out of our thin air. The visual artist is a pioneer on this fragile frontier, formulating methods to make real the world, digesting the past and inventing the future. R trendmagazineglobal.com Spring/Summer 2010 Âť Trend

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CONSCIOUS BUILDING

BY STEPHANIE PEARSON PHOTOS BY CHAS MCGRATH

Down toEarth

Classic New Mexico architecture meets the latest in sustainable technology in architect Michael F. Bauer’s high-desert passive-solar villa

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“So far this is the most sustainable house that’s been realized in construction in my career,” says Bauer, who has been practicing architecture in Santa Fe since 1971.

“I

n a few hundred years it’ll just melt back into the earth,” Michael F. Bauer says of his latest realized vision. The Santa Fe architect and I are driving south toward the Ortiz Mountains down a dirt road in the Commonweal Conservancy, a new conservation-based community development near Lamy, New Mexico. We’re scanning the big horizon for a 3,724-square-foot home rooted in the classic architecture of Northern New Mexico and infused with state-of-the art sustainable upgrades and the whimsical, eclectic tastes of owners Dinah and Jarratt Applewhite.

But there’s a problem: The house, with its two-

foot-thick exposed rammed earth walls, blends into the landscape so well that we can’t find it. Bauer throws his Audi in reverse and we speed back down the empty road until we eventually spot the sharp outline of the Applewhites’ butterfly roof and make a beeline toward it.

From the driveway, the house’s scalloped walls look like earthen waves that float just a few feet above the cholla cactus. We enter the courtyard through a massive, eight-foot-tall gabion-and-steelframed gate filled with black volcanic rock that was hauled over from the Caja del Rio plateau, into a serene Islamic garden. Three Yucca rostrata grow in

The Applewhite fortress, constructed from two-foot-thick exposed rammed earth walls and an artistic use of WPAera steel-framework gabion filled with black volcanic rock

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CONSCIOUS BUILDING

The light-filled living area divided by Larry Swann’s patchwork-steel fireplace

a concrete trough alongside a 37-foot reflecting pool and fountain made of poured-inplace concrete. Nearby, a stone sculpture by the late Case Cohn leans precariously off kilter, and seven rusting porch chairs that Jarratt bought on eBay sit under the rusting corrugated tin portal, adding a touch of parched-desert-West-meets-Appalachia.

Surprises abound at the Applewhite house. The enclosed courtyard and 1,640 square feet of portal—the only link between the house’s main living spaces— may faintly resemble classic Northern New Mexico architecture, such as the 1804 Martinez Hacienda in Taos, but beyond those two elements, Bauer and the Applewhites didn’t hem themselves in with tradition.

“Our mantra was ‘Outside in,’ says Dinah.

The former interior designer and her hus82

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band, an entrepreneur and fine-art photographer, gave Bauer free reign to design the house’s shell, which he did in 2005. Bauer, in turn, stepped back to give the Applewhites space to design the interior.

“We wanted to take advantage of the wonderful views and give the feeling of being in nature,” Dinah says as she opens a sliding door that leads from the courtyard into the main living area, which immediately gives way to an uninterrupted panorama from Glorieta Mesa to the Sandias.

“One of the things we loved most about the lot were the many wild animals that wandered by: pronghorns, coyotes, tarantulas, bull snakes, prairie rattlers, and dozens of bird species.”

The Applewhites also wanted to construct a cost-efficient house that made

almost zero impact on its surroundings. At least 30 percent of the building materials, such as the exposed steel I beams, was salvaged from Denver, reducing costs by more than 60 percent. The cost per square foot was $150.

“So far this is the most sustainable house that’s been realized in construction in my career,” says Bauer, who has been practicing in Santa Fe since 1971.

With 24 solar panels out back that power a 10-kilowatt photovoltaic system, the Applewhites not only furnish all of their own electricity; they get monthly $75 refund checks from PNM. For drinking water they use a community well, but also have a catchment system that stores all of the rain and snowmelt from the sloping roof in a 6,600-gallon cistern, and a black-

The Mastery

of Display

“We wanted to take advantage of the wonderful views and give the feeling of being in nature,” Dinah says as she opens a sliding door from the courtyard, revealing an uninterrupted panorama.

Creating Interiors for Passionate Collectors

Views of the Muslim-themed, fully enclosed courtyard

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info @ k r i s l a j e s k i e d es ign . com www.k r i s l a j e s k i e d e s i gn .com

CONSCIOUS BUILDING

The library, which opens onto a fresh-air portal that eventually leads to the master suite

water treatment system that treats all of the household effluent for a drip irrigation system.

For further efficiency the Applewhites turned their backs on the northern views of the Sangre de Cristos, installing almost all south-facing windows instead and adding a few windows at the peak of the butterfly roof to increase light and capture more passive-solar energy.

The Applewhite house passes the eco test. But what makes it stand out among all the other sustainable homes in Santa Fe is Dinah and Jarratt’s ability to turn just about any found item into a practical piece of art.

To wit: The wood-burning fireplace that separates the living room from the dining area is a prefab unit retooled by artist Larry 84 Trend » Spring/Summer 2010 trendmagazineglobal.com

Swann. Working from the Applewhites’ design, he used patchwork perforated steel plate rescued from an old Purina factory and turned the fireplace into a cubist centerpiece. Set into the concrete floor next to it is a medium-size lava boulder, a nod to Mexican architect Luis Barragán.

The kitchen is an amalgam of Ikea and found items: The Applewhites bought their Sub-Zero refrigerator from a repairman who had rescued it from a woman who complained that the door squeaked.

And they topped their cherry red Ikea cupboards with zinc counters.

“We thought zinc sounded romantic because they use it in bars in Paris,” says Dinah.

In what she likes to call her “kinky black

bathroom,” Dinah lined the walls with black Pirelli rubber flooring and left the concrete floor bare. “I love Pirelli flooring, but hate it when it gets dirty!” she explains.

Between the Applewhites’ whimsical sense of humor and their use of bold Mexican colors—canary yellow in the library, deep mustard in the guest wing, and sky blue near the master wing—there’s a lot to look at. But eventually the eye always wanders back outside. It has to: To reach the laundry room, the master wing, Dinah’s office, or the two guest bedrooms from the main living area, you have to go al fresco.

“We did not want halls,” says Dinah. “It’s such a miracle to have birds and coyotes trotting by that we wanted the comfort of being inside, but to really be out in nature.” R

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2010 Exhibitions

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225 Canyon Road Santa Fe, NM 87501 info@karanruhlen.com www.karanruhlen.com 505.820.0807

JOIE de VIVRE - September 24

SALLY HEPLER

DANIEL PHILL

VANITA SMITHEY

BY RACHEL PRESTON

A Road Like No Other affodils and crocus bursting into sunlight mark the arrival of spring as Santa Fe’s Canyon Road begins to stir from a long, cold winter. Gardens are cleared of debris, heaping piles of snow are shoveled into the sunlight, and a glowing warmth emanates from nearly every shop window at the prospect of another tourist season. But it is always spring, in some sense, on Canyon Road. A wild profusion of artwork blooms along the street and up the alleyways, no matter the season.

The real bread and butter of many Canyon Road businesses is the relationships built over many years between gallery owners and art collectors, who visit most often in early fall. Day to day, some of the galleries are busy working with interior designers. But it is the throngs of summertime tourists who bring this narrow road to life, their pilgrimage underlining the special qualities of a destination unlike any other.

One of Santa Fe’s eight historic neighborhoods, Canyon Road was the first Residential Arts and Crafts district in the nation, recognized in 1962. Since then, its successful marriage of historic preservation, architectural design, and fine art has inspired new ways of

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KATE RUSSELL

A crucible of old and new, Canyon Road remains unique among art districts

Left to right: David Phelps’s Daydreamer at Hahn Ross Gallery; the entrance to Patricia Carlisle Fine Art; Winterowd Fine Art. Opposite: Sculptures mark the entrance to the complex of galleries at 225 Canyon Road.

approaching urban design. New Mexico’s Main Street program, among others nationwide, has used Canyon Road as a model for preserving significant historic structures while allowing them to be used in a vital and sustainable way, as live-work space for local artists—the engines of urban renewal. Such an approach has the not-insignificant benefit of feeding the tourism coffer, which has been the most visible catalyst for the success of Canyon Road.

Originally a trail used by indigenous people to cross the mountains from Pecos Pueblo, Canyon Road became the first farming area outside the city center after Spanish settlement in the 1600s.

Home to modest family farms, it also had bodegas, dance halls, and general stores selling everything from hardware to hay. As families expanded, rooms were added, creating vast compounds.

Painter Gerald Cassidy, who arrived in 1914, would be the first artist to settle in the neighborhood permanently, at 1000 Canyon Road. Many others followed in search of healing at the nearby Sunmount Sanitorium. In 1919, young Fremont Ellis moved to Santa Fe to experience the “interesting and important artists” assembling there, along with four other new arrivals: Josef Bakos, Walter Mruk, Willard Nash, and Will Shuster. In 1920 they formed the famed Cinco Pintores (Five Painters), the heart of which was in the artists’ homes on Canyon Road.

As Santa Fe expanded and taxes rose with property values, many of the early family compounds were sold off, disassembled, and reconfigured for a new caste of artists who lived and worked and showed their work in their front rooms. Today, few vestiges of the neighborhood’s Hispanic roots remain, while some of those who came seeking relief from tuberculosis and other ailments in the early 20th century boast multi-generational presences. Artists who have remained since the 1950s make up a segment of the

community, a magnet for younger artists and gallery owners who have started their own establishments. Finally, there is the odd arrival who was brought in search of a dream, as in the case of Mary Bonney, who brought the William and Joseph Gallery to Santa Fe after Hurricane Katrina. Thus Canyon Road is at once ancient, established, traditional— and modern, unconventional, and bold.

Its galleries are not anonymous structures that could be dropped into the urban fabric of Seattle, Dallas, or Atlanta. They are old buildings with a rich history, some of them still artists’ homes. Visitors take in the paintings and sculpture set in cozy home settings that reflect the tastes of gallery owners themselves.

The ubiquitous fireplaces and courtyard fountains echo the energy, warmth, and movement of human creativity, setting the stage for unexpected intimacy and magical conversation. Every so often a dirt drive reconnects new to old, where a sign reading PRIVATE RESIDENCE serves as a reminder of the neighborhood’s growing families.

As cool mornings give way to warm spring days, tourists clutching maps and art guides head up the road from Paseo de Peralta to try to find their way through the milieu. With nearly 80 galleries, Canyon Road represents almost every artistic leaning, from Taos Society and Native American to international contemporary, fantasy, and even “junk” art. Visiting every interesting spot on this mile-long stretch of road packed with galleries and stores makes for an exhausting prospect, and is best spread out over several leisurely days.

Most visits begin at the “low” end, closest to town, at a gallery called the Edge. This Santa Fe–modern structure makes an enticing introduction to the vast range of contemporary art represented in Canyon Road galleries. Angelic sculptures by William Catling dance around the outside, as if invoking the genius loci—the Roman “spirit of place.” Around the curve, the first alleys and courtyards unfurl from the road with a growing parade of sculptures.

Canyon Road is at once

FROM LEFT: RACHEL PRESTON; COURTESY OF PATRICIA CARLISLE FINE ART; CYNTHIA CANYON

ancient, established, traditional—and modern, unconventional, and bold.

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After the commercial frenzy of the Santa Fe Plaza, the Adobe Gallery offers a soothingly large, beautifully arranged space in which to give contemporary and antique Southwest pottery the honor of unhurried viewing.

The collection of stores and galleries at 225 Canyon Road, sometimes called the Rodeo Drive of Santa Fe, offers a modern introduction to the neighborhood’s history. Originally designed with residential space above, most of these galleries have expanded their commercial space upstairs, giving the complex a boutique feel. The offerings here begin with contemporary abstract art at Karan Ruhlen, including New Mexico modernist painting and sculpture. Pauline Ziegen, a native of the Midwest, is one of the favorites here. Her oil and gold-leaf landscape panels stir the senses with their simplicity and luminescence.

Next door at Meyer Gallery, regional specialties speak to more conventional tastes: bronze and stone sculptures of Western figures, Native American images and playful children, as well as classically inspired realistic and impressionistic paintings by regional and national artists, including amusing animal portraits by Donald Wilson, bronzes by Tyson Snow, and Cary Henrie’s eerily playful landscape collages. Traditional painting and sculpture across a variety of subjects is also found at McLarry Fine Art, whose 24 artists include the compelling sculptors Tim Cherry, John Coleman, J. G. Moore, and Tim Nicola.

Cheerful ceramic dinnerware, lamps, glass wall sculptures, and handmade sconces fill the popular La Mesa of Santa Fe, which overflows with home furnishings and artwork by more than 50 artists. At Karen Melfi Collection, clothing and jewelry reach the status of wearable art, with unique handmade textiles in Santa Fe style on one side of the store and chunky artisanal stones and precious metals on the other. One of the most distinctive features of Canyon Road is the direct interaction with artists and owners themselves, some of whom have been on the street for 30 years or more. At McLarry Modern in the 225 complex, I was introduced to the artist Poteet Victory and spent nearly half an hour talking with him in his upstairs studio as he worked on a painting. This 92 Trend » Spring/Summer 2010 trendmagazineglobal.com

gallery feels much like a home, which makes it easy to linger here.

Across the street, a little red schoolhouse (as it was once actually known) offers a total contrast in setting. Ventana Fine Art, like many galleries on the lower half of the road, sits up above it in a raised garden. Canyon Road is thus cut into the earth as it heads downhill, creating a sense of grounding that is well typified by this gallery that has been here for nearly three decades. Traditional and contemporary art hung precisely throughout the rooms elevates the schoolhouse setting to downtown cool. Sales manager Wolfgang Mabry notes that some of the gallery’s 20 or so artists have been with them since the beginning.

A totally different environment prevails at the Hahn Ross gallery, an intimate space introduced by David Phelps’s monumental trompe l’oeil metal figures. The clean display of the front rooms features luminous abstract bamboo paintings by Chris Richter that seem to pop off the white walls, opposite glass-enclosed nichos lighting bronze sculptures on the wall opposite. Owned and operated by children’s book illustrator Tom Ross and surrealist painter Elizabeth Hahn, the gallery shows about 20 nontraditional artists.

One of Canyon Road’s oldest galleries is too easy to overlook, having none of the glamour and glitz of some of the newcomers.

Former archaeologist Robert Nichols set up shop in the 1960s as a collector of Native pottery. As commercial frenzy began pushing Native potters toward increasingly elaborate designs to please the marketplace, Nichols decided to concentrate on a small number of iconoclastic potters. His rare collection of innovators includes Diego Romero, who paints “neo-Mimbres” pots with comic book imagery, and William Andrew Pacheco, of Santo Domingo Pueblo, whose black pots are swept with graceful dinosaurs in white. Both are graduates of the Institute of American Indian Arts, and thus represent the living evolution of tradition. Nichols, meanwhile, clearly has stuck to his first love: art, rather than commerce, a hallmark of Canyon Road’s old-timers.

The carefully stabilized 18th-century residence and garden at 414 Canyon Road is now home to one of the area’s newest artists, Mark White, with his impressive collection of mesmerizing kinetic

FROM LEFT: RACHEL PRESTON; COURTESY OF MEYER GALLERY; COURTESY OF KARAN RUHLEN

Left to right: Poteet Victory painting in his studio at McLarry Modern; Meyer Gallery’s sculpture garden; Paula Ziegen’s Lunar Pulse sculpture at Karan Ruhlen

Left to right: Paul Shapiro and other artworks at GF Contemporary; humanist-themed work at Nuart Gallery; art opening at the Edge

The Feast Begins with the Eyes, While Restaurants Keep the Rest Purring

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fitting showcase for the luminous painted panels of the gallery’s namesake artist, Jean-Claude Gaugy.

At Patricia Carlisle’s gallery up the road, jazz plays in the background, and the sun-dappled rooms and burbling exterior fountains give the feel of a Sunday afternoon in wine country. A group of clients is, in fact, sipping white wine in the grassy courtyard while listening to a gallery talk. Carlisle explains to a visitor that her approach differs from that of most galleries on the street, in

othing goes with fine art like a superb meal, an excellent glass of wine or a nice cup of tea, and the leisure to enjoy it. Not surprisingly, Canyon Road restaurants are designed to provide an atmospheric experience that matches the viewing of art.

Designed by the legendary Alexander Girard, who did New York’s La Fonda del Sol restaurant, the Compound restaurant is housed in the original home of the McComb family and was purchased by the Hootens in the 1960s.

Girard gave the space a distinctive look that would put the focus on the food, with unique two-person booths, curving ceilings that invoke thoughts of the sea, sparse decoration, and crisp white linens. Chef and partner Mark Kiffin bought and revitalized the Compound in 2000, with a focus on American contemporary cuisine based on a marriage of Spanish and regional ingredients. The elegant restaurant has won multiple recognitions, including being featured in Gourmet magazine’s “Guide to America’s Best Restaurants.”

The now famous Geronimo restaurant, at 724 Canyon Road, is named for the building’s original owner, Geronimo Lopez, one of the first settlers on Canyon Road. Since 1990, the historic home has provided the perfect backdrop for Geronimo’s exceptional edible storytelling, with

its award-winning American and Southwest fusion menu presented in a classy and modern way by dedicated young partners and hosts Chris Harvey and Quinn Stephenson, of specialty drink fame, and innovative chef and partner Eric DiStefano.

Part of an extensive compound belonging to the Vigil family, El Farol restaurant, at 808 Canyon Road, has housed a bar since 1835. A bullet lodged in the wall attests to a time when the West was truly wild. The building was purchased and given its current name in 1968. In 1985, new owner David Salazar hatched the vision for a truly Spanish restaurant in Santa Fe. While the bar has long been known for its live music, and the restaurant for its extensive offering of tapas, it is the passion for flamenco dance, celebrated with art on the walls and a legendary cast of performers on Saturday nights, that sets El Farol apart.

Tourists and locals dot the garden tables, laughing and chatting the time away as writers and artists feverishly tap on laptops and sketch at the Teahouse, at 821 Canyon Road. With the motto “Where the East meets the Wild West,” this restaurant and specialty store offers more than 300 teas from around the globe. Owner Dionne Christian and her staff have married a relaxing space with good tea and delicious food, a place to recoup from a long day of walking.

FROM LEFT: COURTESY OF GF CONTEMPORARY; COURTESY OF NUART GALLERY; KATE RUSSELL. INSET: DOUGLAS MERRIAM.

sculpture designs, painted and patinated engravings, as well as bronze sculptural dancers created through a partnership with his son, Ethan, a professional dancer.

Three galleries in the next few blocks offer a study in contrasts, illustrating the personal touches that help visitors get in tune with their own tastes. Step up from the street into the Gaugy Gallery, and you are swept into an elegant living room with classical opera flooding the opulent 20th-century European environment. It’s a

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that her gallery represents only five or six artists at a time. The collection is thus strikingly coherent, and includes a large body of work by each artist. Slim bronze maidens by David Pearson, the only sculptor, mark the space inside and out like graceful sentinels. Carlisle’s singular approach clearly works for her: She is marking her 14th year on Canyon Road.

Finally, the colorful 150-year-old adobe house at No. 622 features not only a yard full of sculptures, but paintings hung even on its exterior walls. Waxlander Gallery boasts 14 rooms and 30 regular artists, whose wild variety includes figurative, abstract, landscape, and sculpture. The vibe here is casual, confident— and why not, as owner Phyllis Kapp has been on the street for more than a quarter century—and the background music is classic pop rock. Many of the paintings here are as colorful and exuberant as the wild abstract landscapes by Kapp herself.

Heading back to the 500 block, a couple of historic structures are worth mentioning. Nedra Matteucci’s stunningly appointed home—the Juan Jose Prada house, at 519 Canyon Road—exemplifies Santa Fe’s Spanish-period architecture. It dates approximately to 1768 and is one of three Canyon Road residences in the Santa Fe Historic District on the National Register. Expertly preserved, it teases visitors to peek behind its landscaped garden wall and take in the flowers and ponds, with their modern sculpture interspersed among the fruit trees. Matteucci owns and operates the Nedra Matteucci Fenn Galleries on Paseo de Peralta, as well as Nedra Matteucci Fine Art and the Morning Star Gallery next door to her home, known for their impeccable collections of Taos Society and Native American art. Morning Star’s Vanessa Elmore has recognized a new niche for her clients, offering a collection aimed at new collectors, with affordable, quality pieces chosen to get young people “in the game” of collecting emerging artists with whom they can grow.

At 520 Canyon Road, the Marc Navarro Gallery is a simple building with a facade that looks like the mason was attempting to capture alligator skin in stone. The high windows, with their cast-iron crossbars, suggest the building might once have been a jail or armory. Inside, Navarro carries a small collection of exquisite vintage Mexican silver, as well as Mexican and Spanish colonial devotional art. The beautiful, sensuous lines of Hector Aguilar’s simple copper mirrors, pots, and candlesticks seem to encapsulate the humble but naturally graceful colonial aesthetic.

Tucked into a niche next door to the Compound restaurant, the Bellas Artes Gallery, at 653 Canyon Road, carries the work of about a dozen innovative international artists, especially in ceramic and fiber arts, dominated by the stunning textiles of Olga de Amaral. Owners Bob and Charlotte Kornstein note that tourists often miss their inconspicuous gallery, and tend to divide squarely into groups of love-it or don’t-get-it.

Darnell Fine Art, at 640 Canyon Road, is “where the ancient past meets the modern to create classic contemporary art.”

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Darnell, Rebecca Crowell, and Shawna Moore. The beautiful gallery is housed in a lovely whitewashed building that is somewhat atypical of Canyon Road, with blue window and door detailing often seen on many New Mexican—and Caribbean—homes.

Two established jewelry stores feature complementary metals at No. 656: Silver Sun and Tresa Vorenberg Goldsmiths, both going back three decades. The precious-metal creations at Tresa Vorenberg range from conventional to wild, made by local and international artists (including custom designs by the gallery owner herself). Silver and turquoise in the Native American tradition made by in-house silversmiths are the specialty at Silver Sun. The building used to be the famous Claude’s Bar, opened in the late 1950s by rough and rowdy author Claude François James, daughter of the editor of The New York Times.

At Nuart Gallery, 670 Canyon Road, owners Juan and Kim Kelly occupy the former Gormley Market, which was in the Gormley family for more than a century. The storefront windows showcase the humanistic-themed work within, which is bound to attract passersby who feel a kinship with Spanish colonial art. Nuart describes its art as abstract with figurative or architectural reference, along with paintings in the Latin American style of magical realism.

With their contemporary but approachable works, the two dozen artists represented here speak poignantly to the human condition.

Four galleries near the top of Canyon Road take strong approaches to finding what is fresh in contemporary art. At Winterowd Fine Art, director Karla Winterowd makes a point of choosing paintings and sculpture unlike what is offered elsewhere on the road. One of the few gallery owners with degrees in fine art and art history, Winterowd sticks with artists who have been at their craft for twenty years or more. Nature is at the heart of her selections: “not only representational landscape, but things that are inspired by nature, like abstract painting and sculpture.” She says the goal is to find art that will remain fresh long after it’s left the gallery. GF Contemporary, at No. 707, hosts one of the city’s best presented art collections, in a modern, residential-style structure.

Flooded with natural light and oversize spaces, the gallery serves as 98

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the contemporary counterpart to owner Deborah Fritz’s GiacobbeFritz Fine Art, at No. 702. At No. 725, the Turner Carroll Gallery presents the work of some 30 artists, dominated in the front room by current star Hung Liu. This Chinese émigré uses archival photos of 19th-century concubines and overlays them with acrylic resin, paint, and collage, as a tribute to the forgotten contributions of women in Maoist China. A Western counterpart is seen in Deborah Oropallo’s rodeo imagery of women printed directly on aluminum.

Gallery director Megan Fitpatrick notes that both artists represent the overlooked but fresh voice of San Francisco Bay Area art.

Houshang’s Gallery, at No. 713, shows some 33 artists in contemporary representational style in an appealing adobe setting that has been on Canyon Road for more than three decades. Fantasy, London style, is brought to us accent and all at Suhana Gibson’s Chalk Farm Gallery, a beautiful building with a structurally and mathematically interesting greenhouse dome filled with plants and light, sculptures and waterfalls. The setting allows the viewer to be transported to another time and place, and is a perfect spot to rediscover your sense of wonder. And at the very top of the road, Ronnie Layden’s photography and painting studio sits at No. 901, a showcase of black-and-white film (not digital) photography and modern landscape painting.

Thirty-five years ago, a young artist could rent a room in the Vigil Stables on Canyon Road for five dollars a week. Clearly, those days are gone—Canyon Road today is a luxury community with well-preserved architecture, beautiful gardens, and extraordinary art (as well as an all-inclusive Web site: canyonroadarts.com). But something about the neighborhood remains timeless—a quality that veteran gallery owner Ernesto Mayans decides, upon long reflection, might be called “the present time.” Unlike other art districts that rise and fall with fashion, Canyon Road is always current, probably because the large number of galleries and visitors ensures that no single aesthetic vision prevails. Looking back thirty years, Mayans says, lots of things have changed, sure. “But when I look at the spirit of Canyon Road,” he says, his eyes sparkling, “that’s it— present tense. There’s no aging to it.” R

FROM LEFT: KATE RUSSELL; COURTESY OF TURNER CARROLL GALLERY; CYNTHIA CANYON

Left to right: A visual feast at Darnell Fine Art; Turner Carroll Gallery presents work by Hung Liu; Waxlander Gallery owner Phyllis Kapp and director Bonnie French

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Art Unframed 1 WINTEROWD FINE ART fineartsantafe.com, 505-992-8878 Alex Gabriel Bernstein, Amber Open, glass and fused steel, 22'' × 6'' × 3'' A powerful harmony exists between the delicate elegance of glass and the raw surface of steel found in an Alex Gabriel Bernstein sculpture.

The dissonant materials somehow find a perfect world together. His sculptures begin at the kiln, in cast blocks of glass, then he carves them using saws and chisels. Finally steel is applied. The sculpture is continuously in danger of ruin until its graceful transformation.

2 LA MESA OF SANTA FE

1

lamesaofsantafe.com, 505-984-1688 Vicki Grant, Windows to the Earth, hand-formed, carved, and colored clay wall sculptures, 12'' × 12'' Artist Vicki Grant uses the forms, structures, color, and textures found in nature for her inspiration. A practicing architect for more than 35 years and now an established artist, Grant says of her art, “The focus of my work, be it architecture or art, is to engage the viewer.” Her vessels are hand-thrown, high-fired porcelain finished with layers of pigment and beautiful, deep-hued patinas.

4 4 GLENN GREEN GALLERIES glenngreengalleries.com, 505-820-0008 Melanie Yazzie, Two Minds Meeting, steel, 23'' × 29'' × 13" Multimedia artist Melanie Yazzie was born in Ganado, Arizona. Her witty, colorful works often reference Native American postcolonial dilemmas as well as ideas on the landscape, animals, and human form. Formerly an instructor at the Institute of American Indian Arts, she is now a professor at the University of Colorado, Boulder.

She leads collaborative international projects with artists in New Zealand, Siberia, Australia, Mexico, and Japan and recently curated a major group exhibit at the Denver Art Museum. Yazzie will appear at a special showing of new work at Glenn Green Galleries, Tesuque, on Saturday, August 7, from 2 to 5 p.m.

3 DARNELL FINE ART darnellfineart.com, 505-984-0840 Rachel Darnell, Dream Horizon, 24k gold leaf/oil on canvas, 51'' × 72'' Darnell has been creating her unique woven canvases for 20 years. Recently she has developed a technique that continues her use of canvas and gold leaf in a more simplified and minimalist form. The canvas strips are not only the surface for oil paint but also a design element creating a linear graphic. Also represented at Darnell Fine Art is a distinctive array of contemporary artists whose media include acrylic, encaustic, oil, marble, terra cotta, wood, glass, and bronze.

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5 5 CHALK FARM GALLERY chalkfarmgallery.com, 505-983-7125 Vladimir Kush, Moonlight Sonata, giclee, edition of 250, 16'' × 20'' Chalk Farm Gallery is the world’s leading gallery for visionary art. Vladimir Kush is recognized as the most sought-after metaphorical-realism artist and is on permanent exhibit at the gallery. Originally from Moscow, he is now based in the U.S. and was described by The New York Times as “tomorrow’s Salvador Dali”; however, his work is far more complex and has many hidden layers of metaphor, which often relate to mythology or history. Kush has a show every October at the gallery. It is a huge affair! Call for details.

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Art Unframed

6 6 PARKS GALLERY parksgallery.com, 575-751-0343 Jim Wagner, Arroyo Hondo, oil, 48'' × 60'' Since the late 1960s, Jim Wagner has been known for his paintings of the funky, off-beat charms of northern New Mexico and southern Colorado. In his exhibition of new work, July 24 to August 17 at Parks Gallery in Taos, Wagner’s trademark humor and charm are evident, but so too is an increasing concern for the power and glory of the landscape. “He’s always been a wonderful colorist, but never has the color been so brilliant and applied with such joy,” says gallery owner Stephen Parks. “For years he’s worked primarily in the studio, but now he’s painting outdoors and the work is pouring out of him.”

8 black-and-white photography, a timeless art form inspired by the desert Southwest. Blending classic with contemporary, Layden’s oil paintings also reflect tranquil places in the New Mexico mountains.

9 WAXLANDER GALLERY AND SCULPTURE GARDEN waxlander.com, 505-984-2202 Patrick Matthews, Aspen Season, oil, 48'' × 36'' Patrick Matthews’s annual one-man show Seasons, depicting his powerful landscapes of the mountainous region of southern Colorado and northern New Mexico, will run May 25 through June 7. Artist reception: Friday, May 28, 5–7 p.m. at the gallery.

10 These characters seem to wrestle with the tedium of work, while their faces portray pure bliss. Spei will be featured in a group show of gallery artists July 9.

7 MEYER GALLERY

11 MCLARRY MODERN

meyergalleries.com, 505-983-1434 Malcolm Rains, Dystos, oil, 28'' × 42'' The exquisite still-life paintings of Malcolm Rains seem at once classic and utterly contemporary.

His style is reminiscent of the old masters, while the minimalist presentation of fruits, flowers, and other objects is thoroughly modern. After more than 20 years on Canyon Road, Meyer Gallery has evolved into one of the finest art galleries in the United States, and has become a premier destination for discerning collectors worldwide.

mclarrymodern.com, 505-983-8589 Poteet Victory, MRLN MNRO, oil on canvas, 48'' × 48'' From contemporary Native American to nonrepresentational pieces, Poteet Victory’s oil canvases are unmistakable. His powerful command of composition, color, and shape, along with his proprietary finish, create breathtaking pieces that evoke powerful responses. Victory is working on an abstract portrait series of iconic figures including Marilyn Monroe, Elvis, Paul Newman, Jack Nicholson, Lucille Ball, and others. For the first time, the viewer brings as much (or more) to the experience as does the artist. The Abbreviated Portrait Series is garnering interest worldwide and is certainly the first of its kind in the history of art.

Upcoming show: Friday, August 20, 5–7 p.m.

9 10 GF CONTEMPORARY, INC.

7 8 RONNIE LAYDEN FINE ART ronnielaydenfineart.com, 505-670-6793 Ronnie Layden, New Mexico Aspens #1,

B&W photo Art defines a culture by reflecting the traditions and history of the people. Artist Ronnie Layden, a fifth-generation Santa Fean, creates classic

gfcontemporary.com, 505-983-3707 Martin Spei, Meteorite Man Santa Fe artist Martin Spei is fascinated with using old bulky manufacturing methods to make his sculptures light and graceful. For example, the original Meteorite Man was cleaved from a single block of aluminum using a giant industrial machine. The completed piece looked like iron ore, yet with an otherworldly quality, as if it had dropped from the heavens. The man portrayed here, with a physique of historic strength, is a laborer of the Ashcan School and WPA era.

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Art Unframed 12 MCLARRY FINE ART mclarryfineart.com, 505-988-1161 John Coleman, The Game of Arrows, bronze edition of 12, 60.5'' × 26'' × 16'' Coleman’s award-winning bronze sculptures are among the most detailed and accurate depictions of Western legend and history being produced today. In this sculpture, he depicts a Mandan archer engaged in “the game of arrows,” an event witnessed by George Catlin in about 1833. Catlin reported that the most distinguished archers gathered on the prairie, each one having paid an entrance fee such as a shield, robe, or pipe. In turn, they shot their arrows into the air to see who could get the greatest number flying at one time, the winner taking as his prize all the fees brought by the others.

13 13 NIMAN FINE ART namingha.com, 505-988-5091 Arlo Namingha, Reflection, Texas limestone, 10''diameter × 4'', 10'' diameter × .5'' This piece refers to self-examination. By establishing different compositions, it reflects choices one makes to determine different outcomes in life. However, not everything can be controlled; this is the breaking and separation part of the process.

15 15 ADOBE GALLERY adobegallery.com, 505-955-0550 Helen Cordero, Cochiti Pueblo,

Large Male Storyteller with 12 Children, 12.25'' × 6.5'' × 10.5'' Storytelling to 12 children, who have hands over their eyes, are crying, or are sleeping.

Six children cling to the storyteller’s back, two hang on to his sides, and four are in front. The storyteller’s hair is tied in a chonga; he wears a squash blossom necklace popular in the 19th century and an elaborate collared shirt.

14 14 KARAN RUHLEN GALLERY karanruhlen.com, 505-820-0807 Pauline Ziegen, Evening Descended, oil/gold leaf on panel, 36'' × 36'' New Mexico artist Pauline Ziegen takes a modernist view to capture the expanse and luminosity of the land and sky. She uses oil glazes and gold leaf techniques in a labor-intensive process reminiscent of the past. “Old master techniques comprise the twenty-plus layers by the time a piece is finished,” she says. In 2009 her work was featured on the cover of the book Art Journey New Mexico.

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16

CELEBRATING TEN YEARS

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16 MARK WHITE FINE ART markwhitefineart.com, 505-982-2073 Flame III, copper and stainless steel in orange fusion, 34'' × 11' Flame III is a kinetic sculpture with fluid, organic motion that mesmerizes the viewer. Mark White’s kinetic sculptures, patinaed engravings on metal, and bronze sculptures all use movement both real and implied, showing his fascination with a world in constant flux. Mark White Fine Art will have a grand opening on July 2 from 5 to 8 p.m., with an original performance of “sculptural dance” by Ethan White and Nikki Trerise-White.

17 BLUE RAIN GALLERY blueraingallery.com, 505-954-9902 Dante Marioni, Standing Leaf Red with Yellow, blown glass, 36.5'' × 9'' × 4' Dante Marioni, a student of the classical manner, began working with glass at the age of 15.

His mastery of incalmo and reticello makes him one of the most technically proficient and highly refined glass artists working today. Blue Rain Gallery has carried the work of Dante Marioni for nearly two years.

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New Mexico’s Outer Beauty Just Scratches the Surface Visiting petroglyphs is one way to look beyond skin deep

BY TOM R. KENNEDY

he Land of Enchantment” often refers to that magical experience of looking but not actually seeing until you are ready. Travel New Mexico’s back roads and you’ll encounter an array of scenic, historical, cultural, and artistic treasures that invite you to see beyond the surface.

For example, hidden in many of the canyons and rincons, as well as on mesa walls, are some of the most compelling features of our state: those enigmatic inscriptions in rock called petroglyphs. Invariably old, these etched or pecked drawings beg for interpretation. We may recognize animal or human shapes, geometric patterns, stars, or natural phenomena, but what we are looking at may not be what we are seeing. Who left these marks, and why?

Fortunately, there are many places in New Mexico where a wealth of rock art can be appreciated. Some of the best examples are found in protected areas such as the Three Rivers Petroglyph site near Alamogordo, Petroglyph National Monument west of Albuquerque, Bandelier National Monument northwest of Santa Fe, and El Morro National Monument, also known as Inscription Rock, on scenic Highway 53 between Grants and Zuni Pueblo. And in the center of northwest New Mexico, where all ancient roads lead and where travel is still an adventure, is Chaco Culture National Historical Park.

For me, a very special place to contemplate rock art is at the Village of the Great Kivas archaeological site, about 17 miles northeast of Zuni Pueblo in northwestern New Mexico. As with many off-the-beatenpath experiences, visiting the village presents some challenges, and requires respect for local protocol. Perhaps the easiest way

T

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to arrange such a trip is through the Zuni Visitor & Arts Center (505-782-7238)—and it is likely to be led by me, the director of tourism for the Pueblo of Zuni. We prefer at least a couple of days’ notice for the proper arrangements to be made.

Travel to the site is over a series of increasingly rough roads, and requires some hiking over scrub pasture and up steep trails. Archaeologist Frank H. H. Roberts oversaw the excavation of this fragile site in the 1930s, during the course of which he documented some of the nearby rock art with help from his Zuni workmen.

What meaning and purpose did these inscriptions have for the village below? And what might be the relationship of this small community to the larger complex hundreds of miles away at Chaco, to which it is related?

In a secluded cove, the figure commonly known as Kokopeli plays a flute that Zunis say is similar to one used by their rain priests. Around the next boulder appears a row of five multi-legged creatures that Roberts’s Zuni workmen said represented stinging insects and were carved by a war priest who sang songs meant to inflict pain on an enemy during a raid.

Also found at the site are rock faces adorned with another type of art: pictographs, which are images made from pigments applied to the rock surface rather than carved into it. The kachina masks, dancers, elk and deer, and other designs here were apparently started by some of the Zuni workmen hired by Roberts in the early 1930s. From time to time, Zuni men working cattle or sheep in the area have renewed the images using natural pigments found in the aptly named Red Paint Canyon nearby.

Researchers have not always been able to

A rock art scene from the Village of the Great Kivas site in northwestern New Mexico, the author’s favorite petroglyph tour

decipher the meanings behind rock art.

Contemporary Native Americans often provide explanations as diverse and complex as the petroglyphs themselves. Anthropologists such as Jane Young, who has studied Zuni rock art, note that contemporary interpretations tend to be relative to a situation and its context, and that they may evolve over time.

Clearly, lizards, frogs, and birds reference the essential need for water in this arid environment. Deer, elk, and other food animals call for success in the hunt. Somewhat more esoteric are explanations reported by Roberts: The spirals reference water, as well as the ancient migration of the Zuni in search of the Middle Place—present-day Zuni Pueblo. A zigzagging line connecting a small, rounded, horned figure with a moon and star above is said to refer to a common Zuni folktale about an owl spying on the Navajo enemy at night and then flying back to report their position to the Zuni war priest. Other explanations refer instead to a supernova in 1054 that formed the Crab Nebula and would have been observed widely throughout the Southwest. Ultimately such clues leave to the observer an explanation either reasonable or fanciful.

Much like the rest of New Mexico, rock art tantalizes, intrigues, and hints, invariably enchanting all who come to know her, inviting new initiates to venture out and open themselves up to this harsh, mysterious, and beautiful land. R

TOM R. KENNEDY

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TEXT AND PHOTOS BY RACHEL PRESTON

It Really Is Main Street Redeveloped, revitalized, and historically preserved, Albuquerque’s Nob Hill still manages to speak to now

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H

istoric shopping districts throughout New Mexico and the nation felt the pinch of retail megacenters long before they started seeing diminishing returns from the faltering economy.

Where shopping was once a daylong affair of visiting several favorite stores, many American Main Streets have been sacrificed to the gods of convenience, relegated to preserving a glimpse of what life used to be, with rows of antique and junk shops and businesses that are either failing or abandoned altogether.

But not all downtowns have succumbed.

In Albuquerque’s Nob Hill district, life springs from once decrepit old hotels, and locals and tourists feel at home as the street

scene erupts with hope and opportunity.

The neighborhood unfurls like a grandmother’s quilt of rich colors and textures, with decoration and ornamentation, people old and young, and the breath of potential emanating from its facades.

For those with a historical interest in all things architectural, Nob Hill’s sometimes controversial pedigree is sure to entice. In 1937 Central Avenue became part of Route 66, the historic corridor connecting Chicago and Los Angeles. At the time, Nob Hill was a young suburb on the outskirts of the city, complete with a movie theater, restaurants, hotels, and a pharmacy. It was the lovely Nob Hill Shopping Center that marked the beginning of the mile-long commercial

district, which also fed the neighborhood, literally: A mom-and-pop grocery and a bakery were the main attractions.

The shopping center is an art deco structure designed by Louis Hesselden, who also designed the old Albuquerque High School classrooms, gymnasium, and library. It has been listed on the National Register of Historic Places since 1987, and is considered the foremost example of an automobileinspired shopping center in the state, if not the nation. Its deco towers and neon signage are still intact.

The tradition of Route 66 drive-in hotels and creative decoration found a home in the district as well. Roadside architecture was its own justification in those days of mobile

Above: Kellys Brew Pub offers both inside and outside dining at a converted service station. Opposite, left to right, top to bottom: Old and new come together at the clothing stores Sparky’s Trading Company and Elsa Ross; art deco towers at the now abandoned blues bar at Carlisle and Central; a satellite bursts through the facade at Satellite Coffee; decorative iron detailing and bold Dia de los Muertos murals mark one of the neighborhood’s import stores; Sachs Body Modification stays open well into the evening; a goddess mural at 110 Dartmouth; nouveau deco at the lofts at 110 Richmond; Imbibe and the Skyybar merge adobe style and modern lines; a vintage entrance reflects a view on the Place in Nob Hill, new luxury lofts.

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competition. Each establishment Pickel heard vacationers’ stories The neighborhood could easily have tried to outdo the last in its sheer and realized what people were been a mundane suburban Main determination to win the attenbeginning to look for. It was a clastion of passersby. In Nob Hill, the sic case of “If you build it, they will Street dotted with the most complete contenders included a café shaped come,” only now it was “If you preexample of Route 66 roadside like an iceberg at the site of the serve it (and make it relevant), they present Lobo Theater, hotels modwill come.” He hired preservation architecture, if the preservation eled after tepees and pueblos, and professional Mary Rose Szoka, gods had been allowed to rule. a Mexican restaurant inside a who championed the idea of Nob giant sombrero. Further enhancHill as a Main Street community ing the Route 66 corridor through and set into motion a plan: Turn Nob Hill and Albuquerque were the commercial district into an area the state fairgrounds just two where locals could do all the shopmiles away and the late-1930s ping they needed to do in one Monte Vista Fire Station, which place, and restore the neighborwas constructed as part of the hood along the way.

Depression relief efforts of the The award-winning Scalo restauWorks Progress Administration rant sealed the deal on the other and designed by architect Ernst end of the Nob Hill commercial Blumenthal. district in 1986, offering the After the meteoric rise of the expanding upper class a taste of Route—which spawned great great Italian food in a chic setting. wealth as well as thematic songs In 2007, Wine Spectator bestowed and movies—and its subsequent upon the restaurant its coveted decline with the construction of Award of Excellence, verifying that I-40 in the 1960s, Nob Hill was Scalo is just as relevant now. Nob subject to the traditional sentencHill was officially recognized as a ing of all old commercial centers: New Mexico Main Street CommuIt decayed into a home for porn nity after some 20 years of work shops and other seedy establishby neighborhood advocates on ments, its beautiful, abandoned May 14, 2009, at Scalo. Today Nob buildings used by squatters and Hill is a unique and inspiring drug traders. place to spend time, whether In the early 1980s, a contentious shopping at the co-op or visiting and forward-thinking developer, any of the other cool shops that Jack Pickel, came in and did the call the district home. Whatever Flying Star’s vintage sign marks the way in for pastries and coffee. unthinkable. He kicked everyone your needs—shoe repair, dog (including the mom-and-pop store grooming, a rare contraption for the air base, professors from the university, and the bakery) out of the Nob Hill Shopyour ancient SLR camera, fresh flowers, or and students who started coming for the ping Center, which by then was the only a wonderful meal—it’s all here. organic and local groceries. Meanwhile, the remaining heartbeat in the commercial disEven more inspiring: The Nob Hill of people who had been running things in trict. Whether through cunning or lucky today does not bow solely to the preservaNob Hill were mired in their old, territorial timing, the La Montañita Co-op, a local food tionists. The neighborhood could easily have ways. They didn’t think they could embrace store established in 1976, leased space in been a mundane suburban Main Street dotor implement changes that were taking Nob Hill after outgrowing its radical roots, ted with the most complete example of hold in California and apply them to advanand a marriage between the shopping cenRoute 66 roadside architecture in the state, if tage in Albuquerque. What they didn’t realter and the co-op guaranteed success for the preservation gods had been allowed to ize was that the people of Albuquerque had both. rule. But this Nob Hill is home base for the established some degree of wealth, there By then, co-op shoppers were no longer avant-garde as well as countless professionwere more of them in town, and they were just old hippies with high ideals. They were als, professors, families, and tourists. It vacationing in California! young professionals, families stationed at embraces the colorful traditions of its past, 108 Trend » Spring/Summer 2010 trendmagazineglobal.com

Calling itself an “upscale joint,” Nob Hill Bar & Grill has become a favorite hip hangout.

creating a new brand of 21st-century roadside architecture, with spaceships bursting through facades, classical art deco refitted with neon to make it at once new and old, once abandoned classic auto-court hotels that have been turned into bright and shiny business incubators, and old gas stations that have become restaurants and florist shops. Sachs Body Modification, across from the popular Greek restaurant Yanni’s, is a boisterous merger between 1950s architectural detailing and bold neon signage.

Within its storefront windows rests a titillating, vintage-inspired, anatomically correct nude female mannequin that illustrates how beautiful what you never thought could be tattooed or pierced can be.

There are countless murals, mosaics, and decorative pieces throughout the commercial district, and a simple stroll can take hours for someone who loves to look beyond the entry door. The rich cultural heritage of Albuquerque is represented in ornamental elements sprinkled throughout the neighborhood and includes Native American, Hispanic, American Southwest, Celtic, Greek, moderne, and roadside America influences, as well as modern political statements and even comic-book characters. Of course, in the rich tradition of Route 66, neon abounds. Architecture styles include neo- and psuedo-puebloan, Spanish, territorial revival, art deco, and classical revival with bursts of Southern

charm, as well as modern infill projects interspersed throughout.

Whether it was moxie or just plain vision that possessed Pickel and Szoka to save Nob Hill Shopping Center and thereby advocate the cause of historic preservation for the entire district, their efforts and those of countless individuals who bought into the idea transformed the commercial district back into a vital neighborhood. The result is a beautiful testament to the community of Albuquerque: the value placed on a sense of neighborhood, a celebration of Route 66 heritage and 20th-century architecture, stunning views, gorgeous buildings, fun and unique shopping, excellent food, and gardenscapes to tempt the senses. R trendmagazineglobal.com Spring/Summer 2010 » Trend 109

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Roll Out the Bavarian!

Six chalets emphasize the kind, honest, sturdy aesthetic of Taos Valleyâ&#x20AC;&#x2122;s traditional Alpine ski resort

BY KATIE ARNOLD

I

t was just starting to snow as we left Arroyo Seco and began winding up the canyon to Taos Ski Valley. By the time we reached the resort, the flakes were fat and falling fast, but we kept driving through the base area with its rumbling blue and yellow shuttles, throngs of powder-happy skiers, and an assortment of adobe condos. Upward and onward through thick subalpine forest, the road narrows and steepens, climbing past retro A-frames and rustic log cabins buried under two feet of snow to a clearing at the base of Kachina Peak, where German expat Thomas Schulze is in the midst of re-creating a traditional Alpine ski community right here in the Land of Enchantment.

The idea was born 15 years ago, when the Munich native broke ground on the Bavarian, a rough-hewn rockand-timber lodge modeled after the alms, or mountain restaurants, found at ski resorts throughout the Alps.

Since then, the Bavarian has developed a reputation as a stopover for schnitzel and Spaten and an atmostrendmagazineglobal.com Spring/Summer 2010 Âť Trend 113

Skiers take a break in front of the perpetually popular Bavarian, with Kachina Peak in the background.

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KATE RUSSELL

TRAVEL

CLOCWISE FROM TOP: COURTESY OF THE BAVARIAN; KATE RUSSELL; COURTESY OF THE BAVARIAN

pheric European backcountry inn popular in all four seasons, with hand-painted trompe l’oeil and feather beds in the four guest rooms.

Committed to bringing Old World authenticity to New Mexico, Schulze sourced much of the furnishings from Europe, including 150-year-old hand-painted ceramic tiles for the massive wood-fired oven in the restaurant. He filled a 40-foot shipping container with oak dining chairs and tables designed by a 280-year-old Austrian furniture company, hired Swiss craftsman and fellow Taos transplant Roto Messmer to paint the vintage-style ski murals on the ceilings, and imported hulking 16-foot-diameter Engelmann spruce logs from British Columbia for the exterior and interior walls and ceilings.

“I’ve always had a vision of re-creating the feeling of a small European village,” says Schulze, who skied Taos for the first time in 1994 and fell in love with the resort’s Austrian roots. He quickly managed to buy two acres of private land at the bottom of the ski lift, surrounded by Carson National Forest. “At Taos, everything just clicked.”

Show up, as we did, during a winter weekend lunch rush, and it’s clear that Schulze’s dream has become reality. Throngs of skiers and snowboarders crowd two deep at the wood bar, sit elbow to elbow on lambskin-lined benches in the dining room, or cram into long picnic tables on the sundeck, with views straight up to Kachina Peak. But as busy as it is, there’s something homey about the Bavarian that makes you feel like family from the start.

Schulze calls it gemütlichkeit, a German word that loosely translates to “a sense of oldfashioned cozy belonging.”

With such a track record, it’s no wonder that Schulze and his wife, Jamie, decided to expand the Bavarian brand. In 2008, in partnership with a small, private development company, they began building the Bavarian Chalets, six three-bedroom units just north and east of the main lodge. The idea was to create spacious family ski homes (all six were sold prior to construction) that could function independently yet were still part of the Bavarian community. As vacation rentals, the chalets would offer all the benefits of private living, along with the lodge’s renowned service and style.

As with all bold proposals, the challenge was in the execution: how to design buildings that both stood apart from the Bavarian and yet also felt as though they belonged to the larger whole. Fortunately, the Schulzes had award-winning New York–based interior designer Alexandra Champalimaud, whose husband, Bruce Schnitzer, is Schulze’s business partner in the Bavarian development. The couple also happen to be longtime Ski Valley residents who, for the past ten years, have been the Schulzes’ nearest neighbors.

Like Schulze, Champalimaud and Schnitzer were smitten with Taos from their first

“I’ve always had a vision of re-creating the feeling of a small European village,” says Schulze, who fell in love with the resort’s Austrian roots.

Schulze and his wife, Jamie Rowland, decided in 2008 to expand the Bavarian to six chalets just north and east of the main lodge.

Left: In season, skiers and snowboarders pack the Bavarian’s small wooden bar.

Top: Old World authenticity is a hallmark of the Bavarian, a resort that Thomas Schulze modeled on the Alpine restaurants of his native Germany.

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TRAVEL

family visit, in 1995, and bought land just up the road from the Bavarian. Eventually they built a house, designed by Champalimaud and inspired by defunct mines in the mountains outside Aspen. “It’s rustic, but very seductive,” she says of the mining-cabin vernacular evident throughout the home’s interior and exterior. “We also made it as green as possible, with reclaimed wood, woodburning stoves, and efficient windowpanes that frame the views.”

It was this same spirit of unpretentious authenticity that she brought to the Bavarian Chalets. “I wanted them to fit and feel comfortable in nature and in this place,” explains Champalimaud, who has become one of the country’s most sought-after figures in hospitality design. Her long list of impressive hotel redesigns includes New York’s Algonquin and the Hotel Bel-Air in Los Angeles.

“I didn’t want them to stand out as large or brutal or insensitive. They should be as kind to the environment as possible and make you feel very nurtured.”

While the main lodge’s chunky, rounded timbers and ornate interiors practically drip with traditional Alpine decadence, the chalets are an exercise in creative alchemy, blending a rustic mountain aesthetic with vintage miningcamp details, an earthy, modern restraint, and a strong environmental ethos.

Taos builder Cody West clad the exterior in locally harvested, dead-standing Englemann spruce harvested from within 150 miles, and then treated it with a warm honey stain to echo the Bavarian. Despite their height, the three-story buildings read not as McMansion monstrosities but as deliberate, contained structures that stand proudly but not obtrusively on the landscape.

“The greenest you can be is to be as dense as possible,” says Champalimaud.

Indeed, the design team fit three bedrooms, three and a half baths, a spacious living/dining/kitchen combo, a mudroom, a home office, and a laundry room/pantry into 1,900 square feet, without any of it feeling cramped.

Upstairs, the chalet’s trademark mix of function, efficiency, and comfort is on display. An inky blue wall-to-wall wool carpet encourages barefoot living

Through a mix of good fortune and great design, the Bavarian has managed to find the sweet spot between change and tradition.

Top: A master suite in one of the chalets features a solid mahogany four-poster bed from Charles P. Rogers accented with earth-toned textiles from Bergamo and Mokum, on a plush sheepskin rug.

Opposite: The kitchen-dining area features an Indian rosewood dining table and benches from Roost, paired with galvanized metal end chairs to encourage casual family dining.

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COURTESY OF THE BAVARIAN

Wood and metal components evoke the practical spirit of old mining cabins, tempered by nurturing touches such as the living room’s patchwork sheepskin rug and oversize sectional sofa.

COURTESY OF THE BAVARIAN

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in the three bedrooms, each outfitted with its own full bath, where galvanized metal tiles line the tub and shower and the black honed granite countertops echo those in the kitchen. â&#x20AC;&#x153;I donâ&#x20AC;&#x2122;t think a bath has to have stone everywhere to be decadent,â&#x20AC;? explains Champalimaud. â&#x20AC;&#x153;They feel like luxury, but theyâ&#x20AC;&#x2122;re also simply done.â&#x20AC;?

In the third-floor master suite, a solid mahogany four-poster bed from Charles P. Rogers embellished with rich earth-toned textiles from Bergamo and Mokum sits atop a fluffy sheepskin rug. Two leather campaign chairs create a reading nook, and a sliding barn door in rustic wood and rusted metal opens into a small office-cum-dressing room, with a sleek glass-and-steel surveyorâ&#x20AC;&#x2122;s desk and a reproduction of a vintage Taos ski poster on the wall (one of a handful in the house) by Renee Fotouhi Fine Art. Set at 10,200 feet, the Bavarian Chalets are the highest lodging in Taos Ski Valley, and hauling building materials up a steep mountain road on the edge of a national forest posed a considerable challenge to green building. West compensated with as many eco-friendly details as possible. He installed a tankless hot-water heating system to save energy, used formaldehyde-free insulation to improve R-value and indoor air quality, and opted for sleek steel Myson radiators from Europe instead of radiant in-floor heat, for greater efficiency and control. For the walls, West chose low- or no-VOC paints throughout in Champalimaudâ&#x20AC;&#x2122;s favorite colors, including saturated eggplant and pumpkin on accent walls.

No doubt West and the rest of the Bavarian team will use this same approach as they map out the next phase of development: 15 smaller one- and two-bedroom units connected by open decks to the main lodge, scheduled to begin construction this spring. Itâ&#x20AC;&#x2122;s a sign of the times at Taos, where the much-buzzed-about decision to allow snowboarding in 2007 has breathed new life into the 55-year-old resort, prompting plans to overhaul the aging base area and possibly even run a new chairlift to the top of Kachina Peak.

Through a mix of good fortune and great design, the Bavarian has managed to find the sweet spot between change and tradition, a pocket of familiarity tucked into a tight-knit ski community that has always been about family. Above all, the Bavarian is a place of respect: for the land, for the resortâ&#x20AC;&#x2122;s European legacy, for Schulzeâ&#x20AC;&#x2122;s original visionâ&#x20AC;&#x201D;still going strongâ&#x20AC;&#x201D;for the families who will come here searching for the same old-fashioned neighborly spirit that drew Schulze and Champalimaud to Taos in the first place, and for the mountains that made it all possible. As Schulze would say, thatâ&#x20AC;&#x2122;s gemĂźtlichkeit. R

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Historic Ledoux Street Galleries, Museums and Restaurants, Taos, NM

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BUSINESS PROFILES

BY KEIKO OHNUMA

Old Is New, Improved Antique doors have been in vogue for a decade or more, while distressed wood has spread to every tint of environmental green, from beds to kitchen cabinets. Back in the 1980s, though, when architect Scott Coleman started hunting down old doors in Mexico for new houses, “people thought he was insane,” says Melissa Coleman, his wife and business partner at La Puerta Originals.

Scott’s garage hobby rapidly grew into a full-time business, but he was still making one piece at a time when he met Melissa, sharp as a tack and hunting for an investment. She bought the company in 2004 and quickly grew it into a $4 million business. The infrastructure was reengineered from top to bottom, with a rationalized manufacturing process and new software. So when the housing market crashed in 2008, La Puerta survived, and is starting to rebound.

One reason is that their clientele, very wealthy multiple-home owners, increasingly want a totally custom-made product. “We’re really selling new doors and cabinets, but using reclaimed wood,” Melissa explains. More than a place to buy doors, La Puerta offers a fully integrated design service, assigning a project manager to work with contractors on each job. Once a client has chosen woods, antique pieces, and finishes at the factory, Scott designs pieces to fit the home, whether it’s entry gates, skylights, a wine cellar, or a built-in bar.

An interior designer helps match materials, colors, hardware, and styles. All materials used are nontoxic, and all pieces made of solid reclaimed wood.

When customers see the full effect, Melissa says, they often end up wanting the whole house to reflect that same ambiance: “Old World, earthy, organic, evoking warmth and history.” No amount of banging on new wood is going to give the same result, she notes.

The company’s 18,500-square-foot Santa Fe facility handles 50 to 75 jobs at a time, even with its reduced staff of 25. Melissa believes La Puerta is set to take off again, since its core values—eco-friendly, high quality, and hand crafted—resonate with a public more attuned now to “small jewel” homes than McMansions.

“It’s difficult, and takes imagination and courage,” Melissa says of using reclaimed materials, “but the end result is these pieces are sustainable, unique, beautiful—and they work in your home.”

4523 S.R. Highway 14, Santa Fe, N.M. 505-984-8164, lapuertaoriginals.com

Scott and Melissa Coleman, La Puerta Originals

Linda Durante’s Jardin de Chocolat

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Bite into one of Linda Durante’s opulent, gem-cut chocolates, and you’re surprised by the brilliant, fresh finish that suggests a walk in the woods or an ocean breeze. This is not your grandmother’s chocolate, even if your grandma was a fabulous Italian cook, like Durante’s.

Even more than the colorful, intricate surfaces that recall antique ornaments, the truffles from Durante’s catering company, Jardin de Chocolat, enchant with their mysteriously compatible flavors, many infused with organically grown herbs. Her white chocolate truffle contains California bay leaf. Her dark chocolate marcona almond bark is flavored with rosemary, olive oil, and sea salt. And her personal favorite is the white chocolate with white verbena, a fragrant herb known for its calming, sleep-aiding properties.

“It works,” she says with a wink.

Durante had been practicing acupuncture for more than a decade when she walked into a Santa Fe chocolate shop and mused that making chocolate would be a fun thing to learn. The next thing she knew, the man in back stirring a large vat—himself an architect—–had drafted her as an intern. After

TOP: SARA STATHAS

Soulful Sweets

rising to production manager, she went to Vancouver, B.C., to train as a certified chocolatier.

Durante drew on her Italian heritage to concoct her signature truffles and barks, which are all based on high-quality Valrhona chocolate and use locally sourced, organic ingredients wherever possible.

The business has grown mostly through word of mouth, among highprofile party throwers and refined chocoholics. Durante’s catering trays, tumbling with the colorful, decadent gems, appear at weddings, art openings, and other catered events.

Jardin de Chocolat also has a Web site that takes online orders for gift boxes and bags. That adds up to quite enough business for Durante for now, as she still makes each piece of chocolate by hand out of a leased

commercial kitchen while continuing to practice classical Oriental medicine in Santa Fe. “I do what I love, overhead is low, and I have a lot of freedom to make interesting things,” she says. And while acupuncture is her profession, chocolate is definitely her passion. “No matter what my state, when I start, I get focused. It’s sheer delight—it’s alchemy for me.”

And it’s hardly a contradiction in Santa Fe, where epicureans mix and match their sensual therapies. “I do have patients who call to make an appointment for treatment,” Durante says, “plus order two pounds of chocolate.”

505-820-7014, jardindechocolat@gmail.com, jardindechocolat.com

COURTESY OF GLENN GREEN GALLERIES

A Discriminating Eye Art galleries are a business, the hard-boiled will tell you—even if they do traffic in the abstract and intangible. Glenn Green, of Glenn Green Galleries, proves that the successful art gallery is always more than a business, and that it thrives on an innate sensitivity for those very intangibles.

Green was a sign painter who later opened a framing shop in Phoenix in the 1960s. His background was working class; creative family members were craftsmen, so he grew up without the prejudices that pit artisans against art—but with a natural eye for aesthetic quality.

Soon after he added an art gallery to his shop in the mid-’60s, Glenn and his wife, Sandy, an educator, began to show a phenomenal eye for underappreciated Native talent. They invited sculptors Allan Houser and Dan Namingha to exhibit in their gallery, then set out to build the careers of those early crossover Native artists.

“We found real prejudices against Indian art with the museums,” Glenn recalls, especially on the East Coast—which “compelled us to push in the other direction,” adds Sandy. The Greens introduced the sculptors instead to Europe, where their work toured for three years in Germany, Austria, and Eastern Europe. “Those credits were very important to us when we approached museums again,” says Glenn.

On the strength of Houser, Namingha, and their other artists—including Japanese painter Kenji Yoshida and sculptor Eduardo Oropeza— the Greens expanded to downtown Santa Fe in 1979 and to a 5½-acre sculpture garden in Tesuque in 1994. Running the galleries has been a family effort, with son Collin (formerly) and daughter Kerry (who now manages all the galleries) pinch-hitting while their parents also built artists’ careers and consulted for museums.

Glenn Green Galleries is now located at the Tesuque garden and at the Phoenician, a 250-acre resort in Scottsdale, Arizona. The business still runs on enthusiasm, clearly evident when conversation turns to the lucky circumstances that led to such discoveries as Maori artist Wi Taepa, Native artists Melanie Yazzie and George Rivera, and Vietnamese sculptor Khang Pham-New—the next big thing, in Glenn’s opinion.

Glenn, Sandy, and Kerry work together on all aspects of the business, which seems to provide enough fulfillment to leave them calm and unassuming on quiet days at their art-filled grounds. R 136 Tesuque Village Road (CR 73), Tesuque, N.M. 505-820-0008, glenngreengalleries.com

Glenn Green (right) with artist George Rivera at the installation of Rivera’s Buffalo Dancer II at the National Museum of the American Indian, Smithsonian, Washington, D.C.

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Earthly Delights

KATE RUSSELL

Wine | Dine |Performance

Plan an encore to your dining adventure with some of the nationâ&#x20AC;&#x2122;s finest performances of opera, music, theater, and dance this summer

EARTHLY DELIGHTS Wine | Dine | Performance

Gourmet Gallery A potluck for culinary artists gives new meaning to good taste

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BY LESLEY S. KING | PHOTOS BY DOUGLAS MERRIAM

L

ino Pertusini opens the door of his Santa Fe villa and a whole evening of artistry begins. We have gathered for a gourmet potluck, to share across a bountiful table the joys of living and creating from our deepest selves. It is an intimate group that includes chefs, restaurateurs, artists, a gallery owner, a publisher, a student, and two very sweet dogs.

Pertusini’s home embraces the scene, with its 12-foot ceilings, travertine tile floors, and walls hand-rubbed with beeswax. In the kitchen, a granite-topped island holds baskets of bread and fresh vegetables, and is adorned with Italian handmade ceramic vases from Moss Outdoor in the Santa Fe Railyard. A broad window looks out on the Sangre de Cristo Mountains. Pertusini, owner of Ostería d’Assisi, brought a lifetime of experience in the restaurant business to this house, which he designed and built himself. “Being a host all these years, you carry the art into the home,” he says. “You make it flourish—all that you see is comfortable, livable.”

Into the entry hall steps Chris Harvey, manager and partner of Geronimo on Canyon Road. He carries bottles of wine from the restaurant’s cellar and takes a

moment to explain their place in the festivities. Of a 2007 Merry Edwards pinot noir he says, “It’s very barnyard. When you smell it, you get the essence of barn grass. It’s a big pinot.” He decides it will pair well with one of the dishes Pertusini and his brother Pietro are preparing, lamb chops Milanese, with grilled radicchio and endive over a rosemary-wine sauce.

Harvey’s other treasures must wait to be unveiled, since another visitor has arrived. Mixologist Quinn Stephenson, from Geronimo and Coyote Café, comes with his hands full and immediately sets about blending robust flavors. In a cocktail shaker he combines honeydew-infused rum with fresh lime sour. He blends the mixture over one shoulder, his hips and torso moving in a subtle dance. “I judge every bartender by how he shakes,” says Stephenson. “You can’t be timid.” He pours the daiquiri into a glass and garnishes it with prosciutto, then

Brothers Lino and Pietro Pertusini communicate effortlessly to prepare entrees such as tortelli al brasato topped with fried sage and pecorino, right. Opposite: Elegant table dressings accent one of the main courses, carpione di pesce, halibut and salmon in a carrot, onion, and thyme marinade, served with parsley potatoes.

the guests The warm gathering includes Anna Marie O’Brien, Cynthia Canyon, and Chris Harvey as they sample wine; Xander and Lino Pertusini, along with their dog Dottie, in a hallway in their home; and video artist Marion Wasserman and gallery owner Linda Durham enjoying the company.

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EARTHLY DELIGHTS Wine | Dine | Performance

the chefs

The chefs bring a range of talent to the table: Ric Lum, of Delicious Revolution; mixologist Quinn Stephenson, from Geronimo and Coyote Café; Alain Jorand, of Adobo Catering; and Pietro Pertusini, of Ostería d’Assisi. Appetizers include apple-parsnip-potato cakes, while dessert brings an array of delectable treats, including raspberry sables. A delicious honeydew daiquiri with a prosciutto garnish raises an eyebrow or two.

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the food

Entrees such as gnocchi with artichoke and cremini mushrooms and lamb chops Milanese with grilled radicchio earn raves from the diners.

hands it to me. The honeydew’s sweetness pervades, with a hint of lime tartness and a savory salt from the meat—perfect!

The next guest arrives just in time for a cocktail. Ric Lum, of Delicious Revolution, a catering company based in Sun Valley, Idaho, carries a stainless-steel cooler. He immediately plates his apple-parsnip-potato cakes, which he tops with smoked salmon.

The globetrotting chef chops shallots while explaining that he is in Santa Fe considering the possibility of working here with local producers of sustainable and artisanal foods. “My friend calls me a process-oriented conceptual artist,” he says. As well as cooking, Lum paints, photographs, and designs buildings, all with a green sensibility. Like the rest of the group here, he lives his art.

Alain Jorand, of Adobo Catering, does so as well. He busily stacks his contribution on a silver display: a delightful tray of petits fours, cannoli, tartlets, and napoleons. Such an array reflects Jorand’s broad abilities as a caterer and his slogan as a chef: “Anything, anytime.” From France, with a three-star Michelin rating under his belt, he has spent a lifetime cooking in his own restaurants from Florida to Canada. Today, with his catering company in Santa Fe, he cooks Asian, Greek, French, New American—whatever is called for. “It stretches me as a chef,” he says.

Gallery owner Linda Durham looks over Jorand’s creations and discusses her contribution to today’s table. “I excel at knowing the difference between a good meal and a fantastic meal,” she says. The owner of Linda Durham Contemporary Art on Second Street in Santa Fe, she has set a standard for taste in Northern trendmagazineglobal.com Spring/Summer 2010 » Trend 127

EARTHLY DELIGHTS Wine | Dine | Performance

Centerpieces, goblets, and napkins from Moss Outdoor in the Santa Fe Railyard dress the table, where the party gathers to feast and toast the art of life.

New Mexico for more than 30 years. Wherever Durham goes, she brings along a passion for art in all its manifestations. “Artists are the vanguard of society,” she says. “If you pay attention to art, you have more understanding of your culture and world.”

Indeed, the artistry of this home and the table full of food before us tell a story of dedication to beauty and creating consciously, even in uncertain times. A platter of Lum’s potato cakes passes about, along with a pickled bison tongue that he prepared— tart with just enough gaminess. Lum is accompanied by Marion Wasserman, a video artist and designer who tells of her installation currently showing at the Currents 2010 exhibition in the Railyard. Coinciding with SITE Santa Fe’s eighth international biennial, the exhibit is designed to “open up conversation about current trends in video art,” she says. Wasserman met Lum at an art opening and came along today “for the adventure.”

The main course brings Lino and Pietro’s creations. The gnocchi—porcini-potato dumplings with artichoke and cremini mushrooms in a sun-dried tomato sauce—receives raves from all, as does the carpione di pesce, halibut and salmon in a carrot, onion, and thyme marinade, served with parsley potatoes. Harvey opens another treasure from Geronimo’s cellar, a 2008 ZD Wines chardonnay, which he describes as “a classic, big, buttery, very complex wine.” His dinner companion, Anna Marie O’Brien, helps him pour. A server at Geronimo, O’Brien says of her experience working in the restaurant: “The daily meetings are about what we can do better each day.” She also explains that the servers 128 Trend » Spring/Summer 2010 trendmagazineglobal.com

are tested on food and wine with questions from the “wine lover’s bible.” “It’s fun to be held to such high standards.” With an elegant outstretched arm and a graceful turn of the bottle, she pours the golden elixir. It is clear that she, along with all of the guests here, has mastered her art.

With the wine flowing and the food passing among us, conversation ranges broadly. Lum, Jorand, and Stephenson share a passion for motorcycles, so they compare their BMW, Kawasaki, and Yamaha, respectively. Meanwhile Durham and Lino talk of their world travels and wonderful meals they’ve had abroad. Lino mentions his other home in Lake Como, Italy, while Durham speaks fondly of her favorite country, Myanmar. Lino’s son, Xander, a student, joins us and tells about the algae he grows as part of his studies in making biofuel. And Cynthia Canyon, publisher of Trend, takes a seat as well. With a sip of the ZD chardonnay, she smiles and proclaims it “like a butterfly.” The dogs, Ruby and Dottie, make their way around the table—not begging, mind you, but certainly anticipating their share of the bounty.

The diners’ plates are cleared to make room for Jorand’s sweet creations. Alongside them we sip a Marchesi di Gresy moscato d’Asti that Stephenson brought. The wine’s effervescence, with a touch of sugar, perfectly accompanies Jorand’s creamy napoleons and bold chocolate-espresso tartlets. At the head of the table, Lino raises his glass and says “Salud!” to his guests. Other toasts follow, all in appreciation of the lovely meal. My own I say to myself: “To the fine art of life.” R

Local foods to nourish body and soul at the historic Taos Inn Winner of Wine Spectator’s “Best Of” Award of Excellence for over 20 years

Chef Zippy White

4INCE 125 Paseo del Pueblo Norte 575.758.1977 taosinn.com

EARTHLY DELIGHTS Wine | Dine | Performance

“What’s shaping menus today is dollars,”

small plates,” says David Salazar, of El Farol in Santa Fe. Diners share dishes such as his baby artichokes with Regsays Chef Zippy at Doc Martin’s Restaurant at the Historic giano cheese or clam posole chowder, which provide tastes Taos Inn. Indeed, the Zagat Survey polled 145,000 diners of exotic creativity without the commitment of a full plate. and found they’re spending less—but getting better “I don’t know any other country with such an extreme mix deals. Whereas in the past Chef Zippy might have served of ethnic cuisine,” says Robbie a tenderloin, now he’ll serve a Day, of the Santa Fe Bar & Grill. more modest cut of meat, such “A New American chef knows as a flank steak. His best seller he can mix and utilize any cuiat dinner these days is an elk sine.” This is a sharp contrast, burger. Interestingly, such BY LESLEY S. KING he says, to the landscape of financial constraints and other years past, when there were influences are driving Northern more rules. “Americans are New Mexico chefs to be more uninterested in rules. They creative than ever. throw it all together.” Thus Day Though diners may be serves a creole mustard on his spending less on food in 2010, prime rib sandwich. Meanthey demand more, says Mu while, Mu blends Asian and Jing Lau, of Santa Fe’s Mu Du Mexican flavors in her Korean Noodles. “If people are going taco, and Angel Estrada, at Santo spend the money, they are tacafé, combines Asian and going to have high-quality Middle Eastern flavors in his ingredients,” she says. Once, spinach and shrimp dumplings only a few partook of local, seawith tahini sauce. sonal produce, organic meats The adventure extends beyond and wild fish, but today a range food to wider drink offerings. of diners seek such delicacies.

Day points out an Argentine And restaurants such as Mu Du malbec on his wine list that critNoodles, the Grove Café & Marics claim is more flavorful than a ket in Albuquerque, and Sugar Raviolini filled with veal and Pecorino Romano in grappa tomato butter with ricotta salata, basil oil, and basil fritte cabernet sauvignon and that Nymphs Bistro in Peñasco are offers “real value,” he says. Mu meeting the demand with presents diners with a range of sakes, each from a specific entrées below $15. village in Japan, just as French wines come from distinct “Americans are getting really smart,” says Mu. “The regions. And Quinn Stephenson, mixologist at Coyote Café young people are adventurous, and they travel. They eat and Geronimo, serves a caipirinha, a Brazilian cocktail street food all over the world.” They bring that sense of made with lime, sugar, and a rum-like spirit called cachaça. adventure back home and feed it further by watching cookSuch options stem from information on the Web and from ing shows and reading food magazines. “They look for other media that creates a more global dining environment. heaven eating,” says Mu. Says Mu, “These kinds of offerings just weren’t available Chefs in Northern New Mexico find such demands stimhere before, but now a chef can find them.” R ulating. “We’re able to be adventurous because we serve 130 Trend » Spring/Summer 2010 trendmagazineglobal.com

DOUGLAS MERRIAM

Chefs Get Creative as Diners Grow More Savvy

Wine | Dine | Performance Advertisement

Geronimo 724 Canyon Road, Santa Fe, N.M. 505-982-1500/geronimorestaurant.com

BY LESLEY S. KING | PHOTOS BY DOUGLAS MERRIAM

S

ince its inception, Geronimo has been driven by passion. When it opened twenty years ago, the goal was to be a boutique restaurant. “We wanted to support boutique American wineries and artisan food producers,” says general manager and partner Chris Harvey. Though their wine list now includes some Old World offerings, the focus is still on providing wine and food created with true passion.

“At Geronimo there is no compromise,” says Harvey. “It’s all quality—quality atmosphere, quality people, and quality food we buy and serve.” The setting in the historic Borrego House, built in 1756, is opulent, with thick adobe walls, viga ceilings, and cushy chairs and booths. The precisely trained staff caters to diners’ needs. “They are professional servers,” says Harvey. “This is what they do for a living, and they’re amazing at it.”

The menu offers New American dishes with French and Asian touches. Executive chef Eric DiStefano prepares such delicacies as pan-roasted caramel quail with Brie and Reggiano polenta, and Kurobuta pork tenderloin with soy peach glaze and scallion risotto. Dinner might be followed with white chocolate mascarpone cheesecake, a perfect finish to a meal that provides, as Harvey calls it, “an experience the diner will remember.” trendmagazineglobal.com Spring/Summer 2010 » Trend 131

Coyote Café 132 Trend » Spring/Summer 2010 trendmagazineglobal.com

Coyote Café, 132 West Water Street, Santa Fe, N.M. 505-983-1615/coyotecafe.com

Wine | Dine | Performance Advertisement

BY LESLEY S. KING | PHOTOS BY DOUGLAS MERRIAM

C

oyote Café serves up the Wild West with a silver spoon. The restaurant’s legacy started 25 years ago when it elevated the lowly chili pepper to high cuisine. In recent years, French-trained executive chef and partner Eric DiStefano has brought an even more elegant touch. “We still serve a hearty meal,” he says. “But we do it with flair.”

His cowboy cut, for instance, is a rib eye aged in-house and served with red chili onion rings and borracho beans, cooked in Negra Modelo beer. “The beer makes them so flavorful,” says DiStefano.

Such richness, including the French staples butter and cream, pervades his recipes, while his use of seasonal, local ingredients ensures a healthy meal.

The atmosphere, too, combines the reckless heart of the desert with the soft tones of an oasis.

Live cactus contrasts with hand-sculpted bancos. At the restaurant’s center, a broad exhibition kitchen, accented with shiny copper, showcases the chefs in action.

The adventure carries out into the Coyote Café cantina, one of Santa Fe’s most notable patios.

Locals and travelers convene on the festive rooftop to eat mole chicken chalupas and Kobe beef burgers, while they toast with margaritas and Brazilian daiquiris to life’s hearty elegance.

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Wine | Dine | Performance Advertisement

Osteria d’Assisi

58 South Federal Place, Santa Fe, N.M. 505-986-5858/osteriadassisi.com

BY LESLEY S. KING | PHOTOS BY DOUGLAS MERRIAM

O

stería d’Assisi offers the feel of a great chef ’s home. The restaurant is the domain of two accomplished chefs, Lino and Pietro Pertusini, who learned to cook from their father in Italy and have worked as a team for most of their lives.

“We’re very fluid,” says Pietro. “We look in each other’s eyes and communicate.” The result of this lifetime of work together is a warm and lively dining experience. Wood floors, a grand fireplace, and a tree-shaded patio in summer create a sense of pastoral Italy. Lino handles the food in the exhibition kitchen, while Pietro manages the dining room.

“Everything here is made fresh,” says Lino. He crafts all his own breads, pasta, and desserts.

Recipes for such dishes as pumpkin ravioli and osso bucco come from the Pertusinis’ homeland, but Lino’s creative touch transforms them into lighter fare. All the food is served with a flourish by a professional staff headed by Pietro. “He’s very hands-on,” says Lino.

The wine list represents the whole boot of Italy, with some New World selections as well. And for the finish, a creamy tiramisu, with hints of cocoa, just as the Pertusinis’ father used to make.

134 Trend » Spring/Summer 2010 trendmagazineglobal.com

Wine | Dine | Performance Advertisement

BY RACHEL PRESTON | PHOTOS BY DOUGLAS MERRIAM

F

lickering candles give breath to the dancing figures painted in each room of El Farol restaurant. The scent of fresh herbs and roasting meats fills the air as diners settle in for a leisurely meal in the European tradition, in which time is savored, conversation is lively, and dinner is unveiled gradually. Guests pack the historic wooden bar, which has hosted lively conversation since 1835, eagerly awaiting the eveningâ&#x20AC;&#x2122;s entertainment.

Owner David Salazar was the first to bring tapas to New Mexico, turning El Farol, rated Best of Santa Fe multiple times, into a top spot for authentic Spanish cuisine and excellent wines. Head chef Genovevo Rivera has been with Salazar for more than 18 years, perfecting a menu of gutsy delicacies rich in smoked paprika, saffron, chipotle chilies, piquillo peppers, capers, and caperberries. Diners rave about Riveraâ&#x20AC;&#x2122;s paella of saffron rice with scallops, shrimp, mussels, clams, chorizo, and chicken and his parrillada mixta of grilled lamb, chorizo, and shrimp with roasted potatoes and chimichurri sauce. On Saturday nights, the restaurant comes alive with a highly charged performance of flamenco music and dance by veteran performers. Thanks to its authentic cuisine, exciting entertainment, and convivial European atmosphere, El Farol has been a Canyon Road institution for 25 years.

El Farol

808 Canyon Road, Santa Fe, N.M. 505-983-9912/elfarolsf.com

PERFORMANCE CALENDAR Spring/Summer 2010 ONGOING SANTA FE OPERA Free backstage tours every Saturday 8:30 a.m.

Theater patio Prelude talks to every opera performance 2 hours and 1 hour before curtain Stieren Orchestra Hall 505-986-5900 santafeopera.org

SANTA FE BANDSTAND Free concerts Monday and Wednesday Noon–1:30 Monday through Thursday 6 and 8:30 p.m.

July 5–August 19 505-986-6054 santafebandstand.org

JUAN SIDDI FLAMENCO THEATRE COMPANY The Lodge at Santa Fe 8:30 p.m. performance nightly except Mondays July 1–August 22 505-988-1234

FLAMENCO’S NEXT GENERATION The Lodge at Santa Fe 2 p.m. Sundays July 11–August 15

Wise Fool New Mexico performs at the Penasco Theater on custom built aerial equipment.

THE LENSIC Robert Cray Band 7:30 p.m. 505-988-1234 ticketssantafe.org

4 Friday THE LENSIC The Broadway Series: Say Goodnight Gracie 7:30 p.m. 505-988-1234 ticketssantafe.org

5 Saturday

25 Friday

27 Sunday

THE LENSIC The Broadway Series: Say Goodnight Gracie 7:30 p.m. 505-988-1234 ticketssantafe.org

TAOS SOLAR MUSIC FESTIVAL Kit Carson Park 3–10 p.m. 575-758-9191 solarmusicfest.com

TAOS SOLAR MUSIC FESTIVAL Kit Carson Park Todd Snider and Great American Taxi, Pat Green, Los Lonely Boys Noon–8 p.m. 575-758-9191 solarmusicfest.com

6 Sunday THE LENSIC The Broadway Series: Say Goodnight Gracie 2 p.m. 505-988-1234 ticketssantafe.org

The Sights and Sounds of Summer in SantaFe

The youth group Flamenco’s Next Generation will again perform its full program of flamenco, classical Spanish, and regional dance at the Lodge this summer, Sundays at 2 p.m., July 11 through August 15. The company, made up of eight dancers and two guitarists 10 to 18 years of age, studies under Maria Benitez at the Institute for Spanish Arts. Their repertory includes La Jota, a lively, difficult dance from Aragón, Spain, and La Zapateado, an equestrian dance with very intricate footwork choreographed for the company by Pablo Rodarte.

Flamenco’s Next Generation performs at the Santa Fe Plaza for the city’s 400th birthday celebration, accompanied by flamenco guitarist Jose Valle “Chuscales,” of Spain.

136 Trend » Spring/Summer 2010 trendmagazineglobal.com

THE LENSIC Ethel Merman’s Broadway 7:30 p.m. 505-988-1234 ticketssantafe.org THEATERWORK NEW MEXICO James A. Little Theatre The Tempest 7:30 p.m. 505-471-1799 theaterwork.org

26 Saturday TAOS SOLAR MUSIC FESTIVAL Kit Carson Park Jakob Dylan Michael Franti & Spearhead 11 a.m.–10 p.m. 575-758-9191 solarmusicfest.com SANTA FE OPERA AND SANTA FE NEW MUSIC Stieren Orchestra Hall Concert of Chamber Music

by Lewis Spratlan 6 p.m. 505-474-6601 sfnm.org THE LENSIC Ethel Merman’s Broadway 7:30 p.m. 505-988-1234 ticketssantafe.org THEATERWORK NEW MEXICO James A. Little Theatre The Tempest 7:30 p.m. 505-471-1799 theaterwork.org

THE LENSIC Ethel Merman’s Broadway 2 p.m. 505-988-1234 ticketssantafe.org THEATERWORK NEW MEXICO James A. Little Theatre The Tempest 2 p.m. 505-471-1799 theaterwork.org

SANTA FE OPERA Madame Butterfly 9 p.m. 505-986-5900 santafeopera.org

3 Saturday THEATERWORK NEW MEXICO James A. Little Theatre The Tempest 7:30 p.m. 505-471-1799 theaterwork.org

7 Wednesday SANTA FE OPERA Madame Butterfly 9 p.m. 505-986-5900 santafeopera.org

28 Monday

8 Thursday

SANTA FE OPERA Youth Night at the Opera Madame Butterfly 9 p.m. 505-986-5900 santafeopera.org

THE LENSIC Ralph Stanley and the Clinch Mountain Boys 7:30 p.m. 505-988-1234 ticketssantafe.org

9 Friday JULY 1 Thursday THEATERWORK NEW MEXICO James A. Little Theatre The Tempest 7:30 p.m. 505-471-1799 theaterwork.org

2 Friday THEATERWORK NEW MEXICO James A. Little Theatre The Tempest 7:30 p.m. 505-471-1799 theaterwork.org

SANTA FE OPERA The Magic Flute 9 p.m. 505-986-5900 santafeopera.org

10 Saturday SANTA FE OPERA Madame Butterfly 9 p.m. 505-986-5900 santafeopera.org

11 Sunday FLAMENCO’S NEXT GENERATION The Lodge at Santa Fe 2 p.m. 505-955-8562 mariabenitez.com/ next-generation

TOP: KATE RUSSELL; LEFT: COURTESY OF THE INSTITUTE FOR SPANISH ARTS

JUNE 1 Tuesday

JULY 13 Tuesday NEW MEXICO JAZZ FESTIVAL Santa Fe Plaza 6 p.m. 505-988-7050 newmexicojazzfestival.org SANTA FE DESERT CHORALE St. Francis Cathedral Song of Songs 8 p.m. 505-988-1234 desertchorale.org SANTA FE OPERA Youth Night at the Opera The Tales of Hoffman 9 p.m. 505-986-5900 santafeopera.org

14 Wednesday SANTA FE OPERA The Magic Flute 9 p.m. 505-986-5900 santafeopera.org

15 Thursday NEW MEXICO JAZZ FESTIVAL Opening night fund-raiser Outpost Performance Space 505-268-0044 The Lensic Stepology Tap Ensemble 7:30 p.m. 505-988-7050 newmexicojazzfestival.org

16 Friday NEW MEXICO JAZZ FESTIVAL The Lensic Simone 7:30 p.m. 505-988-7050 newmexicojazzfestival.org

20 Tuesday

SANTA FE OPERA Madame Butterfly 9 p.m. 505-986-5900 santafeopera.org

17 Saturday NEW MEXICO JAZZ FESTIVAL Albuquerque Old Town Plaza Los Pleneros de 21 and more 505-988-7050 newmexicojazzfestival.org SANTA FE OPERA The Tales of Hoffman 9 p.m. 505-986-5900 santafeopera.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Haydn/Beethoven Noon 505-983-2075 santafechambermusic.org SANTA FE DESERT CHORALE Loretto Chapel Mystics and Mavericks 8 p.m. 505-988-1234 desertchorale.org

21 Wednesday NEW MEXICO JAZZ FESTIVAL Outpost Performance Space Miguel Zenon Quartet 7:30 p.m. 505-268-0044 newmexicojazzfestival.org

18 Sunday FLAMENCO’S NEXT GENERATION The Lodge at Santa Fe 2 p.m. 505-955-8562 mariabenitez.com/ next-generation

SANTA FE CHAMBER MUSIC FESTIVAL Immanuel Presbyterian Church Joachim/Beethoven/Dvorák 7:30 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Jolivet/Heggie/Brahms 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA The Tales of Hoffman 9 p.m. 505-986-5900 santafeopera.org

19 Monday

22 Thursday

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Youth Concert: Giuseppina Ciarla, Tara Helen O’Connor 10 a.m.

Jolivet/Heggie/Brahms 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Telemann/Bach/Brahms Noon Joachim/Beethoven/Dvorák 6 p.m. 505-983-2075 santafechambermusic.org

NEW MEXICO JAZZ FESTIVAL Outpost Performance Space Miguel Zenon Quartet 7:30 p.m. 505-268-0044 newmexicojazzfestival.org SANTA FE DESERT CHORALE St. Francis Cathedral Song of Songs 8 p.m. 505-988-1234 desertchorale.org

23 Friday NEW MEXICO JAZZ FESTIVAL The Lensic Miguel Zenon and Los Pleneros de la 21 7:30 p.m. 505-988-7050 newmexicojazzfestival.org SANTA FE OPERA Madame Butterfly 9 p.m. 505-986-5900 santafeopera.org

24 Saturday NEW MEXICO JAZZ FESTIVAL Outpost Performance Space Open rehearsal: Toshiko Akiyoshi with Lew Tabackin and the Albuquerque Jazz Orchestra 505-268-0044 newmexicojafestival.org SANTA FE OPERA Life Is a Dream 9 p.m. 505-986-5900 santafeopera.org

24 Saturday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Gregorian Chants: Monastic Choir of Christ in the Desert 5 p.m. 505-983-2075 santafechambermusic.org

25 Sunday FLAMENCO’S NEXT GENERATION The Lodge at Santa Fe 2 p.m. 505-955-8562 mariabenitez.com/ next-generation SANTA FE DESERT CHORALE San Francisco de Asis Church, Ranchos de Taos Song of Songs 4 p.m. 505-988-1234 desertchorale.org SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Mahler 6 p.m. 505-983-2075 santafechambermusic.org NEW MEXICO JAZZ FESTIVAL The Lensic Meet the Artist: A. B. Spellman and Toshiko Akiyoshi 2 p.m.

Toshiko Akiyoshi and Quartet featuring Lew Tabackin and Albuquerque Jazz Orchestra led by Bobby Shew 7:30 p.m. 505-988-7050 newmexicojazzfestival.org

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trendmagazineglobal.com Spring/Summer 2010 » Trend 137

PERFORMANCE CALENDAR Spring/Summer 2010 31 Saturday

4 Wednesday

26 Monday

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Solo piano recital: Simone Dinnerstein 5 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL Immanuel Presbyterian Church Rossini/Kodály/Dvor ák 7:30 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Mahler 6 p.m. 505-983-2075 santafechambermusic.org

27 Tuesday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Solo piano recital: Jeremy Denk Noon 505-983-2075 santafechambermusic.org SANTA FE DESERT CHORALE Scottish Rite Temple The Romantic Chorale Noon 505-988-1234 desertchorale.org SANTA FE OPERA Youth Night at the Opera Albert Herring 9 p.m. 505-986-5900 santafeopera.org

28 Wednesday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Youth Concert 10 a.m.

Immanuel Presbyterian Church Schubert/Danzi/Franck 7:30 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA Albert Herring 9 p.m. 505-986-5900 santafeopera.org

AUGUST

5 Thursday

FLAMENCO’S NEXT GENERATION The Lodge at Santa Fe 2 p.m. 505-955-8562 mariabenitez.com/ next-generation

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Mendelssohn/Wong/Mozart Noon Rossini/Kodály/Dvorák 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Haydn/Mozart/Hahn 6 p.m. 505-983-2075 santafechambermusic.org

2 Monday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Haydn/Mozart/Hahn 6 p.m. 505-983-2075 santafechambermusic.org SANTA FE OPERA Madame Butterfly 8:30 p.m. 505-986-5900 santafeopera.org

29 Thursday

3 Tuesday

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Schumann/Schubert/Ravel Noon Schubert/Danzi/Franck 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Solo piano recital: Kuok-Wai Lio Noon 505-983-2075 santafechambermusic.org

30 Friday SANTA FE OPERA The Tales of Hoffman 9 p.m. 505-986-5900 santafeopera.org

SANTA FE OPERA Albert Herring 8:30 p.m. 505-986-5900 santafeopera.org

1 Sunday

SANTA FE OPERA Life Is a Dream 9 p.m. 505-986-5900 santafeopera.org

SANTA FE DESERT CHORALE Loretto Chapel Mystics and Mavericks 8 p.m. 505-988-1234 desertchorale.org

SANTA FE DESERT CHORALE Loretto Chapel Mystics and Mavericks 8 p.m. 505-988-1234 desertchorale.org

SANTA FE OPERA The Tales of Hoffman 8:30 p.m. 505-986-5900 santafeopera.org SANTA FE DESERT CHORALE St. Francis Cathedral Song of Songs 8 p.m. 505-988-1234 desertchorale.org

138 Trend » Spring/Summer 2010 trendmagazineglobal.com

SANTA FE DESERT CHORALE Scottish Rite Temple The Romantic Guitar 8 p.m. 505-988-1234 desertchorale.org SANTA FE OPERA The Magic Flute 8:30 p.m. 505-986-5900 santafeopera.org

6 Friday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Lansky/Wong/Ung 6 p.m. 505-983-2075 santafechambermusic.org SANTA FE OPERA Life Is a Dream 8:30 p.m. 505-986-5900 santafeopera.org

7 Saturday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Youth Concert: Wu Man and Friends Noon Solo cello recital: Zuill Bailey 5 p.m.

Pipa, banjo, bandura, and endongo: Wu Man and Friends 8 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA The Tales of Hoffman 8:30 p.m. 505-986-5900 santafeopera.org

SANTA FE OPERA Madame Butterfly 8:30 p.m. 505-986-5900 santafeopera.org

8 Sunday

10 Tuesday

FLAMENCO’S NEXT GENERATION The Lodge at Santa Fe 2 p.m. 505-955-8562 mariabenitez.com/ next-generation

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Solo piano recital: Anne-Marie McDermott Noon 505-983-2075 santafechambermusic.org

SANTA FE DESERT CHORALE Linda Durham Contemporary Art HeArt Songs 4 and 8 p.m. 505-988-1234 desertchorale.org

SANTA FE DESERT CHORALE Scottish Rite Temple The Romantic Guitar 8 p.m. 505-988-1234 desertchorale.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Mozart/Ung/Smetana 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA The Magic Flute 8:30 p.m. 505-986-5900 santafeopera.org

9 Monday

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Schubert/Stucky/Mozart 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Mozart/Ung/Smetana 6 p.m. 505-983-2075 santafechambermusic.org

11 Wednesday

SANTA FE OPERA The Tales of Hoffman 8:30 p.m. 505-986-5900 santafeopera.org

Summer Bandstand Sante Fe Bandstand was voted Best Live Music Series That Keeps You Coming Back for More by the Santa Fe Reporter Best of Santa Fe awards in 2009. A free, family-friendly Alex Maryol at Santa Fe Bandstand in 2009 outdoor music series open to the whole community and held on the historic downtown Plaza, it is truly one of the best things about summer in Santa Fe for locals and visitors alike. This summer some of the headliners include Shannon McNally & Hot Sauce, Billy D & the HooDoos, Sisters Morales, and popular local favorites such as La Casa Sena Broadway Singers, the Santa Fe Concert Bank, and the contagious rock ‘n’ roll of the Alex Maryol Band.

RIMA KRISST

JULY

AUGUST 12 Thursday SANTA FE CHAMBER MUSIC FESTIVAL Prokofiev/Weinberg/Haydn Noon Schubert/Stucky/Mozart 6 p.m. 505-983-2075 santafechambermusic.org SANTA FE OPERA Life Is a Dream 8:30 p.m. 505-986-5900 santafeopera.org

13 Friday SANTA FE DESERT CHORALE St. Francis Cathedral Vespers of 1610 8 p.m. 505-988-1234 desertchorale.org SANTA FE OPERA Albert Herring 8:30 p.m. 505-986-5900 santafeopera.org

14 Saturday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Bach 5 p.m. 505-983-2075 santafechambermusic.org BUFFALO THUNDER RESORT AND CASINO Rodney Carrington 8 p.m. 800-905-3315 buffalothunderresort.com

SANTA FE OPERA Madame Butterfly 8:30 p.m. 505-986-5900 santafeopera.org

15 Sunday FLAMENCO’S NEXT GENERATION The Lodge at Santa Fe 2 p.m. 505-955-8562 mariabenitez.com/ next-generation SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Beethoven/Dean/Schumann 6 p.m. 505-983-2075 santafechambermusic.org SANTA FE OPERA Apprentice scenes 8:30 p.m. 505-986-5900 santafeopera.org

16 Monday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Beethoven/Dean/Schumann 6 p.m. 505-983-2075 santafechambermusic.org SANTA FE OPERA The Magic Flute 8:30 p.m. 505-986-5900 santafeopera.org

17 Tuesday

20 Friday

23 Monday

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Solo piano recital: Yuja Wang Noon 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL The Lensic An evening of jazz with the Marcus Roberts Trio 8 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL The Lensic Beethoven 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA The Tales of Hoffman 8:30 p.m. 505-986-5900 santafeopera.org

18 Wednesday SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Leclair/Bridge/Bartók/ Mendelssohn 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA Madame Butterfly 8:30 p.m. 505-986-5900 santafeopera.org

21 Saturday SANTA FE CHAMBER MUSIC FESTIVAL The Lensic Bach 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA Albert Herring 8:30 p.m. 505-986-5900 santafeopera.org

SANTA FE OPERA Albert Herring 8:30 p.m. 505-986-5900 santafeopera.org

19 Thursday

22 Sunday

SANTA FE CHAMBER MUSIC FESTIVAL St. Francis Auditorium Arensky Noon Leclair/Bridge/Bartók/ Mendelssohn 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE CHAMBER MUSIC FESTIVAL The Lensic Moszkowski/Brahms/ Tchaikovsky 6 p.m. 505-983-2075 santafechambermusic.org

SANTA FE OPERA Life Is a Dream 8:30 p.m. 505-986-5900 santafeopera.org

SANTA FE OPERA Apprentice scenes 8:30 p.m. 505-986-5900 santafeopera.org

SANTA FE OPERA The Magic Flute 8 p.m. 505-986-5900 santafeopera.org

24 Tuesday SANTA FE OPERA The Tales of Hoffman 8 p.m. 505-986-5900 santafeopera.org

25 Wednesday SANTA FE OPERA Albert Herring 8 p.m. 505-986-5900 santafeopera.org

26 Thursday SANTA FE OPERA Madame Butterfly 8 p.m. 505-986-5900 santafeopera.org

27 Friday SANTA FE OPERA The Magic Flute 8 p.m. 505-986-5900 santafeopera.org

28 Saturday SANTA FE OPERA The Tales of Hoffman 8 p.m. 505-986-5900 santafeopera.org

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RESOURCES

SITE Santa Fe 505-989-1199 sitesantafe.org SOFA West 800-563-7632 sofaexpo.com/santa-fe/2010 Pilar Agoyo pilaragoyo.com Patricia Michaels 575-751-9675 pmwaterlily.com Unreserved Alliance New York 212-206-6580 unreservedalliance.org CUFFS AROUND THE EDGES Page 34 Aaron Brokeshoulder 505-814-4758 abrokeshoulder.com Indian Pueblo Cultural Center 866-855-7902 indianpueblo.org

THE THIRD ACT Page 42 Clark + Del Vecchio 917-318-0768 garthclark.com A BRIDGE OVER THE RIVER COLORADO Page 52 Jamey Stillings 800-724-0209 jameystillings.com bridgeathooverdam.com VANISHING POINT Page 58 Anderson Museum of Contemporary Art 575-623-5600 roswellamoca.org Roswell Artist-in-Residence Program 575-623-5600 rair.org Roswell Museum and Art Center 575-624-6744 roswellmuseum.org

Pat Pruitt 505-552-0008 patpruitt.com

A DREAM HOME DEFERRED Page 66

Victoria Price Art & Design 505-982-8632 victoriaprice.com

Exterior fountain Stone Forest 505-986-8883 stoneforest.com

INSIDE OUT Page 38 Kimbell Art Museum 817-332-8451 kimbellart.orgModern Art Museum of Fort Worth 866-824-5566 themodern.org

Original plan Richard C. Holden Holden & Johnson Architects Palm Desert, California 760-340-1981 hjarchitects.com

140 Trend » Spring/Summer 2010 trendmagazineglobal.com

New plan Gari Sprott and Gunnar Burklund G2 Interiors + Lighting + Design San Antonio and San Francisco 210-737-2400 or 415-341-0617 g2designusa.com

Geoffrey Gorman 505-995-8513 jsauergallery.com

Builder Lorn Tryk and Peter Gozar Woods Design Builders Santa Fe 505-988-2413 woodsbuilders.com

Kay Khan 505-992-0711 chiaroscurosantafe.com

Fireplace stone Rhodes Architectural & Stone Seattle 206-709-3000 rhodesarchitecturalstone.com Master fireplace tile Interceramic USA Albuquerque 505-883-5550 interceramicusa.com Master tub Diamond Spas Frederick, Colorado 800-951-7727 diamondspas.com Master shower tile Bisazza Mosaico bisazza.com Statements in Tile 505-988-4440 statementsinsantafe.com EMBODIED MIND Page 74 Paula Castillo 505-351-4067 paulacastilloart.com Matthew Chase-Daniel 505-984-0884 chasedaniel.com Chris Collins 256-580-2034 chriscollinssculpture.com

Michael Kessler 505-577-3146 michaelkessler.com

David Nakabayashi 505-989-4897 boxgallerysf.com DOWN TO EARTH Page 80 Architect Michael F. Bauer + Associates Santa Fe 505-988-1905 bauerarchitects.com Steel salvage Adams City Steel Denver 303-288-1354 adamscitysteel.com

Architect of record Glenn Fellows SMPC Architects Albuquerque 505-255-8668 smpcarch.com Contractor Cody West Group 3 Development Taos 575-770-2954 group3llc.com Developer Michael Keilty Blue Ridge Development Litchfield, Connecticut 860-567-4216 Beds Bergamo Fabrics Inc. Mount Vernon, New York 914-665-0800 Charles P. Rogers Beds 800-582-6229 charlesprogers.com

Entry gate metalsmith Willard L. Wood Santa Fe 505-982-8099

Mokum Textiles New York 646-442-2773 mokumtextiles.com

High-end appliances, overstocks, and seconds Appliance Service by Paul Dodge Salt Lake City, Utah 801-590-7563

Kitchen/dining furniture Roost Home Furnishings Sausalito, California 415-339-9500 roostco.com

TRAVEL Page 104 ancientwayartstrail.com indiancountrynm.org

GOURMET GALLERY Page 124 Table treatments Tagli vases, Metropolis embossed bowls, Alexandre Turpault Florence napkins, Silver Gerva Soniblu goblets, Hervé Gambs Collection silk florals, Diane James Designs silk florals, Gerva Soniblu vase Moss Outdoor Santa Fe 505-989-7300 mossoutdoor.com

ROLL OUT THE BAVARIAN! Page 113 Lead designer Champalimaud Design New York 212-807 8869 champalimauddesign.com

FROM LEFT: KATE RUSSELL; DOUGLAS MERRIAM; CHAS MCGRATH

FLASH Page 20 Art Santa Fe 505-988-8883 artsantafe.com

AD INDEX ANTIQUES, HOME FURNISHINGS, RUGS & ACCENTS The Accessory Annex santafebydesign.com 505-983-3007 ...................................24 Casa Nova casanovagallery.com 505-983-8558 .............................14–15 Sanbusco Market Center sanbusco.com 505-989-9390 .................................111 Santa Kilim santakilim.com 505-986-0340 .....................................8 Seret & Sons seretandsons.com 505-988-9151 .............................32–33 Victoria Price Art & Design victoriaprice.com 505-982-8632 .................................137 Weaving Southwest weavingsouthwest.com 575-758-0433 .................................117

ARCHITECTS, DESIGNERS & LANDSCAPE COMPANIES Appolloni Remodels by Design remod.com 505-823-1025 ...................................25 Clemens & Associates clemensandassociates.com 505-982-4005 ...................................49 Kitchens By Jeanné kitchensbyjeanne.com 505-998-4594 ...................................41 Kris Lajeskie Design Group krislajeskiedesign.com 505-986-1551 ...................................83 Seret & Sons seretandsons.com 505-988-9151 .............................32–33 Tent Rock, Inc. tentrockinc.com 505-474-9188 ...................................19 Victoria Price Art & Design victoriaprice.com 505-982-8632 .................................137

ARTISTS & GALLERIES 203 Fine Art 203fineart.com 575-751-1262 .................................119 Adobe Gallery adobegallery.com 505-955-0550 ...................................37 Blue Rain Gallery blueraingallery.com 505-954-9902 .....................................9 Chalk Farm Gallery chalkfarmgallery.com 505-983-7125 ...................................99 Charlotte Jackson Fine Art charlottejackson.com 505-989-8688 ..................................IFC Darnell Fine Art darnellfineart.com 505-984-0840 ...................................21 Firegod Gallery firegodgallery.com 505-252-3330 ...................................16

GF Contemporary gfcontemporary.com 505-983-3707 ...................................95 Glenn Green Galleries glenngreen.com 505-820-0008 .................................6–7 Harwood Museum of Art harwoodmuseum.org 575-758-9826 .................................118 Houshangs Gallery houshangart.com 505-988-3322 ...................................31 Inger Jirby Gallery & Sculpture Garden jirby.com 575-758-7333 .................................119 Karan Ruhlen Gallery karanruhlen.com 505-820-0807 ...................................89 Karen Melfi Collection karenmelfi.com 505-982-3032 ...................................85 Lakind Fine Art lakindfineart.com 505-982-3221 ...................................96 La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688 ...................................88 Linda Durham Contempoary Art lindadurham.com 505-466-6600 ...................................11 Mark White Fine Art markwhitefineart.com 505-982-2073 ...................................97 McLarry Modern mclarrymodern.com 505-983-8589 ...................................86 Meyer Gallery meyergalleries.com 505-983-1434 ...................................87 Niman Fine Art namingha.com 505-988-5091 .....................................2 Ortenstone Delattre Fine Art ortenstonedelattre.com 575-737-0799 .................................119 Parks Gallery parksgallery.com 575-751-0343 ...................................41 Peter Ogilvie Photography ogilviephoto.com 505-820-6001 ...................................65 Ronnie Layden Fine Art ronnielaydenfineart.com 505-670-6793 ...................................49 Roxanne Swentzell roxanneswentzelltowergallery.com 505-455-3037...................................BC VandeBoom Fine Art susanvandeboom.com 575-751-7115 .................................119 Victoria Price Art & Design victoriaprice.com 505-982-8632..................................137 Waxlander Gallery & Sculpture Garden waxlander.com 505-984-2202 ...................................93 William Siegal Gallery williamsiegal.com 505-820-3300 .....................................5

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Winterowd Fine Art fineartsantafe.com 505-992-8878 ...................................95

BUILDERS, DEVELOPERS & MATERIALS 310 Solar 505-822-9200 ...................................64 The Firebird thefirebird.com 505-983-5264 ...................................73 Graham’s Custom Window Tinting 505-984-1731 ...................................37

CITIES, EVENTS & MUSEUMS Art Santa Fe artsantafe.com 505-988-8883 .................................103 Blumenschein Home & Museum taoshistoricmuseums.com 575-758-0505 .................................118 Design Santa Fe designsantafe.org .............................50 Gallup New Mexico gallupnm.org 800-242-4282 ...............................105 Poeh Cultural Center and Museum poehcenter.com 505-455-5041..................................IBC Santa Fe Convention & Visitors Bureau santafe.org 800-777-2489 ...................................64 Santa Fe Opera santafeopera.org 800-280-4654 .....................................4 SITE Santa Fe sitesantafe.org 505-989-1199 ...................................24 SOFA WEST Santa Fe sofaexpo.com 800-563-SOFA ..................................51 Taos Art Glass International tiganm.org.......................................112 Taos Museums taosmuseums.org ...........................112 Taos Solar Music Festival solarmusicfest.com 575-758-9191 .................................141

FASHION, JEWELRY, SALONS & SPAS Alchemy, a Salon 505-989-9166 .................................143 Boots and Boogie bootsandboogie.com 505-983-0777 ...................................23 Charlotte Jewelry 505-660-8614 .................................139 Eidos Contemporary Jewelry eidosjewelry.com 505-992-0020 .................................111 Lucchese Boot Co. lucchese.com 505-820-1883 .....................................1 Sanbusco Market Center sanbusco.com 505-989-9390 .................................111 Sangre de Cristo Mountain Works sdcmountainworks.com 505-984-8221 .................................111

Silver Sun Santa Fe silversun-sf.com 800-562-2036 ...................................96 Tresa Vorenberg Goldsmiths tvgoldsmiths.com 505-988-7215 ...................................96 Wink Santa Fe winklifestyle.com 505-988-3840 .................................111

KITCHENS, TILE, LIGHTING, ELECTRONICS & HARDWARE Allbright & Lockwood 505-986-1715 ...................................29 Constellation Home Electronics constellationsantafe.com 505-983-9988 ...................................18 Dahl Plumbing destinationdahl.com 505-471-1811 ...................................13 Kitchens By Jeanné kitchensbyjeanne.com 505-988-4594 ...................................41 Santa Fe By Design santafebydesign.com 505-988-4111 .....................................3 Statements statementsinsantafe.com 505-988-4440 ...................................17

BANKS & MORTGAGE COMPANIES Los Alamos National Bank lanb.com 505-954-5400, Santa Fe 505-662-5171, Los Alamos...............25

RESTAURANTS, CATERERS & LODGING Café Loka cafeloka.com 575-758-4204 .................................119 Casita 203 lodgingtaosnewmexico.com 575-751-1262 .................................119 Coyote Café coyotecafe.com 505-983-1615 .........................132–133 Doc Martin’s Restaurant taosinn.com 575-758-1977 .................................129 El Farol Restaurant and Cantina elfarolsf.com 505-983-9912 .................................135 Geronimo geronimorestaurant.com 505-982-1500 .................................131 Historic Taos Inn taosinn.com 888-519-8267 .................................112 Luxury Casita Vacation Rentals luxurycasita.com 505-424-6768 .................................143 Ostería d’Assisi osteriadassisi.com 505-986-5858 .................................134 Saveur 505-989-4200 .................................122

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END QUOTE

Science does not know its debt to imagination.

—RALPH WALDO EMERSON

Photo by Jamey Stillings, from his series Bridge at Hoover Dam, 2009.

See more of Stillings’s photos at bridgeathooverdam.com and jameystillings.com.

144 Trend » Spring/Summer 2010 trendmagazineglobal.com

Roxanne Swentzell “Family” 14' x 16' Fired Ceramic Clay

Tower Gallery • 78 Cities of Gold Road, Santa Fe, New Mexico 87506 (505) 455-3037 www.RoxanneSwentzellTowerGallery.com

Photo: ©Kate Russell

Santa Fe Community Convention Center Commission for the City of Santa Fe