PAOLO
SOLERI Architect/Philosopher TAOS
Beyond Tourism
BYO H2O
The Tap Is Running Dry
SPRING/SUMMER 2009 Display through August 2009
U.S. $5.95 Can. $7.95
BOUTIQUE HOTEL DESIGN IN SANTA FE Native Chic to Global Fusion
MOSS O
U
T
D
O
O
R
The Grass is Greener “Discover the alluring world of luxury outdoor living” 530 South Guadalupe / Santa Fe, NM 87501 505-989-7300 / www.mossoutdoor.com
Â&#x2013; & 8=6< 6/@2G :7;7B32
8=6<6/@2G 1=;
% ;]\bU][S`g 0ZdR Â&#x2019; # # && ! aVSZb]\XSeSZS`a Q][
introducing vanities... storage with style! 1512 Pacheco Street, Suite C104 â&#x20AC;˘ Santa Fe, NM 87505 â&#x20AC;˘ 505.983.3007
STONE WHITE V 2006 fiber, gesso, acrylic paint, gold leaf 40 x 28"
OLGA DE AMARAL SELECTED MUSEUM COLLECTIONS Art Institute of Chicago, Chicago Art Museum of the Americas, Washington DC Cleveland Museum of Art, Cleveland The Contemporary Museum, Honolulu Cranbrook Art Museum, Bloomfield Hills Denver Art Museum, Denver de Young Museum, San Francisco Metropolitan Museum of Art, New York Musee Bellerive, Zurich Musee Cantonal des Beaux Arts, Lausanne Musee dâ&#x20AC;&#x2122;Art Moderne de la Ville de Paris, Paris Museo de Arte Moderno, Bogota Museo de Arte Moderno, La Tertulia, Cali Museo del Instituto de Arte Contemporaneo, Lima Museo Nacional-Cancilleria, Bogota Museum of Arts and Design, New York Museum of Modern Art, New York National Museum of American Art, Renwick Gallery, Washington DC National Museum of Modern Art, Kyoto Philadelphia Museum of Art, Philadelphia Rhode Island School of Design Museum, Providence San Antonio Museum of Art, San Antonio Toledo Museum of Art, Toledo
Bellas Artes 653 Canyon Road
Santa Fe NM 87501
505 983-2745
bc@bellasartesgallery.com
www.bellasartesgallery.com
OLGA DE AMARAL
GRIETA II 2008 fiber, gold leaf, acrylic paint 108 x 93"
1@3/B7D7BG ;33BA 1=<AB@C1B7=< AO\bO 4S¸a b`cZg TcZZ aS`dWQS /`QVWbSQbc`OZ 4W`[ 4`][ ^`]^S`bg OQ_cWaWbW]\ bV`]cUV Q`SObWdS
RSaWU\ bV`]cUV Q]ab Q]\aQW]ca Q]\ab`cQbW]\
! ! >OaS] RS >S`OZbO
2cbg O\R 5S`[O\Oa ^`]dWRS OZZ bVS aS`dWQSa
AO\bO 4S <Se ;SfWQ] &%#
`S_cW`SR W\ ]`RS` b] aSS O ^`]XSQb
# # '&' &&&
b] acQQSaaTcZ `SOZWhObW]\ BVS QO`S eS RS[]\ab`ObS W\ VO\RZW\U SOQV O\R SdS`g ^`]XSQb Wa O VOZZ[O`Y ]T ]c` acQQSaa
DUTY& GERMANAS
/`QVWbSQba 7\Q
Duty Real Estate Services is dedicated to providing just that: Service. All aspects of our clientâ&#x20AC;&#x2122;s real estate needs, both commercial and residential will be met.
www.dutyrealestate.com
1323 Paseo De Peralta, Santa Fe, NM 87501
- Dustin Michael Duty
dustin@dutyrealestate.com
505.469.1731
505.989.9088
photos: Kate Russell
V I S I O N S D E S I G N G R O U P
www.visionsdesigngroup.comÊUÊxäx° nn°Î£Çä 111 N St Francis Dr Santa FeÊ ÊnÇxä£
>Û `Ê >Þ ÀÊUÊ iÌÃÞÊ >ÕiÀÊUÊ À ÃÌ Ê1ÀL> ÊUÊ Ã >Ê Àiiâi
Waterscape #29 oil 66” x 54”
R O B E R T
S T R I F F O L I N O
Manitou ad p.9
Waterscape #28 oil 66”x54”
MANITOUGALLERIES 123 W. Palace Ave., Santa Fe, NM 87501 505.986.0440 ManitouGalleries.com 800.283.0440
Arthur Lopez
New Works July 1-15 Opening Reception Friday, July 3, 5pm
Santa Cecilia y sus Mariachis del Cielo Wood Carving 25”x13”x10”
BLUE RAIN GALLERY 130 Lincoln Ave. Ste. D | Santa Fe, New Mexico | 505.954.9902 | info@blueraingallery.com | www.blueraingallery.com
New Works July 20-31 Opening Reception Friday, July 24, 5pm
Broke Down Arroyo Blues Oil on Canvas 72”x 60”
BLUE RAIN GALLERY 130 Lincoln Ave. Ste. D | Santa Fe, New Mexico | 505.954.9902 | info@blueraingallery.com | www.blueraingallery.com
Yoshihiko Ueda Quinault, No. 38, C - print, 50 x 39 3/4 inches
TA I G A L L E R Y
S UM M E R SHOWS S O F A W E S T: S A N TA F E ! N A G A K UR A K E NI C H I
•
•
June 11–14
July 11–18
YA M A G U C H I R Y U U N & K I B E S E I H O
TA I G A L L E R Y
1601 B Paseo de Peralta Across from SITE Santa Fe
•
August 8 –15
Santa Fe, New Mexico 87501
• •
505.984.1387 • www.taigallery.com
Above: Isohi Setsuko Spring, 2008,13 diam. x 6 1/4 inches
BE THERE
AN
INTERNATIONAL
ART
FAIR
A R T S A N T A F E 2 0 0 9 / J U LY 2 3 - 2 6 EL MUSEO IN THE RAILYARD ART DISTRICT / 1615 PASEO DE PERALTA O P E N I N G N I G H T G A L A / T H U R S D A Y , J U L Y 2 3 , 5 - 8 P. M . / $ 7 5 JULY 24, 11- 7 PM; JULY 25, 11-6 PM; JULY 26, 11- 6 PM / TEL 505.988.8883 / WWW.ARTSANTAFE.COM
ALL TICKETS AVAILABLE AT THE LENSIC BOX OFFICE 505.988.1234 PICTURED LEFT TO RIGHT, TOP ROW: Patrick Berran, Thomas Robertello Gallery, Chicago, IL; Elan Vital, 418 Gallery, Bucharest, Romania; Randall Reid, William Campbell Contemporary Art, Fort Worth, TX; Fabián Detrés, West Gallery, Mayaguez, Puerto Rico SECOND ROW: Robert Turner, Robert Turner Photography, Del Mar, CA; Judy Chicago, Landfall Press, Santa Fe, NM; Friederike Oeser, Galerie Walter Bischoff, Berlin, Germany; THIRD ROW: Robert Kelly, Linda Durham Contemporary Art, Santa Fe, NM; Scott Gruss, Ten472 Contemporary Art, Grass Valley, CA; Miguel Valenzuela, Arte Berri, Santo Domingo, Dominican Republic; Mary Ehrin, Rule Gallery, Denver, CO; FOURTH ROW: Maysey Craddock, David Lusk Gallery, Memphis, TN; Peter Weber, Galerie Renate Bender, Munich, Germany; Yoshiharu Yukawa, EDEL, Osaka, Japan
robertreck p h o to gra p hy
architecture, interiors and hospitality worldwide 505/247-8949 www.robertreck.com
CONTENTS
[Spring/Summer 2009]
Features
52
The State of H20 in Santa Fe Thinking about quenching our thirst for liquid gold: Maybe it’s a good thing development has slowed in Santa Fe. Now will our river survive to be removed from the endangered list? BY STEPHANIE PEARSON | PHOTOS BY JUDY TUWALETSTIWA
56
Paolo Soleri: One of the World’s Most Famous “Unknown” Architects Building a world we can live in: Paolo Soleri has labored for decades on his innovative and earth-friendly architectural theories. From Arcosanti—a living project—to the Amphitheatre in Santa Fe, Soleri always has one thing in mind: How are we impacting the planet we inhabit, and will we survive our own version of progress? BY PAM HAIT
Santa Fe’s Studio Arquitectura, an architectural firm, plus local and national designers, built the fantastic Casa Escondido in Tesuque’s incredible red-bluff country. PHOTO ESSAY BY STEVEN KOTLER | PHOTOS BY CHRIS CORRIE
80
The Place of Taos Pueblo A Nation Behind—and Beyond—Walls What most tourist brochures and guides won’t tell you about one of the oldest continually lived-in Native communities in North America: Its inhabitants pay a high price in order to maintain tradition while thriving within contemporary culture. BY KEIKO OHNUMA | PHOTOS BY MARCIA KEEGAN
16 Trend » Spring/Summer 2009 trendmagazineglobal.com
FROM TOP: JUDY TUWALETSTIWA; CHRIS CORRIE; JEFF NOBLE
68
Studio Arquitectura’s Rancho Escondido: A Photo Essay
Departments 20 22 26
[Spring/Summer 2009]
LETTER FROM THE PUBLISHER
CONTRIBUTORS
FLASH Summer School for a Taos Artist; Judy Chicago Instructs Teachers in the Fine Art of Having a Dinner Party, with Help from the New Mexico Committee of the National Museum of Women in the Arts; Green Lights Mean “Go” for Qnuru; Artist Tom Joyce’s New Solar-Lighting Project
30
OUTLOOK It seems quite mad when a city lets a landmark original go under the bulldozer. But the people at the new Museum of Arts and Design on New York’s Columbus Circle seem pretty sane.
36
ART MATTERS OK, we know New York City is the number-one art city in the U.S., but who’s number two? L.A. makes the case for itself during their Arts Month in January.
106
40
COLLECTOR’S CACHE They just bought what they liked—and turned into collectors. Jon and Fay Abrams like a lot of art; from folk to fine, the good doctor’s home is filled with an eclectic collection of remarkable goodies.
92
PERSPECTIVE ON ART SOFA goes WEST—a new, multimedia art fair comes to Santa Fe.
106
114
BUSINESS PROFILES Cedar Mountain Solar, Keshi, Photo-eye
116
BLUEPRINTS He’s been featured in Architectural Digest, yet prefers anonymity. Trend promised not to name this world-renowned architect in exchange for a peek at the home he’s building for himself, garden first, stone by stone.
92 18
Trend » Spring/Summer 2009 trendmagazineglobal.com
128
END QUOTE
About the cover : Paolo Soleri Amphitheatre, with thanks to the Santa Fe Indian School. Dancing Earth members, clockwise from bottom left: Rulan Tangen (choreographer), Leland Chapin (body painter), Nichole Salazar, Ruben Rascon, Connie Wind (costume designer), Dominique Salazar, Eagle Young, Tazbah Gaussoin. Hair and makeup (Earthen Glow Minerals) by Anna Agosa. Lighting by Hogle’s Theatrical Supplies. PHOTO BY ROBERT RECK.
Corrections to Summer/Fall 2008 issue. The photograph of PAX Scientific’s “Lily impeller,” page 85, was taken by Charles Nucci. * The photo of TC Cannon, page 45, was taken by Herb Lotz.
TOP: KATE RUSSELL. BOTTOM: COURTESY OF HOLSTEN GALLERIES.
DESIGN LINES It ain’t your Motel 6, Mr. Bodett: Boutique hotels are among the latest wave of luxury, from New York to Los Angeles. We make a stop in New Mexico, where options run from Native chic to global fusion to monastic simplicity.
FREDERICK HAMMERSLEY
CHARLOTTE JACKSON FINE ART 2 0 0 W. M A R C Y S T R E E T, S U I T E 1 0 1 , S A N T A F E , N M 8 7 5 0 1 www.charlottejackson.com
Cross Reference, #10, 1980, oil on linen, 45 x 45 inches
TEL 505-989-8688
LETTER FROM THE PUBLISHER
From Within
W
hen I conceived of and named Trend a decade ago, I was living (as I still do) on the Pecos River near its source at the base of the Sangre de Cristo Mountains. I love the flow of water, and I miss swimming in the ocean waves of my birth place in Southern California; water taught me how to embrace change. While sound planning and well-built foundations are excellent working tools for any business, now the rules have changed: Inner guidance and creative solutions are key to evolving in this economic climate. Trend is now publishing two issues per year, Spring/Summer and Summer/Fall/Winter. The addition of exclusive Web content at trendglobal.com gives us a growing online presence and a boundless way to reach active readers on a timely basis. Kathryn M Davis, Trend’s editor and consultant, is to be applauded for seeing this issue through the complexities we’ve experienced. She had the incredible Trend team behind her—Janine Lehmann, art director; Susan Crowe and Judith Leyba, sales representatives; as well as bookkeeper Danna Cooper and our local distributor Andy Otterstrom. I especially want to thank our gracious advertisers, writers, and photographers, all of whom stayed true to our commitment to bring you this outstanding magazine. I love the vision of this project we create together, and look forward to serving you, the reader, for the next ten years. To give you an idea of how Trend is perceived by those in the know, here are some thoughts e-mailed to me from Houston architect and teacher David Guthrie, who spoke at this year’s American Institute of Architects lecture. I can see Trend is an impressive publication. I really enjoy the feel and tenor. It’s very high quality in every aspect, from the paper to the photography to the design to the content, which sets a high standard intellectually without being too academic or inaccessible, while moving seamlessly from local to global. Trend is a beautiful magazine with national and international appeal. You are well on your way to fully realizing your dream and vision. Congratulations on creating such a wonderful vehicle of ideas. This was my first visit to Santa Fe . . . but I got a sense of the place, which I can sum up: quality over quantity. It’s a condensed and high-powered little place, with an abundance of artistic energy. That ... reminds me of SoHo in some way. It’s ironic, because I remember I had heard someone make the same comparison derisively. I suppose that person was reacting to Santa Fe’s transformation from sleepy outpost to international mecca. It’s a place I want to know better. Trend is an exceptional media tool that reflects ideas of merit, inspired lifestyles, and creativity, which are important locally and affect us globally. Please enjoy this issue filled with our reflections of community. Cynthia Canyon Publisher/Owner
20 Trend » Spring/Summer 2009 trendmagazineglobal.com
RESIDENTIAL AND COMMERCIAL DESIGN
AND IN OUR SHOWROOM • ANTIQUES • FURNITURE • ACCESSORIES
MON-FRI 10:00-5:00 P.M.
(5 0 5 ) 9 8 4 - 85 4 4 • 150 SOUTH ST. FRANCIS DRIVE • SANTA FE NM 87501
www.w g d in te riors. com Ph
oto
:C
hri
sM
arti
nez
CONTRIBUTORS
Freelance writer Katie Arnold (“Hotel Chic”) is partial to total-immersion reporting: She has accidently climbed Yosemite’s Half Dome and once ran a marathon while on assignment. Her stories have appeared in Outside, Travel + Leisure, ESPN, The New York Times, and Sunset, to name a few. Among the profiles she’s written, her feature about world-champion freestyle kayaker Eric Jackson, “Alpha Geek,” received honorable mention in Best American Sports Writing 2008. Arnold is currently at work on a collection of short stories.
Il Piatto now offers the option of prix fixe pricing: Lunch Three Courses $14.95, Dinner Three Courses $29.50 or Four Courses $37.50. No Item or Time Restrictions. Includes Specials.
Editor and writer Kathryn M Davis is an art historian, educator, and independent curator. She is owner and president of ArtBeat Associates, an organization for cultural tourism in Northern New Mexico. Davis also writes art criticism for local and national publications, including THE magazine in Santa Fe, and hosts a radio spot, “ArtBeat,” on Blu 102.9 FM. She holds an M.A. in modern and contemporary art of the Americas from the University of New Mexico and has lived in Santa Fe for 23 years.
Dinner
Seven nights at 5:00 p.m. 95 W. Marcy Street Santa Fe, NM 87501 (505) 984-1091 ilpiattosantafe.com
Soledad Santiago (“High-Desert Clarity”) is a former staffer with the Santa Fe New Mexican’s arts weekly, Pasatiempo. Previously based in New York City and San Miguel de Allende, Mexico, this Santa Fean believes that even in the high desert, culture is as fluid as water. Most recently, Santiago’s work has appeared in the Los Angeles Times, the Chicago Tribune, and the Australian design magazine Pol Oxygen. She is the author of several political-thriller novels published by Doubleday and Dutton.
22 Trend » Spring/Summer 2009 trendmagazineglobal.com
MEREDITH TILIP
Lunch
Monday - Friday 11:30 - 2:00
!"#$%&"'()*+,-$%."/0"%1$%2"0"()34$
AUR ._a \S 9VcV[T N[Q 9VcV[T dVaU ._a AUR R ._a \S 9VcV[T N[Q 9VcV[T T dVaU ._a ANOYRdN_R Â&#x2018; /RQQV[T Â&#x2018; 3b_[Vab_R Â&#x2018; .PPR``\_VR` Â&#x2018; AReaVYR` Â&#x2018; 3V[R ._a " @\baU 4bNQNYb]R - aUR ?NVYfN_Q Â&#x2018; @N[aN 3R ;: %$" Â&#x2018; " " &% %""% Â&#x2018; ddd PN`N[\cNTNYYR_f P\Z
CONTRIBUTORS
WENDY MCEAHERN
Wendy McEahern (“The Recovering Collector”) is a commercial, editorial, and fine-art photographer best known for her lighting, creative collaboration with clients, and enthusiasm for tackling difficult subjects. Her work appears in magazines such as Santa Fean, Southwest Art, Art in America, and Native Peoples. A longtime Santa Fe resident, McEahern shares a home and garden with her partner and three cats; pictured here is young Rumi.
Douglas Merriam (“High-Desert Clarity”) is primarily a magazine photographer, who travels internationally on assignment. If he weren’t a photographer he would be a farmer with a café on-site, where he would cook and sell what he farmed (if he won the lottery). For now he gardens organically in his yard with his wife, Shannon, and daughter, Sage—with a table and grill next to the huge vegetables for immediate picking, cooking, and eating. Up next: Hawaii and Venice. R
Museum of New Mexico Foundation ON THE PLAZA:
New Mexico Museum of Art Shop Palace of the Governors Shop ON MUSEUM HILL:
Museum of International Folk Art Shop Colleen Cloney Duncan Museum Shop at the Museum of Indian Arts & Culture ON THE WEB:
www.shopmuseum.com www.newmexicocreates.org www.worldfolkart.org
KATE RUSSELL
Photographer Kate Russell’s (“Hotel Chic”) sensitivity to light and the moment can be seen in her work, whether it’s capturing the highlight of a live performance, the grandeur of a house and design, or the intimacy of a portrait. Russell’s photos have appeared in publications such as The New York Times, Santa Fean, and Dance, and have been featured in the book Old World Interiors. Her easygoing approach has made her a sought-after photographer both locally and nationally.
24 Trend » Spring/Summer 2009 trendmagazineglobal.com
PUBLISHER Cynthia Marie Canyon EDITOR/CONSULTANT Kathryn M Davis ART DIRECTOR Janine Lehmann COPY CHIEF Kym Scherzer ADVERTISING DESIGN AND PRODUCTION Janine Lehmann ADVERTISING DESIGN Lisa Graff, Jeri Lee Jodice PREPRESS Fire Dragon Color, Santa Fe, New Mexico 505-699-0850 CONTRIBUTING WRITERS Katie Arnold, David D’Arcy, Kathryn M Davis, Pam Hait, Steven Kotler, Keiko Ohnuma, Stephanie Pearson, Wesley Pulkka, Soledad Santiago CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Chris Corrie, Marcia Keegan, Wendy McEahern, Douglas Merriam, Robert Reck, Kate Russell, Sara Stathas, Judy Tuwaletstiwa 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 Marta Macbeth 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 Spring/Summer 2009 » Trend 25
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 ct u r e
SUMMER SCHOOL Ira Lujan’s lucidity with glass takes him back to Pilchuck Glass School
“G
lass really wants to be alive, here in this world.” That’s how artist Ira Lujan perceives his chosen medium, and now he gets to return for some “postgrad” work this summer at the famed Pilchuck Glass School in Washington State, where he will study under his mentor, the Tlingit artist Preston Singletary. Lujan’s reputation for innovation and excellence preceded his latest scholastic appointment. Last September, he participated in the arts-fusion fashion-show performance called Experience Design, the gala closing event for Santa Fe’s Design Weekend. For this multi-arts fashion show based on a narrative performance, Lujan created crowns meant to correspond with notions of dawn and the maleness of the rooster. Attaching blown-glass, incandescent fiery orange vessels lit by LEDs to leather apparatuses, he fashioned pieces worn by models and dancers at the beginning of the show to announce the coming of light from darkness— a metaphor for active creativity formed out of the stillness of the vigilant mind. At press time, Lujan had just returned from Phoenix, where he was part of the annual Heard Museum Guild Indian Fair and Market. Based on what he was showing at the Heard 26 Trend » Spring/Summer 2009 trendmagazineglobal.com
Market, Lujan was invited to join Bridge Gallery in Carefree, Arizona. His most recent “big news,” though, remains the fact that he has been selected to return to the renowned Pilchuck this summer, where he will pursue further studies with Singletary. A New Mexican through and through, Lujan usually spends about 80 percent of his life at the Prairie Dog Glass studio at Jackalope (a store full of international curiosities, known to locals and tourists alike on strip-mall-laden Cerrillos Road in Santa Fe), and “10 percent sleeping, 10 percent doing the other stuff ” of life. Look for him at work, where he’ll be busy completing one piece for every three or four that break, and building upon any glass artist’s trademark body art: burn scars along his wrists and arms. The 31-year-old Lujan was born in Albuquerque to a physician father who practiced in Acoma Pueblo, some 60 miles west of the Duke City. Lujan spent summers at Taos Pueblo, working on his grandparents’ ranch, a restful property under handsome old cottonwoods. He has family there still and returns for feast days and other important Pueblo occasions. He is a Taos Indian, and it was while performing native ceremonies and dances that he began to be inspired by “the whole mystical [understanding] of Native America—every nation, every band.” His whole life, he says, has been one of “viewing things as an artist, in my world” of visual observation. It’s this gift of observation that serves him best as an artist—that, and an indisputable mastery of one of art’s most difficult media. Many of Lujan’s artistic ideas come to him through his dreams; in fact, his most recent series, with the working title Becoming the Eagle, is about man’s connection to animals. Lujan says that Deer Man wakes him from his sleep, insisting that Lujan—whose Indian name is White Deer—attend to the incoming flow of ideas, which he records in the notebook he keeps by his bed. The artist’s skill is the result of several years of study with two of the glass arts’ most respected names: Tony Jojola and Dale Chihuly. After Lujan’s mother passed away in the late ’90s, the young man felt himself at a loss. A close friend was moving to Oregon, so Lujan made a spontaneous decision to head to the Northwest too. It was there that he discovered glass—viewing it in dozens of retail shops, observing its qualities, and becoming aware of its intensely personal attraction. Back in Taos,
Lujan studied regularly with Jojola and attended workshops and demonstrations given by Chihuly, the master glass artist from Tacoma, Washington, who brought the medium deep into the realm of “fine” art. Chihuly had founded the Taos Glass Arts studio in 1998 for young Native artists, and it was there that Lujan was introduced to the mechanics of glassblowing. By then, Lujan could fairly be called a glass artist, but he jumped at the opportunity in 2006 to study at Chihuly’s Pilchuck. Working there with his mentor, Singletary, Lujan developed his unique style, one that he calls “iconic glass” for its syncretism of traditional Native imagery and iconography developed through the medium of contemporary glass. —Kathryn M Davis
PHIL KARSHIS
C.F. RENN
FLASH
Lujan’s Jade Totem, one of his iconic glass pieces exhibited last winter at Poeh Cultural Center in Pojoaque, New Mexico
expect more.
UPPITY WOMEN Judy Chicago and the New Mexico Committee of the National Museum of Women in the Arts announced this winter at a luncheon—packed to the vigas at the Inn of the Anasazi—hosted by the New Mexico Committee of the National Museum of Women in the Arts and Committee founder Edwina Milner. The event featured Chicago in conversation with Susan Fisher Sterling, director of the museum. Chicago, as vibrant and energetic as ever—and indulging in her trademark purple lipstick—made it clear
COURTESY OF THROUGH THE FLOWER
Quick: Name a feminist artist. Odds are you thought of Judy Chicago. It’s been 30 years since the woman who embodies feminist art and now lives in Belen, New Mexico, with her husband, photographer Donald Woodman, first completed and exhibited her iconic piece, The Dinner Party. In 2007, the installation finally found a permanent home, at the Elizabeth A. Sackler Center for Feminist
Judy Chicago with The Dinner Party installation at the Brooklyn Museum
Art in the Brooklyn Museum; it has been viewed by millions already. An obvious source of inspiration for educators, The Dinner Party is used in lesson plans around the world—but not always in a manner that Chicago and the board of her nonprofit arts organization, Through the Flower, felt most appropriate to the original purpose of the artwork: to restore women individually and collectively to Western civilization’s sense of itself. Never one to let something she deems imperative go unaddressed, Chicago got together with members of the art-education faculty at Kutztown University in Pennsylvania to create a curriculum for K–12 teachers. The Dinner Party Curriculum Project was
that there’s still plenty of work to be done around issues of feminism. Back in the ’70s, she says, “we cast everything in terms of gender. We didn’t know the history of uppity women. My conclusions about feminism have enlarged. . . . [Feminism] must come from a desire to see equity and justice for the entire world.” Obviously, she pointed out, “hypocrisy still reigns.” The official launch of The Dinner Party’s national, Web-based curriculum occurred on May 1 at the Capitol Roundhouse in Santa Fe. Teachers everywhere can go to throughtheflower.org to download an educator’s guide, curriculum framework, and resource packets, as well as to purchase materials relevant to the
5 0 5.9 8 9. 77 4 1 • www.dresf.com 433 W. San Francisco Street, Santa Fe, NM 87501 A Full Service Real Estate Brokerage
trendmagazineglobal.com Spring/Summer 2009 » Trend 27
FLASH
art/design/architecture
lesson plans, including texts, postcards, and The Dinner Party poster. When asked what the NM Committee might have up its sleeve for the near future, president Patrice Emrie stated that it would focus on “sponsoring an artist to teach at Girls Inc. in Santa Fe this summer, part of our committee’s mission and educational outreach.” The NM Committee’s mission, according to its Web site, is to “bring recognition to the achievements of living women artists of New Mexico through statewide and national art exhibits, educational programs, lectures and special events.” Milner founded the New Mexico state committee about a dozen years ago, after she and her husband, Charlie—both of whom are on the National Museum of Women in the Arts advisory board—had moved to Santa Fe from Texas and discovered there was no support entity here for the museum. Milner describes her awakening to gender inequality in the arts: “I loved art, and received my BFA at the University of Texas at Austin. I was shocked when I got out of school in the ’50s and discovered all the galleries only carried men; the museums only exhibited male artists. I was thrilled when the National Museum was organized, and joined immediately and got involved.” After all this time, Milner remains “really proud of the National Museum of Women in the Arts.” —KMD
Can you spell green with a Q?
28 Trend » Spring/Summer 2009 trendmagazineglobal.com
Mayor Gavin Newsom’s Clean and Green Initiative to unveil the first generation of Qnuru lighting in San Francisco this autumn, with a pilot project organized in collaboration with the departments of Cultural Affairs, Economic Development, and Recreation and Parks. Qnuru will display sculptural solar lighting in three or four public locations around San Francisco. NICK MERRICK/COURTESY OF HEDRICH BLESSING
F
irst order of business for Qnuru, the newly launched solar-landscape-lighting firm featuring impeccable fixtures by artist Tom Joyce: how to pronounce the name. It’s ka-noo'-roo, borrowing from the Swahili word nuru, meaning “light.” The Q denotes scientists’ measurements of radiant energy. A revolutionary, off-the-grid-lighting company, Qnuru is led by the award-winning artist and blacksmith Joyce. (In 2003, he was granted the “genius” award, a John D. and Catherine T. MacArthur Foundation fellowship. Exhibitions of Joyce’s iron artworks regularly sell out.) On the team with Joyce, who is the founder and director of design, is Kristin Lora Steinmetz, executive vice president of global sales and marketing. Savvy Santa Feans will recognize Steinmetz as the designer of a line of jewelry that chicly integrates her love of metalsmithing with beads and doodads from all sources, including the Black Hole in Los Alamos—a favorite scrounge site, full up with National Lab leftovers for artists from Steinmetz and Joyce to Erika Wanenmacher, among many others. Steinmetz’s unique background as a corporate whiz kid combined with her aesthetic values made her the perfect pick when Joyce was contemplating hiring a colleague to help make Qnuru come alive. The sophisticated yet uncommon fixtures debuted recently in a show, open through June 14, at Santa Fe gallery James Kelly Contemporary. Next up on Qnuru’s quickly filling dance card: its West Coast presentation at Braunstein/Quay Gallery in San Francisco on August 27. The company has been invited by
Qnuru solar-light model “Turnabout” in blue-gray granite, designed by Tom Joyce
According to the new firm’s Web site, solarlightingbyqnuru.com, “Qnuru’s product line of solar-powered, landscape lighting fixtures is designed to efficiently capture the sun’s energy and to do so within expressive forms that are manufactured with full lifecycle sustainability in mind.” Says Joyce, “To problemsolve as an artist and a maker is, for me, a daily responsibility. Qnuru seeks to change the way solar lighting is implemented in our daily lives.” —KMD R
>:4926= 7 32F6C 2DD@4:2E6D 2C49:E64ED
"%#% ARdV` UV AVcR]eR DR_eR 7V ?Vh >ViZT` )(&!" &!& *)) "*!&
"%#% ARdV` UV AVcR]eR DR_eR 7V ?Vh >ViZT` )(&!" &!& *)) "*!&
hhh SRfVcRcTYZeVTed T`^
hhh SRfVcRcTYZeVTed T`^
aY`e`XcRaYj Sj 4YRd >T8cReY
aY`e`XcRaYj Sj 4YRd >T8cReY
OUTLOOK
BY DAVID D’ARCY
From Landmark Original to Conventional Contemporary: MAD’s Sane Exterior
30 Trend » Spring/Summer 2009 trendmagazineglobal.com
Edward Durrell Stone’s Gallery of Modern Art, 1964. Opposite: The renovated Museum of Arts and Design, shown in 2008, at 2 Columbus Circle.
about the site’s past than about its future. Cloepfil’s solution to the tightness of the footprint and the building (which he gutted, stripped, and reclad in tile) was as obvious as the challenge— to bring in more light and open up the interiors with floor-toceiling glass on the upper floors. His windows suspend you above the fierce traffic below, taking your eye up Broadway and across Central Park. In the original Stone building, each of the 12 stories was an intimate wood-paneled lobby that opened out from the elevators.
EZRA STOLLER © ESTO. OPPOSITE: DAVID HEALD/COURTESY OF THE MUSEUM OF ARTS AND DESIGN.
O
n busy Columbus Circle in New York city, the tiled building facing north toward a statue of Christopher Columbus has a gestural, rectilinear slash down its 12story, iridescent facade that looks as if it were made by an Etch A Sketch. It is the Museum of Arts and Design, or MAD, poised to make its mark on New York’s design-museum-deprived landscape. The institution’s mission is broad. Once called the American Craft Museum, and before that the Museum of Contemporary Crafts, MAD now sees itself as a crossroads for objects that its director, Holly Hotchner, says reflect “an experimentation with their materials.” Like the museum, these media once wore a different label— “crafts”—and were derided as such by critics who preferred their art to be “fine.” Now the field has gone beyond that contemptuous term, according to Hotchner, who considers her museum’s domain to be “craftsmanship,” and says its practitioners include artists and designers using every medium from wood to newspapers. The vessel for this enterprise is the steely new design by architect Brad Cloepfil, who performed a gut renovation of a building that was almost 50 years old. MAD inhabits the same footprint and the same shell as the Gallery of Modern Art, established in 1964 by the quirky A&P heir Huntington Hartford and designed by Edward Durrell Stone. Scorned as a white elephant, the building was consigned to eternity as “a die-cut Venetian palazzo on lollipops” by critic Ada Louise Huxtable of The New York Times. The Italianate tower that treated Columbus Circle like a lagoon at its feet was a lushly decorated alternative to the strident modernism of the time, even to much of Stone’s own work—such as the General Motors building near the southeastern corner of Central Park. It was truly a mad idea, unlike Cloepfil’s generically contemporary replacement. Abandoned when Hartford went broke, Stone’s edifice was occupied and picked apart by New York City’s Department of Cultural Affairs and the Convention and Visitors Bureau in the 1980s, then abandoned again. Defenders of the outré original were outgunned by an ambitious museum on the make, as MAD, with $17 million in hand, acquired the decaying structure and took the property off the city’s hands. Next came the wrecking ball, and a $73 million face-lift. It was a tremendous loss. Once you accept the fact that Stone’s charming building is gone, replaced by Cloepfil’s dutiful new galleries, MAD becomes less
trendmagazineglobal.com Spring/Summer 2009 Âť Trend 31
OUTLOOK
A private space with a private collection, the place didn’t need much more. The city’s Cultural Affairs department ripped out most of the elegant wood; Cloepfil’s new galleries are white-on-white pro forma contemporary art spaces. To his credit, the new architect did not take toppling Stone’s old regime to the absolute extreme. The basement has been restored to the original architect’s design: a jewel of an amphitheater, with dark oak walls below swathes of what looks like gold chain mail throughout to soften the acoustics. The floors outside the theater are embossed with delicate gold squares, as are the doors that lead in. Illumination comes from lights in art deco golden inverted-bowl vessels hanging
Susie MacMurray’s A Mixture of Frailties (2004)
32 Trend » Spring/Summer 2009 trendmagazineglobal.com
from the ceiling. If Pier Paolo Pasolini had set a film in 1960s Manhattan, this would have been one of his locations. Cloepfil has said he loved the basement and insisted on this commendable preservation. Yet the magic of that space only emphasizes what we’ve lost everywhere else on the site. Beyond that, there’s the question of why a design museum would demolish, rather than preserve, such an idiosyncratic building design. That said, with MAD now installed inside Cloepfil’s hardware, the museum must establish its reputation on the basis of its software: its exhibition program. MAD’s permanent collection, out on view for the first time, is a predictable walk through what Hotchner calls craftsmanship and what the makers of these objects often refer to as conceptual craft. New Yorkers can now see work by George Nakashima and Peter Voulkos and Jack Lenor Larsen and Wendell Castle that they won’t see anywhere else in the city, except perhaps in the design galleries of the Metropolitan Museum of Art. Jewelry galleries at MAD, where one of the opening exhibitions, Elegant Armor, showcases groundbreaking designs, are a case study in the
FROM TOP: COURTESY OF DANIEL NADLER; RICHARD BARNES/COURTESY OF MUSEUM OF ARTS AND DESIGN
Above: Anonymous Moroccan sprocket cuffs, 20th century; part of Daniel and Serga Nadler’s promised gift to MAD. The Nadler Collection of anonymous silver jewelry from around the world is highlighted in the exhibition Forward Thinking: Building the MAD Collection.
CHRISTOPHER THOMSON 800-726-0145
Photo: David Fenton
www.ctiron.com sdlivermore @ plateautel.net
TOP: Installation view of Second Lives: Remixing the Ordinary featuring (left to right): Terese Agnew’s Portrait of a Textile Worker (2005); Nadine Robinson’s China Shag (Self-Portrait #1); Andy Diaz Hope and Laurel Roth’s Trinity (2007); Sonya Clark’s Madame C.J. Walker (2007–2008); Thomas Glassford’s Running the Numbers (2008). BOTTOM: Willie Cole’s Loveseat (2007).
34 Trend » Spring/Summer 2009 trendmagazineglobal.com
FROM TOP: RICHARD BARNES/COURTESY OF MUSEUM OF ARTS AND DESIGN; THOMAS DUBROCK/COURTESY OF WILLIE COLE AND ALEXANDER BONIN, NEW YORK
OUTLOOK
economy of space; all the same, they resemble the gift shop that sells jewelry downstairs. The most encouraging new turn in showing craftsmanship at MAD is Second Lives: Remixing the Ordinary, a selection curated by David Revere McFadden and Lowery Stokes Sims of works by figures closely associated with the world of contemporary art whose media are recycled materials. We see shoes pressed into sculptural ensembles by Willie Cole; a gown with a graceful train made entirely of latex gloves, by Susie MacMurray; and El Anatsui’s Skylines?, a grand wall hanging composed of can and bottle wrappings that evoke the elegance and luminescence of a tapestry woven with gold thread. When we’ve thought of craft, rarely have we thought of anything on the scale at which El Anatsui works. No longer. Nor do we usually expect in this field to see anything so eloquent as The Invisible Enemy Should Not Exist, by Michael Rakowitz, an installation sitting on the simplest of tables. Here Rakowitz places three-dimensional facsimiles, made from newspaper and tin cans, of objects looted from the Iraqi National Museum in the 2003 plundering of that institution after American troops marched into Baghdad. Each refashioned figure or fragment is painted in bright colors and accompanied by a quotation that either deplores the loss of an irreplaceable object (by an Iraqi) or downplays the looting (as stated by an American, such as Donald Rumsfeld). The replicas are fabricated with an extraordinary precision, given the materials. As “Smoke on the Water” plays from a speaker, one of the ensemble’s many messages is that even the finest craftsmanship won’t bring back damaged works or undo the crime of their ruin. So far, with exhibitions like Second Lives, optimists might call Cloepfil’s MAD a glass half full. Tourists who swarm around Columbus Circle are sure to find MAD, even if the tile facade gives no clue that the place is a design museum. But they’ll return only if the institution that tore down a unique building generates something unique inside. R trendmagazineglobal.com Spring/Summer 2009 » Trend 35
ART MATTERS
BY KATHRYN M DAVIS
Art for Art’s Sake
Santa Fean risks freeway driving for L.A.’s “Arts Month” The City of Los Angeles formally declared last January “Los Angeles Arts Month.” Interested in what two of the most renowned art cities in the U.S. might share, Trend sent Santa Fe arts writer Kathryn M Davis to the City of Angels to check on the 14th annual Los Angeles Art Show, in its first year at the Convention Center in downtown L.A.; and ART LA, the edgier of the two art fairs, which took place in its new location at the Barker Hangar in Santa Monica on the same weekend. DAY ONE: Took the Metro—OMG, a Metro in L.A.?—over to the Convention Center for the gala: swanky music, plenty of free Bossa Nova acai juice (in L.A., of course, a beverage that promises thinness would be the drink of the night), and lots of canapés. And stars, of the Hollywood type, including Eriq La Salle, Rhea Perlman, and David Carradine. Apparently, although I wasn’t there to witness it, one of the Trend Lounge artists (see sidebar) had a nice chat with Emilio Estevez and his dad, Martin Sheen— of course, she had no idea who they were. An art-star hero of mine, Billy Shire, the original lowbrow art dealer, was there too. Standout booths included those of Mixografía, the venerable L.A. print workshop; Venice Projects LTD, of Switzerland; Santa Fe’s own impeccable Charlotte Jackson Fine Art; and Denver’s Robischon Gallery, sporting Yu Fan’s “me-so-happy” enamel-red sculpture of Buddha as pig farmer—possibly as a reaction to the economy, the gallery featured Chinese art exclusively. DAY TWO: After a wild ride down the Santa Monica freeway with Trend artist Steven Alverson at the wheel, we wound up at the Barker Hangar for ART LA’s red-carpet event. There I met with Tim Fleming, 32, a 36 Trend » Spring/Summer 2009 trendmagazineglobal.com
graduate of the School of the Art Institute of Chicago who’s now in his third year as fair director; he is bright, articulate, and smooth. This guy’s going places—watch him take ART LA to greater heights every year, now that they’re in a dynamic venue. Tonight Santa Monica was the place for arty types, as proven by the presence of such A-minus listers as Kevin Rahm, of TV’s Desperate Housewives. He won my heart when he said that he had promised himself “a new piece of art” with each acting job. Kate Linder, of The Young and The Restless, reminisced about the pleasure of an art purchase early in her marriage; Neil Patrick Harris and his partner, David Burtka, told me they own a Tom Friedman “vanishingpoint” drawing and a Robert Longo. Nip & Tuck’s John Hensley said he used to “play with paint” and that when he was growing up in New York, he’d visit the MoMA and sit completely absorbed by the Pollocks. My photographer Robin Stanaway and I had lots of fun playing paparazzi before we went into the actual fair. ART LA had that popular-culture-equals-art feel to it, as opposed to the L.A. Art Show’s sense of art as elitism. Not that the former necessarily makes for better art; still, as our Santa Fe artist friend Timothy Nero said, ART LA “had a buzz to it.” As Nero, on his first visit to L.A., with Taos artist Steve Storz, put it, compared with the ART LA scene, the downtown L.A. Art Show was “more established—more pulled together, with clean fingernails, tidy and huge.” Nero and Storz visited Santa Monica one day for three or four hours; in contrast, they showed up at the L.A. Art Show three or four times on different days, just to take the whole thing in. (Nero’s visit was a definite success—he was picked up for a group show by Culver City’s George Billis Gallery.) Later in the evening, we hit Bergamot Station for Venice mag’s VIP party for the
L.A. Art Show. The Santa Monica Museum of Art—with consistently good content— featured in the project rooms Arnold Mesches’s paintings complete with an essay by Robert Storr. The main exhibition gallery was technically closed, but we gawped at Ethiopian artist Elias Simé’s installation, Eye of the Needle, Eye of the Heart. One of the show’s curators is opera maverick Peter Sellars, who plans to use Simé’s thrones in Oedipus Rex at the Walt Disney Concert Hall. We spilled out into the growing party and hit the salon Frank Studio, where we got glitter tattoos by Macky Samaco and had our photographs taken for L.A. Art Show’s Web site. DAY THREE: Back downtown, New Orleans gallery Red Truck had some serious Louisiana-style feng shui going on: two gallerists playing five-card stud and drinking Negro Modelo beer, surrounded by folk-art quilts and photos by Frank Relle. Their comment: “It’s goin’ OK; we’ve got beer available for sale at slightly marked-up prices.” Nancy Hoffman Gallery featured a big, funky steel-cut chandelier by Jesse Small and lots of mixed-media pieces for a clunky, mod new look. A low-key hum of activity vibrated perfectly with the calm sky-blue walls of Peter Fetterman Gallery (Santa Monica) with its Sebastião Salgado photographs. That evening I hit the extracurricular seminar “Critiquing the Critic.” Then off to the only space without regulation gray carpet—Supersonic, the art-school offering. Lots of crunk-with-concept, but too crunky to make me care. All I could think was a very grumbly “This is what they’re teaching in MFA programs?” DAY FOUR: Back to ART LA to see what I missed. Zurich’s Groeflin Maag Galerie
CLOCKWISE FROM TOP LEFT: ROBIN STANAWAY; COURTESY OF L.A. ART SHOW; ROBIN STANAWAY (3); L.A. ART SHOW; ROBIN STANAWAY; L.A. ART SHOW
Clockwise from top left: Shattered-glass piece by artist Walead Beshty; Eriq La Salle at L.A. Art Show gala; Mr. Industries team on ART LA’s red carpet; fashion model poses in front of Trend Lounge; glitter tattoo by Macky Samaco; Art Show producer Kim Martindale; Davis interviews Kate Linder at ART LA’s red-carpet opening night; art fans Emilio Estevez, Teresa Gomez, and Martin Sheen enjoy Art Show gala.
set a certain tone with its disco lights and signage: Text was the message. Steve Turner Contemporary (L.A.) promised, in going-nowhere lowercase letters, “you were born middle class and poor you will die.” Chinatown’s The Happy Lion told us, in neon and all caps, that HAPPINESS IS ExPENSIVE . Kalfayan Galleries (Athens) postulated, YOuR SOuL IS THE LINK BETWEEN THE MORTAL LIFE AND THE DIVINE SPARK . Speaking of divine, we geeked out on Keanu Reeves in Ace Gallery’s booth. Also sighted: Irving Blum, first to show Andy Warhol’s soup cans back in the early ’60s, spending time at L.A. Louver’s Rogue Wave Projects booth checking out Eduardo Sarabia’s blue-and-white plates. Richard Hertz spoke about the CalArts Mafia, promoting his book, The Beat and the Buzz. Here’s how, according to Hertz (and any-
body who’s paying attention), L.A. is different from Santa Fe (and most other art towns): Studio rents are cheap, and there are good art schools. With the death of the College of Santa Fe, I’d say we’d better take these points to heart back at home. I returned to the L.A. Art Show for a panel, “Art in the New Political Landscape” (bottom line: nobody knows anything for sure). Then it was off to openings in Chinatown, including China Art Objects Galleries with Walead Beshty’s cracked-glass pieces, David Salow Gallery for Elisabeth Higgins O’Connor’s fabulous monumental fabric foxy dragons, String Theory in the Jancar/ McCorkle Projects basement, and For the Birds, a beautiful project at the Box, with 21 birds living in the gallery for 21 days. No talking was allowed in Box—in itself a beautiful experience. Next we killed the
calm, dashing madly in and out of the impossibly loud hot spot, the Mountain Bar, co-owned by artist Jorge Pardo. DAY FIVE: L.A. Art Show wrapped things up with a lovely ceremony, the Art to Life Awards, recognizing the contributions of Ed Moses (he shows in Santa Fe at Charlotte Jackson’s gallery), Billy Al Bengston, Larry Bell (who lives and works in Taos), Bettye Saar, and photographer Howard Bingham, whose actor pal John Amos was there to introduce his friend. CONCLUSION: When all was said and done, the L.A. Art Show had a record attendance of 35,000 over the weekend and claimed sales of more than a thousand works of art. Producer Kim Martindale declared, “Our move to the L.A. Convention trendmagazineglobal.com Spring/Summer 2009 » Trend 37
ART MATTERS
Trend Lounges in L.A. Visitors Bureau, Buffalo Thunder Resort & Casino, Glenn Green Galleries, and Rekow Designs of Albuquerque, Trend ventured into the art-fair world with the Trend Lounge at the Los Angeles Art Show this past January. Inspired by the experience, Trend is planning a VIP lounge for this July’s ArtHamptons; the invite came from Hamptons event producer Richard Friedman after his visit to the L.A. Trend Lounge. Other Trend Lounge collaborators included light artist Robin Stanaway, of Taos, and Santa Fean Steven Alverson, who conceived of and built The Voyager, an open egg-shaped shell— designed according to principles of sacred Artist Steven Alverson lounges in style geometry—that features therapeutic musical in one of Beth Rekow’s yak-fur chairs. resonances. Stanaway’s luminous Galaxy and Alverson’s Voyager merged into an installation for alignment and healing: Visitors lined up to crawl inside and listen to soothing harmonics while refracted and reflected light played about the enclosed shell and its 15-foot fabric ceiling. Another key collaborator, Helmut Lohr, brought his polarity equipment: He creates bipolar energy fields that neutralize the toxicity of man-made electromagnetic pollution. Thanks to the three artists, the Lounge proved a soothing environment, a place for moments of wonder and synchronicity between associates and attendees alike. Alverson and Lohr kept the place functioning terrifically well, while Stanaway and Trend publisher Cynthia Canyon played host with welcoming conversation about the arts of New Mexico. Other artists featured in the booth included Olga de Amaral (courtesy Bellas Artes), Martin Cary Horowitz and Stacey Neff (Linda Durham Contemporary Art), and Kenji Yoshida and Khang Pham-New (Glenn Green Galleries). Lohr also exhibited his thoughtful, Zen-like drawings. Beth Rekow designed and manned the booth, and the Tibetan yak-fur chairs she had bought at a flea-market sale were a big hit, though truly most of her pieces and her vision are much more state-of-the-art than yak-hair wingbacks. A constant presence was Mary Pat Kloenne, of the Santa Fe Convention and Visitors Bureau, cheerfully fielding endless questions and comments; CVB chief Keith Toler was there too. Farther down the 70-foot-long booth space, Glenn Green Galleries and Buffalo Thunder shared space with Pojoaque governor and sculptor George Rivera’s monumental bronze Buffalo Dancer. Rivera is responsible for the architectural aesthetics of the Pojoaque resort/casino. He and his wife and baby spent many hours on the scene, charming guests of all ages. The lounge buzzed all weekend long; all 7,000 magazine copies, brochures, business cards, and the like were gone well before closing time on Sunday. There was a radio interview with Santa Fe’s KBAC at the Trend Lounge on Friday—a little taste of New Mexico in L.A., or is it the other way around? No coincidence, then, that when Sandy Green took a brief break from her duties, she was promptly hailed by an Angeleno transplant from Santa Fe—who used to work at Glenn Green Galleries! —KMD
38 Trend » Spring/Summer 2009 trendmagazineglobal.com
ROBIN STANAWAY
In collaboration with the Santa Fe Convention and
photo by Kate Russell
Center allowed the L.A. Art Show to expand in size and stature. By relocating from Santa Monica we were able to gain the broad civic support so beneficial to a successful international art show.” L.A. Art Show is on the map in a big way. Meanwhile, the smaller and trendier ART LA, which took over the Barker Hangar opened up by the L.A. Art Show’s move, brought in more than 8,000 visitors; gallerist Susanne Vielmutter, of Los Angeles Projects, feels that ART LA is “an L.A.based fair with an international resonance.” I think it might more accurately be considered an energetic satellite to the Convention Center show, but L.A. is so spread out that it’s difficult to conceive of satellite fairs the way they exist in Miami, for example, during Art Basel/Miami Beach. L.A., by virtue of geography, is truly an international city. With a population of some 14 million, Martindale asserts, “Los Angeles really has the potential to become the next art center.” He notes that more and more artists and collectors are moving from the East Coast and Chicago to the West— including Santa Fe—and that fact alone is changing cities’ standings in the arts. L.A.’s “Cool School” (which included Moses, Bengston, and Bell) took Warhol’s avantgardism and made a new art movement— one of commercialism and verbiage—out of the popular culture that is so richly and crassly available in L.A. Some of the hottest living artists, including Ed Ruscha and, a generation later, Raymond Pettibon, took these art sensibilities, dusted them with the D.I.Y. aesthetic associated with punk music and graphic arts, and generated a postmodern pluralism unique to L.A. For Martindale, L.A. is “ideally placed, with interest in Latin America and Asia putting the Western u.S. at a crossroads.” International exposure and a history of West Coast cool, hand-in-hand with cheap rent, could just give New York a case of the heebie-jeebies. And Santa Fe by comparison? Certainly we’re the number-one small city in art in the nation. Santa Fe is becoming an international arts destination, but it’s no L.A. On the other hand, every month is Arts Month in Santa Fe. R
Please Call For An Appointment
T
505-988-4594 631 Old Santa Fe Trail, #1 • Santa Fe, New Mexico 87505 • www.kitchensbyjeanne.com
Clear Light Book Gallery Southwest Books, Posters, Gifts & More Over 1500 titles
Featuring Books by Marcia Keegan
851 W. San Mateo, Santa Fe, NM (505) 424-9090 1-800-253-2747 Shop Online www.clearlightbooks.com Marcia Keegan Photography www.marciakeegan.com
trendmagazineglobal.com Spring/Summer 2009 » Trend 39
COLLECTOR’S CACHE
BY WESLEY PULKKA PHOTOS BY WENDY McEAHERN
Recovering Collector
The
From early symptoms to full-blown syndrome, M.D. caught the bug
J
onathan “Jon” Abrams loved what he saw and bought what he loved. That simple directive guided the breathtaking art collection of the Albuquerque art maven, a recently retired cardiologist, awardwinning university of New Mexico professor of medicine, curator, and friend of the arts. Relaxing at home, however, in his suburban Albuquerque neighborhood, with a lifetime of acquisitions in every part of the house, including a Eugene Newmann painting over the fireplace and a Ken Saville skeleton sculpture in front of it, Abrams acknowledges he only reluctantly thinks of himself as a collector. “I grew to love art because my wife, Fay, and I knew so many talented artists,” says Abrams. “It was just logical to take a piece home every now and then. Fay had a strong art background, and I had had a course or two in art history. We used to go to shows together and without saying anything to each other pick the same favorites every time. “Affection and a true appreciation for art grew slowly on my part until I realized I had become a collector, but it took an even longer time to recognize that art had evolved from being one of my interests outside of medicine to a near obsession.” Abrams’s wildly eclectic collection blurs the line between “art” and “craft” and includes mixed-media works by Larry Bell; prints by Robert Motherwell, Helen Frankenthaler, and Kiki Smith; a painting by Roy DeForest; and sculpture by Tom Waldron and photographer Tom Barrow. The collection also boasts ceramist Robert Arneson’s version of Leonardo’s Vitruvian Man. It was Abrams’s interest in sculpture, in fact, that led him to suggest starting an outdoor sculpture garden at the Albuquerque Museum when he was a board member of the institution’s Foundation. (The museum now exhibits a major collection of regional and national sculpture.)
“It’s my idea of a little joke, hanging Motherwell and Frankenthaler together.” (The two artists divorced after some 10 years of marriage.)
Above: Prints by Helen Frankenthaler (left) and Robert Motherwell (right). Opposite: Painting by sculptor Constance De Jong; on the table, Larry Bell’s glass maquette for a monumental piece.
trendmagazineglobal.com Spring/Summer 2009 » Trend 41
COLLECTOR’S CACHE
In the kitchen area, Tom Barrow’s car chair (mouse by anonymous); drawing and frame by Roy Deforest
42
Trend » Spring/Summer 2009 trendmagazineglobal.com
An eclectic collection: tree-bark collage by Gail and Zachariah Rieke above plates by Sol LeWitt, Roy Lichtenstein, and Red Grooms; tea-bag painting by Zachariah Rieke; Rick Dillingham’s sculpture in corner
Abrams also founded the Contemporary Art Society of New Mexico, which recently celebrated its 20th year; and co-founded the university of New Mexico Health Sciences Center Art Collection, currently comprising more than 1,800 works. In addition, the doctor established the university Hospital Fifth Floor Gallery on the North Campus to display changing exhibitions of works by contemporary artists. “Now that I’m retired and have all but stopped collecting,” Abrams reflects, “those institutional projects have taken on a life of their own and will continue.” Back at home, a ranch-style house that wasn’t specifically designed to showcase art, Abrams enjoys storytelling through the hanging of objects. He chose, for instance, to hang his Motherwell and Frankenthaler prints together in the entry hall as a little joke about the once-married couple who later divorced. (The Abramses, too, divorced, several years ago, but both report that they still share common interests through their two daughters and the collection.) Also in the art-packed entry hall of the doctor’s home are one of Waldron’s steel sculptures in a biomorphic wedge shape and a miniature glass sculpture by Bell. The living and dining rooms feature sculpture and paintings by Allen “Skip” Graham, a bowl by Rick Dillingham, and several hydrology-inspired light fixtures
made from salt-cedar stems by Basia Irland. In a corner of the kitchen is an ordinary chair elaborately festooned with toy automobiles and photographs of cars attached with construction adhesive by Barrow, an artist known for his sense of irony and ability to work with disparate materials and imagery; there’s also DeForest’s mixed-media painting of an impaled heart, a tiny man wearing a cowboy hat, and a largetongued dog in a spatially fractured landscape, all surrounded by a hand-carved openwork frame embellished with two small human heads. “We bought that painting without a frame, so I wrote DeForest a letter asking if we could buy a frame from him,” Abrams recalls. “He sent us that beautiful frame, no questions asked.” Like his collection, Abrams’s personal and professional lives have lines that are sometimes blurred: when he asked New York artist Jim Dine to design the cover of a medical journal focused on cardiology, for instance. Dine accepted the commission, creating one of his signature black-and-white heart renderings. But the artist gave away the original drawing before Abrams could buy it for his personal collection. “It was my fault that I missed that one. I was so thrilled that Dine agreed to do it, I forgot to ask him about selling the original to me,” Abrams laments. “He gave it to his wife as a present instead.” trendmagazineglobal.com Spring/Summer 2009 » Trend 43
COLLECTOR’S CACHE
Left to right: One of Larry Bell’s “Mirage Paintings”; Rick Dillingham broken vessel under print by Susan Rothenberg; Robert Arneson’s Vitruvian Man (after Leonardo); Nathan Olivera’s figural piece next to Fred Sandback’s drawing; Richard Hogan’s blue-line piece above an early blue-dot work by Ted Larsen. Around corner: Bim Koehler’s red glass sandwich beneath a small 3-D “cross” by Stuart Arends. Rooster, from an antique shop, by anonymous.
44 Trend » Spring/Summer 2009 trendmagazineglobal.com
trendmagazineglobal.com Spring/Summer 2009 Âť Trend 45
COLLECTOR’S CACHE
Above: Collector Jon Abrams on his back porch in front of a tile mural by Jenny Lind Right: Oil painting by Eugene Newmann; Ken Saville’s skeleton sculpture Below: Kiki Smith’s etching next to unidentified wood-and-lead sculpture
Early in Abrams’s professional life, he was assigned to the Army Medical Corps during the Vietnam War and stationed in Albuquerque in 1968. It was the beginning of an evolving obsession with the arts of New Mexico that neither Jon nor Fay could have imagined. Fay recalls going crazy as a military wife on the Sandía Army Base, so she enrolled in the MFA program at uNM. “My painting instructor was Frederick Hammersley; I started at the top,” she says. “Porcelain master Jim Srubek was in the ceramics department. Many people in the art department back then were open to introducing us to everyone.” Six years after moving to the Duke City, Fay opened the Mariposa Gallery in Albuquerque’s Old Town, which specialized in fine crafts made exclusively by New Mexico artists. She operated it for 31 years before selling the business. With a partner she also ran a licensed Mariposa branch gallery in Santa Fe from 1989 to 1996. “I don’t recognize the difference between fine art and fine craft,” states Fay. “I don’t think you can have one without the other. Great art is always well crafted, and great artists have highly developed basic skills.” Artist and craftsman Richard Hogan, who has been represented by Linda Durham Contemporary Art for nearly three decades, met Jon and Fay in 46 Trend » Spring/Summer 2009 trendmagazineglobal.com
COLLECTORâ&#x20AC;&#x2122;S CACHE
Framed lithograph by Frank Stella; folk-art pig by renowned carver Felix Archuleta; zigzag sculpture by Alan Graham
1968 and has been a close friend ever since. Hogan says the Abramses not only bought several of his paintings but also donated work of his to the Albuquerque Museum and other major collections, including the Capitol Art Collection in Santa Fe. “Jewelry has been my mainstay since the early ’70s, and I sold a lot of it through Fay’s Mariposa Gallery,” says Hogan over the phone. “From my perspective there is no legitimate barrier between fine arts and crafts, but there are differences. When I design a piece of jewelry it has to succeed as an adornment and make it in that realm. I don’t see jewelry as functional sculpture or as a surrogate for painting.” In addition to gallery owner, Fay played the role of arts educator, teaching in both public and private schools and after-school arts programs. “We are not fully human unless we surround ourselves with art,” she asserts. “When I was teaching, it became obvious to me that all forms of expression added to children’s learning ability.” Fay’s own childhood was enriched by her parents’ and grandparents’ involvement in the arts. “Both of my grandmothers were artists. The grandmother I knew best— because she lived to be 96—used to take me to art shows when I was really young,” she recalls. “When I was nine years old she took me to an eye-opening Matisse show in a Los Angeles gallery. My grandparents knew Picasso and Braque personally and had a collection that included a Matisse, a Raoul Dufy, and a Maurice de Vlaminck.” At the university Hospital Gallery, meanwhile, Jon Abrams eased into retirement by curating his final show there, Friends, last winter. At the opening reception, uNM surprised Abrams with the announcement that the gallery was to be renamed the Jonathan Abrams, MD Art Gallery. Since its inaugural show, the gallery continues to feature art exhibitions on a regular basis. For the show, the doctor selected works by 26 artists whom he considers to be close friends and who are already in his collection. Of course, he still finds it logical to take a new piece home every once in a while. After all, he finally and happily admits, he is a true collector. R trendmagazineglobal.com Spring/Summer 2009 » Trend
49
The State of H2O in Santa Fe: Them’s Fightin’ Words! BY STEPHANIE PEARSON | PHOTOS BY JUDY TUWALETSTIWA
Mark Twain said it best: “Whiskey is for drinking and water is for fighting about.” There’s no denying that water is a contentious subject in the Southwest. But Santa Feans can raise a glass of whiskey to this statistic: From 1995 to 2007 the city reduced its per capita water consumption from 168 gallons per day to 101 gallons per day. That’s an impressive drop, but according to Denise Fort, a university of New Mexico law professor and the former chairwoman of the Western Water Policy Review Advisory Commission, “Santa Fe, like many cities in the arid West, does not have sustainable water supplies.” That’s true even with the new Buckman Direct Diversion Project, a state-of-the-art facility that will divert and treat water from the Rio Grande, adding approximately 8,730 acre-feet per year to the City of Santa Fe and Santa Fe County water supplies by 2011. “It’s laudable to reduce dependence on groundwater,” says Fort, who also heads up uNM’s Water Resources Program, “but we’re really just buying additional water supplies that enable us to grow and it’s simply not sustainable over the long term.” According to Santa Fe Water Resources coordinator Claudia Borchert, Santa Fe has enough water to last through about 2020. “We have a good, executable plan for how to supply future water needs,” says Borchert. “And if we continue our conservation trend, then the amount of water we’ll need will be a whole lot less.” 52 Trend » Spring/Summer 2009 trendmagazineglobal.com
The city may not dry up within the next decade, but there are still plenty of issues to argue over, such as the quality of the water that will be diverted from the Rio Grande. “Our main concern with the Buckman project is the 21 million cubic feet of contaminated waste buried on Pajarito Mesa [near Los Alamos National Laboratory, home of World War II’s Manhattan Project] that was generated in the research and development of nuclear weapons,” says Joni Arends, an environmental lawyer and the executive director of Concerned Citizens for Nuclear Safety. That’s just one of many concerns in Arends’s long list: Another is that in 2005, LANL reported the discovery of elevated chromium in the regional groundwater below Sandía Canyon, which flows to the Rio Grande almost directly across from two of Santa Fe’s drinking-water wells. “Mortandad Canyon has 16 times the state standard for hexavalent chromium [a toxic form of chromium that can cause cancer when ingested],” says Arends. “What we’re seeing is the migration of contaminants from early operations at Los Alamos National Laboratory, when there were no environmental regulations. They’re being transported into the Rio Grande: PCBs, hazardous materials, solvents, toxins, metals—it’s a cocktail of contaminants.” Robert Gallegos, the environmental-compliance specialist for Santa Fe’s public-utilities department, is well aware of these issues. “Whatever waste is there, we’re working with LANL to ensure the migration is
“
It’s a risk not to put water in the river. Our river keeps the aquifer alive, and our aquifer keeps us alive in a long-term drought.
”
—Dave Groenfeldt, executive director of the Santa Fe Watershed Association
“
What we’re seeing [downriver from the Buckman diversion site] is the migration of contaminants from early operations at Los Alamos National Laboratory—when there were no environmental regulations— being transported into the Rio Grande: PCBs, hazardous materials, solvents, toxins, metals; it’s a cocktail of contaminants. —Joni Arends, executive director of Concerned Citizens for Nuclear Safety
”
54 Trend » Spring/Summer 2009 trendmagazineglobal.com
stopped and properly monitored,” he says. “Tritium [a radioactive isotope of hydrogen that can be hazardous when ingested via water] is something we look for. It is up there. It is in the groundwater in the plateau. And it’s the first thing we’ll see. We’re monitoring for it all the time.” “We do have to be constantly vigilant about LANL,” adds Borchert. “But Buckman will be state-of-the-art and what we are doing is responsible to the community. The water that comes from the Rio Grande is going to exceed by as much as 100 times the national drinking-water standards.” If the thought of drinking water from a tap flowing partially with Rio Grande water still makes you queasy, schedule an appointment with water-treatment specialist Audrey Jenkins at Santa Fe By Design, a bath and kitchen retailer in the Pacheco Park complex.
“Water is the issue of the 21st century,” says Jenkins. “I’m very interested in the health of the people in my community. My mission is to bring environmentally responsible filtration systems that ensure greattasting, clean, healthy water for all aspects of use.” Jenkins and her consultants offer a full household-water analysis and can customfit a home with a number of filtration systems, from reverse osmosis to pharmaceutical-grade carbon filters. “I’ll go in and diagnose what a house needs and recommend a system that can take out bacteria up to a hundredth of a micron,” she says. If you stand by the city’s promise of delivering quality water but are concerned about quantity, talk to Nate Downey, the founder of Santa Fe Permaculture, a landscape consultation and design company that special-
JANINE LEHMANN
izes in creating efficient and creative outdoor living spaces. “I look past conservation at this point to how do we produce more water?” says Downey, who recently wrote Harvest the Rain, a book about water harvesting and conservation published by Sunstone Press. He breaks water harvesting into four types: passive (using natural systems like swales), active (storing roof runoff in cisterns), wastewater (recycling black or gray water), and community. “Water harvesting is very site specific and complicated,” says Downey, which is why he subscribes to a philosophy he calls “gradual greening,” in which participants take ten minutes out of every day to devote to water harvesting. “Take an hour to do some mulching, next week dig up some swales, and the next week make a pumice wick [for underground water catchment],” he says. “Eventually, you may find pleasure in it. You’ll understand and respect the water that comes from the sky, learn how to slow it down and let it percolate in the soil.” But some Santa Feans just want more water to flow, especially in the Santa Fe River. “The policy of the city has been to do their utmost to not have water in the river. They’ve had a pro-reservoir, anti-river policy,” says Dave Groenfeldt, executive director of the Santa Fe Watershed Association. “They consider it a risk to put water in the river. I consider it a risk not to put water in the river. Our river keeps the aquifer alive, and our aquifer keeps us alive in a longterm drought.” under Mayor David Coss, who campaigned on the promise of establishing a living river, the city of Santa Fe is taking Groenfeldt’s pleas seriously. As of late March, the Santa Fe River Commission, a volunteer organization named by the city, made a recommendation to the city council to continuously release water from the reservoir from April 1 to September 14, pending normal rainfall. If the resolution passes, Santa Feans can raise another glass of whiskey, this time to a living river. R
1,000 Years in the Landfill If you’re one of two million Americans who will be taking a swig out of a plastic water bottle in the next five minutes, consider these statistics: Manufacturing the 29 billion plastic bottles used for water in the United States each year requires the equivalent of more than 17 million barrels of crude oil. Eight out of ten water bottles end up as landfill waste. If everyone drank as much bottled water as Americans do, the world would need the equivalent of more than 1 billion barrels of oil to produce close to 650 billion individual bottles annually. With more than 1 billion people around the globe still lacking access to a safe and reliable source of water, the $100 billion the world spends on bottled water every year could be used to create and maintain safe public water infrastructure everywhere. The U.S. spends $43 billion per year to provide clean drinking water here, where municipal water systems are one of the best in the world. In Santa Fe, the Sangre de Cristo Water Division drinking water met all U.S. Environmental Protection Agency and state water-quality requirements in 2007. So why is it that Santa Feans still sip from $2 bottles of Fiji water when water in Fiji is actually so impure that only half the Fijian population has access to safe drinking water? That’s a question Audrey Jenkins wants to resolve. While there is no official city movement to ban bottled water, Jenkins, a water-treatment specialist at Santa Fe By Design, is on her own mission to do just that. Last year at Pancakes on the Plaza, the annual Fourth of July celebration, Jenkins served water in disposable corn cups. The cups, made out of biodegradable corn husks, break down after 45 days, as opposed to the 1,000 years it takes the average water bottle to disintegrate. She’s also lobbying the city to place recycling containers at trailheads, in city parks, and in public places. For her efforts, Jenkins was honored last April by the Albuquerque YWCA as a “Woman on the Move.” “I’m a woman on the move to get rid of plastic bottles,” says Jenkins. “We’re in the very beginning stages, but we’ve got to make people aware of the dangers of plastic bottles.” —SP
trendmagazineglobal.com Spring/Summer 2009 » Trend 55
PaoloSoleri I
n June, folks in Scottsdale, Arizona, will welcome a new architectural and public art landmark—a 100-footlong pedestrian bridge designed by Paolo Soleri. The bridge crosses the Arizona Canal, connecting the Scottsdale Waterfront residential and retail development on the north side with retail and dining establishments on the south side of the canal. It is the first bridge in the world designed and built by Soleri and is anticipated as one of his greatest projects. It draws upon solar and celestial events and features two steel-clad, 64-foot pylons that generate a light beam on the walking surface of the bridge to mark solar events. The bridge’s design reiterates humans’ connection to their environment, light, and the architecture around them. A new plaza on the south side of the canal features a second set of pylons, which house one of the largest bell assemblages ever created by this internationally known artist. Paolo Soleri has been named, along with Albert Einstein and Mahatma Gandhi, one of the three most important people of the 20th century by Richard Register, who made this reference last year at the Ecocity Conference in San Francisco. Unlike Einstein and Gandhi, the visionary physicist and nonviolent protester who changed the course of global politics in the early 20th century, Soleri is leading the way into the 21st century with his dynamic and integrated systems for people living together on the planet. Without question, a newly constructed project by this architect is a cause for worldwide celebration. Small, complex, and wiry, Soleri, 90, is the physical and mental embodiment of his life’s work, which he describes as a search for miniaturization, complexity, and leanness. The Italian-born architect, philosopher, artist, and environmentalist invented the concept of eco-architecture, which he named “arcology.” But this idea was always larger than either the urban or natural worlds could
56 Trend » Spring/Summer 2009 trendmagazineglobal.com
hold. Soleri envisions a new system for civilization, one that evolves from creating denser, compact, car-free, and low-energy spaces in which people will live and work. After all these decades he remains convinced that miniaturization, complexity, and leanness are key elements to the transformation of the urban environment, and therefore, global society. With age, Soleri’s voice has become a bit softer and he is less agile. When he stays at Arcosanti, the city he is building 70 miles from Phoenix as a laboratory for his idea, he no longer sprints up the ladder to his loft bedroom. “I use the stairs,” he says, smiling. But the prodigious thinker writes every day in his journal, lectures throughout the world, turns out new designs for envisioned urban environments, and publishes abstract, astute papers on erudite topics. In short, he still leads the charge to change our world. “Until a few years ago my ideas were bizarre. I was known as a lunatic with skills. Now I have been promoted to fame,” he says. Pausing a beat, he adds, “Congratulations is easy, but in the long run, that becomes a bore.” Many adjectives can be attributed to Paolo Soleri, but boring is not one of them. Above all, he is a purist. “I am true to my own way of thinking. What I am trying to find is a coherence to what I am doing,” he says. He describes coherence as “understanding at the most profound and mundane levels that everything has an impact on the world—even the fluttering of a butterfly—and embedding that consciousness in every action.” Equally fundamental is his insistence that change will not take place until the world undergoes “reformulation.” At the heart of this reform is an acceptance of religion as fabrication. “While beautiful and dramatic and in many ways a positive presence, theology must be understood as a fiction,” he says, explaining that once you proclaim that a god exists, theology, by offering “truth,” allows us to forego personal responsibility for our actions. Soleri knows his
ILLUSTRATION: COSANTI FOUNDATION. OPPOSITE: JEFF NOBLE.
BY PAM HAIT
}
One of the world’s most famous “unknown” architects
trendmagazineglobal.com Spring/Summer 2009 » Trend 57
58 Trend » Spring/Summer 2009 trendmagazineglobal.com
ogist, and philosopher who, according to an article in Wired, described a complex membrane of information that would eventually envelop the globe and be fueled by human consciousness. He essentially laid the philosophical framework for a planetary, Internet-based consciousness fifty years ago. Writer and philosopher Valéry is perhaps best known for his monumental and highly intellectual diary, in which he wrote every day. Monod, a Nobel prize–winning molecular biologist and philosopher, was convinced that man is alone in the universe, out of which he “emerged only by chance.” Soleri’s philosophy is expressed through his built environment, his writings, and his lectures. He is disappointed that the body of his architectural work remains theoretical. “I expected this to be my life’s work; I hoped to get a response from the system. But the system ignored me,” he says softly. Still, what has been built is striking: made from earth-friendly materials, including sand, gravel, and rock, and soaring with grand arches and vaults that create spaces to challenge and delight. These images are embodied at Arcosanti, in Cordes
COSANTI FOUNDATION/TOMIAKI TAMURA
message is difficult to accept. “What I am trying to communicate does not appeal to anybody. It is too remote,” he says. Still, his voice is widely appreciated. In 2006 he received the Lifetime Achievement National Design Award by Cooper-Hewitt National Design Museum in recognition of his profound, long-term contributions to contemporary design practice. In 2000, he was awarded the prestigious Golden Lion from the Venice Biennale. Soleri’s international and national recognition takes the form of three honorary doctorates, a fellowship from the Graham Foundation, two from the John Simon Guggenheim Memorial Foundation, and myriad gold and silver medals. Soleri’s passion for conserving resources comes naturally. “For me it is easy. I am genetically imprinted in a certain way. My parents were very frugal. My mother was so great in being able to cope,” he says. His thinking is influenced by three philosophers in particular: Pierre Teilhard de Chardin, Paul Valéry, and Jacques Monod. De Chardin was an obscure Jesuit priest, trained paleontol-
FROM TOP: COSANTI FOUNDATION/COLLY SOLERI; COSANTI FOUNDATION/RAFFAELE ELBA
Soleri’s “arcology” envisions a new system for civilization, one that evolves from creating denser, compact, car-free, and low-energy spaces in which people will live and work.
Clockwise from top left: Sketchbook 2 shows Soleri’s notes and sketches from October 1959 to October 1961, and its sandcast aluminum cover, cast from an original Styrofoam pattern carved by Soleri. In 1965, the IAIA approached Soleri to design an outdoor amphitheater at its campus in Santa Fe that would house a growing tradition of American Indian performing arts. Soleri said that the open-air theater would “frame the moon and sun.” The design called for a dramatic, upwardly curved, earth-cast concrete structure to cover the performance area. The sprayed shell of concrete was layered in place, with steel rebar positioned between concrete pours. Students at the IAIA helped in the construction alongside apprentices from the Cosanti Foundation.
trendmagazineglobal.com Spring/Summer 2009 » Trend 59
Above left: A prototype model for Arcomedia, a future project, also dubbed the Arcosanti MediaLab, incorporated into the new design of the Pierre Teilhard de Chardin Complex. A series of passive-solar vaults add to the spatial expression of the atria in the basilica wings. Above: Soleri Bridge, the first bridge built by the architect, crosses the Arizona Canal and connects the Scottsdale Waterfront’s north and south sides.
Junction; at the Cosanti Foundation, in Scottsdale; and in public works like his open-air theater in Santa Fe, the Paolo Soleri Amphitheatre. The amphitheater, completed in 1966, evolved through his friendship with artist and educator Lloyd Kiva New. “When Lloyd became the president of the Institute of American Indian Arts in Santa Fe, he contacted me and asked if I would design a modest outdoor theater. [My wife and I] moved there to design it. It was completed except for the light towers and steps, but it has been in use all these years,” says Soleri. The open-air theater gave Soleri-the-architect an opportunity to experiment with low-cost materials in an outdoor environment. The work is strong and physically and emotionally demanding. The stage and audience seating have no division, allowing actors and musicians to interact with the spectators. A large upside-down vault was built above the stage; it intersects with a bridge to create a natural flow in a tangle of shapes. 60 Trend » Spring/Summer 2009 trendmagazineglobal.com
“We were hoping actors would use not just the stage but also the area above it, and that’s why we designed the bridge and other platforms. It was meant to be similar to Elizabethan theater, with action taking place on different levels. . . . The notion of using the local landscape, geology, and natural materials was an integral part of the process. We molded earth and arranged the arches, and then we excavated trenches and poured concrete to form the walls, using a technique that captures the consistency and shape of the earth itself. Rock, gravel, sand, and so forth were intentionally incorporated into the surfaces,” Soleri has stated. The architect emphasizes that his choice of low-cost materials isn’t new. “The Romans used natural gravel-like cements more than two thousand years ago,” he says. Ancient Rome and modern Italy are dear to his heart. Soleri was born in Turin, Italy, on June 21, 1919, and often cites the Mediterranean landscape as an example of how extreme density can be
CLOCKWISE FROM TOP LEFT: COSANTI FOUNDATION; RENDERING BY JOHN DOUGLAS ARCHITECTS; COSANTI FOUNDATION/RENDERING BY YOUNG SOO KIM
Left: The de Chardin Complex, named after the Jesuit philosopher whose ideas about the noosphere anticipated the Internet and cyberspace by some 50 years. The Cosanti Foundation is planning to start construction of the complex on the south slopes of Arcosanti.
FROM TOP: COSANTI FOUNDATION (2)
Illustrations of Asteromo,1966: Space arcology for a population of 70,000 people, from the book Arcology: The City in the Image of Man, by Paolo Soleri, published by MIT Press, 1969.
trendmagazineglobal.com Spring/Summer 2009 Âť Trend 61
aesthetically beautiful and intellectually inspiring. He spent World War II serving in the camouflage unit of the Italian Army Corps of Engineers. “I was told to paint trucks and tanks, so I made myself invisible and spent my time sunbathing on the Riviera,” he says, grinning. After the war, he completed his education, receiving his Ph.D. in 1946 with highest honors in architecture from the Polytechnic of Torino. The following year he traveled to the U.S. for a fellowship with Frank Lloyd Wright at Taliesin, in Wisconsin; and Taliesin West, in Arizona. Soleri gained international recognition for a bridge designed during this period, but he had a philosophical difference over Wright’s aggrandizement of suburbia and left the fellowship. In 1949, the young architect attracted his first client, Nora Woods, and her older daughter, Colly. With Mark Mills, Soleri camped out on Camelback Mountain, near Scottsdale, to design and build “the Dome House” for Nora. The glass-domed structure, built in Cave Creek, incorporated passive heating and cooling systems and was widely published. Its roof consisted of two concentric domes independently rotated on casters, which allowed them to block the sun’s heat in summer and harness its warmth in winter. The house also featured a cantilevered concrete countertop, which was visionary for the time. Soleri married Colly Woods and they moved to Italy in 1950, where he studied ceramics and continued his academic research. 62 Trend » Spring/Summer 2009 trendmagazineglobal.com
He accepted a commission to design and build a large ceramics factory, Artistica Ceramica Solimene, and for the Massachusetts Institute of Technology, he investigated the relationship of sun energy expressed in infrared, hydrologic power, and tidal changes to human habitats. Five years later, the family moved to Santa Fe with their young daughter, Kristina. They chose the town because it was an art center. The choice proved to be prophetic. Although Soleri was working in graphic arts, a gallery owner asked if he could make Korean windbells. A popular artist who was a Korean War veteran had been making and selling them but had recently been killed in an automobile accident. Soleri agreed, with the condition that he would do them in his own style. Eight months later, he and his family returned to Scottsdale, where they purchased land and a small ranch-style home (where Soleri still resides). Within a year, he was making and selling ceramic windbells, and in 1956, he built an experimental dwelling, Earth House, on that property. He also began constructing the concrete vaults and sculptural spaces that became the Cosanti Foundation. “In the beginning we made all the bells ourselves. We did the patterns and the finishing. After two or three years, we got into metal bells as well as ceramic. I did the foundry work and carved all the patterns,” he recalls. With a foundry on site and Soleri bells hanging from the paloverde trees and concrete vaults, Soleri launched a business that is known throughout the world.
COSANTI FOUNDATION/IVAN PINTAR. OPPOSITE: COSANTI FOUNDATION.
Opposite: Macro Cosanti: Partial view of original scroll drawing on butcher paper by Paolo Soleri, early 1960s. From a 1963 promotional poster, “A system of movable shading devices suspended in the structural cable system permits either shade . . . or lets it be sunbathed. Thus, in winter the bowl will be a great collector of sun energy; in the summer, a vast, shaded space.” Above: Scroll of composite images from Higher Learning Center print series, early 1960s, from The Sketchbooks of Paolo Soleri, MIT Press, 1971. According to Cosanti sources, “The Higher Learning Complex is in some ways the most ‘abstract’ conception of the whole project . . . . The average height of each structure is about 250 meters. A direct implication of such a dimension is that the outdoor volume cut into space by the dendriform structures is hard to visualize in its scale impact. By roofing over the center of Manhattan with skylights and suspended gardens topping and spanning between the highest skyscrapers, one would approach the scale of things involved . . . ."
“If you had told me 50 years ago that I would build my activities from the proceeds of windbells, I would have said you were crazy,” Soleri admits. But the cast-bronze bells proved to be the financial foundation for his experimental projects, principally the construction of Arcosanti, the “laboratory” that has been under construction for some 40 years. Writing in The Guardian (U.K.) on August 25, 2008, reporter Steve Rose called Arcosanti “a curious taste of what an environmentally friendly U.S. town could look like, but probably never will.” He continued, “As the world wakes up to the grim realities of climate change, peak oil, and sustainability, Soleri’s path looks less idiosyncratic. In fact, he’s now something of a guru.” Soleri sees himself more pragmatically. “I am a ‘nudger,’” he says. “My nudging is to work on Arcosanti.” He realized long ago that Arcosanti will not be finished in his lifetime, but he is pleased that it presents an alternative to the “hyper-consumerism culture.” It is, he
says, a way “to balance consumerism and poverty, hermitage and hoarding, fear and uncertainty. I am not advocating poverty. We are seeking balance,” he emphasizes. Although Soleri is openly opinionated, rarely is he negative. After nine decades on the planet, he still sees the greatness of man. Despite our problems, he says, “We are a miraculous phenomenon. Compare the condition of mankind now with mankind 40,000 years ago . . . what we have done is extraordinary.” But, characteristically, he sounds a warning: “Society must develop an alternative to the surge of materialism nourished by hyper-consumption whose ‘natural’ home is the exurban waste camp, opulent but humanly sterile. We should pursue worth, not wealth. We have to become a little wiser.” Like the bridge he designed for Scottsdale, Soleri’s life work offers a connection from the overly materialistic to a balanced society. We may or may not choose to follow, but thanks to Soleri, we can see the way. R
trendmagazineglobal.com Spring/Summer 2009 » Trend 63
François Morellet Olivier Mosset Günther Förg Mark di Suvero See us at Art Santa Fe Project Space July 23 - 26, 2009
435 S GUADALUPE ST SANTA FE, NM 87501 T: 505 982 - 8111 F: 505 982 - 8160 zanebennettgallery.com Mon - Sat 9.30 - 5.30 Sun 12 - 4 Clockwise from bottom left (details): Günther Förg, François Morellet, Olivier Mosset
2009
Mark di Suvero . June 12 - July 18, 2009
SUMMER schedule
Franรงois Morellet . July 24 - September 5, 2009
Holly Roberts and Denise Yaghmourian . June 12 - July 18, 2009
Catherine Green and Henry Jackson . August 28 - September 26, 2009
Above: Olivier Mosset exhibit at Zane Bennett Contemporary Art
There is a place where the land and people understand each other, and the result is an artistic expression that stands alone in the world of quality and design. 800.242.4282
THE WORLD BUYS IT FROM
Photo Courtesy of Richardsonâ&#x20AC;&#x2122;s Trading Co.
Gallup The craft of the Navajo weavers, the Zuni silversmiths, and the pottery of the Hopi, Laguna and Acoma people are but a sample of what you can experience. www.gallupnm.org
Studio Arquitectura’s Rancho Escondido BUILDING A BALANCING ACT
BY STEVEN KOTLER | PHOTOS BY CHRIS CORRIE
or architect Harry Perez-Daple and Stephen Samuelson, the principals in Santa Fe’s Studio Arquitectura, constructing real estate developers Jay and Marcia Ross’s Tesuque home was a delicate balancing act. Ross had acquired the nearly unthinkable: 225 acres of prime real estate just north of Santa Fe. On 110 of those acres he built Tesuque Ridge, an 18-unit subdivision, and he donated 40 more to the city of Tesuque as a permanent conservation easement, including a vertiginous line of red-rock bluffs. At the base of the bluffs, Ross allocated 12 more acres as the site for his stables, guesthouse, and dream home. He wanted something edgy but in keeping with local flavor. Modern, but not sterile. Both a cozy family residence and—as Ross’s “tequila library” (a butler’s pantry stocked floor-to-ceiling with top-shelf tequilas) can attest—a serious place to party. “Everything was about balancing opposites,” says Perez-Daple, “and it all flowed from the front door.” The door to Ross’s home is the central point in a giant pinwheel of spectacular. The house sits on a high saddle, on the west side of Bishop’s Lodge Road, poised between those bluffs and the Sangre de Cristo Mountains. And the door itself perfectly frames Ski Santa Fe. An entrance tower, a nearly 18-foot, roofless rotunda of gunmetal and Telluride stone, in turn frames the doorway. As the pinwheel spins from this point, these two materials and their representative textures and tones define the rest of the house. Again, it’s a balancing act: The roughness of the stone fits the coarse landscape and is countered by the smoothness of the gunmetal, whose muted sheen flows through the house. The house itself flows, as well. Walls of windows offer views in all directions, moving light and energy from the larger public spaces to the more secluded bedrooms and parlors and libraries of the family wing, without bottlenecking or losing a sense of intimate livability. “It’s edgy prairie,” says interior designer Alexander Kasa, of Alexander Kasa Custom Interiors, with “prairie” referring to an architectural style in which buildings blend into their surroundings. But merging a house that’s currently on the market for $17.5 million into its surroundings requires a great deal of precision. Says the designer, “We worked really hard to combine a handcrafted look with a German-engineering feel.” Yet another balancing act. >
F
Above: View over the edge of the infinity pool looking toward the Sangre de Cristo Mountains. Opposite: Half of the pool is less than one foot deep and has umbrella stands built in—so you can sip margaritas in the shade while the water laps at your toes. The other half deepens into a little lap pool for a bit of exercise between cocktails. The home’s larger public spaces comfortably hold 200 people. The entrance tower opens both to the interior and onto the pool deck.
trendmagazineglobal.com Spring/Summer 2009 » Trend 69
Above: The pool table is a 1937 Brunswick. It was restored to better blend in with its surroundings: The curly maple was lacquered, the rosewood polished, and the shiny copper corners toned down to match the living room. All of the home’s lighting was custom-designed by Kasa and built primarily by Firefly Lighting of Santa Fe. These fixtures don’t create hot spots on the table (as most billiard lighting does) but instead diffuse the glow throughout the room, matching the even flow of the natural lighting. Right: The traditional adobe construction of the stables, riding ring, and guesthouse lends a Santa Fe feel to a decidedly modern home. Because of the looming hillside in the background, a retaining wall was required; what you can’t see behind the guesthouse are two concrete bowls forming a miniature skate park that dually serves as the wall.
70
Trend » Spring/Summer 2009 trendmagazineglobal.com
Studio Arquitectura planned the entrance tower as a dramatic visual focal pointâ&#x20AC;&#x201D;a centerpiece from which house and landscape flow.
Left: The small squares in the front door are lined with glass panes. Pressed between the panes is copper meshâ&#x20AC;&#x201D;a unifying accent repeated behind cabinets and consoles throughout the house. In the background, the Santa Fe ski area stands perfectly framed. Below: In the main dining room, the grain of the walnut table adds tactile flavor. Just out of sight are floor-to-ceiling windows with fantastic views of the red-rock bluffs.
The fantastic circular tub was bought on the very first shopping trip made for the house. “It was a little strange,” remarks Samuelson, “everyone saw the tub and just climbed in. We were all sitting there, in the middle of the showroom.”
Left: Three circular structures are spread throughout the house. This one is a small antechamber off the master suite, serving as a transition room from the home’s public spaces to its private ones. Stacey Neff created the sculpture. The star design inlaid into the floor is intentionally rough to the touch, contributing to the transition of textures throughout the house.
72
Trend » Spring/Summer 2009 trendmagazineglobal.com
Left: A fantastic circular tub designed by Michael Graves for Hoesch dominates the master bathroom. The design team bought it on the first shopping trip for the house. On the other side of the rock wall is a glass-wall shower offering unrestricted views of the Sangre de Cristo Mountains and, unless you let the windows steam up first, the perfect playpen for an exhibitionist. Below: In the master suite, the buttery leather of the sprawling headboard balances the dark colors of the bedâ&#x20AC;&#x2122;s walnut and wenge woods.
74
Trend Âť Spring/Summer 2009 trendmagazineglobal.com
It was the red-rock cliffs in the background that really drew Ross to this siteâ&#x20AC;&#x201D;but such enticements came at a price. With the land alone valued at $3.5 million, all this beauty posed an architectural problem. The worry was that the spectacle of the surroundings would overshadow the spectacular of the house. To fight back, Studio Arquitectura planned the entrance tower as a dramatic visual focal pointâ&#x20AC;&#x201D; a centerpiece from which house and landscape are free to flow. R
Living with
PHOTO: WENDY MCEAHERN
Allan Houser
At this hillside home north of Santa Fe, Allan Houserâ&#x20AC;&#x2122;s work forms part of the comfortable ambience. Left to right: Apache Mountain Spirit Dancer, Respect and Like the Eagle. For more information contact
The Allan Houser Gallery 505-982-4705 www.allanhouser.com fineart@allanhouser.com
“Fancy Dancer”
44" x 40"
Acrylic
JOHN NIETO Indian Market Show Friday, August 21, 2009 s 5 to 7 pm
REBECCA TOBEY Saturday, August 22, 2009 s 1 to 3 pm
“Dancing with the Wind” 11" x 11" x 17.5" Bronze
VENTANA FINE ART 400 Canyon Road s Santa Fe, NM 87501 s 505-983-8815 s 800-746-8815 s www.ventanafineart.com Ventana el centro, 102 E. Water St. s Santa Fe, NM 87501 s 505-820-0447 s www.ventanaelcentro.com
Taos children greet tourists. Opposite: Cindy and Melanie enjoy blowing bubbles.
The PLACE of
TAOS PUEBLO A NATION BEHIND—AND BEYOND—WALLS
80
Trend » Spring/Summer 2009 trendmagazineglobal.com
“
The story of my people and the story of this place are one single story. No man can think of us without thinking of this place. We are always joined together.
”
—TAOS TRIBAL MANIFESTO
BY KEIKO OHNUMA | PHOTOS BY MARCIA KEEGAN
I
magine growing up under the curious gaze of strangers who circle your village and peep into doorways all day long, taking pictures. Eventually you learn that this happens because your people are unique on this earth— not only for their fields of yellow flowers, river teeming with fish and frogs, and secret trails on the silent blue mountain, but also for something more complicated and abstract that you will have to deal with the rest of your life, a twisted history of admiration and exploitation. White men arrived in the Americas in the 15th century hungry for gold, but long after their arrival they discovered something far more elusive that they yearned to possess. In remote Taos, where nomadic, marauding tribes had failed to destroy generations of patiently maintained adobe fortress, Coronado’s captain glimpsed his shining city of gold in a vision of what Europe had long since lost: the harmonic convergence of man, nature, and God in those massive earthen dwellings that rival the majesty of Taos Mountain. By the 20th century, East Coast artists enchanted by the sight of Taos had turned this image of the multistory adobe silhouetted against the mountain into an icon of the Southwest, especially for visitors who came by railroad. It was “a romantic mix of arid landscape, adobe architecture, and ethnic symbolism,” as anthropologist Sylvia Rodriguez put it, which over the next century would lure tourists by the millions in pilgrimage to that lost authenticity. Taos Pueblo still quenches the modern thirst for the enduring and genuine, not only with its impressive size but also with the reassuring fact that electricity and running water have never been introduced within the pueblo walls—as no description of the site ever fails to report. The spell of the ancients hangs so thick over
the village that enthralled visitors are sometimes thoroughly taken in. On my first visit to the Pueblo some years ago, two wellmeaning women rushed forward after the young Native guide had finished her tour, offering her candy and water while stroking her braids, apparently enchanted, and perhaps led to pity, by her brave recitation to a white audience. What does it mean to have your people, your village, turned into a tourist attraction? Once upon a time it was seen as a compliment, a useful way to win friends. Diane Reyna, whose family opened one of the first tourist shops at the Pueblo in the 1950s, recalls feeling lucky to experience so many foreign influences. It was through the goodwill built by tourism, she notes, that the Pueblo achieved the unprecedented return of its sacred Blue Lake in 1970—the first time the U.S. government restored an aboriginal homeland on the basis of religious practice. As tourism has mushroomed into arguably the world’s largest industry, however, its pernicious impact is starting to be understood in both the economy and environment and the local communities’ sense of identity and history. The village proper at Taos Pueblo remains the spiritual heart of the community, where most of the tribe’s 3,000 members return to their ancestral homes for winter ceremonies. Tourists are allowed inside only during business hours, charged a fee to take photos, and barred from entering homes not marked as shops.
The Cliché of Authenticity Yet there is no denying that the endlessly photographed structures at Taos Pueblo have, like other UNESCO World Heritage Sites, not only come to represent their famed historic uniqueness; they have also become a cliché of themselves, a sort of theme park designed trendmagazineglobal.com Spring/Summer 2009 » Trend 81
to entertain tourists. Anthropologists have noted that the Pueblo’s reasons we were discussing. “The fact that outsiders must be so original north-south division has been overlaid with one separatcareful about what they say is itself significant,” this person adds. ing public from private, figuratively on- and offstage. One resident “Taos Pueblo people want to have total control over what’s written confides to me that propane stoves and other modern conveniences about them—it’s remarkable symbolic power” that is increasingly are often hidden in the back rooms of Pueblo shops, the front of being claimed by Native groups worldwide. “At the same time,” which remain appealingly barren. And the famous Pueblo-wide the scholar warns, “I’m not sure that anyone who has unique ban on electricity and plumbing—which caused an exodus of authority over their story can be trusted.” residents in the 1970s after Secrecy has, in fact, long a few mavericks started shielded the leadership of defying the ban—clearly Taos Pueblo from any upholds interests touristic scrutiny or accountability, as as well as traditional. internal critics are quick to Some Taos insiders note. The veil of religious maintain that too much privacy and Indian mystique attention is paid to such easily masks the tribe’s accommodations, which poverty, federal dependency, hardly affect the commuand authoritarian rule, they nity’s sense of self. “Indian say. “Our government is a people don’t give a shit theocracy,” reveals one what outside people think,” Pueblo resident who has declares Rick Romancito, butted heads with the leaderart and culture calendar ship—which comprises a editor at The Taos News, handful of rotating offices, who was the first Taos with a tribal council of some Native to be employed by 50 male elders. He warns the paper some 30 years me, as do others, that critiago. Outsiders make shalcism of the Pueblo rarely gets low judgments based on into print, not least because seeing Natives like him, he multiple tourism interests in says, indicating his Hawaithe town of Taos depend on ian shirt, and conclude that its image of peaceful multithe Taos Indians have culturalism. assimilated. “There’s a The governor’s office is whole other life that people willing to concede that don’t see” when the Pueblo tourism has often proved to is closed, he says. And be a double-edged sword. Elder takes horses home. regardless of what nonThe tribe’s remote location Indians judge to be true, allows for few other sources he adds, “the fact is that [the Taos] people will continue to live the of income except from a sparsely visited casino, which might be way they want—outside the scrutiny of others.” why the Pueblo—restrictions notwithstanding—is actually one of It is remarkable, in fact, especially when you have lived among the most welcoming of the 19 New Mexican Pueblos to outsiders. other indigenous groups (such as in Hawaii, where I lived before One hundred miles south of Taos, Cochití Pueblo prohibits phomoving to New Mexico), how early and thoroughly the Taos Native tography and even cell-phone use on its lands; reclusive San Felipe people were able to quarantine outside curiosity so that it wouldn’t Pueblo (25 miles farther south) offers no services for tourists disrupt their traditions. Charging a fee just to walk into the Pueblo beyond its isolated casino. Looked at another way, limited access to and enforcing a code of respectful behavior puts the teeth in Native the culture of Taos Pueblo not only protects the tribe’s privacy; it sovereignty so that all visitors feel it. Taos’s historically harsh treatalso clears the way for “museumization” of the village at designated ment of members who reveal religious information to outsiders times, such as the heavily attended ten public festivals held every has only served that Pueblo’s aura of mystery and impenetrability, year—still an important strategy for political and cultural survival. turning potential opposition into political support. Escaping Extinction “It has not only protected Taos Pueblo residents, but intensiAnd survival, for Native groups, is what it all comes down to. “This fied outside desire for whatever it is that people want from is why we still exist,” the lieutenant governor keeps saying as he them,” says one scholar, who requested anonymity for the very 82
Trend » Spring/Summer 2009 trendmagazineglobal.com
Teresino Jiron constructs a drum.
warns me against printing anything without express permission. A long history of resistance has kept the Taos people from losing their ancestral homeland, while clearly mandated traditions have prevented the assimilation that has led to near-extinction of tribes back east. Yet even with exclusive use of 99,000 acres of the most geographically rich land in Taos County, the tribe has few means to hold on to its young people today once they get an education and a job outside. “Everyone leaves—to advance somewhat, get an education, learn about city life,” says Geraldine Lujan-Trujillo, who raised her kids in Albuquerque until an abusive husband left her no option but to bring them back to her mother’s place inside the pueblo walls. Eventually she turned the ancestral home into a gift shop, telling her siblings she had no other way to earn a living in Taos. Cheerfully narrating to a stranger a life history of depression, abuse, illness, flight, and desperation, Lujan-Trujillo is one of a few dozen people who run shops in the adobe village and still experience daily the Pueblo saying, “We are in one nest.” For others, an old way of life structured around clan duties at specific locations at certain periods of the year simply does not allow for the demands of school, work, and nuclear-family life in scattered communities. Roughly one third of Taos Indians live and work outside reservation lands; once exposed to citizenship under democratic forms of government, they tend to chafe at the bit of absolute patriarchal rule. Tribal decisions have been challenged in U.S. courts since at least the 1920s, and increasingly after Native soldiers returned home from World War II. For many Taos Natives today, the only way to support the traditional ways that have sustained the tribe is not to live under their rule. Taos leaders admit they may have to alter their traditions in the future, albeit with great reluctance, as they have been forced to do ever since the Spanish arrived. Notably, it was only after the tribal council finally agreed to open up secret rites for continued on page 86
A long history of resistance has kept the Taos people from losing their ancestral homeland, while clearly mandated traditions have prevented the assimilation that has led to near-extinction of tribes back east.
Reyesita Bernal bakes bread in a traditional horno.
trendmagazineglobal.com Spring/Summer 2009 » Trend 83
Secret Service: Whether it was with the first exchange of skins for steel or dances at a Native feast, it was the artist who negotiated with power in commerce with whites, disarming them with fascination. Today that exchange continues—but within the vast marketplace of investment instruments whereby a network of collectors, museums, and galleries all speculate on the postmortem price of a potter’s or jeweler’s hand and name. Where does that leave the Taos Pueblo artist, who grew into her medium as a lesson in daily life as natural as telling stories or grinding corn? Even the highest measures of success take a toll unseen by the Indian-art collector who admires the unblemished surface of the artist’s thinwalled pots. “People tell me I’m famous, and I’m like, ‘Am I?’” exclaims Angie Yazzie, a celebrated potter at Taos Pueblo. “I work my ass off!”Powdered with the white dust that marks the working ceramic artist, she demonstrates the frenzied building of her micaceous clay pots on the cluttered tables of her mother’s kitchen, amid the ramshackle trailers and car graveyards that spread for miles beyond the Pueblo walls. Yazzie regularly wins awards in Santa Fe and Taos, and at Indian Market, where her pots sell for hundreds to thousands of dollars, but she still lives here “on the rez,” firing her pots in the dirt drive, using wood she chops and clay she digs herself and hauls home in garbage bags. Typical of Pueblo artists, she absorbed the secrets of local clay from her grandmother, then ended up back at home making pots when school and survival proved impossible outside. Taos stone sculptor John Suazo tells a similar story. He learned to carve from an uncle, then studied under Native art pioneers Allan Houser and R.C. Gorman in the 1970s. After switching majors four times at the University of New Mexico, Suazo quit and came home to do what he knew. Even today, Native youth are encouraged in the arts as they are not in other fields. Suazo is an award-winning artist who exhibits internationally, but he says it’s hard for him— indicating the one-room workshop on the 84 Trend » Spring/Summer 2009 trendmagazineglobal.com
Pueblo, where he chisels—to assemble the written documentation to exhibit more widely. Indeed, business proves to be the indispensable hurdle to climbing beyond the curio-shop shelf, and it is usually still a white mentor— a gallery owner, art collector, or museum director—who lends a vital hand. Painter and book illustrator Jonathan Warm Day credits a buyer who instructed him to invest in high-quality images of his work, and a graphic designer who showed him how to lay out his stories and paintings in book form, with launching the art career that went on to support his family of four. Intermediaries such as art galleries also serve to shape what kind of Native art is brought to market, ensuring that it reflects the qualities of authenticity and Indian-ness desired by collectors. This sets up a dilemma for the Taos Pueblo artist: His work must reflect its origins in a spe-
cial, secret tradition, but without commercializing that heritage and thus poisoning the well. Non-Native artists can paint anything they want, says Warm Day, whereas every act of creation at Taos Pueblo means judging which aspects of the sought-after mystique should not be offered up to outsiders. Yet artists are naturally drawn to the forbidden, he notes, and want to challenge the status quo. It was a group of Pueblo artists, led by Suazo, who sued the tribal administration in the 1990s to stop expansion of Taos Casino. And while they have not loosened the grip of traditionalists in tribal politics, successful artists as a group enjoy greater financial and social independence than any other residents of Taos Pueblo. Grammy award winner Robert Mirabal knows well the pitfalls of walking the line between selling and selling out, between emulation and
KATE RUSSELL
From myth to market
CLOCKWISE FROM TOP LEFT: D.S. CANNING PHOTOGRAPHY; TERRY THOMPSON; D.S. CANNING; VENUS MASCI
Clockwise from top left: John Suazo; Angie Yazzie at the Taos Fall Arts Festival (Living Masters Exhibit) with her awardwinning micaceous clay pottery; Suazo’s Salmon Eagle, made of Utah alabaster; illustration from “Hunter’s Story,” by Jonathan Warm Day; Warm Day with his daughters Carly and Jade. Opposite: Musician Robert Mirabal.
envy. He says it was “business sense”—his talent as an entrepreneur—that distinguished him from other Pueblo talent. “I marketed the novelty of who I was and the curiosity that people have [about Taos] to a New Age audience,” he says frankly. Mirabal has been criticized for including in his repertoire songs in Tiwa, a language not taught outside the Pueblo, and for what he calls “foreshadowing the traditional” with his musical innovations. But he notes that this would not have been possible if the Pueblo had not already sold itself to a global audience for its exotic cachet. “We’re not allowed to reveal our identity; it’s secret,” adds Warm Day, who writes and illustrates stories from the oral tradition. “But the tribe has been writing its own stuff in brochures too.” All artists struggle with the conflicting demands of art and commerce. Pueblo artists must also serve masters local and global, invoking universal Indian Spirit for white audiences while bowing to highly specific ancestral demands of their own.
“I do my best not to insult the clay—doing totally crazy stuff and calling it traditional,” says Yazzie. “When I take shortcuts, I can hear Grandma telling me, ‘Uh-uh, you better fix that, girl.” Whatever her creative conflicts, the Native artist must limit her expressions of identity to the timeless and transcendental: Tradition and the market for traditional things demand that Native artwork remain free of individual struggle. When Native artists do break free of familial and tribal legacy in order to “cross over” to a larger audience, it is usually by marketing an individual “brand” that drifts toward the universal. Suazo says it is the expressions on his carved figures, “half traditional and half modern,” that brought him acclaim for evoking “Indians in general around the world, from Bolivia to Alaska.” But his identity will always derive from Taos, he adds. Mirabal likes to say, “I’m not just for Taos Pueblo; I’m for the world,” citing the global influences for his musical fusion. “But I represent Taos because that’s where I’m from.” The musician made one of his cross-cultural
leaps at a recent concert in Santa Fe, to the land of my ancestors, reveling in geishas, temples, and swordplay. My initial discomfort with the idealization made me notice that all of us interpret other cultures these days; we all “go Native” in our tastes for Andean music, Persian painting, or Thai food, reducing the unknowable vastness of the world to a smorgasbord of cultures for consumption. That’s why no artist can be free anymore from expressing this hybrid identity, however pure he may remain to tradition. The world is small, our influences global, and the marketplace pervasive, leaving us all hyper-attuned to the universal symbolism of our origins. For the Native artist, who represents the meeting point of ancient and modern, local and global, individual and communal, this means not so much tearing down walls or building bridges as forcing us to experience them on a personal level. Through awe or anger, we are guided to that original, historic encounter again and again, individually moved by the sight, sound, or touch that thrills. —KO trendmagazineglobal.com Spring/Summer 2009 » Trend 85
Powwow celebration in Taos
continued from page 83
academic study that advocates were able to gather the necessary information to fully support the religious case for the return of the Blue Lake Wilderness.
Cracking the Wall Looking forward, a healthy Native community that respects tradition might increasingly require a cooperative approach that also respects alternative views, says Reyna, now director of the Learning Support Center at the Institute of American Indian Arts (IAIA) in Santa Fe. “If you don’t, you end up with very negative consequences for the community, which we can see in the Taliban,” she says, citing an extreme form of theocracy. “It’s a very complex issue; it’s not an easy thing to deal with—but something has got to give soon.” Maybe the context should be helping Native youth, she suggests, because they hold the tribe’s future at stake. Cameron Martinez, an IAIA student, demonstrates the growing willingness of educated young Natives to debate publicly the contemporary contradictions of Indian identity. His black-and-white photographs of Pueblo life direct the camera lens “to what we want people to see,” he says. One image in a series he showed last summer at the Mixed Corn Blessings Gallery in downtown Taos juxtaposes his elderly grandfather swaddled in blankets in tiny scale against the streets of commercial Santa Fe; another shows his 86 Trend » Spring/Summer 2009 trendmagazineglobal.com
brother in pan-Indian powwow regalia shooting pool against his doppelgänger in everyday clothing—a play on clichés about Natives as spiritual, warring, and alcoholic. While undergoing tribal initiation, Martinez spent 18 months on Taos Pueblo living off the land, “like before Europeans,” he reports. Secure in his Native identity through the experience of doing without supermarkets and telephones, Martinez sees tourists through the lens of their own projected fantasies. Outsiders make strange comments, says the former tour guide, because they are longing for a connection with something real, and feel overwhelmed by what they see at Taos. “They’re grasping; they don’t know where to start, so they start with what they know, and that’s Hollywood. It is tempting to imagine that the younger generation, raised at a time when the survival of the planet is at stake, might conceive of tradition in such nuanced, postmodern terms when they are tribal elders themselves: as an attitude for meeting change instead of a resolve to resist it; armed with awareness, rather than aggression. Native people might thus have much to teach the rest of us. As a tourist site, Reyna says, Taos Pueblo has a far-reaching responsibility to educate people about what is real, as opposed to merely feeding their fantasies. For within its walls remain not only the visible architectural evidence of what has endured but also the hidden human cost to keep it standing. R
A Taos Treasure of Historic Proportions.
Health &Wellness Packages Available
125 Paseo del Pueblo Norte | Taos, New Mexico 87571 866 519-8267 | taosinn.com The Adobe Bar
• Doc Martin’s Restaurant
Premier Live Entertainment
"The Spirits Visit" Jim Eppler/ Bill Worrell Collaboration 15.5” H Limited Edition Bronze
Celebrating 16 Years 119 Bent Street, Taos, New Mexico #AM I N O 0 L A 9:38 C I T A AM T O P Page O F , E1 D O U X 4A O S - O N 3 A T ElMeze 5/5/09
chef damon trend
5/2/09
8:45 AM
575.758.0767 www.brazosfineart.com Page 1
James Beard Foundation Award Best Chef Southwest 2009 Semifinalist
RESTAURANT Experience the exciting modern interpretation of Moorish Spain from Chef & Food Historian Fred Muller (formerly of Fred’s Place) Monday – Saturday 5:30pm to 9:30pm Patio dining with an incredible view of Taos Mountain Reservations Recommended 575.751.3337 Located in the historic El Torreon Hacienda 1017 Paseo del Pueblo Norte, El Prado (1.2 miles north of the Taos Plaza) www.elmeze.com
88
Trend » Spring/Summer 2009 trendmagazineglobal.com
• Improvisational, Globally-Influenced Cuisine • Beer & Wine • Fresh-Local-Organic
TAOS M U S E U M S
E.L. BLUMENSCHEIN HOME & MUSEUM Monday-Saturday 10-5, Sunday noon-5 Will re-open Mid-Summer 2009 222 Ledoux Street 575-758-0505 taoshistoricmuseums.org LA HACIENDA DE LOS MARTINEZ Monday-Saturday 10-5, Sunday noon-5 708 Hacienda Road, off Ranchitos Road 575-758-1000 taoshistoricmuseums.org THE HARWOOD MUSEUM OF ART UNIVERSITY OF NEW MEXICO Tuesday-Saturday 10-5, Sundays noon-5 238 Ledoux Street 575-758-9826 harwoodmuseum.org
the original fountain of youth Our legendary waters have been soothing body, mind and spirit naturally for centuries.
MILLICENT ROGERS MUSEUM
10-5 daily Closed Mondays, November-March 1504 Millicent Rogers Road 575-758-2462 millicentrogers.org
TAOS PAST PRESENT
&
Museum Association ofTaos N E W M E X I C O
TAOS ART MUSEUM & FECHIN HOUSE Tuesday-Sunday 10-5, May-October Wednesday-Sunday 10-4, November-April 227 Paseo del Pueblo Norte 575-758-2690 taosartmuseum.org Purchase a combination admission ticket at the Taos Visitor Center for all FIVE Museums at $25, a savings of over 60%. Available at all museums and at the TaosVisitor Center.
Top 10 Most Affordable Spa Vacations - Spa Magazine
Call 800.222.9162 or visit ojospa.com
TaosMuseums.org Navajo Germantown textile, Eyedazzler, 1895, courtesy of Millicent Rogers Museum, 1956-1-47. Photos: San Geronimo Days at Taos Pueblo, ca. 1876. Taos Pueblo (detail), courtesy of Taos Historic Museums.
90
Trend Âť Spring/Summer 2009 trendmagazineglobal.com
N
E
W
M
E
X
I
C
O
o f Ta o s
Reservations Recommended 309 Paseo del Pueblo Sur, Taos, NM 575.758.1009 lambertsoftaos.com
josephâ&#x20AC;&#x2122;s table
Eat. Drink. Our place or yours! 575.776. bretthousecatering.com
Our newly expanded WINESHOP is the ONLY wine shop in Taos. Come see our new Cowboy Lounge Mile Marker 1 on the Ski Valley Rd, Taos, NM 575.776.8787 oldblinkinglight.com
PHOTO: JONATHAN BLAUSTEIN
PHOTO: JONATHAN BLAUSTEIN
Inside Hotel La Fonda on the historic Taos Plaza 108A South Plaza, Taos NM 575.751.4512 JosephsTable.com
I
BY KEIKO OHNUMA
SOFA
months preceding the fair seemed t’s no secret that the art marto focus on how the event is posiket has felt the impact of lost tioned in the art calendar. wealth in 2009, giving conRobert Coffland, co-owner of TAI sumers pause over whether to Gallery, feels that early June is an buy investment-grade masterworks auspicious moment for the debut: or a splurge to hang over the sofa. warm weather, few crowds, “a good That’s why local galleries are pinopportunity to promote Santa Fe to ning their hopes on the arrival this the nation.” Airfares are down, he summer of SOFA WEST: Santa Fe, notes, and the art-buying demoa third venue for the major art fair graphic here has never been made held in Chicago and New York. up of the stratospheric spenders Sculpture Objects & Functional Art who turned fairs like Miami Basel Fair opens in Santa Fe on June 10 into what the Village Voice called with a benefit for the New Mexico “tent-city casinos.” Collectors are Museum of Art’s new Design Collecbuying work in his price range, tion, and runs through June 14 at Coffland said—just more quietly the Santa Fe Convention Center. than in the past. SOFA, which dominates the Indeed, bargain hunters appeared growing niche of contemporary decto come out in droves for SOFA orative arts—otherwise known as NEW YORK, which took place at “high” craft—had been floating the the Park Avenue Armory April idea of coming to Santa Fe since 16–19, with an attendance of last summer. A smaller, more inti17,100—1,000 more than last year. mate venue appears to be someCoffland noted that 70 percent of thing of an experiment for SOFA his sales went to painting collectors director Mark Lyman. As he puts it, who own such top-dollar names as he was looking for a city that was an Gerhard Richter, Picasso, and art destination. Philip Guston, and SOFA reported “Santa Fe has a superb convention brisk early sales of works in the fivecenter, plus a lot of other attracfigure range—a testament to the tions,” he explained. “It’s a different growing interest in the so-called business model than the huge megacraft media despite (or maybe shows—which I think, frankly, are because of) sudden deflation in the petering out.” Empty booths at Art frenzied, multimillion-dollar paintBasel/Miami Beach this year and ing auctions of the last decade. disappointing sales at Art Dubai in All of that bodes well for SOFA March suggest that Lyman may be in Santa Fe, which may also beneon to something. He already tried Lucio Bubacco, Lo Strappo Della Mela di Eva, 2008, flame-worked glass. Represented by Litvak Gallery, Tel Aviv. fit from the current taste for localand abandoned a big city—Miami— ism and small-scale sophistication. for a third SOFA in the 1990s. Such was the reasoning, anyway, of Lyman sounded pleased, in any Santa Fean Betsy Ehrenberg, who initially proposed to SOFA that a case, with the expected turnout for the Santa Fe show, including show be sited in Santa Fe. Founder of the 300-member Glass buyers from the Museum of Fine Arts in Houston, Museum of Alliance–New Mexico and a pivotal player in promoting glass art in Arts & Design in New York, Museum of Fine Arts in Boston, and the state, Ehrenberg speaks from the perspective of an avid collector Museum of Craft and Folk Art in San Francisco, as well as a halfherself in listing the reasons why Santa Fe will appeal to others. dozen VIP glass-collecting groups. SOFA WEST is shaping up to “To be able to meet [artists] Preston Singletary and Tammy be less than half the size of the other SOFA shows, but that should Garcia, and be able to watch Tammy actually build a little coil pot in come as no surprise; Santa Fe is nowhere near the size of Chicago the Blue Rain Gallery—that’s not going to happen in New York,” or New York. said Ehrenberg, who also buys ceramics and tapestries. And For the city of Santa Fe itself, the show will likely be judged on because the fair is four days long, collectors will have time to visit what it does for the ailing tourist economy, which largely overlaps the hundreds of galleries on Canyon Road, the Plaza, and even its art industry—and that is why talk among gallery owners in the
Goes West
92 Trend » Spring/Summer 2009 trendmagazineglobal.com
NORBERT HEYL/COURTESY OF SOFA NEW YORK
PERSPECTIVE ON ART
domestic
organic elegant
serene ALL ORGANIC M AT T R E S S E S Tom Hucker, Rocker, 2008, stained eastern black walnut. Represented by William Zimmer Gallery, Mendocino, Calif.
P L AT F O R M B E D S
COURTESY OF WILLIAM ZIMMER GALLERY
LINENS Taos, for other kinds of artwork not seen at SOFA, Ehrenberg said. Her argument clearly won over Lyman, who founded the exhibition that has done much to elevate craft media to fine-art status over the last 16 years. From the standpoint of its origins, Santa Fe makes perfect sense for a sculpture/design show, given the regionâ&#x20AC;&#x2122;s strengths in Native American art and Southwest style and design. And glass art will be richly represented at SOFA WEST, with pieces by Venetian master Lino Tagliapietra and his student Dale Chihuly; Tagliapietra will give one of the seven lectures at the show. Leo Kaplan Modern is bringing a focus show by innovative glass sculptor Dan Dailey, who is joined by his wife, jeweler Linda MacNeil.
Ceramics, too, got a recent boost with the late addition of renowned clay-art critics and dealers Garth Clark and Mark Del Vecchio, recently relocated to New Mexico, who will be exhibiting at SOFA WEST under the gallery name CLARK+ DELVECCHIO. Santa Fe audiences will also see works in fiber (such as that by Olga de Amaral), wood (William Hunter), and jewelry (Mirjam Hiller). Clearly, some Santa Fe galleries are counting on the rising tide to lift all boats: Ivan Barnett, co-owner of the Patina Gallery and a regular exhibitor at SOFA CHICAGO, decided not to show at Santa Fe because of the $12,000 booth fee, which he could ill afford in tough times. Yet some half-dozen New Mexico galleries have signed on to trendmagazineglobal.com Spring/Summer 2009 Âť Trend 93
PILLOWS YOGA PROPS M E D I TAT I O N
523 West Cordova Road 505 982 3938 sachiorganics.com
PERSPECTIVE ON ART
SOFA, including Bellas Artes, TAI Gallery, Blue Rain, and Jane Sauer, all from Santa Fe, who are joining such top international dealers as Heller Gallery and Leo Kaplan Modern of New York, Galleri Udengaard of Denmark, Litvak Gallery of Tel Aviv, and del Mano Gallery of Los Angeles. On tax day, April 15, as SOFA NEW YORK celebrated strong attendance at its vernis-sage despite widespread economic gloom, Lyman announced that he was buying back the three SOFA fairs from DMG World Media, a British conglomerate that appears to be exiting the art-fair business. He brought with him as co-owner and president of the newly named Art Fair Company the chief operating officer of DMG World Media, Michael Franks. Lyman and Franks clearly see a future in their art-fair model bridging fine art, craft, and design—of which Santa Fe will be their first real test. Lyman, upbeat even before the success of SOFA NEW YORK, would not be deterred by economic conditions. “Look, we produced SOFA CHICAGO three weeks after 9/11 happened,” when people were terrified to fly, he said. “The reality is, if you’re going to stay in business, you’ve got to stay in business. And I think we’re going to see some improvement later in the year.” R 94 Trend » Spring/Summer 2009 trendmagazineglobal.com
BILL TRUSLOW
Linda MacNeil, Luxuriant Blossom Floral Necklace, 2007. Acid-polished aqua, purple, bright green, and orange glass; transparent laminated mirrored glass; 24k gold-plated brass.
@Ëd C8E9% PflËm\ gifYXYcp j\\e d\ Xifle[ kfne% PflËcc Y\ j\\`e^ X cfk dfi\ f] d\% Fli ÔeXeZ`Xc j\im`Z\j ZXe _\cg pfl `e dXep nXpj% =ifd _Xe[c`e^ pfli i\ÔeXeZ\# kf j\kk`e^ lg pfli ]i\\ Z_\Zb`e^ XZZflek# YXeb`e^ j\Zli\cp fec`e\ fi gcXee`e^ pfli ]lkli\# pfl ZXe XcnXpj Zflek fe d\ kf [\c`m\i% @Ëd XcnXpj _\i\ jf jkfg `e fi ^`m\ d\ X ZXcc Xepk`d\%
nnn%cXeY%Zfd
Cfj 8cXdfj1 --)$,(.( @ ()'' Ki`e`kp ;i`m\ @ .. Ifm\i 9cm[% JXekX =\1 0,+$,+'' @ *'( >i`]Ôe Jk% @ )''0 >Xc`jk\f Jk%
Iai^an B@E?
8DCI:BEDG6GN A><=I>C< LZÉaa h]dl ndj i]Z bdhi [jc ndj XVc ]VkZ l^i] i]Z a^\]ih dc
&*&' EVX]ZXd Hi jc^i 6&%& HVciV ;Z! CB -,*%* *%*#-'%#,-,'
photo © Jennifer Esperanza
lll#[dgbeajh[jcXi^dc#Xdb
ZXd"ajmZ VYdgcbZci cVijgVa bViZg^Vah k^ciV\Z bVc"bVYZ! ]VcY"XgV[iZY ^cid dg^\^cVa lZVgVWaZ Vgi i]Vi ]dcdgh VcY XZaZWgViZh i]Z ZVgi]#
IgVXn 8daa^ch 9Zh^\cZg Wn Veed^cibZci
*%*".--"(,+% q lll#ZVgi]ZaZ\VcXZ#cZi 96
Trend » Spring/Summer 2009 trendmagazineglobal.com
Raphaëlle Goethals | From Here On
July 31– September 13
PHOTO: WENDY MCEAHERN
Gerald Peters Gallery 1011 Paseo de Peralta 505-954-5700 www.gpgallery.com
The Color of Gold | AUGUST
1101 Paseo de Peralta Santa Fe, NM 87501 (505) 466-6600 www.lindadurham.com
WENDY MCEAHERN
Doug Coffin | 222 Paseo del Pueblo Norte Taos 575-751-7702
photo: WENdy McEahErN
HULSE/WARMAN GALLERY
Stephen Michael Bennett
Represented by La Mesa of Santa Fe 225 Canyon Road Santa Fe, NM 87501
| 505-984-1688 www.lamesaofsantafe.com
photo: WENdy McEahErN photo: WENdy McEahErN
PORTABLE FRESCO PANELS
photo: WENdy McEahErN
David Copher |
CONTEMPORARY MIXED MEDIA PAINTINGS, SCULPTURE AND GICLEE PRINTS
For studio appointment in Santa Fe, NM (505) 235-3641 • studio@davidcopher.com • www.davidcopher.com
YOUR
weekend AWAITS YOU...
P^kq^ Cb) qeb Liabpq @^mfq^i @fqv fk qeb Rkfqba Pq^qbp fp qrokfkd 1-- ^ka vlrÒob fksfqba Pl^h rm qeb prkpefkb) bkglv c^kq^pqf` clla ^ka bumbofbk`b qeb j^dkfÛ `bkq _b^rqv lc P^kq^ Cb+ Glfk rp ^p tb `ljjbjlo^qb 1-- vb^op lc `riqrob+
Labor Day Weekend 09
@eb`h lrq7
www. SantaFe400th .com clo qeb i^qbpq kbtp lk bsbkqp
DESIGN LINES
BY KATIE ARNOLD PHOTOS BY KATE RUSSELL
SCOT ZIMMERMANN (2)
HotelChic O
Global fusion, indigenous glam, and monastic simplicity
n a late-March morning earlier this year, Santa Fe awoke to a thick, wet coating of spring snow. A few blocks south of the Plaza, at the Inn of the Five Graces, hotelier David Garrett—gray-haired and affable—greeted stunned guests in his rubber boots, a wool sweater, and an easy smile. (He’s from Vermont; the man is used to long winters.) Vibrant suzanis (Uzbekistan embroidery) hung from the polished plaster walls, and eggs over easy brightened the mood in the breakfast room; a sweet piñon fire crackled in the beehive horno. Outside the flakes kept falling. It would take considerable willpower not to hole up all day in this luxe Relais & Chateaux retreat—the smallest and most intimate of Santa Fe’s new design hotels. Ever since entrepreneur Ian Schrager dreamed up the first high-profile “concept” hotel in New York in 1984, one-off boutique properties have been popping up in chic locales around the world—from Andre Balazs’s mod, much-hyped Standard, on the High Line in lower Manhattan’s Meatpacking District, to Philippe Starck’s stylish new SLS in L.A. It was only a matter of time before smaller markets, including New Mexico, joined the fray. El Monte Sagrado set the standard when it opened in Taos, in 2003. The holistic green hideout spoils guests with a seriously decadent indigenous spa (try the Spiritual Cleansing, performed by a Native American healer) and 84 ornate guest rooms. And that babbling brook that runs right through the lobby? It doubles as a water-recycling system. Then, last summer, the style gurus at Auberge breathed new life into the old Encantado, turning the Tesuque landmark into a posh wellness resort, with one of the most raved-about new restaurants in Santa Fe. And the trend’s not limited to Northern New Mexico: In Truth or Consequences, Blackstone Hot Springs—a newly spiffed-up 1930s motor court—offers seven retro-cool rooms, each inspired by an old-school Hollywood TV show (check out the I Love Lucy room). And when the art-deco Hotel Artesia opens later this spring, it will reinvent the modern business hotel, with flat-screen TVs and ergonomic office chairs in each of the 52 guest suites. But the most impressive new arrivals are closer to home, the product of some of Santa Fe’s leading designers. Named for the Buddhist tradition of experiencing life through the five senses, the Inn of the Five Graces is steeped in old-world decadence. Considering the property’s storied pedigree, the concept isn’t a stretch. Parts of the compound—a mix of pueblo-style adobes, two-story Territorials, and a stone casita (the Harvey Girls stayed here in the 1920s and ’30s), all tucked into a narrow lane near the capitol building, or the Round House—are thought to date back 400 years. Local importers Ira and Sylvia Seret began buying up pieces of the property in 1996, opening guest rooms as living showrooms for their impressive collection of Central Asian textiles, furniture, and antiques, amassed during decades of travel and on display at Seret & Sons, a few blocks away. In 2002, Garrett bought the inn (the Serets still own the buildings), and spent the next five years—and, according to Garrett’s estimations, about $1 million per room—renovating it to exacting standards, without sacrificing the hotel’s natural warmth and grace. “Santa Fe has a wonderful meshing of cultures, and we liked a lot of what the Serets had done with their antiques,” says Garrett, an investment banker turned hotelier who owns four luxury inns, including The Point, an ultra-swank Adirondack lodge in upstate New York. The Serets
INN OF THE FIVE GRACES Opposite: Piled with coverlets and pillows, an inviting canopied bed creates a romantic setting. Above top: Geometric tile sidewalls and carved jalis (screens) add to bathrooms’ opulence. Above: Afghan carpets in jewel tones lead into luxuriously appointed bathrooms with sumptuous soaking tubs.
trendmagazineglobal.com Spring/Summer 2009 » Trend 107
DESIGN LINES
In the case of Buffalo Thunder’s Governor’s Suite, the bigger whole is half a century of Native American arts, culture, and landscape juxtaposed against designer Kris Lajeskie’s edgy, modern sensibilities.
collaborated with the Garretts on every facet of the design— right down to the tiniest detail. There are 100-year-old painted tin thermostat covers from Russia (“very collectible,” says Sylvia), downy beds piled with hand-embroidered pillows and coverlets from India and Uzbekistan, intricately carved Spanish Colonial doors from Peru, marble jalis (lattice-style room screens), antique Tibetan chests, carved columns from Pakistan’s Swat Valley, and thick Afghan rugs in deep ruby, sapphire, and indigo. “Layers of texture and attention to detail have always been important to us,” explains Sylvia. “From floor to ceiling, we want to make sure that nothing intrudes.” The effect is one of thoughtful, sequestered luxury. Guest rooms—which range from $500 to $1,000 per night—open onto small gardens furnished with antique benches and fountains, sheltered from larger courtyards by wrought-iron gates, carved doors, and wisteria-covered archways. But the highlight of every suite is the bathroom, outfitted with deep soaking tubs, roomy showers, and elaborate, floor-to-ceiling mosaics that Sylvia designed herself, using Mexican Talavera tiles and shards of broken pottery from Turkey and India that she’s collected over the past 20 years. Like the guest rooms themselves, each design is an original, depicting vases of blooming flowers, colorful parrots, or snowy mountains. “We think of the inn as an art project,” says Sylvia. “If something isn’t working, we’ll just keep at it until everything feels complete.” To experience the antithesis of the Five Graces’ sensuous, timeworn charm, you can’t do much better than Buffalo Thunder Resort, a gleaming new hotel 10 miles north of town in Pojoaque Pueblo. The five-story stucco megalith seems to sprout right out of the desert, its sculpted, terraced exterior a deliberate play off the craggy badlands that rise to the east. Intended by Pueblo governor George Rivera to become New Mexico’s premier all-inclusive resort, the $250 million enterprise shot up in just 18 months, opening last August with a 36-hole golf course, casino, spa, convention center, and five restaurants, including Mark Miller’s Red Sage Café. While the 395 guest rooms are serene, comfortable respites styled with hardwood furniture, marble vanities, and Nativeinspired quilts, it’s the 2,500-square-foot penthouse, created by Santa Fe designer Kris Lajeskie and meant to house visiting rock stars and glitterati, that makes Buffalo Thunder a true design hotel. Lajeskie—whose portfolio includes a penthouse in New York, an estate on Maui, and local boutiques like Cielo and Gypsy Baby—has built an international reputation for using local master craftsmen to design authentic, organic interiors with a strong sense of place. “The best design hotels have to match their setting,” she says. “They have a responsibility to address history, and to bring guests together in a comfortable environment that makes them feel like part of a bigger whole.”
BUFFALO THUNDER RESORT Opposite and top: Master bedroom suite with buffalo doors. Lajeskie’s signature Venetian plaster walls made to look like whipstitched leather, fireplace in gold-leaf striping. Lajeskie collaborated with Interiam to create the custom-tooled white buffalo entrance doors. Above: In the master bath, Lajeskie is careful to balance organic materials with clean design to soften and add warmth, using smooth river pebbles at the base of the tub. Ben Forgey was commissioned to create the forest scene. Italian mosaic on accent walls, shower, and counter; dreamy layers of beige and white plaster cover the walls. trendmagazineglobal.com Spring/Summer 2009 » Trend 109
DESIGN LINES
HOTEL ST. FRANCIS Lajeskie’s careful design restraint creates a guest room that is both a tranquil retreat and an authentic nod to the simple architecture of historic New Mexico. Furniture designs are all adaptations of genuine pieces, made locally by Hands of America and José Jaramillo. Freshly stripped oak floors date to the hotel’s original construction date, 1923.
Ever since entrepreneur Ian Schrager dreamed up the first high-profile “concept” hotel in New York in 1984, one-off boutique properties have been popping up in chic locales around the world— from Andre Balazs’s mod, much-hyped Standard, on the High Line in lower Manhattan’s Meatpacking District, to Philippe Starck’s stylish new SLS in L.A.
In the case of the Governor’s Suite, the bigger whole is half a century of Native American arts, culture, and landscape juxtaposed against Lajeskie’s edgy, modern sensibilities. Double doors hand-engraved with an enormous buffalo’s head (the white buffalo is considered sacred by Pueblo peoples) open into an airy loft-like living room with expansive views of the Sangre de Cristo Mountains. There’s nothing understated about the space. “It’s flashy,” Lajeskie admits. “Everything is for impact.” The surprised eyes of a six-foot-tall clay mask, sculpted by noted Pojoaque artist Roxanne Swentzell, stare down at visitors from above a sleek glass fireplace, and a replica of an Acoma pot fronts a pixellated, nearly life-size sepia print of Governor Rivera. Embedded in the dining-room wall are dozens of honeybrown tree stumps, salvaged from deadfalls in Northern New Mexico forests and surrounded by smooth river stones. A mosaic “river” of onyx and coral tiles meanders across the floor, while on the curved wall of the staircase Lajeskie has fashioned a three-dimensional harvest scene out of glass blown by Santa Fe artist Ira Lujan: Delicate blue raindrops appear to drip onto knobby glass cornstalks from a wiry Italian light fixture tangled into the shape of a cloud. “I wanted to convey how important water is to this landscape,” she says. In the master bath, driftwood provides an earthy foil to shimmery gold walls, and a curvy staircase leads to an enormous private spa, tiled in imported aqua ceramics from Italy—a lavish, eye-popping flourish in a strikingly dramatic interior. In sharp contrast is the Hotel St. Francis, the ivy-
shrouded downtown landmark that Lajeskie has transformed into a spare, minimalist sanctuary. After purchasing the hotel in late 2008, owner Jim Long came up with the redesign concept—monastic austerity—to honor the patron saint of Santa Fe and the European missionaries who ventured here 400 years ago. “Utter simplicity is an exacting art,” says Long, who hired Lajeskie for her first top-to-bottom hotel remodel. “Our lives are so filled with technology and information—we need a respite from that, a place to find tranquility.” Gone is the Continental decor, an oddball mix of Victorian knockoffs and rustic fishing accessories; in its place are simple, earthy finishes. Lajeskie has redone the 82 guest rooms in muted shades of cream and gray, inspired by the woolly churro sheep the Franciscans brought with them to New Mexico. Carpeted floors have been stripped down to their original, rough-hewn oak, dating back to the hotel’s 1923 construction. Lajeskie hired local woodworkers to fabricate clean-line pine trasteros ideal for hiding more contemporary distractions (such as the TV). Downstairs in the lobby, guests are soothed by Franciscan chants filtering through the speakers, the gurgling of a baptismal font, and the flickering of firelight. A prayer chapel, a nightly chef’s table—with honorary guests including local artists, historians, and monks from the Christ in the Desert and Pecos monasteries—a wine list that follows the path of the Franciscans to the New World, and a private soaking room are in the works. “The key to successful design is to carry it through every element,” says Long. “In simplicity, there is complexity.” R trendmagazineglobal.com Spring/Summer 2009 » Trend 111
santa fe interior designers present
design Santa Fe October 1-4th 2009
www.designsantafe.org
5th Annual:
Dialogue Luncheon Home Tour Industry Events
Beauty - Collaboration - Design Dialogue at the Farmers Market Building October 2nd
Moderator: Marvin Wilkinson Co-owner John Brooks, Inc. Speakers: Laura Guido-Clark Color, Texture, Finish Consultant; Trend Forecaster
Tom Joyce Artist, Designer, Blacksmith
Andrew Wagner Editor, ReadyMade Magazine
Lori Weitzner Textile & Wall Furnishings Designer
graphic design by: lemonglassdesign.com
Community Par tners:
BUSINESS PROFILES
BY KEIKO OHNUMA PHOTOS BY SARA STATHAS
Here Comes the Sun Green-technology companies are as common these days as clear skies in New Mexico, so it might come as a surprise to learn how four-year-old Cedar Mountain Solar Systems has distinguished itself with fivefold growth and two business awards. Unlike most residential solar-heating systems—which assemble collectors, a hot-water tank, radiant flooring, and/or pool heating
Boaz Soifer (left) and Bristol Stickney of Cedar Mountain Solar Systems
into an improvised network that is hard to use and complicated to repair—Cedar Mountain’s integrated systems work at the touch of a thermostat. Boaz Soifer had thought for years about this lack of integration— a concern he shared with Bristol Stickney, an engineer Soifer had met in the renewable-energy field. Together they launched the business with $3,500 in cash, riding a wave of clients who had struggled with finding qualified installation experts for an integrated system such as Stickney’s. Although theirs is sometimes called the Cadillac of solar systems, “we want to be clear—you’re not getting bells and whistles,” Soifer says of the company’s custom-designed networks. The quality lies instead, he says, in certain business practices, such as employing designers and a project manager on every job to ensure a professionally designed, rational system that is built for the long term. Named the 2007 Small Business of the Year by the City of Santa Fe, the company has gone from three full-time employees at its start in 2004 to 17, with revenues increasing from $350,000 in the first year to $1.7 million in 2007. And Cedar Mountain just won a system showcase award for a demonstration project in Galisteo, a luxury home that is solar-heated completely off the grid. Soifer, who says he embraces a progressive management style, maintains that it is not just the inherent appeal of renewable energy that accounts for Cedar Mountain’s popularity: “It’s the capability to do it reliably. That’s the reason we are successful.” 3212 Richards Lane, 505-474-5445, cedarmountainsolar.com
Of Fetishes and Other Obsessions Keshi was a tiny shop tucked into a downtown Santa Fe pedestrian mall when Robin Dunlap took over a craft cooperative that she and other teachers had helped set up at Zuni Pueblo. It was 1981, and the shop sold jewelry, plus a few carved fetishes. With the surge of fascination with Native America in the late 1980s, demand for the talismans swelled to the point that Keshi moved into a much larger space, formerly occupied by a restaurant, in 2002. Sales jumped from there. Now run by Dunlap’s daughter Bronwyn Fox-Bern, the store carries the work of 600 artists who fill its glass cases with a mind-boggling menagerie of exquisite creatures. Competitors also have mushroomed over the years, but Keshi’s strong commitment to Zuni fetishes has earned the company a reputation for expertise that its owners trace to close relationships with the artists’ families. Fox-Bern went to grade school on the Pueblo and recently celebrated her wedding there; she emphasizes that the store is subtitled “the Zuni Connection” because its business is about the affinity people feel for a particular animal carving, as well as those special ties her family has to the Pueblo. She and Dunlap have found they must constantly fight the proliferation of fakes through education and advocacy. “If people come in and get a little better perspective, even if they buy nothing, I’m perfectly happy,” Fox-Bern says of her mission to safeguard value for Zuni artisans and her seven-employee business. Inherently collectible, fetishes are evolving rapidly in subject matter and materials, Fox-Bern says, drawing new generations to the store and its Web site to feed their addiction. “We always reiterate, it’s just a tool; it’s you who have the power,” she tells shoppers, showing a thorough understanding of the magnetism of her vast inventory. “When you honor the animal spirit in the fetish, you honor it in yourself.” 227 Don Gaspar Avenue, 505-989-8728, keshi.com
114 Trend » Spring/Summer 2009 trendmagazineglobal.com
Bronwyn Fox-Bern at Keshi
L ? 9 JE H ? 7 FH?9;
f^eje0 ;h_Y ImWdied%IWdjW <[ 9WjWbe]k[
Whj Z[i_]d
Photo-eye owner Rixon Reed
AnEye for an Eye Art photography books have never enjoyed a huge audience. Even today, as prices skyrocket for collectible editions, Amazon.com and its rivals have so cannibalized independent bookstores that niche sellers folded up their tents long before they could cash in on the trend. Not Photo-eye. In 1997, Rixon Reed moved his business online, becoming one of the first independents to jump on the e-tailing juggernaut. And instead of continuing to mail his book catalog, he turned it into an upscale magazine and charged for subscriptions. Last year the publication morphed again, becoming a free, Web-only marketing tool to draw people to his online bookstore. In the tough markets for specialty books and art, Photo-eye has always managed to stay a step ahead of the crowd, thanks to Reed’s constant experimentation with new ventures. When he first moved the business from Austin, Texas,17 years ago, Photo-eye was simply a bookstore-gallery in downtown Santa Fe. Today the bulk of the business is online, comprising not only the magazine, virtual bookstore, and gallery, but also a directory, newsletter, and public auction site. Plus, Photo-eye is a server host to individual artists’ Web sites. A closet programmer, Reed is a master of this complex online universe, where everything works together to drive traffic to the Photo-eye site and sell books. “I feel like I’m a survivor,” says Reed, a former film student who discovered his creative calling in business. “I want to make something work.” Former rival Amazon now partners with Photo-eye to fulfill orders for most of the independent’s 35,000 titles, freeing Reed to focus on rare and limited-edition books, where he says the real action is. His staff of 12 still occupies a physical gallery, bookstore, and warehouse in Santa Fe. But the virtual walls of the business appear as unlimited as Reed’s ideas. “I love what I do, so I work all the time,” he says. “And I’m always looking for a better way of doing things.” R 370 Garcia Street, 505-988-5152, photoeye.com
trendmagazineglobal.com Spring/Summer 2009 » Trend 115
_dj[h_eh Z[i_]d ceZ[hd ^ec[ Z[Yeh
ijob[ ikijW_dWX_b_jo i[hl_Y[ ?d FWY^[Ye FWha '+'( FWY^[Ye Ijh[[j IWdjW <[" DC .-+&+ +&+#/.(#.,)( mmm$l_Yjeh_Wfh_Y[$Yec
BLUEPRINTS
BY SOLEDAD SANTIAGO PHOTOS BY DOUGLAS MERRIAM
High-Desert Clarity
An architect creates his home according to Nature’s plans
O
n a secluded hillside not far from downtown Santa Fe, an architect of global renown, whose clients range from corporate giants to private connoisseurs, is creating his private world with his own hands. In visualizing his own space, he began slowly, deliberately. After studying the effect of seasonal changes, he designed his home, garden first, to enhance the land’s elemental beauty—its trees, rocks, cacti, and vistas. He did not cut down even one tree or discard a single cactus displaced by construction. To fulfill the demands of an aesthetic that reveres life, he personally replanted each cactus, no matter how spiny. In its minimalist clarity, New Mexico’s high desert readily lends itself to the inviolate principles guiding traditional Japanese gardens and architecture. A pleasing, almost subliminal balance is dictated. This harmony is achieved in the disciplined combination of three elements: Shin, Gyo, and So. >
Opposite: Every rock, cactus, and ornament was placed by hand with great deliberation. Above left: The main entrance to the unfinished home balances East with West, a theme throughout the property. Above top: Careful planning results in a seemingly casual and visually restful entry view. Above: Flashing light, koi swim at the end of the entry path to the home. trendmagazineglobal.com Spring/Summer 2009 » Trend 117
BLUEPRINTS
Shin is the formal; So the earthy primitive; Gyo, neither too slick nor too rustic, is in between. More than a mere aesthetic, Shin Gyo So is a profoundly held worldview determining not only architectural but also life choices. The architect’s conceptual framework and loving embrace of nature are revealed gradually throughout the property—in the unfinished house and especially in the carefully planned garden. Much there is hidden and enters one’s perception slowly. Strolling the grounds, one hears water before seeing its source. Seasons, as well as the play of light and shadow, are important architectural elements. When blessed with snow or rain, rocks glisten, change color, and come to life. Trees twisted by time and wind are trimmed and trained into shapes reminiscent of bonsai. Japanese junipers have been added as structural fundamentals. In this asymmetrical garden, ambiguity replaces Western Euclidian geometry. Pine trees repeat nature’s rough-hewn fractals. Cacti spread turgid stems. Woodfired ceramic lanterns reside among native rocks. In the silence, birds scale entire octaves. Strategically placed, unaltered large rocks—decorated only in the subtle colors of the hand of geological time—seem to grow from the earth. Ritual watering by the architect deepens the stones’ pale palette. Under low-hanging branches, a small, weatherworn, stone Buddha is carved so delicately that the sculptor’s touch is as elusive as
Opposite: Heavy Colonial-style wooden doors open into another, more private courtyard. Above left: Calligraphic characters Shin, So, and Gyo as drawn by the architect. Above top: Japanese sliding doors open from the entry foyer into the artist’s temporary studio. Above: Natural elements—carefully placed rocks on the dirt floor—inspire the architect’s plans.
trendmagazineglobal.com Spring/Summer 2009 » Trend 119
BLUEPRINTS
an old memory. A very large pond hides behind a rock wall along the driveway. In this garden surprises abound.
Chozu-ishi, naturally carved water
Above top: Symbolic characters denoting chozu-ishi. Above: Bamboo pipes carry water to naturally eroded rocks. Above right: Details: A bucket represents ritual welcoming at the main doorway.
120 Trend Âť Spring/Summer 2009 trendmagazineglobal.com
basins used as design elements in traditional Japanese gardens, are found here in subtle contrast to the arid Southwest. Water rushes through small canals made of bamboo stems, and long bamboo ladles allow guests to wash their hands and sip the cool water, symbolically purifying body and soul. Blending materials more native to Southwest design, steps made of smooth Mexican-stone tiles are held in place by deliberately unfinished-looking grout seams. When itâ&#x20AC;&#x2122;s desired, the architect can let water flow on both sides of the steps in narrow, rock-enclosed streams reminiscent of Spanish Colonial acequias.
Celebrating its 10th anniversary!
TREND magazine is dedicated to its mission to explore and celebrate the unique and fascinating intermingling of cultural influences, traditions, and innovations in Santa Fe, the Southwest, and beyond.
www.trendmagazineglobal.com
Be sure to advertise in our Summer/Fall 2009 issue on newsstands in August. Call (505) 988-5007.
trendmagazineglobal.com Spring/Summer 2009 Âť Trend 121
BLUEPRINTS
Two mythical creatures made of stone watch over the home and gardens.
The Japanese garden is complemented by an adobe horno for outdoor cooking and festivities. Four distinct paths lead to the house, where Mexican-style wrought-iron gates protect ground-floor windows. Over the main entryway, delicately carved, abstracted blossoms highlight a Tarascan corbel. Oversize, antique Mexican doors open to a private inner garden. Here is the delicate edge where solitude meets conviviality as the architect works, with thoughtful intention, to build a home that extends beyond a definable style into its own authenticity. R 122 Trend Âť Spring/Summer 2009 trendmagazineglobal.com
AD INDEX
ANTIQUES, HOME FURNISHINGS, RUGS & ACCENTS
Blue Rain Gallery 505-954-9902 .............................10–11
BUILDERS, DEVELOPERS & MATERIALS
Statements 505-988-4440 ...................................33
The Accessory Annex 505-983-3007 .....................................3
Brazos Fine Art 575-758-0767.....................................88
The Firebird 505-983-5264 ...................................47
MUSEUMS
Casa Nova 505-983-8558 .................................. 23
Charlotte Jackson Fine Art 505-989-8688 ...................................19
Graham’s Custom Window Tinting 505-984-1731 ...................................49
Creative Design 505-986-0247...........Inside Front Cover
Christopher Thomson 800-726-0145.....................................34
Kitchens by Jeanné 505-988-4594 ...................................39
G. Coles-Christensen, Rug Merchants 505-986-6089 .................... Back Cover
David Copher 505-235-3641...................................103
CITIES & EVENTS
REAL ESTATE, BANKS & MORTGAGE COMPANIES
La Mesa of Santa Fe 505-984-1688 .................................102
Doug Coffin 575-751-7702...................................101
ART Santa Fe 505-988-8883 ...................................14
Dougherty Real Estate Co. LLC 505-989-7741 ...................................27
Moss 505-989-7300 .....................................1
Gallup New Mexico 800-242-4282 ...........................66–67
City of Gallup 800-242-4282 .............................66–67
Duty Real Estate Services 505-469-1731 .....................................6
Sachi Organics 505-982-3938 ...................................93
Gerald Peters Gallery 505-954-5700 ...................................97
Design Santa Fe/Santa Fe Interior Designers 505-988-1111 ..................................112
Santa Kilim 505-986-0340 ...................................78
Glenn Green Galleries 505-820-0008 .............................50–51
Los Alamos National Bank 505-954-5400, Santa Fe 505-662-5171, Los Alamos...............95
Victoria Price Art & Design 505-982-8632 .................................115
Hulse/Warman Gallery 575-751-7702 .................................101
Visions Design Group 505-988-3170 .....................................7
La Mesa of Santa Fe 505-984-1688 .................................102
COURIERS
Wiseman Gale Duncan 505-984-8544 ...................................21
Linda Durham Contemporary Art 505-466-6600 .............................98–99
Creative Couriers 505-920-6370 .................................121
ARCHITECTS, DESIGNERS & LANDSCAPE COMPANIES Clemens & Associates 505-982-4005 ...................................35 Design with Nature Ltd. Co. 505-983-5633 ...................................28 Duty & Germanas Architects 505-989-8882 .....................................6 Kris Lajeskie Design Group 888-534-5534 ...................................25 Michael F. Bauer + Associates Architects 505-988-1905....................................29 Native Bloom Landscapes 505-466-4658 ...................................38 Taste Twist Productions 720-810-0261...................................123 Victoria Price Art & Design 505-982-8632..................................115 Visions Design Group 505-988-3170 .....................................7
ARTISTS & GALLERIES Allan Houser Gallery 505-982-4705 .............................76–77 Bellas Artes 505-983-2745 .................................4–5
Santa Fe 400th Anniversary 505-986-1610 .........................104–105 Taos Getaway Sweepstakes 866-519-8267 ...................................89
Museum Association of Taos 800-816-1516 ...................................90 Poeh Cultural Center and Museum 505-455-5041 .........................124–125
RESTAURANTS, CATERERS & LODGING Brett House Catering 575-776-1919 ...................................91 Cafe Loka 575-758-4204 ...................................88 Chef Damon’s 505-737-0410 ...................................88
Manitou Galleries 505-986-0440 .................................8–9
FASHION & JEWELRY
Marcia Keegan Photography 505-424-9090 ...................................39
Creative Design 505-986-0247...........Inside Front Cover
Martin Cary Horowitz 505-466-6600 .............................98–99
Earth Elegance 505-988-3760 ...................................96
Patina Gallery 505-986-3432 ...................................20
Museum of New Mexico Shops 505-982-3016 ...................................24
Raphaëlle Goethals 505-954-5700 ...................................97
Shelton Jewelers 505-881-1013 .....................................2
Robert Reck Photography 505-247-8949 ...................................15
HEALTH & BEAUTY
Il Piatto 505-984-1091 ...................................22
Alix Hair Studios 505-795-7676 ...................................49
Joseph’s Table 575-751-4512 ...................................91
Estrellas Moroccan Spa 505-995-0100...........Inside Back Cover
Lambert’s 575-758-1009 ...................................91
Ojo Caliente 505-583-2233 ...................................90
Luxury Casita Vacation Rental 505-983-0737 .................................123
Tracy Collins 505-988-3760 ...................................96
KITCHENS, TILE, LIGHTING & HARDWARE
Ojo Caliente 505-583-2233 ...................................90
Ventana Fine Art 505-983-8815 ...................................79
Allbright & Lockwood 505-986-1715 ...................................17
Old Blinking Light 575-776-8787 ...................................91
Victoria Price Art & Design 505-982-8632..................................115
Form + Function 505-820-7872 ...................................96
Rancho de San Juan 505-753-6818 .................................100
Zane Bennett Contemporary Art 505-982-8111 .............................64–65
Santa Fe By Design 505-988-4111 ...................................35
Saveur 505-989-4200 ...................................94
Salon Mar Graff 505-955-0471 .................................127 Stephen Michael Bennett 505-984-1688..................................102 Tai Gallery 505-984-1387 .............................12–13
126 Trend » Spring/Summer 2009 trendmagazineglobal.com
Coyote Cafe 505-983-1615 .................................122 El Meze 575-751-3337 ...................................88 El Monte Sagrado 575-758-3502 ...................................90 Heritage Hotels 877-901-7666 .................................113
Taos Inn 866-519-8267 ...................................87 Inquiries about buying Rancho Escondido, pages 68–75, may be directed to Michaelann Huitfeldt with Santa Fe Properties 505-670-9486.
James Hart
Madelin Coit
Marion Wasserman
Sarah Hewitt Jon Carver
Mayumi Nishida
Michael Sumner
Michael Schippling
Pearl & Guld LTD
25 Big Tesuque Canyon | Santa Fe NM 87506 | 505.955.0471 | www.salonmargraff.com Monthly exhibitions, lectures, critiques, suppers, and available for private events.
END QUOTE
Use the light that is in you to recover your natural clearness of sight. â&#x20AC;&#x201D;Lao Tsu
This photograph is part of a series, Natural Languages, by artist Judy Tulawetstiwa. Contact the artist at tuwalets@gmail.com.
128 Trend Âť Spring/Summer 2009 trendmagazineglobal.com