Santa Fean Magazine OCT/NOV 2010

The Home Issue

October/November 2010

At HomE WITH

VAL KILMER

THE ART

OF LIVING PLUS

Artful homes, Artful artists, artful authors, and more

www.santafean.com

ARTISTIC EXPRESSION

& GAMING EXCITEMENT __ NATIVE STYLE

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T O N Y R E C E N T

P A I N T I N G S

O C T O B E R

C H A R L O T T E

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In the Railyard Art District / 554 South Guadalupe, Santa Fe, NM 87501 T e l 5 0 5 . 9 8 9 . 8 6 8 8 / w w w . c h a r l o t t e j a c k s o n . c o m

Tony DeLap, Nufind, 2010, linen, acrylic paint, 40 x 41 inches. Photo: Gene Ogami

C H A R L E S A R N O L D I :

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In the Railyard Art District / 554 South Guadalupe, Santa Fe, NM 87501 T e l 5 0 5 . 9 8 9 . 8 6 8 8 / w w w . c h a r l o t t e j a c k s o n . c o m

Charles Arnoldi, Same Ball Park, 1999, acrylic on canvas, 64 x 80 inches

Your Art Should Say Something

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CAROL KUCERA

Photo Eric Swanson

A WORLD LIKE OURS

CAROL KUCERA GALLERY New Art for a New Century

www.CarolKucera.com 112 W. San Francisco St., Suite 107 Santa Fe, NM 87501 866 989-7523 kucera@carolkucera.com Open daily 10-5, Closed Tuesday

Acrylic on canvas 22"X34" each

The Home Issue october / november 2010

features

30 Objets d’Art Four homes, four couples, four gorgeous marriages of taste and presentation, art and aesthetics.

38 A River Runs Through It Douglas Merriam

Val Kilmer opens the gates to his Pecos River Ranch—a spot as close to paradise as one can get.

30

The living room in Mary Neumuth Mito and Morio Mito’s work-of-art home.

carola clift

10 Publisher’s Note 18 Santa Festive The first annual Santa Fe Arts Festival 22 City Different Kathy Myers and the horse she rode in on, UFO signage 24 Santa Favorites Spirit of the Earth, Purple Sage, Cicada Collection 26 Adventure Birdspotting at the Bosque del Apache 47 Art Artists Geoffrey Laurence, Katherine Lee, the Clifts + reviews

47

Douglas Merriam

departments

Carola Clift’s Pierced Continuum No. 1.

38

67 Home Guest columnist Jason Suttle on getting wired + interior designer Lisa Samuel on her furniture 81 Dining Jambo-laya! + life at home with cookbook authors Bill & Cheryl Jamison 88 Hot Tickets 94 History The trials & tribulations of the witches of Abiquiu 96 Day Trip Pecos

One of the pertiest places in all of New Mexico—Val Kilmer’s Pecos River Ranch.

R O B E R T

S T R I F F O L I N O

Plumbago, oil on canvas, 66 x 48

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publisher’s note

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home is who you are When we’re troubled (yes, it even happens in Santa Fe), the place each of us wants to be is in our home. It is our castle and our emotional protector. The security of our belongings is one of the elements that allows us that feeling of safety and protection, one only a home can offer.

While the walls and roof may protect us from the nature’s swirling cold, it is what lies within our walls that truly gives us comfort. Our personal art and other treasures settle our soul and give us personal feelings of safety, love, and even stimulation that we don’t get from the outside world. We surround ourselves with these important treasures to assure ourselves of who we are and to share that statement with others. When we’re in a stranger’s house, we immediately have a feeling of who that person is and what’s truly important to them.

In this issue, we explore several residences, all with a deep reflection of those who have created their spaces and have collected the art and mementos that make the space special. Not only will you see stunning artwork, more importantly you will have an insight into who those people are. You might ascertain elements of their personality that they themselves may not be aware of, but it’s reflected in the art on the walls, in their surroundings, in their other accoutrements.

A good example of this is Val Kilmer’s picturesque ranch in Pecos, New Mexico, not far from Santa Fe. It’s a complete departure from the Beverly Hills mansions of most movie stars. As you probe the many beautiful pictures in this issue, you’ll see and understand Val Kilmer in a much more intimate way than if we’d simply written about him and his latest film. His home and words speak far more loudly about who this man is.

Similarly, your home speaks much more loudly about who you are as well. I hope you will be inspired by what you see and read to want to adorn your house with beauty and with cherished objects that speak to the world about who you really are. As you look through this Home issue, I hope you find as much inspiration from our editorial pages—as well as from our advertisers (don’t miss the Taos Special Section)—on how to make your home bring out the best statement about who you are. Speaking for your friends and loved ones, we’ll all enjoy seeing more of who you are by seeing

BRUCE ADAMS

Publisher

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C ON T R I BU T ORS

MISSY WOLF

the art and treasures in your home.

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Q: What do you collect or what would you like to collect or have more of for your home?

Mendy Gladden, an instructor at the Santa Fe University of Art & Design, who contributed to this issue’s art reviews, says, “Although I’ve been trying to shed possessions and adopt a more minimalist style, I’m powerless in the face of small and/or antique drinking glasses (especially for champagne) and almost anything bird-related. I also keep an eye out for egg cups.”

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“It is my dream to live in Cape Town, so I have incorporated African style into my home,” says Santa Favorites photographer Julien McRoberts, whose work has also appeared in New York magazine and Sunset. “Currently, I am collecting African antiquities, especially ones from the Benin region and Bobo tribal masks. The textures, lines, patterns, and colors all work beautifully with Santa Fe adobe architecture. Plus, African designers create the most amazing things from the natural elements surrounding them—from Art Deco to traditional to contemporary.”

“My home is full of treasures—the three-dimensional artifacts of a life well lived and well traveled,” says photographer Carrie McCarthy, who shot this issue’s Pecos Day Trip. “So these days, while I still stumble across the occasional inanimate object with “take me home with you” written all over it, I find I prefer to collect the animate. The old friends, new friends, and the old newly rediscovered, whose collections of life experiences enrich my home and my world.”

McCarthy’s work can also be found in the Santa Fe Review and she recently finished her second season as a photographer for the New Mexico State Fair Portrait Project.

photos: Kate Russell

V I S I O N S D E S I G N G R O U P

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L E G E N D S S A N TA F E . C O M

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First Annual

Santa Fe Arts Festival October 15–31, 2010

The sun is shining, the weather is brisk, and the arts are alive! Celebrate Santa Fe’s vibrant arts scene with two weeks of special art, film, music, and dance events.

Artist: Ruth Valerio Canyon Road: GVG Contemporary

Canyon Road Festival and Paint Out October 16 Local artists take their easels into the street to paint in the fresh fall air. Come watch as they practice their craft in celebration of Santa Fe’s past and Canyon Road’s heritage. Join us for a 10 am kick-off event at Winterowd Fine Art, 701 Canyon Road; enjoy live music from 2–5 pm in the city parking lot across from El Farol.

Santa Fe Film Festival

Brent Michael Davids

The Santa Fe 400th Symphony

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October 10 The Santa Fe Symphony and Chorus presents the Santa Fe 400th Symphony, a specially commissioned piece by Native American composer Brent Michael Davids. The concert begins at 4 pm at the Lensic, with tickets priced from $10 to $25 (505-988-1234, ticketssantafe.com). santafesymphony.org.

October 20–24 Now in its 11th year, one of the Southwest’s most exciting film gatherings includes screenings of the year’s best contemporary films, along with panel discussions, workshops, and more. Join filmmakers and industry leaders for first-rate cinema in one of the world’s most beautiful locations. Short films will be shown at several local art galleries—for details, along with a complete film schedule, see santafefilmfestival.com.

SFAF

Lecture Series: Current Trends in the Contemporary Art World October 21–22 New Mexico Lawyers for the Arts presents a series of lectures focusing on issues in copyright, estate planning for artists and collectors, art fraud and cultural property, new media exhibitions, collaboration as a mechanism to survive the economic downturn, and more. Sign up for one or several; all will take place at Zane Bennett Contemporary Art, 435 S. Guadalupe. For more information, call 505-982-8111 or visit zanebennettgallery.com.

New Mexico School for the Arts Open House October 15 A great opportunity for community members—and potential students—to experience the school in action! Docents will lead tours of dance, music, theater, and visual arts classes from 2 to 4:45 pm; tours of the school will be offered from 4:45 to 6:30 pm.

For more information, visit nmschoolforthearts.org.

Friends of Santa Fe Jazz presents Chase Baird Group October 16 The Chase Baird Group represents a postmodern musical niche with hints of influence ranging from avant-garde composers Steve Reich and John Adams to jazz masters Miles Davis and Paul Motian to drum-and-bass phenomenon Aphex Twin. See them live at Vanessie (435 W San Francisco) on October 16 at 7:30 pm. For information, call 505-982-9966 or visit vanessiesantafe.com.

See santafeartsfestival.com for updates.

Cynthia Lux, clay platter with cholla handle, hand-built and altered

Galisteo Studio Tour October 16–17 Artists in the idyllic village of Galisteo open their studios from 10 am to 5 pm this weekend, displaying photography, paintings, pottery, retablos, jewelry, sculpture, and more. Bonus: The 25-mile drive from downtown Santa Fe to Galisteo is gorgeous at this time of year. For maps and more information, visit galisteostudiotour.org. october/november 2010

santa fean

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Ruth mccutcheon

the buzz around town

If you’ve driven anywhere around Taos lately, you may have noticed the new signage. Someone—someone with most excellent graphic design skills—has added an impressively drawn flying saucer (and attendant tractor beam) to the yellow state signs warning drivers about cattle crossing ahead.

Given the state’s rich conspiranoid history (tales of cattle mutilations, the infamous Roswell incident of 1947, a plethora of UFO visitations and abductions, and, in Taos alone, the unexplained Taos Hum and the brouhaha over so-called chemtrails—that is, chemically laced contrails from jets), the signs are not surprising. What’s new and different, and admirable, is the professionalism of whoever added on the saucers and beams. As they say in space, Klaatu barada nikto.—Devon Jackson SIGNAGE

hoofing it A C H I E V E M E N T S The annual one-day, 100-mile Tevis Cup is billed as one of the world’s toughest endurance equestrian rides. For Santa Fe resident Kathy Myers and her Arabian horse Blue, who completed the rugged route through California’s Sierra Nevada in late July, it was 23.5 hours of “absolute fun.” “I didn’t really get tired until a couple of hours after we’d finished,” says Myers. Blue finished “a little less bouncy than he was at the start,” she adds, “but he trotted out with his head up and his eyes bright.”

Myers, a 48-year-old database architect at the National Center for Genome Resources, has ridden 18-year-old Blue in endurance events before. But the Tevis—which includes some 17,000 feet of climbing and 22,000 feet of descending—was their longest one-day race to date. To prepare, Myers and Blue competed several back-to-back 50-mile races and trained with 18-mile rides in the Cerrillos Hills. They also rode sections of the Tevis Cup route a few days before the race so that Blue could become familiar with portions he would have to navigate at night.

“A lot of the trails are narrow and run right along very steep cliffs,” says Myers. “If you go over, you’re not stopping until you get to a ledge or the bottom. But Blue and I have been together a long time. He’s very sure-footed and a very trustworthy horse. He’s not going to step off the edge of the cliff.”

To make sure horses are healthy enough to participate, veterinarians examine the animals before, during, and after the Tevis event. Myers also keeps her own close eye on Blue. Whenever they ride, she says, “I don’t want to see him so tired that he’s not interested. No matter how sound he is, if he doesn’t have the desire to go down the trail, it’s time to go home for the day.”—Dianna Delling

unique boutique There’s no shortage of luxurious accommodations in Santa Fe. But TOURISM the Luxx Boutique Hotel, downtown’s newest lodging option, aims to carve out a hip little niche of its own.

Opened this summer by local musician and producer Gordon Schaeffer (Soulfood, the Gordon Free Band), the Marcy Street hotel caters to travelers looking for an intimate hotel with some flair—think San Francisco meets Santa Fe. “We’re offering something a little different,” says Schaeffer. “There’s no reason a hotel can’t be creative and funky.”

The Luxx has 16 suites, a community kitchen, an outdoor hot tub, and a community lounge—but don’t look for a front desk. Guests book rooms in advance online (luxurycasita.com) and are given key codes for their rooms when they make reservations. Schaeffer calls the decor “old-school Santa Fe mixed with modern,” and each of the suites features a different theme—there’s a jungle room, for example, and a Buddha room—and work by a different local artist. Walls are covered in paint from the local, eco-friendly company Bio-Shield, and green cleaning products are used whenever possible.

“I’m really having fun with the Luxx,” says Schaeffer, who now splits his time between his music and the hotel business. “I like the creativity of taking something and making it beautiful.

Adds Schaeffer, “The Luxx isn’t for everybody. But people who get it love it.”—DD 22

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Clockwise from above: Ian Schrager slept here? One of the side-table lamps in a Luxx room; a Paris Hilton lookalike lounging about in the lounge? checking in; a camera obscura–like view of another Luxx accommodation

luxx and louis leray

cattle abductions ahead

Hunter Kirkland Contemporary presents

HKC ANNUAL SHOW OF NEW WORK OCT 15 – NOV 30, 2010

gabrielle robinson

Opening Reception: FRIDAY, OCT 15, 5 – 7pm

At the 36-mile mark on the Tevis Cup route, Myers (right) stops for one of Blue’s several scheduled vet checks, as one of her crew members lends a hand.

JAMEY STILLINGS

greener bricks and mortar Ed Mazria and B U I L D I N G Architect Architecture 2030, the Santa Fe–based nonprofit he founded in 2002, are paving a new way in eco-friendly building. In a recent Design Futures Council survey of architects, interior designers, and other U.S. building professionals, Mazria was named the country’s second most influential role model in green and sustainable design, and Architecture 2030 was rated among the three most effective organizations advancing green building design and construction today.

According to U.S. government data, buildings are responsible for nearly half the total energy consumption in the United States each year. To that end, Mazria and his team are working to reduce energy usage and greenhouse-gas emissions associated with the design and building industry. “Twenty-two of the top 30 architecture engineering firms have adopted the Architecture 2030 targets,” says Mazria, referring to the progressive energy perfor- Architect Ed Mazria mance guidelines his group developed and promotes. “We’re making progress. . . . The building sector is beginning a transformation.” As for Santa Fe, where he’s been living and designing for the past 25 years, “I think we’re on target with many of the more advanced or forward-looking cities,” says Mazria. “We’ve adopted the targets; we’re moving our building codes to be more high performance, so we’re definitely moving in the right direction.”—DD

MICHAEL MADZO, “I Thought The Earth Remembered Me”, 2010, Collage: acrylic on paper, sewn with cotton threads, 39 × 33 inches (framed)

T BA R N Y

JENNIFER J. L. JONES

JOAN BOHN

HAL LARSEN

E R I C B OY E R

MICHAEL MADZO

C H A R L OT T E F O U S T

I VA M O R R I S

TED GALL

RICK STEVENS

GREGORY FRANK HARRIS

L E S L I E T E JA D A

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

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

wearable art

one - of - a - kind c lot hing a nd ac c e s s orie s put t he se Sa nt a Fe store s on t he mu st -s hop l i s t

by Di a nna Delli ng

priced, and they offer clothing, jewelry, and accessories as unique as Santa Fe itself.

After nearly 30 years in business—on Don Gaspar since 1995, before that in the Inn of Loretto—Spirit of the Earth is a Plaza-area staple. The store’s focal point is handcrafted 18-karat gold and sterling silver jewelry by Tony Malmed, who owns and runs the store with his wife, Gayatri.

Glittering contemporary pieces with diamonds and other gemstones (including “the best opals in the West,” as one sales associate puts it) beckon from front-and-center cases. But Spirit of the Earth is also known for its “high-quality textiles”—colorful clothing from small companies and craftspeople. Its fun and funky accessories—flowing scarves, studded leather belts, and trendy handbags—are alone worth a visit.

Just up Don Gaspar, Purple Sage has been serving Santa Feans for almost 20 years, specializing in handcrafted, handwoven clothing and glass art and jewelry. “We like to emphasize southwestern colors in clothing with a classic cut or design,” says Stephen L. Wurst, who owns and runs the store with his wife, Lee Kellogg. He points out a selection of dusky-toned Tencel-blend blouses from Tianello, one of the couple’s favorite brands, as an example. Glass sculptures, bowls, and vases from artists such as Rollin Karg, Josh Simpson, and Vitrix Hot Glass Studio—along with glass earrings, pendants, and barrettes—add even more color to the shop. “I love the look of dichroic glass, a combination of metal and glass that gives it a reflective quality,” says Wurst, who takes time to talk with customers about the artists and techniques associated with the store’s unique glass pieces. “What sets us apart from the big guys, or similar stores, is that we want people to come here and have a good experience.”

Walking into Cicada Collection, one street over, on Galisteo, is like walking into a boutique in New York or Los Angeles, but with a proprietor whose warm, relaxed demeanor is pure Santa Fe. Irina Ross opened her store in May, with no retail experi-

Perfect finishes—top: high-end handbags at Cicada Collection; near right: a rainbow of soft silk scarves at Purple Sage; far right: statement-making belts and buckles at Spirit of the Earth

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julien mcroberts

There’s a reason certain downtown clothing stores have been around forever. They’re owned and run by friendly locals, they’re reasonably

ence but oodles of enthusiasm and, as one look around the shop confirms, fabulous, forwardthinking taste. Natural fabrics in solid or subtly textured shades of black, gray, and beige are the rule at Cicada, but in the hands of designers such as Kimberly Ovitz (daughter of Michael), Mike Gonzales (of the Mike and Chris label), and the team at KayLee Tankus, they’re anything but basic. “Life is too short for boring!” says Ross. She describes the clothing at Cicada as timeless and well crafted, with an edgy look. “I pick clothes that have a distinctive quality about them,” she says.

“I look for beautiful design and fabric. They have to look and feel wonderful.” Jewelry from local designers such as Valarie Nebres and Lori Swartz—plus studded leather belts from Beryll and “all the rage in New-York” Flea Bag purses—let shoppers complete their classy but arty looks.

CICADA COLLECTION, 221 Galisteo, 505-982-6260, cicadacollection.com Cicada’s small but carefully chosen selection of women’s clothing and accessories reflect owner Irina Ross’s forward-thinking fashion flair, appreciation of exquisite detail, and penchant for designs that are hip yet ageless. Monday– Saturday 10 am–5 pm, Sunday 11 am–4 pm.

PURPLE SAGE, 114 Don Gaspar 505-984-0600 purplesage-santafe.com Adding to the appeal of its colorful yet classic, go-with-everything clothing and an eclectic collection of art glass and dichroic glass jewelry, Purple Sage’s personable and knowledgable proprietors make shopping at the airy, well-lit shop a fine experience.

Monday–Saturday 10 am–5 pm, Sunday noon–5 pm.

SPIRIT OF THE EARTH 108 Don Gaspar, 505-988-9558 spiritoftheearth.com Outfit yourself in flowy, Santa Fe style at Spirit of the Earth--and accent your look with a piece (or two) from Tony Malmed’s appealing jewelry collection. If you’re looking for an endless selction of scarves (or the perfect fun belt or handbag), this is also your place.

Monday–Thursday 10 am–6 pm, Friday and Saturday 10 am–6:30 pm, Sunday 10 am–5 pm.

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| ADVENTURE |

wings of migration

b r i ng your ca m e ra a nd a se nse of wonde r to B o s que del Apache t hi s fa l l

JOE SPRING

by Joe Spri ng

Sandhill cranes fill the marshlands at Bosque del Apache National Wildlife Refuge.

It’s one of THE country’s most magnificent wildlife spectacles—and it happens twice a day, from November to February, at New Mexico’s Bosque del Apache National Wildlife Refuge. At dawn, thousands of sandhill cranes wake after sleeping all night in the marshlands. Almost immediately, they primp like sprinters at the starting line. They bob their heads. They lift their legs and break through the thin marsh ice. Then they step onto its silvery surface, stretch their wings, lean their necks forward, and lope into takeoff. Tens of thousands of geese may join them, beating the air into a thunder and creating enough wind to move your hair. Aim your camera at the sky and you can’t help but capture the frenzy of birds, sometimes just 10 feet above your head.

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Return at dusk, when they fly back into the refuge after a day of foraging, and the show happens all over again, in reverse.

“It’s a little like sitting in a packed football stadium, when suddenly everyone stands up and yells and waves their arms,” says Robyn Harrison, who directs the annual Festival of the Cranes at Bosque del Apache.

More than 10,000 greater sandhill cranes, 30,000 light geese, and thousands of assorted ducks, eagles, owls, herons, and songbirds fly south to winter on the roughly 57,000-acre refuge near Socorro, New Mexico. Gaggles of camouflaged bird-watchers migrate in behind them, waddling to the shoreline dangling thousands of dollars worth of binoculars and photography gear. Rookies wiggle their way between the pros for the picture—or just the

wildlife watching—of a lifetime.

It was like this before U.S. settlers took over the West. The birds were flourishing here 200 years ago, when the Rio Grande moved like the hair of the female Apache warrior Lozen, who rode her horse across the river’s channels. Back then, the river did what it wanted. Strands ran wide, crossed over each other, flooded out in wide shallow flares, and formed oxbows that tangled and closed off, creating avian-friendly wetlands.

Then, in the late 19th century, settlers planted farms along the river. Hunting picked up, dams restricted the Rio Grande’s flow, and irrigation sapped the river’s strength. As the river trickled, the wetlands shrank and the bird population declined.

In the 1930s, the Depression and the Dust

Getting to Bosque del Apache From Santa Fe, take I-25 south for about 145 miles. Merge onto US 380 E after Socorro and continue for three miles. Turn right onto CR-158/Camino San Pedro and follow it one-half mile. Keep left at the fork to stay on CR-158, then go straight for seven miles.

Bosque del Apache National Wildlife Refuge 575-835-1828 www.fws.gov/southwest/refuges/newmex/bosque/

ISTOCK

Bowl sapped the life and wealth out of Socorro County. But when Franklin D. Roosevelt established the Bosque del Apache as “a refuge and breeding ground for migratory birds and other wildlife” in November 1939, he helped people as well as birds. Locals hired for the Civilian Conservation Corps built water impoundments and canals to regulate manmade wetlands. Over time, the refuge employed farmers to plant corn, wheat, clover, and native plants for the birds. And as the refuge re-created marshland water levels and replanted native species such as cottonwood, the number of birds increased. In 1941 only 17 cranes used the Bosque. In 1962 more than 3,000 birds flew in; in 1982 there were 12,000. Today more than 17,000 cranes may visit the Bosque in a given year.

Volunteers lead tours of the refuge through February and are happy to teach visitors about the 377 bird species found on the refuge. If you go during the Festival of the Cranes, November 16 through 21, you’re sure to come home an avian expert. The weeklong event draws 10,000 visitors and features more than 100 workshops, hikes, and lectures about everything from bird identification to New Mexico wetlands history. Learn to read the cranes’ staccato dance moves, cackled calls, and exaggerated bobs during a behavior seminar ($80) or sign on for one titled the Field Guide to Duck Butts ($10) and learn—well, the seminar’s name speaks for itself. Whatever you do, get up early for the 5:30 am fly-out. “That’s the wow moment,” says John Bertrand, who’s been volunteering on the refuge for 18 years.

You’ll want to arrive at the refuge early and stay late, but take a break for lunch. The state’s two best green chile cheeseburger joints, the Owl and Manny’s Buckhorn Tavern, sit across the road from each other in nearby San Antonio.

Reserve a room at any of Socorro’s budget hotel options—they’re all you’ll need, since sleeping isn’t the priority.

Call before visiting and ask for advice from someone like Bertrand, who was the 2008 National Wildlife Refuge Volunteer of the Year. He’ll dish on the best spots for photography and the approximate times of the fly-in and fly-out.

“Dress warmly, be patient, enjoy yourself,” advises Harrison. “And don’t forget to put the camera down and breathe it all in once in awhile.”

New Mexico’s autumnal sunshine lights up the Bosque. october/november 2010

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Les Bords de I’Epte a Giverny, used with permission.

objets d’ art

by Devon Jackson photography by Douglas Merriam

For these four couples, living in Santa Fe is as beautiful and interesting inside their homes as it is outside their homes. Whether it’s the art or the architecture, the way the two complement each other, the placement of everything so that it’s just so, the feel of the place, the look of the place, the energy, the vibe, or the occupants themselves, these four homes are rich and alive and wonderfully reflective of the many different ways there are to live here in the City Different.

Mary Neumuth Mito and Morio Mito Personal provenance: Neumuth Mito grew up in Glastonbury, Connecticut (“the quintessential New England town,” she says). A graduate of the School of Visual Arts and a longtime New Yorker, she and Morio (an entrepreneur and owner of the Fort Lauderdale Marina, whom she met while doing animal portraits for a Madison Avenue gallery) bought their home 13 years ago. Location: Canyon Road area. Outside look: Territorial. Inside vibe: Bright, open, minimal, rustic, modernist.

Home provenance: “We bought it from Anne Marion, who worked for the O’Keeffe Foundation,” explains Neumuth Mito. “They’d gotten it for their new director, but he didn’t like it because it had no views. We added a portal that looks out on the backyard.” They added Neumuth’s studio two years ago. Known for: Her quasi-photorealistic drawings and paintings of patterns in water, leaves, pebbles, animal tracks, and raindrops. “My work is all about nature,” says Neumuth Mito, whose works can be found at Gebert Contemporary. Highlights: A gigantic magpie nest from Española (courtesy of the guy who cleans their rugs); a hobby horse from Mexico that comes apart—used by

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Kimonos, deer heads, birds’ nests, works by Barnett Newman, Kiki Smith, Ellsworth Kelly, “I get to live with the things that mean the most to me.”

traveling photographers, who’d store their cameras inside; cicadas from a New York flea market; birds’ nests and pods sent from friends; ethnic jewelry and clothing (Japanese kimonos, Ottoman robes); suzanis from Uzbekistan; deer heads and antlers from Burma, the Black Forest, Mexico. “I don’t know anything about the things when I buy them,” says Neumuth Mito. “I get them because I like them.” Peer pleasures: Prints from some of her former students (when she taught at her alma mater, SVA); a Barnett Newman painting in her studio; Kiki Smith paintings and drawings; an Ellsworth Kelly print. “I get to live with the things that mean the most to me.”

Opposite page: Mito’s capacious studio, just behind the main house; this page, top: the portal leading to the verdant backyard; above: the living room, highlighted by two of Mito’s huge canvases; right: Mary Neumuth Mito and Morio Mito in their living room

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objets d’ art Paul Davies and Alec Young Personal provenance: Davies, a native Los Angeleno and a lifelong interior designer, and Young, a Texas-born “Fred Astaire of Hollywood,” first came to Santa Fe in 1958. “Back then,” says Davies, “it had a uniqueness and a history.” Location: Upper Canyon Road area. Outside look: Traditional adobe, built by Stamm in 1950 at 812 square feet, which Davies and Young enlarged to 2,200. Inside vibe: Tasteful, eclectic, warm—and everything in its place. Every. Thing. Davies’s Rosebud moment: “Even as a small child, I’d collect things,” says Davies, sort of the Penn (of Penn & Teller) of the two, only civilized, modest, quiet, while Young, like Teller, cedes much of the talking to his partner. “My grandfather gave me a very simple wooden toolbox that I refinished when I was about nine.” The couple that collects together . . .

“We’ve been together for over 50 years,” says Davies, who’s intimate with every piece in their home and knows the story behind everything. Every. Thing. “I’m prone to things that have history to them. That have gone through life and have something special. But Alec is too. And we blend well, so it’s seamless. And we’re both involved in anything that comes into the house.” Making the move from L.A. to Santa Fe: “We have our own style and have adapted it to what looks appropriate here in Santa Fe,” says Davies. “In L.A. we had an Italian villa–type house, much bigger. I had to adapt to this house so that things aren’t out of place here. Of course, I had to figure out what I needed to have space for.” What made the cut: The orbs (like many objects, from a friend’s estate); the crucified figures of Jesus on Lucite crosses; the grandfather clock from an antiques shop in Pasadena (Davies’s first purchase; he borrowed the $110 to get it); masks from

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Guatemala, Mexico, Bali, Japan, Spain; the dining room vestry light that belonged to the daughter of Henry Huntington of the Huntington Library, found at an antiques shop on Canyon Road; Tibetan tankas, Japanese woodprints, and other Eastern objets d’art; a drawing

by Jean Cocteau; the collages in their “Baroness’s Bathroom,” done by Catherine d’Erlanger between 1937 and 1959, which contain some of her actual hair; the Portuguese bed from a Phoenix consignment shop; and the family portrait in their bedroom, painted sometime around 1835 and probably from Boston. “I like portraits, so I have lots,” admits Davies. “Even though I don’t know who they are. But they’re family.” Their mantra: Follow the things that appeal to you. “This house,” says Davies, “is a reflection of a collection of over 50 years.”

Opposite page, top: Young’s memorabilia-filled study; below: the Oriental Room, tastefully arranged with all things Asian—Japanese woodprints, statues from India, Tibetan tankas, and other Eastern collectibles; this page, top: portraits, portraits, everywhere! in Davies and Young’s bedroom; above: Young and Davies striking a pose on the deck of their outdoor, elevated, west-facing porch; right: the wall of masks adorning the back porch.

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objets d’ art

Davies and Young’s front-room study—with their orb collection stacked beneath three 17thcentury collages in glass.

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Robert Fiedler and Pamela Frankel Fiedler Personal provenance: Fiedler and Frankel Fiedler had the same African art professor at San Francisco State University, the start of their mutual passion for all things African antique-y. A collector for 30-plus years, Fiedler got into dealing in 2003 when he opened Arteology—a space for his tribal ethnic art and his wife’s paintings. (He now works at TAD Tribal Art and runs his own place, Gallery Tribal Art, and Frankel Fiedler shows in Scottsdale.)

Location: The Via Cab (Caballero) neighborhood south of Rodeo. “There’s a sense of privacy out here,” says Frankel Fiedler. The two moved here from San Diego in 1993, bought their 1980s home in 1995, and later added on her studio. Outside look: Unprepossessing two-story adobe. Inside vibe: Ethnic gallery-cum-tidy homecum-contemporary studio. Number of trips to Africa: Zero. “To collect antique African art, one would not go to Africa today,” explains Fiedler. “Because most of the antique African art was taken out of the continent between 1885 and the 1960s.” Nevertheless . . . “It’s always been in our home,” says Fiedler. “It’s an obsession for sure.”

Why: “The pieces have such a strong presence and spirituality, and they’re primitive and exotic and stimulating,” says Fiedler. And sexual: “The kuyu, the puppet heads from the Congo [on the dining room table], are definitely phallic,” says Frankel Fiedler. “But there’s no false modesty in what [the artists] did. There’s no tempering of what they did with societal restraints. It’s unapologetically sensuous.” Hence the affinity between her paintings and their sculptures: “African art is blatantly erotic,” says Frankel Fiedler. “It’s about fertility and sexuality. And never once did the artists have to bow to propriety.” Unlike Frankel Fiedler, who may not bow but who still butts october/november 2010

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objets d’ art

Robert Holleyman and Bill Keller Personal provenance: Keller reviews social service agencies for the Government Accountability Office; Holleyman runs a trade association for a computer software group. They live in Washington, D.C., in a modernist Hugh Newell Jacobsen–designed house, but spend almost two months a year in Santa Fe. Location: North side. Outside look: Traditional Pueblo style with sharper edges and lines. Inside vibe: Contemporary, inviting, selective. Why Santa Fe: “It has all the things we like,” says Keller. “Physical beauty, hiking, superb art, great food, great music—and in a size town we really like.” Adds Holleyman, “Having a home in Santa Fe is the fulfillment of something.” Why this place: “Because it’s a Trey Jordan house,” says Keller, referring to the Santa Fe architect who designed the Artist Road–area complex. “It’s traditional but clearly upended in the modern style,” says Holleyman. “That mix was really appealing. For us it was really about the art—and architecture is all about art.” Por ejemplo: “Trey’s space really works with everything we have,” says Holleyman. “You get these angles and the light, and you discover it all around. The Susan York piece in the stairway, for instance, you see it from above and below.” Their art collecting theory: Acquire more pieces from fewer artists. Corollary 1: Focus on contemporary New Mexico artists, such as York, Ted Larsen, Eugene Newmann, and Ramona Sakiestewa. Corollary 1A: “The art’s New Mexico–based but not the painting style of the artists,” says Holleyman. “It holds its own against any art in the world.” Corollary 2: Know the artists, know their gallerists—as in Margo Thoma and Jaquelin Loyd (of 8 Modern), Linda Durham, and James Kelly. Corollary 2A: “We know what we like, and we buy things for aesthetic reasons and for how they please us,” says Holleyman, “but if we can get to know the artists, that makes it a much better experience.” Art preference: Largely the abstract. “They work well in the context of Santa Fe, D.C., anywhere in the world,” says Keller. But the couple has also taken to local textiles and weavings, for their beauty and simplicity. (Keller recently bought a piece at Spanish Market.) Art’s importance: “Art’s a very personal expression of how you live,” says Keller. “It’s essential. It’s part of the fabric of life.”

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heads with such obstreperousness every day in her studio: “My work is not a pastoral landscape or a blend into the background,” says Frankel Fiedler. “It’s very provocative imagery. It’s strong.” And when that’s you, nude, on the canvas, it helps to surround yourself with power pieces—pieces as bold as what you do—and with a supportive partner: “Whether it’s me or a model, this is me on the canvas,” says Frankel Fiedler. “I feel like these guys live with us. And I’m glad they do. They’re occupants as much as we are.”

Opposite page, clockwise from top left: looking toward Fiedler and Frankel Fiedler’s kitchen and studio; Fiedler’s collection of African miniature “power pieces”; Fiedler and Frankel Fiedler; their livingroom fireplace; this page, clockwise from top: Frankel Fiedler’s studio; Susan York’s Untitled (Tilted Bar) in Holleyman and Keller’s well-lighted stairway; Holleyman and Keller in their dining room; the guest bedroom, with Ramona Sakiestewa’s Nebula A, B, C triptych; the living room, showcased by their favorite piece, Eugene Newmann’s Datura Deposition

Walter, striking a pose in front of Holleyman and Kellerâ&#x20AC;&#x2122;s dining room table and Robert Kellyâ&#x20AC;&#x2122;s Nocturne X and XI.

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a river runs

through it Val Kilmer has found his slice of paradise, and now he wants to share it with others

by Devon Jackson photography by Douglas Merriam

Kilmer in Comanche Moon

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The ranch is an incredible place. For years I searched for a home that embodies the wild spirit of the Southwest, and when I found the Pecos

River Ranch, I knew just how special the land was. It is impossible to put into words its beauty and power. It’s a healing place. The land is transformative. Everyone who visits has a positive experience and leaves feeling better.

Not only the land, but its proximity to Santa Fe has incredible allure.

The property is in a remote wilderness setting, bordering two national forests, yet it’s 30 minutes from Santa Fe, with easy access from I-25, three underpasses, and a great road system. The ranch is on 6,000 acres, with six miles of the Pecos River. It’s only 35 miles from the headwaters and has more than 10 natural springs. More than 50 miles of hiking and riding trails traverse multiple ecotones in a diverse and ruggedly beautiful setting. A visitor can be transported to another world in an afternoon, observing the abundant wildlife along the Pecos River, and still catch dinner and a movie in town later that day.

Before I bought the land, it was cattle-grazed. For more than a decade, we have carefully restored the former cattle ranch to its native splendor. In the last 10 years, Pecos River Ranch has been a shelter for local wildlife, as well as a release site and a new home for rehabilitated wildlife.

The people of Pecos River Ranch not only harbor a deep respect for and interest in the ecosystem and the natural communities of the land but continue to serve as stewards of the wildlife community.

We work closely with the Española Wildlife Center and its founder,

Robert Voets/CBS

Currently involved in no fewer than six film projects (including development of his own script, based on the epistolary quasi-relationship between Mark Twain and Mary Baker Eddy, founder of Christian Science), Val Kilmer has been dividing his downtime among whatever film set he’s on, his home in New York, his home in Malibu, and the jewel in his residential crown, the Pecos River Ranch. Large enough to fit nine Central Parks, the ranch holds Kilmer’s 23-year-old home, as well as the River House ( home to his ranch manager) and the Reed House (named for frequent guest Lou Reed ), all of which abut the mesmerizing Pecos River. The ranch has recently gone semipublic, opening its doors to whoever’s willing to pony up the reasonable expense of $200 per night per person for a casita—or for a room in Kilmer’s own digs or in one of the two other riverside abodes. Here, in his own words, Kilmer talks about his life on the ranch, what it ’s given to him and his friends and family, and what it can offer others:

Opening pages: Kilmer’s backyard is the Pecos River; opposite page: the main room in the main house, where Kilmer, and guests, can unwind, jam, read, and “conversate”; top: one of the many hikeable, horseback-rideable meadows along the river; above: the living room of the River House

Dr. Kathleen Ramsey. Pam Sawyer, our ranch manager, is on the center’s board. We have released more than 100 rehabbed animals back onto the property. Right now Pam is fostering three mule deer fawns and a baby elk.

Game and fish officer Phil Howes is a resident and employee of the ranch. He manages protected wildlife, human/wildlife interactions, education, habitat/wildlife population trends, and wildlife law enforcement as a certified peace officer for the state of New Mexico. He was voted Officer of the Year in 2009. His goals are to preserve and enhance the diversity of native wildlife and vegetation on the property and in the local area, to document the existing wildlife on the property, and to suggest ways to improve habitats for a maximum diversity of native wildlife. Phil’s wife, Diane, has a biology background, knows the property intimately, and loves giving nature tours and sharing the land with others.

Because the land is unique, it’s meant to be shared. My goals have always included sharing the ranch and celebrating and conserving New Mexican wildlife and wild lands by cultivating sensitive and positive interactions between people and nature.

I don’t consider our lodging guests strangers. We’ve had new friends join us in celebrating the beauty and inspiration that comes from quiet time by the river.

Mary Gavin, the inspiration for the state’s Natural History Museum and a designated Living Treasure of New Mexico, lived and raised her children on the ranch for 18 years. During my divorce, she testified at the custody hearing that the ranch was a “healing place.” My son just said how proud he was to have been born here in New Mexico. october/november 2010

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a river runs

through it

“I have grown in generosity of spirit.

I no longer covet my home as a possession.”

Val Kilmer

The view from inside the dining room of the guest house, looking across the breezeway to Kilmer’s main house.

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Above: the front porch of the River House; right: some of Kilmer’s cowboy hats

When someone recently asked him what it’s been like being here, he answered, “You carry the pure air and the land’s true independence with you wherever you go. God bless Dennis Hopper.”

I have grown in a generosity of spirit. I no longer covet my home as a possession. I have gained strength from nature’s prevalent examples here. I have been struck by the mighty ponderosa and the grace of the mountain lions running, the beavers goofing in the river at dusk, the eagles, and the peregrine falcons soaring over my head. I now carry my home in my heart.

Liz Lake, an artist who also works at the ranch, came here from the East Coast about a year ago, and we have had many conversations about the intangible, magnetizing power of this place. The land is the ultimate inspiration for creativity and growth. I guess that’s one reason they call this the Land of Enchantment. It does that to people. We started a small blanket company based on New Mexican imagery because we wanted to impart regional designs that share meaning specific to this place while doing good at the same time. Like the Pecos River

About ten years ago, when I first visited Val Kilmer’s ranch, he appeared to be in midswing of a quasi-hiatus from acting. What with having “left” Hollywood for New Mexico, his film career since The Doors, Tombstone, and Batman Forever may have cooled off box office-wise but it has been no less interesting (witness The Salton Sea, Kiss Kiss Bang Bang, Felon). Quick-witted, self-effacing, charismatic, and private, Kilmer had seemed to have found a refuge in his ranch. A sanctuary. Back then, it was idyllic; today, it’s downright edenic.

It’s greener now, the river’s healthier. There are more plants and animals. There’s a feeling of coexistence and reciprocity. It’s as close to an ecoconscious bachelor pad—now with lodging—as one can get. And no small part of that credit for the property’s transition/transformation should go to Kilmer and his live and let live philosophy vis-à-vis the land and its denizens. As he put it in that September 2001 issue, “I’d rather spend money on creatures and plants and birds than a Ferrari.” And so he has.—DJ

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a river runs

through it

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Ranch, it’s all about sharing. We donate proceeds to causes important to me and to this area.

My favorite spot on the ranch is wherever I am standing with friends when they get speechless. The view from the porch made Josh Brolin unable to talk—for a bit anyway—and Tommy Lee Jones didn’t say much even on the driveway leading into the ranch. Those moments say it all.

Opposite page: one of the Pendleton blankets designed by Kilmer and Liz Lake, inspired by Mimbres figures; this page, top: the backyard of Kilmer’s main house, where guests can relax on the porch or on the grass (the oblong stone is one of the many shiva lingams Kilmer has casually strewn about the property); right: no, it’s not a hunting lodge, it’s the dining room in Kilmer’s main house; above: the breezeway between Kilmer’s main house and one of the guest houses, which looks out onto the river. october/november 2010

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art

openings | events | reviews | people

It’s the rare artist who can capture and convey the energy of nature on a two-dimensional surface. Lynn Boggess, whose work can be seen at Evoke Contemporary, 130 Lincoln, 505-995-9902, evokecontemporary.com (October 15–November 15, reception October 15, 5–7 pm), is one. His plein-air paintings of the backwoods forests and rivers in his native West Virginia pulsate with dynamism and movement; they’re wide-awake with color, light, and perspective. Using variously sized cement trowels as his brush allows Boggess to take himself and the viewer far beyond the soft focus of the Impressionists, the American Luminists (even beyond the action paintings of Jackson Pollock), past the world of trompe l’oeil, and into one verging on the perspectival layers found in Marcel Duchamp’s ingenious viewfinder tableau, the Étant Donnés. Where Duchamp united the sublime to the disturbing, Boggess aims only for the former—and often arrives at something very much like transcendence. Like nature itself.—Devon Jackson Lynn Boggess, 6 August 2010, oil on canvas, 30 x 26", courtesy Evoke Contemporary october/november 2010

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art of light, art of life t he salvational str ug gle s of Geoffre y Laure nce

by De von Jack s on

If it hadn’t become his burden—duty, passion—to try to find a meaningful artistic response to the Holocaust, Geoffrey Laurence probably would’ve found himself an equally metaphysical life struggle, even if he’d ended up a car salesman, a baker, or a painter of rainbows and kittens. Imagine a Saul Bellow character come to life in the form of Gabriel Byrne, only bald. Laurence, 60, is charming and erudite, questioning, a bit tortured, a bit saddened, a wicked mimic, self-effacing, and humble. And given his enormous talent, his technical virtuosity, his dedication, the beauty and intensity of what he creates, and the inexplicable pull of his paintings, he deserves far more recognition and acclaim than what’s come his way. Is he toiling away in obscurity out here in the high-desert terrain, an ocean away from his roots, from the hoopla of New York and L.A. and Art Basel? Does he care? “It’s not an ego that’s painting these things,” he says from his studio in Santa Fe. “It’s a mystical experience. I don’t care what happens outside that door.”

Not that he doesn’t want what he creates to get beyond that door and out into the world, and to serve as some sort of catharsis for himself and all the relatives he lost in the Holocaust. “By exploring my deeper psyche,” he says, “I might be able to contact more people and help them in some way—though it’s very difficult to do that in an era of Damien Hirst selling jeans. It’s difficult to hold that as a truth. But I have to. I have to cling to my beliefs.”

Laurence was born in 48

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Patterson, New Jersey, in 1950; he and his parents moved to Britain four years later. He left home at age 15 to go to art school, but he didn’t—couldn’t— paint the Holocaust until 1996.

That was the year he faxed his mother with one question: Am I Jewish? Until then, he hadn’t known for sure. His father, Alfred Edward Laurence, from Silesia (now part of Poland), had been in Dachau until an Englishman, Geoffrey Wells (whom Top: Zyklon, oil on canvas, 42 x 34"; above: Geoffrey Laurence is named after), Laurence working on one of his canvases; below: bought him (yes, bought him). study for Nightgames, oil on canvas, 35 x 22" He later got himself into the U.S. Army and because of his personal knowledge of the concentration camp was among the troops who liberated Dachau. After emigrating to the United States, Alfred married Laurence’s mother—also a Holocaust survivor, also a native of Silesia. They’d known each other before the war, as teens, and recognized one another one day while walking through New York’s Washington Square Park.

In 1992 Laurence, having worked as an illustrator, graphic designer, and photographer, and recently divorced, moved from the United Kingdom to New York, hoping to refine his love of the classical style of painting at the New York Academy of Art. “When everyone was looking at Brillo boxes, I was looking at Bronzino,” he says of the early nineties anti-figurative period. “It was disillusioning, but I stayed. It was like that line out of Hermann Hesse: You have to cross the river to know you don’t have to cross the river.”

After receiving his master’s degree, he moved to New Mexico. Cold turkey.

In New York he’d become pals with Eric Fischl, Julian Schnabel, and others— but the night he and his girlfriend were mugged, that sealed the deal. He was out. About a year later he met his future wife, figurative painter (and designer

courtesy skotia gallery

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PROFILE

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PROFILE of the 2010 Lincoln “Shield Cent” penny) Lyndall Bass, at a Club International aerobics class. “What Santa Fe and New Mexico are really good for is making work,” says Laurence. “You can explore your internal landscape very easily here.”

Explore it, mine it, refine it, struggle with it he has. Neither an absolute realist nor a modern-day classicist, Laurence falls somewhere in between and outside both categorizations. He calls himself a feelist—feeling around for the best way to get an emotional response that’s timeless, not transitory. “I try to make imagery that’ll sit in your mind and turn over and over, the way the classical painters did,” he says. “I like the idea of going back to a painting again and again and getting something new out of it each time.”

His paintings are gorgeous, off, odd, and Odd Nerdrum-y; classically informed, contemporary, and expertly rendered. Whether of John Wayne in the supermarket or of Zyklon-B canisters (which held the gas the Nazis used to kill millions), they exhibit what’s known among Judaic linguists as antiphrasis, a

kind of Talmudic Yiddish doublespeak, as when a cemetery is termed dos gute ort (“the good place”) or beys khayim (“house of life”). Not exactly euphemisms, in Yiddish antiphrases are called losh sgeynehoyr—“language rich in light.” Laurence’s Zyklon canisters are an example of this opposite-think, as are his epic canvases of Jews in their concentration camp garb crossing a Stygian river into oblivion.

He renders these otherwise awful pictures with such grace and care that as melancholy, bitter, and sad as they may be, there’s also a tremendous amount of light in them. Redeeming light. Salvational light. “It’s important for us to find ways to contact our subconscious as well as our conscious world,” says Laurence thoughtfully. “To me, art’s not about marketing a product. It’s a form of prayer. A way to connect with a higher power.”

Geoffrey Laurence’s Inheritance runs October 1–October 31 at Skotia Gallery, reception October 1, 5–7 pm, 150 Marcy, 505-820-7787, skotiagallery.com

all in the family t he C lifts — comin’ down in t hre e -pa r t ha r mony If there’s a gene for rigorousness, the Clifts certainly have it. Artistically, intellectually, and spiritually, William (“Bill,” 66) and his children Will, 31, and Carola, 36, pursue their art with a level of seriousness and tenacity that might prove crushingly intimidating were it not for their disarming personalities. (Bill’s wife, Vida, 69, and their oldest daughter, Charis Clift Jones, 39, are no slouches in the department of self-motivation either. Vida, who emigrated from Lithuania after World War II, put herself through Radcliffe and Berkeley before teaching English at St. John’s College here in Santa Fe. Clift Jones now lives in New York City and runs her own art handling firm.)

“We share a certain sensibility,” says Bill, who grew up in Boston and got his first camera (a Polaroid) at age 10, at 15 took a workshop with Paul Caponigro (later, Carola’s godfather), learned to inject feelings into his pictures when he operated an architecture and yearbook portrait studio from 1963 to 1970, married in 1970, moved to Santa Fe in 1971, and took his first pictures (of many) of Shiprock in 1973. “Luckily,” he says of Will and Carola, “they never had to distinguish themselves from each other or me.”

Disavowing any innate talent (“I’m a good dowser,” he says. “My pictures have more to do with being open and sensitive and working hard”), Bill firmly espouses the uncomfortable, the difficult, the way of the loner. All are traits Will Clift, Enclosing Form, Round, wenge, 25 x 30 x 2" Will and Carola have embraced as well. Bill self-published his first book in 1987 (shortly after leaving the gallery world) and still self-publishes (“so I don’t end up blaming other people”). “If I can keep looking at something and Owings (of the late Owings-Dewey Gallery) and then to showings with both it’s still a challenge,” he says, “that’s what I’m looking for.”

Owings in 2000 and Wendy Lewis’s Photo-Eye Gallery in 2001. She’s been a Carola’s paintings (abstract watercolors) and photographs (aerial shots of the full-time artist ever since, and in true Clift fashion she works rigorously if intuiWest and pictures taken from her car along interstates) are as dowserlike—and tively. “I’m not trying to translate a preconceived idea,” she says of her methods. intriguingly gorgeous—as her father’s work. “There’s a great deal of intuition “All my work takes place just beyond the edge of my understanding.” in all our work,” says Carola, a wunderkind pianist until she got to UC–San Will Clift (yes, they’re relatives of actor Montgomery Clift) followed no Diego, where “music went from something inside of me to something outside more a prescribed path to his art than his father or sister. However, despite of me.” Disillusioned, she took a sabbatical, bought a camera, traveled, started double-majoring in integrative design and engineering, master’s work in painting, went to museums, got reinvigorated, and returned to school. management science (all at Stanford), and a three-year stint at Denver’s Rocky After she graduated, she came back to Santa Fe, intending to stay only a Mountain Institute (a natural resources think tank), Will seemed almost descouple months. But a fateful exhibit with her father led to a gig for Nathaniel tined for sculpting from early childhood. october/november 2010

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courtesy will clift

by De von Jack s on

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PROFILE

While his parents were building their house in Las Campanas, young Will supplemented his wooden toy set with spare scraps of wood. For a high school physics assignment on equilibrium, he cobbled together three pieces of wood.

“That was my first cantilevered selfbalancing structure,” he recalls. “It was not an artistic endeavor.

It was an experiment in gravity and form equaling balance.”

Now drawing upon a huge stock of decontextualized bits of form, and always open to skid marks on the street, the line of someone’s neck, and a blade of grass, he Top: Carola Clift, 7 April 2008, watercolor, 10 x 10"; below: Bill Clift, La Mesita, photograph, 13 x 19" takes pictures, makes

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sketches, and creates elegant finished pieces that explore the way we occupy and move through space and that suggest that movement in static objects. His work is not unlike that of sculptor George Rickey—but in wood rather than metal.

He also admires Richard Serra, who relied on mass (whereas “I rely on a lack of mass and stability,” says Will, “but there’s a similar visceral physicality”). His pieces are never glued together, always balance on their own, and demonstrate his continuing fascination with curves, which in his sculptures reflect those in our own bodies and one another.

“There’s a lot more dynamism in a curving piece,” he says. “Once you work with linear elements, you lose the connection to the human body, to the natural quality of balance and how we understand it. These are different ways of exploring balance and its impact on the viewer. I’m trying to delve into something more subconscious, not just to make pretty pictures out of wood balancing together.”

His sculptures could even be seen as reflections of the ways he and his family have found a balance. “We’re similar,” he says, “in that we all have followed our own distinct way.” Gracefully, if rigorously.

Gerald Peters Gallery hosts Will Clift’s latest sculpture show, October 1–November 13, reception October 1, 5–7 pm, 1011 Paseo de Peralta, 505-954-5700, gpgallery.com; William Clift’s photographs can be found at williamclift.com; Carola Clift’s work at carolaclift.com

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PREVIEWS

curiouser and curiouser t he extra-ne s s of Kat he rine Lee

by De von Jack s on

quotation marks—that gives Lee’s work such power and holds out promise of ever more promising work in the future.

“These drawings come from angst, from my general outlook on the world, which can be bleak,” she explains. “I don’t think people change that much or are that good. But I don’t try to change anyone through my work. I don’t probe too much.

“What I make doesn’t come from understanding,” she adds. “It comes from a curiosity.”

Katherine Lee’s latest exhibit, Animal Violence and Topless Women Eating Jam, runs October 29–December 4 at 8 Modern, reception October 29, 5–7 pm, 231 Delgado, 505-995-0231, eightmodern.com

top: courtesy 8 modern; bottom: courtesy dana waldon

My thoughts on Katherine Lee: She’s gifted and she knows it. She’s all of 25, perceives herself as three times that age, but could pass for 17 (although a tough 17). She has a babyish face, but her carriage, attitude, demeanor, and persona are assertive, surly, irreverent, and glib—ways of being that probably set in during early childhood in Iowa (where she grew up with an older sister, a twin brother, a father employed in emergency management, and underwriter mother), amid so many other fair-haired, fair-skinned, fairbehaved girls. And even if she wasn’t a tomboy growing up, she could pass for a tomboy now—a Patti Smith sort of tomboy. What does all this have to do with her art? Nothing. Everything. In my mind, these are all healthy, even necessary, artist qualities.

Random as she says her life has been—that she grew up in Iowa, that she ended up at the College of Santa Fe, that she works at Backroad Pizza part-time (that she rides motorcycles and has painted images of hostages and time travel in her living room?)—it all seems to have come together. Or started to. When discussing her art, she could just as easily be referring to her life. “I generally make work in a mixed-up way,” she says from her Baca Street home studio. “There’s a certain amount of buildup. I’m ambitious, but I also feel work taking time to develop. It needs that pause, that rest, that time in between.”

It’s that time in between—in between randomness, in between order; it doesn’t matter—where artists find that sweet, that funk, that gushy stuff.

Stuff that Lee came up with in her Hostage series—works reminiscent of Gerhard Richter’s Baader-Meinhof cycle but not as specific, texturally richer, and of an entirely different (read American) sensibility. A sensibility Lee feels got misread. “I thought they were preposterous, but a lot of people didn’t see them as preposterous. They took them seriously,” says Lee. “Some people took it to a psychological place: We’re all hostages in our minds. Others saw them as bondage. They were trying to interpret them the ‘right’ way.”

Perhaps frustrated by those responses, and bored with the Hostage format (“They were getting to be cookie-cutter”), Lee switched over to landscapes—or cityscapes. People-less streetscapes where her interest lay in figuring out how architectural objects fit into certain spaces. Whether or not the works succeeded critically was secondary to Lee’s overall goal. “If the paint’s laid down nicely,” she declares, “it’s a good painting. It interests me.”

In her most recent works, though, she seems to have swung back to the “dark and tantrum-y,” as she puts it, with drawings of dogs gone wild and nude women. “Nude women never go out of style,” says Lee a bit glibly, though not so glibly—since it’s true. Recalling the days when her parents would take her to the Art Institute of Chicago and expose her to paintings of big, strong women—nude—surrounded by cherubs, Lee maintains it’s the formal, material aspects she’s after, not politics, not statements.

Antithetical to the “look at it once and you get it” quality of most artwork nowadays, she’s constantly in search of that extra-ness—even if it’s a tad too much. “I’m trying to get the drawings more gruesome, to make something wrong—gruesome, fucked up,” says Lee. “I’d like them to be more than a trifle.

But I’m not an intensely perverted person. I have to work at it. It’s difficult for people to reckon with that.”

It’s this self-awareness—a self-awareness not steeped in irony, not laden with

Top: Animal Violence, Fiesta 3, pencil and transferred color, 25 x 29"; above: Katherine Lee playing hostage october/november 2010

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Fatima Ronquillo, Soldier Attacked by Bees, oil on panel, 8 x 6"

Ralph Lee Hopkins, Baja #10, archival pigment ink print, 24 x 36"

Ralph Lee Hopkins & Huntington Witherill Verve Gallery of Photography, 219 E Marcy, 505-982-5009 vervegalleryofphotography.com October 22–January 6, reception October 22, 5–7 pm Hopkins, based in Santa Fe and the founder and director of photography expeditions for the Lindblad/ National Geographic Alliance, specializes in nature at its most poignant: penguins marching down a snow-covered hill that looks like a classic Japanese ukiyo-e painting, glaciers in all their ice-blue glory, and compositionally bedazzling contrasts of earth and sky, rock and water. Witherill hails from an equally impressive photography background (he studied with Ansel Adams and Wynn Bullock, and has participated in over 100 exhibitions). He offers stunning black-and-white shots of waterfalls, gorges, and forests; architectural photos emphasizing the interplay of light and shadow, angles and framing; and abstract details of classic automobiles. Lately, his digitally enhanced versions of various flora and fauna are as painterly as the works of the Pre-Raphaelites. —DJ Michele Mikesell Chiaroscuro Contemporary Art 702 ½ Canyon, 505-992-0711 chiaroscurosantafe.com October 22–November 20, reception October 22, 5–7 pm Chagallian, circuslike, decidedly Eastern European in flavor, and purposefully strange, Mikesell’s portraits of anthropomorphized animals, animal-human hybrids, and otherwise disembodied critters and humans push weird into a wonderfully odd new world. Decapitated (or never capitated) heads float above tubelike necks and bodies. Inert, distorted faces stare out from behind hats, masks, and skullcaps, and all exist in a colorless field of nothingness.

It’s the eyes, though, which Mikesell cleverly and wisely renders with exacting and utmost care and feeling, that really haunt afterward, imbuing each painting with emotional depth and complexity.—DJ Michele Mikesell, The Duchess, oil on birch, 30" x 40"

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Fatima Ronquillo: Wondrous Journey Meyer East Gallery, 225 Canyon 505-983-1657, meyereastgallery.com October 15–29, reception October 15 5–7 pm You either love this sort of cheeky classical style or you loathe it. Botero fans, and appreciators of an appreciator of Titian and Rubens and their contemporaries, will dig it (as I do). Why? Because Ronquillo, a self-taught Filipino immigrant now living in Santa Fe, unlike most educated painters who dip their brushes into this genre, embraces her forebears not just intellectually but with her heart as well. Honest art is art worth paying attention to.—DJ

David Phelps, Warren Watch, steel, stone, and bronze, 12 x 12 x 12"

Art for Animals Hahn Ross Gallery, 409 Canyon 505-984-8434, hahnross.com November 26–­December 10 reception November 26, 5–7 pm From dogs and cats to horses and dragons, critters of all kinds inspired the playful paintings, mixed-media pieces, and sculptures in this six-person show, a benefit for the Española Valley Humane Society. Joel Nakamura’s whimsical, otherworldly dreamscapes shine, as always, and David Phelps’s animal sculptures go beyond the typical with mixed materials and unexpected composition.—Dianna Delling

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PREVIEWS

Heather Foster, Still Talking, acrylic on canvas, 48 x 60"

Heather Foster: Free Rein Peterson-Cody Gallery 130 W Palace 505-820-0010 petersoncodygallery.com November 5–30, reception November 5, 5–7:30 pm Artistic depictions of western ranch life can be overly earnest.

But Foster’s oil paintings of cows and cowboys balance reverence with lightness. Her bovine subjects look like gentle, lumbering giants, the ripples of their mottled coats rendered in a post-impressionistic style. Foster raises the animals to some higher artistic if not spiritual status—the way Wayne Thiebaud altered our views of pastries and gumball machines. The animals look happy, somehow, despite their seemingly mundane existence on the grazing lands (or in some cases rodeos) shown in the background.

The Santa Fe–based artist visits ranches across the Southwest, “hanging out” with the Angus, Jersey, and Texas longhorn cattle that star in her pop-representational work.—DD

Renate Aller, untitled, archival pigment print, 33 x 47"

Yozo Suzuki, Tapered Tressle, mixed media, detail

Yozo Suzuki Linda Durham Contemporary Art 1807 Second Street #107 505-466-6600, lindadurham.com October 9–November 6, reception October 9, 5–7 pm Like quixotic palimpsests of agitprop atop corporate spreadsheets atop identification card photos and odd graphics out of odd old books and journals and historical documents, Suzuki’s panels and mixedmedia assemblages continue to mine the ever-fragile, ever-evolving, ever-fascinating theme of identity. Ominous implications of Argentina’s desaparecidos (the disappeared) hover in the layers upon layers of mixed media here, all drowned and buried but still crying out for recognition beneath gold and silver leaf. But Suzuki, who lives in Santa Fe, also hints at truth and reconciliation hearings, at family portraits of those killed in the Holocaust, in death camps, in forced marches.

Aesthetically sublime, the works can also be seen as totems for reclaiming one’s individual autonomy from what French social theorist Guy Debord called the “society of the spectacle.”—DJ

Jason Roberts: Acrylic Painter Canyon Road Contemporary Art, 403 Canyon 877-983-0433, crcainc.com October 1–10, reception October 1, 5–7 pm The building blocks for Roberts’s modular, rearrange-able sculptures are in fact blocks—five-sided cubes cleverly constructed from his abstract acrylic-on-wood paintings. Each side is an original work depicting an abstract figure, still life, or New Mexico–themed landscape, and each could stand on its own. In fact, Roberts creates similar paintings as standalone pieces. Bright colors and cubist elements recall both Matisse and Picasso, but while Roberts studied painting in France, he cites the drag culture of his former hometown, Palm Springs, California, as an inspiration for some of his figurative works.—DD Jason Roberts, Santa Fe Block Set detail, acrylic on wood, blocks 6 x 6 x 6"

Josh Rose, White River 2, acrylic and glitter on canvas, 64 x 56"

Ron Pokrasso & Josh Rose Zane Bennett Contemporary Art 425 S Guadalupe, 505-982-8111 zanebennettgallery.com October 15–November 13, reception October 15, 5–7 pm Accomplished, engaged, and inquisitive, both these artists live and work in Santa Fe. Pokrasso’s a mixed-media tour de force whose gargantuan collages often beat David Salle and Julian Schnabel at their own game; they’re deeper and more fun, and they pulsate with more thought, more feeling.

Rose fashions Lite-Brite-ish, symbol-heavy abstractions revolving around the iconography of the circle. Most are made of acrylic and glitter (!), and while they may owe a bit to Australian aboriginal painting, they’re nonetheless Rose’s own and just downright gorgeous.—DJ october/november 2010

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PREVIEWS

Michelle Cooke Box Gallery, 1611 Paseo de Peralta 505-989-4897, boxgallerysf.com October 8–November 13, reception October 8, 5–7 pm Cooke’s past installation pieces at Box—crystal-clear glass slides attached perpendicularly to the wall in sometimes sprawling configurations, were barely there, airy explorations of light and shadow. Her newest glass works are similar but no longer site-specific. Constructed on wood panels and enclosed in Plexiglas, they now have defined boundaries, but what goes on inside is just as provocative and ephemeral. Cooke’s drawings, in India ink on various papers, share the gallery stage. Their wispy lines and highly demonstrative tones further demonstrate her fascination with strength and fragility. In each medium (she also makes sculpture, though it’s not included here), she creates art that appears almost weightlessly graceful but exerts plenty of power.—DD

Michelle Cooke, Double V, glass and panel acrylic, 16 x 1 x 4"

Stephanie Shank The William & Joseph Gallery, 727 Canyon 505-982-9404, thewilliamandjosephgallery.com October 1–31, reception October 1, 5–7 pm Known for her large, abstract expressionist tableaux, Shank brings in another batch of go big or go home–sized canvases (5 x 5 feet). While her vibrant panels certainly engage immediately and superficially, they also reward upon closer examination. Using varying degrees of abstraction, Shank works with color and gesture to capture the emotion and irrationality of organic forms. Her oeuvre emphasizes the spontaneous and authentic to challenge the viewer’s traditional ways of seeing.—Mendy Gladden Stephanie Shank, Crocus Venus, acrylic on panel, 3 x 3'

Robert Marchessault, Alcazar, oil, 30 x 30"

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Robert Marchessault McLarry Fine Art, 225 Canyon 505-988-1161, mclarryfineart.com October 8–22, reception October 8 5–7 pm As if preserved in amber, or sometimes looking like long-lost daguerrotypes of otherworldly trees, Marchessault’s haunting studies of single trees have an almost hypnotic appeal. Their size and the way he blurs maybe not every detail but the overall aspect of his subject only enhance their poetic qualities.

Not unlike the way Monet’s Haystacks managed to invoke questions about the human condition, Marchessault’s oils have an equally meditative effect.—DJ

Landscape 2010 New Concept Gallery, 610 Canyon 505-795-7570, newconcept gallery.com, October 1–31 reception October 1, 5–7 pm In conjunction with the Santa Fean’s Paint Out Festival, New Concept hosts works by three plein-airists. Southwestern landscapes are the starting point for Cecilia Kirby Binkley, Albert Hopkins, and Linda Petersen.

Painting in Chama, Abiquiu, and La Cienega, Binkley creates colorful abstract landscapes characterized by bold brushstrokes and thick layers of paint, bringing to mind impressionism viewed by neon lights. Hopkins, who frequently paints in the mountains of Colorado and New Mexico, captures the atmospheric sweep of riparian scenes and alpine vistas, yet an emotional frankness lurks behind his palette’s subtlety. In a more traditional vein, Petersen crafts lovely scenes of Santa Fe and other regional landmarks, putting her brush on what makes us all fall in love with the Southwest.—MG

Cecilia Kirby Binkley, En el Bosque, oil on canvas, 48 x 60"

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PREVIEWS Georges Mazilu Turner Carroll Gallery, 725 Canyon 505-985-9800, turnercarrollgallery.com Through October 20 Mazilu, a Romanian-born Frenchman, paints whimsical characters that could be the offspring of Hieronymus Bosch and Salvador Dalí (only with far more attention paid to the grotesqueries of the face and body as opposed to grotesque acts or distortions of objects). Carpathian folklore and European masters seem to hold equal sway over the artist’s darkly humorous imagination. Each painting begins with abstract improvisations, after which Mazilu gradually shapes the work into something more representational, if always a little absurd—and at times charmingly grotesque.

Imagine a Rembrandt painting of a perverse and poignant puppet show, maybe directed by Terry Gilliam. Mazilu’s characters inhabit a psychologically and aesthetically rich world, reflective of the artist’s inner life.—MG

Joseph Breza, Enchanted Abiquiu Moment, oil, 30 x 40"

Joseph Breza Canyon Road Fine Art 621 Canyon, 505-988-9511 canyonroadfineart.com October 5–11, reception October 8, 5–7 pm A critic once wrote of the great 18th-century French painter Jean-Baptiste-Siméon Chardin: “The world he imposes on his figures is a closed world, a stopped world . . . a world at rest, a world of ‘infinite duration.’” That same description applies to Breza’s new works. His still lifes and landscapes—of flowers, of seasons in France, of seasons in New Mexico—extend in time and feeling the longer one spends with them.—DJ Georges Mazilu, L’espion, acrylic on linen, 18 x 22"

Susan York James Kelly Contemporary, 1601 Paseo de Peralta 505-989-1601, jameskelly.com October 15–November 31, reception October 15, 5–7 pm York, based in Santa Fe, cites both William of Ockham (via Dan Flavin) and childhood cartoons as influences for her latest cycle of site-sensitive graphite sculptures—and it’s easy to see one of Wile E. Coyote’s anvils falling from a desert cliff in the hovering weight of her black bars. Minimalist tension and tranquility are also evident as the sculptures’ nearly magnetic pull leads the viewer to contemplate a host of dualities and contradictions. Somehow absence and presence reside simultaneously in York’s forms. Likewise, the theoretical aspects of the work are undercut by the personal touch evident in the graphite’s texture. York has labored lovingly to create shape and texture by hand.

The imposing is rendered inviting, and we’ll gladly step closer.—MG

Susan York, Untitled, kiln-fired solid graphite, 7 x 4 x 17" october/november 2010

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SPECIAL ADVERTSING SECTION

Alexandra Stevens Gallery of Fine Art Victoria Taylor-Gore, The Motel, pastel, 9 x 11"

Taylor-Gore’s work depicts simplified architectural and landscape forms in a distorted perspective, seamlessly blending the pastels in smooth color transitions. Her show All Things Great and Small opens Friday, November 26, 5:30–7:30 pm.

820 Canyon, 505-988-1311, alexandrastevens.com

Mark White Fine Art Hunter Kirkland Contemporary

Leslie Tejada, Zirconia, oil on canvas, 48 x 66"

Hunter Kirkland Contemporary announces the opening of their annual New Work Show, Friday, October 15 5–7 pm. Leslie Tejada’s oil painting, Zirconia, will be featured along with new paintings and sculptures by HKC stable of artists. Come and enjoy this special evening with us—October 15 2010.

200B Canyon, 505-984-2111, hunterkirkland@earthlink.net, hunterkirklandcontemporary.com

the

gallery ART SHOWCASE

VERVE Gallery of Photography

Brigitte Carnochan, Butterflies (from the Floating World series), archival pigment ink print on Japanese Kozo paper, 15 x 15", edition of 15

The Floating World series was inspired by a volume of poems written by Japanese women from the 7th through 20th centuries. Brigitte Carnochan’s photographic interpretations use the beauty of the natural world to serve as the primary metaphor for these poems that center on the longing, mourning, and pondering of love.

219 E Marcy, 505-982-5009, vervegalleryofphotography.com

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Departure, patina on engraved aluminum, 20 x 20"

Mark White’s explorations using patinas on engraved metal, compose the beauty of movement and color in a way not seen before, reflecting light like a three-dimensional object. These exquisite copper, aluminum, bronze, and stainless-steel canvases will draw you into the beauty of his imagination.

414 Canyon, 505-982-2073

SPECIAL ADVERTSING SECTION

New Concept Gallery Cecilia Kirby Binkley, Aspen Hill, oil on canvas, 36 x 30"

Santa Fe P.S.

Cecilia Kirby Binkley is featured in the exhibit Landscape 2010.

She shows brightly colored abstracted landscapes with strong brushstrokes and heavily layered paint. Much of her work for the past twenty-seven years was painted in northern New Mexico and Colorado.

Robbie O’Neill, Nene and Friends

Nene and Friends opens Friday, October 15, 5–7 pm, featuring drawings of four little girls from different cultures with one-of-a-kind art dolls patterned from the images. Come meet Nene, Marie, Lola, and Jerry Ellis, and emerging artist, Robbie O’Neill.

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

418 Cerrillos Road in the Design Center, 505-690-2700 santafeps.net

Wheelwright Museum of the American Indian

From May 15, 2010, through April 17, 2011, the Wheelwright Museum presents Nizhoni Shima’: Master Weavers of the Toadlena/Two Grey Hills Region. This exhibition features iconic textiles dating from 1910 to the present. Included are masterworks by Daisy Taugelchee, Bessie Manygoats, and Clara Sherman. Open Monday–Saturday 10–5, Sunday 1–5. Free admission. Donations encouraged.

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

Frank Howell Gallery David Owen, The Omen, 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

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Pablo Milan Gallery Pablo Milan, Mystic Journey, acrylic on canvas, 36 x 48"

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Milan captures the colors of his Southwest heritage in bold, but mystical contemporary paintings. Milan is renowned for his painting techniques that include layers of brightly colored washes, splatters, drips, and, at times, heavy texture. 209 Galisteo St, 505-820-1285, thepablomilangallery.com

th Contemporary Hispanic Market The William & Joseph Gallery

The William & Joseph Gallery presents our newest artist, photographer Andrew Mosedale! While We Sleep opens JULY 24TH & 25TH, 2010 SATURDAY AND SUNDAY 8AM-5PM December 17 through January 20, 2011 with a special Lincoln Avenue, Santa Fe, NM next to Historical Santa Fe Plaza reception for the artist December 17 from 5–7 pm.

Preview Show505-982-9404 Friday July 23rd, 5:30-8pm 727 Canyon, At the Santathewilliamandjosephgallery.com Fe Civic Center, 201 West Marcy Street in Santa Fe Light hors d’oeuvres and entertainment

GVG Contemporary

Sculptor and furniture maker Ernst Gruler (whose dining set is shown here) and painter Blair Vaughn-Gruler show their own work as well as the works of other sculptors, painters, and jewelers.

Vaughn-Gruler’s oil paintings will be featured in early October with her show “Geometry and Viscosity,” and a grand opening reception, to celebrate GVG’s new Canyon Road location, will be held October 15 5–8 pm.

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

Robb Rael

10th Annual Contemporary www.contemporaryhispanicmarket.com Hispanic Winter Market For information call Robb Rael at 505-424-6996 Friday, December 10, 1–8 pm and Saturday, December 11, 9 am –5 pm Santa Fe Community Convention Center, 201 W Marcy, for info contact Robb Rael at 505 424-6996 contemporaryhispanicmarket.com

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“Moonlite”

Carol Kucera

Richard Rozinski, Homage VIII, neon and steel, 56 x 19 x 4"

New art for a new century. Richard Rozinski’s iconic metal wall sculptures emit an ambient glow in various colors of neon.

His artworks add a nice counterpoint to our collection of original contemporary paintings, pottery, glass, and photography, reflecting the elegance and mystery of the universe.

112 W San Francisco, Suite 107, 866989-7523, carolkucera.com

O’KEEFFIANA: Art & Art Materials

O N E X H I B I T I O N I N S A N TA F E S E P T E M B E R 2 4 , 2 O 1 O – M AY 8 , 2 O 1 1

O’Keeffiana: Art and Art Materials was organized by the Georgia O’Keeffe Museum. This exhibition and related programming were made possible in part by a generous grant from The Burnett Foundation. Additional support was provided by the Santa Fe Arts Commission and the 1% Lodgers’ Tax, New Mexico Tourism Department, New Mexico Arts (a division of the Department of Cultural Affairs), the Georgia O’Keeffe Museum National Council, and the Members of the Georgia O’Keeffe Museum.

Georgia O’Keeffe, Pelvis IV, 1944. Oil on Masonite, 36 x 40. Georgia O’Keeffe Museum. Gift of The Burnett Foundation (2007.06.001) © 1987, Private Collection

2 1 7 J O H N S O N S T R E E T, S A N TA F E 505.946.1000 OKEEFFEMUSEUM.ORG V I S I T T H E M U S E U M D A I LY 1 0 A M - 5 P M • F R I D AY S 1 0 A M – 8 P M • F R E E 5 - 8 P M F I R S T F R I D AY O F E V E R Y M O N T H REGISTER FOR ALL PROGRAMS ONLINE AT OKEEFFEMUSEUM.ORG

october/november 2010

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Art is the Heart of Taos:

A sacred environment for creativity What is it about Taos that nurtures the creative spirit? Is it the light that drew Georgia O’Keeffe, the scenic beauty captured in Ansel Adams’s work and that of so many landscape artists? (Many artists of today were attracted to Taos because of the scenes painted by Russian artist Nicolai Fechin in the 1920s—visit the taosartmuseum.org to view some of his work—and the colorful people and their traditions and ceremonies.)

Taos Fall Arts Festival

Celebrating 36 years of Taos County arts and culture, the Taos Fall Arts Festival opens September 24 runs through October 11, with three major exhibitions: Living Masters, Taos Invites, and Taos Open.

Renowned Taos artist Inger Jirby is the poster artist.

120 Civic Plaza Drive, Taos, taosfallarts.com

Some will tell you that it started with the rock paintings, drawn over 6,000 years ago and many of which can be seen along the Rio Grande River among the petroglyphs. Others will direct you to Taos Pueblo (a World Heritage and UNESCO site), inhabited by the Native Americans for over 1,000 years and which continues to hold a life rich in tradition and ceremony even today (taospueblo.com). Many of the Taos Pueblo people work with clay, fiber, leather, wood, and stone, creating beautiful sculptures, mica-flecked pottery, handbeaded moccasins, and log drums. Their traditional and contemporary pieces can be seen in the local galleries, museums, and on the pueblo.

Some will point to the rich Hispanic art and traditions carried on today by the santeras and santeros honoring over 400 years of living in Taos. The Spanish settlers decorated their churches and homes in celebration of their faith, creating an art form unique to this area. Many of the Hispanic artists have developed contemporary work based on traditional techniques of painting on wood (retablos), tin-smithing, and woodcarving (visit martinezhacienda.com for examples of this work).

And for some, they will tell you that the art scene as we know it really began in 1898. That’s when the wagon belonging to Ernest L. Blumenschein and Bert G. Phillips, two young painters who were on their way to Mexico from Denver, fatefully writer D. H. Lawrence (a onetime resident) broke down just north of Taos. Blumenschein lost the coin toss and carried the wheel to Taos for repair. That was it, some say. That’s how it all got started—a wagon wheel, fate, two men eager for discovery, and a quiet unspoiled little settlement that had already earned a place in American history.

In 1915 Blumenschein, Phillips, and four other artists formed the Taos Society of Artists (taosartmuseum.org), and soon other creative intellectuals, such as Mabel Dodge Luhan (mabeldodgeluhan.com), D.H. Lawrence, and Georgia O’Keeffe, joined them. Together, they helped create a worldwide reputation for Taos as a center of creativity for artists, patrons, and inspiration seekers.

The combination and integration of these cultures led to the formation of a long illustrious connection to the sacred world of creativity and tradition which continues today. Evidenced by the more modern/contemporary artists: Earl Taos Blue Gallery Stroh, RC Gorman, Agnes Martin, Bea Mandelman, Melissa Zink, and Dennis Hopper; other For the discerning collector, limited-edition, handcut Taos artists like Ray Vinella, Ron Barsano, Robert Daughters, Walt Gonske, Rod Goebel, as well sterling and l4K gold eagle ranger set by Brenda Romero. Also available in this stunning collection are as Ted Egri, Larry Bell, and Alyce Frank, just to name a few. Many of the studios and homes of horse and buffalo buckles and bracelets. the Taos Society of Artists are now historical sites and/or homes to some of today’s artists. The

Taos – “one of the chosen spots on earth”

101 Bent Street, Taos, 575-758-3561,

homes of Blumenschein, Elizabeth Harwood, and Fechin, for example, are now museums on the taosblue.com historic landmark register. And art patron and designer Millicent Rogers’s family created the Millicent Rogers Museum, which contains the core of one of America’s foremost Southwestern arts and design collections (taoshistoricmusems.org).

Others come to celebrate life, enjoy the natural beauty, open spaces and eco-friendly tourism, and to honor and nurture their spirit. Whatever the reason, Taos continues to provide a sacred environment for creativity. So experience Taos and discover why we say: Taos is the ‘Soul’ of the Southwest !

Taos is one of the chosen spots on earth !

Taos is the Original Art Colony !

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Inger Jirby, “Taos Ski Village I ” 36x48”

oil on linen

photo credit: Dan Morse Firefly Studios

Taos Fall Arts Festival 2010 Poster Artist Inger Jirby

Inger Jirby Gallery & Sculpture Garden 207 Ledoux Street, Taos, New Mexico 87575 575 / 758-7333 www.jirby.com jirby@newmex.com Poster available

36th Annual Taos Fall Arts Festival September 24 - October 11, 2010 120 Civic Plaze Drive, Taos, NM www.taosfallarts.com Poster available october/november 2010

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Taos Gallery Association

Continuing the centuries-old legacy of celebrating art and culture, the Taos Gallery Association invites you to walk in the footsteps of the masters: Blumenschein, Fechin, Georgia O’Keeffe, D.H. Lawrence, E. I. Couse, Berninghaus, Victor Higgins, Joseph Sharp, Earl Stroh, Ansel Adams, Andrew Dasburg, and others. taosgalleryassoc.com

The Historic Taos Inn

A Taos Landmark since 1936!

Enjoy our award winning wines and fresh local foods at Doc Martins Restaurant. Sample the Peoples Choice “Best Margaritas and Nachos in Taos” at the Adobe Bar with complimentary live music every evening.

125 Paseo de Pueblo Norte, Taos, 888-519-8267, taosinn.com

The Taos Gallery

Honoring, continuing, and cultivating the legacy of fine arts in Taos on historic Bent Street, the Taos Gallery has positioned itself as a “gateway gallery,” offering a plethora of events and Taos art experiences: a refreshing alternative to art, classes, and workshops.

575-758-3911, thetaosgallery.com, taosartexperiences.com

Candyce Garrett, sculptor

Harmony’s Balance, granite fountain, 7 x 4’ This granite sculpture by Candyce Garrett is muscular and represents the place where material ends and art begins. Her abstracts have a quality that defies easy explanation. The solid forms flow and convey ideas like unity, uplifted spirits, and nature’s symmetry. They are large, substantial statements that signify these essential ideas.

575-937-1486, candycegarrett.com

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Human Line Studio

Love Is Blind: White Corn Leaves Home, mixed-media, framed, 33 x 25" Charming, historic, artist-owned gallery featuring Stacey Huddleston’s contemporary mixed-media paintings, monoprints, sculptures, and ink drawings.

In addition to rotating shows of new works are greeting cards, jewelry, and Keep Calm and Carry On gift items. Visitors and inquiries welcome.

127D Bent Street, Taos, 575-751-3033 humanlinestudio.com

Brazos Fine Art

Jonathan Sobol, Last Summer I Went Everywhere on Cats oil on canvas, 48 x 40" There is a modernist aesthetic in Sobol’s work. It is modernism made new; made gestural. “Modernism really talks to me,” he says, “because of the simplicity it allows. It is sophisticated and demanding, yet simple. It allows for a whole range of expression, of harmony, of human emotions.

119 Bent Street, Taos, 575-758-0767 brazosfineart.com

Parks Gallery

Melissa Zink, Digressions on Aspects of the Letter E, 1988 ceramic and mixed media, 12 x 27 x 16" Melissa Zink, The Figure: A Survey, 1978-2008. For 30 years, Melissa Zink (1932-2009) was among New Mexico’s most original and accomplished artists. Her great skills as a painter and sculptor were devoted to expressions of her abiding love of what she termed the “book experience.” The exhibition includes work from the early ceramic sculpture of enchanted narratives through the late, life-sized bronze Guardians that stand as protectors of the ineffable power of books. Retrospective website at melissazink.com 127A Bent Street, Taos, 575-751-0343, parksgallery.com

Wilder Nightengale Fine Art

Rory Wagner, Rare Earth, acrylic on canvas, 50 x 60" Wilder Nightingale Fine Art represents over 35 leading and regional artists. The works are eclectic. From traditional landscapes in oil, pastel, and watercolor the gallery also offers contemporary and abstract styles. Leading artists such as Ray Vinella, Peggy Immel, Margaret Nes, Stephen Day, 2006 New Mexico Governor’s Award for Excellence in the Arts recipient Rory Wagner, and 2010 New Mexico Governor’s Award for Excellence in the Arts recipient Tom Noble make this gallery a must see when visiting Taos. Wilder Nightingale Fine Art, 119 Kit Carson Road, Taos, 575-758-3255 wnightingale.com

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enchanted treasures Packard’s on the Plaza The beat of the ancestral dance in tribal sands echoes in Hal and Margie Hiestand’s exquisite jewelry. Two-thousand-year-old beads, stones, and coins are fused with gold and silver to build medallions and opulent designs for necklaces, belts, earrings, and bracelets. Select your piece of ancient history at Packard’s on the Plaza.

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

Norma Sharon Enchanting hand-molded cowhide purses in the shape of a human face are surefire conversation starters. Wearable art that evokes the artist within will have your friends and family asking, “Where did you get that purse?” Plaza Mercado, 137 W Water, 505-984-3005 normasharon.com

Boots & Boogie

Tom Taylor Years of experience have enabled Tom Taylor Company of Santa Fe to obtain the finest examples of the beltmakers’ art in each type of belt, and to present the work of several noted Southwestern buckle artists. The result is an unequalled selection of wearable art of exceptional quality and unique design, which will be treasured for years to come.

108 E San Francisco, 800-303-9733 tomtaylorbuckles.com

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 a myriad of 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.

227 Don Gaspar Ave, 505-983-0777 october/november 2010

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KatieO Jewelry These fun earrings are a KatieO original design, and are handmade in our studio. Each boot is hand cut from fine silver and then enameled. Visit our website to see all the colors and patterns available. We also make them into necklaces. 954-638-9118, katieojewelry.com

Charlotte Santa Fe 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

Desert Son of Santa Fe Autumn is all about leather, shearling, and cashmere in these fabulous n.d.c. boots from Belgium, and scarves from Tilo, and new capes and jackets from Henry Beguelin to keep us cozy in the months ahead.

725 Canyon, 505-982-9499 desertsonofsantafe.com

Packard’s on the Plaza 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, packards-santafe.com

Doug Magnus These lightweight chandelier-style earrings look and feel great with turquoise (as shown), coral, or all sterling-silver accents. See the Santa Fe 400 Collection of sterling and sterling and 14K gold. Designs with rare Cerrillos turquoise, exclusive to Magnus. Made in Santa Fe. Also available at Packard’s and New Mexico History Museum.

505-983-6777, douglasmagnus.com

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When designer David Naylor was hired to update this 1980s home off Bishop’s Lodge Road, he used shots of emerald green and a mix of multicultural elements to put a contemporary spin on classic Santa Fe style. “It’s pretty diverse—we’re doing a Persian rug with Moroccan upholstery and an Indonesian table,” says Naylor, who heads up Santa Fe’s Visions Design Group. “I tried to get in many cultures, to celebrate the clients’ well-traveled lifestyle.” Wall art in the living room includes pieces the homeowners picked while globetrotting: Navajo rugs, Native American pottery, and the crosssection of a decades-old teak tree. To complement that piece, which hangs over the fireplace, Naylor found an organic-looking teak coffee table and topped it with a piece of custom-cut glass. There’s a lot going on visually, but as the designer points out, including very different, almost opposite styles, can make a room interesting. “Instead of formal and rigid, I wanted it to be playful and happy,” he says. “This is the client’s second home, so I wanted it to feel like a vacation.”—Dianna Delling october/november 2010

santa fean

KATE RUSSELL

architecture | design | people

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DESIGN

carving her niche

de s ign e r Li s a Sa muel puts a cont e mpora r y spin on t radit ional Ne w Mex ico f u r nit u r e

Lisa Samuel, interior designer and owner of Samuel Design Group, has been working in Santa Fe’s home and design community for the past 29 years.

In addition to decorating upscale homes and businesses in northern New Mexico and Colorado, she’s now designing furniture—sleek chairs, tables, and cabinets that manage to be contemporary while paying homage to Santa Fe’s centuries-old handcrafted traditions. Devon Jackson talked to Samuel about her newest creative endeavor.

When did you start designing furniture?

When I started my interior design firm, in the late 1990s, I found that a lot of clients had a need for a special piece of furniture—something that couldn’t be found at any of the suppliers. It had to be custom made.

What inspires your designs?

I have always been inspired by nature. I want the organic sensibility to really breathe through the pieces I create.

How do you achieve that?

With very clean lines that don’t get in the way of that organic quality. I’m not into curvy stuff. I think texture and contrast are really important.

Your work also has an artisanal quality.

My parents had some furniture in their home that was about 50 years old. It

had been handcrafted by a neighbor in that New Mexico Spanish style. So that’s definitely been a source of inspiration for me. I’ve always really appreciated work that’s been done by hand. And done locally.

You create the designs and then work with local artisans to produce them?

Yes. Jorge Rodriguez is the first one I worked with—and I still work with him.

A lot of what he’s always done is that Santa Fe country type of work, with that rustic country look, which is nice. But I like to bring Jorge things that mix that up with something else. So he usually does very contemporary pieces for me.

Do you work with other local artisans?

Yes. Trent Edwards—he’s wonderful at mixing metal and wood. And I use Fernando Horta when I want some amazing carving. Some of his work is in the Smithsonian.

You were asked to participate in an HGTV design challenge in 2005, and you won for an environmentally friendly great room that included some of your furniture designs, including a gorgeous media center.

The carvings on that piece were based on a textile piece that’s in the Museum of New Mexico and on a piece made by a carpintero from Taos. He’d created a spindle bed for his wife, so the spindles in my piece came from that—from this spindle bed that Gabriel Gente gave as a wedding gift to his bride. I love to build a story into what I design.

You were born and raised in Santa Fe, right?

Yes. I grew up in a large Catholic family—we go back four generations here in Santa Fe. My great-great grandmother was from Taos Pueblo. My mother and father worked all the time in the family business—they owned a grocery store, where the Gold Leaf Framemakers is now. I have 10 siblings, and all my brothers went into the family business.

But you chose interior design?

I first studied architecture and construction in San Diego. Then I moved back to Santa Fe, but I couldn’t get a job with an architect because I was a woman. This was 1979. I ended up working for a civil engineer for a while, then a lighting and furniture store, then I worked for a couple of mechanical engineers. I resented it a little bit because I wanted more, but it turned out to be good training for what I’m doing now.

Any future goals?

I hope to have my own line of furniture within a year.

Top left: a circular end table carved by Jorge Rodriguez; bottom left: a padded bench made out of black walnut.

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LISA SAMUEL

And you studied interior design at Santa Fe Community College?

Yes. I got my degree in 1998. It wasn’t Pratt, but I believe you get what you put in.

I’ve worked very hard. All the dreams I had as a child are definitely my life now.

BOOKs

houses beautiful explor ing Sa nt a Fe ’s rich a rchit e ct ural hi stor y

The Santa Fe House: Historic Residences, Enchanting Adobes, and Romantic Revivals, by local art and architecture writer Margaret Moore Booker, is the rare coffee table book that offers text as rich and rewarding as its colorful photographs (most of which were taken by Rio Rancho–based Steve Larese).

Booker profiles 40 notable structures, from classic Canyon Road adobes to mission-style South Cap bungalows, providing details about each building’s history, architectural influences, and past residents.—Dianna Delling How did you decide which houses to include?

As you can imagine, it was difficult to choose, as Santa Fe has an embarrassment of riches when it comes to wonderful historic homes. I tried to feature houses that retained much of their original material/fabric, but again this was difficult because houses are organic, living, breathing things that have changed so much over the decades and centuries and reflect the different tastes and needs of the various owners who have lived in the homes. When setting up the book, I divided it into chronological and stylistic categories and then chose the best examples I could find for each category. Sometimes

whether or not a house made it into the book had to do with the owners: some owners are very private and didn’t want their homes in a publication— and I respected that privacy.

Do you have a favorite house?

It’s very difficult to choose. However, I can say that I was most intrigued by the fact that so many women were involved in the building, designing, and preservation of homes in early 20th-century Santa Fe. For instance, the McKibbin home on Old Santa Fe Trail, which was designed by Katherine Stinson-Otero; the Juan Jose Prada House on Canyon Road, whose fireplaces were built and mud plastered by Pueblo women; and Acequia Madre House on Acequia Madre Street, which was designed by three generations of women in the territorial revival manner.

What’s the most surprising thing you learned working on this book?

The fact that hidden around town are some wonderful examples of Victorian architecture. For instance, tucked away on Faithway Street is an authentic Queen Anne revival–style house (now a B&B). Also, I was surprised at how particular early Santa Feans were about where they obtained the mud for their adobe-brick homes. One early governor decided that the dirt in the middle of a street leading off the Plaza was perfect for the house he was building. He hired workmen to dig a hole in the middle of the street to obtain the dirt he needed to make bricks.

STEVE LARESE

Your book makes clear that not all of Santa Fe’s beautiful—and historically significant—buildings were built in the classic Pueblo style.

Yes. I was surprised to find so many fine examples of Spanish mission revival and craftsman bungalows in town. So many visitors to Santa Fe expect to find only flat-roofed adobes of earthen color. I think they’re surprised when they see the diversity of historic styles built here.

Clockwise from top: the brick-floored living room at the Dorothy S. McKibbin House, built in 1936; flowers brighten the yard of a 1920s South Capital bungalow; a handcrafted tin chandelier hangs in a 1920s home 70

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october/november 2010

take (remote) control of your life

COLUMN

By Ja s on Sut t le

CONSTELLATION HOME ELECTRONICS

Did you know you can control the temperature of your hot tub from your iPad—or turn up the heat in your Colorado vacation home a few days before you arrive for your for January ski trip?

Electronics are being integrated into peoples’ lives and homes in more imaginative ways than ever. Things like entertainment and home control systems are getting more capable and, in many cases, less expensive.

This creates opportunities for many people to have technologies and conveniences in their homes that were previously reserved for the super wealthy Despite all these advances, though, it can still be daunting for homeowners to understand exactly what all is out there—or to figure out how many of these gadgets they really want or need. However, a good electronics service provider can help you take full advantage of the convenience and fun that all these new technologies can provide.

One of the first things I try to figure out is just what it is a client wants. For some, a simple multi-room audio system and a flat-screen high-definition television (HDTV) with a surround-sound system in the den or family room is just perfect, while others prefer a more elaborate home theater, complete with lighting control and automation systems that incorporate full control of their entertainment systems, lights and shades, heating and cooling systems, security and cameras, and, yes, hot tubs and other devices.

Or let’s say you’re looking for an HDTV, a digital video recorder (DVR), or a flat panel TV—the demand for all three of which is higher than ever (as these items have become both less expensive and higher in quality). But as simple as it is to watch TV or listen to music, the myriad ways there are to enjoy them can often seem overwhelming, complicated, difficult. After all, HDTV, DVR, HDMI, BluRay, 1080p—huh? Gone are the days when you could just drive out to Sears, buy the first TV you saw, and plug it into the home outlet. Today there are cable boxes and DVD players to deal with, and adaptors and connectors, and, oh yes, wires. Wires galore. And even if

you’re able to figure that all out, there’s then the matter of which remote control matches which appliance.

In every entertainment or control system, large or small, simple or complex, this one device can often be the most important component in any homeentertainment system: the remote control. Available in many shapes and sizes, a properly programmed remote control, no matter how complex your system, will make things very easy to use—and, if the electronics are connected and set up properly, eliminate the pile of remote controls on the coffee table.

In addition to the issues around the remote, the other bugaboo common to just about every home I’ve visited (and I find myself in ten to twenty new clients’ homes each month), is this: most peoples’ home-electronics systems are either not connected properly or they can be upgraded in such a way that makes everything easier and more efficient to use (efficiency in the amount of electricity it costs to use that system, and efficiency of usage). And in those rare cases when things are well connected and working right, one or more members of the household don’t know how to use them.

Which brings me to my final point: 90 percent of the people I meet at my store or in their home impress upon me in the first 30 minutes that they don’t need anything fancy, they aren’t audiophiles, they aren’t videophiles, they just want things to work.

And if at all possible—and it is—to consoliAbove top and botttom: this mobile date it all so that it’s on one remote control. flat-panel TV makes for stealth viewing; here: invisibly wired flat screen That’s really what everyone wants from for the office their technologies—from their cell phones to their TVs. They just want it to work as easily as possible.

And I agree. Ease of use should be the primary objective of anyone that sells electronics. After all, in most cases less is more, simpler is better. There is always going to be a balance sought between performance, features, budget, and ease of use. But if people have to choose between high-performance and ease, they’ll almost always choose ease. However, a good service provider should offer both, always keeping budget in mind.

Jason Suttle is the owner of Constellation Home Electronics. october/november 2010

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designer showcase Santa Fe Based, Nationally Renowned

Diva Interior Design Ltd. sm

Elegant Settings 20 Rising Moon Santa Fe, NM 87506 505-984-1146 divainteriors.com casamarron.com jeannie@divainteriors.com Jeannie Brown, Allied Member ASID and four-time winner of the ASID Design Excellence Award, has been designing high-end residential interiors for more than two decades. Providing a full range of interior design services, Diva Interior Design, Ltd. brings a fresh approach to Santa Fe design.

residential and commercial spaces for more than 30 years. Incorporating old and new, custom and stock furnishings, fine art and found items, Templeman works closely with her clients to create beautiful living environments that are a reflection of their lifestyle.

Samuel Design Group

Samuel Design Group

Emily Henry Interiors Elegant Settings 468 W Water, Suite #3 Santa Fe, NM 87501 505-820-1462 cell 505-660-8745 emilyhenryinteriors.com

emily@emilyhenryinteriors.com Locally grown, internationally recognized interior design for your home.

Offering unique, inspired, and creative design services since 2001.

october/november 2010

Barbara Templeman, ASID, NMLID #293, has been creating thoughtfully designed

Jennifer Ashton Allied ASID

Lisa Samuel holds a degree in interior design and is owner of Samuel Design Group, Santa Fe’s first native-owned comprehensive design group. She has impeccable technical skills as well as a sophisticated eye for design and the natural creativity to produce designs that are timeless, yet cutting edge.

santafean.com

Elegant Settings 1012 Marquez Place #207A Santa Fe, NM 87505 505-820-2994 templemaninteriordesign.com insideoutsantafe.com artgraze.com

Lisa Samuel ASID, IIDA, NMLID #313 Artful Design 703 Camino de la Familia, Loft 3101 Santa Fe, NM 87505 505-820-0239 sdginteriordesign.com lisa@sdginteriordesign.com

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Barbara Templeman Interior Design LLC

Artful Design 703 Camino de la Familia, Loft 3101 Santa Fe, NM 87505 505-820-0239 sdginteriordesign.com jennifer@sdginteriordesign.com Jennifer Ashton is a degreed interior designer with 20 years of design experience. She has an artful approach—focusing on creating spaces of beauty with elements embodying joy, sustainability, economy, and function with a design style that says “Bienvenidos.”

Victoria Price

Victoria Price Art & Design Elegant Settings 1512 Pacheco Building B, Suite 102 Santa Fe, NM 87505 505-982-8632

Victoria Price brings her lifelong involvement in the arts to her interior design projects—-specializing in remodels that combine the best of classic Santa Fe with the cutting-edge contemporary style found at her store, Victoria Price Art & Design. There, international designs of Cassina, Moroso, Kartell, and Poltrona Frau blend with contemporary art and vintage regional textiles and artifacts.

paradise

designv (de • sign • envy)

MLS #903899 $6,300,000 Main house and 2 guesthouses with mature, colorful gardens on nearly 10 lovely acres adjacent to the Tesuque River.

expect more.

t e l : 5 0 5.9 8 9. 7 74 1 •

www.dresf.com

A Full Service Real Estate Brokerage

Over 17,000 people in Santa Fe County go hungry each day.

a graphic design firm working exclusively for museums, cultural organizations, not-forprofits, and educational institutions specializing in branding & marketing, print & collateral, 3 dimensional design, and web design

Someone you know is hungry.

Honor World Food Day October 16, 2010 and support our food drive to benefit the Food Depot Food Drive October 16-30, 2010 Drop off your donations at the Food Depot 1222 Siler Road, Santa Fe Or check our website www.aworldfeast.com for a list of participating businesses and restaurants.

Put a dent in hunger.

www.designv.us 505 • 323 • 2382 1 • 877 • 885 • 2382 creativityrules @ designv.us

A WORLD FEAST™ Global Compassion through Local Action october/november 2010

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the new

EVENTS CALENDAR

santafeancalendar.com Art • Music • Community Festivals • Food Historical • Kids Stuf f Readings • Theater FEATURING TEXT MESSAGE & EMAIL EVENT REMINDERS

THE BEST CALENDAR IN SANTA FE

general contractor w w w. t o n y i v e y. c o m 5 0 5 - 9 8 6 - 9 1 9 5 Photos by Katie Johnson

october/november 2010

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SPECIAL ADVERTSING SECTION

Only in Tesuque It’s just ten minutes from downtown Santa Fe, but Tesuque is an idyllic little village of its own. Its beauty is abundant: in a valley just west of the Sangre de Cristos, Tesuque is shaded with lush cottonwoods and fruit trees and laced with centuries-old acequias. Proper ties here tend to be green and sprawling, with spacious, low-slung adobes, adobe-style ranches, and ranch houses. Explore one of the many unmarked, unpaved roads and you’ll likely come face to face with a horse, peering curiously out from his stable.

A high-desert version of the more laidback neighborhoods of Santa Barbara or one of Kentucky’s rolling horse farms, Tesuque is just

down the road from the Santa Fe Opera and home to the famous Shidoni foundry and gallery, where artists from around the region come to pour bronze and other artworks. Tesuque’s charm hasn’t gone unnoticed: It continues to attract Hollywood celebrities and highprofile artists, who come for the secluded yet cultural vibe. The place to see and be seen? The rustic Tesuque Village Market, where good food and drink can be enjoyed indoors or on a sweet patio. With its community feel and year-round beauty, Tesuque is the perfect home —or home away from home—for those who want to be close to the action of Santa Fe yet far away enough to enjoy the rare beauty of Northern New Mexico.

4 Camino Sabio Peggy Conner

This serene compound consists of a gracious main house, a charming duplex guest house, and a studio/office which is a complete home in itself. The construction of all buildings is double adobe. Built with integrity by Adobe Corp., the compound is beautifully sited on 11.7 acres with incredible views of the Jemez and Sangre de Cristo mountain ranges.

This property offers beauty, serenity, and privacy. 9,825 square feet, 5 bedrooms, 6 bathrooms, 3-car garage. MLS #201003954 $3,425,000 76

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BRUCE ADAMS

Santa Fe Properties 1000 Paseo de Peralta 505-501-1327 Mobile 505-982-4466 peggyc@newmexico.com

TESUQUE SHOWCASE 49 Rancho Escondido

Neil Lyon 505.660.8600

1320 Bishop’s Lodge Road

Paul McDonald 505.780.1008

4-A Lodge Circle

Neil Lyon 505.660.8600

231 Washington Avenue Santa Fe, New Mexico 87501 505.988.8088

SANTA FE’S MARKET LEADER

1567 Bishop’s Lodge Road

This stand-out estate includes a fabulous main house, an unusually spacious guest house, a charming casita, heated stables, a pool with cabana and an incredible outdoor kitchen. Highest quality craftsmanship and details, unsurpassed living spaces, and inspiring location and views. #201003102 $13,500,000 Ray Rush & Tim Van Camp 505.577.5117

Old Tesuque comes to life in this classic Santa Fe home. Incredible grounds backing up to the Little Tesuque Creek.

Separate house, 2BR casita and incredible new game room make for great flexible floor plan.

Updated and renovated throughout, in an Old World charm setting. #201004447 $2,250,000

37 Rancho Escondido

Exquisite Tesuque Estate from the 1920’s completely renovated and restored. 4 to 6 bedrooms, great kitchen, expansive master suite, lush landscaping, pre-moratorium well, acequia rights, pool and hot tub.

Includes adjacent lot. #201000890 $2,750,000

This private 5BR Rancho Escondido enclave boasts a distinctive European country elegance — many elements were imported directly from France — and a relaxed New Mexican sensibility.

Two portales, a grassy lawn, and a swimming pool encourage enjoyment of the outdoors.

Ray Rush & Tim Van Camp 505.577.5117

38 Glowing Star

An exquisite residence in the Villas at Bishop’s Lodge. This 3BR, 3BA condominium features magnificent unobstructed views. Classic Santa Fe-style finishes, large bedrooms, high ceilings, multiple patios and refrigerated AC. Community amenities included. #201002437 $675,000 Liz Sheffield 505.660.4299

Search for the unique santafesir.com

sothebyshomes.com/santafe

Magical 1,800 sq ft, 2BR, 2BA jewel in the highly coveted Tesuque Blue Sky Compound.

Offering incredible views, authentic design, structural integrity, reclaimed beams and wood planks. Intimate and cozy spaces both indoor and out. #201003792 $625,000

Sotheby’s International Realty, Inc. is owned and operated by NRT LLC. Sotheby’s International Realty® is a registered trademark.

The Yellow House, © Van Gogh Museum/Superstock Inc. used with permission

SPECIAL ADVERTSING SECTION

1429 A&B Bishops Lodge Rd. Clara L. Dougherty Broker Associate Dougherty Real Estate Co., LLC 433 W San Francisco 505-989-7741 (o) 505-690-0471 (c) claradough@gmail.com dresf.com

Traditional Tesuque at its finest! Magnificent, private, fully renovated 3B/ 2 ¾ B main house, guest house, and adobe chapel on 3+ acres. The property has two wells, 600 feet of river frontage in the front of the house and the acequia running through the back. Features include: horse facilities, mature gardens, fieldstone patios to name a few! The name of this estate, cielo— the Spanish word for heaven—says it all! MLS #201004151 $1,775,000

Tesuque‘s secluded yet cultural vibe attracts celebrities, artists, and others who appreciate its rural beauty.

Settle in, relax, and sip a refreshing glass of wine, cuddle with your sweetheart, or entertain a group of friends … Located just a few blocks from the Plaza is this private, luxury home in a small, quiet neighborhood. Built in 2005 and featuring 2150 sq. ft. of unmitigated elegance. Includes 3 bedroom suites, gorgeous chef’s kitchen, formal dining room, great floor plan, and outdoor patios. This home is truly turn-key and designed for privacy, inside and out. Great as your home or your home away from home. $695,000

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19 Arroyo Griego Clara L. Dougherty Broker Associate Dougherty Real Estate Co., LLC 433 W San Francisco 505-989-7741 (o) 505-690-0471 (c) claradough@gmail.com dresf.com

Enchanting compound in the traditional Village of Tesuque. The main house, built over 100 years ago, has been added onto and updated through the years. Lovely grounds, portals, guest house, and studio. Listen to the acequia running, enjoy your meals under the portals, watch the gardens come to life, and listen to the many birds that live there. A rural oasis! MLS #903162 $795,000

6/29/2010 10:05:10 AM

sian adobe

1 block west of the Georgia O’Keeffe Museum 310 Johnson Street 505-992-6846 Mon- Sat 10 am to 5 pm www.asianadobe.com october/november 2010

santa fean

Photo by David O. Marlow®

Statements_SantaFean_Summer_20101 1

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Experience the Extraordinary

S

ANTA FE YMPHONY & CHORUS Bringing Great Music to Life

Greg Heltman, Founder & General Director Steven Smith, Music Director & Conductor

Zebra Opal Earrings by

Fall with the Symphony OCTOBER 31, 4 PM

Holst, The Planets Debussy, Nocturnes

111 Old Santa Fe Trail Santa Fe, NM 87501 800-852-2993 • 505-982-2993 Open Daily. Call for our Catalogs.

featuring projection images of the Solar System by Dr. José Francisco Salgado of Chicago’s Adler Planetarium and Underwritten commentary by Dr. by the Simon DeDeo of the Ralph B. Santa Fe Institute Rogers Gala Reception to follow Foundation (add’l ticket needed)

NOVEMBER 22, 4 PM

• Locally owned since 1985 •

Handel, Messiah

www.nancybrowncustomjeweler.com

Historic Canyon Road Festival

Sponsored in part by First National Bank of Santa Fe

Tom Hall guest conductor Martha Guth soprano Katherine Drago mezzo-soprano Jorge Prego tenor Stephen Morscheck bass-baritone

Join artists painting on the street and talking about their art in their galleries. Meet, mingle and observe Santa Fe’s finest works of art.

DECEMBER 19, 4 PM Arnold The Holly & the Ivy Carol Fantasy Gossec Christmas Suite Yon Jesu Bambino Tchaikovsky Nutcracker Suite Anderson A Christmas Festival ... and more delightful favorites!

www.HistoricCanyonRoad.com

All Performances at the Lensic

Saturday October 16

Sponsored by

Sponsored in part by Packards and Wells Fargo

Tickets from $20

The 2010–2011 season is funded in part by the Santa Fe Arts Commission, and the 1% Lodger’s Tax, New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.

505-983-1414

or visit the Lensic Box Office 80

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raising the roof on this Old House In a town so full of high-end restaurants, it’s sometimes hard to stay ahead of the pack. Take the Old House, for instance.

Located off the lobby of the Eldorado Hotel, and once considered a destination restaurant, it lost its front-runner status due to increased competition and a bit of chef hopscotching (leaving locals not knowing exactly who was cooking their food). Well, the Old House is back, and the town is again abuzz with raves. Thanks to a clever prix-fixe-pricing marketing ploy last summer, gourmands have been reintroduced to its new steak bistro menu, lovely revamped dining room, and new chef Wilson Wieggel.

His 28-day, dry-aged rib eye may just be the tenderest and most delicious steak in town, while everything on the menu tastes as luscious as it looks, as exemplified by this seafood trio appetizer (pictured here)—a medley that includes velvety lobster bisque, tender crab cake, and kataifi-pastry-wrapped scallops. Everything at this Old House is new again.—John Vollertsen

DOUGLAS MERRIAM

Old House Steak Bistro, 309 W San Francisco, 505-995-4530

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REVIEW

palates a-poppin’ Of all the senses stimulated during a meal, the most important is taste. Sure, food should look yummy and smell delicious and feel good.

But, boy oh boy, if those taste buds jump up and the flavors sing and zing— bingo—that is the artistry of a chef who knows what he’s doing.

That’s also the experience on offer at the year-old Jambo Café. Chef/owner Ahmed Obo, who grew up on the island of Lamu, off the coast of Kenya, certainly understands the power of seasoning; it’s in his African heritage. But his many years of cooking in American restaurants, including stints in New York City and locally at Atalaya and a 10-year residency at the Zia Diner, allow him to introduce those mysterious spices into a menu that dabbles in Moroccan, Caribbean, and Mediterranean. Call it world cuisine with a punch.

The hot summer night we dined on Obo’s edible wonders became a steamy one. A massive downpour and the resulting humidity allowed us to pretend we were dining on an exotic East African or Caribbean beach. The menu furthered the theme with touches of mango, coconut, plantains, pomegranates, ginger, curry, and saffron, all of which spiced up the evening’s offerings. It’s a fun menu for foodie friends to sample; sharing dishes is a must.

The crowd is an eclectic one. Young hipsters dine next to older, established Santa Feans, which surprised me. I would have thought that senior patrons would find the menu too fiery. But although Obo provides heat, your relatives from Boston can still enjoy it.

Set into an unassuming strip mall on Cerrillos Road, the cozy café has a relaxed, casual feel but gets bustling when it’s full, which is often. The turmeric-colored walls hold African paintings and photos of native peoples.

The air is fragrant with heady spices. Half a dozen stools along a counter are perfect for single dining or for those who like to peek into the kitchen to see what the clever cooks are up to. The atmosphere is friendly and convivial. I noticed a few presumably single women giving the handsome and swarthy chef an extra hug on arriving (and leaving).

We start off with the island spice coconut peanut soup. It took first place at the annual Santa Fe Food Depot Souper Bowl this year, and with good reason. It’s equal parts sweet, salty, spicy, and scrumptious.

A delicate parcel of phyllo stuffed with spinach, olives, feta, chickpeas, and roasted red peppers is given a pomegranate-molasses drizzle, which gives the Greekish dish a tasty atoll twist. The cinnamon-dusted fried plantains are absolutely addictive; order two servings if you have kids with you, as we did.

The coconut shrimp has a nice crunch; the zippy lime-mango sauce is a tart complement to the sweet coconut.

The balance of fire and spice on the Jamaican chicken wings made them the favorite of the table. They’re so tender you can’t help but suck the bones free of all the meat—truly finger lickin’ good!

Main courses include rich African curries and Moroccan stews, as well as grilled kebabs, fish, and more jerk chicken. The goat stew is an acquired taste. Those who love its gaminess order it again and again—try it if you’re game! A sweet and savory lamb stew was fork tender, with the addition of chickpeas, raisins, and sweet potatoes elevating it from stew to stupendous.

Even the accompanying side dishes were unusual: coconut basmati rice, curried couscous, coconut lentils, saffron new potatoes. The à la carte sides offer a veritable carb-fest: sweet potato fries with a curry dip, cumin-scented 82

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fries, rice and beans, roti (African flat bread), and fufu and ugali—two traditional native starch dishes that serve as perfect complements to the smorgasbord of curries.

Vegetarians have lots of options, including a wellseasoned hummus plate, a roasted vegetable salad, an East African lentil stew, a stuffed pita veggie sandwich (with organic feta), and of course all those lovely carbs.

Ice-cold beer from the short but interesting beverage list goes well with Top: Jambo’s crunchy coconut shrimp with zippy limeall these flavors (try the mango sauce; above: chef/owner Ahmed Obo. Jamaican Red Stripe with the jerk chicken), but my crisp Parducci sustainable white, a zesty blend of sauvignon blanc, chenin blanc, and viognier varietals, was a refreshing palate cleanser. There are super-tasty house-made tropical fruit drinks, which the kids enjoyed, as well as a bracing hibiscus iced tea.

Desserts feature intensely flavored locally made ice creams and sorbets, as well as a knockout baklava, rummy rice pudding, and mango cobbler. The coconut lime sorbet and the dark chocolate gelato with a hint of cinnamon provided the perfect ending to a perfectly delicious edible trip to the islands of the Caribbean and across the pond to Africa.

Jambo Café, 2010 Cerrillos, 505-473-1269

DOUGLAS MERRIAM

by John Vollertsen

STYLE

ambassadors of food

by John Vollertsen

The arrival of autumn signals the end of summer madness, a time when our hospitality scene takes a quick repose before winter and ski season descend. The hot summer and the complicated economy have presented a particular challenge to anyone involved in the service industry; consumers are more judicious with their dollars and seem to want more for less.

The good news is that Santa Fe chefs, restaurateurs, and hoteliers are a resilient bunch. It seems everybody has reconfigured their concepts to stay with the times: bar menus in high-end restaurants have become more provocative, prix fixe prices and special room rates are available throughout the year, and all these deals have come without compromising quality or style.

If I were to do a past-life regression, I’m sure I’d discover that I had once starved to death—because I’m sure well fed in this one!

Two young chefs that have been titillating my taste buds this fall are both just 30 and are teaching their elder culinary peers a thing or two about fabulous food. Joel Coleman at Koi and Mark Connell at Max’s are poised to wrestle the reins of super chefdom from the older

courtyard one more “room of the house.”

“All the original families in this area date back to the settlers of the 1750s,” says Bill. “Tesuque Creek across the street was the center of agriculture here. After this building was a dairy barn, it was converted into a metal workshop and then finally into a house that

Top: Bill and Cheryl Jamison at the ever-active counter of their Tesuque kitchen; above: their back garden and patio

guard; their palates amaze me.

A fun alternative to restaurant dining can be found in a new supper club started by local foodie, cooking instructor, and world traveler Emily Swantner. At dinners in her Eldorado home, Swantner offers locals and visitors a unique evening of food and conversation. For information on Emily’s soirees, go to epicureanodyssey.com.

The fabulous and inspiring Cooking with Kids program, which teaches local public schoolchildren about the wonderful world of food and nutrition, hosts its second annual Autumn Harvest Brunch on Sunday October 10. To attend and to learn more about this good cause, see page TK or check out cookingwithkids.net. I bet there will be some luscious New Mexico red chile on the menu. Happy Harvest.—JV october/november 2010

santa fean

NATALIE BACA

When cookbook author Bill Jamison bought his historic Tesuque home in 1978, little did he know that the restored former dairy barn would become a combined test kitchen and writing cranny for a career that would take him and his wife, Cheryl, around the world and through the authoring of more than a dozen books. The charming couple have received four prestigious James Beard Foundation Awards for their cooking and travel tomes and have their fingers in the pies of almost anything to do with the Santa Fe food scene.

Their home, which sits back from Tesuque’s tree-lined main road, is charming, homey, and simple. After rolling down the rear driveway, which leads to a landscaped garden, I get out and walk down a stone pathway that opens into a patio, where the grill and outdoor dining area sit. I pause and imagine the Ducane Meridian grill in full Jamison swing, the whole area having inspired titles such as Sublime Smoke, Born to Grill, and The Big Book of Outdoor Cooking and Entertaining.

The outdoor kiva doubles as a wood-fired grill—one the Jamisons enjoy even in the colder months. Entering the house through the kitchen—of course—I hear Cheryl calling out to me from her loft, one of two (Bill uses the other) that rises above both ends of the long main room. Slanted skylights brighten up the interior. A smallish side room boasts a large record collection and an overstuffed chair. At the back of the house is a guest room and TV lounge—a sometime playroom for the Jamisons’ three grandchildren. There’s also a large wine cooler (a must for serious foodies), and the surrounding shelves and mantels are chockfull of tchotchkes and collectibles gathered on the Jamisons’ travels.

Off the kitchen resides a massive cookbook and food resource collection, invaluable and handy when the couple experiment at their fourburner Viking stove. It’s not a huge kitchen, but it is highly functional.

It has two ASKO dishwashers and Dacor ovens. Next to the stove is the counter—the hub of all the Jamisons’ cooking and writing. Here, Cheryl likes to lean while Bill sits to write. Cheryl considers the grill and outdoor

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STYLE the original owners sold antiques out of.”

The Jamisons met while Bill served as director of the State of Oklahoma Arts Council; he hired Cheryl as an intern. “I think that’s why we work so well together,” adds Cheryl. “We’d already worked in a professional setting.” They married in 1985, settled into the Tesuque house, and, while still pursuing other careers, began writing as a sideline.

Bill’s first book was An Insider’s Guide to Santa Fe, an immediate hit that soon grew into a series of Best Places to Stay travel books on Hawaii, Mexico, and the Caribbean.

Cheryl, who grew up in Galesburg, Illinois, took to cooking early in life. “I wasn’t really interested in meat and potatoes,” she says, alluding to the standard heartland fare. “I wanted to know about the great flavors I tasted at local Mexican restaurants. When I went to the store to buy the chiles I thought I needed to make chile rellenos, I ended up with jalapeños.”

Needless to say, Cheryl’s version turned out a bit too spicy for the midwestern palate. Bill, on the other hand, came of age in the Texas Hill Country, an area known for its tasty meat marinades and barbecue flavors. Their shared love of food—especially piquant food—made them a perfect match.

Their first combined effort, the Rancho de Chimayo Cookbook, came out in 1991. “I used to drive out to the restaurant and work with the ladies in the kitchen, recording every recipe they were making,” recalls Cheryl. “Each cook had her own version, so I’d come back here and Bill and I would re-create the dish and then take it to the Jaramillo family, who own the restaurant, to see which one we wanted to use for the book.”

“We’ve put our hearts and souls into this place,” says Cheryl. “It says so much about our personality. It keeps us centered.”

Since that first book together, Cheryl has focused on recipe development and testing while Bill has concentrated on the historical information behind each dish and the concept of each book. Before even starting a new book, they’ve already decided which recipes to use and have laid out 75 to 85 percent of the content. They test all the recipes themselves.

It’s a formula that clearly works. They’ve authored and coauthored everything from A Real American Breakfast: The Best Meal of the Day to Around the World in 80 Dinners. Next up, to be published by the Museum of New Mexico Press, is a book that will honor 100 years of New Mexico cooking (just in time for the state’s 2012 centennial).

Last year Cheryl teamed up with designer Barbara Templeman to form insideOUT, an exterior design consulting group. She also plays the role of food ambassador to the New Mexico Tourism Department. Both she and Bill play that role unofficially as well. As a pair, they promote food and food-related products, teach cooking classes, and contribute to national culinary magazines. They also host annual culinary trips to France.

“Though we love to travel and never really feel homesick, we love to come home,” says Cheryl. “We’ve put our hearts and souls into this place.

It says so much about our personality. It keeps us centered.” To Bill and Cheryl Alters Jamison, home is where the heart—and hearth—is.

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Clockwise from top left: inside the Jamisons’ main room; mmm, fresh meat; Bill manning the outdoor grill; the fountain in the outdoor dining area; center: Bill about to fire up something smokey

special advertising section

taste of the town

n o rt h er n n ew m e x i c o ’ s f i n est d i n i n g e x p erie n c es

featured listing Rosewood Inn of the Anasazi

113 Washington Avenue 505-988-3030 innoftheanasazi.com

New Mexico’s only Mobil Four-Star, AAA Four Diamond hotel is also home to Santa Fe’s highly acclaimed culinary destination. The Anasazi Restaurant features a welcoming and rusticly southwestern atmosphere. Chef Oliver Ridgeway offers seasonal menus celebrating American cuisine with fresh, regional ingredients.

The Bull Ring 150 Washington, 505-983-3328 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— the lounge’s bar menu is sure to satisfy. Lunch 11:30 am–2:30 pm, Monday–Friday; dinner nightly starting at 5 pm. 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, which help 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 7 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. The James Beard Foundation’s “Best Chef of the Southwest,” chef/ owner Mark Kiffin 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 Doc Martin’s restaurant is an acclaimed fine-dining establishment located in a registered historic landmark. Doc’s is a true Taos tradition, earning multiple awards. Executive chef Zippy White specializes in organic foods, with chile rellenos being his signature dish. With over 400 wine selections, our world-class wine list 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 dessert: the chocolate-lover’s pie—a rich, silky chocolate mousse, whipped cream, sweet cookie crust.

Breakfast is served daily 7:30–11 pm; lunch 11:30 am–2:30 pm; dinner 5:30–9 pm; Saturday and Sunday brunch 7:30 am–2:30 pm.

El Mesón 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 very 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, creative food. Award-winning chef Eric DiStefano serves up a

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special advertising section

featured listing

large selection of fine wines and is open 11 am–8 pm Monday–Saturday; noon–6 pm Sunday.

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 world-renowned 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.

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 to hold both Mobil 4 Star and AAA 4 Diamond awards.

Dinner seven days a week, beginning at 5:45 pm.

Il Piatto 95 W Marcy, 505-984-1091 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 at 5 pm. “Everything is right at il Piatto, including the price.”—Albuquerque Journal India Palace 227 Don Gaspar, 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. Entrees 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.

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, dish up a huge fresh daily selection of slow-smoked, mouth-watering 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 Lowe’s and Regal 14 cinemas off Cerillos at Zafarano. Open for lunch and dinner. Winter hours: 11:30 am–8 pm, Tuesday– Thursday and Sunday; 11:30 am–9 pm Friday and Saturday; closed Mondays.

La Casa Sena 125 E Palace, 505-988-9232 lacasasena.com La Casa Sena is located in the heart of old Santa Fe, in the historic Sena Plaza. Featuring innovative American-southwestern cuisine, an extensive wine list, and a spectacular outdoor patio, La Casa Sena is one of Santa Fe’s most popular restaurants.

Recipient of the Award of Excellence from Wine Spectator. For a more casual dining experience, visit La Cantina and be entertained by a waitstaff performing jazz and Broadway musical reviews nightly. Lunch is served 11:30 am–3 pm Monday– Saturday; dinner 5:30–10 pm nightly. Sunday brunch in a beautiful patio setting 11 am–3 pm. Our popular wine shop adjacent to the restaurant features a www.santafean.com

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La Plazuela at La Fonda On the Plaza 100 E San Francisco, 505-995-2334 lafondasantafe.com La Plazuela at la Fonda on the Plaza is a feast for the senses. The room is stunning and the menu sophisticated, showcasing old favorites with New World twists and truly authentic Northern New Mexican cuisine. 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.” Come make memories with us! 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 and Patio 211 Old Santa Fe Trail, 505-984-7915 innatloretto.com Located at The Inn and Spa at Loretto, Luminaria’s eclectic menu features locally sourced dishes in artful presentations. Chef Brian Cooper uses indigenous seasonal ingredients and southwestern nuances creating unexpected flavors and textures. Luminaria’s décor includes whitewashed pine floors, vigas and latillas, reclaimed barn-wood tables, a kiva fireplace, and Native American paintings. Informal dining fireside in the Living Room features happy hour and late-night specials with weekend entertainment.

Luminaria: Breakfast, lunch, dinner seven days. The Living Room: 2–11 pm daily. mangiamo pronto!

228 Old Santa Fe Trail, 505-989-1904 mangiamopronto.com A little slice of Tuscany in Santa Fe. This warm and chic café Italiano recently relocated from the Railyard area, where it established a loyal local following, to a more visible location on Old Santa Fe Trail, across from the Inn at Loretto. In the vein of traditional Italian espresso bars, pronto offers fine coffee, pastries, frittata, panini, pizza, zuppa, insalata, dolci, vino, birra, and gelato. You may truly feel you’re in Italy.

Serving breakfast, lunch, and happy hour aperitivo, Monday–Saturday 8 am–7 pm, Sunday 8 am–5 pm.

Maria’s New Mexican Kitchen 555 W Cordova, 505-983-7929 marias-santafe.com

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outdoor patio. Open for breakfast 7:30â&#x20AC;&#x201C;10:30 am, lunch 11:30 amâ&#x20AC;&#x201C;2 pm, dinner 5â&#x20AC;&#x201C;9 pm.

315 Restaurant & Wine Bar

315 Old Santa Fe Trail 505-986-9190 315santafe.com

315 Restaurant & Wine Bar offers native Santa Feans and savvy visitors a true French experience. Join us in the newly renovated dining room for an impressive menu of classically prepared French cuisine, complemented by an extensive, global wine list.

We wrote the book on margaritas! The Great Margarita Book, published by Random House.

Mariaâ&#x20AC;&#x2122;s features over 160 margaritas, chosen â&#x20AC;&#x153;Best Margaritaâ&#x20AC;? in Santa Fe 14 years in a row. Each is hand poured and hand shaken, using only premium tequila, triple-sec, and pure fresh-squeezed 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 amâ&#x20AC;&#x201C;10 pm Mondayâ&#x20AC;&#x201C;Friday; noonâ&#x20AC;&#x201C;10 pm Saturday and Sunday. Reservations are suggested.

Rancho de ChimayĂł Santa Fe County Rd 98 on the scenic â&#x20AC;&#x153;High Road to Taos,â&#x20AC;? 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 ChimayĂłâ&#x20AC;&#x2122;s specialty: carne adovadaâ&#x20AC;&#x201D;marinated pork simmered in a spicy, red-chile-caribe sauce. Come cherish the memories and make new ones. Rancho de ChimayĂł is a treasured part of New Mexicoâ&#x20AC;&#x2122;s history and heritage. A timeless tradition. Open seven days a week, May to October 11:30 amâ&#x20AC;&#x201C;9 pm.

Online store is open now!

SantacafĂŠ 231 Washington, 505-984-1788 santacafe.com Centrally located in Santa Feâ&#x20AC;&#x2122;s distinguished downtown district, this charming southwestern bistro, situated in the historic Padre Gallegos House, www.santafean.com

offers your guests the classic Santa Fe backdrop.

Step into the pristine experience SantacafĂŠ 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 SantacafĂŠ 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.

Tabla de Los Santos 210 Don Gaspar, 505-992-6354 hotelstfrancis.com Tabla de Los Santos, located inside the Hotel St. Francis, is Santa Feâ&#x20AC;&#x2122;s new dining treasure, featuring exquisite cuisine made from fresh, organic, local, and seasonal ingredients. Experience delectable food based on the right traditions of New Mexico as chef Estevan Garcia redefines New Mexico cuisine with a fresh, simplified, and uncomplicated approach.

Enjoy a relaxing dining experience in the restaurant or on the lovely

Three Forks Restaurant Rancho de San Juan Country Inn 34020 US Hwy 285, 505-753-6818 ranchodesanjuan.com Exquisite world-class, award-winning restaurant.

Sixteen years strong and aging like a fine wine. Enjoy comfortable dining in an elegant but casual atmosphere. Savor innovative continental cuisine with a southwestern flair. Check our website for special events, wine dinners, Passport Dining Adventures, plus Easter, Motherâ&#x20AC;&#x2122;s Day, and Saturday lunches.

Enjoy our award-winning staff and attentive service.

Relax on our patio with an afternoon cocktail and check our outstanding wine list with reasonable prices to complement your dining experience. Zagat Survey winner number one in New Mexico. CondĂŠ Nast Traveler number 23 on the Top 100 in the USA list. Come celebrate that special occasion.

Reservations required. Two seatings only, 6:30 and 8 pm Tuesdayâ&#x20AC;&#x201C;Saturday. Table is yours for the evening.

Saturday lunch, 11:30 am and 12:30 pm seatings.

Closed on Sunday and Monday.

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Good Spirits

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HO L I D A Y S Experience the colorful traditions of El Día de los Muertos—Mexico’s Day of the Dead holiday—at the Museum of International Folk Art (706 Camino Lejo). On October 31 from 1 to 4 pm, visitors of all ages can decorate sugar skulls, make muertos nichos (memory boxes), sample authentic pan de muerto (a sweet bread flavored with anise and orange peel), and dance to live music.

Tickets: $9 ($6 New Mexico residents); open 10 am–5 pm, closed Mondays, 505-476-1200, moifa.org

B OO K S

Women Who Write

What better way to learn about history than by looking at the original documents that recorded it? El Hilo de la Memoria (The Threads of Memory), opening at the New Mexico History Museum (113 Lincoln) on October 17, features more than 140 rare maps, illustrations, and other papers recording Spain’s early presence in North America—letters from Francisco Vázquez de Coronado detailing his travels, for example, and explorers’ illustrations of buffalo and other animals unknown in the old country. The exhibit comes to Santa Fe from El Archivo General de Indias—the General Archive of the Indies—in Seville, Spain.

Admission: $9 ($6 for New Mexico residents), 10 am–5 pm daily, 505-476-5200, nmhistorymuseum.org HISTORY

new mexico history museum

Mark Richards

The New Mexico Women Author’s Book Festival is back for its third year and bigger than ever, with more than 110 writers discussing their craft and current work October 2 and 3 at the New Mexico History Museum (113 Lincoln). Political activist and writer Annie Lamott (who’s actually from San Francisco) kicks things off at 7 pm on September 28 with a talk about her newest novel, Imperfect Birds, at the Lensic (211 W San Francisco). Tickets: Lamott lecture, $15–$30, 505-988-1234, ticketssantafe.com; book festival, free, nmhistorymuseum.org

Straight from the Source

Annie Lamott Ray LaMontagne

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events For the most complete, up-todate calendar of events in Santa Fe and Northern New Mexico, visit santafean.com

OCTOBER Through May 8, 2011 Oâ&#x20AC;&#x2122;Keeffiana: Art and Art Materials. Explore the artwork, the artifacts, and the materials that inspired the legendary Georgia Oâ&#x20AC;&#x2122;Keeffe. Georgia Oâ&#x20AC;&#x2122;Keeffe Museum, 217 Johnson, 505-946-1000, okeeffemuseum.org October 2 Folk Art Flea Market. The third annual flea market is a benefit for the Museum of International Folk Art, with proceeds going toward exhibitions and educational programs. 10 am â&#x20AC;&#x201C;4 pm , Museum of International Folk Art, 706 Camino Lejo, 505-476-1200, internationalfolkart.org October 2 Santa Fe Pro Musica: Season Opening.

Featuring works by Mendelssohn, Barber, and Schumann, with Thomas Oâ&#x20AC;&#x2122;Connor, conductor; Conrad Tao, piano; and Kathryn Mueller, soprano. 6 pm , $15â&#x20AC;&#x201C;$70, The Lensic, 211 W San Francisco, 505988-1234, ticketssantafe.com October 3 LĂşnasa. LĂşnasa is one of the most sought

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A Chorus Line Handelâ&#x20AC;&#x2122;s Messiah, with its magnificent â&#x20AC;&#x153;Hallelujahâ&#x20AC;? chorus, is a holiday tradition for the Santa Fe Symphony Orchestra and Chorus and a musical delight for audiences of any religious bent. This yearâ&#x20AC;&#x2122;s performance, November 21 at 4 pm at the Lensic (211 W San Francisco) features soprano Martha Guth, mezzo-soprano Katherine Drago, tenor Jorge Prego, and bass-baritone Stephen Morscheck.

Tickets: $20â&#x20AC;&#x201C;$70, 505-988-1234, ticketssantafe.com

0RESENTED WITH 7ISE &OOL .- THE CIRCUS IS A 4HANKSGIVING TRADITION ! CIRCUS FEATURING LOCAL AERIALISTS ACROBATS MUSICIANS DANCERS AND CLOWNS ¹3ANTA &EANS YOUNG AND OLD LOOK FORWARD TO THE MAGICAL PERFORMANCE ¨² ¯ 3ANTA &E 2EPORTER

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after bands on the international Irish music scene.

The Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com October 3â&#x20AC;&#x201C;4 El Rito Studio Tour. The artists of El Rito open their studios to the public. To get to El Rito, drive north on Highway 84 (toward Abiquiu); turn right on Highway 554 to El Rito. For maps and information, visit elritostudiotour.org October 5 Ted Leo and the Pharmacists. Ted Leo provides a combination of politics, art, punk values, and humor in his songwriting. 9 pm , $12, CorazĂłn, 401 S Guadalupe, 505-988-1234, ticketssantafe.com October 7 Martin Sexton. His latest studio release, Sugarcoating, finds this troubadour doing what he does best: locating larger truths within the specific details of the life heâ&#x20AC;&#x2122;s living. 7:30 pm , $20â&#x20AC;&#x201C;$32, The Lensic, 211 W San Francisco, 505-988-1234, tickets santafe.com October 9 Fall Fiesta Farmerâ&#x20AC;&#x2122;s Market Gala Dinner.

Work up an appetite for fresh, local foods and take part in the silent auction at the annual gala dinner celebration and fund-raising event of the Santa Fe Farmerâ&#x20AC;&#x2122;s Market Institute. For details and tickets, see santafefarmersmarket.com October 9 The Melvins. The Melvins released their twentieth album, The Bride Screamed Murder, in June. 7:30 pm , $13, Santa Fe Brewing Company Pub and Grill, 27 Fire Place, 505-988-1234, ticketssantafe.com October 9â&#x20AC;&#x201C;11 Abiquiu Studio Tour. More than 60 artists open their studios to the public. 505-6854454; download a map at abiquiustudiotour.org

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October 11 4TROOPS. Four former soldiers join forces to honor American vets and support our troops through song. 7:30 pm , $28â&#x20AC;&#x201C;$43, The Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com October 14â&#x20AC;&#x201C;November 7 Empty Bed Blues. Nearing the end of his life, D. H. Lawrence and his wife spend time with a young and wealthy couple in this play

by Stephen Lowe. See website for times and prices.

Santa Fe Playhouse, 142 E DeVargas, 505-988-4262, santafeplayhouse.org October 16 Wovenhand and Serena Maneesh. The music of David Eugene Edwardsâ&#x20AC;&#x2122;s Wovenhand is dizzying, with turnings and lashings of shadow and light. 9 pm , $10, CorazĂłn, 401 S Guadalupe, 505-9881234, ticketssantafe.com October 16â&#x20AC;&#x201C;17 Galisteo Studio Tour. More than 30 artists open their home studios one weekend a year in this historic adobe village just 20 miles south of Santa

Fe. For details and a map, see galisteostudio tour.org October 16–30 Food Drive. A World Feast, a local nonprofit, sponsors a food drive benefiting the Food Depot of Santa Fe. Drop off donations at the Food Depot, 1222 Siler, and at area grocery stores. For more information, visit aworldfeast.com October 23–24 Santa Fe Pro Musica: The Mozart Concert. Symphony No. 29 in A Major, K. 201; Violin Concerto No. 4 in D Major, K. 218; Eine Kleine Nachtmusik, K. 525. Saturday 5 pm , Sunday 3 pm , $15–$65, St. Francis Auditorium at the New Mexico Museum of Art, 107 W Palace, 505-9884640, tickets.com October 24 Celebration of the Book. See shining examples of book arts and learn how to create your own in demonstrations and hands-on workshops.

10 am –4 pm , Meem Community Room, New Mexico History Museum, 113 Lincoln, 505-476-5200, nmhistorymuseum.org October 30–31 Santa Fe Symphony Orchestra and Chorus: The Planets. Holst’s The Planets is performed by the full symphony and chorus and accompanied by projection images of the solar system from NASA and the Adler Planetarium.

Saturday and Sunday at 4 pm , $20–$70, The Lensic, 211 W San Francisco, 505-988-1234, tickets santafe.com

NOVEMBER

Plaza Galeria

November 4 Kenya Safari Acrobatics. Hailing from the heart of Afrca, this awe-inspiring and dynamic dance troupe takes acrobatics to exhilarating extremes. Taos Community Auditorium, 133 Paseo del Pueblo Sur, 575-758-2052, tcataos.org November 6 Eldorado Arts and Crafts Association’s Fall Show. More than 55 local artists display work in this popular annual event. 10 am –5 pm , Eldorado Community School, 2 Avenida Torreon, eldorado arts.org November 6–7 Dixon Studio Tour. Artists and craftspeople open their studios in picturesque Dixon.

For details and maps, visit dixonarts.org November 11 Patty Larkin in Concert. Larkin is part of the urban-folk/pop music phenomenon that spun off of the singer/songwriter explosion of the seventies, reinterpreting traditional folk melodies, rock, pop, bossa nova, drawing on anything from Dylan (Bob) to Dylan (Thomas). 7:30 pm, $15, Taos Community Auditorium, 133 Paseo del Pueblo Norte, 575-758-2052, tcataos.org November 12–14 Recycle Santa Fe Art Festival.

The Passionate Eye

Shalako v Charlotte & Tipit v Desires v Espana y Mas v Espresso de Arte v Feathers of Heaven

v For a Fistful of Dollars v Guatemaya Imports v Historic Walks of Santa Fe

v Indian Native Spirits v Mayan Art v Native Jackets v The Passionate Eye v Silver Concepts v Shalako

v Stephen’s v Subway v Tiffany’s v The ChocolateSmith v The Oxygen Bar v Native Jackets

Situated on the historic Santa Fe Plaza, this building was originally constructed in 1955 as a department store which housed J.C. Penney’s and later Dunlaps. It was completely renovated in 1994 to become the Plaza Galeria – a unique mix of merchants with the best that Santa Fe has to offer in the way of jewelry, artifacts, clothing, collectibles, tours and refreshments. Be prepared for a most rewarding experience in the heart of the City Different. october/november 2010

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Buying or Selling Indian Art¶ Know the Law / Ê > ]Ê >`` É Ü>]Ê/ iÊ iVÌ À]Ê£ Ç£ 1 `iÀÊÌ iÊ ` > Ê ÀÌÃÊ> `Ê À>vÌÃÊ VÌÊ> Ê iÀ V> Ê ` > Ê> `Ê >à >Ê >Ì ÛiÊ>ÀÌÊ> `ÊVÀ>vÌÊ«À `ÕVÌÃÊ ÕÃÌÊLiÊ >À iÌi`ÊÌÀÕÌ vÕ ÞÊÀi}>À` }ÊÌ iÊ >Ì ÛiÊ iÀ V> Ê iÀ Ì>}iÊ> `ÊÌÀ L> Ê>vv >Ì Ê vÊÌ iÊ>ÀÌ ÃÌÊ ÀÊVÀ>vÌëiÀà °Ê ÀÊ>ÊvÀiiÊLÀ V ÕÀiÊ ÊÌ iÊ ` > Ê ÀÌÃÊ> `Ê À>vÌÃÊ VÌ]Ê V Õ` }Ê ÜÊÌ Êv iÊ>ÊV « > Ì]ÊV Ì>VÌ\

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The twelfth annual juried art event features fine and funky art made from recycled materials. The annual recycled fashion show is a highlight. For more information, visit recyclesantafe.org November 13–14 Santa Fe Pro Musica: Bach, Bloch, and Dvorak. Bloch’s Concerto Grosso No. 1 for String Orchestra and Obligato Piano; Bach’s Concerto in A Major for Piano and Strings; BWV 1055; and Dvorák’s Serenade for Strings, Op. 22. Saturday 6 pm, Sunday 3 pm, St. Francis Auditorium at the New Mexico Museum of Art, 107 W Palace, 505-988-4640, tickets.com November 16–21 Festival of the Cranes at Bosque del Apache National Wildlife Refuge. Six days loaded with special events, workshops, lectures, and tours. Bosque del Apache National Wildlife Refuge, Socorro, New Mexico, festivalofthecranes.com November 17 Let’s Take a Look with the MIAC Curators. Curators from the Museum of Indian Arts and Culture and the Laboratory of Anthropology are in the lobby of the museum to look at your unidentified treasures. Noon–2 pm, free, Museum of Indian Arts and Culture, 710 Camino Lejo, 505-476-1250, indianartsandculture.org songwriter, performs. 7:30 pm, $20–$100; The Lensic, 211 W San Francisco, 505988-1234, ticketssantafe.com November 20 Jimmy Webb: A Benefit for Kitchen Angels and the Santa Fe Animal Shelter Jimmy Webb, master songwriter and performer, has composed and recorded such songs as “Up, Up, and Away” and “Wichita Lineman.” 7:30 pm, $20–$39; $100 ticket includes pre-performance reception and CD, the Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com November 21 The Mad Hatter’s Tea Party. Wear your wildest hat to this fund-raising party, with high tea, music, and a silent auction. Proceeds benefit educational programs at the museum. 3–5 pm, $40, Museum of International Folk Art, 706 Camino Lejo.

Call 505-992-2715 for reservations.

November 26–27 Chimayo Holiday Gallery and Studio Tour Galleries and studios will be open from 10 am–5 pm, offering holiday specials to customers, plus refreshments and entertainment. For maps and information, visit chimayo.org

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MUSEUM OF NEW MEXICO FOUNDATION

Business Council 92

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Carl and Sandra's Gym 153A Paseo de Peralta in DeVargas Center Santa Fe, NM 87501 www.carlandsandras.com Call Today 505 982 6760

November 26–28 SWAIA Winter Indian Market. The fifth annual event celebrates Native art and features work by 175 artists, artist demonstrations, a holiday music performance, storytelling, kids activities, and a film showcase. General admission: $5, Santa Fe Community Convention Center, 201 W Marcy, swaia.org November 26–28 Circus Luminous An evening of whimsical acrobatics, music, dance, and puppetry from Wise Fool New Mexico and friends. The Lensic, 211 W San Francisco, 505-988-1234, ticketssantafe.com

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| h i s to r y |

turned every witch way the craze that caught colonial Abiquiú in the devil’s grip

by Ma ri n Sa rdy It was 1756, only two years after a land grant to the Genízaro Indians had created Abiquiú, and an illness was spreading through the Genízaro Pueblo. Villagers had called in a curandero, an Apache known as the son of El Canoso, to heal the sick. Meanwhile, the settlement’s priest, Father Juan José Toledo, was investigating allegations that one woman’s death from illness was caused by witchcraft. Toledo believed the plague was the work of a sorcerer named El Cojo, who he was certain had made a pact with the devil himself. But then the son of El Canoso told Toledo something else: the plague was directly created by another, who did El Cojo’s bidding.

That witch, Toledo decided, would have to be destroyed. Usually the priest would have been required to obtain permission from Governor Tomás Vélez Cachupín to mete out such punishment, but not this time.

This time the culprit was a snake—one kept by El Cojo—a “vibora oculta y viva,” as Toledo later recounted in a petition to the governor. At his order, villagers surrounded the snake and beat it to death with sticks, then hung it up on a post, publicly displaying its death as had been done to human witches in previous centuries. The snake, Toledo noted, took an unusually long time to die.

Abiquiú is now best known as the longtime home of Georgia O’Keeffe, whose paintings of nearby Ghost Ranch made the region famous. But

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although the name Ghost Ranch comes from the Spanish Rancho de los Brujos, which translates directly as “Ranch of the Witches,” few appreciate today how steeped in witch-related concerns the community was throughout its colonial history. Until the 1990s, when historians first translated Spanish documents detailing Abiquiú’s witch trials, the events of Salem, Massachusetts, in 1692 were considered the last major witchcraft outbreak on this continent. But more than six decades later, from 1756 to 1766, Abiquiú fell under similar spells of suspicion and behavioral contagion.

If killing that snake had ended the spread of the mysterious illness, the ensuing saga of accusations, interrogations, imprisonments, demonic possessions, and exorcisms may never have happened. But instead, unexplained maladies and deaths only grew more common in the pueblo. The town was soon locked in a self-sustaining spiral of charges and countercharges. By 1760, when Toledo finally petitioned the governor for assistance, he himself had fallen victim to a strange array of malaises, ranging from ongoing digestive troubles to intense pains in his legs. By 1763 women were behaving as if possessed—gripped by fainting spells, seizures,

Women were behaving as if possessed . . . but the more demons Toledo exorcised, the more widespread the possessions became.

themselves in a Spanish society that still adhered to a medieval Christian theology. Since the successful Pueblo Revolt of 1680, the colonial government had grown more tolerant of Native ceremonial traditions, but Father Toledo saw all such practices as devil worship. Under his leadership, the Genízaro of Abiquiú inhabited an enforced spiritual world that accepted no middle ground—in a physical world that was nothing but middle ground.

Such was the atmosphere there in 1760, when Toledo, who was already immersed in the work of eradicating what remained of the group’s indigenous beliefs, first complained of having been bewitched. “The entire pueblo,” he wrote, “is complaining . . . about an Indian named Miguel, El Cojo, and about the damages and deaths known to have originated with his explicit Pact with the Devil.” El Cojo was only the first of dozens to be accused, in part because as the bewitching spread, so did Toledo’s definition of witchcraft. Many of the transgressions he described, such as sticking pins in dolls and casting the evil eye, were in fact typical tribal ways of resolving conflict.

But there’s more to the story than conflicting worldviews. For one thing, somebody was murdering people. According to a report filed by Alcalde Carlos Fernandez in 1763, poisoning by herbs and hallucinogens explained many of the deaths. The Abiquiú scenario may actually better be examined as an outbreak of murder rather than witchcraft—possibly a result of members of several nomadic tribes suddenly having to live together in a settlement, where conflict couldn’t be avoided or fled.

Genízaro Vicente Trujillo, for instance, was accused of shape-shifting into a wolf (among many other things) but was primarily condemned for killing Fray Felix Ordonez with poisonous herbs.

When word of all this made its way to the Inquisition in Mexico City, church officials, who had long viewed New Mexico as a barbarous war zone, wanted nothing to do with it. In 1765 the inquisitors handed down a contradictory but unchallengeable opinion arguing that the devil could not have caused the events, ending the proceedings, and binding all witnesses to secrecy. Luckily, the outbreak was by then already subsiding. In the end, none of the imprisoned sorcerers and witches received death sentences, although, as was typical in witch hunts, older women got the harshest punishments. The worst handed out were banishment, servitude, and public shaming.

Today the fully Hispanicized Genízaro—better known as coyotes— remain a federally unrecognized tribe, but the group did receive official recognition from the New Mexico State Legislature in 2007. It was a sensible gesture: with mixed ancestry and a mixed culture, the Genízaro may be the most New Mexican of all New Mexico’s people.

ISTOCK

and the tendency to scream and howl on hearing the holy gospel. Toledo performed regular exorcisms. But the more demons he exorcised, the more widespread the possessions became. Before it was over, more than 100 men and women had been accused of witchcraft throughout the region, and four had died while imprisoned in Santa Fe. How the New Mexico witch hunt grew to such magnitude, a full century after Europe’s furor over witches had subsided, is less baffling if you know the story of the Genízaro. A group of detribalized Indians—mostly Pawnee, Kiowa, Apache, Ute, and Comanche—the Genízaro were absorbed into Spanish colonial life and culture during the 17th and 18th centuries. Typically captured as children, Genízaro were raised as household slaves or indentured servants, far from their homelands, and were forbidden to practice their traditions. They nonetheless maintained a characteristic that proved to be their greatest advantage under colonial government. The Genízaro knew how Plains Indians thought and fought. Therefore they could defend the colonies against raiding tribes, particularly the dreaded Comanche, better than anyone else. It was this threat that gave them the chance to become accepted as more Spanish than Indian.

After decades of relentless attacks by raiding tribes, the New Mexico colony was near collapse. Then, in 1754, Governor Vélez Capuchín implemented the ingenious plan to give the Genízaro land at the edges of the frontier. This created a buffer zone between the Spanish landowners and the nomadic tribes and in effect provided the Genízaro with economic freedom in exchange for defending the colonies. With the Genízaro Land Grant, he established 60 families at Abiquiú. However, the situation was so violent and fear-inducing that, as had been the case in Salem, residents paid a substantial psychological price for their bargain. “Near panic in the Abiquiú settlements was so palpable that it must be seen as one of the main contributing factors to the witchcraft outbreak,” writes Malcolm Ebright in the 2006 history The Witches of Abiquiú (a collaboration with current state historian Rick Hendricks).

The other major factor was an unintended consequence of Capuchín’s plan. In giving land to the Genízaro, he created a new class within colonial society—one that was fraught with confusion—adding to the colony’s already multilayered sense of dislocation. The residents of Abiquiú were people with divided loyalties. They were squeezed between two worlds, having traded their Indian identities for a higher status as colonial subjects. They tried to carve out a space for

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Pecos National Historical Park photo by Ca r ri e McCa r t h y

Location: Pecos Distance from Santa Fe: 30 miles What’s there: The 400-year-old ruins of the Pecos Pueblo Mission Church are impressive enough, set off as they are by the beauty of the Pecos National Forest. But there are also 12,000 years of history in this special spot, which was settled that long ago by Puebloan peoples. The Civil War’s Battle of Glorieta Pass—known as the Gettysburg of the West—was fought here in1862. Also in the park: the Forked Lightning Ranch home, designed by John Gaw Meem and later occupied by film star Greer Garson.

What’s nearby: Val Kilmer’s ranch (also now a bed and breakfast) and the town of Pecos—grab a burrito and check out the mounted wildlife (bobcat, mountain lion, deer) at Terrero General Store & Post Office for that uniquely northern New Mexico experience.

Hours: Labor Day to Memorial Day, 8 am–5 pm Info: nps.gov/peco/index or 505-757-7200 96

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Photo: Clay Ellis

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