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CONTENTS

Fall 2009/Winter 2010

Features

Antoine Predock: Architecture and Time Internationally renowned architect Antoine Predock moves through his life and work like a romantic time traveler, incorporating geology, geography, cultural artifacts, current events, weather patterns, astronomical cycles, personal experiences, and the history of architecture into each design.

There is no denying the erotic allure of glass. Galleries report that it is the fastest-growing medium nationwide. And the 300 members of the Glass Alliance–New Mexico are hot. BY KEIKO OHNUMA | PHOTOS BY PETER OGILVIE

BY WESLEY PULKKA | PHOTOS BY ROBERT RECK

Glass: Alliances for an Art Form

A Matter of Original Thought: An Intimate Look at Architect Jeff Harnar’s Final Work Entering a Jeff Harnar home is an adventure. His architecture is a tapestry of industrial materials tied together with the magical Southwestern landscape. Take a look at Harnar’s last, unfinished work: his home. PHOTOS BY ROBERT RECK

66 Top: Architect Antoine Predock combined physical, mystical, and historic elements of the culture to create the National Palace Museum in Chiayi, Taiwan. Above: Glass piece by Charles Miner of Tesuque Glass Works and the Glass Alliance–New Mexico.

12 Trend » Fall 2009/Winter2010 trendmagazineglobal.com

New Mexico is now in the big league of filmmaking, thanks to constant efforts and a great history of folks here in the biz—and in politics. BY HUGH ELLIOT

FROM TOP: ROBERT RECK; PETER OGILVIE

Film Now

Departments

Fall 2009/Winter 2010

16 LETTER FROM THE PUBLISHER 18 CONTRIBUTORS 20 YOUR LETTERS 22 Q&A

Curator Betty Gold interviews the eccentric, talented, and gutsy Colette Hosmer.

26 FLASH

SWAIA Joins Forces with Allan Houser Estate; New Mexico School for the Arts; A Feast at Niman to End Native American Famine

143

30 OUTLOOK

Ron Arad: A nonconformist arrives at MoMA

BY DAVID D’ARCY

38 COLLECTOR’S CACHE

ZOOM: The story of a 1952 Buick Riviera reassembled to win a world record.

Spanning time and trends, a collection merits astute attention—and gets it. BY KATHRYN M DAVIS

50 MASTER WORKS

100

The Mastery of James Havard

DESIGN LINES La Fonda Hotel; Blackstone Ranch

BY LAURA ADDISON

90 ARTIST PROFILE

108

LIVING Artist Bill Barrett and his clan live and create—at home.

Nix at 46: Narcocultura

BY ELIZA WELLS SMITH

BY GUSSIE FAUNTLEROY PHOTOS BY CHAS McGRATH

117

119 TRENDSOURCE

An advertising section showcases inspirations for designs.

130 WINE AND DINE Eating Close to the Source

BY LESLEY S. KING PHOTOS BY DOUGLAS MERRIAM

143 ZOOM 30 Designs by Ron Arad include Large Bookworm (1993), of tempered sprung steel and patinated steel.

Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Fine Art at High Speed

BY JEFF BROCK

144 END QUOTE

Mesa del Sol in Albuquerque reaches into the sky and the community, as intended by architect Antoine Predock. PHOTO BY ROBERT RECK

Correction: In the Spring/Summer 2009 issue, we gave credit in the article “The Recovering Collector: From Early Symptoms to Full Blown Syndrome, M.D. Caught the Bug” to Ted Larsen. That “early blue-dot work” was by Ted Laredo in 2004 and exhibited at Box Gallery in Santa Fe in April 2004.

FROM TOP: GREG MARTIN; COURTESY OF RON ARAD ASSOCIATES

BUSINESS PROFILES Ideum; Turtle Mountain Brewing Company; Sites Southwest

LETTER FROM THE PUBLISHER

Trend Changes I created this as the identity model when I defined Trend’s vision and goals, manifesting a magazine that would grow into a unique media reflection. And it has. I’d like to say the current economic climate is auspicious, but it’s more like we’re swimming without water: It is not easy, fun, or swift, yet somehow we find a way to move forward, regardless. I know you will consider this issue to be Trend’s best effort yet, with coverage including architect Jeff Harnar’s final work: his home, a perfect illustration of his beyond-the-box thinking and solutions, which merge earth with building materials to inspire unique living options. We also bring you an overview of Antoine Predock’s architectural designs. In art, David D’Arcy presents artist, designer, and architect Ron Arad and his MoMA retrospective; Keiko Ohnuma delves into my favorite art form of reflective, intense color—glass; Laura Addison adds insight into the mastery of James Havard; Eliza Wells Smith covers painter Darwin Nix, whose Narcocultura is currently showing in Santa Fe; and Betty Gold interviews sculptor Colette Hosmer. In the quantum-physics paradigm, matter is not the substance of the universe; thought is. With that, we share these ideas intended to bring you insight, perspective, and a beautiful reflection of this community’s creativity. Enjoy! From my family to you, Cynthia Canyon

Eliza Wells Smith joins Trend as editor, bringing an informed perspective gained from a life devoted to the arts and issues. Smith danced with the School of American Ballet and graduated with a B.F.A. in photography from Rhode Island School of Design. She worked in as New York as a picture editor for Connoisseur, Vanity Fair, and The New York Times. After moving to Santa Fe in 1994, she continued as a photographer with the Times and joined the Albuquerque Journal as a writer and photographer. Smith has exhibited her work in numerous museums and galleries. She has worked with El Palacio magazine since 2005. “Trend magazine,” Smith says, “lends depth to the usual use of the word. Here, we present issues in arts, architecture, and design that go beyond sheer aesthetics and merge them with profound environmental issues and new technologies. The role of editor is a challenge, and one I hope to carry well for the talented writers, photographers, and staff with whom I am so fortunate to work.” Smith lives with her husband and his three children in Santa Fe. 16 Trend » Fall 2009/Winter2010 trendmagazineglobal.com

FROM TOP: RIMA KRISST; DEREK GORDON

CONTRIBUTORS

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Fax: 505.986.1518

CONTRIBUTORS

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Robert Reck is an internationally recognized architectural and interior-design photographer whose work is distinguished by a masterful use of light and a passion for design found in nature and the built environment. He has been traveling for Capella Hotels for the past two years and is a staff photographer for Architectural Digest. He was the lead photographer for the book Santa Fe Style and the exclusive photographer for The Small Adobe House, Facing Southwest, and Stone Design for the Home.

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As an independent art consultant and curator, Betty Gold has organized more than 50 exhibitions in Southern California museums and was founding vice president of the American Association of Professional Art Advisors. Since moving to Santa Fe she has been involved in several art projects, including as guest curator for the New Mexico Museum of Artâ&#x20AC;&#x2122;s exhibition So Q, Contemporary Art in Southern New Mexico. She has written and edited numerous museum catalogs.

Photographer Peter Ogilvie studied art and architecture at the University of California, Berkeley. After graduation he moved to Cambridge, Massachusetts, where he began making documentary films. Filmmaking led to still photography, both fine-art and commercial. Pursuing his career in advertising, fashion, and photography, he has lived in San Francisco, Milan, Paris, New York, and now New Mexico. He has traveled the world on assignment and won numerous advertising and graphic awards for his work.

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Laura Addison is the curator of contemporary art at the New Mexico Museum of Art, a position she has held since 2001. Before donning her curatorial hat, she worked in artbook publishing and wrote art reviews and features for various publications, including Sculpture, El Palacio, Surface Design Journal, the Portland Phoenix, and THE Magazine. She has authored two exhibition catalogs, The Art & Artifice of Science and Flux: Reflections on Contemporary Glass. 18 Trend Âť Fall 2009/Winter2010 trendmagazineglobal.com

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YOUR LETTERS

Vive le Difference I love your magazine, great articles, layout and beautiful printing. I look forward to every issue down here in Silver City. I do, however, have a few things to say about the “Studio Arquitectura’s Rancho Escondido” article in your Spring/Summer 2009 issue. That house is not the one-of-a-kind architectural beauty you make it out to be. Mr. Ross wanted “something modern, but not sterile; both a cozy family residence and a serious place to party.” The front door looks like the entry to a prison. That dining room looks like an operating room. Three brown chairs and three beige around the table? Not very creative. That paneling behind the bed is so depressing it must hide a guillotine and a secret dungeon. The outdoor fireplace does not work with the landscape behind it. They tried to compete with nature and failed miserably. “The worry was that the spectacle of the surroundings would overshadow the house.” It does. I half-expect to see armed guards in jungle fatigues with automatic weapons patrolling that inviting walkway to the front door. I’m sure you could find much nicer homes to profile. The price tag doesn’t guarantee a thing. I loved the article on the Museum of Arts and Design in NYC. As a city kid (there’s only one city), I remember when it was built and always loved that quirky design because it was so different from anything else I’d seen in the city. I look forward to many more great issues of Trend. Jeffrey Turner Silver City, NM Thank you for your letter. We welcome all views. Differences lead to new ideas, new solutions—and that is what Trend is all about. Where one person sees an architectural detail as an asset, another might call it a distraction. Certainly, it is intriguing to find how people fill their personal spaces. The expression “mi casa es su casa” is about opening your home to another—which is what this homeowner did. For that, I thank him. —Ed. 20 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

PUBLISHER Cynthia Marie Canyon EDITOR Eliza Wells Smith ART DIRECTOR Janine Lehmann COPY CHIEF Kym Surridge ADVERTISING DESIGN AND PRODUCTION Jeri Lee Jodice PREPRESS Fire Dragon Color, Santa Fe, New Mexico 505-699-0850 CONTRIBUTING WRITERS Laura Addison, Katie Arnold, Jeff Brock, David D’Arcy, Kathryn M Davis, Hugh Elliot, Gussie Fauntleroy, Betty Gold, Keiko Ohnuma, Wesley Pulkka CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Chas McGrath, Peter Ogilvie, Robert Reck, Kate Russell, Jonathan Tercero ADVERTISING SALES & MARKETING DIRECTOR Susan Crowe, OnQ Marketing, 505-603-0933 REGIONAL SALES DIRECTOR Judith Leyba, 505-820-6798

ACCOUNT REPRESENTATIVE Sheri Mann, 505-988-5007 NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services 905-619-6565, disticor.com NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 ACCOUNTING Danna Cooper SUBSCRIPTION MANAGER Nicole Cooper PRINTING Publication Printers, Denver, Colorado Manufactured and printed in the United States. Copyright 2009 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 e-mail to perform@santafetrend.com. Trend (circulation 35,000) is published two times in 2009, 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@santafetrend.com. Trend, P.O. Box 1591, Santa Fe, NM 87504-1951 (505) 988-5007

trendmagazineglobal.com Fall 2009/Winter2010 » Trend 21

BY BETTY GOLD

ColetteHosmer

Colette Hosmer created Santa Fe Current, the granite sculpture of 27 cutthroat trout leaping out of assumed water in the courtyard of the Santa Fe Community Convention Center. The unique road leading to this work is a journey from North Dakota, where Hosmer was born in 1946, to Oregon, San Francisco, and finally Santa Fe, where she has resided since 1979. In the process of creating her work, in which organic materials such as eel, foxes, and pig teats and tails are cast, Hosmer made many trips to China, where she visited rural villages and learned the fabrication methods she utilizes. She has exhibited her work in Germany, China, and Santa Fe.

BG: How do you explain the process that made you an internationally exhibited artist? Hosmer: I was just thinking about that yesterday. I’m a late bloomer. It’s a good thing we live a lot longer now or I never would have had a career if it were a hundred years ago. I’ve never been extremely goal oriented, so I’ve kind of followed my interests and ended up here. 22 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

BG: How did dead animals become your inspiration? Hosmer: As a child I was interested in nature. I grew up in a small town, so at a very young age I could go down to the park, which had a creek running through it, and catch bugs and minnows and snakes and haul half of them home. My interest in nature grew and when I began to make art,

it seemed natural for me to begin to explore the insides of animals. BG: When did you begin your work as an artist? Hosmer: I started making art earlier and dabbled through my marriage of ten years— no training, but doing a little carving, a little painting. I was making art using natural materials when I landed a job at Shidoni Foundry in 1980. BG: What were the first natural materials you used in your work? Hosmer: Dead animals. Bones. The first group of pieces I made involved fish heads and tails with combs in between, simulating ribs. I devised a method where I could press

JANET COBB

Q&A

clay onto slabs of sandstone to get the texture, remove the clay and embed my own fossils into the clay, and then I would make molds and have them cast in bronze at Shidoni. I was driving to an opening one night and saw a dead cat on the side of the road, pulled my car over, got out, ran across a couple of lanes in my heels and dress and scooped it up and saved it until the opening was over, and then went home. The only method I had to process the materials was boiling, so I skinned it and boiled it and got the bones and made a big cat fossil.

KIM RICHARDSON

BG: That’s pretty amazing. Your most visible work in Santa Fe is the 27 cutthroat trout at the Santa Fe Community Convention Center. How was that choice made? Hosmer: When I learned I was one of five finalists for the commission, I spent days working on models of abstract monumental work. The things I was coming up with were really boring and I just couldn’t get excited about the project. I thought, I don’t care if I get the commission or not, I’m just going to do what I want to do. I’d worked with multiples of fish before and liked that idea and just decided to go ahead with multiple fish. Once I decided to work with that idea I became very excited and that’s how it happened.

BG: Most artists are influenced by other artists. Who has influenced you and what other artists working today do you admire? Hosmer: It’s an interesting question because I’ve been at least equally if not more influenced by people in science. My number-one inspiration is E.O. Wilson, the biologist at Harvard. BG: Can you explain why? Hosmer: Because I love his passion. He’s in his seventies now and his direction in life began when he was a small child, and he’s never wavered from it. He’s written many books and he’s the foremost expert on ants. Studying societies in the insect world relates directly to the human world. BG: What about Damien Hirst, whose sculpture of a shark suspended in glass and steel is now on view at the Metropolitan Museum of Art? Do you feel any connection to his work? Hosmer: In a way, sure, of course. I admire his adventurous and brave use of materials. And Andrew Goldsworthy’s work is stunningly beautiful, and I love the idea that he uses forms from nature and his pieces can go back into nature and not have to remain a permanent object in the world.

Opposite: Colette Hosmer at a Buddhist Temple in Xiamen, Fujian Province, China. This page: Santa Fe Current, 2009, 27 Rio Grande cutthroat trout, granite; commission for Santa Fe’s Community Convention Center.

trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 23

Q& A

Above: Installation of Tibetan Cow Skull with Fish Mask; Tibetan Cow Skull with Cow Mask; 2009; cast Hydro-Stone, urethane resin, rubber, oil paint. Right: Articulated Cow Skeleton, 2009, cow skeleton, fabricated steel, and copper.

BG: Does your work have some personal meaning that the viewer can’t see? Hosmer: I think it’s very personal. I have a difficult time with this because I never start wanting to make a specific statement. The work kind of emerges. There are things in my head I want to see realized in three dimensions, and so I’ll start there. 24 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

The best work comes when I sidestep the intellectual process and the work just starts to flow and I’m not thinking about it. My favorite thing is to hear responses from a few people looking at the same piece, and there can be four or five different interpretations, and I love that because most of the time I don’t know what it’s about myself, so I like it best when other people apply their own responses. BG: How do you feel about an artist’s existence in Santa Fe? Is it difficult? Hosmer: No. In my opinion there are several Santa Fes, and the Santa Fe I live in is one with half a dozen really close friends that I’ve had for probably 30 years, and my family. There are spots in the country I’ve gone to for decades that never really change. The surface of Santa Fe can change quite rapidly but I kind of live below that. But the lifestyle I maintain is easy and delightful. BG: What kind of reading do you do? Hosmer: Nonfiction and a lot of science and natural-history-related stuff. BG: No local newspaper?

Hosmer: No. I delivered papers for a few years. I was the oldest paperboy in Santa Fe for a while! I check the big papers on the Internet. When I’m working hard on a series, I don’t read. I work until I go to bed, so my life is different during that time. BG: Have you thought about what your work will be like in five years? Hosmer: No. Absolutely not. I can’t think that far ahead. BG: What are you working on now? Hosmer: It’s a body of work. The working title is Mad Cow, and the anchor piece is an actual cow skeleton, but hung like you would see it if you walked into an old doctor’s office and it was a human skeleton. The cow is hung in a bipedal position. I’ve assembled the bones that way, and the cow is eight or nine feet tall. Everything else in this body of work is a spin-off from this articulated cow skeleton. So I’ve come full circle working with bones again, really linking the forms and working with scale, enlarging bone forms and manipulating them a bit, using other materials to fabricate or cast them. R

KIM RICHARDSON (2)

BG: You’ve made eight trips to China to fabricate your work. What has that been like for you? Hosmer: That’s been a whole other life. The first trip was in 2000 when I was invited to be part of a sculpture symposium with nine European and 30 Chinese participants. I lived in a modest, typical Chinese apartment in Xiamen, a coastal city across from Taiwan. I studied Mandarin Chinese from CDs after my third trip. I traveled as much as I could to rural villages with Li Wen, a Chinese friend, and these experiences, especially to the markets, were important to me. The markets were so fundamental and basic. They brought every part of the animal to market and this made a deep impression. The Chinese people excite me and I love them.

FLASH

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

The Merging of SWAIA and the Allan Houser Estate

26 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Santa Fe and the Southwest is equally vast. But not unlike the cinder-block underbellies lathered in spackle that shore up many of the local buildings, his relevance as a contemporary artist is largely hidden. What exists in our collective knowledge of Houser’s work is often seen as a template of traditional Native expression largely realized through stone and bronze, so it’s tricky to advance the importance of his work and legacy beyond a sweeping sum of a few signature pieces of art. Still, the task of quantifying and Allan Houser with Comrade in Mourning, 1948 honoring Houser’s panoramic influence has taken a considerable D.C. Bourne joined the Allan Houser step forward with the acknowledgment Estate in 2007 after working as a freelance of others who embody his iconoclastic spirit. business and marketing consultant in Dr. Bruce Bernstein, executive director of SWAIA, and Kim Bourne, CEO of the Atlanta, where her clients included the Atlanta History Center. Allan Houser Estate, conceived the idea of “Literally, it began with a conversation in collaboration shortly after each assumed an airport in Phoenix. We started talking their respective positions in 2007. Bernimmediately on how we could reestablish stein took on the leadership position at a more direct relationship between the SWAIA after serving on its board of direcEstate and SWAIA,” Bourne says about tors and working for the National Museum of the American Indian in Washington, those early conversations. From the part-

Houser’s Options II, 1992, bronze

COURTESY OF ALLAN HOUSER INC. (2)

wo great houses of Native art are the Allan Houser Estate and the Southwestern Association of Indian Arts (SWAIA), which for 88 years has staged Santa Fe’s annual Indian Market. SWAIA is now expanding its role to introduce yearlong programs for Native artists, thereby furthering its goal to be Ground Zero for Native arts—both traditional and contemporary. Yes, contemporary. Even edgy. Like the profound contemporary artist Allan Houser (Chiricahua Apache, 1914–1994) was in his time. To note, in February 2009, SWAIA inked a three-year partnership with the Allan Houser Estate to sponsor its Lifetime Achievement Award. The merging of these two powerhouses of Native art bridges two entities oft-considered part of the traditional arts—a term that applies to neither unless referring to their influences. SWAIA now, and Houser then and always, are the forward ambassadors of Native contemporary art. The SWAIA Lifetime Achievement Allan Houser Legacy Award was unveiled this year and presented to painters Oscar Howe and Sam English, and potter Sofia Medina. Walter Gropius, architect and founder of the Bauhaus school, probably didn’t know the work of Native artist Allan Houser, but you can bet the farm that when Gropius expressed his famous dictum, “only work which is the product of inner compulsion can have spiritual meaning,” he was speaking beyond an architectural movement. It’s these ideas of compulsion and meaning— the guttural urge to respond to the enveloping mystery that surrounds us with something ordered and beautiful— that can just as easily be understood in Houser’s sculpture. The connotations behind Houser’s name are infinite, and its association to

nership’s inception, the goal has been to recognize Houser’s legacy as an artist and educator through the work of other accomplished Native artists. “The partnership represents coming full circle for SWAIA,” Bernstein says. “Indian Market is filled with Allan’s influence. Stone and metal sculpture—whether it’s realistic or abstract—is now widely accepted as an art form. His encouragement and vision that an artist should create without restrictions, without limitations, nurture the core meanings of today’s Indian Market and Native artists.” Rather than simply eulogizing Houser’s memory and sustaining a static understanding of his work, the intent of the collaboration is to increase new dialogues about contributions Houser made to contemporary art, which is tangential to SWAIA’s organizational goals as an advo-

cate for all forms of Native expression. “Allan thought of himself as a twentiethcentury American modernist,” Bourne says. “Even in his representational work, he created a style that we are very used to now. At the time he was producing it, it came out of that tradition of contemporary modernist art that happened to be applied to Native themes.” It is this style of representational art, as exemplified through his iconic pieces Morning Prayer and Rain Drops, his transitional pieces such as Abstract Crown Dancer I, and his large-scale abstract works such as Spirit in the Wind and the geometric Options II, that reflects his creative breadth. “I think that art historians would recognize that he had always been a modernist,” Bourne continues, “even in the more representational work that he did, but obviously with his very contemporary and

post-expressionist work. That’s what really defined him as an artist.” In a sense, the Allan Houser Estate and SWAIA are paddling upstream against over-generalized and usually incorrect perceptions underlying traditional and contemporary Native art. The Santa Fe Indian Market balances both genres in Native art with its established and new programs, which include expanded visual-art representation, film, and literature. Bernstein notes, “It’s poetic to name an award in excellence for Allan Houser. The Houser Legacy Award is our highest recognition; by carrying Allan’s name, the award acknowledges his creative spirit, artistic legacy, vision, and community spirit.” Ultimately, the collaboration symbolizes the deep history and an expansive future of all Native arts and Indian Market. —Gabe Gomez, swaia.org

NEW MEXICO SCHOOL FOR THE ARTS

MARC ROMANELLI (2)

Opens in Santa Fe Fall 2010

NMSA outreach classes offer a preview of the education that will be provided by the school. Master Class dance teacher Ann Reinking (left) and Master Class music teacher Joel Fan work with potential students.

IT’S IN FULL SWING—finally. After four years of preparation, the New Mexico School for the Arts is set to open in Santa Fe in the fall of 2010. A campus is on the eve of selection. A new head of school has just arrived from Washington, D.C. The board is meeting frequently to pin down the many facets of opening the first public boarding high school for the arts in New Mexico. Enter: 300 talented kids. The kids need not be trained or young professionals, but talented and showing the aptitude, passion, and discipline to pursue the arts. Because NMSA is a charter school, tuition is free. Students will pay their room and board on a sliding scale, with scholarships available. The school is open to students statewide. The programs will focus on the arts—dance, music, theater, film and photography, the visual arts; it’s all here. And students will receive a full

academic curriculum. This is for kids who are serious about the arts. The brainchild of Catherine Oppenheimer, founding artistic director of National Dance Institute–New Mexico, NMSA opens with a pantheon of support from bipartisan legislators, Governor Bill Richardson, private donors, and organizations like the Thaw Charitable Trust. The school is the first in New Mexico to be signed into existence by a legislature and a governor. “NMSA is a substantial and powerful addition to the educational landscape of New Mexico,” says Jim Ledyard, the head of school. With a strong background in theater arts as well as teaching and promoting the arts, Ledyard sets a visionary—and accessible—tone for the school. Auditions and portfolio reviews begin soon. For more information, please visit nmschoolforthearts.org. —Eliza Wells Smith

trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 27

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

A Feast to Save Lives hat do actor Robert Redford, the Namingha family, national health organizations, major philanthropists, and four famed chefs all have in common? The answer is simple: a passion for ending hunger in our most vulnerable Native American communities. Johns Hopkins Center for American Indian Health, Share Our Strength, the NFL, Robert Redford, and his wife, Sibylle Szaggars, kicked off a new trend on July 30 with Dan and Frances Namingha, Rick and Beth Schnieders, and Olivia Sloan hosting a star-studded event to raise funds to advance hunger-prevention and nutrition-promotion services in Native American communities. The Feast for the Future featured four great chefs: Eric DiStefano (Coyote Cafe and Geronimo), Mark Miller (Red Sage), David Sellers (Amavi), and Freddie Bitsoie (Classic Cooking Academy). The four teamed up to prepare sumptuous hors d’oeuvres and a multicourse dinner for 80 guests in the intimate gallery setting. The chefs donated their time and talents. Live and silent auctions featured art, culinary, and sports items. The Center for American Indian Health partners with tribes to achieve renewed health and well-being for Native Americans. Since its founding in 1991, the center has continued to focus on working with tribes to foster strength-based approaches to sustain and nurture tribes’ unique heritage and identity, and to fortify health leadership internally through training, employment, and education. In recognition that each tribe has different needs, this is done with

Conversations rolled at the main table between Elizabeth Sackler, Robert Redford, his wife, Sibylle Szaggars, and Dan Namingha.

28 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

input from community leaders and elders in terms of identifying priorities and crafting programs appropriate to individual tribes. “Native Americans traditionally lived in balance with nature,” says Redford, a longtime supporter of Native American causes. “Plants and animals were sacred. Mindful hunting, gathering, and feasting fed body, mind, and spirit. The march of modernity has imposed values of greed and gluttony, resulting in disharmony for many Native peoples. Today, the original stewards of North America are suffering from nutrition-related sickness and death, including hunger, diabetes, and obesity.” The Center aims to ensure a healthy start for Native children and families by promoting healthy lifestyles, pioneering community-based mental health, tackling diseases, and training the next generation of tribal health leaders. “Over the past 150 years,” says the Center’s director, Mathuram Santosham, M.D., M.P.H., “American Indian populations have taken the lead in providing information that has led to the discovery of prevention and treatment strategies of

numerous infectious diseases. As a result, millions of lives have been saved around the world. The first peoples of our nation traditionally had healthy diets and healthy lifestyles, until they were forced to change their living habits because of subjugation and exploitation. It is time to look to them again to lead us out of the epidemics of obesity and diabetes that plague this nation as a result of decades of unhealthy lifestyles and diets.” Dr. Santosham introduced oral rehydration therapy (ORT) to the world through his research in Native communities. ORT, an electrolyte solution known as Pedialyte, has greatly reduced infant mortality around the globe. In parallel, the mission of Feast for the Future’s partner, Share Our Strength, is to end childhood hunger in the United States by collaborating with the most successful organizations in the country and focusing efforts in three primary areas: increasing access to programs that provide food to children and their families, strengthening community resources that connect children to healthy food, and improving families’ knowledge about available programs and

RIMA KRISST (5)

FLASH

“The fate of Native Americans is prophetic for all Americans,” says Robert Redford. “The Feast for the Future will launch a national initiative to reestablish traditional diets, optimal nutrition, and active lifestyles—building on cultural practices cherished by Native communities.” how to get the most from limited resources. Finally, the National Football League Players Association has worked in partnership with the Center and SOS to promote sports/life-skills camps for Native American teens and physical-fitness programming in tribal communities. Art collector and philanthropist Philip Smith and several other attendees raved that this was “the event of the year” in Santa Fe, and with good cause. Smith, former executive director of the National Academy of Sciences/National Research Council, says, “This has been one of the most memorable events I have ever attended over my many decades in Washington, D.C., and Santa Fe. It was a large enough gathering to succeed in the goal—raising funds for the kickoff of the new Feast for the Future program—yet small enough to be intimate and personal for all the guests. Robert Redford was most generous in the time he spent with many guests at the reception. The dinner was perhaps one of the best, if not the very best, I have had in Santa Fe over the last three decades. The

ambiance of the Niman gallery was superlative, a fine environment for a gala evening that we will all remember.” Sysco donated food for the event while all involved in its planning donated their time and resources so that about every dollar raised could go directly to tribal communities. Frances Namingha comes from Ohkay Owingeh and her husband, artist Dan Namingha, is from the Hopi tribe. You might say these role models for giving back quite literally put their money where their mouth is. The Feast for the Future raised tens of thousands of dollars, which will go to three Native American communities: Santo Domingo Pueblo, the Tuba City chapter of the Navajo Nation, and the White Mountain Apache tribe. To join the organizing partners of Feast for the Future, please contact Frances Namingha at (505) 988-5091 or frances@ namingha.com. —Rima Krisst Niman Fine Art, 125 Lincoln Avenue, Santa Fe, namingha.com

Top, from left: Dr. Mathuram Santosham with actors Adam Beach and Summer Tiger; Robert Redford; All Together Now: Arlo, Nicole, Michael, Frances, and Dan Namingha. Above: Preparing for 80: Chef Freddie Bitsoie of the Classic Cooking Academy makes hors d’oeuvres with his assistant Julie Swanson.

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OUTLOOK

BY DAVID D’ARCY

The Outsider One of Ron Arad’s latest creations is the lyrically named Oh, the Farmer and the Cowman Should Be Friends (2004). It’s a massive set of bookshelves in stainless and corten steel, shaped like the United States, with each state a separate compartment for books. Never mind that the books don’t stand up straight. Arad’s map of the U.S. has the readability of a newspaper cartoon, and carries the suggestion that the country is a fractious place, defined by its many divisions (although Arad hasn’t painted individual states red and blue). At four by six meters, it could be the corporate logo on the side of an office building. You could stuff anything in its compartments, but this set of shelves seems designed to be collected and exhibited rather than used. As is his style, Arad is playing with the boundaries between design and art, as well as with his audience. 30 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

The retrospective of Arad’s design and architecture at the Museum of Modern Art in New York is called No Discipline. The title is his own choice, an affirmation that he does not adhere to a single discipline of design or architecture or art, and a reminder that he does it all for enjoyment—or at least he makes it look that way. Although Arad, 58, has worked in London for more than thirty years (and until recently headed the design program at the Royal College of Art), he was born in Israel in 1951, just three years after the creation of that state. One can sense some of those roots in his work, particularly in early designs, which evoke the arte povera of a desert battlefield. The most obvious of these is his Rover Chair of 1981, the seat of a Rover V-8 2L mounted onto a metal frame with Kee Klamps. The chair is routinely described as a work of recycling, but it evokes

COURTESY OF RON ARAD ASSOCIATES

Ron Arad: Applause for the Nonconformist

FROM TOP: COURTESY OF THE GALLERY MOURMANS; BRUNO SCOTT/COURTESY OF FONDS NATIONAL D’ART CONTEMPORAIN, MINISTÈRE DE LA CULTURE ET DE LA COMMUNICATION

“It’s the outsider-ness that’s more important where I come from, the fact that I’m not by any definition part of the British, AngloSaxon tradition.”

Above: Concrete Stereo, 1983, turntable, amplifier, two speakers, and electronic components embedded in concrete. Below: Narrow Pappardelle, 1992, woven stainless steel mesh and steel. Opposite: Oh, the Farmer and the Cowman Should Be Friends, bookshelf.

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OUTLOOK

Arad doesn’t deny his Israeli roots—he is completing a museum, his first freestanding building, in Israel. He just denies that those roots define his work: “Everyone is entrapped in a time and a place and a childhood and a language of wherever they come from. I’m sure I’m no different there. But if you want to look for qualities in my work, it’s not the quality of where I’m from, but it’s the qualities of ‘I’m not from here.’ It’s the outsider-ness that’s more important than where I come from, the fact that I’m not by any definition part of the British,

Arad’s first freestanding building is the $17 million Design Museum in Holon, Israel. The Guggenheim references can’t be denied, but this museum is actually two structures wrapped together by layered steel bands—delivering the signature Arad coils.

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COURTESY OF RON ARAD ASSOCIATES (2)

The museum is signature Arad: graceful, whimsical curves, gestural in scale, with a designer’s attention to materials and a desert-hue finish.

the remnants of a desert vehicle that has been hit by a bomb—more remains than ready-made. His Concrete Stereo (1983), a turntable embedded in cement that might be described flatteringly as rusticated, is another example of a design that seems shell-shocked. But both objects could just as easily have been whimsical works from the set of Monty Python’s Flying Circus, which was all the rage in London in the early 1970’s, when Arad moved there to avoid military service and study architecture.

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OUTLOOK

“We should all become doctors and social workers and teachers to do real work, to make the world a better place. But I also believe that art makes the world a better place.” Anglo-Saxon tradition. I’m from somewhere else, like many people in any cosmopolitan metropolis.” At the start of Arad’s career, he turned to design out of necessity. Architecture commissions were scarce, and he had to make a living. The man who had branded himself with car seats and concrete turned to whimsy—loops, swirls, and curves that became shelves and chairs such as Papardelle (1992), as if Arad were updating designs in ribbons of steel that the sculptorengineer Alexander Calder made in wire back in the 1930s. Soon his materials were less crude, the finish was more refined, and the prices were higher. Polished, curved steel, instead of upholstery, transformed armchairs such as those from Arad’s The Volumes series. It makes one think of the 34 Trend » Fall 2009/Winter2010 trendmagazineglobal.com

elegant curved metal of Frank Gehry’s buildings and the polished steel of Jeff Koons’s giant Poodle. No one said that Arad was easy to categorize. Arad likes coils. His PizzaKobra (2007) is lamp that can lie flat, like a round pizza, a and then rise like an uncoiling snake, twisting to illuminate anything nearby. His Olympia Bridge (2007), designed for the Olympic Village of 2012, is a wooden crossing within a huge coil of steel. The designer is also drawn to light. The surface of his lens-shaped table, Lo-RezDolores-Tabula-Rasa (2004), can be a plain white surface or a round LED screen. His shimmering chandelier, Lolita (2004), is a descending ribbon that doubles as a banner for text messages, perhaps a response to the numbing austerity of the aphoristic work of Jenny Holzer. Arad is credited with spawning the field of “design art,” a term he scorns. He sees artists as peers. The art world still isn’t sure that this man who designs things that can be used is an artist. “Some of my best friends are artists,” Arad says. “I don’t think that what I do is different than what they do. I don’t think that we are in different fields.” Yet he is almost always exhibited in design and furniture galleries.

COURTESY OF RON ARAD ASSOCIATES

Panoramic Restaurant at Les Diablerets, Gstaad; 2007

Chris Corey

Arad is a man apart, not just because of his work but also because of his aversion to adopting an avowedly “green” approach. Mention the word sustainability and he will tell you that he’s “fed up.” “Of course, of course, you have to be sensible. You have to avoid doing things that are not good for the environment, but if that’s the main thing on your plate, I think it’s very sad,” Arad says. “What we do is luxury. It’s a surplus requirement,” says the man who designed rooms in the Millennium House in Doha, Qatar, on an unlimited budget in 2002, yet still dresses in a floppy hat and what look like monochrome pajamas. “We should all become doctors and social workers and teachers to do real work, to make the world a better place. But I also believe that art makes the world a better place.” To reach that better place, Arad is now turning to architecture, although he’ll remind you that when he arrived at the Architectural Association School of Architecture in London, he was asked, “Why do you want to be an architect?” “I don’t want to be an architect,” he said. “My mother wants me to be an architect.” Arad’s first freestanding building, on view in pictures at MoMA, is the Design Museum Holon, two structures wrapped together by layered bands of oxidized steel—again, the use of coils is key. The drab town of Holon, outside Tel Aviv, is betting that Arad’s $17 million structure will be the “Guggenheim” that puts its modest new cultural district on the map. The museum is signature Arad: graceful, whimsical curves, gestural in scale, with a designer’s attention to materials and a desert-hue finish. Look for the same approach to a Media City festival in Belgium and other projects in Israel. Is Arad maturing and mellowing? As usual, the answer is yes and no. His odyssey through design has been leading toward refinement for more than thirty years, but his brand mixes playfulness with an element of surprise. You can be sure that whatever he does will be hard to categorize. R

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COLLECTOR’S CACHE

BY KATHRYN M DAVIS | PHOTOS BY KATE RUSSELL

Kazukuni Sugiyama and David Frank open their home and their expansive collection to Trend.

Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Eyes on aCollection ABridge of Cultures and Time

t’s quiet in the eastside neighborhood across from the Santa Fe River with its old cottonwoods and shaded paths. Up a private drive into the garden entrance, through iron gates designed by the late architect and artist William Lumpkins, stands a residence fashioned from the bones of a sprawling, historic adobe home. Birds chirp through the junipers and butterflies flutter around the iron sculpture, by blacksmith Tom Joyce, that rises from the flowerbeds. The sounds of water gurgling from a tiled fountain evoke a sense of tranquility and grace. Casually elegant, the setting perfectly reflects the personalities of its owners, David Frank and Kazukuni Sugiyama (“Sugi”). Indoors, shoes lie in pairs in the small vestibule, remnants of Sugi’s Japanese heritage and a silent request to shed footwear at the door. Although the entryway is not large, it manages to feature multimedia artworks by Matt Saunders, Rufino Tamayo, Judy Tuwaletstiwa, and Rose B. Simpson, as well as a welcoming vase of flowers. This grouping of works by a New Yorker, a Mexican, and two New Mexicans, respectively, is indicative of the eclectic nature of the art Frank and Sugi have collected over the years. On the other hand, one quickly observes that there is an aesthetic foundation to the collection of furniture, art, and curios: Japanese and Chinese art predominate, with an overall sensibility that reads as an Asian-inspired fusion of antiquities with contemporary art. This is no coincidence. The two met in New York in 1976 while Sugi was working as an independent designer for a Japanese home-electronics company. At that time, having grown up near Mount Fuji and hyperaware of the devastation of post–World War II, Sugi “hated old stuff.” He was a modernist through and through, convinced by what he calls the “deconstruction” of his homeland that innovation was paramount. Being absolutely certain, then, of his own tastes, Sugi surprised himself one day in Manhattan on 14th Street, where he was lured into a junk store by the vision of an 18th-century Japanese steel mirror. Once inside, he also found an old smoking set— a prime example of what is known as mingei. Based on the thesis of the “handcrafted art of ordinary people,” mingei is always functional and made from a variety of material— ceramics, wood, lacquer, and textiles. The movement dates from the fin de siècle and is the result of the ultranationalism, not unlike Germany’s, that preceded WWII in the Empire of Japan. It is the beauty of their design along with their utility that makes mingei works collectible.

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COLLECTOR’S CACHE

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While several of Frank and Sugi’s pieces predate the mingei classification by three or four hundred years, these objets d’art follow the precepts of mingei in terms of their functionality, which is blessed with a delightful intricacy. Sugi, who used to travel to Japan two or three times a year for business, became a collector of mingei and other antiques. Now Samurai dress helmets, called jingasa, from the feudal Edo period line the horizontal wall space above the living room’s French doors; old “Go” game boxes sit atop a contemporary redwood-burl table; and exquisite mingei objects inhabit just about every flat surface in the living area. Miraculously, these objects do not generate a sense of clutter—thanks, indubitably, to their collectors’ thoughtful placement of each piece. If Sugi’s interests are responsible for the focus of this collection, it may be that Frank, who graduated from Brown University with a B.A. in art history, brings expansiveness to the mix. He says he “came of age during the [period of the] abstract expressionists,” and that European and American art of that time defined his “comfort zone.” It was during his freshman year at Brown that Frank discovered a series of images by one of the Italian Renaissance greats in an old book printed in 1817, An Analysis of The Transfiguration by Raphael. The series of exquisite intaglios had been carefully etched by Englishman James Godby, renowned in his time for his talents with the engraver’s chisel. The series hangs in the master bedroom today. Of course, it was inevitable that two people with a genuine interest in and considerable knowledge of art would make the move from historical to contemporary works. After all, Sugi was an

avowed fan of modern design and Frank loved abstraction as much as figurative subject matter. They began collecting the work of Minol Araki, who stated in a 1999 interview in The New York Times that he has “always lived and worked in the gap” between Japan and China—he was born in China in 1928 to a Japanese family. Sugi says that Araki is “the last of the nanga painters,” a group of Japanese artists who used sumi-ink brushwork in the ancient Chinese literati style. Araki creates imaginary landscapes on two-ply rice paper, which are then mounted as scrolls or upon tatami-mat-sized canvases of roughly three by six feet. An industrial designer and an artist, Araki works in modules, or units; the two paintings at either end of the collectors’ dining table are part of one piece consisting of four panels. (The other two panels hang in Frank and Sugi’s New York apartment.) In a similar vein, two sumi-ink scroll paintings by the young Chinese artist Fung Ming-Chip hang on each side of the fireplace in the great room. Fung employs some 50 different calligraphic styles; these two feature the “drunken” and the “plum blossom” scripts. A recent development in Frank and Sugi’s collecting is the acquisition of contemporary Japanese ceramics, along with vessels hand-built of bamboo, including two sublime works by the artist Nagakura Kenichi. Santa Fe galleries Touching Stone and Tai, respectively, have proven important to this stage of the everexpanding collection. Early in the millennium, Frank followed the newly thriving contemporary Chinese art market, traveling to Shanghai and Beijing, as it boomed until “it left me behind,” he says, in terms of

Of course, it was inevitable that two people with a genuine interest in and considerable knowledge of art would make the move from historical to contemporary works.

Japanese fireman’s hood from the late Edo period, indigo-dyed and painted cotton. Opposite: The white canvas (left) on the wall in a living-room corner is Focus #18 (2003, photo and cotton thread), by contemporary Chinese artist Lin Tian Miao; to the right is the highly abstracted Saint Family No. 3 (2006, oil on canvas), by painter Sun Yao, another Chinese contemporary artist. Below is Darrin Hallowell’s fragmented Kneeling Figure (2003, ceramic on iron armature). The table of American walnut, titled Frenchman’s Cove II, was crafted in 1988 by Japanese-American furniture maker George Nakashima (1905–1990); the accompanying chair is by Italian Ettore Sottsass of the Memphis Design Group, from the 1980s. Atop Nakashima’s table lies the Japanese bamboo basket Jewel of Water (2001), by Nagakura Kenichi. The red lacquer begging bowl is from early-20th-century Thailand; assorted mingei objects keep one another company on the table.

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COLLECTOR’S CACHE

This setting consists of four works by Japanese artist Minol Araki. On each side wall is a panel from the diptych Lotus Pond (1992, ink and pigment on paper). The scrolls flanking the window are titled Ethereal Landscape I and II (1991, ink and pigment on paper). Assorted objects from Burma, Japan, India, and South Africa lie on the console table on the left; to the right are various Japanese mingei pieces, including Negoro lacquer vessels and bamboo baskets.

COLLECTOR’S CACHE

Mark Ouellette’s brooding Portrait of Francis Bacon (2004, oil on canvas) is a mix of contemporary painting and artifacts. On the late-18th-century Italian fruitwood desk are two Japanese boxes from the late Edo period: left, a hand-carrying box, or tebunko, and a suzuri bako, or writing box; right, a water ladle (shakushi) made from a lacquered Japanese gourd for traditional tea ceremonies. Border: Detail of Gayle Wimmer’s wall hanging Time Skin (1987, woven ribbons of The New York Times).

COLLECTOR’S CACHE

Fung Ming Chip’s ink-on-paper scrolls hang on either side of the living-room fireplace: left, Plum Blossom Script (2001); right: Drunken Script (2003). Above the fireplace, View #92 (2003, oil on canvas) by Gregory Amenoff. Below Amenoff ’s painting, in the center of the mantel, is the Japanese bamboo sculpture Mareta Shell (2008), by Yasushi Hiroi. The coffee table, made of California redwood burl (1989), is by furniture maker George Nakashima. A pair of containers for “Go” stones from the mid-Edo (18th century) period in Japan, carved from bamboo root, lie atop the table. To the left of the hearth is a Japanese contemporary ceramic piece created in 2007 by Sakiyama Takayuki; the vase in the center is by Hidetoshi Koichi (2007). In the entryway: a wall sculpture, Feldenkrais (2008, ceramic and mixed media), by Santa Clara Pueblo artist Rose B. Simpson. Below Simpson’s piece, atop the tansu, is an untitled wood sculpture by Barbara Jo McLaughlin (1999).

affordability. A significant piece from that recent phase of collecting is Lin Tian Miao’s mixed-media piece from 2002. Lin laid a soft-focus photograph of herself, bald after chemotherapy, onto canvas, to which she attached white balls of twine that follow the contours of the self-portrait. The effect is absolutely contemporary, while the narrative is haunting, ethereal. An equally favored contemporary piece came into the collection while Frank and Sugi were living in Tucson, Arizona. There, they came across Gayle Wimmer, then head of the School of Art-Fibers department at the University of Arizona in Tucson. The artwork consists of a very large wall hanging made of thousands of pages of The New York Times folded into paper ribbons and woven into the piece. The effect is organic, like that of a hide—and is especially appreciated by Frank, who worked for many years in New York in a very exclusive, family-owned textile business. Paintings by James Havard, Gregory Amenoff, and Albuquerque resident Mark Ouellette comprise part of this unique collection. Ouellette’s portrait of the Irish painter Francis Bacon is extraordinary, not only for its resemblance to the artist but especially for its atmosphere; it hints broadly at the nightmarish qualities of Bacon’s work without being at all derivative. A sculpture of a fractured torso by Darrin Hallowell and papier-maché, wire-framed wild dogs by Mexico-born Michael Cojero round out the three-dimensional figurative works by young Americans, including a ceramic figure in the entryway by Simpson. Diverse, unrestricted to one specific style, yet based upon the unity of a sure and intelligent eye: Such is the variety of artworks amassed by Frank and Sugi. Like the art itself, their assemblage has an aesthetic that is founded on an appreciation of the intersections between function and narrative within a traditional format, and a postmodern investigation into how an appropriated past fits into a contemporary sensibility. In the case of these two longtime collectors, that fit equals the formula for graceful living. R

505-992-0441

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DOUGLAS MERRIAM

PROJECT: Hotel Saint Francis, Santa Fe CLIENT: Heritage Hotels & Resorts ARCHITECT: Martinez Architect Studio INTERIOR DESIGN: Kris Lajeskie Design Group CONTRACTOR: Gerald Martin Construction

KATE RUSSELL

hen asked about our design style— we have concluded that there are no limits or boundaries to what is possible in the creative process. A fitting statement best exemplified by our latest hospitality project— the Hotel Saint Francis; an historical gem that has taken on the look and feel of a monastery. Each project engenders a new set of ideas about living, style, function, and comfort. Our mission is, first and foremost, to create a strong sense of place, and our greatest assets in achieving that mission are both our own creative inspiration and the clients themselves, always an interesting and diverse group. Our design portfolio reflects their many personalities, from an old world Tuscan villa to an avant-garde Manhattan penthouse, from a sprawling hacienda to a Parisian pied-àterre. What these all have in common are clients who seek to create meaningful experiences through architecture, lighting, finishes, furniture, and art.

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MASTER WORKS

BY LAURA ADDISON

Paint,Refined andRaw The Mastery of James Havard

Peyote Wall, 1984, acrylic and collage on board, 64 x 40 inches.

Havard in his Santa Fe studio, 2003. Opposite: Color Chart for Cane Garden Bay, 1977, acrylic on canvas, 54 x 48 inches.

JACK PARSONS. OPPOSITE: COLLECTION OF THE NEW MEXICO MUSEUM OF ART.

There is no art without intoxication. But I mean a mad intoxication! Let reason teeter! Delirium! The highest degree of delirium! Plunged in burning dementia! Art is the most enraptured orgy within man’s grasp. Art must make you laugh a little and make you a little afraid. Anything as long as it doesn’t bore. —JEAN DUBUFFET, “NOTES FOR THE WELL-LETTERED” (1945)

ames Havard’s work is often compared with that of Jean Dubuffet, whose painting is characterized by a raw, naive, and seemingly untrained style inspired by the art of children, mental patients, and prisoners—creative output that the French artist coined “art brut.” Dubuffet’s then-radical style, formulated during the years following World War II, was a conscious departure from European artistic traditions, a complete rejection of the Academy—and culture, for that matter. Similarly, Havard’s embrace of art brut (or outsider art), a style he transitioned to in the mid-1990s, marked his repudiation of an art marketplace that he felt had become formulaic and stale. His was a personal revolution aimed at reinventing not the art world, but himself. James Havard was born in 1937 in Galveston, Texas. His early art training was academic in nature, focusing on life drawing

and realism at Sam Houston State University, in night classes at Atelier Chapman Kelly, and then at the Pennsylvania Academy of the Fine Arts (1961–1965). Realism was the means by which he gained acceptance in art circles at the time, excelling at the Academy, exhibiting his work at student art shows, and even moonlighting as a technical illustrator to support himself. Ever the experimenter, however, Havard was by the late 1960s playing with abstract figuration, pop art, minimalism, and materials such as auto-body paint and vacuum-formed shapes. By the late 1970s, living in New York City, Havard became known as the leading practitioner of what gallerist Louis K. Meisel termed “abstract illusionism,” a style of painting characterized by the illusion of three-dimensional space on a two-dimensional surface. Paintings such as Color Chart for Cane Garden Bay (1977) possess their own pictographic language of loosely scrawled lines, trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 51

MASTER WORKS

squirts of paint, X marks, and geometric elements that appear to jump forth from the canvas, an impression accentuated by painted shadows. Havard’s system of symbols is an enigmatic form of writing familiar only to him. His reputation was cemented by various exhibitions at galleries and museums that established abstract illusionism as a veritable art movement. The boom years of the 1980s were good to Havard. However, not one to become complacent with his growing success, he began to move his paintings toward a darker palette and deeper expressionism. A work such as Peyote Wall (1982) epitomizes this transitional style. Figuration and references to indigenous cultures, particularly influenced by his passion for collecting Native American objects, appeared sporadically in his work while he was in New York, but once Havard moved to Santa Fe in 1989, they became more common currency. His New Mexico History Page series, for example, incorporated ethnographic imagery in the form of collaged reproductions. The play of illusion and reality became all the more evident with this juxtaposition of paint and photograph. In turning to the elemental quality attributed to outsider art and ethnographic objects, Havard was following a well-worn, though problematic, path negotiated by Dubuffet, Paul Gauguin, Pablo Picasso, Paul Klee, and André Breton, among others. Through their fixation on tribal cultures and the marginalized of society, the European avant-garde sought a return to origins, true creativity, and authenticity. Abandoning his early painting successes, Havard seemed to be searching for a more authentic voice that was unsullied by market 52 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

COURTESY OF LINDA DURHAM CONTEMPORARY ART (4)

Clockwise from left: Woman in Drawing Room with Scorpion, 2005, oil, wax on wood, 26 x 22.25 inches; White Dots, 2007, oil, wax, mixed media on panel, 42.25 x 32.25 inches; Black Dots, 2007, oil, wax, mixed media on panel, 42.25 x 32.25 inches; Boxer, 2006, paint and flocking on paper, 18 x 12 inches

MASTER WORKS

demand. Here again we find parallels with Dubuffet, who in his lifetime sought liberation from cultural norms and historical precedents. The irony, of course, is that each artist found his authentic voice by rejecting the art establishment while working within it and deriving recognition and monetary success from it. Although in retrospect Havard’s shift to a more raw, expressive, and unmediated style of painting was clearly a gradual process, the new style seemed in 1996 to be a sudden schism—a response to two health emergencies in five years, both near-death experiences. It was as if he was channeling Jean Dubuffet—or, more accurately, the outsider artists the Frenchman championed as original and authentic voices—through his paintings. One could hardly conceive of two painting styles more disparate than the refined finish of Havard’s abstract-illusionist canvases and the raw, unrelenting, childlike hand of his art brut works. Yet further consideration suggests what it is that Havard’s two styles share: 54

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COURTESY OF JACK RUTBERG FINE ARTS

Peyote Wall, 1984, acrylic and collage on board, 64 x 40 inches

“intoxication,” such as that described by Dubuffet, with the tactility, sensuousness, and shape-shifting potential of paint. Early in his career, Havard made paint trick the eye with illusionism so convincing it left you with the impression that you could touch the object represented. In contrast, his later works make paint seize the emotions with the intensity and vigor of its handling. A characteristic painting, such as Woman in Drawing Room with Scorpion, consists of a central figure coarsely drawn or incised, often female, floating on a dense oil-and-wax matrix that is often black. Words may appear gouged into the thick, primordial substrate; when legible, they are cryptic at best. For Havard, unknown demons are purged through the act of painting, drawing, and incising. Sometimes the painting is completed with the ultimate stylistic paradox: an ornate, gilded frame. In this dark underworld—at times humorous, at times menacing—there is no more visual deception of dimensional space. In its place is an insistent flatness. And there is no effort at refinement. Instead there is pure automatism, spontaneity, and “mad intoxication.” The naiveté of Havard’s expressionist paintings belies a mastery of the human form through rigorous academic training. And the crudeness of the surface and line— accomplished by combining oil and wax, using fingers and paintbrushes, and building up layers and then brutally incising those layers with screwdrivers—is a complete renunciation of the finish he sought as an abstract illusionist. Havard’s late work, in its apparent impulsiveness, seems to embody Dubuffet’s exhortation: “Let reason teeter! Delirium! The highest degree of delirium! Plunged in burning dementia!” At 72, James Havard still creates nearly every day, despite a third near-death experience in 2006 that left him on a long road to recovery and reliant upon a wheelchair. Despite his physical limitations, Havard’s artistic practice continues along the same path. “I make beautiful messes,” he once quipped. The shape-shifting of his early years has given way to a firm conviction that his brand of art brut for the 21st century is his legacy to the art world. R

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Architect Antoine Predock works through a series of efforts before coming to a final architectural solution. In his studio, above, he works with his 1990 drawings of the Agadir Palm Bay Resort and Casino in Agadir, Morocco (left).

nternationally renowned architect Antoine Predock moves through his life and work like a romantic time traveler, incorporating geology, geography, cultural artifacts, current events, weather patterns, astronomical cycles, personal experiences, and the history of architecture into each design. Though he maintains satellite studios in Los Angeles and Taipei, Taiwan, Predock has been living and working in New Mexico for more than 50 years. His 12th Street studio near downtown Albuquerque is a complex of interconnected rooms, a large patio, and outbuildings filled with computer workstations, an array of printers, three-dimensional replicating machines, a 20-member design team, a museum-quality collection of restored antique and classic motorcycles—all in running condition—and countless clay, plastic, balsa, and foam-core models, drawings, and collages. Predock’s physical surroundings reflect his complex romantic vision, reliance on intuition, and openly intellectual approach to collaborative and meticulous creativity. All these factors have made him, at a youthful 73, the recipient of countless architectural commissions, honors, and awards, including the prestigious American Institute of Architects 2006 Gold Medal for his lasting influence on the theory and practice of architecture, and the 2007 Smithsonian Cooper-Hewitt, National Design Museum’s Lifetime Achievement award. From his iconic La Luz Community project (1970) on Albuquerque’s West Side to the New School of Architecture + Planning Building on the University of New Mexico’s Albuquerque campus (1999–2007), Predock has shared his inspiration garnered from the desert. “New Mexico has formed my experience in an all-pervasive sense. I don’t think of New Mexico as a region. I think of it as a force that has entered my system, a force that is composed of many things,” Predock says. “Here, one is aimed toward the sky and at the same time remains rooted in the earth with a geological and cultural past. In Australian Aboriginal dreamtime, song lines traverse the land and describe the geography in a way that is totally rational and yet mystically poetic. Similarly, the elemental power of this place is inescapable. Lessons learned in the American Southwest apply anywhere in the world— my ‘regionalism’ is portable.” To Predock, the spirit of his work is the enigmatic quality of the desert. “You think you’ve got it; you think you understand,” he says. “Then you turn over a rock or crawl under a trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 57

The collage allows us to focus our attention while embracing a new set of problems and challenges,” says Predock. “Following the cultural and geographical immersion, quick sketches will emerge, leading to the clay model, which becomes the actual building.”

Predock’s love of choreographed movement explains a bit of his passion for motorcycles—he’s been riding since the 1960s. Here, his 1929 Indian Scout.

larger rock and you discover other worlds, other realms within.” In a section cut from a highway, for example, a sectional diagram of the earth is revealed: At the bottom is pre-Cambrian granite, overlaid with limestone. In geologic time, other sedimentary strata such as sandstone and ocean-bottom fossils turn up. Then cultural artifacts emerge in just a fraction of an inch—compared with miles of geologic datum. In the Southwest, this cross section first offers traces of the Anasazi, followed closely by remnants of later cultures: the Spanish conquistadors, 1930s hubcaps, then beer cans, McDonald’s wrappers, and the residue of future

Predock creates great collages for each project, exploring the history of the site, its factors, its cultural roots, and current issues and events. Here, a collage prefaces the building of the Museum of Science and History in Tampa, Florida.

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technologies. For Predock, that cut is a poetic diagram of time and the impetus for an investigative process leading him to his creations. Predock began his studies in engineering at the University of New Mexico’s School of Architecture and Planning, which was just beginning to grow into the major component of the university that it is today. At the time, professor of architecture Don Schlegel was also teaching engineering and caught Predock’s attention with his absolute passion for architecture. Predock credits Schlegel with lighting the flame that moved him into architecture. Eventually, Predock left UNM, with Schlegel’s blessing,

for more intensive studies at Columbia University’s graduate architecture program in New York. After that, he returned permanently to New Mexico. Through his studies, Predock was inspired by the projects of Frank Lloyd Wright and worked during the summer of 1958 in Texas with Charles Adams, a Wright associate. From Adams, Predock learned to pursue details born of larger ones. Predock was also inspired by architects Mies van der Rohe and Le Corbusier and wished he’d learned more about Alvar Aalto. Louis Kahn became a focus and, eventually, along with Wright, Predock’s strongest influence. But, he says, nothing would have happened without Schlegel’s early inspiration. While studying at Columbia, Predock became a student of dance greats Jennifer Masley, Merce Cunningham, Yvonne Rainer, and later Anna Halprin. Through the profound experience of witnessing and participating with bodies moving in space, Predock learned to see his buildings as pro-

cessional events, or choreographic events that become an accumulation of both perceptual and experiential vantage points. Predock’s love of choreographed movement explains a bit of his passion for motorcycles, too. He has ridden bikes since the 1960s and has been known to take trial runs aboard full-bore racing bikes on the highway. Predock owns, among many other wonderful machines, a 1929 Indian Scout that is nearly identical to one highly modified by New Zealander Burt Munro, who set the unbroken 1967 world record for an Indian motorcycle on the Bonneville Salt Flats in Utah. Predock has a photograph hanging in his studio of another Bonneville record attempt, which shows the rider lying prone on the motorcycle at top speed with his legs outstretched behind him to reduce wind drag. “Architecture is a fascinating journey toward the unexpected. It is a ride—a physical ride, and an intellectual ride. I like to

think about machines and technology in relation to landscape and architecture,” Predock said during a discussion of his design of the Nelson Fine Arts Center on the Arizona State University campus in Tempe. “The idea of a motorcycle in the

landscape confirms a kind of closure for me, a technological, experiential closure.” It is that collapse of time and compression of cultural history in Predock’s work that makes his buildings instant classics no matter how modern, contemporary, or

Mesa del Sol reflects the community it was built to serve in Albuquerque.

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futuristic they might appear at first glance. To begin architectural designs, Predock creates a great collage to illustrate the history of the site, its cultural roots, and current events. Predock and his team consider the topography, geology, climate, political history, and every other aspect of the site. “The collage allows us to focus our attention while embracing a new set of problems and challenges,” he says. “Following the cultural and geographical immersion, quick sketches will emerge, leading to the clay model, which becomes the actual building.” Predock explains that when he and his team are working on projects—he asserts the importance of the collaborative component in his work—they remind themselves that the project is a timeless encounter with another place, not just a little piece of land. All the readings accumulated and assimilated there, even those imagined in the past or the future, collapse in time and become 60 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

the raw material with which they interact. Two of Predock’s latest projects are the World Mammoth and Permafrost Museum in Yakutsk, Republic of Sakha, part of the Russian Federation; and the National Palace Museum branch in Chiayi, Taiwan. An excerpt from Predock’s Mammoth and Permafrost Museum proposal explains, “The museum is a landscape abstraction from myths of Sakha cultures and their spiritual predecessors. The building expresses the seasonal cracking and shifting of the ground plane that continually reawakens the memory of previous epochs beneath. The silhouette of the building suggests the sheer power and bulk of the mammoth and marks the vast Siberian landscape with an iconic and lasting symbol.” Predock’s museum design includes transparent walls and ceilings that appear to be made of ice, referring both interior and exterior to the environment of the mammoths, the permafrost that preserves

BOTTOM: KIRK GITTINGS

Predock designed the New School of Architecture + Planning at the University of New Mexico in Albuquerque, providing spaces for classrooms, lectures, and events—and inspiration for architectural students.

COURTESY OF ANTOINE PREDOCK ARCHITECT PC (3)

“Lessons learned in the American Southwest apply anywhere in the world— my ‘regionalism’ is portable.”

Top: A long walkway across water leads into the Palace Museum in Chiayi, Taiwan. Above and right: Drawings and ideas for the New School of Architecture + Planning at UNM.

The Logjam House, in Rio Blanco, Colorado, rises from a grove of ponderosas, providing shelter and referring to the future when the trees are gone and will appear to have sprung new life.

their remains, and the crystalline glaciers that led to their demise. In the design of the Palace Museum, Predock amplifies the meeting of water and land with a long walkway across water leading into the building. And the structure itself seems to rise from the morning mists in its symbolic linking of the Mountain of Longevity and the Sea of Happiness. Predock is fascinated with the sudden and long-term cultural changes that might completely alter the use of a building, such as ancient pagan Greek and Roman temples being converted to Christian churches virtually overnight. “Once a structure is built, one loses control over how it may be used sometime in the future,” he explains. “If designed well enough, one hopes a building will retain enough of its original content and aura to maintain its original presence.” Predock takes those initial design parameters very seriously. The New School of Architecture + Planning at UNM was con62 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Predock is fascinated with the sudden and long-term cultural changes that might completely alter the use of a building, such as ancient pagan Greek and Roman temples being converted to Christian churches virtually overnight. ceived as a building that would not only provide space for classrooms, lectures, and related events but also provide inspiration for architecture students. Predock believes students can be engaged and actively learn from the intrinsic qualities of the spaces in which they work. His UNM building features solar apertures that align with equinox and solstice events throughout the year. With its exposed infrastructure and built-in cosmic clock, the

COURTESY OF ANTOINE PREDOCK ARCHITECT PC

Predock recently designed the World Mammoth and Permafrost Museum in Yakutsk, Republic of Sakha, part of the Russian Federation, to suggest the sheer power and bulk of the mammoth and to mark the vast Siberian landscape with an iconic, lasting symbol.

building might also teach future architects to collapse time and compress cultures as they spend creative hours within its walls. Predock is married to sculptor and painter Constance DeJong, whose work echoes, in the broadest sense, Predock’s penchant for romantic monumentality and time transcendence. DeJong sculpts in a variety of metals and in sizes described as reductive minimalist. She enjoys an austerity of form with a deadpan presentation. Her ambitious, architectonic works are often lit from within by carefully placed polished surfaces. That radiant inner glow beckons viewers to suspend thoughts of scale and place, and even the consideration of overall design. She wants the viewer to surrender to the fleeting yet timeless moment that allows one to fill the occupied space, no matter how grand or diminutive, with a contemplative silence. DeJong’s sculpture and chemical “paintings” on metal integrate organic and geometric patterns, shapes, and lines in a way that activates the viewer’s eye, lending the

work, though physically static, a sense of movement. In a 2003 interview with Gus Blaisdell for his book Constance DeJong Metal, the artist described meditation as a conduit to reality. She said her meditations are neither spiritual nor religious. She finds the practice to be a way to see through the nonstop fiction of one’s thoughts to what is actually occurring. Both DeJong and Predock seek a truth in their chosen art forms and approach creativity with a strong sense of integrity and respect for the entire process. To assimilate their work, the artists truly embrace the tactile and visceral experiences inherent in their methods. “When I am involved in making something, an object, the making has a quality of innocence,” says Predock. “The gestural aspect of, say, making a clay model has an affinity to one’s handwriting with the presumed innocence of one’s signature. That signature is part of the physiology of mak-

ing something. In my case, whether it is a painting, a clay model, or a collage, it becomes the beginning, the source of the project. My process remains connected to spirit through the body and to the personal space that the body defines. “The trick,” he continues, “is to get through the thicket of what [Louis] Kahn called ‘the measurable in the making of a building’ to come out the other side so the built work expresses that initial physical and spiritual impulse.” Predock’s complex philosophies and his treatment of time are both fleeting and expansive. That roar you hear fading into the background? That’s Predock as he accelerates toward his 1950 Vincent Black Shadow’s top speed of over 150 miles per hour, hugging the gas tank as he goes. It’s just another wind-in-the-hair ride through desert microclimates, geological time, enervating hairpin turns, and long straightaways for New Mexico’s favorite “regional” architect. Ride on Antoine, ride on. R trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 63

photos: Douglas Merriam

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Glass 66

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Alliances for an Art Form BY KEIKO OHNUMA | PHOTOS BY PETER OGILVIE There is no denying the erotic allure of glass: To witness liquid fire being shaped by the hard-muscled arms of silent Vulcans is to fall in love with something you didn’t know you could love—industry before engines, technology before circuits, the molten meeting point of man and fire. That’s true even when the glassblowers are all female, plunging their irons in and out of the glory hole (as the reheating furnace is called) in a wordless dance as primal as the hunt, as heroic as a Diego Rivera mural. Since the early days of the studio glass movement, visitors have stood entranced at “hot shops” like Glory Hole Glassworks on Santa Fe’s Canyon Road, watching simple vessels being blown, shaped, tweezed, and nested like eggs in an annealing oven to cool gently to room temperature. “I love it when a little girl comes in and says, ‘I want to grow up and be a glassblower,’” Elodie Holmes, owner of Liquid Light Glass on Baca Street, says with a grin. Like many local glassblowing veterans, Holmes traces her initiation back to Glory Hole Glassworks, one in the first line of descent from the father of American studio glass himself, Harvey Littleton. Since Littleton’s glassblowing workshops at the Toledo Museum of Art in the early 1960s, the art of glass—until then a purely industrial pursuit in America—has swelled in popularity as initiates trickled across the nation to set up shop where power and rent were cheap, such as in Northern New Mexico. “It’s engaging, alchemic, magical,” says Holmes. “There’s a saying, ‘When you get bit by the glass bug . . .’” Early collectors got bit, too. As craft workers like Holmes grew technically adept and graduated from simple vessels to sculpture, collectors feverishly hunted down every example of these brilliant objects rarely before seen in America, and began to fill their homes. Glass art today can hardly be called mundane. Galleries report that it is the fastest-growing medium nationwide. And it’s the latest art form to attain museum status. Situated uneasily between its utilitarian past and its contemporary status as fashionable, glass occupies a central place in the ongoing debate about art versus craft. That debate might well trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 67

Galleries report that glass is the fastest-growing medium nationwide. And it’s the latest art form to attain museum status.

Previous spread: A hand-blown “flat” vase, about 14 inches tall, by Charlie Miner, an artist based in Tesuque, New Mexico. The Ehrenbergs’ glass collection includes some 300 pieces, which are rotated among the surfaces and nichos in the house. This page, clockwise from top left: Ruby Library by Lucy Lyons; cofounder of the Taos Institute of Glass Arts Delinda VanneBrightyn used a mold technique known as pate de verre to create Consciousness, a piece representing the delicate balances in the natural environment; Ashore by artist Bobby Bowes, cofounder of the Bay Area Glass Institute in San Jose, California, and originator of the annual Great Glass Pumpkin Patch fund-raiser in Palo Alto, California.

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Betsy Ehrenberg stands in her Casa de Vidrio (House of Glass) holding two pieces from her collection of 150 glass paperweights; in her right hand is Native Flowers Bouquet Orb by Paul Stankard and in her left is Amber Lily by Peter Raos. On the floor, left to right: Back to Back on Rocky Footing by Seattle-area artist Katje Fritzsche, of Sweden (hand-forged steel and mold-blown glass deer heads); Mimbres Fish by Tammy Garcia, a Native artist who has helped pioneer the use of glass in traditional designs (sand-carved glass); Spirit Boat by California artist Mark Abildgaard, a glass casting inspired by Pacific Islander carvings of “soul boats.”

have culminated in Santa Fe this year with the arrival of SOFA WEST. Over the last 16 years, this Sculptural Objects and Functional Art fair, held in Chicago and New York, has itself proved to be a bellwether of the postmodern blurring of boundaries between high craft and fine art. Enter: glass. “SOFA was a major coup,” says Holmes, echoing the sentiment of many Santa Fe galleries that previously had few means to attract A-list collectors. And it’s no accident that the force behind SOFA’s arrival in Santa Fe was the founder of the Glass Alliance–New Mexico. This woman made it her life’s purpose to turn the town into “the glass mecca of the world,” Holmes explains. Enter: Betsy Ehrenberg. A retired software entrepreneur and avid glass collector from California, Ehrenberg inspires nearly as much passion as the medium itself. “I like Betsy and I work with her all I can,” says Charlie Miner, another veteran of the Santa Fe glass scene. “She’s a powerhouse, a workaholic; she has a passion and drive that not a lot of people have.” Fresh off the energy of establishing a high school glass program and glass-collecting group in Palo Alto, California, Ehrenberg arrived in Santa Fe in 2004. She erected a sweeping modernist villa

overlooking the Santa Fe Opera to showcase her extensive glass-art collection. In May 2006, she founded the local Glass Alliance–New Mexico on the model of her earlier efforts, and she has strived relentlessly since to forge alliances between artists, galleries, and collectors—what she dubs “the three-legged stool.” More than just a collectors’ club, the Glass Alliance–New Mexico puts together lectures, tours, exhibitions, and demos so gallery owners and collectors can learn more about the art of glass. To persuade local galleries to carry more of the stuff, Ehrenberg started bringing in busloads of collectors from out of state. They watch demos, meet artists, and shop in the galleries, which she arm-twists as necessary with promises of promotion and sales of the glass art they carry. Three years later, the 300-member Glass Alliance–New Mexico counts more than 30 galleries selling glass, plus three schools that teach the art form. “I’ve created an entire community, which is a combination of artists guild, collectors group, and Gallery Association,” Ehrenberg attests. “Betsy made us work together,” agrees artist Delinda VanneBrightyn, who cites Ehrenberg’s inspiration for two similar enterprises in Taos: a glass-art invitational, now in its second year, and the Taos Institute for Glass Arts, which VanneBrightyn started trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 69

“As a glass artist you have to collaborate," says Ehrenberg. “The life of an artist who works in glass is a metaphor for how we should live in society.”

Creating a large glass vessel calls for careful choreography by a team of glassblowers. Charlie Miner (above) leads a team in blowing, shaping, and spinning a bowl at his Tesuque Glass Works.

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Casting one of Charlie Miner’s glass bowls (above) requires nine steps executed by Miner and the artists at Tesuque Glass Works over a period of three to four months.

with artists Michael Miro and Carol Savid. “We really had no idea how many people in Taos or Santa Fe were working in glass, how many collectors there were,” she says. “Betsy has shown how much interest there is in glass.” Jane Sauer is among the gallery owners who say their eyes were opened by the Glass Alliance–New Mexico. Sauer credits Ehrenberg with sparking interest in the technical arena of glass, contrasting the dangerous thrill of the work to her own medium, weaving. Harnessing this allure, Ehrenberg quickly realized, could help turn glass alchemically into gold, and might be ignited to build the critical mass that will turn Santa Fe into a glass-buying destination. Her motivation is simple: “I feel the artist should be able to earn a living. I feel passionate about this concept.” Art education is important, Ehrenberg says, because it teaches us to communicate in a world full of messages. And glass, as a material, has much to teach us: “As a glass artist you have to collaborate. The life of an artist who works in glass is a metaphor for how we should live in society.” There is another tradition in glass art, however, that is not eulogized in Glass Alliance–New Mexico evangelism, and that might account for the uneasy accommodation of the organizational dynamo in some quarters: that of the artist as individualist, an

archetype embedded in contemporary art history. Certainly, one reason the glass community had not organized until now is that many contemporary artists, especially, prefer to be left alone. “Everyone knows each other, but they don’t necessarily work together,” says Lucy Lyon, who never blew glass but made her name nationally through her figurative tableaux of cast-glass figures. “Blowers and flat-glass people don’t relate too much to each other.” Emily Brock, of Corrales, got her start in stained glass in the 1970s, then turned to kiln work precisely because she could do it at home alone. Her painstakingly assembled dioramas of slumped and cast glass have been avidly collected since the late 1980s. Flo Perkins is another New Mexico artist who built her reputation when the hot-shop movement was still in its infancy, and who opted to go it alone when she built her own hot shop in Nambe in 1982. “To be honest,” she says of the Glory Hole Glassworks crowd, “the guys who did that already had their own club, and they were doing a different thing—they did production,” a term used to distinguish art endeavors from craft-sale inventory. Charlie Miner explains the split between the camps in economic terms. In the 1970s and ’80s, his “hippie-style” hot shop, Tesuque Glass Works, supported four full-time blowers, but such glassware trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 71

At a Glass Alliance–New Mexico workshop at Liquid Light Glass studio. Clockwise from top left: Studio owner Elodie Holmes (left) and her partner, Jannine Cabossel (right), get a participant started on making a glass paperweight. Pigment is added to the molten glass, which results in swirls of color once the piece is blown and shaped. Holmes puts the finishing creases on the paperweight so it can be detached with a drop of water. Opposite: Glass art by Holmes and Cabossel fills the gallery at Liquid Light Glass on Baca Street. The glass shop anchors a six-studio complex of boutiques and art studios.

could hardly pay for itself now, he says. There is too much of it, and the quality keeps improving, so “garage” glass artisans can no longer compete with mass production from China and elsewhere. Miner supports his studio these days with sales of his large, complex sculptural castings, each of which takes the shop several months to execute. That elevates the results to the five-figure sales category—difficult to imitate and coveted by collectors worldwide. But collectors, too, are growing increasingly difficult to impress, he says. The serious glass collectors have no more room, and are now loaning their works to museums. Santa Fe saw an example of this last summer, with the first-ever glass exhibition at the New Mexico Museum of Art, Flux: Reflections on Contemporary Glass. Underwriters Doris and Arnold Roland, veteran collectors from Santa Fe and Tucson, Arizona, proposed the exhibition a full year before the Glass Alliance–New Mexico was even created. Their motivation was explicitly to make the statement that glass had arrived as a fine-art form, Arnold says. Similarly, Susan Steinhauser and Daniel Greenberg funded an exhibit of glass art at the Los Angeles County Museum of Art in 2006, a decade after they had stopped collecting it. “We moved as 72 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

far as we could go with glass,” explains Steinhauser, of Santa Fe and Los Angeles. “A lot of the work was becoming larger and more expensive. It was really moving into the realm of fine art, and that’s just a little more costly.” In a sense, then, Flux marked the terminus of serious glass collecting as much as it did the takeoff—part of a national movement to inaugurate glass into the contemporary-art historical canon. Santa Fe galleries, though, are another story. Growing appreciation for art glass—beyond a crowd of specialists—gives the galleries the rare opportunity to rejuvenate a market known primarily for mid-priced regional fare. For galleries that specialize in Native art, especially, glass presents a unique crossover opportunity as traditional forms are reinterpreted in the new medium. Robert “Spooner” Marcus, of Ohkay Owingeh, is one emerging artist who awoke to that potential after he met Native artists Ira Lujan, Ramson Lomatewama, and Marvin Oliver at a Taos hot shop, where they taught glassblowing to at-risk Pueblo youth. Once he moved to Santa Fe a few years ago, “the vision hit,” Marcus says. He started taking home awards at Indian Market for his Anasazi-inspired vessels.

Small wonder, too, that hot-shop owners such as Holmes, Miner, and Patrick Morrissey, of Prairie Dog Glass, number among the Glass Alliance–New Mexico boosters. The heavy overhead cost of operating furnaces and kilns leaves them little time to organize, socialize, or publicize, though they are under constant pressure to sell. “All we needed to know [about Ehrenberg] is that she’s intelligent and had knowledge of glass,” says Holmes, who serves with Morrissey as a vice president of the Glass Alliance–New Mexico to “smooth over,” as Morrissey puts it, any feathers ruffled by the organizational fury of an outsider. On the other hand, for artists not associated with a production studio, the conflation of art and craft under a general campaign to promote glass art in New Mexico is “a mixed bag,” according to Lyon—especially for those who have spent years trying to distinguish their work from “craft.” Indeed, artists appear split between those who identify with the medium of glass and those who prefer to be known as simply sculptors. And as glass appears increasingly in the work of all artists, it may be time to quit classifying artists by medium, says Steinhauser, who sees this as the message behind the recent spate of attention given glass by museums.

Her observation points to what is perhaps the major fault line in the debate about promoting glass locally: Can an art “movement” or “moment” be so called if it is based not on an aesthetics or philosophy but on a material? Or, even more questionably, on a marketing campaign? Several artists referred the question to John Addison, director of Chiaroscuro Contemporary Art on Canyon Road, which has for years carried glass art under the larger rubric of sculpture. Addison says his perception of trends in Santa Fe glass can be based only on “the unique creative output of the individual artists using the medium,” a survey that leads him to conclude, “I don’t see a larger glass movement or theme that binds these artists together.” With no real tradition in America except the hot shops and their muscled mavericks, glass has been marshaled to make a range of cultural claims, curator Laura Addison writes in the Flux catalog. For collectors, the one that has mattered most is beauty— a claim that is irrefutable still, and continues to entrance converts captivated by the play of light. Glass as art, however, will ultimately be judged by the same standards as artwork in any other medium: the ability to reflect not only light, but culture; and less as glass than as a mirror. R trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 73

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T H G U O H T L A N I G I ome R H s i O H : F k r o O R nal W i E F s T â&#x20AC;&#x2122; r a T n r A a H M t Jeff te i h c r A t a k o Intimate Lo

PHOTOS BY ROBERT RECK

ntering a Jeff Harnar home is an adventure. His architecture is unmistakable. Buildings by Harnar are works of art: sculptures of light and asymmetrical geometry with a patina of Southwestern spirituality, tapestries of industrial materials woven together with the magical landscape of rising stone. The late architect was a native of New Mexico and helped pioneer the state’s contemporary architecture movement. For him, architecture and life were indistinguishable. One informed the other, always educating and advancing his vision. “No two projects of Harnar’s were alike,” explains designer Edie Keeler, noted for her contemporary residential and commercial work. “Jeff sought solutions that did not come from books.” From redesigning the tight spaces of the Trans-Lux Jean Cocteau Cinema (now the New Mexico Film Museum) with state-of-the-art technology and seating to creating playful elements of the Santa Fe Children’s Museum, Harnar responded to program parameters with integrity, surprise, and a quest for great beauty. A Retreat on an Unbuildable Lot Harnar did the same with his final project: his home near downtown Santa Fe. Unfinished at the time of his death in 2006, the house is a melding of the earth’s seasonal rhythms, his Native American spiritual practice, and his love of architecture. The result: a purely contemporary structure that both soars above and is quite literally a part of the landscape. The architect spent two years of “aggressive searching,” says his widow, Lori Harnar, to find the perfect site. The eroded, rocky lot that seemed unbuildable to many now features a private oasis overlooking the city yet only five minutes from its historic Plaza.

Architect Jeff Harnar’s own house is a showcase of his ideas, methods, mediums, philosophies, and sheer talent. Left: The master bedroom balances the main house with the landscape, above.

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Harnar’s intention was to mirror the landscape rather than impose upon it.

Overall, the property contains three structures: a 1,650-square-foot main house, an 800-square-foot garage and workshop set into the base of the hill directly below the main house, and a guesthouse at the bottom of the vertical lot. (See Trend’s Fall 2006/Winter 2007 issue.) The sanctuary of well-considered architectural elements exemplifies Harnar’s design sensibilities. To enter, one must pass through a tunnel that leads to the subterranean guesthouse. If continuing upstairs, one would then enter a much narrower tunnel, through which the architect accomplished a transformative shift “from the outside world to the wonder of light, nature, and form,” says Lori. The second opening leads to a slotted-steel bridge above water in an underground steel culvert lined with fiber-cement storage closets and a wine cellar. In the evening, lights turn on automatically and sequentially guide a person forward. During the day, an interior light well delivers sunshine to the passage and underground vegetable garden. The water feature symbolically cleanses the spirit—and, on a practical note, delivers welcome humidity up to the house. At the end of the tunnel are a spiral staircase and sky bridge; access to the main house is then across a gentle, graded rock drive edged with metal. Rock and metal are a theme repeated throughout the grounds and house, in fact: earth and man in harmony. Natural Influences Harnar’s intention was to mirror the landscape rather than impose upon it—and he did so with undulating walls, clear-story (and clerestory) windows, and a variety of finishes to create interior canvases presenting the dance of the ever-changing Southwestern light. To further indicate respect for the outside world, the main house, bermed into the land, is relatively small. But it feels spacious. Geometry and light create separate areas for eating, sitting, working, and cooking. Harnar built his home to function as a calendar of light, carefully tuning the architecture to celebrate the solstices. In the only area that could be considered a

Left: Though not large, the house has a sense of space, with the dining and living areas separated by light and geometry. Opposite: Built of imagination and a combination of materials unique to Harnarâ&#x20AC;&#x2122;s designs, the house still fits into the landscape with ease and grace.

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Left: Meticulously chosen materials and shapes woven in with the landscape create the unique tapestry that is the Harnar home. Opposite: The entry into the home occurs through a series of transitional architectural phases, including a tunnel, until finally one lands in the private world of the home, away from the outside world.

hall—a four-foot-wide expanse of stairs between the public spaces and master bedroom—conduits mark the seasons when they fill with sunlight. With the passive-solar gain of the house’s ample glass, only nominal energy is required for winter heating. In the summer, the earth abutting the structure, efficient window ventilation, and a full-height bamboo garden with light wells behind the house easily maintain a pleasant and cool temperature. Harnar described natural light as a vital architectural material, considering it to be as significant as his trademark steel, concrete, and glass. This house also uses fiber-cement board—a product made in Denmark of compacted trash and cement—for most of its interior walls. The smooth surfaces, broken into square segments, create an industrial look, but the two-tone earthy palette of pale gray and beige softens the structure. Mysteries of Shape Geometry also softens the rooms. And as with much of Harnar’s work, his house is an exercise in geometry. The striking angles of the master bedroom suite are perhaps the most dramatic. Walls widen as they rise, opening to a six-foot-square skylight directly above the bed. The trapezoidal angles of the space create an optical illusion, making it difficult to define exactly the proportions of the room or the skylight; the sharpness softens edges and blurs the distinction between sky, earth, and structure. As in great music, that tension between the elements creates a harmony. From outside, the bedroom walls fly from the earth like fortress barriers tilted over time, anchored by and contrasting with the enormous rocks that form a boundary between the house and outdoor gardens that echo the landscape beyond. A kitchen island shaped like a sail evokes the sail-covered patio outside the glass wall of the living and dining areas. As with the rest of the house, the island’s angles open toward the outside, creating a sense of flight. Though not finished before Harnar’s death, the island was meticulously designed for a chef and host. “Jeff liked entertaining and having people over for dinner,” says Lori. “He liked to cook, and his original plans included detailed drawings of the island designed for easy cooking and cleaning—with everything at the cook’s fingertips.” Like many unique features of the house, Harnar’s design for the island was maverick, trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 79

“Nothing came off the shelf. I couldn’t even buy a towel rack. Jeff would have to customize it,” says Lori with a laugh. daring, and practical. Each of its four legs served a dual purpose: A water line was to come up one leg, a gas line up another, and drainage down the remaining two. Harnar had also intended to design spaces for compost and trash within the island. Lori was left to try to solve the incomplete, complex puzzle after her husband’s death. She approached two architects who were equally baffled. It was Ted Turner, a Santa Fe design architect, who ultimately pulled the complicated elements into a single, sleek structure. Lori periodically solves more of the house’s mysteries: Its innovative use of space afforded many hidden storage areas, which she is still discovering.

Top: Hidden storage areas still reveal themselves, as in the kitchen, designed for hosting and cooking. Above: A three-inch-thick concrete bathroom sink with a hidden drain delivers serene and smooth water flow. Opposite: Angles merge and dance like great music in the dramatic bedroom.

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No Stone Left Unturned Lori’s husband was one of the rare architects, as adept with drawing as he was with 3-D computerized modeling programs. And he could build. Harnar kept a threering binder with design concepts. Some six inches thick, it is filled with sketches for everything from structural elements to minute finish work. “Nothing came off the shelf. I couldn’t even buy a towel rack. Jeff would have to customize it,” says Lori with a laugh. The creativity, detail, and scope of the house make it as much a sculpture as a building. Harnar wanted to create a significant portion of the work himself. He learned to weld so that he could execute the floor-toceiling steel-and-glass windows of the home. Nearly every aspect of the structure not bermed into the earth is glass. Of the extensive glazing, which helps make the inside-outside barrier here indistinguishable, Harnar was able to complete only that on the master suite, though he clearly defined the quality and design of the rest of the glass that dominates the structure. Leaving no stone unturned, Harnar even handpicked and placed the massive four- to six-foot rocks for the wall at the house’s entrance. Pouring concrete is another component Harnar undertook personally. He loved the material and its ability to intersect flat surfaces with angled or undulating form. In addition to concrete floors, he designed

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As with much of Harnar’s work, his own house is an exercise in geometry, with nary a right angle to be found.

and made the platform for a master bed, countertops, sinks, and tubs with unusual application. Efficient, shallow, obtuse-angled concrete fireplaces float from the walls of the living room and master bedroom. The play of the arc of the three-inch-deep concrete that creates the bathroom sinks and chaise tub feels like the slick rock country Harnar so loved. Water flows smoothly over clean surfaces to a hidden drain. The tub is suspended over a bed of black river pebbles. Steam rises from the pebbles, and overflowing water makes its own soothing sound. There’s also a peaceful, private outdoor shower decorated with grasses, flowers, and rocks that the couple collected from various river trips. “Jeff’s final work is an offering of beauty from the earth to the sky, soaring with his spirit,” says Lori. It was one of Harnar’s firm beliefs that the continued development of new architectural ideas is the only way to sustain the vibrancy, texture, and reality of a community. By promoting contemporary architecture and dedication to the process of designing new forms while integrating them with nature, people in the architecture trade can continue his important dialogue about the progression of architectural thought and its contribution to a better-built environment. We can only surmise what other creative works Harnar had in mind for Santa Fe and beyond. What remains are contemporary structures—with his house at the fore—that pay tribute to their surroundings and are a testament to his extraordinary talent. R ______________________________________________

In 2007, Garrett Thornburg, a friend, fan, and former client, created the Jeff Harnar Award for Contemporary Architecture. The annual award is intended to “honor the memory of Jeff Harnar and to help continue his groundbreaking work in the area of contemporary design in Santa Fe,” says Thornburg. The 2009 competition has been expanded to accept statewide entries. A $10,000 award will be presented on November 5, 2009, in Santa Fe. 82

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Ever playing with light, Harnar makes concrete intimate. Here he has a fireplace set in the dramatic geometry of the bedroom.

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FILMNOW

FILM NOW FILM NOW FILM NOW 84

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BY HUGH ELLIOT

OPPOSITE: COURTESY OF WARNER BROS.

Business Is Booming

of major productions have already booked the facilities. Frank In the Summer 2006 issue of Trend, Jason Silverman wrote about Miller (Sin City [2005] and 300 [2006]), took over the place for The New Mexico’s digital-age movie industry. Big-budget Hollywood Spirit (2008), which was filmed entirely in the studios. productions as well as modestly financed independent films were 110 Years of Moviemaking in New Mexico finding New Mexico a very attractive place to work. Legend has it that Thomas Edison made the first movie here, but Three years later everyone thinks business is booming. Is that there is no evidence he actually came out from New Jersey. An actually true? employee by the name of Fred Blechynden from Edison’s famous Trend asked the director of the New Mexico Film Office, Lisa Black Maria studio in West Orange, New Jersey (built in 1894), did Strout, who answered, “We’re in the top two: New Mexico and Louisiana.” Strout began in film in New England, where she make the trip. The film, Indian Day School (1898), shows a group worked with Merchant Ivory Productions. And she’s worked as a of Native American children and their teacher at Isleta Pueblo, location manager on scores of feature films. In her current capacfiling in and out of a one-room schoolhouse. The original film ity she zealously promotes the state’s assets. runs 50 seconds and is in the New Mexico State Records and “Entertainment tends to do well during tough economic Archives. The Library of Congress in Washington, D.C. has a copy of the film; one reel (28 seconds) can be viewed online at times,” Strout adds. “Escapist and sci-fi films get made. This year we’ve had Terminator Salvation and Transformers: Revenge of the http://memory.loc.gov/mbrs/awal/1234.mpg. Fallen. When it comes to futuristic movies, producers think of From 1911 to 1930, 30 films were shot in New Mexico. Then New Mexico because of the variety of scenery here.” came the boom: In the 1930s, more than 100 westerns were made “When you go from southern New Mexico up to Taos, it’s like here. Legendary director King Vidor made Billy the Kid. John going to another planet,” a producer told Wayne came here for the first time in Pahl Shipley, the Film Office’s press secre1942 to film Flying Tigers, a movie about “The Los Angeles City Film tary. “In White Rock, for example, you can American fighter pilots who help the Chiget a New England look, what with all Office refers to the exodus of nese beat the Japanese—definitely not a those Cape Cod–type houses up there,” films to New Mexico not as western. Aerial scenes were shot above Shipley adds. Santa Fe to take advantage of the wild ‘runaway’ productions but New Mexico can put on many scenic cloud formations. The first western Wayne as ‘ran-away’ productions.” ever made here was Chisum (1970), filmed guises. Did You Hear About the Morgans? is the story of a couple (Hugh Grant and at the Eaves Movie Ranch. In 1972, he Sarah Jessica Parker) who witness a murreturned to work on The Cowboys, this der and are relocated to Wyoming by the Federal Witness Protectime at Bonanza Creek Movie Ranch. tion Program. The production came to New Mexico because of the Many a director has fallen in love with New Mexico after making financial incentives. The old New Mexico ranch town of Roy was a film here. Dennis Hopper made Easy Rider (1969). Now he’s the lead in Crash, a TV series filming in Albuquerque. Kevin Costner chosen for the “Wyoming” locations. Did You Hear About the Morgans? is Sony Pictures’ $75 million, 2009 Christmas comedy release. came here to work on Silverado (1985). Last year he returned to The Book of Eli stars Denzel Washington. “It takes place in a postdirect and star in Swing Vote (2008). Robert Redford’s experience apocalyptic future, and in that respect, New Mexico was a great fit,” directing The Milagro Beanfield War (1988) inexorably led to his says producer Andrew Kosove. The movie opens in January 2010. Los Luceros Initiative, recently announced by New Mexico GoverNew Mexico benefited from Washington’s presence, in more ways nor Bill Richardson. than one. The film did a lot of work at the new Albuquerque StuStrout receives many return filmmakers. “When we get that dios but also set up in the small town of Carrizozo, near Roswell. call, from L.A. or wherever, actually we’re getting a lot of the same Washington gave $50,000 to the nearby Roswell Boys & Girls Club people. We’ve worked with all of the major studios—some many after he heard it was in desperate need. times over—so it’s more like, ‘We had such a good time, we’re coming back.’ And we go to work: ‘What’s the movie about? What Tamalewood are you looking for?’ We have 50,000 location photographs in a Walk around the stylish new Albuquerque Studios near the airport searchable database with a goal of 250,000. We’ll sit with a proand you could be forgiven for thinking you’re on the lot of the ducer and ask, ‘What kind of desert do you want?’ And he or she historic MGM Studios in Los Angeles. Known jokingly as will say, ‘I need to double for Afghanistan,’ and we say, ‘How “Tamalewood,” this is a world-class filmmaking center. A number about this one?’” trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 85

Previous spread: Denzel Washington stars in The Book of Eli. This page: Los Luceros Cultural Center, Alcalde, New Mexico.

New Mexico is recognized as having talent, crews, and infrastructure needed to make any major film. But what has really turned the state into the second most important filmmaking center in the U.S. is its generous package of financial incentives. There is a 25 percent state rebate available on all taxable expenditures and a 50 percent subsidy on wages paid to locally hired crew trainees. The state also offers movie productions interest-free loans, up to $15 million. Eric Witt, Governor Richardson’s deputy chief of staff, says, “These are the fundamentals of smart film financing. We run this like a business and we can continue the incentive program for the long term—unlike other states, some of which seem willing to take significant losses just to attract business in the short term.” “The creative and the financial are paramount but it’s not all about incentives,” adds Strout. “It’s about all the different pieces, the unique combination: the depth of the talent and crew base, and our weather is really important, of course—and the fact that people just really like to be here.” New Mexico talent agent Lynnette O’Connor, of the O’agency, adds, “We’ve long been known for our artistic community. This is a huge plus for directors and producers. There are so many seasoned veterans and top-of-the-line actors already living here.”

The Los Luceros Initiative It’s not all about attracting sexy, big-budget Hollywood productions. In a new initiative, the Office of the Governor has announced a partnership between the State of New Mexico and actor Robert Redford, director of the Sundance Institute. Trend spoke to Kathleen Broyles, liaison for Redford in New Mexico. “The Los Luceros Initiative is evolving as we speak. In August, we’ll have a creative retreat and start planning for year one. It’s different from Sundance and it’s focused on ‘above-theline’ people—screenwriters, producers, and directors—and onthe-job training.” “We’re liaising with everyone,” Broyles continues. “The New Mexico State Film Office, the Institute of American Indian Arts [IAIA], the Southwest Association for Indian Arts [SWAIA], and so on.” Witt, who has been a key player in crafting the incentives that 86

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have brought so much film business to New Mexico, comments, “It’s all in the planning stages, but the Redford and Sundance names and the visibility they bring to New Mexico are immense.”

On and off the Set “If you come to the set in daylight, it means you’re late; if you leave the set in daylight, it means you’ve been fired.” It’s an old Hollywood inside joke. Working on movies often does mean long hours and hard work, so being able to go back to the same hotel or one’s own home is a big plus. But sometimes a grueling schedule is just that. On the set of the yet-to-be-released movie Love Ranch, Helen Mirren said she couldn’t go up to Santa Fe for a visit because she had to go “out of town.” (“Out of town” meant nipping back to the Academy Awards in L.A. to pick up her Oscar for The Queen.) (Working on the Santa Fe set of upcoming Crazy Heart, yours truly, also an actor, was cast as a bar patron. I told a maintenance man that he should move or he’d be in the shot. The “maintenance man” looked up from under his baseball cap, grinned, and said, “Hey, boss!” This was not the maintenance man—this was Robert Duvall, executive producer of the film. Oops.) According to inside sources, movies coming soon to film here include The Lone Ranger, with George Clooney as the masked hero and Johnny Depp as his sidekick, Tonto. Depp is expected again to work on the epic Shantaram.

Stars and Bars and Santa Fe Style “If an actor is happy at Geronimo restaurant or Ten Thousand Waves Japanese Spa in Santa Fe, if their children can visit here easily—it’s a big deal,” Strout says. “People love it here—not just Santa Fe, but the whole state.” Academy Award–winning actor Jeremy Irons was here recently. (He stars as photographer Alfred Stieglitz in the made-for-TV movie Georgia O’Keeffe.) He could have a bite at the Zia Diner and the locals were friendly but they didn’t bother him. Celebrities aren’t ignored. People here nod and smile with recognition, not a hassle. “Of course, stars don’t not want to be recognized. There’s a fine line,” Strout is quick to add.

COURTESY OF NEW MEXICO FILM OFFICE, ECONOMIC DEVELOPMENT DEPARTMENT

Follow the Money

Wanted: Carpenters and Electricians In a tandem effort to develop and retain “below-the-line” (crew) talent and find work for people displaced by the downturn in the construction and housing industries, in March Governor Richardson announced the Retrain and Sustain program. The Department of Workforce Solutions and the New Mexico Film Office now invite carpenters, painters, sheet-metal fabricators, welders, and landscapers to fine-tune their skills in order to work in the film industry. “Many professions have skills applicable to moviemaking,” adds Strout. “This is a great opportunity for New Mexicans to discover alternate employment within our thriving film industry.” Mind you, a retrained New Mexican carpenter may not be required to work “to code” on a movie set, since at the end of the day whatever he or she has built may get blown up.

FROM TOP: JAY MAIDMENT; LOREY SEBASTIAN/COURTESY OF THE RESIDENT LLC; DAVID COPHER

Back to the Future “Our credibility is based on experiences people have had here,” Strout emphasizes, “and movie people are impressed when the governor of a state says, ‘We’d love to have you here.’ But the governor also asks producers to tell him honestly what it will take: ‘What are we missing?’ Richardson visited the set of The Book of Eli and asked, ‘What could we have done better?’ They all looked at each other, nodded, and couldn’t think of anything.” “Of course, we’re constantly looking to the future,” adds Witt. “Our financial model has revolutionized the way business is done. Our volume may be small compared to California production, but it’s very significant. The Los Angeles City Film Office refers to the exodus of films to New Mexico not as ‘runaway’ productions but as ‘ran-away’ productions.” In the future, Witt suggests, we’ll see more postproduction work here, with other relevant industries to follow, especially those in which the same technologies are applicable, such as video simulation and medical imaging. “It’s a good fit for the state,” he says. “And we’re going to try and plug the holes which we don’t have. We don’t have an ocean!” Witt’s seriously funny. “So we’re looking at strategic alliances with Pinewood Studios in England. These are some of the next moves.” Of course, there has to be the political will, he urges. So far there has been. But competition is becoming noticeable. Forty states now have incentive programs to attract films. Witt expands, saying many of those programs are just not viable or sustainable. “Look at New York City: They spent $195 million in incentives in six months—now the money’s gone. Our program doesn’t work like that. We approach this like a business. Our unique artistic and cultural nexus is the key to our successful film industry—from the get-go.” As to the future, Witt says, “There are two paths we can take: Shrink back if there’s no support for the incentive programs, or go at it full bore and bring principal photography and postproduction here and watch supporting businesses grow and develop. This will take political leadership, as we’ve had.” R

From top: Filming on location in New Mexico: George Clooney in The Men Who Stare at Goats; director Antii Jokinen talks with Christopher Lee (as August, his character) on the apartment set built on Stage 6 at Albuquerque Studios; artist and professional rodeo clown David Copher performs in Did You Hear About the Morgans?.

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BY ELIZA WELLS SMITH

NIX AT 46: Narcocultura Darwin Nix brings to his work, as he does to his life, the uncanny ability to know just when to stop while pushing the line to the nth. Nix is a well-seasoned painter who challenges limits with provocative subject matter. With both a bachelor’s and a master’s degree of fine arts, Nix adds to his education by deeply embracing a poetic translation of an edgy life around him. He has exhibited at the Philadelphia Museum of Art and other museums, and has been represented by galleries in New York, Chicago, San Francisco, and Santa Fe. Without a doubt, Nix, at 46, is one to watch. Early influences on Nix present three artists in three mediums: paint, prose, and poetry. Each tackles societal Achilles’ heels from 90 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

personal viewpoints, which is what Nix does in his series. Without hesitation, he first names abstract and neo-expressionist painter Philip Guston. Like Guston, Nix refers to the sensibility of his topic and illustrates its essence, be it literally with words or through abstraction. The author Samuel Beckett and poet Paul Celan follow quickly. In the exhibition Narcocultura at Evo Gallery in Santa Fe, Nix presents a dialogue from the street to the gallery. Here, in a series of refined and subtle mixed-media works, he addresses the culture of heroin and its insidious relationship to our society. “It’s about the installation,” says Nix, “about the street coming

FROM LEFT: ELIZA WELLS SMITH; KIM RICHARDSON

ARTIST PROFILE

inside—the merging of the street and the gallery.” The street’s dialogue is one-sided, showing how the heroin culture brands its product by appropriating names from conventional films, advertising, music, heroes, architecture, and events. Graffitistyle, Nix wrote on the gallery’s stark white walls with black charcoal more than 100 names—all brands of heroin, with such trendy labels as the King of New York, a variety of heroin once popular in Manhattan’s East Village. Heroin brands also serve as the titles of the 40 pieces in the exhibition, each penned onto their perimeters. So there really is no escape from this difficult subject. In a piece called King of New York, the spire of the Empire

At Evo Gallery in Santa Fe, Darwin Nix delivers the street into the gallery with his show Narcocultura. Works include from left, top row: Black Diamond, Lemonade, Black Widow, Psycho, Mankind, Orange Line, Heartbreaker, Exorcist. Bottom row: Goya, Blue Spade, Black Diamond, Black Spider, Black Diamond, Dead Calm, Godfather, Emergency.

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ARTIST PROFILE

ALIX

HAIR STUDIOS

“Liberation of individual Expression”

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The spire of the Empire State Building hovers, murky in a cloudy night’s distance, as if from the view of someone who had indulged in the heroin branded King of New York.

State Building hovers, murky in a cloudy night’s distance, as if from the view of someone who had indulged in the stuff. In Narcocultura, the works are on a smaller scale than earlier canvases, which filled large walls. These works are all vertical, further narrowing the focus of the pieces so that a viewer cannot divert but can only acknowledge the topic Nix delivers. For the past two decades, Nix’s work has been in series, each addressing societal landmarks, such as 9/11. The works in that series dive into the blue sky and optimism of that beautiful Tuesday morning, which was then shrouded by smoke and loss. Smaller in scale, like the heroin series, the 9/11 series provides Nix the opportunity to let the viewer into tough terrain with sen-

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sitivity. The content is severe; the marks are not. There is no political statement in the heroin or 9/11 series. Nix addresses the matter or the moment in his imagery, neither endorsing the heroin culture nor testifying his opinion about 9/11. He is saying the drug culture is here, that 9/11 happened, and, as with any unresolved issue, they need to be addressed. The statement in the current heroin series is personal, though. “If I hadn’t moved to Santa Fe 10 years ago,” says Nix, “I’d be dead.” Nix knows the subject, another reason this show is so powerful. R Evo Gallery, 554 South Guadalupe Street, Santa Fe, 505-982-4610 , evogallery.org

KIM RICHARDSON

Our mission at Alix Hair Studios is to serve our community through artistry. Where our artistic talents are shared and expanded. We are committed to growth through education and we bring our passion for hair to our clients and community.

Celebrating C elebrating 10 10 Y Years ears o off Publishing Publishing

TREND T REND m magazine agazine is is d dedicated edicated tto o iits ts m mission ission to to eexplore xplore aand nd ccelebrate elebrate the the u nique aand nd ffascinating ascinating intermingling intermingling unique off cultural o cultural iinfluences, nfluences, ttraditions, raditions, aand nd iinnovations nnovations in in S anta F e, tthe he S outhwest, aand nd b eyond. Santa Fe, Southwest, beyond. B ure tto o advertise advertise iin no ur S ummer/Fall 2 009 iissue ssue Bee ssure our Summer/Fall 2009 on newsstands Call 988-5007. o nn ewsstands iin n May May 2010. 2010. C all ((505) 505) 9 88-5007. Every off T Trend magazine online well E very iissue ssue o rend m agazine is is now now o nline as as w ell aass iin n p rint. N ow yyou ou ccan an sshare hare T rend with with yyour our ffriends riends o nline o print. Now Trend online orr buy mail giving on how b uy iissues ssues aand nd m ail tthem hem g iving yyou ou a cchoice hoice o nh ow your your prefer p refer tto o rread ead aand nd sshare hare yyour our ffavorite avorite magazine. magazine.

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Parallel Histories of Sustenance Dining in Santa Fe and Farming in Taos A Design History of the Inn at the End of the Trail It’s 9:30 on a brilliant Wednesday morning in late June, and La Plazuela is on the back side of the breakfast rush. Early-bird tourists have come and gone, fueled up on huevos for pilgrimages to the Georgia O’Keeffe or good-natured haggling under the portal at the Palace of the Governors. Local bigwigs have done their deals and gone forth into the day. With only a dozen or so diners remaining, a delicious languor settles on the room. Sunlight streams through the skylight, the fountain gurgles its own rhythm, and the murmur of quiet conversation rises and falls with the clinking of silverware and coffee cups. You’d never know this newly revamped dining room—so airy and serene—is smack in the middle of Santa Fe’s busiest downtown hotel. La Fonda claims to be the oldest inn in Santa Fe, on the oldest hotel corner in the country. Some form of lodging is thought to have occupied this primo chunk of Plaza-front real estate since the Spanish arrived in 1607. John Gaw Meem designed and built the modern La Fonda at the end of the Santa Fe Trail in 1922, and like any true Santa Fe local, the building has undergone several reinventions over the years. Hotel magnate Fred Harvey leased it from the Santa Fe 100 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Railway in 1925 and hired the late, great architect/designer Mary Colter to spiff it up to Harvey House standards. Then the Ballen family bought it in 1968 and embarked on a series of renovations, eventually enclosing its center courtyard to create La Plazuela restaurant in 1971. If you remember La Plazuela before its latest incarnation, at the hands of Santa Fe architect Barbara Felix and Dallas designer Dierdre Wilson, the color turquoise probably comes to mind. That’s because the dining room’s eleven-and-a-half-foot-high window walls—divided light panels that used to mark the boundary between portal and exterior courtyard—spent 30 years tricked out in a bold coat of Santa Fe’s signature hue. Combined with the room’s heavy wood vigas, a flagstone floor stained dark from decades of foot traffic, a complete absence of exterior windows, and a fabric-draped skylight that let in only patchy natural light, it made the old Plazuela a moody, cave-like place. No longer. Hired in 2007 to fix the leaky skylight and a few other nagging maintenance issues, Felix and Wilson wound up treating the much-loved restaurant to a top-to-bottom makeover. Determined

Two ficus trees top off La Plazuelaâ&#x20AC;&#x2122;s floor-to-skylight remodel, which features custom pieces, including tables and chairs from Mexico and a recycled-glass chandelier from Santa Fe. Like Mary Colter, Felix and Wilson were dedicated to showcasing the work of local and regional artisans. Opposite: A rustic outbuilding at Blackstone Ranch.

DESIGN LINES

Patio of La Fonda Hotel, Santa Fe, New Mexico

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She designed a new center skylight and installed two more above the mezzanine, to offer guests a view of the New Mexico sky and flood the room with a “spill of daylight.” She and Wilson traced the room’s 1920s flagstone floor back to a now-defunct quarry in Lamy, convinced the rancher to give them a sample, and found a match— slabs of soothing peachy red, rare in these parts—in Arizona. They discovered old tile shards buried under the floor, relics from the original fountain, which became the inspiration for the fountain’s new hand-painted clay tiles, and they faux-painted the room’s heavy posts and beams in a strie (streaked) style for a wood-grain effect. And all that glossy turquoise window trim? Redone in the room’s original cream. Colter intended her buildings to serve as frames for art and artifacts created by local artisans. Felix and Wilson did the same: They

DE CASTRO, 1920. PALACE OF THE GOVERNORS/NEW MEXICO STATE HISTORY MUSEUM, NEG. NO. 05547.

to “embrace, elevate, and honor” the hotel’s impressive aesthetic pedigree, the pair launched a scrupulous architectural detective mission, poring over Meem’s old drawings, scrounging for clues about Colter’s design, even hopping the Amtrak to Arizona to see La Posada, a Winslow hotel that Colter designed for Fred Harvey in the late 1920s. “Our motto throughout,” says Wilson, “was ‘What would Mary do?’” It was all part of a research-intensive approach Felix calls “woven architecture.” “You take the vocabulary that’s already present in a place, and then continue the story,” explains the architect, who applies this philosophy to all her projects, from private residences to public spaces, such as the Ortiz Center gallery at UNM and the Sky City Cultural Center and Haak’u Museum at Acoma Pueblo. La Plazuela’s “bones were good,” so Felix zeroed in on the details.

left untouched artist-in-residence Ernest Martinez’s 460 bright, whimsical painted windowpanes, beloved by locals and visitors alike since the 1980s. They commissioned local ironsmith Ward Brinegar to fabricate a hand-twisted wrought-iron railing around the mezzanine, and styled the room with custom furnishings and finishings. Cozy, curved banquettes anchor the corners, and Colter-inspired upholstery—warm, earthy stripes and embroidered animals on a gold background, from the Museum of New Mexico collection— adds a lively jolt of color. Half the morning’s gone now, and looking down from the mezzanine, one can see that La Plazuela has nearly cleared out. The handful of people still here are dappled in sunlight and oblivious to the mostly empty room around them—living proof that this is a place of intimacy and community, a gathering place that cultivates both quiet conversations and deep connections to Santa Fe history. Self-Sustained: The Blackstone Ranch in Taos If La Plazuela exudes the feminine energy of its designers, the Blackstone Ranch, in Taos, presents a massive, masculine space. Everything about the place is huge, starting with the setting: 188 acres of open pastures and cattle land along the Rio de Pueblos, just a few miles west of the Taos Plaza. The owners, who live in Pennsylvania, bought the property in 2004 and broke ground on the 26,000-square-foot residence the following year. Designed in the Pueblo style, the project has gone through numerous architects and builders, but its mission hasn’t changed: to serve as a private retreat

Polished Venetian plaster, Italian fabrics, hand-sewn rugs in the Tibetan style, and outsize “pure-form” tables made from sustainably harvested wood grace the great room’s lounge at Blackstone Ranch; the stump end table is made from Indonesian teak. Designer David Naylor clad the massive fireplace in river rock and the entryway in herringbone French white oak.

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Naylor designed seating for 30 in the dining room. To fill the space, he looked for “pieces with mass.” Opposite: Details such as wrought-iron gates from Mexico and trompe l'oeil give the great room an Old World feel, while woven-leather dining chairs add Western flair without being too fussy.

for the Blackstone Ranch Institute, a family-run nonprofit dedicated to “influencing environmental pioneers” by hosting individuals and institutions for environmental seminars and workshops. As such, the ranch is intended to be both classroom and teacher: a model of sustainability, complete with its own geothermal heating and cooling system, solar panels, a greenhouse, and a full complement of cattle, turkey, and sheep. But for now, at least, the ranch has a way to go before it’s truly self-sustaining. For much of the year, the sprawling adobe-andframe residence sits empty, despite employing a full-time staff of eight. The geothermal system, which circulates through giant ice batteries, requires three mechanical rooms and nearly constant upkeep. “Once we work out the kinks, it might get itself up and running,” ranch manager Carol Adams says hopefully. The interiors, though not specifically designed with sustainability in mind, are impressive. Created by Santa Fe designer David Naylor, the great room and 23 guest rooms fuse Spanish colonial style with

European luxury and rustic, Old West ranch details—an unexpected alchemy that works. “I wanted it to feel regional, relaxed, and durable, without it being traditionally green,” explains Naylor, principal of Visions Design Group, whose recent commercial projects include Zia Diner and Bodhi Bazaar. The great room, a combination living room/dining room for 30, is a cavernous space that somehow still feels welcoming—no small feat, given its 25-foot-high ceilings and gaping scale. Naylor created a rich, textured effect from the ground up, placing thick Tibetanstyle, custom-woven striped rugs in a desert patina of rust, burgundy, and gold over hand-honed Colorado flagstone. Deep leather sofas and chairs front a floor-to-ceiling river-rock chimney and “pure form pieces,” including a 14-foot-long rough-hewn coffee table fabricated from a single antique slab of sustainably harvested mahogany. Naylor had antique Chinese pots turned into lamps and hung elaborate, twisting antler chandeliers from the ceiling. “I didn’t want it to feel cliché New Mexico, or to look like a Texas ranch,” he

On the ranch, the Blackstone Ranch Institute will hold private retreats dedicated to environmental pioneers.

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One-of-a-kind carved alder headboards and side tables are the visual centerpieces of Blackstone’s 32 guest rooms, which Naylor layered with warm fabrics and finishings, including Navajo-inspired throws and wall hangings as well as calfskin rugs and chair backs.

says. “I wanted to capture the organic earthiness of Taos. This is a place to put your cowboy boots on the floor.” Still, there are plenty of high-style juxtapositions: curvy wing chairs upholstered in glamorous Italian Bergamo fabric in eggplant and orange; herringbone French white oak in the entryway; glossy, café au lait Venetian plaster walls in the great room; and half a dozen river-rock-and-slate fountains in the hallways. Naylor commissioned muralist Urszula Bolimowsky to paint trompe l’oeil trellis details over the arched doorways, one of which includes the Hawaiian phrase “a ohe pau ko ike,” or “not all wisdom is in your school.” The bedrooms are dominated by heavy, custom-carved, sustainably harvested alder headboards inlaid with Gordian knots, lattice basket weavings, and wheels. No two frames are alike. Naylor dressed the beds in herringbone and plaid linens paired with blocky, Navajo-inspired throws and wall hangings. Roomy leather-and-cowhide armchairs complement cowhide rugs, which the designer layered upon striped rugs in earthy shades of olive, pumpkin, and brown. “Because of the enormity and scale of the place, I really needed things with mass to make it cozy and comfortable,” says Naylor. “I love creating that kind of transformation.” R 106 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

LIVING

BY GUSSIE FAUNTLEROY | PHOTOS BY CHAS McGRATH

All in theFamily The Barretts Keep It Close and Abstract

n the driveway of a piñon-covered property southeast of Santa Fe, three strong-minded men, a father and two sons, are standing around a flatbed trailer. Voices are level in mutual respect, but firm with opinion. The men are debating the best way to load a heavy bronze sculpture onto the trailer, which is bound for a Houston collector. Together, the men have 100 years of experience in these matters: The father, internationally recognized sculptor Bill 108 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Barrett, has been in the business for more than a half century and an artist for most of his 74 years. He is known for the rhythmically fluid, gestural qualities of his abstract sculpture and for vividly hued paintings that echo the spirit of his threedimensional work. His sons, Kevin and Alex, began working with their father during their teens, learning to weld, enlarge, and fabricate bronze. Alex is now 45 and continues to assist in his father’s Santa Fe studio several days a week. The rest of the

time he devotes to his own internationally exhibited sculpture—fabricated, abstract bronze pieces whose curving, interrelated forms balance a sense of fullness and weightlessness. (Alex is represented by Bryant Street Gallery in Palo Alto, California.) Kevin, 47, is a New York–based sculptor who also periodically fabricates Bill’s work in his Brooklyn studio. On this summer day, temperatures and voices begin to rise as the men disagree on specifics of how the sculpture should be

loaded. Finally, Alex shakes his head. “Look,” he reminds the others, “I’m the one driving this piece. We’ll do it my way.” And that settles it. A few minutes later the three are laughing as they maneuver the hefty artwork into place, a comment by one of them having tickled the collective—and easily activated—Barrett funny bone. That’s how things often go at this fiveacre compound at the edge of the Sangre de Cristo foothills, with its panoramic view of the Rio Grande Valley to the west. The compound is much more than a home. Housing two studios and other work areas, it accommodates a nonstop flow of artistic projects involving Bill, his sons, and his wife, Debora, a ceramic artist who also handles much of the computer and business work of Bill’s career. Enclosed garden courtyards and a porch overlooking an expansive sculpture garden add to the compound’s appeal as a relaxing gathering spot for friends and family—in this case, a family steeped in art. Both Bill’s and Debora’s families include three generations of artists. Diplomacy and Deadlines On a recent day as deadlines were approaching, to-do lists were growing, and Kevin was visiting from New York, Debora came home with a package of pocket notebooks. Even if the Barretts weren’t family, multiple artists working under one roof choreographing schedules and coordinating deadlines—while keeping egos in check—would be complex enough. Debora handed out the notebooks—Bill got one, Alex and Kevin each got one, and she put one in her own pocket. The goal: clear communication. “Now we can all take notes and put things on our calendars, so no information is left hanging in thin air,” she explains. While Bill’s sculpture generally determines the flow and timing of work among family members, accommodations are made for show and commission deadlines for his sons’ work as well. “If they have to

“For tunately, they all speak the same language; they know how to talk about fabricating sculpture.”

Top: Bill Barrett and his sons, Kevin and Alex, put finishing touches on Bill’s Bravura prior to the patina work. The piece was fabricated in Kevin’s New York studio and brought to Santa Fe by Kevin and his assistant, New York–based sculptor and fabricator Alexander Krivoshiew. Above: Bill begins applying the patina. Opposite: Bravura arrives at Bill’s Santa Fe studio (left to right: Bill, Alex, Kevin, and Krivoshiew).

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Bill and Debora Barrett with the maquette for Pinnacle IX. Right: The completed Bravura (foreground) in the Barretts’ sculpture garden. Behind it are Kinder, in fabricated aluminum, and Pinnacle X, in fabricated bronze.

take time to work on their own art, they just need to let me know,” Bill points out. When the team is fabricating one of Bill’s pieces, diverging opinions occasionally arise. “If we have aesthetic differences, we’ll talk about it,” he says. “I think we work together pretty well because I let them have their heads. I don’t dictate what to do.” “Bill’s very diplomatic and Alex and Kevin want to please him. He doesn’t want to make it difficult on them but the result needs to be what he wants,” Debora acknowledges. “Fortunately, they all speak the same language; they know how to talk about fabricating sculpture.” Warm and mellow in personality and thoughtful in his outlook on life, Bill has been the center of the Barrett family art wheel since his sons spent the summers of their teen years working with him in his New York loft/studio some 30 years ago. In 1989, while still in New York, Bill got a call from a woman at Shidoni Gallery in 110 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Tesuque, asking if he had any recent pieces for a show in Shidoni’s sculpture garden. The woman was Debora Hicks, daughter of Texas-born sculptor Tommy Hicks. Tommy came to New Mexico in 1971 and established Shidoni bronze foundry, later adding the sculpture gardens and galleries. (Today Tommy’s son, Scott Hicks, is Shidoni’s CEO; Scott’s brother, Kern Hicks, works at Shidoni and is a sculptor; and Debora’s twin sister, Barbara “Bobbi” Mason, is a potter who sometimes shares Debora’s studio.) Bill did indeed have work for the show. He brought it out and met Debora, at the time a shy young woman who’d lost an eye in a horse accident two years earlier. Bill and Debora fell in love, he moved to Santa Fe, and in 1992 they were married on the grounds of the property they’d purchased—where the compound has evolved and grown since then. Today Debora is a confident, vibrant,

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The Barretts’ contemporary, loft-style home provides an ideal setting for display of Bill’s sculpture and paintings and Debora’s ceramic art. On a granite room divider (foreground) is a cast-bronze maquette for Companeros, while recent oil-on-canvas paintings from Bill’s Polyphonic Expression series hang on the wall.

eye-patch-wearing artist and family organizer. She keeps the workflow moving. Her aesthetic views are highly valued by her husband. She’s also an excellent golfer, Bill relates, noting that golf has become an enjoyable pursuit for the two of them, with Alex occasionally making a threesome. “Kevin doesn’t play golf, but we might remedy that,” Debora says, smiling. Bill Barrett grew up in California and Indiana, the only son of an artist father and musically inclined mother. Harry Stanford (“Stan”) and Theodora Barrett encouraged their son’s artistic interests, an approach 114 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Bill has maintained with his own three children. His daughter, Shannon, from his first marriage, also works in a creative field, collaborating with her husband in animation in Hollywood. For Debora, growing up with an artist father taught her the value and necessity of taking responsibility for one’s financial circumstances in a culture in which artists are sometimes on the economic margins. Her father’s and her own strong work ethic was passed on to her two children. Today Mose, 35, is a skilled draftsman and mechanical engineer at an alternative-wind-energy

company in San Francisco. In addition, having worked with Alex for a time in Santa Fe, he fabricates aluminum sculpture for other artists. Molly is a 33-year-old psychologist who also lives in San Francisco. For many years before meeting Debora, Bill lived and worked in New York City, energized and inspired, in particular, by the abstract-expressionist scene. The city’s electric cultural pulse continues to feed his art, as the Barretts make regular visits to New York, where they still own and use Bill’s loft/studio and spend time with Kevin and his family.

LIVING

In Bill and Debora’s shared office, a gold-leaf maquette for Elba’s Piece shares the desk with an untitled raku-pottery bowl by Debora. On the far wall, a charcoal drawing from Bill’s Pinnacle series.

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“The nice thing about New York is we get to go to concerts, theater, and museums together with my son, and sometimes my granddaughters, so it’s a relationship that goes beyond the studio,” Bill reflects. The New York connection also facilitates the business end of his art. A show of his paintings and sculpture at New York’s Kouros Gallery opens in January, as does a retrospective of his work at Iowa State University in Ames, Iowa. In Santa Fe, LewAllen Contemporary represents him, and his work is in private and museum collections and public spaces around the country. When Bill and Debora purchased the Santa Fe property in 1990, the house was carved into many small rooms, some sporting wall-to-wall orange shag carpet. Pulling up the carpet, they discovered a lovely oak floor beneath. Over the years they added windows and skylights and removed walls to create an open, airy, loftlike space. They built Bill’s 4,000-squarefoot studio, and three years ago added an adjacent studio for Debora’s stoneware and raku pottery. Bill remains the family’s creative hub. Yet from his perspective, the wheel’s dynamic flow is aimed at benefiting all involved. “My role is to help them realize their goals,” he says of his family. “We’re here to help each other—it’s more fun and productive that way.” Alex adds the perspective of the son who, growing up, “always wanted to be a rock star,” rather than an artist. Art “kind of snuck up on me subliminally,” he quips. Working alongside his father all these years has provided not only creative energy for his own art but also valuable lessons in what it takes to succeed. “Pop has taught me a lot about how being an artist is more than having an idea; you’ve got to keep working hard,” he relates, adding: “My father makes this whole thing work well. This is his thing and I’m happy to be part of it. It always starts at the top.” R

BUSINESS PROFILES

BY KEIKO OHNUMA

Ideas Are the Stock at Ideum

Ideum founder Jim Spadaccini works on one of the company’s multi-touch tables, a computerized, interactive display designed for museums.

Creativity itself is the product line at Ideum, a small company that designs state-of-theart exhibitions. Museum directors hire Jim Spadaccini and his team of eight imaginative geeks to give visitors a singular experience, whether it’s with spherical computer displays, instant video-editing applications, or online multiplayer games. “Good exhibits spark interest. They don’t teach, but inspire,” says Spadaccini. He saw how technology could be used to grab that interest. After four years creating interactive displays for the award-winning Exploratorium, a science museum in San Francisco, he founded Ideum. Ideum is constantly pushing to the edge of technology, so it is continually changing its product line, often in tandem with challenges presented by clients. Currently, Ideum’s cutting edge is the multi-touch table, an interactive display that allows up to eight users to manipulate on-screen information, as on an iPhone. Ideum’s clients include the Adventure Science Center in Nashville, the California Science Center in Los Angeles, the Maxwell Museum of Anthropology in Albuquerque, the National Park Service, and dozens of repeat customers. Thanks to the success of its unique product line, the company plans to double its space soon to meet demand. That gives Spadaccini the luxury of picking and choosing his projects. He won’t work for companies that aren’t socially responsible, or on projects with purely commercial aims. “It’s never been about growth per se,” he says, “but rather about compelling exhibits, pushing the techno envelope, and having the freedom to experiment.” “It has to be fun,” he says, “or why bother?” 4895½ Corrales Road, Corrales, N.M., 505-792-1110, ideum.com

As a beer lover and “researcher” at countless bars and eateries, Nico Ortiz had sense enough to know what he didn’t know. “I wasn’t smart enough to fail,” Ortiz quips, meaning he had “a mind-set of doing it only one way.” People open restaurants because they think they make a great enchilada, he explains, while the real challenge of owning a restaurant is business. So, when Ortiz set out to open a Cheers-style gathering spot, he focused on building a team of experts: a chef, a manager (now his wife), and a university-trained brewmaster who is still winning awards. Ortiz named his pub Turtle Mountain Brewing Company in honor of his late father, renowned anthropologist Alfonso Ortiz, whose Ohkay Owingeh name means “turtle mountain.” The best decision he made, though, was situating the pub across from the famed Sandia Peak in the fast-growing community of Rio Rancho. Brewmaster Mark Matheson initially thought the venture was crazy—even though he lived in Rio Rancho himself, among thousands of other educated, upper-middle-income technical workers with no place to party but Chili’s and Applebee’s. Still, Ortiz spent the first two years enduring “the fear of death,” as many lunch shifts failed to attract a single diner. But eventually word of mouth spread, and by 2003, Turtle Mountain Brewing was cranking, with crowds waiting 45 minutes to get one of the 76 seats. Ortiz quickly bought a bigger property up the street, adding a full kitchen, air-conditioning, TVs, and a larger brewing operation. It had been part of his savvy to buy rather than lease, so his overhead stays low and he has the real estate investment to fall back on. Turtle Mountain has attained the coveted status of a local institution, serving the same crowd week after week—a hard-earned reward in a restaurant-closing recession. Ortiz says gratefully of Rio Rancho’s Cheers crowd, “It’s the last thing they’ll give up.” 905 36th Place, Rio Rancho, N.M., 505-994-9497, turtlemountainbrewing.com

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Inspired by the show Cheers, Nico Ortiz founded the Turtle Mountain Brewing Company in Rio Rancho. Not only is the brewpub a hit for the locals; it also brews award-winning beer.

JONATHAN TERCERO (2)

Fresh Brew in Rio Rancho

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Patrick Gay (left), Phyllis Taylor, and George Radnovich head Sites Southwest, which designs public places that are socially, environmentally, and financially sustainable.

NORMAN JOHNSON

Pioneers of Sustainable Landscapes To plan a public space, it makes sense to have all involved, such as landscape architects, urban planners, economists, and sociologists, work together from the start. But 12 years ago, when George Radnovich and Phyllis Taylor started Sites Southwest, planners and designers for its projects came from different cultures, often with different goals. Sites Southwest has pioneered sustainable landscape design in New Mexico. At the start, that mutual interest in the growing water crisis brought Radnovich and Taylor together. Landscape architect Patrick Gay became a partner in 2006. The company has grown from seven employees to 23, with offices in Albuquerque and El Paso, Texas. Known for its integrated approach to studying, planning, and designing sites, the firm is now adding ongoing site management to stay a step ahead of the competition. “If we were to design a street without knowing about the sociology and economics, it wouldn’t be a sustainable project,” says Radnovich, whose proven track record convinces clients that integration “makes sense, even for the most conservative [public] agencies.” Most of the company’s 80 to 100 yearly projects consist of public facilities under $1 million for “communities that are not the most wealthy,” as Taylor puts it. These are often older neighborhoods being redeveloped. The process begins with Sites Southwest asking, How can we work with them to incorporate what they are most proud of in their neighborhoods? The answer often lies in culturally appropriate streetscapes with an environmentally sustainable infrastructure. Creating a culture of collaboration among diverse disciplines has been a major accomplishment of the firm, one that is strengthened by shared social and environmental values. Along with a company mandate to “do the right thing” environmentally and socially, the partners are committed to succeeding financially. R 121 Tijeras Avenue NE, Suite 3100, Albuquerque, N.M., 505-822-8200, sites-sw.com

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TRENDsource DESIGN YOU LOVE AND LIVE IN

Design You Love and Live In

here are as many sources of art, architecture, and design throughout the Southwest as there are colors in the evening desert sky. People come here to heal, to change lifestyles, to experience spiritual growth, to get healthy mentally and physically. Some make yearly pilgrimages, spending a week or two. Others come for a day and decide to stay. And then there are those who are born to the Southwest, its multicultural population, the high-desert altitude, and the vivid blue sky. And so it is with art, architecture, and design in the Southwest. Like the people who live here, the approach is multilayered and multifaceted. Every element has its story. For those drawn here, it is up to them to decide how to partake of the ever-growing, never-ending bounty of creativity and resources. Some choose to incorporate the past into their lifestyle; it’s all about how to make the elements fit. Others decide to scrap it all and step into a new adventure, beginning anew. This new beginning is the story TRENDsource wants to share with you—a peek at harmony created out of diversity. It didn’t take long for Natalie Fitz-Gerald, owner and designer of Casa Nova, to get excited about creating a new way for two of her friends to express themselves with their Santa Fe eastside condominium. On impulse, the couple made the pied-à-terre their third home. With a blank slate, except for one large painting from LewAllen Contemporary in Santa Fe, Fitz-Gerald focused on creating a comfortable and functional space for her friends,

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who are art collectors and love color. Using her trained eye, the designer studied the painting and made it the focal point. From there, the work was easy, she comments. The painting incorporated all the colors the owners loved—cobalt blue, orange, vivid yellow, and bright red. She then began her search for furnishings, drawing from businesses located in the Southwest, particularly Santa Fe. Fitz-Gerald’s first hurdle was lighting. Most adobes, old or new, tend to be dark. Dahl Lighting Showroom in Santa Fe provided the perfect solution: Tiny track lights were surface-mounted on the livingroom ceiling to showcase art and give a needed boost to existing skylights. The bonus was being able to eliminate major electrical renovations. Scale was another factor. Even with high ceilings, the 1,500square-foot space was limiting. Drawing from Casa Nova, Fitz-Gerald used a cobalt-blue area rug from Nepal and armchairs from Africa to make an inviting seating area alongside Indonesian sugar cogs acquired through Visions Design Group in Santa Fe. She located a 1908 arts-and-crafts table for the dining alcove and placed a lighting fixture from Sequoia Santa Fe overhead. On a “search” trip to Africa with Fitz-Gerald, the owner mused, “Where am I going to put this and will it go?” After placing orange Zulu hats from Casa Nova atop shelves; a woven Dida (tie-dyed African wall hanging), also from Casa Nova, on the living-room wall; a Japanese ceramic on the mantel; Dogon cliff dwellers’ ladders from Mali in the courtyard; wicker outdoor chairs from Moss Outdoor on the terrace; a sculpture from Blue Rain Gallery in Santa Fe in the foyer; hanging art from Patina, contemporary cowboy photos by Mark McDowell, and a photo by Edward Curtis on the walls; and a Native American rug in the bedroom, the answer was clear: Nothing could be more perfect; every piece had found its home. And so it is with art, architecture, and design throughout the Southwest: multilayered and multifaceted. The gifts to those who come here, whether they incorporate the old with the new or launch a completely different look, are the resources. The real Southwest is in the mix. And in Santa Fe, the difference between good and great is the mix of individuals.

TRENDsource: ADVERTISING SECTION

La Mesa of Santa Fe Beginning their 27th year of business, La Mesa of Santa Fe continues to evolve. Initially a gallery devoted to pottery, glassware, and crafts designed for tabletops, La Mesa now includes the tables, as well as other handcrafted furniture pieces, contemporary clay and glass, paintings, sculptures, rugs, and lighting. Recognized for the quality and design of their work, more than 50 local and national artists create distinctive pieces to complete your home, office, or garden. Figuring prominently in the colorful and beautifully displayed gallery are wood sculptures by Hopi/Spanish artist Gregory Lomayesva, fused glass by Melissa Haid, hand-forged iron by Christopher Thomson, and oil paintings by Diana Pardue. The arrival of new work by any of the gallery’s artists is an almost daily occurrence, and is always welcome and exciting. PHOTO BY Douglas Merriam. 225 Canyon Road, Santa Fe, N.M. 505.984.1688 | lamesaofsantafe.com

Statements in Tiles / Lighting / Kitchens / Flooring With imagination and creativity, tile can transport you from the hills of Santa Fe straight to Marrakesh. This exotic entry, with tile inspired by traditional Moroccan patterns and colors, was designed by Mark C. Little, of MCL Design Studio. Little explains, “Statements in Tile has an extensive collection with access to so many unique materials. Their designers are an invaluable resource to me, with their design expertise and depth of product knowledge.” Whether your look is rustic or sleek, Statements can guide you through the wide world of tile and stone. PHOTO BY Chris Martinez, IM Design Studios, LLC. 1441 Paseo de Peralta, Santa Fe, N.M. 505.988.4440 | statementsinsantafe.com

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Design You Love and Live In

HVL Interiors The cowboy-chic Santa Fe Capitol Grill offers Santa Feans a contemporary yet rustic dining experience. HVL Interiors created a visual feast of color and texture: quartz stone, gray-washed wood, blackened steel, and a paint palette of warm neutrals and slate blue. Features are accented with warm amber lighting. Heather Van Luchene and partner Steffany Hollingsworth have built their interior-design business and reputations on their progressive design aesthetic, exceptional client service, and passion for contemporary design. Their attention to detail brings simplicity and clarity to the spaces they create. They craft distinctive and sophisticated interiors by using varying textures, complex color palettes, and natural, organic elements for their residential and commercial projects. PHOTO BY John Baker. 1012 Marquez Place #205A, Santa Fe, N.M. 505.983.3601 | hvlinteriors.com

Visions Design Group Visionaries: A Showroom of Sustainable Design A leader in providing modern interpretations of Old World and Southwestern styles, Visions Design Group, led by artist and designer David Naylor, commissions Santa Fe–area woodworkers, furniture makers, stoneworkers, and tile artists to create contemporary works that exemplify the quality craftsmanship and attention to detail that characterize fine antiques. Naylor now has a new retail showroom, Visionaries, offering these unique furnishings, accessories, textiles, and art, sourced both locally and internationally, to the public. “It functions as a design center,” says Naylor, “with an emphasis on service and sustainability.” Reclaimed wood, repurposed “found” objects, and antique items from around the world combine the hip and trendy with the classic and timeless, inspiring homeowners to create their own signature style with the help of Visionaries’ talented team of professionals. PHOTO BY Kate Russell. 111 North Saint Francis Drive, Santa Fe, N.M. 505.988.3170 | visionsdesigngroup.com

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TRENDsource: ADVERTISING SECTION

Allbright & Lockwood Rocky Mountain Hardware and Allbright & Lockwood, a perfect partnership. Introducing Rocky Mountain bronze tile fashioned with the same incomparable style and attention to detail as their renowned hardware line. Allbright & Lockwood is proud to add this stunning array of tiles to our collection of Rocky Mountain door and cabinet hardware, bath accessories, and plumbing. Visit our showroom to view the rest of the Rocky Mountain offerings and our other, seemingly endless choices for tile, lighting, hardware, bath accessories, and fans—all in one convenient location. PHOTO BY Rocky Mountain Hardware. 621 Old Santa Fe Trail #5, Santa Fe, N.M. 505.986.1715

Kitchens by Jeanné Kitchens by Jeanné is the place to discover the impressive SieMatic kitchens. The details, quality, and luxurious materials are the elements that hold SieMatic apart from any other cabinet line. With such superb collections as Pure Design, Classic, Modern, and Compact, SieMatic can fulfill your needs. The ergonomics of these cabinets are the best—from fabulous drawer interiors to Multimatic door components and on-wall systems. This environmentally sensitive cabinet fits perfectly with your lifestyle, regardless of the size of your kitchen or your budget. PHOTO BY SeiMatic Mobelwerke USA. 631 Old Santa Fe Trail #1, Santa Fe, N.M. 505.988.4594 | kitchensbyjeanne.com

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Design You Love and Live In

The Firebird Founded in 1977 during the energy crunch of that decade, The Firebird could not have opened at a better time. Functional wood heating and beautiful designs were core segments of the business then—and still are today. But long gone are the days of dirty little black stoves. As Gene Butler, the store’s owner, says, “You may heat with it for six months, but you have to look at it year-round.” For the past few years his customers have shown a strong interest in contemporary designs. The Firdbird meets that growing need with stoves and fireplaces featuring clean, smooth surfaces and interesting visual elements that make these hearths a design focal point of a room. PHOTO BY European Home. 1808 Espinacitas Street, Santa Fe, N.M. 505.983.5264 | thefirebird.com

Annie O’Carroll & Associates What an exciting time to be in design. From textiles and furniture to remodeling and new construction, we are mixing old with new and making design greener and smarter to breathe new life into existing space and enhance the way we work and live. Design reflects both who you are and where you are. Some clients are launching new projects, while others are changing styles or rethinking functionality, outdoor living, lighting, surfaces, or technology. Whether it’s grand or small, we truly love it all! Our work includes the New Mexico Governor’s Mansion, Las Campanas (casitas, spa, and the new children’s wing), the remodel of the Santa Fe Hilton Hotel, and great residential projects in New Mexico and California. Visit our Web site for client reviews. 1512 Pacheco Street #A104, Santa Fe, N.M. 505.983.7055 | annieocarroll.com

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TRENDsource: ADVERTISING SECTION

Santa Fe By Design EcoPower, TOTO’s new hydropower sensor faucet, puts water to work. It is the first sensor faucet that powers itself using just water. When the faucet is used, water flows through an inline hydroQower micro-turbine. As the turbine spins, energy is harnessed and stored in a rechargeable battery, reducing the need for regular maintenance and battery replacement for up to 10 years. Less maintenance. Less water. Less Energy. That’s good for the environment—and good for your home or business. The EcoPower faucet by TOTO is available in standard and gooseneck spouts. TOTO is perfection by design. 1512 Pacheco Street #D101, Santa Fe, N.M. 505.988.4111 | santafebydesign.com

Seret and Sons Seret and Sons offers a one-of-a-kind design experience working with a vast collection of Central and South Asian imports including, rugs, fine furnishings, architectural elements, and antique Tibetan furnishings. Direct importers, designers, and manufacturers for over 40 years, Seret and Sons offers clients a world-class shopping experience and an ever-changing visual feast of inspiring materials. From handcrafted custom furnishings to architectural installations, Seret and Sons provides a signature vision for fine homes, restaurants, and hotels from Santa Fe to Tahiti. Their talented team collaborates on residential and commercial projects from initial sketches to fabricating each exquisitely finished piece. PHOTO BY Kate Russell. 224 Galisteo Street, Santa Fe, N.M. 505.988.9151 | seretandsons.com

Design You Love and Live In

G. Coles-Christensen Rug Merchants G. Coles-Christensen is a new generation of carpet sellers committed to using the best materials available while benefiting the communities they serve. They offer a renowned collection gathered from the historical weaving capitals of the world and are known for a simple and classical aesthetic. G. ColesChristensen’s new lines are designed by local artists in Santa Fe, including Todd Scalise, Yuki Murata, Victoria Price, and Gary Coles-Christensen himself. All of the wool carpets are constructed of 100% Tibetan wool and silk, which is carded, spun, dyed, and knotted entirely by hand in the country of Nepal. Gary maintains his own workshop in Nepal and is highly committed to RugMark, an international nonprofit organization devoted to ending child labor in the weaving industry. The store is truly unique. Each design is imagined on Nepalese paper prior to execution. Gary insists that the conception be hand-rendered. It is only through attention to these kinds of details, and emphasizing complete integrity at every step, that authenticity is ensured. It’s because of Gary’s unique vision that clients come to his shop from all over the world. Right: Custom Tibetan carpet design made of 100% Tibetan wool and silk from the G. Coles-Christensen private label. 125 West San Francisco Street, Santa Fe, N.M. 505.986.6089 | therugmerchants.com

The Accessory Annex If the bathroom is a place to purify and regenerate, shouldn’t its furnishings reflect that function? Waterfall’s line of transitional bath furniture is as easy on the eye as it is on the enviroment. Inspired design, an unprecedented choice of colors, and eco-friendly building materials make Waterfall a beautiful choice. • Made with environmentally preferred material • 13 highly durable lacquer colors • Custom sizing • Optional CaesarStone or 3form 100%-recycled counter material Waterfall is a member of 1% For The Planet, a not-for-profit organization comprising companies committed to donating at least 1% of their yearly sales revenue to enviromental causes. 1512 Pacheco Street #C104, Santa Fe, N.M. 505.983.3007 | santafebydesign.com

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Clemens & Associates “We delight in showing our clients how much more they can get from their outdoor space than they had imagined.” The same attention to detail should be given to the garden as to the interior, and there are so many ways to create interest in the landscape besides with plants. Clemens & Associates’ landscape design is very architectural, incorporating various stonework details, overhead structures, fountains, metalwork, furniture, and garden ornamentation. “We strive to create outdoor living spaces that accommodate the lifestyle of our clients by providing easy, comfortable living areas but with some pizzazz that makes it fun to show it off!” Clemens’s experience ranges from small, intimate gardens to large estates and commercial and municipal projects. The designers at Clemens work equally well in a professional team setting and are excited by the additional challenge of incorporating landscape design into an architectural concept. 1012 Marquez Place #201, Santa Fe, N.M. 505.982.4005 | clemensandassociates.com

Dahl Plumbing From design to art to comfort: Since 1974, Dahl has evolved into a complete product resource center with an emphasis on sustainable products and services. “Like many Santa Fe businesses, we are green-minded and enjoy educating our clients on sustainable and economical climate comfort. We offer products of integrity and high efficiency that will be suitable for each specific project,” explains James Coss, Dahl’s heating specialist. One example of integrity and high efficiency is the Jaga radiator. More than a simple heater, the Jaga is an example of artful design created to enhance comfort. Truly powerful, these radiators are low-water-temperature systems with highest heat emission. “To create an effective working heating and cooling system, we encourage designers and their clients to visit Dahl at an early planning stage so that the system can be incorporated into the overall building design. We want to meet or exceed their expectations for energy efficiency and design aesthetics, so planning ahead is essential,” says Coss. The Jaga radiators are works of art. Designed to integrate perfectly with every interior, they can be installed as a complete home-heating system. All parts are recyclable and replaceable and become family friends for life. 1000 Siler Park Lane, Santa Fe, N.M. 505.471.1811 | dahlplumbing.com

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Design You Love and Live In

Casa Nova Gallery Situated in the heart of Santa Fe’s historic Railyard District is Casa Nova. This interior-design mecca prides itself on recontextualizing the extraordinary art, craft, and contemporary-design pieces from all over the world in a cultural fusion that epitomizes “the art of living and living with art.” For example, a painted white Tonga stool holding a black-and-white telephone-wire basket stands next to a dramatic black-and-white geometric design pot by Barbara Jackson; three ochre-red Zulu hats are mounted on the wall above a display of wire-beaded Nguni cows; three black Zulu beer pots are placed one on top of the other as an organic contemporary sculpture. Casa Nova is a dynamic, upmarket gallery often referred to as “a feast of eye candy” and highly regarded for its unique blend of color, art, craft, contemporary design, and furnishings. Perhaps best described as “New African,” the style is contemporary, urban, edgy, and vibrant, with echoes of the traditional forms of old Africa and the exotic, energetic forms of new Africa. Helping others to help themselves and thereby creating sustainable employment is an integral part of Casa Nova’s business ethos. Many of the groups that Casa Nova works with are focused on HIV/AIDS prevention and education and were formed to support those living with HIV/AIDS. For more information about these organizations please contact Casa Nova at info@casanovagallery.com. PHOTO BY Kate Russell. 530 South Guadalupe Street, Santa Fe, N.M. 505.983.8558 | casanovagallery.com

Victoria Price Art & Design Colorful, eclectic, a blend of old and new—these are a few phrases to describe the showroom of Victoria Price. “I offer an unusual mix,” Price explains of her services, which combine interior design, custom furniture, and hand-selected merchandise. This mix extends to the range of items on hand: Icons of international design such as Cassina, Moroso, Poltrona Frau, Kartell, Missoni Home, and Heath Ceramics share pride of place with locally made, eco-friendly furniture, repurposed antiques, and Navajo textiles. The commingling of these diverse yet simpatico elements creates a dynamic blend that Price believes is indicative of contemporary Santa Fe. PHOTO BY Eric Swanson/Santa Fe Catalogue. 1512 Pacheco Street #B102, Santa Fe, N.M. 505.982.8632 | victoriaprice.com

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Eating Close to theSource WINE AND DINE

BY LESLEY S. KING | PHOTOS BY DOUGLAS MERRIAM

An exciting movement has taken root in the U.S., and particularly in Northern New Mexico. More and more people are “voting with their forks”— electing to buy their food locally, directly from the farmers who grow it. And leading the trend are those with the region’s most discerning palates—the chefs of notable restaurants. Though in its beginning stages, this quiet revolution could change the way U.S. food is grown. > continued on page 132 130 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

WINE AND DINE

continued from page 130

The popularity of media sensations such as Michael Pollan’s book The Omnivore’s Dilemma and Robert Kenner’s film Food, Inc. reflects a new food consciousness whose main concept is sustainability. “The big issue today is knowing where your food comes from,” says chef Kim Müller, of the recently opened Real Food Nation, a restaurant east of Santa Fe that has its own garden. It’s an issue of “food security,” she says. Just as concern has grown over whether or not our country can live on its own energy rather than relying on foreign oil, so a similar autonomy is becoming vogue with food. “We need to become sustainable and produce our own,” Müller says. The “buy-local” movement means purchasing from small farms rather than large, mechanized ones, which cultivate vast acreage of crops that are often transported long distances. The small farmers are stewards of the land, says Sarah Noss, executive director of the Santa Fe Farmers Market Institute. “They’re better at taking care of the land, water, and air.” Unfortunately, their numbers are dwindling. Throughout the U.S., she says, 46 acres of farmland per hour is converted to non-agricultural use. “It’s imperative for our food security to preserve farmland.” This is mostly because the cost of transporting food, and thus the cost of food itself, continues to rise. A city like Santa Fe, however, offers hope. The 2008 opening of the 9,000-square-foot Santa Fe Farmers Market Pavilion has encouraged more buyers to seek local produce. “Since its opening, I’ve experienced growth in sales,” says Matt Romero, owner of Romero Farms in Dixon. He calculates that every dollar spent at the market has the impact of three dollars returning to the local economy—to the feed store, to laborers, and to the farmers’ own grocery shopping. The real incentive to buy local, however, is taste. “We’re bringing a product picked just a day or two before,” says Romero. “You can’t buy a better one at any price.” As well as the freshness, the reason the eggplant is sweet and the lettuce crisp has to do with the soil and the time of harvest. Small farmers use compost, manure, and cover crops to enhance the soil, while large farms—even commercial organic ones—add nutrients to the irrigation water. “Soil is the basis upon which all is built,” says Noss. Also, since small farms don’t have to ship long distances, they can harvest when the produce is ripe and tender. The region’s top chefs, who know more about food than most of us, are leading the buy-local trend. Of course, in order to offer a full menu, they still rely on such items as fish and veal from elsewhere. Still, some local growers count restaurants among their biggest customers, including Romero, who sells to Il Piatto Cucina Italiano, Railyard Restaurant and Saloon, Coyote Cafe, Joe’s Diner and Pizza, and the Hotel St. Francis. The list of restaurants buying local includes the city’s most renowned: Anasazi, Aqua Santa, the Compound, Geronimo, Ostería d’Assisi, Ristra, and Santacafé, among others. Some of these, and many other restaurants, have teamed up under the umbrella of the Santa Fe Alliance, whose mission is to support regional farmers by purchasing their food. In 132 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

Matt Romero, owner of Romero Farms in Dixon, New Mexico, roasts his crop of green chilies at the Santa Fe Farmers’s market.

Taos, the new Love Apple says its primary goal is to support the local community. “We want to keep local agriculture viable and keep the money here,” says chef Andrea Meyer, who each day lets the available produce guide her menu. As well, restaurants themselves are growing their own food. In Taos, the owners of the Old Blinking Light, Joseph’s Table, and Lambert’s have planted an heirloom-fruit orchard and a vegetable garden, while raising their own grass-fed beef. Meanwhile, Real Food Nation, the creation of Andrew MacLauchlan and Blyth Timken, has even bigger ambitions. The restaurant waters its own garden with rain collected in cisterns, and heats its greenhouse with solar power, making it as sustainable as is possible on its limited grounds. Such practices may become more crucial if energy sources continue to dwindle. The larger hope is that the attention of the buylocal movement could even shift U.S. government policy, which currently subsidizes only large commercial farms. “People have to get more vocal,” says Müller. “If we insist, then these farmers could actually make a living.” And if they can make a living, our country will become more sustainable, and each of us safer, with a happier palate. R

COYOTE CAFE

BY LESLEY S. KING PHOTOS BY DOUGLAS MERRIAM

Local heirloom tomatoes and wild blueberries highlight this salad of champagne-poached lobster and prosciutto in a roasted onion herb vinaigrette.

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OSTERÍA d’ASSISI

BY LESLEY S. KING PHOTOS BY DOUGLAS MERRIAM

Anyone who has spent time in a trattoria among the rolling hills of Northern Italy or on the shores of the blue Mediterranean will grow nostalgic at Ostería d’Assisi. As you sip country Italian wine and feast on fresh pasta along with fish, poultry, and meat dishes in long-simmered sauces, you’ll feel as though you’re in the Old Country. And that is the goal of chef Lino Pertusini, who has served authentic food in Santa Fe for the past 33 years. Set on a quiet street and named for Santa Fe’s patron saint, who was born in Assisi, Italy, Ostería d’Assisi was born as a new vision for Pertusini. Hailing from the Lake Como region in Northern Italy, he worked for years in the finest restaurants in Switzerland, France, and England, finally coming to San Francisco and then to Santa Fe, where, for 19 years, he and his brothers operated The Palace, one of the city’s first fine-dining restaurants. Fourteen years ago, he opened Ostería, with a more causal and broad-ranging goal.

Set in what once was a home, the Ostería d’Assisi offers the warmth of an Italian neighborhood trattoria with the elegance of a fine restaurant.

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AD INDEX ANTIQUES, HOME FURNISHINGS, RUGS & ACCENTS The Accessory Annex santafebydesign.com 505-983-3007 ...................................35 Carpinteros carpinterossantafe.com 505-988-1229 ...................................45

Victoria Price Art & Design victoriaprice.com 505-982-8632 .................................115 Visions Design Group visionsdesigngroup.com 505-988-3170 .....................................7

ARTISTS & GALLERIES

Graham’s Custom Window Tinting 505-984-1731 ...................................47 Kitchens by Jeanné kitchensbyjeanne.com 505-988-4594 ...................................33 Tierra Concepts, Inc. tierraconceptssantafe.com 505-989-8484 .................................107

Casa Nova casanovagallery.com 505-983-8558 .................................. 19

Blue Rain Gallery blueraingallery.com 505-954-9902 .....................................1

G. Coles-Christensen, Rug Merchants therugmerchants.com 505-986-6089 .................... Back Cover

Christopher Thomson ctiron.com 800-726-0145.....................................55

La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688 .............................36–37

Doug Coffin 575-685-4510.....................................21

Poeh Cultural Center and Museum poehcenter.com 505-455-5041 ..............................88-89

Fire God Gallery .com 575-751-7702.....................................21

Santa Fe Convention & Visitors Bureau santafe.org 800-777-2489 ...................................95

Glenn Green Galleries glenngreen.com 505-820-0008 ..................................8-9

Santa Fe Interior Designers designsantafe.org 505-988-1111 ..........................115, 117

HVL Interiors hvlinteriors.com 505-983-3601 ...................................55

Taos Getaway Sweepstakes 866-519-8267 ...................................97

La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688 .............................36–37

FASHION & JEWELRY

Sachi Organics sachiorganics.com 505-982-3938 ...................................91 Seret & Sons seretandsons.com 505-988-9151 .................................118 Southwest Spanish Craftsmen southwestspanishcraftsmen.com 505-982-1767 ...................................45 Tierra Concepts, Inc. tierraconceptssantafe.com 505-989-8484 ...................................45 Victoria Price Art & Design victoriaprice.com 505-982-8632 .................................109 Visions Design Group visionsdesigngroup.com 505-988-3170 .....................................7

ARCHITECTS, DESIGNERS & LANDSCAPE COMPANIES Annie O’Carroll & Associates annieocarroll.com 505-983-7055 ...................................33 Clemens & Associates clemensandassociates.com 505-982-4005 ...................................35 Design with Nature Ltd. Co. designwithnatureltd.com 505-983-5633 ...................................27 HVL Interiors hvlinteriors.com 505-983-3601 ...................................55 Kitchens By Jeanné kitchensbyjeanne.com 505-998-4594 ...................................33 Kris Lajeskie Design Group krislajeskiedesign.com 505-986-1551 .............................48–49 Seret & Sons seretandsons.com 505-988-9151 .................................118

Manitou Galleries manitougalleries.com 505-986-0440 ..............................10-11 Niman Fine Art namingha.com 505-988-5091 ..................................4-5 Robert Reck Photography robertreck.com 505-247-8949 .....................................2 Roxanne Swentzell roxanneswentzelltowergallery.com 505-455-3037 ...................................13 Traders’ Collection traderscollection.com 505-992-0441 ...................................47 Victoria Price Art & Design victoriaprice.com 505-982-8632..................................109 White Gallery markwhitefineart.com 505-982-2073 .............................64–65 William Siegal Gallery williamsiegal.com 505-820-3300...........Inside Front Cover Zane Bennett Contemporary Art zanebennettgallery.com 505-982-8111 ...................................54

BUILDERS, DEVELOPERS & MATERIALS The Firebird thefirebird.com 505-983-5264 ...................................53

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CITIES, EVENTS & MUSEUMS Gallup New Mexico gallupnm.org 800-242-4282 ............................98-99

Dahl Plumbing destinationdahl.com 505-471-1811 ...................................15 Kitchens By Jeanné kitchensbyjeanne.com 505-998-4594 ...................................33 Santa Fe By Design santafebydesign.com 505-988-4111 .....................................3 Statements statementsinsantafe.com 505-988-4440 ...................................29

REAL ESTATE, BANKS & MORTGAGE COMPANIES Los Alamos National Bank lanb.com 505-954-5400, Santa Fe 505-662-5171, Los Alamos...............93 Pacheco Park 505-780-1159 .................................107 Santa Fe Realty Partners sfrp.com 505-982-6207 ...................................96 Tierra Real Estate Group 505-989-8484 .................................107

Casa Nova casanovagallery.com 505-983-8558 .................................. 18

RESTAURANTS, CATERERS & LODGING

Creative Design creativedesignstore.com 505-986-0247 ...................................20

Coyote Cafe coyotecafe.com 505-983-1615 ..........................134-137

Golden Eye golden-eye.com 505-984-0040 ...................................16

Geronimo geronimorestaurant.com 505-982-1500 .................................131

Stump/Rippel rstumpdesigns.com 505-986-9115 .....................................6

Historic Taos Inn taosinn.com 866-519-8267 ...................................95

DANCE & CHOREOGRAPHY

Il Piatto ilpiattosantafe.com 505-984-1091 ...................................34

Dancing Earth dancingearth.org ...............................94 Rulan Tangen dancingearth.org ...............................94

HEALTH & BEAUTY Alix Hair Studios 505-795-7676 ...................................92 Light & Love lightandlove.info 505-955-9919...........Inside Back Cover

KITCHENS, TILE, LIGHTING & HARDWARE Allbright & Lockwood 505-986-1715 ...................................17 Christopher Thomson ctiron.com 800-726-0145.....................................55

La Boca labocasf.com 505-982-3433 .................................141 Luxury Casita Vacation Rental luxurycasita.com 505-983-0737 .................................140 Milagro 139 milagro139.com 505-995-0139 .................................129 Ostería d’Assisi osteriadassisi.net 505-986-5858 ..........................138-139 Saveur 505-989-4200 .................................133

ZOOM

Fine Art at High Speed

RUSS DODD

Performance-Built, Chopped, Dropped, Wedged, Stretched, and Streamlined Jeff Brock has had two passions in life: the need to create and the need for speed. This summer, Brock found a new venue for both at the Bonneville Land Speed races. His sculpture on wheels unloaded to the awe of audiences and set a new world record with its innovative, artistic, aerodynamic design. After years of working with vintage motorcycles, Brock moved to Santa Fe in 1999 to pursue artistic inclinations, taking an apprentice position enlarging other artists’ sculptures. Brock’s interest in fast wheels was rekindled in January 2009, when he went to the “world’s greatest” roadster show in Pomona, California. He was enamored of cars built for serious speed. And there it happened. Standing over a sleek, sculptural, hand-built Land Speed Race car, Brock found his mind flooded with the vision of a vintage Buick rocket. The year before, Brock discovered the ultimate “American lead sled,” a 1952 Buick, from an abandoned lumber mill near Phoenix. He saw, in this car, the sculptural form for creating a fast, furious work of art. Brock plunged headfirst, setting his sights on the 61st annual Bonneville Speed Week, a seven-day world event. In record time, he transformed his used and abused 1952 Buick Super Riviera into a performance-built, chopped, dropped, wedged, stretched, and streamlined Land Speed Racing car. Needing help with the build and a pit crew, Brock hired two local apprentices: 22-year-old Sergio Juarez, of Espanola, New Mexico, and 23-year-old Lupe Nino, of Medanales. Brock and his wife, sculptor Star Liana York, named the quest Resurrection Racing. Brock warned that he would be merciless and tough, but they might share the success of a dream and a world record. As the work progressed, Brock realized it would take a miracle for it all to come

Jeff Brock put his transformed 1952 Buick Super Riviera to the test at Bonneville Salt Flats.

together. The stringent rules and safety requirements necessitated documentation, and strictly defined guidelines for his racing class were daunting enough without a truncated deadline. The team put in 12- to 16-hour days, seven days a week. Resurrection Racing found veteran dragrace machinist Doug Anderson, owner of Automotive Machine Service in Albuquerque, to tackle design and machining for the Buick’s big-block 320 straight-eight engine. And just four weeks later, Brock received the highly modified, performancebuilt short-block motor with three weeks to finish, assemble, and connect the drag-race clutch, bell housing, and Super T10 fourspeed transmission and make necessary frame and driveline modifications. At two p.m. on August 7, the crew installed one of the last aesthetic elements: their home-built Lexan windshield. With no time to test-drive the car, Brock, Juarez, and Nino loaded it onto the trailer. On arriving at the Bonneville Salt Flats

International Speedway, having slept three hours in the truck, Brock and Juarez made the rookie crew meeting and returned to the pits to find the car surrounded by picture-takers. After a half day in technical inspection, the team emerged to be congratulated by fellow racers for already setting a world record: the longest tech inspection in Bonneville’s history. The unorthodox build was a challenge for all. Brock and Juarez had to spend the rest of Sunday and Monday morning modifying and satisfying subjective build and safety issues. Tuesday, they got their hardearned SCTA-BNI 2009 inspection sticker. The rest is history for Resurrection Racing. On August 12 and 13, Brock piloted the car down the salty, slippery, bumpy three-mile race course for a new Bonneville world record for inline-engine competition coupes, breaking the previous world record of 127 miles per hour with a top speed of 133 mph. Zoom. R trendmagazineglobal.com Fall 2009/Winter 2010 » Trend 143

END QUOTE

If man does find the solution for world peace it will be the most revolutionary reversal of his record we have ever known. —GEORGE C. MARSHALL, U.S. GENERAL (1880 –1959)

Sarah Pickering, Landmine, 2005. From the exhibition Manmade: Notions of Landscape, from the Lannan Collection, on view at the New Mexico Museum of Art, October 9, 2009–January 3, 2010. Courtesy of the artist.

144 Trend » Fall 2009/Winter 2010 trendmagazineglobal.com

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