Santa Fean Magazine Oct/Nov 2011

Yo g a i n t h e C i t y D i f f e r e n t • F a l l A r t P r e v i e w s • A s p e n s a t T h e i r P e a k

October/November 2011

THE

SANTA FE STYLE CLASSIC TO CONTEMPORARY

HOME ISSUE

PLUS ADOBE BUNGALOWS, HISTORIC HIDEAWAYS, HIGH-TECH LIVING

santafean.com

LOCAL EXPERTS WORLDWIDE

460 CIRCLE DRIVE

Chris Webster 505.780.9500

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Chris Haynes 505.660.6121

HYDE PARK ROAD AREA

Liz Sheffield 505.660.4299

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This exceptional property has not been available for over 10 years! Contemporary Territorial in design, the interiors are a graceful blend of informal and formal living spaces. High ceilings throughout, gorgeous hardwood and brick floors, oversize windows and glass doors.The kitchen combines an informal dining area and comfortable sitting space. 4BR, 5BA. #201103640 $1,700,000 DeAnne Ottaway 505.690.4611

Classic Jim Hayes constructed home privately sited on a tree-covered corner lot giving the feel of living in the middle of an oasis.

Open floor plan with 2 living areas, large master with seating area and outdoor patio. Saltillo and wood floors, radiant heat, high beamed ceilings. 3BR, 3BA, 2-car garage, 2,400 sq ft. #201103794 $619,000

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“Canyon Road Paint Out” Saturday, October 15 • 10 to 3 pm

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ALBERT HANDELL “Quiet Master” Friday, October 28 • 5 to 7 pm

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RIK ALLEN Adrift: New Works in Glass and Metal, October 7 –29, 2011 ARTIST RECEPTION

Friday, October 7th 5–7 pm in Santa Fe

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Photo Eric Swanson

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The Home Issue october / november 2011

features

34 Timeless Transition For Gerald and Anita Smith, a sleek Las Campanas home is the perfect retreat, with space for family and an impressive art collection.

41 Cottage Contemporary

AMADEUS LEITNER

Elite runner and trainer Ryan Bolton made his historic East Palace bungalow 21st-century fresh—with some help from Violante & Rochford Interiors.

departments

14 Publisher’s Note

34

The Smith family unwinds in their Las Campanas home.

26 City Different Shaping up with Carin Van Olst, 25 years of the Wildlife Center 28 Q+A Gregory W. Heltman leads the Santa Fe Symphony into its 28th season 30 Santa Fe Institutions Treasure-hunting at Jackalope

GABRIELLA MARKS

32 Santa Favorites Yoga studios

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Get your stretch on at one of Santa Fe’s world-class yoga studios.

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45 Art Rik Allen, Robert Livsey Wells, outdoor art, gallery previews

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71 Living Author/illustrator Felicia Bond gets creative at home, Posh By Gosh 85 Dining Junction, La Casa Sena, the Santa Fe Harvest Festival + scalloped spuds, red-chile style 91 Hot Tickets 92 History Living in a 17th-century adobe in the heart of downtown 96 Day Trip Aspen-glow in the Sangres

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ExcEPtionaL vaLuE

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The Las Campanas home of Gerald and Anita Smith, photographed by Amadeus Leitner, embodies contemporary comfort and convenience, with elegant touches—from an open floor plan to a sophisticated art collection and uninterrupted views of the Jemez—bringing a layer of luxury to Santa Fe living.

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HOME AND AWAY. As much as Santa Fe is an art town, it’s also a real estate town, home to hundreds of talented architects, builders, interior designers, realtors, and other related professionals. We take our homes very seriously. We see our decor and architecture as reflections of our Santa Fe lifestyle, but also as an important part of our community. The city has established regulations with regard to building styles, sizes, heights, and colors. If you’re fortunate enough to own a home in the historic district, the restrictions intensify. The upside is that we have a beautiful city with a cohesive look. Old sits next to new and it works visually. Our homes still incorporate ancient building techniques and styles specific to this area before the Spanish and Anglo influences arrived. The regional aesthetic has endured and continues to be embraced and modified, even by those that arrive with different sensibilities.

In this issue, we look at a very old home and several newer homes that share interesting qualities. All are adobe or have been influenced by Northern New Mexico’s traditional adobe construction methods. Some have been designed specifically for the land they’re built on, and some are enhanced by the owners’ impressive art collections. Most importantly, these homes are all comfortably lived in.

I’ve often said that our homes show the world who we are. But they can also make our lives easier and better. The Santa Feans in this issue have built or modified their homes with features that suit their specific passions and needs. I find myself wondering how I might do the same. It’s fun to fantasize.

BRUCE ADAMS

Publisher

DAVID ROBIN

ON THE COVER

PUBLISHER’S NOTE

In this issue, we are featuring Vueteligent. By scanning this symbol with your smartphone, you will immediately be connected to Santa Fe’s best calendar and our website.

|C O N T R I B U T O R S | Q: What do you most look forward to about going home?

Kate McGraw, who took a step back in time to write about Joe and Barbara Eason’s historic home for the magazine’s History section (page 92), says: “I look forward to the sense of haven—to the chance to close the door and not talk to anyone (I live alone; did you guess?) and just be quiet, read a magazine article, have a glass of wine, maybe turn on Yo-Yo Ma’s Japanese Melodies CD, and just . . . feel safe. Home.”

For photographer Amadeus Leitner, who took the images for our “Timeless Transition” feature (page 34), “home” means his childhood home in Chimayó. “It offers me a place of refuge and rejuvenation,” he says. “I love returning to the crisp, clean air, and seeing the tall cottonwoods and the acequia. Watching a blazing sunset over the Jemez Mountains from the roof terrace or gazing into the depths of the crystalclear Milky Way spanning the night sky while crickets sing in the background makes for a truly heartfelt homecoming experience.”

“After a long day, I look forward to going home to my bed,” says chef John Vollertsen, who writes our monthly Dining section. “Working as a chef is tough on the body, and getting the appropriate amount of rest is tantamount. Last year, for my birthday, a friend got me a thick foam mattress-cover that increased the comfortlevel of my bed 100 percent. After all, we spend at least 25 percent of our life in bed, so it better be good. My favorite saying after a grueling day of work is, “I’m gonna kiss my bed tonight!”

photos: nadelbachphoto.com©

THE ALCHEMY OF SPACE

interior design outdoor spaces furnishings

samueldesigngroup.com • 505.820.0239 ArtYard Lofts at the Railyard • Santa Fe

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Santa Fean (ISSN 1094-1487) is published bimonthly by Bella Media, LLC, 215 W San Francisco Street, Suite 300, Santa Fe, NM 87501. Periodicals postage paid at Santa Fe, NM, and additional mailing offices.

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405 Paseo de Peralta, Santa Fe, NM 87501 505.983.3912 | www.vrinteriors.com

Judith Content Desert Rain Works on Silk October 14 - November 15, 2011 Opening Reception Friday, October 14, 5 - 7 pm The artist will be present

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Welcome to the magazine’s second annual

Santa Fe Arts Festival 17 Days of Arts Events!

October 14–30, 2011

Saturday, October 15 SFPS Student Performances on the Santa Fe Plaza Bandstand Speeches by Mayor Coss, Superintendent Bobbie Gutierrez, and School Board President Barbara Gudwin beginning at 11:20 am 10:00 am–12:00 pm

Music Fest

dedicated to raising funds for the Music in the Schools program for Santa Fe Public Schools

MusicFest Kick-Off Parade on Canyon Road Three SFPS bands and a mariachi group 12:30–1:00 PM

Canyon Road Gallery Performances by SFPS Students Exact itinerary TBA 1:00–4:00 PM

Santa Fe Women’s Ensemble performs with girls from the Capital and Santa Fe High School Choirs Gallery viewing, concert, dinner Zane Bennett Contemporary Art Gallery—5:30 PM

Monday, October 17 Mark O’Connor Concert sponsored by the Santa Fe Youth Symphony Association Lensic Performing Arts Center—7:00 pm For tickets, call the Lensic at 988-1234

Saturday, October 22 String Programs of Santa Fe Public Schools SF Youth Symphony, SF Concert Association, and SF Chamber Music Festival perform in a collaborative concert Scottish Rite Temple—11:30 PM

Friday, October 28 SFPS Music Faculty and Friends Cabaret The first ever gathering of SFPS Music Education faculty members in a collaborative performance Maria Benitez Cabaret Theater at The Lodge—7:00–9:00 pm Tickets $15

Sunday, October 30 SwingShift Retro Tea Dance Afternoon dance with a big band Acequia Madre Elementary Gymnasium—3:00–5:30 Tickets $10

pm

S antaF eA rt sFest ival. c o m

Canyon Road Festival and Paint-Out

Saturday, October 15: 10 am–4 pm, Parade at 12:30 pm Join 26 participating galleries with artists painting up and down Canyon Road. Visit with your favorite artists and watch them capture the beautiful imagery of Canyon Road. Post-event party at El Farol, 808 Canyon Road, with 10% of the proceeds going to the Music in the Schools program.

For more information, go to VisitCanyonRoad.com.

12th Annual Santa Fe Film Festival

October 20–23 Featuring Aki Kurismaki’s Le Havre and The Artist—both awardwinners at Cannes this year. The Santa Fe Film Festival’s mission is to recognize and celebrate the art of cinema in all forms by showcasing New Mexico, national, and international films and filmmakers. Through its exhibition, education, and community development programs, the Santa Fe Film Festival is building, stimulating, and entertaining audiences. The festival supports and encourages filmmakers by offering essential networking opportunities and open dialogues with intelligent and inquisitive consumers and industry professionals. santafefilmfestival.com The 24th annual Galisteo Studio Tour

Last Friday ArtWalk—Railroad Arts District

Saturday, October 15, and Sunday, October 16, 10 AM–5 PM More than 30 artists open their home studios one weekend a year in this historic adobe village just 20 miles south of Santa Fe. Included are painters, printmakers, potters, weavers, photographers, woodworkers, jewelers, sculptors, local crafters, and chefs. Most of the tour can be done on foot. This is one of the best ways to spend a fall weekend in northern New Mexico. Free admission.

Call 505-466-2121 for more information.

Friday October 28, 5–7 PM

Lutherfest Saturday, October 15 Bratwurst and sauerkraut lunch, uff-da band. Large flea market, small-animal adoption, Scandinavian dancers, great bake sale, many vendors, Rosemaler Norwegian painters.

“Feed the Hungry”—bring your canned goods.

1701 Camino Chamisa, at St. Michael’s Drive & Old Pecos Trail

Matanza: A Traditional Pig Roast with Side Dishes Saturday, October 22—8 AM–3 PM The Spanish Colonial Arts Society is presenting a traditional pig roast with side dishes. The cooking show by Steven Otero and crew will begin around 8 am. Lunch will be served from 11 am until 2 pm, rain or shine. A ticket is required for entry to the event. Please call 505-982-2226 for tickets and information.

Museum of Spanish Colonial Art, 750 Camino Lejo on Museum Hill

Discover Delgado 4th Friday Gallery Walk Friday, October 28, 5–7 PM Delgado Street at Canyon Road

Santa Fe Symphony’s Voyages of Discovery III: Bach on the Brain Sunday, October 30, 4–6 PM Once again collaborating with the Santa Fe Institute, the Santa Fe Symphony is thrilled to bring you a truly amazing program full of Bach favorites. Enjoy Bach’s Cantata No. 51, Orchestra Suite No. 4, Passacaglia, Fugue in D minor, and other works inspired by Bach, such as Villa-Lobos’ Bachianas Brasileiras.

For more information, visit santafesymphony.org.

SFAF

Please v isi t th e w eb s ite f o r up da t e s .

Walk on the Wild Side WILDLIFE The Wildlife Center in Española— New Mexico’s only wildlife hospital—turns 25 this year.

Founded by veterinarian Kathleen Ramsay in 1986 as a raptor rehabilitation facility, today the center treats all the state’s endemic species, from hawks and owls to cougars and black bears. In a typical year, more than 1,000 animals are brought into the center’s ICU, for ailments ranging from domestic cat bites to gunshot wounds.

While the center has an impressive success rate of releasing animals back into the wild, its ultimate goal is to promote an ethic of wildlife stewardship. “People protect what they value, and they value what they have an engagement with,” says executive director Katherine Eagleson. Encouraging site visits to the center is one way the nonprofit—staffed by eight full- and part-time employees and assisted by more than 75 volunteers— facilitates a connection to wildlife on a personal level.

Visitors can take self-guided tours along the center’s “Wild Walk” and learn about resident species (such as the golden eagle, foxes, and bobcats) that cannot be released back into the wild due to injuries or having become imprinted on humans. Literature at the center provides information about where the 30-plus animals on view were found and how they were harmed, and skilled handlers, who are available for questions, can be seen feeding and tending to the animals in various ways.

Educational programs, both on- and off-site, present the biggest opportunity for the center to foster an appreciation among New Mexicans for the importance of preserving habitats and therefore safeguarding indigenous animals. One of the most popular annual events takes place at Abiquiú Lake during the first weekend in January, when the public can assist the center and the Army Corps of Engineers in counting migratory bald eagles. The center knows that it is outreach initiatives like this that will impact the survival of the state’s wildlife the most. “We’re not going to save any species by fixing broken wings,” Eagleson notes. “We are only going to save species by educating people to protect habitats.”

For more information, visit thewildlifecenter.org.

—Steven Horak

the buzz around town

Man with a Vision BOOK Santa Fe lensman Jack Parsons pays homage to his adoptive home state in Dark Beauty: Photographs of New Mexico (Hudson Hills Press, $60).

The book’s 100 color images were taken over the past 35 years and range from stunning mountain landscapes to scenes of rural communities well past their heydays. Not every picture is pretty, but all are provocative.

Right: The book’s cover features an image by Jack Parsons titled View of Pedernal. Abiquiú, 1989; below: Parsons’s Rio Grande, Socorro, 1974.

Southwest Vérité FILM Documentaries by two Santa Fe–based filmmakers are wowing audiences at film festivals across the country this fall. Wild Horses & Renegades, by director/cinematographer James Kleinert, looks at the plight of wild horses on our deteriorating public lands. Run to the East, written by journalist Joe Spring and based on a story he originally published in the New York Times, follows three Native American students who run for college scholarships and to overcome obstacles they face on their reservations. For screening schedules and more information, visit theamericanwildhorse.com and runtotheeast.com.

JENNIFER ESPERANZA, STEVEN HORAK, JACK PARSONS

Presenting Oceanside Glasstile 1441 Paseo de Peralta Santa Fe, New Mexico 505-988-4440 statementsinsantafe.com

Image © Oceanside Glasstile

TILE / LIGHTING / KITCHENS / FLOORING

If you happen to be watching New Mexico Style on KASA-Fox television any Monday morning this fall, and you swear that’s Katharine Hepburn giving hosts Nikki Stanzione and Kristen Van Dyke tips on diet, spinning cycles, and the best abs routine, you’re forgiven. That Hepburn lookalike—only buffer and blonder— isn’t the late Hollywood legend; it’s Santa Fe personal trainer Carin Van Olst, a 50-year-young native of Holland and mother of two teenagers who “never moved a bone in my body till I moved to New York,” she says.

Thinking maybe she should go to a gym sometime (this was in the ’80s—the decade of America’s ongoing fitness craze), she did, and a lightbulb went off. Van Olst soon quit her job as an office manager at her father’s company, became an IDEA-certified trainer, and later moved to Santa Fe. Now in her 26th year of personal training, her motto is “You can do it.” “If you talk yourself out of your goal, it’s not going to happen,” says Van Olst, who trains most of her clients, including the Style producer who asked her to appear on the show, at Santa Fe Spa. “Be very positive about whatever goal it is you’ve set for yourself and, most importantly, believe in yourself.

I’m all about motivation.”

And about setting an example. “You can actually be fit and old and a mother,” she says, “and be in shape.” Here’s to motivation. —Devon Jackson FITNESS

S TAT E M E N T S

TV Trainer

| Q + A |

music matters

Gregory W. Heltman discusses the Santa Fe Symphony’s storied past and vibrant future

by Amy He ga r ty

SINCE ITS FIRST, groundbreaking concert in 1984, the Santa Fe Symphony Orchestra & Chorus has gone on to celebrate almost three decades’ worth of music-making. In advance of kicking off the ensemble’s 28th season on October 9, Gregory W. Heltman, the orchestra’s founder and general director (as well as one of its trumpet players), reflects on what it took to get the organization to where it is today and the direction he’d like to take it going forward. $1,800 at the door (the cost of admission was a free-will donation) and that was our stake hold in starting the symphony.

What were the biggest challenges you faced?

We had no money, no infrastructure, no office, etc.—I ran everything from my kitchen table and an overstuffed briefcase— but the biggest challenge was developing support in the donor circles. We had to overcome many, many naysayers.

of Rome; our collaboration with the Santa Fe Institute for the third Voyages of Discovery concert, called Bach on the Brain, which explores music, language, and the brain through works written and inspired by J.S. Bach; Sibelius’s Symphony No. 2; Brahms’s A German Requiem; and Stravinsky’s Firebird. We’re presenting three international prizewinners throughout the season, a― nd we’re collaborating with the First Annual Santa Fe International Marimba Festival at the end of the season.

Now, here you are, 28 seasons later. What does the repertoire for the 2011–2012 season look like?

It covers works from the baroque period to the 21st century. Some of the highlights include Richard Strauss’s Don Juan and Respighi’s Pines

People associate Santa Fe with art, but what’s your impression of Santa Fe as a music town?

I’m regularly approached by people who’ve moved here from much larger metropolitan areas and are amazed at the variety and caliber of our performing arts. They’re excited

INSIGHT FOTO

Founding a symphony orchestra is no small task. Can you say a few words about how and why you decided to undertake such a thing?

In the summer of 1984, I and several dozen other musicians were performing in a Santa Fe orchestral organization that no longer exists. After approaching management on a number of major issues, which ultimately led to all of the musicians being fired, one of the board’s directors said that if we didn’t like how they ran the group, then we should start our own orchestra. So that was the trigger. It became very important to us that we show the community the caliber of players who had been fired, so we gave a concert on September 2, 1984. There was a great committee of musicians who helped bring the concert together. We raised

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by the fact that, in a city with a standing population of about 65,000, the Santa Fe Symphony is truly a well-honed professional symphony orchestra that compares most favorably with the orchestras these new-comers left behind in cities like Detroit, San Diego, and Boston, to name just a few.

Peter Burega

OCtOBer 21 – NOvemBer 6, 2011 Opening Reception: Friday, OCtOBer 21, 5 – 7pm

Is the classical music scene in Santa Fe different today than it was when you founded the Santa Fe Symphony?

Yes. The competition is greater. The variety of offerings are more diverse.

The expectations of the audience are ever higher. And, even in an arts mecca like Santa Fe, we face the same issues of attracting and growing audiences that are confronting the performing arts in cities from Philadelphia to Cleveland to Chicago.

As you just suggested, the arts, like everything else during this recession, are struggling nationwide. What do you think when you hear about musical organizations filing for bankruptcy or shutting their doors?

Our society is changing very quickly.

The challenge is: can the model of the symphony orchestra be reengineered to align with the new paradigm of the on-demand, ultra-convenient, highdefinition, wireless world? Can we, in the performing arts, repackage the communal experience of a live concert in such a way that the value of attending a live performance is perceived as worthwhile?

How does that challenge motivate you?

I spend a lot of time thinking about how to bring popular attention to symphonic music, just as, say, a TV show like Dancing with the Stars does for ballroom dancing. Classical music isn’t as difficult or elitist as it’s been made to appear. It’s not a matter of “dumbing it down”; it’s a matter of showing how exciting and inspiring and sensual classical music is.

Crooked Island, 2011, oil on panel, 48 × 48 inches

Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111

Opposite page: Gregory W. Heltman (far left) plays the trumpet in the Santa Fe Symphony Orchestra & Chorus, which he founded in 1984.

www.hunterkirklandcontemporary.com

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| S A N TA F E I N S T I T U T I O N S |

Jackalope of all trades

i ns ide t he Wor ld’s Fa ir of home -a nd-out do or-a nd-e ve r yt hing -else stor e s NO DICTIONARY I’VE LAID HANDS ON CAN TELL you what a jackalope is. On the face of it, jackalope should fall somewhere in the neighborhood of jackanapes (a cheeky fellow, bounder) or jackass (we all know at least one), and not terribly far from jaquarandi (a long-tailed, grayish-brown wildcat of tropical America).

Fortunately, the extraordinary Santa Fe emporium of that very name was glad to provide a definition to a bemused visitor. It seems a jackalope, only found in our Land of Enchantment environs, is a quasi-mythical beast, ostensibly a jackrabbit but sporting a rack of antlers like a stag. Once you see one, I’m told, you’ll never forget it. (They say it also serenades, most curiously, at the rise of a full moon.)

The Jackalope store, a gloriously quixotic assemblage of sheer stuff gathered from around the world, has been a Santa Fe resource of last—and often first—resort for householders, interior designers, and gift- and souvenir-shoppers since 1976.

It’s also the savvy Santa Fean’s first destination when in search of everything from the cheap and functional (house and garden furniture, especially) to the thoroughly unnameable, i.e., that perfect, what’s-it gift item you never dreamed existed.

The most characteristic wares, placed prominently at the entrance of the cavernous main building, are the riotously colored sculptures from Mexico in plaster, papier-mâché, or ceramic. The more collectible among these are the Day of the Dead effigies and tableaux, imagery that, for Anglos or the Eurocentric, registers as macabre, hilarious, ludicrous, or all these things at once. Among them are vignettes of skeletons engaged in all sorts of shenanigans, from the mundane (dancing, reading, etc.) to the peripherally unspeakable (diverse expressions of lovemaking, for example).

The Hecho en Mexico domain offers antic sculpture, diverse textiles, sparkling tinware, and vivaciously colorful paper flowers, wreaths, and festoons. It’s also the store’s primary trove for objects that are truly kitsch. Take the lustrous coffee mug Our Lady of the Latte, for example: As one works her way to the bottom of the cup, lo! an image of the Madonna miraculously develops. (As the packaging subtly puts it, “A miracle, every morning.”)

The entrance signage for Jackalope announces the facility proffers “tribal and ethnic art,” and, for our money, it is indeed those often mesmerizing objets that have given the store its reputaAbove: One of Jackalope’s many domains, which specialize in particular items tion as a true caravansary. or in goods from geographic regions around the world; below: colorful ceramic Of the several large, hangar-like spaces that pots are displayed outside the store; opposite: statuary and figurines are house Jackalope’s kaleidoscopic wares, one of the among Jackalope’s popular wares. more exotic is Xanadu, which one accesses directly behind the main building. Xanadu is hardly 30

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ANN MURDY

by Ja n Adlma nn

Coleridge’s “stately pleasure dome,” but, for some—especially women with a weakness for striking jewelry—it may be a kind of nirvana.

S AN TA FE

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DA L L A S

Jackalope is a gloriously quixotic assemblage of sheer stuff gathered from around the world.

Verlaine

The most attractive wares at Jackalope have to be the snazzy, blown-glass vessels and ornaments in the (very hot) glassblowing hearth and hut called Prairie Dog Glass, where one can watch glass artists at work. A very good deal, especially as potential gift items from Santa Fe, are Prairie Dog’s fluted, free-form bowls in an amazing range of colors and patterning. Also on offer from the glassblowers are glistening, delicate, red and green chiles, in diverse sizes, some as inexpensive as $18.

Next to the glass hut is the extensive “world furniture” building, chock-ablock filled with imports, especially from Indonesia and China. It is possible to find a chest, dining table, or sideboard there for a modest outlay.

The Indonesian pieces fashioned from Corvallis wood—restrained in design, substantial in fabrication, and sporting strange and intriguing wood-graining— are particularly priceworthy, and not found elsewhere in Santa Fe. Arriving and departing, Jackalope visitors cannot help but be struck by the mind-boggling selection and infinite array of colors and shapes in ceramic vessels set out at the entrance to the store. From the tiniest pot to gargantuan jardinieres that would dwarf Ali Baba as well as his 40 thieves, such Jackalope wares are the things that every visitor long remembers— and many are compelled to buy.

cicadacollection.com Santa Fe

6817 Snider Plaza

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221 Galisteo Street

Dallas TX

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| S A N TA FA V O R I T E S |

om on the range Sa nt a Fe ’s yo g a st udio s

by Eve Tolpa photo graph y by G abri ella Ma r k s

IT’S NO SECRET THAT SANTA FEANS are a spiritually oriented and health-conscious bunch, and it should come as no surprise that our small city is blessed with an abundance of cutting-edge, world-class yoga instruction. Whether you prefer a practice tending toward the free-form or the fixed, the rigorous or the relaxing, the somatic or the sacred, you’ll have no trouble finding a studio to suit you.

Founded 10 years ago by Tias and Surya Little, who now run Prajna Yoga, YogaSource (901 W. San Mateo, Ste. Y, yogasource-santafe.com) has been managed for the last four years by co-owners Wendelin Scott and Amy Spurlock. In their tranquil, Zen-inspired space, Scott and Spurlock have built on the Littles’ diverse and dynamic yoga tradition and expanded it with a decidedly nurturing focus. “We’ve established a very strong program for new students,” Scott explains. While YogaSource’s teachers don’t adhere to one particular lineage, all classes integrate some of the traditional aspects of yoga: codes of conduct, physical postures, breathing methodologies, and meditation practices. Special workshops are offered throughout the year, covering topics from yoga sutras and yoga philosophy to Vedic chanting.

Sean Tebor and Margi Halfon opened Center (1512 Pacheco, Ste. C-101, centersantafe.com) in early 2011 to introduce locals to what they call “non-denominational yoga,” a unique practice that borrows a little bit from a lot of different traditions. Emphasizing breath and its relationship to the natural alignment of the body, the couple—Center’s sole teachers— prioritize students’ development of awareness “from the inside out” rather than over-identification with technique. Center’s gorgeous, newly constructed 1,950-square-foot studio can hold up to 80 people and moves

Yoga devotees work up a sweat at Bikram Yoga Santa Fe (below) and go for the stretch at Body (opposite page, above) and Center (left and opposite page, below).

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toward high occupancy on Saturday mornings at 10 am, when a popular all-levels class is in session. Dance classes are also offered.

Rima Miller of Yoga Moves (825 Early, Ste. C, yogamoves.com) sees yoga postures as “tools in a toolbox.” Since 1994, her studio has been offering custom-designed classes based on everything from the mood of students to the cycle of the moon to what’s happening in the culture at large. In general, though, Miller says, “the yoga is more a Tantric style, which is more creative, more open, not so restrictive.”

Miller is probably best known for her innovative (and irresistible) Inversion Swing yoga, which she practices and teaches on four bespoke double-pulley swings of her own design. Fittingly, Yoga Moves is a hub for Santa Fe’s thriving circus-arts community.

Every class is a beginner’s class at Bikram Yoga Santa Fe (1310 Monterey, bikramyoga-santafe.com), but that doesn’t mean it’s easy: 90 minutes, 26 postures, and 100-plus degree heat. (Don’t even think of showing up without a water bottle—or two.) Since 2000, owner/ director Letitia Watts and her staff have been initiating yogis and yoginis into what she calls “the traditional, certified, authentic hot yoga,” a therapeutic Hatha series designed to work every part of the body, with multiple levels of difficulty in each posture. Watts, who trains other Bikram teachers at official gatherings off-site, periodically brings in colleagues from around the world to facilitate in-depth posture clinics.

Yoga represents only one aspect of Body (333 Cordova, bodyofsantafe .com), Lorin Parrish’s eight-year-old, organic, fair-trade, gluten- and fragrance-free emporium of groovitude. With its café, dining room, spa, gym, clothing and bedding boutique, and on-site childcare, Body extends a multifaceted invitation to holistic living. Parrish, a longtime Santa Fean and former director of the New Mexico Academy of Healing Arts, offers a diverse, accessible collection of yoga practices in what she terms a “dogma-free environment.” Due to the relative youth of many of her clients, she finds that the rigorous workout offered by Ashtanga is the best match for her studio, though the flowing Vinyasa class that incorporates music (including gospel on Sundays) is also a perennial favorite.

Whether you prefer a practice tending toward the rigorous or the relaxing, you’ll have no trouble finding a studio to suit you.

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Timeless

Transition

by ZĂŠlie Pollon Photography by Amadeus Leitner

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S

tep into the home of Gerald and Anita Smith and it’s as if the air suddenly becomes cleaner, the light brighter, and the breeze more pleasant. Inside the central living area, white cement floors with sparking aggregate extend from an open kitchen through a living and dining space out onto the front porch, melding inside and outside and making the hot New Mexico sun suddenly feel entirely comfortable.

Sit down on a low, white, custom-made sofa and look out over the green grasses of the Las Campanas golf course, a glistening pond at its base and the expansive Jemez mountain range behind, and you may never want to leave. And that’s exactly what the Smiths intended.

Gerald, the owner of a successful global investment firm, and Anita, an interior designer, have a primary residence in Houston but wanted a second home to escape the heat, humidity, and intensity of city life, replete with unending social and work commitments.

Leaning back on the sofa, a Billie Holiday recording playing effortlessly in the background thanks to the house-wide distributed audio system, Gerald says the couple saw their home as transitional, marking a time in their busy lives for slowing down and creating a contemplative, relaxing summer space. “I’ve worked since I was 14 and owned my business for 21 years, so this is a transition for me,” he notes. “This is the first time I’ve been able to take off two consecutive weeks at a time.”

The couple were originally drawn to Santa Fe’s climate and its rich and diverse art scene, and then came across the contemporary architectural designs of Suzanne Williams during a Parade of Homes. Fast forward to finding a plot

Gerald and Anita Smith, along with their daughter, Joy, take advantage of their home’s open design-plan and enjoy the expansive views over Las Campanas’s 18-hole golf course. october/november 2011

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word word of land so exceptional as to include views, water, and green grass, and the two knew they were committed. By 2010, the home was finished; it was officially christened last October for Gerald’s 60th birthday, a three-day bash with 100 of his closest friends flown in from around the country. “That’s how we got the house built,” Anita laughs. “I told Gerald that if we could just finish it, we could celebrate his birthday in Santa Fe.” A second unveiling of the home took place this summer with some of their newest local friends.

Anita, draped in a linen tunic and a chunky dark-green turquoise necklace, said she worked closely with Williams to create a space “where, when you open the doors, it’s always what you’re not expecting.” Indeed, the exterior of the offwhite stucco home is unassuming; it’s only in entering the structure that the light seems to be unending. Draw open the living room glass doors, which form the entirety of the back wall, or raise up the motorized shades that cover all the home’s windows, and suddenly the space doubles.

Each of the four bedrooms in the 5,400-square-foot residence has ceiling-to-floor glass doors that open onto individual terraces. An additional 2,300 square feet of space is dedicated entirely to outdoor living and entertaining, with a large, flat-screen TV and a long, rectangular, open fire source overlooking the pond. The kitchen area, featuring a large gas stove and a broad island that faces onto bar stools, flows into the great room, forming what Gerald calls “the heart and soul of our home.” For Anita, whose love of cooking matches her Pieces from the Smiths’ impressive art collection, which they’ve been building for 35 years, are found throughout their home. A series of Georgia O’Keeffe lithographs—of which only 10 sets remain in the country—lines the entryway.

“I wanted the home to be a classic space that was timeless,� says Anita Smith.

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smart home

The Smiths’ home was designed with a gallery layout in mind, showcasing the art and furniture—blended with technology—as points of interest.

Above: The kitchen area leads directly into the great room, forming what Gerald calls “the heart and soul” of his and Anita’s home; below: the Smiths’ media room is operated by a high-end system created and managed

by Constellation Home Electronics.

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To accommodate the Smiths’ high-tech, high-end lifestyle, Constellation Home Electronics installed a variety of interconnected electronics systems that includes music players in every room, flat-panel televisions, controlled lighting, centrally controlled heating and cooling, motorized window shades, a security system, surveillance cameras, and a dedicated projection home theater. The systems are monitored and controlled from wall-mounted interactive touch-panels and handheld wireless controllers, and they can also be accessed remotely, away from home, via a smart phone, an iPad, or a computer.

All these systems are interconnected to create one integrated system, which was custom designed to meet the requirements of the family and custom programmed to be extremely easy to use. “We literally taught the Smiths and their children how to use the entire system in one hour, and they haven’t been calling with questions. It really is that easy to use,” says Jason Suttle, the owner of Constellation.

“And, because all audio and video devices—Blu-ray, satellite, iPod, CD, PlayStation, Internet radio, etc.—can be accessed and controlled from all rooms, this type of installation provides the ultimate in flexibility. In a family home, it’s important that the different members can watch or listen to what they want, where they want, simultaneously. Eliza Doolittle in one room and Billie Holiday in another room is a common scenario in the Smith household, for example.”

The equipment required for these systems is centrally located, which means that all the standard electronic boxes are neatly installed in custom racks in an equipment closet that is independently climate controlled and heat exhausted, not in cabinets throughout the house. “By installing all the electronics in a central location, we can eliminate all the noise, heat, and blinking lights from the home’s living spaces with the added bonus of not requiring cabinet space for the electronics anywhere outside of the equipment closet,” says Suttle. “The systems are also on a sophisticated, uninterruptable power supply, which can actually send us an email if there are any power problems or system failures.”

Another benefit of a central electronics location is aesthetic. “By getting rid of the need for electronics at the TV locations, the televisions can be installed in a very clean fashion with minimal wiring,” Suttle says.

“And with the ultra-thin LED flat-panel TVs available today, and the low-profile mounts we use, the final look of these TVs is very attractive.”

Above: The home’s great room serves as the center for family gatherings, as well as for entertaining friends from Santa Fe and around the country; right: each of the 5,400-square-foot home’s four bedrooms opens onto an individual terrace.

love of design, that blending was central to their plan.

“To entertain while cooking and still be part of the environment is what makes it special,” she says.

Also special is the couple’s art collection, which they’ve been growing for 35 years, and which is showcased by a sophisticated programmable lighting system.

One of Gerald’s favorite pieces, a large Bob Thompson work, hangs on an open wall, the only splash of vibrant color on an otherwise monochromatic interior landscape. Spread throughout, the Smiths’ collection is eclectic: silverwork from Ethiopia and wooden Dogon horsemen (Anita’s personal favorite) share space with contemporary work by such artists as Angelbert Metoyer october/november 2011

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Above and below, left: Ceiling-to-floor glass doors and windows throughout the home allow for stunning views of the Jemez Mountains and a placid pond on Las Campanas’s Jack Nicklaus–designed golf course; below, right: a clean but elegantly styled bedroom captures Anita’s preference for classic, timeless design.

and Christina Chalmers. Lining the entry hallway is a series of Georgia O’Keeffe lithographs, of which only 10 sets remain in the country.

In fact, the Smiths’ home was designed with a gallery layout in mind, its clean, horizontal lines and monochromatic tone highlighting art and furniture—blended with technology—as points of interest. “I wanted it to be a classic space that would be timeless,” Anita says. “In 20 years we’re still going to love this home. It’s still going to be current. Sometimes people get into stylizing so much that it becomes dated,” she adds. Indeed, the seamless, automated, high-tech nature of the Smiths’ home allows the family to remain constantly up-to-date as well as completely comfortable.

Any further expansions to the Smiths’ Las Campanas residence might include additional room for family, as the couple have four children ranging in age from 12 to 40, with their first grandchild born this year. But for now this house is just the way they want it. In fact, Gerald says, “It came out even better than I had hoped.”

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WENDY MCEAHERN

Cottage

Contemporary

by Kathleen McCloud october/november 2011

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A

fter years of running all over the world, including in Sydney, Australia, where he competed in the 2000 Olympics, Ryan Bolton has found a home in Santa Fe. Bolton retired from the World Cup racing circuit in 2004 and set his sights on implementing a training program for elite runners. It was in Santa Fe that he found the ballast for his kinetic lifestyle: ―varied terrain for running and a cultural landscape engaging enough to call home.

“I love the contrast of worlds available here,” says Bolton from the patio of his East Palace Avenue home, located up a narrow driveway and tucked behind the more sprawling street-facing houses. “And place is very important to me,” he adds. “When I bought my home, I knew that I wanted to be walking distance from everything. The house had to have character and be just what I needed based on my lifestyle. I hate wasted space. I use every room equally.”

For a runner who grew up in wide-open Wyoming, a 1,200square-foot adobe nudged into a rambling enclave might feel constrained. Not so for Bolton, whose internalized sense of aerodynamics brings a lightness of being to the place. “This is an amazing house—―no walls are straight. All of the imperfections

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make the place magical,” he notes while admiring the slight tilt of a window.

Before buying the house, Bolton contacted the Santa Fe design firm Violante & Rochford Interiors, which is owned by Michael Violante and Paul Rochford. (Rochford and Bolton are friends from the racing world.) The designers agreed that Bolton had found a treasure, given the home’s high ceilings, three kiva fireplaces, abundant natural light, and carriage-house garage that compensates for the absence of interior closets.

Violante & Rochford was key to manifesting Bolton’s vision of blending historic and contemporary elements, much of which was achieved through a selective use of textiles. The design team addressed a few challenges as well. As with many older adobe houses, each room connects directly to another, which, while not wasting space, can be problematic in terms of function. First, the designers had to decide which of the two patio doors would become the main entry. Ultimately, they chose the one that opened onto the brick-floored kitchen, where coat hooks and shoes look right at home. “It’s like living in Europe. So many people want views, but I like this more,” Bolton says, pointing out the narrow, concrete stairway just below the kitchen-patio’s wall—between his house and the plastered walls, patios, and coyote fences of his neighbors—that leads down to Palace Avenue.

“When I bought the house, the walls were very colorful,” Bolton continues, reflecting on the adobe’s interior. “I wanted to see the contours and shapes, the mass of the house, rather than color, so we painted all the walls white.” The walls contrast with the dark, stainedpine floors to create a vessel for showcasing the historic bones of the house as well as highlighting the talisman-like objects, many of which were found by Violante & Rochford. The placement of these evocative objects adds a mercurial quality to the earthiness of the structure.

Originally, the home’s bedroom was in the center of the residence, which made it a pass-through on the way to the small living room.

The designers turned that bedroom into an expanded living area with an adjoining sitting room, while the “catch-all” room at the back of the house became the current, cozy bedroom.

“This is an amazing house—no walls are straight. All of the imperfections make the place magical,” says Ryan Bolton.

WENDY MCEAHERN

Flanking the bedroom door are freestanding custom steel closets, which were powder-coated white and built by Mike Schrieber, one of the local artists Violante & Rochford works with. “The closets were designed in two units so they wouldn’t block this doorway,’’ says Bolton, admiring the sloping lintel covered in peeling paint. His priorities are evident, and the closets, which are minimalist upgrades of lockers, reflect the vision of one who appreciates simplicity yet always makes room to welcome the world.

“We treated the space like a gallery and picked out some fun, warm colors and ran with them. Taupe, in various shades, is the common denominator,” says Michael Violante, of Violante & Rochford Interiors. The collaboration between the designers and their client required integrating Bolton’s eclectic furniture, like his antique Chinese physicians desk, with a global-contemporary interior. A nearly audible conversation takes place between the antique implements, such as the colorful sap buckets from the Northeast and the terra-cotta beakers from Paris, as well as the subtle wear-patterns of the 19th-century silk Javanese textiles in the dining room and the traffic-pattern grooves in the floorboards. One of Violante & Rochford’s most striking designs is a desk chair upholstered in a Castel-manufactured bold, oval, print fabric that recalls timeless graphic motifs of Asian and African resist-dyed textiles. santa fean

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DECEMBER 1 - 4, 2011 1530 Collins Avenue (south of Lincoln Road), Miami Beach

aquaartmiami.com VIP Preview Opening November 30, 2011 sponsored by Public Hours December 1 - 4, 2011

“The best hotel art fair in the world.”

art

ope n i n g s | r e v i e w s | p e o p l e Sharon Markwardt: In Living Color Waxlander Gallery and Sculpture Garden, 622 Canyon 505-984-2202, waxlander.com, October 4–17 reception October 7, 5–7 pm, artist demonstration October 8, 12–4 pm New works by Sharon Markwardt reflect a dramatic shift in the artist’s personal and professional life that occurred after learning to horseback ride in 2005. A bad fall—followed by a courageous return to riding—inspired a new sense of boldness, which led, among other things, to Markwardt producing dramatically colorful oil paintings. Cowboy boots and ranch animals appear in a number of her works, with Markwardt’s particular attention to form and composition allowing viewers to feel the soulfulness and self-sufficiency of both the subjects and the artist.—Amy Hegarty Sharon Markwardt, What’re You Looking At, oil on canvas, 48 x 36"

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art

PROFILE

to infinity and beyond Rik Alle n’s a r t g oe s back to t he f ut ure

by De von Jack s on

RIK ALLEN RESISTS THE TERM steampunk to describe his unique glass-and-silver creations, and rightly so. “It’s the big movement now, but I don’t really fit into that genre; it’s too specific,” says the 44-year-old artist, who shows a number of new works in an exhibition at Blue Rain Gallery in October. “I make glass-and-metal spaceships—but that doesn’t really describe what I do either. Some have more sculptural narratives to them than others. Overall, my work does have a kind of antiquated vision of the future to it. It’s yesterday’s tomorrow.”

Allen, who was born in Providence, Rhode Island, and lives and works alongside his glass-artist and painter wife, Shelley Muzylowski Allen, just outside Seattle, Washington, relocated to the West Coast from New England in 1995 after taking a gig as a teaching assistant at the renowned Pilchuck Glass School, where he worked with acclaimed glass artist William Morris. “I fell in love with the area and the glass-artist community,” he says. Allen had dabbled among some glass sculptors while at New Hampshire’s Franklin Pierce College, where he started out as a biology major before switching to anthropology. “Both of [those studies], I’m sure, strongly influenced my worldview if not my art view.”

While that art view has decidedly been influenced as well by a love of science fiction, oddball inventions, and an aesthetic predilection for antiquey-ness, Allen’s concoctions often appear as if they’d served as props in The Matrix or among the claymation wonders of Wallace & Gromit. And although at first glance you’d assume they’re all made of metal, they are, in fact, made primarily of glass.

“I burnish them in a layer of silver foil, on the exterior,” explains Allen, who only began making them out of glass in the first place beClockwise, from top: Hexadial Perceptipod (Ayeno Kungfu), blown glass, silver, steel base, 16 x 18 x 8"; Rik Allen at work in his studio; Providence, blown glass, steel, 29 x 11 x 11"

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cause that’s what he was most proficient in. “Glass is really nice because you can prepare and manipulate it very easily.

You can be intuitive and spontaneous.

It’s a very fluid medium.”

Allen also treats his work with other applications, “so they don’t end up looking gleaming new,” he says. “I intentionally want my work to look like ancient or alien technology.” Lately at work on figures—mostly astronauts who’ll be inside his spaceships—Allen, a longtime fan of industrial museums and objects, appreciates that people find humor in his work as well as a geeky appeal. “It’s supposed to be fun—basically, it’s a big playpen where I work,” he says. “And with the more sculptural, narrative pieces, people seem to like to put themselves into the rocket ship and go wherever it is they want to go. I very much enjoy that reaction. And although they mean different things to different people,” he adds—and people in the City Different have approached him with some of the best and strangest questions of anywhere he shows— “that’s what they’re all about: imagination.”

Rik Allen: New Works, October 7–27, reception with the artist October 7, 5–7 pm, Blue Rain Gallery, 130 Lincoln, blueraingallery.com SEE Watcher, blown glass, silver, and steel, 22 x 19 x 8"

Kat Sawyer LandEscapes

Friday, October 14th • 5:00–7:00 P.M. Call or write for Private Opening Invitation

Monsoon Sundown, Oil on Canvas, 48 x 48 Inches

Public Opening Saturday, October 15th • 10:00–4:00 P.M.

Abiquiu Winter, Oil on Canvas, 18 x 24 Inches

Michael Wigley Galleries, Ltd. Our New Location: 1101 Paseo De Peralta, Santa Fe, NM 87501 MichaelWigleyGalleries.com • 505-984-8986 • Art-SantaFe.com

art

PROFILE

music appreciation Robe r t L iv se y Wells’s a r t i st ic s ounds cape

by Amy He ga r ty

“MUSIC IS MY MUSE,” says Robert Livsey Wells. “All of my work derives from my emotional responses to the music I listen to.”

Known for nonobjective abstract paintings displaying rich, evocative color and textures, Wells, 83, who grew up in Massachusetts and moved to Santa Fe in 1997, has been incorporating musical influences into his art for almost 50 years―—since his first, synesthesia-like experience while working as an usher at Boston’s Symphony Hall. “I discovered that I could ‘see’ the colors of various musical passages,” he says. “A performance of Rimsky-Korsakov’s Scheherazade became the inspiration for the vivid spiraling reds and purples of Persian Rings, an early abstract piece I completed in 1963 and exhibited at the Carl Siembab Gallery, in Boston.

While the painting was not about the music itself,” he notes, “it did recall the drama and theatricality inherent in the music.”

Drama and theatricality are qualities that define the works on view in Wells’s exhibition Color Rhythms, which opens at InArt gallery in November. Demonstrating what the artist calls his “intuitive abstraction” style, all of the paintings, which were created while listening to classical music, first took form through “color-shapes”— “my term,” Wells explains, “for the shapes I apply to the canvas as I listen and respond to the music. They’re the basis, or beginning, of my process and are expressive of the rhythms in the scores selected for each canvas.”

One of the works in Color Rhythms that demonstrates Wells’s

Robert Livsey Wells, Sun-Seeding, oil on linen, 60 x 60"; above, right: Spirit Garden 2, oil on linen, 20 x 30" 48

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process is Flourish, a piece inspired by the pianist and composer Moritz Eggert, who wrote Number Nine VI: A Bigger Splash after viewing a painting by David Hockney (whom Wells admires).

“Eggert’s percussive rhythms dominate my color palette,” Wells says. “At a glance, you see in Flourish brilliant colors defined by swooping shapes that form the basis of other color nuances seen in the music. What Eggert writes in his program note about Number Nine VI speaks to his interest in painting. I always appreciate composers who connect to painting.”

The connection between music and painting appeared early in Wells’s life. His mother was a concert pianist who studied at the New England Conservatory, and Wells—who began working with watercolor at age 7 while taking Saturday-morning classes at Boston’s Museum of Fine Arts and earned a bachelor’s in art education from Tufts University and a master’s in art history from Boston University—studied piano and clarinet. Mostly, however, his relationship to music was one of appreciation. “There was always music in the house, even when my mother was not at the piano,” says Wells. “I was usually drawing and watercolor-

“‘Color-shapes’ are the basis,

Bruce Dorfman

or beginning, of my process,” says Robert Livsey Wells.

MIXED MEDIA October 28 – November 18 OPE NING R EC EP T IO N:

Friday, October 28th, 5–7 pm

Rachel Stevens SCULPTURES October 28 – November 18 OPENING R ECEPTION:

Friday, October 28th, 5–7 pm

painting, quite certain that I was a budding artist. Somehow I believe the disciplines of the one art competed too strongly with the other. Painting won!”

An admirer of 20th-century and contemporary classical music in particular (his favorite composers include Messiaen, Jennifer Higdon, and Einojuhani Rautavaara), Wells is drawn to those, he says, who “experiment with instrumentation—―and thus sound. Rhythm in music is about movement and dramatic sensation. Music as my muse is the beginning of each painting, and her sound-colors resonate throughout my paintings’ space.”

ZANEBENNETT CONTEMPORARY

ART

435 South Guadalupe Street, Santa Fe, NM 87501 505 982-8111 www.zanebennettgallery.com Tues–Sat 10–5 or by appointment Railyard Arts District Walk last Friday of every month

Color Rhythms, November 25–December 31, reception November 25, 5–7 pm, InArt Santa Fe, 219 Delgado, 505-983-6537, inartsantafe.com ZB.SantaFeanDorfStev211.indd 1

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take it outside

FEATURE

outdo or s culpt ural a r t f or your home

by De von Jack s on

Above: La Mesa of Santa Fe features (at front) a ceramic sculpture by Russ Vogt and a hand-carved concrete sculpture by Elder Jones; below, right: numerous wind sculptures by Mark White, made of copper and stainless steel, are on view at Mark White Fine Arts; below, left: Georgia Gerber’s bronze Labrador Retriever can be seen at Waxlander Art Gallery & Sculpture Garden.

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COURTESY LA MESA, MARK WHITE FINE ART, WAXLANDER, ZANE BENNETT, AND SELBY FLEETWOOD; STEVEN HORAK

IN A CITY DEFINED BY ITS STUNNING mountain views and abundance of galleries—where paintings that span the artistic spectrum from traditional to contemporary line wall after wall— decorating one’s outside space with art might seem superfluous. But Santa Fe has some of the best outdoor sculptural art on offer, and adding the right piece to your front- or backyard might be just the flourish you’ve been looking for without even knowing it.

When choosing your art, it’s important to remember that, as solid and tough as most sculpture appears, not all these three-dimensional works can survive the elements year-round. Wind, rain, snow, heat, ultraviolet rays, aridity, salt, pollution, animals, insects—these can all easily damage or eventually take a toll on the most sturdy of materials.

As opposed to indoor pieces, then, which are often small enough to fit on a table or inside a living room, what distinguishes outdoor pieces is not just their scale, but what they’re made of and how.

While bronze, granite, and steel rank as the time-honored favorites of most creators of outdoor sculptures, these materials are hardly impermeable—to either the elements or to taste. If you live in a snowy clime, salt (magnesium chloride) from the snowplows can eat away at metal; if you’re near the ocean, it’s the sodium chloride of the seawater that erodes. And the dry air of the mountains or the desert can cause copper, which makes up about 90 percent of most bronze sculptures, to go brown.

“To get that green patina on a metal piece, which is what most people expect, we enhance those pieces with various coatings,” says Mark White, whose colory, kinetic, wind-driven pieces can be found on the front lawn of his gallery, Mark White Fine Art, every day of the year.

“Same with the stainless-steel pieces,” he adds. “If you want the color to last, or the patina to be what you want, you use those coatings, which companies have made huge advances in in the last 10 years.”

Above: Colette Hosmer’s granite Santa Fe Current series sits outside the Santa Fe Community Convention Center; below, right: Mirador Gallery displays Neil Ottaviano’s Like Father, Like Son, made of fabricated aluminum, on Canyon Road.

“Any successful outdoor sculpture must merge with nature as one experience,” says artist Colette Hosmer.

Similarly, Russ Vogt’s glazed ceramic works and Melissa Haid’s fused-glass pieces, all of which can be found at La Mesa of Santa Fe, survive as well as any well-made plant pot or window, respectively, because they’re made of the same materials. And, like White’s colored sculptures, they capture people’s imagination as well as their attention. Unlike the monochromatic sculpture gardens of the past (most of which consisted almost entirely of stone or metal pieces), all these sculptors’ works, like many sculptures nowadays, offer a true cornucopia of colors—colors often electroplated into a piece or treated with an epoxy-type finish.

Just as important as preservation, though, are planning and aesthetics. “You want the foundation to last as long as the sculpture does, so you can’t overplan installation,” points out Colette Hosmer, whose rainbow-trout heads grace the outer courtyard of the Santa Fe Community Convention Center, and who shows at Zane Bennett Contemporary Art. “Also,” she adds, “any successful sculpture must merge with nature as one experience.”

Above: Christina Chalmers’s copper, titanium, lead, and stone Gravity & Grace Forest withstands the elements at Selby Fleetwood Gallery. october/november 2011

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Cecilia Kirby Binkley, Linda Petersen, Woody Galloway + Steven A. Jackson: Landscapes of the Southwest New Concept Gallery, 610 Canyon, 505-795-7570, newconceptgallery.com, Through October 31 Cecilia Kirby Binkley creates vivid, nearly abstract trees and vistas with thick paint and sharp color contrasts, reflecting the neon lights of New Mexico’s autumn, while Linda Petersen’s brush captures the drama of the region’s landforms with a surprisingly delicate style. Photographer Woody Galloway’s traditional work often focuses on birds and other wild animals of the region, and Steven A. Jackson’s “totally digital” images feature no manipulation other than toning and tinting. —Mendy Gladden

PREVIEWS

Patty Hammarstedt: Strata: Life Layers + Jane Rosemont: Close Encounters ViVO Contemporary, 725 Canyon 505-992-1320, vivocontemporary.com October 5–28, reception October 7, 5–7 pm Two simultaneous shows spotlight the work of two very different artists: calligrapher Patty Hammarstedt and photographer Jane Rosemont. In Strata: Life Layers, Hammarstedt, who developed a career as a book conservator, draws inspiration from layered sedimentary rock found in the Southwest and uses “the texture of abstract calligraphy [to reflect] the heart of a text.” Rosemont, a photographer for more than 30 years, pays attention to detail in Close Encounters. Her largescale prints exploring the micro world of organic materials throw viewers for a loop by revealing “a macro domain of otherworldly scenes.”—AH

Patty Hammarstedt, Layered Thought, calligraphy in sumi ink with acrylic, 24 x 36" Woody Galloway, Sunset, archival print, 16 x 20"

Jennifer B. Hudson, Flora I, archival pigment ink print, 10 x 10"

Jeff Charbonneau/Eliza French + Jennifer B. Hudson VERVE Gallery of Photography, 219 E Marcy 505-982-5009, vervegallery.com November 4–December 31, reception November 4, 5–7 pm The cinematic photographs of collaborators Jeff Charbonneau and Eliza French could almost be stills from European New Wave films, with healthy dashes of whimsy and occasionally something darker. Bostonbased photographer Jennifer B. Hudson shows work completed during her recent residency at the Santa Fe Art Institute. Her meticulously crafted images appear staged and mechanical, yet simultaneously evoke something personal and touching.—MG 54

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William Haskell, Coastal Farmstead, drybrush, 10 x 10"

Bruce Cody, William Haskell + Jurgen Wilms Manitou Galleries, 123 W Palace, 505-986-0440, manitougalleries.com October 7–21, reception October 7, 5–7:30 pm Bruce Cody’s penchant for Western architectural landscapes grew out of a fascination with light and shadow, as well as years spent hand-painting signs for his father’s neon business. A background in Eastern philosophy forms the basis for German-born Jurgen Wilms’s meditative approach to Northern New Mexico’s vistas, while William Haskell’s high-desert watercolors are celebrated for their drybrush technique and archival glazing.—Eve Tolpa

Laura Foster Nicholson: Being Here Patina Gallery, 131 W Palace 505-986-3432, patina-gallery.com October 7–30, reception and gallery talk with the artist October 7, 4–7 pm Laura Foster Nicholson—the only fiber artist to be awarded the Venice Biennale’s Leone di Pietra prize, and whose tapestries are in the collections of the Cooper Hewitt and the Art Institute of Chicago, among other museums—is having her second show at Patina Gallery. The exhibition features 10 works that explore the artist’s ongoing fascination with bees. (She and her husband began keeping the insects after they moved to Indiana from Chicago.) In her new, muted, meditative, hand-woven textiles, such as Becalmed (wool with metallic and silk), the bees intrigue through their delicate and ephemeral compositions.—Elizabeth Lake

art

PREVIEWS

Laura Foster Nicholson, In My Mind’s Eye I Am Fine, wool with metallic, 65 x 29" Kat Sawyer, Golden Trail, oil on canvas, 30 x 40"

Kat Sawyer: LandEscapes Michael Wigley Galleries, 1101 Paseo de Peralta 505-984-8986, michaelwigleygalleries.com October 15–November 15, reception October 15, 10 am–4 pm Kat Sawyer cites nature as her “most significant muse and mentor.” It was 20 years ago that the model and actress began experimenting with plein air painting, and not long after that she became associated with the California Impressionists. Since then, Sawyer has relocated to New Mexico, where she captures the exquisite light and serenity of the high desert.—ET

Susan Romaine: Perspectives Peterson-Cody Gallery, 130 W Palace 505-820-0010, petersoncodygallery.com October 7–31, reception October 7, 5–7:30 pm After forays into abstraction, surrealism, and minimalism, Charleston, South Carolina–based Susan Romaine returns to her realist roots, this time with a twist. Still integral to her arresting oil paintings are the sturdy geometry and play of natural light underscoring the extraordinariness lurking beneath the seemingly commonplace, but here Romaine finds fresh inspiration by shifting her perspective from full frontal to bird’s-eye.—ET Susan Romaine, Yin and Yang I, oil on canvas, 24 x 36" october/november 2011

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PREVIEWS

Dick Evans: Indications Winterowd Fine Art, 701 Canyon 505-992-8878, fineartsantafe.com, October 1–13 Dick Evans’s acrylic abstractions are not meant to be “something you learn to like, but something you feel,” according to the artist. In this solo exhibition, Evans’s gestural paintings, such as First Portal, at times evoke landscape through bold color swaths slashed and feathered in a dense boscage. Other nonobjective compositions, such as Sequence, belie systems. Point of origin aside, all the works here are intended to be “explorations, interpretations, and expressions of the world.”—EL Dick Evans, Sequence, acrylic on canvas, 60 x 60"

John Tarahteeff, Bather, acrylic on canvas over panel, 28 x 44"

Lawrence Calcagno, Untitled (Paris), oil on paper laid down on canvas, 43 x 37"

M.F. Cardamone, Ginseng with Lady, mixed media on paper, 14 x 20"

Flora Fantastic: The Botanical Art of M.F. Cardamone Selby Fleetwood Gallery, 600 Canyon 505-992-8877, selbyfleetwoodgallery.com October 14–16, reception October 14, 5–7 pm M.F. Cardamone’s mixed-media “ethno-botanicals” are a contemporary and American Southwest interpretation of the ancient genre. Using gouache, colored pencil, inks, and photography, Cardamone grafts the inanimate with the animate to create fantastical plants in a fusion of anatomy, social commentary, and culture. The exhibition benefits the Santa Fe Botanical Garden.—EL

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John Tarahteeff: New Paintings Nüart Gallery, 670 Canyon 505-988-3888, nuartgallery.com October 14–30, reception October 14, 5–7 pm In his highly stylized acrylicon-canvas pieces, Santa Clara native and former illustrator John Tarahteeff explores the hazy, fertile borderlands of the psyche that lie between reality and dream life. As with dreams, there is fluidity to the spatial relationships in his compositions, and his narratives hit archetypal notes while creating a deeply personal interpretive space for the viewer to enter.—ET

Lawrence Calcagno: A Survey of 50 Years of Abstraction Aaron Payne Fine Art, 213 E Marcy, 505-995-9779, apfineart.com October 14–December 12, reception October 14, 5–7 pm Lawrence Calcagno (1913–1993) rose to prominence in the 1950s during the height of abstract expressionism with his Black Paintings series. The exclusive representative of Calcagno’s estate, Aaron Payne Fine Art is showing a comprehensive retrospective of the artist’s five-decade career. The exhibition includes works from Calcagno’s early years in San Francisco through the White Painting series executed at the end of his life.—EL Gregory Frank Harris + T. Barny Hunter Kirkland Contemporary, 200-B Canyon 505-984-2111, hunterkirklandcontemporary.com, Through October 16 A pairing of opposites, Gregory Frank Harris’s soft-focus tonalist landscapes check T. Barny’s minimalist mobius and curvilinear forms. Harris notes that his oils on canvas combine “19th-century tonalism with 21st-century abstraction,” creating atmospheric Western vistas dominated by bright sky and crisp air evocative of a clear alpine desert morning. Harris’s impasto and squeegee methods yield saturated atmospheres and allow for simple and satisfying studies in light, color, and form. His expansiveness contrasts with Barny’s contained forms. Bronze and stone works of inherent mathematical forms are clean and seemingly machined, although, in fact, masterfully hand-carved. —EL

art

PREVIEWS Contemporary Masters Part II Zane Bennett Contemporary Art, 435 S Guadalupe 505-982-8111, zanebennettgallery.com, through October 21 Zane Bennett’s second installation of its print exhibition Contemporary Masters features works by 20th-century giants such as National Medal of Arts winner Richard Diebenkorn; Pop-art leader Roy Lichtenstein; Anish Kapoor, winner of the Venice Biennale’s Premio Duemila award; Edward Ruscha, who was influenced by both the Pop art and Beat movements; and George Condo, known for his unique portraiture.—AH

George Condo, Paper Faces, serigraph, 33 x 49"

Connie Enzmann-Forneris, Volcano Moon, hand-dyed New Zealand wool, 60 x 29"

Connie Enzmann-Forneris: Handwoven Contemporary Art Rugs Marigold Arts, 424 Canyon, 505-982-4142, marigoldarts.com Through October 26 Master weaver Connie Enzmann-Forneris displays double-woven rugs inspired by sketches made during recent trips to the wilderness areas of Utah’s Bryce Canyon, Capitol Reef, Canyon Lands, and Escalante State Park. Bold lines create abstract images of ancient landforms, conveying, the artist says, the “momentum of place.”—AH

Gregory Frank Harris, Canyon River, Rio Grande, oil on canvas, 22 x 28" october/november 2011

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Nancy Reyner: Sea of Glass Pippin Contemporary, 125 Lincoln 505-795-7476, pippincontemporary.com October 5–19, reception October 7, 5–7 pm Over the course of her 30-year career, Nancy Reyner has concluded that art can transmit healing vibrations, and to that end her acrylicon-panel pieces depict “places that are beautiful and meditative not found on earth.” Through the deft incorporation of materials like gold leaf, she melds the traditional and contemporary, the spiritual and secular, to chart luminous otherworldly landscapes.—ET

PREVIEWS

Jeff Overlie: New Work Riva Yares Gallery, 123 Grant 505-984-0330, rivayaresgallery.com October 28–December 3, reception October 28, 5–7 pm Jeff Overlie’s abstract metal sculptures—inspired by cellular forms—are stunning in their reflective minimalism.

Nancy Reyner, Wishing on a Star, acrylic and gold leaf on panel, 36 x 48" The Santa Fe–based artist continues his reductive journey with 12 aerospacealuminum pieces exhibited alongside two-dimensional pieces that they’ve inspired: 36 stark, black-and-white works on paper and four eight-foot-plus canvases that communicate Overlie’s vision of beauty in our world at its most basic.—Dianna Delling Jeff Overlie, Merchansine, aerospace aluminum, 14 x 6"

806 Old Santa Fe Trail at Old Pecos Trail Santa Fe, NM 87505 505*820*0222

Arlene LaDell Hayes

Leslie Folksman

Diana Bryer

Harmony Hammond, Little Buff, oil and mixed media on canvas, 40 x 29"

Michael Andryc

Liza Williams

Joan LaRocca

Painting, Drawing, Sculpture, Neon October 7, 2011 Friday 4:00pm ART and MUSIC

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Harmony Hammond: Against Seamlessness Dwight Hackett projects, 2879 All Trades Road 505-474-4043, dwighthackett.com October 15–November 26, reception October 15, 3–5 pm Galisteo resident Harmony Hammond presents new, postminimalist paintings that are both historically informed and self-referential. Allusive and inviting, the monochrome surfaces are rumpled by wax, plastic, grommets, pushpins, staples, and other “outside-world” materials. The technique and materials suggest the possibility of coherence and openness that makes connecting strategies visible.—MG

Please Join The Galleries and Artists at the Annual

Canyon Road Paint out Saturday, October 15, 10 to 3

CANYON ROAD S A N TA

F E

Over 100 Galleries Boutiques & Restaurants

www.visitcanyonroad.com

g i f t c e r t i f i c at e s ava i l a b l e

Introducing the Nidah Spa Gold Card Club.

Leave your worries far behind – without going far away.

We’ve made getting away from it all easier than ever with our $50 annual gold membership card for local guests. You’ll receive: · 15% off treatments · 25% off treatments during your birthday week · A $50 credit toward a treatment after 10 visits · Use of steam, sauna, fitness center, hot tub and pool with each scheduled visit · Other gift items and discounts, including monthly health and beauty tips Call 505.995.4535 for appointments.

october/november 2011

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309 W. San Francisco Street | EldoradoHotel.com

Where Santa Fe begins.

SPECIAL ADVERTISING SECTION

Pippin Meikle Fine Art

Barbara Meikle, Watching the World Go By, bronze, limited edition of 20

Native New Mexican artist Barbara Meikle captures the expressive playfulness of two burro friends in her bronze sculpture Watching the World Go By, a limited edition of 20, each with a unique patina. For more donkey sculptures and paintings, visit Pippin Meikle Fine Art.

the

236 Delgado, 505-992-0400, pippinmeiklefineart.com

gallery ART SHOWCASE

Greenberg Fine Art

Joseph Breza, Sunrise Springs Reflections, oil on canvas, 30 x 36"

Opening-night reception for Joseph Breza: The Magic of Light and Color, Friday, October 14, 5–7 PM. With years of hard work and maybe a touch of alchemy, Joe Breza has produced a dazzling body of work. “I consider color to be the foremost component of my paintings. By laying down large fields and flattening them out in some areas, I can draw out stong planes of color from the image.”

205 Canyon, 505-955-1500, info@greenbergfineart.com, greenbergfineart.com

InArt Gallery

Robert Livsey Wells, Sea Song, oil on linen, 46 x 52"

Artist reception Friday, November 25, 5–7 PM. Always inspirational, Robert Livsey Wells’s harmonious paintings are inspired by his deep appreciation for and understanding of classical music. He articulately paints with a sophisticated array of color and movement, evoking wonder, fascination, and emotion.

219 Delgado, 505-983-6537, inartsantafe.com

Mark White Fine Art

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Join us here in Mark’s calming, meditative kinetic garden to experience bliss. These wind-driven sculptures welcome you through to his gallery.

Inside you will find his exquisitely patinaed, engraved metal canvases and bronzes. We look forward to your visit.

414 Canyon, 505-982-2073, markwhitefineart.com

SPECIAL ADVERTISING SECTION

Pippin Contemporary

Nancy Reyner, Stones of Fire, acrylic and gold leaf on panel, 36 x 48"

Artist reception Friday, October 7, 5–7 PM. Nancy Reyner's illuminated paintings of romantic landscapes appear to dissolve into mists in her new show, Sea of Glass (October 5–19). Reyner uses metal leaf and other reflective material such as glass beads, combining an antique feel with contemporary vision referencing illuminated manuscripts, ancient Asian screens, and new forms of contemporary composition.

125 Lincoln Avenue, 505-795-7476, pippincontemporary.com

Pablo Milan Gallery

len, Yellow, But Not Mellow, acrylic/panel, 36 x 24"

Featuring len’s boldly colored, whimsical abstract paintings. The artist paints on panel board and canvas, often layering brightly colored acrylics with strong brushstrokes and texture. Stop in and enjoy our collection of contemporary art.

209 Galisteo St., 505-820-1285, thepablomilangallery.com

Frank Howell Gallery

David Lemon, The Omen, bronze, 31"

Located on the northeast corner of the Plaza, the Frank Howell Gallery has been offering timeless art in many mediums for over 20 years. Stop in and enjoy our collection.

103 Washington, 505-984-1074, frankhowellgallery.com

New Concept Gallery

Cecilia Kirby Binkley, Last Leaves, 36 x 30"

Landscapes of the Southwest features works by traditional landscape painter Linda Petersen and more abstract painter Cecilia Kirby Binkley, who uses a colorful palette knife technique. Photographer Woody Galloway’s vivid landscapes contrast with Steven A. Jackson’s subtle digital photos of old buildings and somber landscapes.

610 Canyon, 505-795-7570, newconceptgallery.com

Krasnoff Studios

Kevan Krasnoff, Red Cloud, acrylic, 36 x 60"

Krasnoff Studios is home to ceramic-amor wall sculptures and vessels, fabricated and forged-steel totems and sculpture, and the multidirectional abstract paintings of Kevan Krasnoff. Situated at the base of Boulder’s Flatirons, the Marine Street Sculpture Garden is an oasis featuring Krasnoff’s work as well as work by select artists. By appointment.

P.O. Box 932, Boulder, CO, 80306, 303-444-0693, krasnoff.com

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Hunter Kirkland Contemporary Gregory Harris employs a reductive eye when painting his minimalist New Mexico landscapes, a technique that is also pivotal in the work of sculptor T Barny. Both artists will be featured in a two-person exhibition, opening September 30 and running through October 16.

Steven Boone Gallery

200B Canyon, 505-984-2111, hunterkirklandcontemporary.com

Steven Boone, Angel Wings at Sunset, oil on linen, 48 x 60"

Steven Boone has exhibited his work on Canyon Road in Santa Fe for 30 years. His work is in the permanent collection of the United States Department of the Interior and the Vincent van Gogh Foundation in Arles, France.

714 Canyon, 505-670-0580, stevenboonegallery.com

Lakind Fine Art

Lisa Linch, Blueberry Hill, oil on canvas, 36 x 36 “

Linch has recently seen a greater degree of abstraction find its way into her work. The challenge of painting an idea—a non-objective, intangible inner vision—stokes the painter’s creative fires and excites her to surprise and delight both new and established collectors.

662 Canyon, 505-982-3221, info@lakindfineart.com

Carol Kucera Gallery

Gartner/Blade, Amethyst Glass Jar and Bowl with Avian Finials

Danielle Blade and Stephen Gartner have collaborated since 1995 to create blown and sculpted hot-glass ornamental objects in woodland and primitive motifs. Their exquisite works enhance our stable of multimedia, contemporary, original works of art.

112 W. San Francisco, Suite 107, 866-989-7523, carolkucera.com 62

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SPECIAL ADVERTISING SECTION

Wheelwright Museum of the American Indian

Necklace from Santo Domingo Pueblo, circa 1935, turquoise, gypsum, and plastic

The Wheelwright Museum celebrates a popular New Mexican folk art tradition with Thunderbird Jewelry of Santo Domingo Pueblo, through April 15, 2012. Featuring more than 300 whimsical, innovative creations made from found materials, circa 1920s–1950s.

You Are Invited!

Visit The New Stuart Wing

at the University of Oklahoma

Museum Hill, 704 Camino Lejo, 505-982-4636, wheelwright.org

Opening Oct. 22, The Stuart Wing provides a new 18,000-square-foot expansion of the Fred Jones Jr. Museum of Art to house the museum’s many collections acquired

GVG Contemporary

Creature Feature is an invitational exhibition inspired by Arizona sculptor Robert Michael Siracusa’s transition from working in bronze and stone to working as a creature designer for the movie, gaming, and comic-book industries. Avias, on the left, is 20" tall and emerges from Siracusa’s fertile imagination cast in resin and other materials. Donald Gialanella’s Last Lullaby, on the right, is 42" tall and suggests a darker imagination. Other artists displaying a creature or two include Oliver Polzin, Ernst Gruler, and Lori Schappe-Youens. Friday, October 14–Tuesday, November 1; reception October 14, 5–7 PM.

within the past 15 years, including the Adkins, Thams, Tate, Fleischaker and

Sandor collections and the new James T. Bialac Collection, as well as collections from Jerome M. Westheimer, Sr., Rennard Strickland and Carol Beesley Hennagin.

Fred Jones Jr. Museum of Art For more information visit www.ou.edu/fjjma

The University of Oklahoma is an equal opportunity institution.

202 Canyon, 505-982-1494, gvgcontemporary.com

POP Gallery Marty Goldstein, Sylvester, bronze, 31 x 38 x 50", edition of 75

POP Gallery features emerging and established New Brow, Contemporary, and Pop Modern artists in numerous media. Our vision is rooted in providing art-lovers with a thought-provoking alternative as we showcase internationally renowned artists representing a celebration of mediums and ideas, the dynamic union between independence and spirit, and the emergence of subculture on a contemporary platform. Visit popsantafe.com for current exhibitions.

133 W. Water, 505-820-0788, sharla@popsantafe.com, popsantafe.com

Walter Ufer (U.S., 1876-1936) Going East (n.d) from the Eugene B. Adkins Collection.

Helen Hardin (U.S., 1943-1984) Winter Awakening of the O-Khoo-Wah (1972) from the James T. Bialac Collection.

Santa Fe - Los Angeles

Service totals include American Eagle. AmericanAirlines, AA.com and We know why you y are marks of American Airlines, Inc. oneworld is a mark of the oneworld Alliance, LLC.

SPECIAL ADVERTISING SECTION

enchanted treasures Packard’s on the Plaza Huge fox turquoise flats necklace with handmade signature sterling clasp.

Sassy and sophisticated stones, beads, pearls, and gems in every color of the spectrum. Drape, string, coil, or snake on one of Pam Springall’s necklaces in your favorite hue to wear to lunch or to the opera, only at Packard’s on the Plaza.

61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241, shoppackards.com

Packard’s on the Plaza Natural horn bangle with turquoise and howlite, hand-hammered bronze link necklace.

Under the African sun, artisans create natural horn jewelry, and hand-hammered bronze necklaces and bracelets set with turquoise, gemstones and crystal quartz. A percentage of the company’s profits sustain rural Kenyan communities. Introducing Ashley Pittman Designs at Packard’s on the Plaza.

61 Old Santa Fe Trail, 800-648-7358 or 505-983-9241, shoppackards.com

Boots and Boogie Santa Fe’s premier gallery of fine handcrafted boots. Elegant while still being comfortable.

Owner Roy Flynn will personally and expertly size you in the finest and most beautiful alligator boots—both belly and hornback, in myriad colors and at the most competitive prices in the industry. Boots and Boogie utilizies five bootmakers and is committed to style, elegance, customer comfort, and satisfaction. Whether it’s the classic alligator or any of the hundreds of other designs available, Boots and Boogie outfits you with style.

102 E Water, in the El Centro Mall one block southwest of La Fonda Hotel, 505-983-0777

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SPECIAL ADVERTISING SECTION

Tom Taylor Company Find a belt and a ranger buckle set to match this stunning pair of B G Mudd sterling silver and inlay turquoise cuff links at Tom Taylor Company. We welcome you to visit our Santa Fe store, explore our website, or call us by phone.

108 E San Francisco St, 505-984-2232, 800-303-9733, tomtaylorbuckles.com

Desert Son of Santa Fe Henry Beguelin Fall Collection at Desert Son of Santa Fe is all about new textures, soft tones, interesting neutrals, and great prints. The new boots, belts, and handbags are superb! Shearling vests and jackets have arrived!

725 Canyon, 505-982-9499, desertsonofsantafe.com

Charlotte Santa Fe

La Mesa of Santa Fe “Memos”—Fused glass sculptures by Melissa Haid. Melissa’s work adds artistic beauty to walls and windows as well as unique table tops. Custom orders are welcomed. New this year in the gallery are many colorful sculptures by Christopher Thomson and Russ Vogt.

225 Canyon Road, 505-984-1688, lamesaofsantafe.com

Interchangeable jewelry. These black high-tech ceramic rings from Germany can be interchanged by the customer to fit both mood and budget. Each can be worn as a ring or on a bracelet and pendant with matching earrings. Starting at $370.

On the Plaza, 66 E San Francisco, 505-660-8614, charlotteshop.com

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SPECIAL ADVERTISING SECTION

enchanted treasures

Sarape Girl

Santa Fe Silverworks Gregory P. Segura, award-winning precious metals artist, The New Mexico Collection A collection of handmade custom sterling-silver pins, pendants, cuff links, and bolo ties.

Available with turquoise and other semi-precious gemstones. See these and additional works of art from one of Santa Fe’s own. Created from the heart and soul of Santa Fe. 505-670-3955, santafesilverworks.com

Cowgirl duster made of hand-loomed, cotton saltillo sarape. Ankle-length, lined, pockets, and silver conch button.

Sarape Girl designs are all made of handmade traditional saltillo sarapes loomed in cotton by our weaver in mainland Mexico. They are sewn in our factory in Baja California, Mexico. Each is unique, with a woven diamond pattern on the back and various linings.

Christina Duwell, Box 1255, Florence, OR 97439 541-997-5127, sarapegirlstore.com

The Golden Eye Ear-rangements: Consider the possibilities . . .

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lifestyle | design | home

GABRIELLA MARKS

Wildly successful children’s-book illustrator and author Felicia Bond has lived in Santa Fe for almost two decades. Over the years she’s built a home that’s as cozy and covetous as her career.

Here she offers a look at the space that both inspires and nurtures her creativity—a place where her imagination (not to mention her numerous cats) can run free.

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living

drawn in illu s trator Felic ia B ond’s inspiring , welcoming home a nd st udio

By Kat hlee n McCloud

Everything in Bond’s home is carefully chosen and placed, from the mixture of classic and contemporary furniture to artwork by Cathy Aten hanging above a floating torso painted by Juan Videla.

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GABRIELLA MARKS

FELICIA BOND’S WORLD was forever changed in 1985 when she created Mouse, the titular character of If You Give a Mouse a Cookie, the first in the popular If You Give . . . children’sbook series, written by Laura Numeroff. Since her early catapult to fame (by age 25 she had five book contracts), Bond has gone on to write and illustrate her own best-selling stories, as well as relocate—―site unseen, in the mid 1990s―—from Austin to Santa Fe. “When I was five years old, living in Bronxville, New York, I saw a beam of late-afternoon light pouring in my bedroom window,” says Bond, 57. “I knew at that moment that I wanted to be an artist, that somehow I could express myself with light, or what it meant to me. Since then I’ve put that light in many

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Above, left: A Jeff Koons Puppy Vase brings charm to a quiet corner of the house; above, right: a shady outdoor area is perfect for entertaining; below: three modern cubes serve double duty as chairs and tables.

of my books. It’s my beacon; it keeps me centered as an artist and it’s what brought me to Santa Fe.” For the last four and a half years, Bond has lived on a quiet lane off Old Santa Fe Trail in a house that, protected by trees and a gate, and featuring an oversized antique key hanging on the front-door knocker, feels like a sanctuary. Inside, there are no obvious signs of Mouse, Dog, Moose, or Poinsettia, a few of the characters that appear in her tremendously popular books. The living room is pristine and mature with a discerning collection of contemporary art, but the playfulness eventually sneaks up on you. An antique Indian daybed with exuberant carvings dominates the center of the room and serves as a coffee table; it plays off the seriously white couch and welcomes the three utterly modern cube chairs in | continued on page 80 74

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october/november 2011

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GABRIELLA MARKS

october/november 2011

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living

Bedroom Drama

Posh By Gosh’s bedding ensembles are all about comfort and sensuality.

Word

JULIEN MCROBERTS

INSPIRED BY HER passions for “travel, music, the creative force in people, and home interiors,” in 2006 Kristen Hoke founded Posh By Gosh (poshbygosh.com), a luxurious, online bedding design studio based in Santa Fe whose mantra is “Live exotically. Live sensually.” After working for more than 20 years as an emergencyroom nurse, Hoke returned to her roots (she studied textile design in college) and began making products she describes as “beautiful, intelligent, and seductive.”

With names like “A Luxe Afternoon,” “African King,” “Asian Fusion II,” and “Black and Scarlet Suzani Spread,” Posh

By Gosh’s bedding ensembles, made from materials like soft washed linen and fine Indonesian silk, are all about comfort and sensuality, In addition to “Fiercely Girly Stuff” and “Cool Guy Stuff” (two of the company’s various product lines), Posh By Gosh offers “Other Lust-Haves,” which range from standing and hanging lamps to faux mink-sable throws.―—―Amy Hegarty

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lime green, orange, and gray. (Mouse, Moose, and Dog would like those chairs. Poinsettia would take the couch.)

Focused, determined, and a selfproclaimed “neat freak,” Bond has a keen eye. There is nothing random about the placement of artist Cathy Aten’s work over the transcendent floating torso painted by Juan Videla, or the classically posed self-portrait beckoning from paradise (or is it hell?) in Julie Heffernan’s painting. Each has a mysterious presence far from the tangible characters in Bond’s illustrations. “I like folk art and tribal art as well. Almost all the tribal art I have is related to nurturing and protection―—no weapons,” she says, indicating the Asian carved-stone chickens and a wooden maiden mask. “What I look for in all art is authenticity.”

So where are Bond’s playful characters created? Her work space is on the other side of French doors that open off the living room. Light, punctuated by an Italian, art-deco, crystal chandelier from Santa Fe Modern that cascades from the sky-lit ceiling, draws the eye toward intimate workson-paper placed around the room.

A turtle drawn by Bond’s sister as a child is prominently placed on the mantle, and an intaglio print of a cat

by Edward Gorey sits on a bookshelf.

Two antique tables, wide enough for spreading out watercolors, brushes, sketches, manuscripts, and more, sits in the center of the room. “[My books] are quick and easy to read, but they’re not quick and easy to do,” says Bond, standing by the desk, which is laden with illustrations in various phases of creation. Myriad

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THE Right: A large-scale self-portrait by Julie Heffernan takes pride of place in Bond’s living room; opposite: small-scale objects are placed strategically throughout the home.

...bringing great music to life

ink drawings of Mouse, carefully cut from Bond’s sketchbook, are taped onto a large sheet of paper. Each has a slightly different expression or gesture. They reveal Bond’s painstaking process to reduce each character to its essence, unleashing the dynamism of meticulously choreographed line and color.

Bond has a well of childhood impressions that contribute to the tenderness evident in her interweaving of images and text. As one of six children, she remembers a sleepless night when her father, discovering she 3:31 PM was still awake, comforted her by saying, “You can go to sleep now because the little girl on the other side of the world is awake.” It was an intriguing thought that stayed with her and permeates many of her stories. “It always starts with a doodle of a character and all of a sudden, words are flowing out of me,” she says. Her latest book, If You Give a Dog a Donut, publishes in October, and Big Hugs, Little Hugs, which she both wrote and illustrated, will be out in January 2012.

While Hugs has all of Bond’s signature style, the artist is ever-evolving. Her next book, the one currently percolating in her imagination, will delve into simultaneous time, inspired, no doubt, by the girl still awake on the other side of world and the beam of light illuminating her journey.

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The Lensic Performing Arts Center

Be dramatic. See theater.

The National Theatre of London in HD

The Kitchen

Arnold Wesker’s blackly funny play puts the workplace at center stage.

October 6, 7 pm $22

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Anna Bolena, Don Giovanni, Siegfried and Satyagraha

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t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

DOUGLAS MERRIAM

culinary touchdown

Football fans heaved a big sigh of relief when NFL owners and teams got a deal worked out in time for the fall season. If you’re a sports buff who prefers to watch the game on a big-screen TV in a public place, rather than in the quiet of your own home, Junction will be your new local haunt for gridiron action. The fact that it serves up many of your favorite bar foods should sweeten the deal. Amavi chef Megan Tucker has created a huge menu that celebrates the noshes that go with beer and spectator sports, adding a gourmet spin that will appeal to foodie fans as well. Whether the rookies at the bar care that their chicken wings are organic—or that many ingredients on the menu are local, farm-raised, and New Mexico–centric—is yet to be determined. I commend Tucker for the concern. Deviled eggs with a chipotle kick, wings with your choice of three sauces, mini-cheeseburgers, truffle fries, tuna tacos, nachos with short-rib chili . . .

Go team! —John Vollertsen Junction, 530 S Guadalupe (in the Railyard), 505-988-7222 october/november 2011

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REVIEW

dinner and a show

by John Vollertsen

WITH COMPETITION SO STIFF in our restaurantcrowded town, it helps if a dining establishment can offer more than just flavorsome food. Take La Casa Sena, for example, which encompasses almost half of a historic plaza that was a private home until 1868. The main dining rooms are cozy and stylish, with contemporary art adorning the walls. On the lovely terrace, tables are shaded by a majestic cottonwood tree. A premier wine shop on the premises offers regular tastings and an unbelievable inventory. La Cantina, the more casual dining area, features a Broadwayesque cabaret that’s bursting with talented local performers who linger locally to entertain us while bigger career opportunities wait in the wings.

Sometimes trying to be everything to everybody can be dangerous; being alluring to the masses can dilute your niche appeal. Not so at La Casa Sena. The catalyst that brings all of the elements together is Chef Patrick Gharrity’s steady-handed cooking. Satisfying the palates of so many kinds of customers is a challenge, and Gharrity pulls it off. In one year the popular catchall establishment played host to a varied list of social engagements on my personal calendar, all leaving luscious memories: a raucous pre-wedding luncheon, a romantic dinner-for-two, a family holiday brunch, and late-night cocktails in the Cantina piano bar, where my somewhat obnoxious request for “Bring ’em Home” from Les Miz inspired me to leave an extra deposit in the tip jar, Most recently, three friends and I visited La Casa Sena for a late-

summer, pre-opera dinner under the aforementioned cottonwood.

The patio was filled with a nice mix of locals and visitors, a good sign that the chef has fans from near and far. I was starving, so the arrival of the fancy bread basket was welcome. The crumbly and sweet blue-corn muffins and red-chile bread did the trick!

The hefty 67-page wine list was daunting (although oenophiles will love it) and since one member of my group was craving a cocktail, we settled on a crisp Sancerre—perfect for its chill factor.

The Ozmopolitan cocktail, the restaurant’s take on a Cosmo, cools off my date, who professes to be a one-drink gal.

La Casa Sena’s contemporary menu shows the influence of several cuisines. Southwest, Italian, and subtle French seem to stand out, but Gharrity likes to showcase seasonal, local, and sustainable ingredients as well. That’s a catchphrase on many menus, but here it’s not just lip service. Though we were sampling the summer menu, the quality and flavors gave me faith that the fall and winter menus would be tasty too.

To begin, appetizers. Halibut seviche is delicious (with salsa and tortilla chips accompaniments for dipping), while a moist quinoa tamale topped with caramelized onions and crimini mushrooms is a clever veggie spin on the traditional lard-laden tamales New Mexico is famous for. A simple local-greens salad, with crisp veggies, gets gussied up with dollops of Coonridge goat cheese. My bowl of sweet Pacific Northwest mussels and Baja scallops has an Asian twist, given its coconut and kaffir-lime-leaf elements, and it

In one year, La Casa Sena played host to a varied list of social engagements on my personal calendar, all leaving luscious memories.

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DOUGLAS MERRIAM

REVIEW

came with a hunk of grilled sourdough perfect for sopping.

The main courses continued to wow us. Surprisingly, a butternut squash lasagna, with layers of sundried-tomato sauce, spinach, mushrooms, sautéed greens, and Parmesan, was the table favorite, with tender slices of the roasted squash sitting in for noodles. It was light and luscious and spoke volumes about Gharrity’s love of farm-fresh ingredients. Seared Pacific halibut with goji berries and raw-honey tamari glaze delighted my cocktailing date (now on number two!), with my slowed-braised New Mexico lamb shoulder with huitlacoche demi-glaze tender and succulent enough to handle my big appetite. A plate of New Mexico beef short ribs with house-made guava barbecue sauce and fingerling potato salad has us all licking our fingers after passing it around. This was fun summer fare.

For desserts and nightcaps, and to take in the music, we retired to the Cantina, which offers a more traditional New Mexico menu. The friendly staff treated us like family, and I realized that my previous performance there, which I was still slightly embarrassed about, is probably de rigueur. Our charming soprano waitress recommends the strawberry crostada and the pistachio shortcake—both were just plain yummy. Pastry Chef Claudette Deaguero is playful with classic dishes, and in her shortcake, the buttermilk is served whisked into a sauce. Happily, song requests were encouraged that evening: a beautiful rendition by Ben of the Bergman/Mandel song “Where Do You Start?” had us in tears.

A rousing version of “Cabaret” was a fitting ending to a fantastic evening—its message still rings true. If the debt ceiling’s got you down, come to La Cantina, old chum! Come taste the wine, hear the band, and sample Gharrity’s goodies. I love a cabaret.—JV

At La Casa Sena, Chef Patrick Gharrity oversees a contemporary menu with wide-reaching influences. At the more casual La Cantina, dinner and showtunes go hand-in-hand.

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STYLE

RED-CHILE RISTRAS ARE A SURE sign that fall is in the air. The colorful dried pods are strung for decoration, but also—and more importantly—to preserve the red chiles, which add a deep, smoky flavor to cold-weather cooking. Many folks use chiles straight from the ristra to make tasty sauces and stews—just make sure they haven’t been shellacked or bug sprayed. I prefer to keep my red chiles hanging and use the ground-up, powder version to save on time. My favorite brand, Los Chileros, is available online at loschileros.com.

I sneak both hot and mild red-chile powder into these creamy scalloped sweet potatoes, taking them to another luscious level of perfection. They’re a great accompaniment to any meat dish—serve them with your holiday ham or turkey this season and wake up the family’s taste buds.—JV

Red-Chile Scalloped Sweet Potatoes

1. Spread the potatoes on paper towels and dry them well. 2. In a medium bowl, whisk together yolks, cream, milk, sour cream, cheese, red-chile powder, cumin, and salt.

3. Butter a four-quart casserole dish. Place the potatoes in a large bowl and pour the milk/ cream mixture over them. Stir to completely coat the potatoes. 4. Place the potato mixture in a casserole dish; sprinkle with freshly ground pepper. 5. Cover and bake at 400 degrees for 30 minutes. Uncover and continue baking until the potatoes are tender and the casserole is bubbling and nicely browned, about 20 minutes. Serves 6–8.

digestifs

Chefs John Vollertsen and Joseph Wrede (of the Palace Restaurant & Saloon) are among the participants in the Santa Fe Harvest Festival.

Since the Iron Chef phenomenon was born in Japan, circa 1992, television producers have been busy coming up with new chef-related gimmicks and formats. We’ve got Top Chef, Extreme Chef, Chopped, The Next Food Network Star, Top Chef: Just Desserts, Ludo Bites America—to name just a few. Sometimes it seems as if the whole world has gone mad for cookingcompetition TV shows.

This fall, you can get your fix locally with the Santa Fe Harvest Festival, which kicks off November 1 and runs through November 23.

Brought to you by the folks who developed Santa Fe Restaurant Week, the three-week foodie celebration offers a dizzying array of events including cook-offs, cooking classes, waiter competitions, bartender shake-offs (cleverly called Bar Wars), special discounted restaurant prices, a Grand Gourmet Food and Wine Exposition, and a Best of the Fest awards dinner.

All this gastronomic hullabaloo should be a nice boost for local businesses, especially hotels and restaurants. Hotels (including Buffalo Thunder, the Inn and Spa at Loretto, and the Eldorado Hotel) will be

offering special packages during the festival, while restaurants will be vying for diners with specially priced menus.

To add glamour to the proceedings, national food celebs like Sara Moulton, former Julia Child associate and Good Morning America food editor, and Bradley Ogden, whose original restaurant, The Lark Creek Inn in Larkspur, California, spawned numerous spin-offs around the country, will be on-hand to judge and cheer on the competitors. Amateur cooks can get in on the fun with contests for non-professionals—it’s a fun chance to rub aprons with true culinarians.

The best part of the whole shebang is that some of the proceeds will go to Cooking with Kids, a fantastic program in the Santa Fe public schools that inspires young Emerils and Barefoot Contessas to learn about food and nutrition while having a heck of a good time along the way.

For a complete listing of events and to register to partake in the festivities go to santafeharvestfestival.com. And then, gourmands and oenophiles . . . Start your palates!— JV

DOUGLAS MERRIAM

Sweet and Smoky

3 medium sweet potatoes, washed, peeled and sliced very thin (1/8 inch) 4 egg yolks, lightly beaten 1 cup heavy cream 2 cups milk 1 cup sour cream 1 cup grated sharp Cheddar cheese 1 teaspoon hot New Mexico red-chile powder ¼ cup mild New Mexico red-chile powder 1 teaspoon toasted and ground cumin 1½ teaspoon salt Freshly ground pepper

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taste of the town

Featured dessert: the chocolate-lover’s pie— a rich, silky chocolate mousse, whipped cream, sweet cookie crust. Breakfast is served daily 7:30– 11 am; lunch 11:30 am–2:30 pm; dinner 5:30–9 pm; Saturday and Sunday brunch 7:30 am–2:30 pm.

The Bull Ring

El Mesón

NORTHERN NEW MEXICO’S FINEST DINING EXPERIENCES

150 Washington, 505-983-3328 santafebullring.com Serving Santa Fe since 1971, the legendary Bull Ring is “the prime” steakhouse in Santa Fe. Voted “Best of Santa Fe” year after year, it also offers fresh seafood, chicken, chops, an extensive wine list, a saloon menu, and patio dining. If there’s one thing New Mexico’s politicians can agree on, it’s where to eat in Santa Fe. Conveniently located one block north of the Plaza in the courtyard of the New Mexico Bank & Trust building. For a quick bite after a stroll at the nearby Plaza—or for a late-night snack— he lounge’s bar menu is sure to satisfy. Lunch 11:30 am–2:30 pm, Monday–Friday; dinner nightly starting at 5 pm. Patio seating. Also Spanish guitar music Thursday, Friday, and Saturday nights.

Underground parking available on Washington.

Chocolate Maven Bakery

821 W San Mateo, Suite C 505-982-4400, chocolatemaven.com A long-standing local favorite, Chocolate Maven does it all: breakfast, lunch, dinner, high tea, brunch, and every type of pastry, cookie, and cake imaginable!

We create delicious, eclectic menus using local, organic produce, meats, and cheeses, helping to support local farmers while bringing you the freshest, most flavorful food possible. Don’t miss this hidden gem on your next visit to Santa Fe. Open seven days a week. Dinner Tuesday–Saturday 5–8:30 pm; breakfast and lunch Monday–Friday 7 am–3 pm; high tea Monday–Saturday 3–5 pm; brunch Saturday and Sunday 9–3 pm.

The Compound Restaurant

653 Canyon, 505-982-4353 compoundrestaurant.com Recognized by Gourmet magazine’s Guide to America’s Best Restaurants and the New York Times as a destination not to be missed. Chef/owner Mark Kiffin, the James Beard Foundation’s “Best Chef of the Southwest,” pairs seasonal contemporary American cuisine with professional service in a timeless, elegant adobe building designed by famed architect Alexander Girard. Extensive wine list, full bar, picturesque garden patios, a variety of beautiful settings for wedding receptions, social affairs, or corporate events for 12 to 250 guests. Private parking. Seasonal specialty: tuna tartare topped with Osetra caviar and preserved lemon. Lunch 12–2 pm, Monday–Saturday; bar nightly 5 pm–close; dinner nightly from 6 pm; full lunch and dinner menu available in the bar.

Doc Martin’s at the Historic Taos Inn

125 Paseo del Pueblo Norte, Taos 575-758-1977, taosinn.com An award-winning, fine-dining establishment located in a registered historic landmark, Doc Martin’s is a true Taos tradition. Executive chef Zippy White specializes in organic foods, with chile rellenos being his signature dish. Our world-class wine, with more than 400 selections, has earned Wine Spectator’s “Best of” award of excellence for 21 consecutive years.

The Adobe Bar features complimentary live entertainment nightly. Patio dining as weather permits.

featured listing Coyote Cafe

132 W Water 505-983-1615 coyotecafe.com

Coyote Cafe continues to be Santa Fe’s most famous and celebrated restaurant, feted by critics and return visitors alike. Executive chef/owner is worldrenowned Eric DiStefano, who brings with him his contemporary global style of cooking that has French-Asian influences accompanied with Coyote Cafe’s known Southwestern style.

213 Washington, 505-983-6756 elmeson-santafe.com A native of Madrid, Spain, chef/owner David Huertas has been delighting customers since 1997 with family recipes and specialties of his homeland. The paella is classic and legendary—served straight from the flame to your table in black iron pans; the saffron-infused rice is perfectly cooked and heaped with chicken, chorizo, seafood, and more. The housemade sangria is from a generations-old recipe with a splash of brandy. The ¡Chispa! tapas bar offers a fine array of tapas. The full bar includes a distinguished Spanish wine list and special sherries and liqueurs imported from a country full of passion and tradition. Occasional musical entertainment and dancing.

Dinner is served 5–11 pm, Tuesday–Saturday.

Galisteo Bistro

227 Galisteo, 505-982-3700 galisteobistro.com Chef-owned and “made by hand,” featuring eclectic, innovative international cuisine known for its open kitchen, quality menu offerings, and attentive service in a casual, comfortable downtown setting. Just a short walk to the historic Santa Fe Plaza, the Lensic Performing Arts Center, hotels, and museums. “I admire a restaurateur who says, Hey, I want to cook the foods I love, like a musician who says, I want to play the music I enjoy. He would have made a great conductor; his orchestra of a staff is playing lovely food in perfect harmony. If music be the food of love—long may the Galisteo Bistro play on.”—John Vollertsen, Santa Fean. Wednesday–Sunday 5–9 pm.

Geronimo

724 Canyon, 505-982-1500 geronimorestaurant.com Señor Geronimo Lopes would be pleased if he knew how famous his 250-year-old hacienda on Canyon Road has become. The landmark adobe is now home to a cutting-edge restaurant—elegant, contemporary—serving the highest-quality, most creative food. Award-winning executive chef Eric DiStefano serves up a creative mix of French sauces and technique with culinary influences of Asia, the Southwest, and his own roots in Italy, blended to bring taste to new levels. Geronimo is New Mexico’s only restaurant with both Mobil Four Star and AAA Four Diamond awards. Dinner seven days a week, beginning at 5:45 pm. october/november 2011

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95 W Marcy, 505-984-1091 ilpiattosantafe.com Locally owned Italian trattoria located one block north of the Plaza. Nationally acclaimed and affordable, Il Piatto features local organic produce and house-made pastas. Prix fixe three-course lunch, $14.95. Dinner: three courses, $29.50, or four courses, $37.50 (anything on the menu, including specials). No restrictions. Lunch Monday–Friday 11:30 am–2 pm; dinner seven nights a week from 5 pm. “Everything is right at Il Piatto, including the price.” —Albuquerque Journal

meat choices, including tender brisket and succulent natural ribs, served with a choice of sides, sauces, and desserts, all house-made. Special regional dishes like smoked-chicken taquitos and green-chile brisket burritos have made this eatery a local favorite, with additional chef’s specials offered daily. Also available: beer and wine, dine in or take out, full-service catering for all occasions, and a small private dining room for special events. Located next to Lowes and Regal 14 cinemas off Cerrillos at Zafarano. Open for lunch and dinner. Summer hours: 11:30 am–9 pm Tuesday–Saturday and 11:30 am– 8 pm on Sundays; closed Mondays.

India Palace— Santa Fe Downtown

La Casa Sena

Il Piatto

227 Don Gaspar at Water (in the city parking lot), 505-986-5859, indiapalace.com Voted “Best Ethnic Restaurant” in Santa Fe. Located in downtown Santa Fe, just one block from the Plaza, India Palace specializes in the dynamic, complex cuisine of northern India and uses ayurvedic (the science of longevity) cooking principles.

Homemade cheese, yogurt, ghee, and kulfi (pistachio ice cream), and tandoori-fired traditional breads complement the extensive menu, which includes chicken, lamb, seafood, and vegetarian dishes.

Entrées may be ordered mild, medium, or hot. No artificial flavors or MSG. Vegan and gluten-free meals also available. Open seven days a week.

Lunch 11:30 am–2:30 pm; dinner 5–10 pm.

Inn of the Anasazi

113 Washington, 505-988-3030 innoftheanasazi.com New Mexico’s only Mobil Four Star, AAA Four Diamond hotel is also home to Santa Fe’s most highly acclaimed culinary destination. The Anasazi Restaurant features a welcoming and rustic Southwestern atmosphere. Chef Oliver Ridgeway offers seasonal menus, with fresh local ingredients, to celebrate creative American cuisine. Open seven days a week—serving breakfast, lunch, dinner, brunch on weekends, and bar menu. Breakfast Monday–Friday 7–10:30 am, Saturday 7–11 am; lunch Monday–Saturday 11 am–2:30 pm; dinner daily 5:30–10 pm; Sunday brunch 11 am–2:30 pm.

Josh’s Barbecue

3486 Zafarano, 505-474-6466 joshsbbq.com Voted Top 3 Caterer of 2010! Savor the flavor of classic American barbecue created with a special New Mexican twist. Chef/owner Josh Baum, with his manager Rodney Estrada, dishes up a huge fresh daily selection of slow-smoked, mouth-watering 90

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125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in downtown Santa Fe, in historic Sena Plaza. We feature modern, sustainable cuisine; an award-winning wine list; and a spectacular patio, and we are committed to using fresh, local, and seasonal ingredients whenever possbile.

La Casa Sena has been one of Santa Fe’s finest and most popular restaurants for over 27 years. For a more casual dining experience, visit La Cantina and be entertained by our singing waitstaff performing the best of Broadway, jazz, and much more nightly. Lunch is served 11 am–3 pm Monday– Saturday; dinner 5:30–10 pm nightly. Sunday brunch in a beautiful patio setting is available 11 am–3 pm. Our popular wine shop adjacent to the restaurant features a large selection of fine wines and is open 11 am–7 pm Monday–Saturday.

La Plazuela at La Fonda on the Plaza 100 E San Francisco, 505-995-2334 lafondasantafe.com Experience Old World Santa Fe while dining at La Plazuela at La Fonda on the Plaza. The menu showcases old favorites with New World twists.

Our wine list is award-winning, our service is impeccable and, according to the reviewers, you’ll be dining in the “best of Santa Fe style.” La Plazuela hours: breakfast 7–11:30 am daily; lunch 11:30 am– 2 pm Monday–Friday, 11:30 am–3 pm Saturday and Sunday; dinner 5:30–10 pm daily.

Luminaria Restaurant at the Inn and Spa at Loretto

211 Old Santa Fe Trail 800-727-5531 or 505-984-7962 innatloretto.com Luminaria introduces Matt Ostrander as executive chef. Chef Ostrander is no stranger to local Santa

Fe foodies. A quintessential City Different chef, Ostrander is self-trained, gaining his experience as a true Santa Fe chef in some of the great culinary establishments in the area. Luminaria menus focus on chef Ostrander’s sustainable approach to his cuisine and feature an abundance of fresh, locally grown ingredients with the perfect Southwestern twist. Breakfast 7–11 am; lunch 11:30 am–2 pm; dinner 5–9 pm. Early-evening dinner at Cena Pronto, 5–6:30 pm; Sunday brunch 11 am–2 pm.

Maria’s New Mexican Kitchen

555 W Cordova, 505-983-7929 marias-santafe.com We wrote the book on margaritas! The Great Margarita Book, published by Random House.

Maria’s features more than 160 margaritas, chosen “Best Margarita” in Santa Fe 14 years in a row. Each is hand poured and hand shaken, using only premium tequila, triple-sec, and pure, freshsqueezed lemon juice (no mixes, no sugar). A Santa Fe tradition since 1950, specializing in old Santa Fe home-style cooking, with steaks, burgers, and fajitas. You can even watch tortillas being made by hand! Lunch and dinner 11 am–10 pm Monday–Friday; noon–10 pm Saturday and Sunday.

Reservations are suggested.

Ore House at Milagro

139 W San Francisco, 505-995-0139 orehouseatmilagro.com The Ore House tradition continues its 35 years of history at its new Milagro location (where Galisteo meets San Francisco), under its skylight roof and on its outdoor entry patio. The Ore House at Milagro is Santa Fe’s live music, chile, and margarita headquarters. The restaurant serves great New Mexico cuisine in an exquisite setting, with chile prepared in many traditional and new ways. Specialties include the savory, signature Red Chile Relleno and Milagro’s wonderful Chiles en Nogado. Open seven days a week. Lunch 11:30 am–2:30 pm; cantina menu 2:30 pm–close; dinner 5:30 pm–close.

Rancho de Chimayó

Santa Fe County Road 98 on the scenic “High Road to Taos” 505-984-2100, ranchodechimayo.com The restaurante is now open! Serving worldrenowned traditional and contemporary native New Mexican cuisine in an exceptional setting since 1965. Enjoy outdoor dining or soak up the culture and ambience indoors at this century-old adobe home. Try the Rancho de Chimayó’s specialty: carne adovada—marinated pork simmered in a spicy,

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red-chile-caribe sauce. Come cherish the memories and make new ones. Rancho de Chimayó is a treasured part of New Mexico’s history and heritage. A timeless tradition. Open seven days a week, May to October 11:30 am–9 pm. Online store is open now!

Rio Chama

414 Old Santa Fe Trail, 505-955-0765 riochamasteakhouse.com Located just south of the Plaza next to the State Capitol building, Rio Chama has been a favorite for locals and visitors for more than 10 years. Chef Russell Thornton focuses on contemporary American cuisine with Southwestern influences, featuring the finest dry and wet aged steaks, prime rib, wild game, and fresh seafood. Our wine list features over 900 labels and 28 wines by the glass, earning us the “Best of” award from Wine Spectator. It is sure to excite the oenophile in anyone. Rio Chama offers a mix of intimate dining spaces, two beautiful patios, and a bustling bar. Open daily from 11 am to close.

cirque de santa fe Trapeze artists, stilt-walkers, acrobats, and larger-than-life puppets—plus amazing sets and music—make Circus Luminous a magical event for the young and the young at heart. A collaboration between local performance troupe Wise Fool New Mexico, the Lensic Performing Arts Center, and top local artists and musicians, this Thanksgiving weekend tradition—now in its ninth year—never fails to dazzle and delight. Tickets: $10–$30; November 25–27, ticketssantafe.com.

EXTRAVAGANZA

Santacafé

Terra Restaurant at Encantado Resort

198 State Road 592 505-946-5700, encantadoresort.com Terra, the signature restaurant for Encantado, an Auberge Resort, features majestic views of the surrounding mountains and offers an inventive interpretation of American cuisine. Having achieved Wine Spectator’s coveted “Best of” excellence award, chef Charles Dale’s modern rustic cuisine exemplifies a passion for simple yet refined menus that maintain a connection to regional influences, which is evident in all of his dishes, such as his signature boneless beef short ribs with poblano-mushroom mac-n-cheese.

Terra is open seven days a week, 365 days a year.

Breakfast 7–11 am; brunch/lunch 11:30 am–2 pm; dinner 5:30–10 pm.

soul power Celebrate Mexico’s El Dia de los Muertos—the Day of the Dead—with family-friendly arts and crafts (including sugar-skull decorating), plus live music and a dance performance by Los Ninos de Santa Fe y Compania, at the Museum of International Folk Art (706 Camino Lejo, 505-476-1200), October 30 from 1 to 5 pm. Traditional Day of the Dead altars are displayed at El Museo Cultural (555 Camino de la Familia, in the Railyard, 505-992-0591, elmuseocultural.org) on October 29 and 30 and November 2. internationalfolkart.org, elmuseocultural.org.

CULTURE

JULIEN MCROBERTS

231 Washington, 505-984-1788 santacafe.com Centrally located in Santa Fe’s distinguished downtown district, this charming Southwestern bistro, situated in the historic Padre Gallegos House, offers our guests the classic Santa Fe backdrop. Step into the pristine experience Santacafé has been consistently providing for more than 25 years. New American cuisine is tweaked in a Southwestern context, and the food is simply and elegantly presented. Frequented by the famous and infamous, the Santacafé patio offers some of the best people watching in Santa Fe! During high season, our courtyard, protected by a sun canopy, becomes one of the most coveted locales in Santa Fe. Open daily for lunch and dinner.

party for the arts B E N E F I T The Center for Contemporary Arts showcases film, visual arts, and performance art that’s compelling, diverse, and challenging. Looks like their parties meet the same criteria. Sweet Salsa, the CCA’s October 22 gala at the Santa Fe Community Convention Center features mojitos and chocolate martinis, dinner from the chefs at La Boca, music by Savor, rich desserts by local chocolatiers, and a dance contest.

Wear a red-hot dress, clip a flower in your hair, and know that you’re supporting a fantastic local resource for cutting-edge creativity. Tickets: $100 per person, ccasantafe.org.

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| H I S TO R Y |

the eason house

hi s tor ic living in t he he a r t of downtown

by K at e McG raw photo graph y by Dougla s Me r ri a m

IN 1790, RHODE ISLAND was becoming the 13th of the fledgling United States of America, the new country’s first president, George Washington, was delivering his inaugural address, and in Santa Fe (the nearly 200-year-old provincial capital of Nuevo Mexico), Doña Juliana Olguin was supervising meals for her husband, three children, and two servants in the farmhouse she’d lived in since her marriage to Don Manuel Trujillo 40 years earlier. Doña Juliana had inherited the property, historians believe, from her father, Tomas Olguin, a grandson of original Spanish settlers. Sometime in the next 50 years, Doña Juliana would give the property to two relatives, Jesus Lopez and his brother, Yginio Martinez. In 1846, Martinez and Lopez sold the land to Ramon Martinez, another relative, having obtained one of the first deeds of record from the new American government of what would soon be the Territory of New Mexico.

An 1866 map that’s now in the British Museum shows that the house was built on Tracts 19–21 of the steep foothill area above the Acequia para Recadio, along a hillside lane that was a public thoroughfare. A century and a half later, that lane is called Hillside Avenue, which meets Martinez Street in a T-junction.

What is now recognized in the National Register of Historic Places as The Martinez Hacienda rambles east-west along Hillside, above Martinez Lane (a little

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appearing in 1881 and dominate the titles itself, which is about 5,400 square feet, private drive off Martinez Street). The probably began as a one- or two-room to this day. Bits and pieces of the property 7,300-square-foot lot it sits on extends were sold over the years, and neighboring from Hillside to Martinez Lane, with gar- adobe between 1650 and 1700 to serve the farm that went to the river. residences were built. dens on a series of terraces. It belongs to Like many such houses, this one grew When the Easons bought the house, Joe and Barbara Eason, a retired Houston, over the years; when it was sold in 1846 they were determined to keep it much Texas, couple (Joe was a commercial inthe way they found it. “Their goal has surance broker and Barbara was a teacher) it was described, somewhat grandly, as an “83-viga” property. Twenty four of those been that any work done on The Martiwho bought the property in 1998 from nez Hacienda would honor Bob and Priscilla Bunker and now live there part of The Easons did some nominal sprucing up, but their their desire to maintain the historic and cultural integthe year. “We quickly fell in historic home definitely retains its eccentricities. rity of an important and love with the house and the integral part of Old Santa garden,” says Barbara. vigas, which spread over three rooms, Fe,” Mueller writes. The couple did some As a labor of love, real estate attorney Carl G. Mueller, Jr., an old friend of the were split off into a separate apartment in nominal sprucing up in the bathrooms Easons, wrote a private, unpublished text, the 1920s and sold to three sisters from and kitchen, but the home definitely rewhich his wife, Joanne, also helped with, California. Joe Eason repurchased that tains its eccentricities. The threshold into one bedroom has a step up that includes describing all the historic references to in-house apartment on a separate deed in decorative tiles and a wooden sill, and, the home Mueller could find. (Another 2000 and currently rents out the space. finally, a large piece of stone. The step out The old abstracts have a great many Eason acquaintance, Mary Louise Kuhlof the sala, or living room, has two crosses Spanish surnames on them, principally mann of Dallas, illustrated the text.) Old painted on it—one on the door and one abstracts are “vague and inexplicit,” Muel- Olguin, Trujillo, Duran, and Martinez on the doorsill as part of an apparently (lots of Martinezes). Anglo names began ler notes, but, he speculates, the house Opposite page: Joe and Barbara Eason (far left) fill their historic, double-adobe home built into the side of a cliff with Western and Indian art and some pieces of furniture they salvaged from places like La Posada.

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descanso-type of remembrance for a man who was killed there in a knife fight in the 1920s.

When the house was wired and plumbed, back in the ’20s, “they just dug a channel in the adobe walls wherever they wanted a line and laid in wiring and plastered it up,” Joe says. “Hanging a picture can be an adventure—you never know when you’ll strike a live wire.”

On all the dining room and sala southern walls there are large indentations showing where the doors and windows to the three rooms that now form the inhouse apartment were filled in and plastered. The ceiling in the kitchen/den on the house’s east side doesn’t feature log vigas and sapling latillas like the ones in the rest of the house do, but instead has more modern saw-cut beams and planks.

Every room in the house has a fireplace (there are seven in all), and the Easons have furnished the house with items from their personal collection of Western and Indian art. Many of the pieces were scrounged or salvaged around town, like the tin chandelier in the entry and the leather-seated dining room chairs Joe garnered from the tear-down of furnishings at La Posada. Joe built the huge dining room table himself—it’s 5'6" x 7'4"—from the Bunkers’ old bookshelving. “I was just concentrating on building a table big enough for 12,” says Joe. “It cleared the door of the room by one half-inch, literally. Just dumb luck.”

Despite comments from Texas friends that the Easons are “sort of roughing it” in Santa Fe, the couple, married 58 years, have no plans to change anything at their historic house. Appreciating its comforts and quirks is part of the pleasure of living there, Barbara says. “It’s like we’ve joined all the people who always loved this house.”

Mueller puts it more felicitously in his historical volume. “The Martinez Hacienda is a currently living and special reality for the enjoyment of Joe and Barbara Eason, their family, and their friends,” he writes, “to be possessed, preserved, and passed on to the glory of our Maker for the enjoyment of succeeding generations.” Doña Juliana couldn’t have put it better.

Log vigas and sapling latillas are found on the ceilings throughout the house, except in the kitchen, which has saw-cut beams and planks. october/november 2011

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D AY AY T TR R II P P || || D

New England gets all the attention, but fall foliage adventures—by car or on foot—are a favorite tradition in Santa Fe too. In September or October, the aspens high in the Sangre de Cristos go from green to light yellow and then turn brilliant gold, making for two or three weeks of prime viewing. Hikers hit the Aspen Vista and Winsor trails to soak in the views. Drivers head up Hyde Park Road for the winding, 16-mile trip to the ski basin, stopping to take photos or just breathe in the cool mountain air along the way. Call the National Forest Service’s Fall Color Hotline (800-354-4595) for reports on where the trees are at their most magnificent.

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CARRIE MCCARTHY

In Living Color

Historic Canyon Road Paint Out

GROUP SHOW FEATURING WAXLANDER ARTISTS PAINTING OUTSIDE THE GALLERY BENEFITTING THE FALL ARTS FESTIVAL OF SANTA FE ANDRﾃ右 HUDSON

BERNARD MARKS

LORI FAYE BOCK

MARSHALL NOICE

MICHAEL ETHRIDGE

PAUL CUNNINGHAM

Saturday October 15

PHYLLIS KAPP

10 am - 3 pm

WAXLANDER GALLERY & SCULPTURE GARDEN

622 CANYON ROAD, SANTA FE, NM 87501 art@waxlander.com 窶｢ www.waxlander.com 505.984.2202 窶｢ 800.342.2202

W I L L I A M S I E G A L G A L L E RY ANCIENT

CONTEMPORARY

SIGNE STUART

PAULA ROLAND September 30 - October 22, 2011 540 S GUADALUPE STREET SANTA FE NM 87501 RAILYARD 505.820.3300 WILLIAMSIEGAL.COM INFO@WILLIAMSIEGAL.COM