2017 Bienvenidos Summer Guide

William deBuys’ new conclusion to Enchantment and Exploitation: The Life and Hard Times of a New Mexico Mountain Range

Bienvenidos THE HISTORY ISSUE

2017 SUMMER GUIDE FOR SANTA FE & NORTHERN NEW MEXICO

Valles Caldera Best Breakfast Manhattan Project Walking Tour of Santa Fe SANTA FE NEW MEXICAN | santafenewmexican.com

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Summer Visitors Guide for Santa Fe and Northern New Mexico

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Anti Graffiti Program

Graffiti costs everyone money.

When you see the writing on the wall...it’s time to call!

Help Keep Santa Fe Beautiful report graffiti to 505-955-2255 or email graffitihotline2253@santafenm.gov See someone in the act? Call SFPD Dispatch at 505-428-3710.

Adopt-A Median Program Make your business more visible by adopting a median and making a difference in our community.

Call 505-955-2215 or email SFBeautiful@santafenm.gov Participate in one of Keep Santa Fe Beautiful’s Events: Volunteer Awards Dinner Toss No Mas Fall Cleanup Fall Trash Amnesty Weekend HHW/E-Waste Amnesty Day

June 9, 2017 September 23, 2017 September 23 & 24, 2017 November 11, 2017 (9 a.m.-1 p.m.)

For more events and information please visit: www.KeepSantaFeBeautiful.org Summer Visitors Guide for Santa Fe and Northern New Mexico

1

Museum of Indian Arts & Culture’s

MUSEUM-QUALITY NATIVE AMERICAN ART SHOW & BENEFIT OVER 200 OF THE BEST NATIVE AMERICAN ARTISTS

Jody Naranjo

Maria Samora

Charlene Laughing

Support for this event comes from:

Autumn BortsMedlock

Hollis Chitto

MEMORIAL DAY WEEKEND

May 26-28, 2017

Santa Fe Convention Center Friday, May 26 Native Treasures: Indian Arts Festival Pre-Show Celebration & Benefit, 5:30–7:30pm, $125 For tickets, call 505-982-6366 ext. 119 or visit www.museumfoundation.org/native-treasures/

Photos by Carol Franco

Saturday, May 27 Early Bird Admission 9am–10am, $25 General Admission 10am–5pm, $10 All tickets available at entrance Sunday, May 28 Free Admission, 10am–5pm NEW! Native Treasures Street Eats, a food truck event, 11am–3pm in partnership with the Santa Fe Reporter.

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2017 MIAC Living Treasure, Jody Naranjo, Santa Clara

Stay at the Only Resort in Downtown Santa Fe LOCATED JUST STEPS FROM THE HISTORIC PLAZA AND CANYON ROAD La Posada de Santa Fe offers the only resort experience in downtown Santa Fe. Come and taste the flavors of the city at Julia, A Spirited Restaurant & Bar, indulge in cocktails at the historic Staab House Bar, tour our Gallery Collection, or find respite with signature Southwestern treatments at Spa Sage.

ENVISION YOUR ADVENTURE AT LAPOSADADESANTAFE.COM OR CALL (505) 986 0000; TOLL FREE (855) 210 7210. ©Marriott International, Inc. All Rights Reserved. Starpoints, SPG, Preferred Guest, Tribute Portfolio, and their respective logos are the trademarks of Marriott International, Inc., or its affiliates.

330 East Palace Avenue, Santa Fe, NM 87501 | T 505 986 0000 | www.laposadadesantafe.com

Summer Visitors Guide for Santa Fe and Northern New Mexico

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®

River of Love ® exclusively at Santa Fe Goldworks

Made in Santa Fe, NM since 1972.

on e P laza

60 East San Francisco St. | Suite 218 | Santa Fe, NM 87501 | 505.983.4562 | SantaFeGoldworks.com

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Summer Visitors Guide for Santa Fe and Northern New Mexico

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v isi t

SANTA FE

Museum of Indian Arts and Culture Frank Buffalo Hyde: I-Witness Culture on Museum Hill • 505.476.1250 • indianartsandculture.org

Museum of International Folk Art No Idle Hands: The Myths & Meanings of Tramp Art on Museum Hill • 505.476.1200 • internationalfolkart.org

New Mexico Museum 0f Art Cady Wells: Ruminations on the Plaza • 505.476.5072 • nmartmuseum.org

New Mexico History Museum/Palace of the Governors Voices of Counterculture in the Southwest • opens 5/14/17 on the Plaza • 505.476.5100 • nmhistorymuseum.org Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.

museumofnewmexico.org

Drawing represents art as its root, the fundamental starting point for creation in both the arts and sciences for painting, sculpting, engineering, design and architecture. Art of the Draw Santa Fe is a multifaceted celebration of exhibitions and events featuring bold and provocative perspectives on drawing.

May 27–September 17, 2017

New Mexico Museum of Art

Lines of Thought: Drawing from Michelangelo to Now: from the British Museum Ongoing

Georgia O’Keeffe Museum

Drawings by the Artist

Santa Fe Desert Chorale July 7, 2017–December 31, 2018

IAIA Museum of Contemporary Native Arts Action Abstraction Redefined

The eighth movement of Francis Poulenc's Figure Humaine, dedicated to Pablo Picasso, gives name to the Santa Fe Desert Chorale's program Liberté: Music of Resistance and Revolution.

August 1 and 11, 2017 Performances in Santa Fe August 5, 2017 Performance in Albuquerque

nmculture.org/artofthedraw Clockwise from top left: Georgia O’Keeffe, Black Diagonal, 1919, charcoal on paper, 24 X × 18 ¾ in., Georgia O'Keeffe Museum, Gift of The Burnett Foundation, image © Georgia O'Keeffe Museum. ◆ Melchior Lorck, Tortoise and view of a walled, coastal town, 1555, charcoal, heightened with white on blue paper. Image © The Trustees of the British Museum. ◆ Pablo Picasso, Profil sculptural de MarieThérèse, 1933, etching, 12 ½ × 9 in., 020369, courtesy of LewAllen Galleries. ◆ George Burdeau (Blackfeet), Beast Series, 1964, mixed media, watercolor on paper, IAIA Museum of Contemporary Native Arts.

DOUGLAS MAGNUS

Like a 1960s flashback, 2017 has already seen a massive march on Washington, widespread civil demonstrations, vocal government opposition, civic protests and a deeply divided population.

In a timely collaboration, Santa Fe celebrates a half-cent ury since the fabled Summer of Love, another pivotal era of protest, social upheaval, and consciousness-raising that marked the emergence of American coun terculture.

THROUGH OCTOBER 2017 MUSEUM OF INDIAN ARTS AND CULTURE

JULY 7, 2017– JANUARY 21, 2018 IAIA MUSEUM OF CONTEMPORARY NATIVE ARTS

Into the Future: Culture Power in Native American Art

Connective Tissue: New Approaches to Fiber in Contemporary Native Art

APRIL 7, 2017– OCTOBER 1, 2017 NEW MEXICO HISTORY MUSEUM

Sleeping During the Day: Vietnam 1968 Photographs by Herbert Lotz

ONGOING

ATRIUM GALLERY, BATAAN BUILDING

Michael Naranjo: Touching Beauty AUGUST 8 & 13, 2017

MAY 14, 2017– FEBRUARY 11, 2018 NEW MEXICO HISTORY MUSEUM

Voices of Counterculture in the Southwest

SANTA FE DESERT CHORALE

Liberté and Justice: Music of Resistance and Revolution VISIT:

nmculture.org/beherenow

P UBLIS HE D MAY 21, 2017

Bienvenidos

On the cover

Looking down on Lake Katherine from near the summit of Santa Fe Baldy (12,631 feet) in the Pecos Wilderness Photo by Don Usner

2017 SUMMER GUIDE FOR SANTA FE AND NORTHERN NEW MEXICO 26

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34

Photography by Kitty Leaken, Kerry Sherck, Don Usner, Gene Peach

mixed media

features

12

Where Art & Culture Meet

34

A Place Like No Other

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Worth the Trip

38

Santa Fe Walking Map

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Museums

40

New Mexico Timeline

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Annual art markets of the City Different More summer fun

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Celebrate global art and culture

New & Noteworthy

Additions to Santa Fe’s food scene

Secret City

An App to Access “The Hill”

Revealing Joy

Native Treasures Indian Arts Festival honors Jody Naranjo

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Art in the Park

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26

Syria

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“Cultural Patrimony Under Threat” at the History Museum

60 64

COVER PHOTO

OWNER

Don Usner

Robin Martin

COVER DESIGN

PUBLISHER

Deborah Villa

Tom Cross EDITOR

Ray Rivera

EDITORIAL

The Museum That Shaped the City Different

The New Mexico Museum of Art celebrates 100 years

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Prado exhibit comes to Santa Fe

A brief history of Santa Fe

A look back at the Manhattan Project

Glimpses of the Alhambra

Arab-inspired acequias still irrigate Northern New Mexico

Be Here Now and Then

“Voices of Counterculture in the Southwest”

It Must Be Something in the Air

UFOs and time travelers visit New Mexico

Rise & DIne!

Breakfast in the city deliciously different

ADVERTISING

creative director Deborah Villa dvilla@sfnewmexican.com deborahvilladesign.com

advertising director Bernie Schutz advertising sales manager Wendy Ortega classified manager Wayne Barnard

magazine editor Patricia West-Barker copy editor Margaret Goldstein

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ADVERTISING SALES

Chris Alexander Daniel Curtis Mike Flores Sandra Jaramillo Ofelia Martinez Deb Meyers Dana Teton Erica Valdez

ADVERTISING ART DEPARTMENT

creative & marketing manager Kat Lopez designers Elspeth Hilbert, Joan Scholl, Rick Artiaga digital brand specialist Michael Harrison

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110

day trips

art & culture

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From Mellow to Mountainous

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Valles Caldera

100 The Sounds of Summer

A Day in Jemez Springs

106 From Classical Repertoire to Cutting-Edge Debuts

Songs of Sustenance

110 The Power of Imagination

Pueblo Summer Dances

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Four day hikes to accommodate every type of hiker

A dynamic landscape in the heart of the Jemez Mountains

Art & Upstarts

A guide to summer gallery shows The Santa Fe Plaza Bandstand program

Hot springs, historic sites, Native culture

Santa Fe’s music scene is world class

A Pueblo Feast Day remembrance

Lecture, exhibit complement opera premiere

Pueblo dance calendar

The Look of the Land

Revised conclusion to “Enchantment and Exploitation”

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PRODUCTION

DISTRIBUTION

TECHNOLOGY

ADDRESS

operations director Tim Cramer prepress manager Dan Gomez press coordinator George Gamboa packaging coordinator Brenda Shaffer

circulation director Michael Reichard distribution coordinator Reggie Perez

technology director Michael Campbell

office: 202 E. Marcy St. hours: 8 a.m.-5 p.m. Monday-Friday advertising information: 505-995-3852 delivery: 505-986-3010, 800-873-3372 for copies of this magazine, call 505-986-3010 or email circulation@sfnewmexican.com

WEB

digital enterprise editor Henry Lopez www.santafenewmexican.com

Summer Visitors Guide for Santa Fe and Northern New Mexico

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ART MARKETS

▸

where art & culture meet International Folk Art Market | Santa Fe

BY STEPHANIE NAKHLEH PHOTOS BY GENE PEACH

Santa Fe’s reputation as a major American art center is based not only on the number of galleries and museums that line city streets, it’s also embedded in a series of popular annual events that demonstrate the rich blend of cultures in the City Different. The lively intermingling of craftsmanship, peoples and traditions is on display at the five major art markets of the summer, beginning with the Native Treasures Indian Arts Festival in May, moving through the International Folk Art Market, Traditional Spanish Market and Contemporary Hispanic Market — all in July — and capped off with the 96th Santa Fe Indian Market in August.

KITTY LEAKEN

Jody Naranjo

Native Treasures Indian Arts Festival

5.26-5.28

Santa Fe Community Convention Center nativetreasures.org; 505-982-7799, Ext. 3 Over 200 Native artists from more than 40 tribes and pueblos participate in this market, many of whom are included in the Museum of Indian Arts and Culture’s permanent collection. Artists display pottery, jewelry, paintings, baskets and textiles, representing both contemporary and traditional art in a variety of styles.

This year, the work of all current and former Living Treasures will be featured for the first time in a special exhibition at the Governor’s Gallery in the New Mexico State Capitol building. Ticket sales to all events support MIAC and the Museum of New Mexico Foundation.

Friday, May 26: 5:30-7:30 p.m., pre-show celebration and benefit ($125). Living Treasure Jody Naranjo, past Native Treasures artists and event sponsors come together for a celebratory kick-off event and an opportunity to purchase unique artwork made especially for this evening.

Saturday, May 27: 9-10 a.m., early-bird tickets ($25); 10 a.m.-5 p.m., general admission ($10) Tickets available at entrance Sunday, May 28: 10 a.m.-5 p.m., free general admission Native Treasures Street Eats Food Truck Event, 11 a.m.-3 p.m.

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7.14-16

Zehra Cetinkaya, Turkey

Museum Hill, Camino Lejo folkartalliance.org; 505-992-7600 Visitors to the International Folk Art Market can enjoy food, music and handmade art from all over the world. Eight hundred artists from 92 countries exhibit their art in this market, which injects $11 million into the local economy. Artists take home 90 percent of their earnings — averaging $20,000 per booth in 2015 — fostering cultural and economic stability for their families and communities.

Friday, July 14: 6:30-9 p.m., opening party, “A Global Gathering Under the Stars,” featuring shopping, refreshments and dancing to international music ($225) Saturday, July 15: 7:30-10 a.m., early-bird showing ($75, includes all day Saturday) 9 a.m.-5 p.m., Saturday Market ($15, $20 after June 15; ages 16 and under, free) Sunday, July 16: Family and Community Day 9 a.m.-5 p.m. ($10, ages 16 and under, free)

Traditional Spanish Market

7.28-30

Contemporary Hispanic Market

Santa Fe Indian Market

7.29-30

8.18-20

Joseph Ascension Lopez

Gilberto Romero

Keri Ataumbi (Kiowa)

Santa Fe Plaza spanishcolonial.org; 505-982-2226

On Lincoln Avenue contemporaryhispanicmarketinc.com 505-331-2113

Santa Fe Plaza swaia.org; 505-983-5220

The 66th annual Traditional Spanish Market features approximately 250 Spanish colonial artists from New Mexico and Southern Colorado. The market promotes an artistic legacy that’s lasted over 400 years and includes woodcarving, tinwork, colcha enbroidery, hide painting, retablos, straw appliqué, furniture and furnishings, weaving, jewelry, filigree, pottery and ironwork. All adult artists are juried into the market; youth are mentored by current market artists in their categories. Attendees enjoy live music and dance, art demonstrations and regional foods throughout each day.

Friday July 28: Spanish Market Preview Show: Hours and ticket prices TBA Saturday Market, July 29: 8 a.m.-5 p.m., free Sunday Market, July 30: 8 a.m.-5 p.m., free

This street market is open and free to the public each year during the last weekend of July. Around 130 booths line the street, showcasing many forms of artwork created by New Mexico Hispanic resident artists: jewelry, pottery, ceramics, mixed media, sculpture and more.

This year the market will feature 50 new artists: one is a furniture-maker who creates his own locks and hinges, another is an artist who paints on sanded metal, creating a glittery final product. The Contemporary Hispanic Market is unaffiliated with the Traditional Spanish Market but is run the same weekend so visitors have an opportunity to sample a wide variety of Spanish art.

Saturday Market, July 29: 8 a.m.-5 p.m. This year the market is trying something new: Rather than having each artist submit a piece for the awards, judges will roam the booths in the morning and select the winners from all art on display. Awards will be presented midafternoon. Free Sunday Market, July 30: 8 a.m.-5 p.m. Throughout the weekend the information booth is hosting a silent auction of pieces donated by market artists that ends at 2 p.m. on Sunday — a good way to acquire some fine pieces of art for a reasonable price.

Summer Visitors Guide for Santa Fe and Northern New Mexico

Now in its 96th year, the Santa Fe Indian Market is considered the largest and most prestigious intertribal art market in the world, with over a thousand Native artists, craftspeople and designers from across North America participating. The Southwestern Associaton for Indian Arts, which produces the show, estimates at least 120,000 visitors are drawn to the Santa Fe area because of the event. The world’s largest juried Native art show, Indian Market awards $90,000 annually in prize money to artists, artist fellowships, and youth and professional mentoring workshops.

Friday, August 18: 11:30 a.m. Best of Show luncheon; 2-3:30 p.m. sneak preview, followed by the general market preview from 6-8 p.m., all at the Santa Fe Community Convention Center. Ticket prices TBA Saturday Market, August 19: 7 a.m.-5 p.m. on the Santa Fe Plaza and surrounding streets. Free. 2:30 p.m. Haute Couture Fashion Show at the Santa Fe Community Convention Center. 6 p.m. Gala celebration at La Fonda Hotel. Ticket prices TBA Sunday Market, August 20: 8 a.m.-5 p.m., free 9 a.m.-12 p.m. Native American Clothing Contest on the Santa Fe Plaza stage

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SUMMER FUN

KITTY LEAKEN

worth the trip

BY STEPHANIE NAKHLEH With cool nights and pleasantly warm days, Santa Fe is one of the best places to spend the summer. Summer is also the season most packed with special events. These are just a few of those on offer between June and September.

El Rancho de las Golondrinas In La Cienega, 334 Los Pinos Road 505-471-2261; golondrinas.org Journey into the Spanish Colonial past at El Rancho de las Golondrinas, a 200-acre living history museum situated about 25 miles southwest of Santa Fe. This “Ranch of the Swallows” was once a rest stop, or paraje, for weary travelers on the Camino Real — the Royal Road from the south in Mexico City to the northernmost point of Ohkay Owingeh. Visitors today can watch blacksmiths at work making kitchen utensils and horseshoes, help a tanner scrape hide, craft candles from beeswax and cook tortillas on an outdoor grill.

Children can sit at the tiny desks of the schoolhouse and admire the dunce cap and paddle. The museum is open for self-guided tours from June 1 to October 2, Wednesday to Sunday, 10 a.m. to 4 p.m. In addition, the ranch hosts special festival weekends throughout the summer, including the Renaissance Fair, Wine Festival, Herb and Lavender Festival and Harvest Festival. See the website for dates and admission prices.

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New Mexico Cocktails & Culture Festival

Edible Art Tour

505-992-2787 nmcocktailculture.com

505-992-2787 artfeast.org

Returning for a third year, the New Mexico Cocktails and Culture Festival brings foodie and drinkie culture together in a heady three days, from June 2 to June 4, at various Santa Fe locations.

Sipping and dining enthusiasts will enjoy seminars, cocktail samplings and fundraising events. Professionals and home bartenders alike can train in the fine art of mixology while learning the history of spirits and classic cocktails. The festival opens at 6 p.m. on Friday, June 2, at the Santa Fe Convention Center’s courtyard with Margarita Trail Taco Wars, a competition for the best street taco (tickets $20). Santa Fe Cocktail Week precedes the festival, culminating on Thursday, June 1, with a cocktail-pairing dinner at Coyote Café (tickets $125).

For information on the events or to buy tickets, visit nmcocktailculture.com.

The Edible Art Tour, cleverly abbreviated “EAT,” is a favorite annual Santa Fe event.

Fine-arts galleries pair with top restaurateurs, chefs and caterers to offer good food and exhibits to art lovers. The first tour is held on the evening of Friday, June 9, and takes place downtown, where event-goers can visit 17 galleries to peruse the art and nibble on food. The second night, Saturday, June 10, takes place along Canyon Road. Tickets for the 2017 tour, which runs from 5-8 p.m. each night, are $35 per person. Proceeds from the event, which is organized by the Santa Fe Gallery Association and ARTsmart, support art programs in Santa Fe Public Schools. A kickoff event for EAT — a screening of the movie Woman in Gold, followed by a lecture from Peter Altmann, whose aunt is portrayed by Helen Mirren in the film — takes place Thursday, June 8 at the Lensic Performing Arts Center, 211 W. San Francisco St. For admission prices and times, call 505-992-2787, or visit artfeast.org and look under “events.”

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Solstice Cirque Spectacular Rodeo Santa Fe Botanical Garden de Santa Fe

Behind Adobe Walls Home and Garden Tours

Cumbres & Toltec Scenic Railroad

505-471-9103 santafebotanicalgarden.org

505-984-0422 thesantafegardenclub.org

888-286-2737 cumbrestoltec.com

Is there a more iconic symbol of Santa Fe than the hollyhock-bedecked adobe wall? The 78th annual Behind Adobe Walls Home and Garden tours are scheduled for Tuesday, July 18 and Tuesday, July 25, giving visitors a peek behind these romantic private-home exteriors. Buses depart from the Hotel Santa Fe at 12:20 p.m. to ferry visitors to four different private homes each day, and guests may choose to enjoy an optional pre-tour lunch at the hotel beforehand. The tours showcase a variety of architectural styles and highdesert gardens. Each tour lasts four hours and costs $75 per person.

Proceeds benefit local and ongoing education, beautification and conservation projects at the Santa Fe Botanical Garden and the newly redesigned New Mexico Museum of Art Courtyard Garden. For reservations contact Westwind Travel at 800-283-0122 or 505-984-0022.

Selected as the most scenic railroad in the country by a USA Today reader poll (and outranking its more famous cousin to the north, the Durango and Silverton Narrow Gauge), the Cumbres & Toltec Scenic Railroad travels along a track laid in 1880 between the picturesque towns of Chama, New Mexico, and Antonito, Colorado. Along the way, the authentic steam-operated train chugs through the San Juan Mountains and the Conejos Valley, where rail riders can spot wildlife. From May to October, passengers can choose from a number of different full-day options: one-way from Chama to Antonito (and back by motor coach) or the other way around; or a shorter journey from Chama to Osier, Colorado, or from Antonito to Osier, also returning by coach. Several half-day journeys are also on offer. Tickets can be booked through the railroad’s website, cumbrestoltec.com, or by calling 888-286-2737.

Considered one of the premier garden parties of Santa Fe, the annual Solstice Spectacular offers entertainment, performances, gourmet food and themebased specialty cocktails, all on the grounds of the Botanical Garden. “This year the event is themed ‘The Garden of Earthly Delights,’ and celebrates and supports the Botanical Garden’s amazing education, community outreach, horticulture and conservation programs,” said Sarah Spearman, director of public affairs for the garden. “A unique auction will include distinctive plants and containers, garden art and other extraordinary ‘earthly delights.’ Partygoers will enjoy the festivities amongst the summer blooms of the expanded garden.

The newest section, Ojos y Manos: Eyes and Hands Ethnobotanical Garden, is a grand entertainment space allowing for spectacular performance experiences.”

Food is provided by Adobo Catering, and the musical entertainment and guest performers are planned surprises on this year’s theme. The event is Saturday, June 17, from 6:30-9 p.m. Tickets are $150 per person and can be purchased on the website or by phone.

3237 Rodeo Road 505-471-4300 rodeodesantafe.org The 68th annual PRCA Pro Rodeo de Santa Fe rides into town June 21-24, this year featuring Rodeo Clown Reunion, an organization of retired professional rodeo clowns who perform by invitation only. Rodeo-goers also will be treated to bronc riding, tie-down and team roping, steer wrestling, ladies’ barrel racing, and, for the youngsters, “mutton bustin’.”

Ronald “The Man in the Can” Burton will work alongside bull riders to keep the riders safe. In lieu of the usual parade, Rodeo de Santa Fe will be holding its first annual Exceptional Kids rodeo at 10 a.m. on Saturday, June 17, followed by Family Day. During rodeo week, gates open at 5 p.m. Visitors can enjoy concessions, vendors and (for those 21 and over) beer. Ticket prices range from $10 to $27. Visit rodeodesantafe.org for more information.

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MUSEUMS

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museums celebrate global art and culture

BY ARIN MCKENNA

MUSEUM OF SPANISH COLONIAL ART

Santa Fe’s museums frequently

750 Camino Lejo, 505-982-2226 spanishcolonialblog.org

host international exhibits, and this summer is no exception. The New

Mirror, Mirror ... Photographs of Frida Kahlo traces Kahlo’s journey from self-possessed adolescent to passionate wife and lover, independent artist, fashion icon and object of cultlike reverence through 50 images by outstanding photographers, including Lola and Manuel Alvarez Bravo, Imogen Cunningham, Carl Van Vechten and Nickolas Muray. MOSCA augments the exhibit, which originated at Throckmorton Fine Art, New York, with large-scale photographs by William Frej and works created in homage to Kahlo by innovative Spanish Market artists; through Oct. 29, 2017.

Mexico Museum of Art is one of only two U.S. venues hosting the British Museum’s Lines of Thought: Drawing from Michelangelo to Now, and the New Mexico History Museum opens Global Cultural Patrimony Under Threat: Syria as Case Study in July. The Prado in Santa Fe, an outdoor exhibit of 92 reproductions of works from Spain’s national museum, runs through October. Find more global offerings in the listings below.

Frida Kahlo on White Bench, New York (second edition), 1939 Color carbon print by Nickolas Muray Courtesy of Throckmorton Fine Art, New York

MUSEUM OF INDIAN ARTS & CULTURE 708-710 Camino Lejo, 505-476-1250 or indianartsandculture.org Into the Future: The Cultural Power of Native Art illuminates Native artists’ resistance against loss of homelands, the forces of acculturation and cultural appropriation; through October 2017. Frank Buffalo Hyde explores the American Indian experience in the age of “selfies” in I-Witness Culture; through Jan. 7, 2018. Stepping Out: 10,000 Years of Walking the West features footwear ranging from millennial-old sandals to beautifully beaded or quilled Plains and southwestern moccasins and contemporary high-fashion footwear from artists like Teri Greeves and Jamie Okuma.

Aug. 27, 2017-summer 2019.

Beaded book Kiowa Ceremonial Dance Teri Greeves (Kiowa/ Comanche), b. 1970 Brain-tanned deer hide, commercial beads Museum purchase MIAC Collection Museum of Indian Arts and Culture PHOTO BLAIR CLARK

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IAIA MUSEUM OF CONTEMPORARY NATIVE ARTS 108 Cathedral Place, 888-922-4242, iaia.edu/iaia-museum-of-contemporary-native-arts/museum Connective Tissue: New Approaches to Fiber in Contemporary Native American Art shows how fiber artists use both traditional and innovative media and methods to produce unique and powerful works.

The exhibit opens July 7 and runs through Jan. 21, 2018, with a reception on Aug. 17. Native Modern: Abstract Expressionism, Colorfield and Native Art Traditions illustrates how IAIA’s revolutionary approach to arts education sparked a cultural change within Native art, defying standards that had been imposed by the dominant society since the 18th century; July 28, 2017-July 2019. Daniel McCoy: The Ceaseless Quest for Utopia addresses contemporary American Indian issues, past triumphs and current disasters; through January 2018.

Steven Yazzie, (Diné) Under the Arch, 2012 Acrylic on canvas MoCNA Collection 47 x 60 inches Framed oil on canvas Museum Permanent Gallery, 2013-51

MUSEUM OF INTERNATIONAL FOLK ART 706 Camino Lejo, 505-476-1200 or internationalfolkart.org The first myth that No Idle Hands: The Myths and Meanings of Tramp Art dispels is that “tramp art” was made by tramps.

Anonymous late-19th- and early-20th-century artists created household items such as clock cases, frames, private altars and furniture from notch-carved cigar boxes and crates. The exhibit features works from several countries; through Sept. 16, 2018.

Quilts of Southwest China displays traditional bed coverings, clothing and household items created from patched and appliquéd scraps; July 9, 2017-January 21, 2018. Flamenco: From Spain to New Mexico continues through Sept. 10, 2017.

Tramp art birdcage (United States) Late 19th–early 20th century Wood, metal 18 x 17 x 11 inches Courtesy of William F. Lassiter, Houston PHOTO PAUL HESTER

Polychrome tramp art church or nicho (possibly New Mexico or Mexico) Early 20th century Wood, paint 24 x 14 x 5 inches Courtesy of Laurent Sozzani, Amsterdam PHOTO MARGARETA SVENSSON

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Lynne Allen (Hunkpapa Lakota), b. 1948 Wind Woman, 2006 Digital print, relief, woodcut 17 x 17 inches

Bandelier National Monument

WHEELWRIGHT MUSEUM OF THE AMERICAN INDIAN 704 Camino Lejo, 505-982-4636 or wheelwright.org

Beads: A Universe of Meaning traces the history of imported glass beads as a medium of exchange, artistic expression and identity for indigenous peoples throughout North America. Through garments, articles of adornment and works of art dating from about 1850 to the present, the exhibit examines how beadworkers have simultaneously sustained tradition, engaged with popular culture and developed a uniquely Native art form; through April 15, 2018. Bridles and Bits: Treasures from the Southwest features masterpieces of early Navajo blacksmithing and silversmithing, as well as Moorish and Mexican prototypes made between the 13th century and 1860; through Sept. 24, 2017.

A gateway to adventure.

PHOTOS BY NEEBINNAUKZHIK SOUTHALL

Bag, Sandra Okuma (Luiseño/ Shoshone-Bannock), 2011 Private collection

80th BIRTHDAY PARTY Saturday, July 8, 11 a.m.-4 p.m.

Come celebrate the oldest museum on Museum Hill, founded in 1937. The party includes artist demonstrations, dance performances, a food truck, a 20-percent-off sale in the Case Trading Post, docent tours and free admission to the museum.

Leslie Bucklin

Prairie moccasins, ca. 1870 Artist unknown, private collection

Bridle, Navajo, New Mexico or Arizona, 1880–1885 Hand-forged silver, copper, harness leather Wheelwright Museum of the American Indian, Gift of Jim and Lauris Phillips

MANHATTAN PROJECT NATIONAL HISTORICAL PARK BANDELIER NATIONAL MONUMENT VALLES CALDERA NATIONAL PRESERVE

VisitLosAlamos.org 18

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Bridle and bit Navajo, New Mexico or Arizona, 1915–1925 Hand-forged silver, copper, iron, harness leather Wheelwright Museum of the American Indian Gift of Jim and Lauris Phillips

S

E AN T A F

Photo by Jennifer Esperanza

THE RAILYARD

IT’S GONNA BE A GREAT SUMMER IN THE RAILYARD!

SPECIAL COMMUNITY EVENTS SOL SUNDAYS Last Sundays: May-August / In the Park Health & Wellness Extravaganza CURRENTS NEW MEDIA 2017 June 9 thru 25 / El Museo June 9 & 10 / Outside on the Plaza Video Art, EDM & Multi-media Concert ST. ELIZABETH’S SUPERHERO WALKATHON June 10 / In the Park Be a Hero – Walk for St. E’s MAKE MUSIC SANTA FE June 21/ On the Plaza All Santa Fe Line-up launches Wednesday Nights in the Railyard* INTERNATIONAL MUD DAY June 24/ In the Park Kids play the natural way!

MAY CENTER MAD HATTER TEE PARTY July 15/ In the Park Mini-golf fun in the Park BEST OF SANTA FE July 28 / Plaza & Farmers Market Pavilion The Best of Music, Food, Drink & More BON ODORI! August 6 / In the Park Japanese Folk Dancing & Music WE ARE THE SEEDS August 17-19 / In the Park Art + Culture + Fun

EARWAVES MUSIC FESTIVAL August 26 / In the Park Different Music for the City Different GREEN CHILE CHEESEBURGER SMACKDOWN September 8 Farmers Market Hall Vote for the Best!

SANTA FE REPORTER AHA FESTIVAL September 18 / On the Plaza Progressive Music & Arts Fair RECOVERY SANTA FE September 23 / In the Park Rally for Recovery!

LEVITT AMP SANTA FE CONCERT SERIES Saturdays at the Water Tower (Except as noted) May 27- August 12 May 27: OASIS FEST & SURFER BLOOD June 3: MEAT PUPPETS & ST. RANGE June 10: (Currents 2017 Opening Weekend) EL TEN ELEVEN & FUTURE SCARS June 17: DUMPSTAPHUNK & THE STICKY June 24: DHAKABRAKHA July 1: MARIACHI FLOR DE TOLOACHE & GOLDEN GENERAL July 8: IAN MOORE & ALEX MARYOL BANDS July 22: LOS HACHEROS July 28 (Friday): GLUEY BROTHERS & BEST OF SANTA FE WINNER! August 5: IGUANAS & ALTO ESTILO August 12: SANTA FE SALUTES DAVID BOWIE

RAILYARD PARK SUMMER MOVIE SERIES

CONTINUING:

NE

W! WEDNESDAY NIGHTS AT THE RAILYARD! Feed Your Senses Every Wednesday 3pm to close June 21-September 27 Food, music, art & fun, Farmers Market, Art galleries, Restaurant offerings & more LAST FRIDAY ART WALK Railyard Arts District Galleries Jazz from Swingset at the Water Tower Last Friday of every month / 5-7pm

Every other Friday at dusk (Except as noted) June 2-August 25 June 2: All Time Classic MARY POPPINS June 16: FANTASTIC BEASTS & WHERE TO FIND THEM June 30: Bring Your Dog to the Movie Night for BEST IN SHOW! July 14: HAPPY GILMORE July 29 (Saturday): Japanese Culture Night with KUBO & THE TWO STRINGS August 11: LA LA LAND August 25: FINDING DORY

MORE MOVIES IN THE PARK! August 19: NATIVE CINEMA SHOWCASE

WEEKLY MARKETS: SANTA FE FARMERS MARKET Tuesdays & Saturdays / 7am –1pm Farmers Market Hall & Plaza

RAILYARD ARTISAN MARKET Sundays /10am– 4pm Farmers Market Hall

SANTA FE ARTISTS MARKET Saturdays / 8am –1pm In the Park

ALL OUTDOOR EVENTS ARE FREE! FOR TIMES DETAILS AND MORE GO TO:

www.RAILYARDSANTAfE.cOM & SANTA fE RAILYARD fAcEBOOk pAGE Summer Visitors Guide for Santa Fe and Northern New Mexico

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DINING OUT

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new & noteworthy

BY TANTRI WIJA PHOTOS BY KITTY LEAKEN It’s hard to pick a favorite restaurant in Santa Fe — partially because there are so many good ones and partially because of the constant ebb and flow of places opening and closing as they test the waters of the city’s finicky palate. For locals and repeat visitors, however, that means one good thing: new food to try.

The downtown area has a new speakeasy: The Root Cellar (101 W. Marcy St., #5, 505-303-3879), a medieval-ish taproom from Beestro owner Greg Menke. Located under his bee-themed gift shop, The Hive Market, The Root Cellar pulls taps of local beers along with Menke’s own Falcon mead, which you can try on its own or in combination with hard cider as a “Falcon Cyser” — just one of the many novel-seeming (but really oldfashioned) beer and wine cocktails on offer. Tip: Pair them with the French onion soup to get the full Game of Thrones effect.

El Nido (1577 Bishops Lodge Road, 505-954-1272) is back after a long nap, remodeled, reimagined and resurrected. Once a boot-slamming honky-tonk at the edge of Tesuque, the new El Nido is a more upscale, but still approachable, eatery with an Italian steakhouse menu. Try the rotisserie chicken with limoncello, the house-made burrata and the wood-fire-grilled steaks.

The Root Cellar’s French onion soup with (from left): Falcon Meade (bottle and small glass), Falcon Cyser (cider and mead combo) and a mojito

Speaking of beer, it’s now worth the trek halfway down Cerrillos Road to grab a pint: Los Alamos chemist Jon Rowley, president of the Sangre De Cristo Craft Beer Club, has opened a shop of his own, Rowley Farmhouse Ales (1405 Maclovia St., 505428-0719), a gastropub and taproom serving a painstakingly curated lineup of craft beers, with a strong preference toward rustic saison/ farmhouse ales and sour beers. Rowley offers a menu of comfort food to soak up the brews.

Think chicken and waffles, fancy mac and cheese and a killer poutine.

Bartender Wes Keener at the taps

El Nido interiors

Date night in Santa Fe got a little more international with the addition of Milad (802 Canyon Road, 505-303-3581), an upscale Persian bistro with a distinctively sexy vibe, a menu of reimagined Persian street foods — say hello to kebabs, beet-pink falafels and stuffed dates — and a wine list that includes Persian American wines. Plus, Milad stays open late, closing between 10 p.m. and midnight, making it one of the few places in Santa Fe to grab a late bite when your concert lets out.

And for dessert, chef Joel Coleman of the innovative gastropub Fire & Hops has let his ice cream genie out of the carton and given it a place of its own to play — his new ice cream parlor, La Lecheria (1708 Lena St., 505-205-1595). Coleman, a culinary magpie with an adventurous palate, has always had exotic ice creams on the menu at Fire & Hops — think Peruvian yellow pepper ice cream or white chocolate miso sorbet. At La Lecheria, he offers six to eight rotating flavors, ranging from vanilla (flecked with black dots of fresh vanilla bean) to livelier seasonal options like banana leaf, bischochito donut and, of course, green chile.

Tantri Wija is a freelance food writer in Santa Fe, and a columnist for The Santa Fe New Mexican.

Plate of jujeh and veggie kabobs (grilled chicken marinated in saffron and lemon, bell pepper, onion and zucchini with charred tomato, saffron rice and small shiraz salad Strawberry-banana ice cream

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Treasures show in recent years.”

For instance, the museum showcases Naranjo’s work in a yearlong exhibit, Revealing Joy: Jody Naranjo, which opened in April. The exhibit features Naranjo’s rich collaboration with Tlingit glass artist Preston Singletary notes Andrew Cecil, the exhibit’s curator.

“Jody is known for her pottery,” Cecil said. “Now she also is recognized for her work in bronze, weaving and glass. The collaborative spirit expressed by both the artist and museum bridges various communities within the Native world and beyond.”

Cecil continued: “Jody’s work is joyous, as she is. This exhibit, covering the museum’s lobby and entrance, will showcase that through 10 selected pieces of her work and photographs of Jody at work on them by longtime photographer Kitty Leaken.”

WHAT’S OLD IS NEW AGAIN KITTY LEAKEN

Jody Naranjo cruises past Black Mesa on her 1964 Harley Davidson, 1995.

Revealing JOY

Native Treasures Indian Arts Festival honors Jody Naranjo, features past winners

BY KAY LOCKRIDGE The Museum of Indian Arts & Culture (MIAC) knows how to throw a birthday party for award-winning artist Jody Naranjo (Santa Clara Pueblo).

First, hire a large hall: the Santa Fe Community Convention Center. Then, select a few hundred well-known artists, many of whom are Naranjo’s friends, and invite them to the art show that opens the summer season in Santa Fe: the Native Treasures Indian Arts Festival, held over Memorial Day Weekend.

Finally, name Naranjo MIAC’s 2017 Living Treasure and Featured Artist, with the best birthday present of all given at the show’s May 26 opening gala: a work of art created expressly for her by the 2016 Living Treasure and Featured Artist, Dan Namingha (Hopi/Tewa).

That’s what awaits Naranjo, whose birthday is in late May — and she can hardly wait.

“I love MIAC, inside and out, and I am so honored by this award,” Naranjo said. “I want my best work at Native Treasures, so I canceled other planned shows for this year after I learned of the award.”

That means she’ll miss the prestigious Eiteljorg Museum Indian Market and Festival in Indianapolis. But in March, she did attend the Heard Museum’s Indian Fair and Market in Phoenix, where she received the Innovation Award for her new work, as well as Best in Pottery and Best in Show in 2016. She will also participate in Santa Fe’s Indian Market in August.

Innovation is a key word for Naranjo’s art and for the museum, said MIAC director Della Warrior (Otoe-Missouria). “We’ve initiated several new programs and events surrounding the Native 22

New this year is an exhibit of work of the past Living Treasures at the Governor’s Gallery at the New Mexico State Capitol from May through September. The exhibit, also curated by Cecil, features at least one piece of art from each award winner, as well as photos of the recipients by Terrance Clifford.

“Visitors to the Governor’s Gallery will be able to walk through the exhibit and experience Native Treasures,” Cecil said. “They will be able to connect with the artists through their works and photographs.”

Artists featured in the exhibit include Robert Tenorio, Santo Domingo/Kewa Pueblo potter, 2006; Mike Bird-Romero, Ohkay Owingeh/Taos Pueblo jeweler, 2007; Connie Tsosie Gaussoin, Navajo (Dine)/Picuris Pueblo jeweler and sculptor, 2008; Upton Ethelbah Jr., Santa Clara Pueblo/Apache (White Mountain) sculptor, 2009; Lonnie Vigil, Nambe Pueblo potter, 2010; Roxanne Swentzell, Santa Clara Pueblo sculptor and potter, 2011; Tony Abeyta, Navajo (Dine) painter, 2012; Tammy Garcia, Santa Clara Pueblo sculptor and ceramist, 2013; Joe and Althea Cajero, Jemez Pueblo sculptor and Santa Domingo/Kewa Pueblo jeweler, respectively, 2014; sisters Keri Ataumbi and Teri Greeves, Kiowa jeweler, painter and photographer and Kiowa beader, respectively, 2015; painter and sculptor Dan Namingha (Hopi/Tewa), 2016; and 2017 honoree Naranjo.

Another new addition to the event is Native Treasures Street Eats — a partnership between Santa Fe Reporter, Cowgirl BBQ and MIAC. Street Eats provides goodies for hungry visitors and artists in the parking lot across from the convention center on Sunday, May 28.

Warrior shared another new strategy: This year MIAC volunteers will be stationed at the Plaza to encourage visitors to come to the show and to walk with them to the convention center.

At the show, visitors and artists will be entertained by Jemez Pueblo sculptor and flautist Adrian Wall at the Friday evening gala, the Tewa Dancers during the show on Saturday and Emmett Garcia, Santa Ana Pueblo storyteller and musician, on Sunday.

Other innovations at Native Treasures include the Best of Preview and Curators’ Choice awards, selected and presented at the opening gala. MIAC’s Artist Committee will select the winner of the first award, while the museum’s curators will choose a particular piece to add to MIAC’s permanent collection.

Now in its second year, the Goodman Aspiring Artist Fellowship aims to foster the growth of Native American artists who show potential for further development early in their careers. With funds provided by longtime MIAC supporters Connie and Malcolm

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Goodman, selected emerging artists receive a booth at the show as well as financial support for their work. This year’s recipients — jeweler Carly Feddersen, a member of the Okanagan and Arrow Lake bands of the Confederated Tribes of the Colville, WA, Reservation and Adrian Standing-Elk Pinnecoose, Navajo-Southern Ute digital fabrication designer — will be introduced and honored at the Friday night gala.

SHOW SUPPORTS ARTISTS AND MUSEUM When the Native Treasures Indian Arts Festival began on Museum Hill 13 years ago, with fewer than 100 artists, it was called “the best little show in Santa Fe.” Artists were encouraged to create small works of art, and if bad weather intervened, a tent was put up. Otherwise, the show was held in the open air. Over time, the increase in both artists and visitors necessitated the move to the convention center.

Artists, who include a number of first-time participants, are invited to show and sell their work so that Native Treasures benefits them as well as the museum. While there is no charge for the booths, artists donate a portion of their proceeds to MIAC. “Many people don’t realize that although MIAC is a state museum, the state provides funding only for the facility and staffing,” Warrior explained. “We must raise the money to open new exhibits and maintain and upgrade our collections. The Native Treasures Indian Arts Festival is our primary fundraising effort.

Without it, both our artists and the museum would suffer. Besides, the show is a wonderful, fun way to bring artists, collectors, visitors and locals together for the holiday weekend.”

Kay Lockridge has been a writer, reporter and editor for newspapers, magazines and The Associated Press. She began covering hard news and now focuses on features in the City Different.

IF YOU GO THE 13TH ANNUAL NATIVE TREASURES INDIAN ARTS FESTIVAL will draw 200 artist and thousands of visitors and collectors to the Santa Fe Community Convention Center (201 W. Marcy St.) over Memorial Day Weekend (May 26-28).

FRIDAY, 5.26

5:30-7:30 p.m.: The Shared Stories preshow gala and benefit features the display and sale of works by participating artists. Highlights of the evening include introduction of the 2017 Living Treasure and Featured Artist, Jody Naranjo; announcement of the Goodman Fellowship recipient or recipients; and the Best of Preview and Curators’ Choice awards. Tickets ($125) include admission to the early-bird sale the next morning.

COURTESY BLUE RAIN GALLERY

Native Treasures Street Eats offers a variety of edibles for purchase.

SATURDAY, 5.27

9-10 a.m.: Early-bird sale. Tickets ($25) 10 a.m.-5 p.m.: General admission show and sale. Tickets ($10) are available at the entrance.

SUNDAY, 5.28

10 a.m.-5 p.m.: The show continues with free admission.

11 a.m. to 3 p.m.: Across the street from the convention center,

Ongoing related events include the special exhibit of Jody Naranjo’s artwork at MIAC on Museum Hill and the Living Treasures exhibition at the Governor’s Gallery at the New Mexico State Capitol, 490 Old Santa Fe Trail.

For more information and tickets to the gala, contact Alexandra Hesbrook at 505-982-6366, Ext. 119, or visit nativetreasures.org.

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ART in the PARK Prado exhibit comes to Santa Fe

BY ARIN MCKENNA This summer, Santa Fe hosts an unusual exhibit from Spain’s Museo Nacional del Prado, featuring 92 reproductions of the Prado’s masterworks, on outdoor display in Cathedral Park through October.

The Prado boasts one of the world’s finest collections of European art, featuring artists such as Francisco de Zurbarán, José de Ribera, Peter Paul Rubens and El Greco. Among the images included in this exhibit are Titian’s Philip II, Diego Velázquez’s Las Meninas (The Ladies in Waiting), Francisco de Goya’s The Third of May 1808, Fra Angelico’s The Annunciation, Rogier van der Weyden’s Descent from the Cross and Hieronymous Bosch’s masterwork The Garden of Earthly Francisco de Goya (1746-1828) The Parasol, 1777 Delights.

Oil on canvas Santa Fe is the first city in the © Museo Nacional del Prado United States to host the exhibit.

When asked why Santa Fe was chosen, Christina Simmons, board in the world” to have the first U.S. showing of the collection in the former treasurer for the American Friends of the Prado capital city of Spain’s northern territories, noting that New Mexico’s own Museum, which is working with the Prado to Spanish colonial art traditions may have been influenced by images that organize the exhibit, replied, “Really, Santa Fe initially came from Spanish royal collections. “It does at first glance seem to chose us.” be a very different background, but a lot of the iconography that you’ll see The driving forces behind the event are three — particularly in many of the earlier works of art — is the iconography that international trustees of Spain’s Fundación Amigos came to Mexico and then came up the Camino Real to New Mexico, New del Museo del Prado who have roots in Santa Fe: Spain,” Setford said. “I’m not saying that anybody came up the Camino Real Jim Long, Steven Padilla and Randy Talbot. After with a print … but those are the sorts of images that people came to New seeing a presentation on how the Prado toured this Mexico with in their minds, these amazing works of the Renaissance, and exhibit to major cities in El Salvador, Guatemala, [those] images were the basis of what took root in New Mexico.”

Peru and the Dominican Republic, they were The Cathedral Park location is one of the exhibit’s key components. determined to bring it to Santa Fe. According to Simmons, a park provides a relaxed atmosphere, where people “I saw that Santa Fe, being one of the leading can just enjoy the art, eliminating the pressure of going to a museum. art and cultural cities in the United States, Long called the casual setting “fun and unique. You’re seeing great works should in fact be the city to debut this incredible of art not in a museum experience but in an outdoor exhibition, which I think exhibition. New Mexico deserves to have worldis an interesting way to view art and an interesting way to provide everyone class exhibitions like this — and Santa Fe even with the opportunity to see this incredible collection at no cost.” more so,” said Long, who is CEO of Heritage Cathedral Park was also chosen because of its peaceful atmosphere. “It Hotels and Resorts and former board chair of the was right next to the cathedral, and there’s a special meditative quality about Spanish Colonial Arts Society, both of which are being in that space that was more open to contemplation and sitting and backing the effort to bring the exhibit to Santa enjoying than the slightly more busy places that we could have chosen, like Fe. The New Mexico Multi-Cultural Foundation, the Plaza or the Railyard,” Setford said.

New Mexico True and Tourism Santa Fe are also The original paintings won’t be on display. Instead the images are providing support.

Spanish Colonial Arts Society executive director reproduced on PVC vinyl, known for its ability to withstand the elements. A David Setford said that “it made all the sense Prado photographic technician worked with the printers to make sure every 24

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L AU R A G I L P I N J U N E 23rd - A U G U S T 26th , 2017

Laura Gilpin, Storm Over La Bajada Hill, New Mexico, 1946

Caravaggio (1571-1610) David with the head of Goliath, c. 1600 Oil on canvas © Museo Nacional del PradoA U R A

L

505-988-5116 • srltd@photographydealers.com www.photographydealers.com please call for appointment and directions

GILPIN

J U N E 23rd - A U G U S T 26th , 2017 reproduction is as close as possible to the original in terms of color and clarity.

Although every panel is a uniform 4 by 6 feet, the images are on a one-toone scale with the original works. For images larger than 4 by 6, a section of the painting is reproduced to full scale, with a panel below showing the entire painting with the detailed section highlighted. Educational information about each painting is provided in both English and Spanish. The 7-by-6-foot stands holding the prints are weighted with 30-pound cement blocks and engineered to withstand high winds or someone stumbling into them. Since the exhibit is intended for daylight viewing, the reproductions will be unlit.

Setford admits that nothing can replace standing in front of the actual works of art, “but the next best thing is standing in front of something that’s life-sized and has as much grandeur of the real thing, and these do.

“This is an amazing opportunity for people who’ll never have the opportunity to go to Madrid and visit the Prado to be exposed to some of the Over La Bajada and Hill, New very greatest works ofLaura art Gilpin, of theStorm Renaissance upMexico, to the1946 late 19th century that they would never … see except in books.”

A L I N E & E L I OT P O RT E R S E P T E M B E R 1st - O C TO B E R 28th , 2017

Arin McKenna has freelanced for The Santa Fe New Mexican and other publications since 2004. She also hosted and produced Art Tour Santa Fe on KTRC Radio.

IF YOU GO Cathedral Park is located at 131 Cathedral Place, next to the Cathedral Basilica of St. Francis of Assisi. The Prado in Santa Fe exhibit runs through October and is 505-988-5116 srltd@photographydealers.com open daily, free of charge. Go•to pradosantafe.com for more information and a www.photographydealers.com slide show of the featured artwork.

please call for appointment and directions

Top: Eliot Porter, Dining Room, Great Spruce Head Island, Maine, 1981 Bottom: Aline Porter, Untitled Assemblage, 1980

Summer Visitors Guide for Santa Fe and Northern New Mexico

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The Palmyra temples before and after their destruction in August 2015 by ISIS.

SYRIA Syrian refugees in Jordan at Za'atrai refugee camp near the Jordanian city of Mafraq, 2012 Photograph by Tony O'Brien

CULTURAL PATRIMONY UNDER THREAT

BY ADELE OLIVEIRA During the summer of 2015, the Islamic State (also known as ISIS, a radical offshoot of al-Qaida) took control of and destroyed archaeological ruins in the ancient Syrian city of Palmyra. In side-by-side satellite photos, the damage is clear. In images taken before August 31, 2015, the ruins of the temples of Baalshamin and Bel still stand — their colonnades and low walls are visible. In images taken after ISIS dynamited the structures, any suggestions of buildings or columns are gone; nothing remains but the dusty desert floor.

In the two years since the destruction, ISIS briefly lost control of Palmyra to Russian and Syrian forces, but it retook the area in December of last year. The 2015 destruction coincided with the group’s murder of an 82-year-old Syrian scholar and former head of antiquities at Palmyra, Khaled al-Asaad, who was beheaded when he refused to cooperate with ISIS interrogators. Since the beginning of 2017, ISIS’s methodic demolition of the site has continued. In January, the Syrian state-run news agency reported that ISIS had severely damaged the facade of a second-century Roman theater. As tensions continue to escalate in Syria — in early April, the United States launched an airstrike against the forces of Bashar al-Assad’s regime — the fate of Syria’s people and its heritage remains in jeopardy.

An exhibition opening at the New Mexico History Museum on June 23 addresses the destruction 26

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of Syria’s cultural patrimony through early-20thcentury photographs of Palmyra and everyday Syrians of that time. The photographs are sepia toned, and in those that include people, the figures are dwarfed by elaborately carved arches and columns as thick as tree trunks. In congress with the photographs, the nonprofit Curators Without Borders will install a kiosk at the center of the exhibition, a prototype of learning and resource structures called SITEs (Structured Innovative Teaching Environments) that the group builds at refugee camps and settlements around the world. The exhibition will also include photographs of contemporary Syrians by Santa Fe-based photographer Tony O’Brien.

“The Syrian nightmare continues, and the destruction of cultural patrimony is part of it,” said Andrew Wulf, director of the History Museum.

“This is everyone’s concern, in part because we have Syrian refugees who’ve settled in New Mexico, and their history will be here too.” According to data provided by the Refugee Processing Center, eight Syrian refugees have settled in New Mexico since the beginning of 2017.

Wulf explained that the exhibition was inspired by an article written by Khristaan Villela (then an art history professor at the Santa Fe University of Art & Design, now director of the Museum of International Folk Art) for Pasatiempo in November 2015.

Syria: Cultural Patrimony Under Threat was curated by Daniel Kosharek, photo curator at the

PALACE OF THE GOVERNORS PHOTO ARCHIVES NEG #095914

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Images from an album of Mideast archaeology explorations conducted by Howard Crosby Butler, ca. 1900

AT THE NEW MEXICO HISTORY MUSEUM History Museum. The 642 photographs in the museum’s collection were made between 1899 and 1909 during three expeditions to Syria led by Princeton University archaeology professor Howard Crosby Butler. The photos were acquired sometime in the first half of the 20th century by Edgar Lee Hewett, founder of the Museum of New Mexico, but his connection to Butler, and how he obtained the collection, has been lost to history. In his article, Villela notes that Butler and Hewett were likely acquainted, as both men were involved with the Archaeological Institute of America.

Palmyra was established in the second millennium BCE and grew in importance as a crossroads of the ancient world and an important stop on the Silk Road, which linked Asia to the Mediterranean. The city became part of the Roman Empire in the first century CE, and Westerners began to visit its ruins in the 17th century. Palmyra’s architectural and cultural influences encompass Greek, Roman, Persian and Islamic styles, and the city became a UNESCO World Heritage Site in 1980.

The destruction of Syria’s cultural heritage needs to be viewed in light of the much greater cost of lost human lives, which is part of why the History Museum is partnering with Curators Without Borders.

The mission of CWB is to establish informal learning centers for refugees and displaced people around the world — the kiosks the group builds are inexpensive, costing less than $1,000 to

construct, and they incorporate local architecture when possible. Each SITE has cell phone charging stations, a small computer and solar panels to generate electricity. CWB executive director Heidi McKinnon was working on a project in Panama and was unable to communicate via email or phone during the reporting of this story, but according to the organization’s promotional materials, CWB uses “culture-based curriculum” to “both heal and educate.” According to an online presentation about the kiosks, the group accomplishes its mission using digital images of ethnographic and natural history objects found in museums around the world. It also supports learning and language acquisition through visual storytelling, audio lessons, films and games.

During the exhibition at the History Museum, the SITE will be situated in the middle of the gallery, so visitors can interact with its features.

“The human toll of the war in Syria is far and away superior in importance to anything that we could do here, but we see this as a side door into that story,” Wulf said. “I’m a big advocate for general knowledge, and at the very least, visitors will know something about Syria — and why we have this collection — after seeing the exhibit. History should always be approached with the assumption of complexity, and museums can be places of reconciliation.”

Adele Oliveira was raised in Santa Fe and is a freelance journalist and writer.

Summer Visitors Guide for Santa Fe and Northern New Mexico

Syrian refugees in Jordan at Za'atrai refugee camp near the Jordanian city of Mafraq, 2012 Photograph by Tony O'Brien

IF YOU GO Syria: Cultural Patrimony Under Threat opens June 23 at the New Mexico History Museum (113 Lincoln Ave., 505-476-5200) and remains on view through mid-2018. The exhibition is included in the price of admission to the museum: $12 general admission; $7 for New Mexico residents. Admission is free for museum members and children age 16 and under. In addition, admission is free on Wednesdays for New Mexico senior citizens and is free on the first Sunday of each month for New Mexico residents. Admission is free for everyone on Fridays from 5 to 8 p.m.

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COLDWELL BANKER Trails West Realty, LTD 2000 Old Pecos Trail, Santa Fe, NM 87505 \ 505.988.7285 \ 800.775.5550 \ www.ColdwellBankerSantaFe.com

COLDWELL BANKER Trails West Realty, LTD 2000 Old Pecos Trail, Santa Fe, NM 87505 \ 505.988.7285 \ 800.775.5550 \ www.ColdwellBankerSantaFe.com

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4 White Bear Court MLS#:201700576 • SOLD

2 Shasta Lane MLS#:201605402 • SOLD

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©2016 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker Real Estate LLC fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Each Office Is Independently Owned And Operated. Coldwell Banker and the Coldwell Banker Logo are registered service marks owned by Coldwell Banker Real Estate LLC. All Prices Above Represent Last Listed Price. Rachel Rosebery, Qualifying Broker #19462

YOUR HOMETOWN LOAN EXPERTS — RED CARPET NOT RED TAPE 1048 Paseo De Peralta Santa Fe, NM 87501 Branch NMLS #1120933 (505) 780—5800

Jeff Conley, Associate Broker 505.983.0316 (w) 2000 Old Pecos Trail 505.710.7693 (c) Santa Fe, NM 87505 jeffcbsantafe@gmail.com Branch NMLS # 1286128 (505) 780—5800

TRAILS WEST REALTY,LTD ©2016 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker Real Estate LLC fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Each Office Is Independently Owned And Operated. Coldwell Banker and the Coldwell Banker Logo are registered service marks owned by Coldwell Banker Real Estate LLC. All Prices Above Represent Last Listed Price. Rachel Rosebery, Qualifying Broker #19462

YOUR HOMETOWN LOAN EXPERTS — RED CARPET NOT RED TAPE

“Blazing Trails,” Micqaela Jones (Shoshone)

august: when all trails converge in santa fe.

96TH SANTA FE INDIAN MARKET Presented by SWAIA

AUGUST 19 & 20, 2017 santafeindianmarket.com

The largest and most prestigious Native American art event in the world

Santa Fe Indian Market

900 native artists •ASSOCIATION native cinema • performing arts • curated contemporary show • and more SOUTHWESTERN FORshowcase INDIAN ARTS

HAUTE COUTURE FASHION SHOW

BEST OF SHOW CEREMONY & PREVIEW OF AWARD WINNING ART

INDIAN MARKET GALA at La Fonda on the Plaza

NATIVE AMERICAN CLOTHING CONTEST

august 18

august 19

august 20

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august 19

New Mexico’s History Is Alive at El Rancho de las Golondrinas

El Rancho de las Golondrinas, “The Ranch of the Swallows,” was founded 300 years ago as a paraje — stopping place — on El Camino Real, the Royal Road to Mexico City. Today, it is a one-of-a-kind destination on 200 acres where the past comes to life and weekend programs are fun for the whole family!

Las Golondrinas is open for self-guided tours from June through September, Wednesday–Sunday, 10 am–4 pm. Exhibits close at 3:30 pm. During the months of April, May and October, we are open Monday–Friday for guided tours by reservation only. Please allow at least two hours to visit and be sure to leave time to visit the Swallow’s Nest Museum Shop featuring local arts and crafts and period-appropriate toys and games.

2 017 W E E K E N D E V E N TS June 3–4 | Spring & Fiber Fest: Life On The Trails Of The Southwest August 19–20 | Adventures In Territorial New Mexico All Roads Lead to Santa Fe! Come see what life was like on the Camino Real, From Civil War skirmishes to Old West shootouts, experience the adventure of Santa Fe Trail and Spanish Trail. Learn about the people, goods and livestock that Territorial New Mexico. came and went on the arteries of the Southwest.

September 2–3 | Fiesta De Los Niños June 17–18 | Herb & Lavender Festival Fun for all ages! Enjoy storytelling, puppet shows, make and take crafts, archery, good Explore the many uses of herbs and lavender at this annual favorite. Experience food and entertainment. lavender and herb product vendors along with lectures and hands-on activities on all things lavender.

September 16–17 | The 10th Annual Santa Fe Renaissance Fair Enjoy incredible performances and music, delicious food, and arts and crafts July 1–2 | 24th Annual Santa Fe Wine Festival Celebrate your freedom with handmade wines from New Mexico wineries. Dance vendors at New Mexico’s premier Renaissance Fair. to live music and explore a unique arts and crafts fair!

September 30–October 1 | Harvest Festival July 22–23 | The 10th Annual ¡Viva México! Fiesta Taste syrup from our burro driven sorghum mill, help make cider by cranking a Re-discover our neighbor to the south as you listen to mariachis, shop in our traditional apple press, stomp grapes, and pick a pumpkin from our scarecrowMercado and eat delicious food prepared by local Mexican chefs. guarded patch. Voted #2 Best Harvest Festival in the Country!

August 5–6 | Panza Llena, Corazón Contento: New Mexico Food Fest October 28 | Spirits Of New Mexico’s Past Sample delicious locally made creations, experience historic methods of food Step back in time and encounter a diverse assortment of characters from New preparation, learn from food historians and find something special from our vendors and artisans.

Mexico’s illustrious and often little-known past.

(505) 471-2261  www.golondrinas.org  334 Los Pinos Road, Santa Fe partially funded by the city of santa fe arts commission and the 1% lodgers’ tax, county of santa fe lodgers’ tax, new mexico arts, and the santa fe new mexican

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W

www.wheelwright.org 704 Camino Lejo, Santa Fe, NM 87505 505-982- 4636 or 1- 800 -607- 4636

Wheelwright Museum OF THE AMERICAN INDIAN

W

A Universe of Meaning

May 14, 2017–April 15, 2018 Klah Gallery Beads: A Universe of Meaning traces the history of imported glass beads as a medium of exchange, artistic expression, and identity for indigenous peoples throughout North America.

Also on Exhibition Center for the Study of Southwestern Jewelry Bridles and Bits: Treasures from the Southwest Through September 24, 2017 Schultz Gallery Masterpieces of early Navajo blacksmithing and silversmithing.

Martha Hopkins Struever Gallery Permanent exhibition Navajo and Pueblo jewelry and related traditions.

Upcoming Events

All listed events are free. Visit www.wheelwright.org for more information!

Meet and Greet with Fashion Designer Orlando Dugi Sunday, June 4 • 1–4 p.m.; Presentation at 1:30 p.m.

Meet Orlando Dugi (Navajo), known for his elegant couture gowns and accessories adorned with exquisite embroidery and beadwork.

80th Birthday Party

Saturday, July 8 • 11 a.m.–4 p.m.

Cake at 1:30 p.m.

Celebrate the 80th anniversary of the museum! Enjoy docent tours, artist demonstrations, dance performances, a food truck, and a sale in the Case Trading Post.

Here Comes the Storyteller!

Saturday and Sunday evenings • 7 p.m.

July 22, 23, 29 and 30; August 5, 6, 12, and 13 Santa Fe’s premier storyteller Joe Hayes is back with stirring tales of the greater Southwest.

Old Friends, New Faces Jewelry Collection Showcase Thursday, August 17 • 11 a.m.–1 p.m.

The Case Trading Post presents a sales show of Native jewelry by Charles Loloma (Hopi), Richard Chavez (San Felipe), Edith Tsabetsaye (Zuni), and others.

Artist Demonstrations Friday, August 18 • 9 a.m.–noon

42nd Annual Benefit Auction August 1–11 New Online Auction See website for details Thursday, August 17 • 3–5 p.m.

Silent Auction and Live Auction Preview Friday, August 18 Live Auction Preview • 10 a.m.–noon Live Auction • Noon–3 p.m.

Support for Beads: A Universe of Meaning is provided in part by the Enivar Charitable Fund in Memory of Nancy Florsheim; Leo and Donna Krulitz; Richard and Willa Sisson; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; and several other donors. Photo: Neebinnaukzhik Southall.

HISTORICAL WALKING TOUR

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The Cathedral Basilica of Saint Francis of Assisi

San Miguel Mission Church

A PLACE LIKE NO OTHER A brief history of Santa Fe

Editor’s note — When National Geographic named Santa Fe winner of the magazine’s 2017 Legacy Award in the highly competitive Sense of Place category, it noted, “If American pioneers from more than a century ago were to visit Santa Fe’s central plaza today, they would recognize it instantly. The oldest state capital in America considers safeguarding its rich heritage a duty and a passion. The historic downtown and surrounding area protect archaeological sites and cultural authenticity … while strong sustainability initiatives also bring the past into the future.” We are proud to share some of the unique people, places, stories and events that contributed to that recognition in this edition of Bienvenidos.

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STORY BY THOMAS CHÁVEZ PHOTOS BY KERRY SHERCK

MANY YEARS AGO, the Santa Fe River basin was dotted with small Native

villages. Over time the Native people came together and moved into larger villages, many times to defend against the threat of nomadic raiders.

By the time the Spanish arrived in the 16th century, the area had been largely abandoned, but not before establishment of an ancient route connecting the northern pueblos with Cicuye (Pecos Pueblo), the largest and one of the richest pueblos of the time. Cicuye sat on a rise over the Pecos River and was perfectly situated as a gateway to the Plains.

The trail crossed a river about halfway between the two destinations.

The clear mountain stream and its abundant river bottom attracted — indeed, was a welcome respite for — travelers. The first Spanish settlers, who based themselves in Ohkay Owingeh in the north, utilized the site as a paraje, an early rest or camping spot. The potential of the location could not be overlooked, and within a decade a new plaza had been established and populated by a few adventurous settlers. Three years later, in 1610, the sparse settlement was chosen to be the new capital of what was then called the Kingdom of New Mexico.

From its beginning, the settlers called their village Santa Fe, in reference to the holy faith of the Catholic Church. The constant presence of blue-clad Franciscan missionaries gave Saint Francis an early connection to the place, and in the 20th century, the official name became La Ciudad Real de Santa Fe de San Francisco de Asís: The Royal City of the Holy Faith of Saint Francis of Assisi.

The city plaza, on a rise on the river’s north side, became defined by construction of royal houses, part of which survive today as the Palace of the Governors. More than twice the size of the current Plaza, the original Santa Fe Plaza extended east to the site of the current cathedral. It included a church,

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San Miguel Mission Church interior

New Mexico Museum of Art

quarters for soldiers, the governor’s residence and official offices, and it was enclosed with ramparts and towers, probably on its corners.

Many of the Indian servants and carriers who came to New Mexico with settlers from Mexico established living quarters for themselves across the river. Reflecting their heritage, the area became known as Barrio de Analco.

(Analco is a Nahuatl term that means “other side of the water,” a clear allusion to their location in reference to the official site.) Some prominent families also preferred to live in that area. By the 1620s, construction on San Miguel Mission Church, one of the oldest churches still standing in the United States — if not the oldest — had been completed.

At the same time, paths — then roads — developed. The road connecting New Mexico to the distant south left the town from the west along presentday San Francisco and Agua Fría Streets. Initially known as the Camino Real and later as the Chihuahua Trail, it eventually connected to the 19th-century Santa Fe Trail, which came into town along the ancient path from Pecos Pueblo — now a street known as Old Santa Fe Trail. A northern extension of both trails, eventually reaching Taos, left town via Washington Street and Bishops Lodge Road.

Plots were tilled and crops planted in fields defined by newly dug acequias, irrigation ditches that strung out from a mother ditch on each side of the river.

Those fields and ditches, which determined where houses could be built and local roads developed, define Santa Fe to this day. The earliest map of Santa Fe dates to 1766. When it’s overlaid on a modern map, the acequias and roads of yesteryear are clearly visible.

Like the official structures on the Plaza, everything in the early settlement was built from the earth in the form of mud bricks called adobes, with the resulting thick walls providing excellent all-season ventilation. The roads, acequias, adobe architecture and people who made them are major reasons Santa Fe has remained the attraction it is, maintaining its unique identity for

more than four centuries.

A number of historical events influenced the town. In 1680 the most successful Indian rebellion in North America culminated in Santa Fe when the Hispanic inhabitants fled into a 13-year exile, while the Plaza was converted into a pueblo, replete with kivas. In 1821 Mexican independence resulted in open borders and international trade that came down the Santa Fe Trail. An influx of people from the United States, including the much-romanticized mountain men, became part of the fabric of New Mexico’s society. The Mexican War (1846-1848) ended in a U.S. victory, the spoils from which included New Mexico and its capital.

Under the administration of the United States, English language, Victorian tastes in clothing and architecture, range wars, new laws and technology — especially the railroad — added new layers to New Mexico’s heritage.

Still, Santa Fe’s unique identity persisted. By the 20th century, New Mexico in general and Santa Fe in particular had become destinations for “sensitive minds” — writers, artists, scholars and naturalists. These people appreciated Santa Fe’s sense of place and worked for its conservation, forming preservation societies, establishing museums and insisting on laws and codes that protected the architectural styles.

Summer Visitors Guide for Santa Fe and Northern New Mexico

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HISTORICAL WALKING TOUR

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New Mexico Museum of Art courtyard

Loretto Chapel

A WALK THROUGH THE PAST Knowledge and appreciation of Santa Fe’s unique history can be enhanced by touring and, yes, studying the town.

All tours should start at the Plaza and the Palace of the Governors, which fronts the Plaza’s north side. Under the Palace portal, Native American venders sell their handmade goods.

A block east on East Palace Avenue, La Casa Sena, another venerable adobe structure, shows how a Hispanic household of some means expanded its residence to accommodate a constantly growing family. The second floor on the interior patio’s west side once hosted community dances and, for a brief period, served as the seat of the territorial legislature.

Cross the street to view Cathedral Park to learn more of New Mexico’s history before entering the Cathedral Basilica of St. Francis of Assisi, which was built around the walls of the town’s original adobe church. The incomplete Romanesque structure reflects the influence of an influx of French priests sent to New Mexico after the Mexican War; the building’s two towers reflect Santa Fe’s propensity for flat structures rather than the originally intended spires. Outside of a vague floor plan delineated by interior columns, the north transept is the only remaining vestige of the early 18th-century church.

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Importantly, that transept houses Nuestra Señora de la Conquistadora, a popular statue dating to at least 1626. In the 1990s, church elders added “La Paz” to the statue’s name, transforming her to Our Lady of Peace. The official patroness of New Mexico, La Conquistadora is reputedly the oldest Christian icon in the United States. Note in the wall a small exposed crypt that contains the remains of two Franciscans who served in New Mexico in the 17th century. Unseen but equally important are documented Spanish colonial burials under the chapel’s floor.

At one time another waterway ran through town; its sources were a natural spring next to the cathedral and overflow from the river. In the late 19th century, people complained about it being an open sewer that smelled. The problem was solved, and the only hint of that wet, checkered past is the name of the street that runs the length of the old waterway: Water Street.

Loretto Chapel, a faithful copy of Paris’ Sainte Chapelle, sits majestically between Water Street and the river, fronting Old Santa Fe Trail. Inside is the “Miraculous Stairway,” which legend claims was built by Saint Joseph.

The identity of the actual carpenter who constructed it has been a source of study from its inception. Its serpentine, perfectly formed and balanced craftsmanship, which includes 33 steps to represent Christ’s life on earth, is a wonderment. But don’t let the staircase divert you from the ornately carved wooden — not marble — altar screen.

Barrio de Analco is immediately across the river. There, San Miguel Mission Church’s original floors, hand-adzed beams, thick adobe walls and altar screen — painted in New Mexican santero style — all offer a glimpse into the past. The church fronted the Santa Fe Trail as it entered Santa Fe. Here one can imagine the excitement of the locals as they welcomed another travelweary wagon train into town.

Farther up the street, the capitol building, known as the Roundhouse, signals a change of styles. Santa Fe’s protective codes become less stringent farther out of town, and the capitol area heralds a new district of government

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The Santa Fe train station at the Railyard

Sculpture by James Tyler in front of Nüart Gallery on Canyon Road

buildings, open areas and parking. The round building is said to resemble the Zia sun symbol from above and a kiva in concept. Local wags note that it is impossible to corner a politician in the building. Nevertheless, it is unique for its genre, and a visit inside will be rewarded with the extensive exhibition of New Mexico art adorning its walls.

Santa Fe’s world-class museums are another attraction. The New Mexico History Museum/Palace of the Governors, the Fine Arts Museum, the Museum of Contemporary Native Art and the Georgia O’Keefe Museum are either on the Plaza or within a few blocks of it. Beyond the town’s center, especially on Museum Hill, the state-run Museum of International Folk Art and Museum of Indian Arts and Culture speak to the international and long-standing Native American context of New Mexico. The private Wheelwright Museum focuses on Diné (Navajo) culture. Although visiting it requires a trek to the recently expanded edge of the city, the Institute of American Indian Arts houses art produced by its many noted and very talented students.

Santa Fe’s east side provides another perspective of the city, then and now. A tour of Canyon Road clearly demonstrates that the city is a major art market. A series of impressive galleries and restaurants now occupies what were once residences, a barbershop and a store. Acequia Madre Street sort of parallels Canyon Road — nothing in Santa Fe is straight — and is named for the still-functioning ancient mother ditch that it follows.

One of Santa Fe’s jewels is at the end of Canyon Road. Called a symphony of mud, Cristo Rey Church was built in the 1930s by the labor of local residents.

Its thick adobe walls, striking ceiling and quiet solitude are impressive enough, but the church also was built to house an 18th-century carved-stone altar screen that is now a national treasure.

The Guadalupe District in western Santa Fe is an ideal place for a casual lunch. Here is where the Camino Real and two railroads came into town.

Because of the railroads, the area flourished, with warehouses and other

commercial enterprises that have now been converted into galleries. The two depots give testimony to the railroads, one arriving from the south and the other, popularly called the Chili Line, coming from the north down today’s Guadalupe Street. The tracks crossed the old Camino Real at the corner where the Santuario de Guadalupe has sat since the end of the 18th century.

Agua Fría Street is literally paved over the Camino Real. Drive down it and follow the signs to La Cienega Village and El Rancho de las Golondrinas. The latter was a well-known rest stop years ago. Today it is an outdoor living-history museum with restored buildings, functioning acequias and traditionally cultivated fields.

Santa Fe cannot be seen, much less understood, in one day. It has maintained a sense of place in time, in geography and as the destination of varied peoples. Many tangibles speak to the sense of a place; music, dance and food traditions each require a different kind of exploration. Santa Fe’s story of inclusivity is reflected in the town’s very existence. In reality, it has been its inhabitants over centuries who have appreciated its heritage.

City Different, indeed!

Thomas Chávez, PhD, is a former director of the N.M. state history museum and a past executive director of the National Hispanic Cultural Center. The author of 10 history books, he was recently inducted into the Spanish Order of Isabel la Católica.

Summer Visitors Guide for Santa Fe and Northern New Mexico

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MAP ILLUSTRATION BY WILLIAM ROTSAERT

NEW MEXICOTIMELINE

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NICHOLAS BROWN/ PALACE OF THE GOVERNORS NEG #045819

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Alvar Nuñez Cabeza de Vaca crossing the American desert

Palace of the Governors

San Miguel Church

1500

1600

1700

1528 Cabeza de Vaca begins his eight-year journey that includes New Mexico

1605 Juan de Oñate expedition visits El Morro,

1706 Albuquerque founded by Governor Francisco Cuervo y Valdés Peñuela

1539 Fray Marcos de Niza and Esteban lead expedition to find Cibola

1608 New Mexico made a royal province

1709 Three campaigns made into Navajo country

by Marqués de la Peñuela

1539 Contact made with the Zuni people

of the founding of New Mexico

1539 Esteban killed at one of the Zuni pueblos 1540 Francisco Vázquez de Coronado leads

leaving message on Inscription Rock

1610 Gaspar Pérez de Villagra publishes history 1610 Pedro de Peralta establishes the new capital at Santa Fe

expedition into New Mexico

1610 Palace of the Governors built

1580-81 The Rodriguez-Chamuscado expedition

1626 Fray Alonso de Benavidez brings

and Antonio Espejo make unauthorized journeys to New Mexico

La Conquistadora to Santa Fe, builds San Miguel Church and establishes the Holy Inquisition in New Mexico

1598 Juan De Oñate colonizing expedition

1680 Pueblo Revolt: Spanish inhabitants of

1599 Battle at Acoma between the Spanish

1680–92 Puebloans occupy the Palace of the Governors

establishes first Spanish capital at San Juan de los Caballeros Pueblo

and the Puebloans

New Mexico forced to flee to El Paso del Norte (present-day Ciudad Juárez)

1710 San Miguel Church in Santa Fe rebuilt

(destroyed during the Pueblo Revolt of 1680)

1720 Pedro Villasur expedition from Santa Fe to northern plains

1776 Dominguez-Escalante expedition explores northwest from Santa Fe 1778 Governor Juan Bautista de Anza defeats the Comanches

1781 New Mexicans pay a tax to help with U.S. independence

1692–93 Diego de Vargas reoccupies New Mexico 1693 Spanish land grants established 1696 Second Pueblo Revolt COURTESY PALACE OF THE GOVERNORS NEG #020206

COURTESY PALACE OF THE GOVERNORS NEG #011409

Juan De Oñate

Don Diego de Vargas

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COURTESY PALACE OF THE GOVERNORS NEG #045011

Santa Fe Trail

ASSOCIATED PRESS

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Dr. J. Robert Oppenheimer

Geronimo

1900

1800 1807 Zebulon Pike expedition to New Mexico

1884 Frisco Shootout (Elfego Baca)

1912 New Mexico becomes the 47th U.S. state

1821 Mexico wins independence from Spain (Sept. 16)

1886 Geronimo captured; Indian hostilities in the Southwest cease

1916 Pancho Villa raids the New Mexican border town of Columbus. Villa’s troops kill 18 Americans, including members of the U.S. 13th Calvary.

1821 Santa Fe Trail opened by William Becknell 1837 Chimayó Rebellion of 1837 by New Mexicans and Indians; Governor Albino Pérez killed

1898 Spanish American War: 358 New Mexicans serve as Rough Riders

1923–24 Oil is discovered in the Navajo Nation 1930 NMSU professor Clyde W. Tombaugh

1841 Texas invasion of New Mexico thwarted by

discovers Pluto

Governor Manuel Armijo

1944–45 The Manhattan Project develops

1846 Mexican War: Brig. Gen. Stephen W. Kearny

the atomic bomb

raises the U.S. flag in Santa Fe

1947 UFO allegedly crashes between Roswell

1847 Taos rebellion: Governor Charles Bent killed

and Corona

1848 Treaty of Guadalupe Hidalgo ends Mexican War

1967 The Alianza Federal de Mercedes raids the Tierra Amarilla Courthouse

1850 New Mexico designated a territory but denied statehood

1981 Durán Consent Decree/state prison riots

1862 Battle of Glorieta against Confederate soldiers

1982 The space shuttle Columbia lands at White Sands Space Harbor, Alamogordo

1862-67 Apaches and Navajos relocated at Bosque Redondo

1878 The railroad comes to New Mexico 1878-81 Lincoln County War/Billy the Kid

LIBRARY OF CONGRESS

Pancho Villa

Trinity site COURTESY PALACE OF THE GOVERNORS NEG #147362

Summer Visitors Guide for Santa Fe and Northern New Mexico

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NEW MEXICO MUSEUM OF ART

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NICHOLAS BROWN, COURTESY PALACE OF THE GOVERNORS NEG #007383

Anthropologist Edgar L. Hewett in his office, Palace of the Governors, Santa Fe, New Mexico

THE MUSEUM THAT SHAPED THE CITY DIFFERENT

BY ARIN MCKENNA A 2016 National Endowment for the Arts report ranked Santa Fe second only to Los Angeles in artists per capita. But a century ago, Santa Fe had a dearth of what would be considered mainstream artists. Although New Mexico’s capital city had a rich tradition of Puebloan and Hispanic art, only a handful of European-influenced artists resided here.

“It was a very small town, and when the museum was built, there were no galleries, there was no studio space for anyone, they didn’t have an art supply shop. There really was very little for artists here,” said New Mexico Museum of Art (NMMA) librarian/archivist/ webmaster Rebecca Potance.

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Left to right, Marsden Hartley, Randall Davey and John Sloan in the patio of the Palace of the Governors, Fiesta, Santa Fe, 1919

That changed when the New Mexico Museum of Art (known then as the Museum of Fine Art) opened on Nov. 24, 1917. It could be argued that the museum — which launches a 100-year anniversary celebration this fall — was the driving force behind Santa Fe’s transformation from a declining western outpost to the thriving creative center it is today. The museum’s influence, not only on the visual arts but also on Santa Fe’s architecture, economic base and character, has been extraordinary.

“Looking at Santa Fe’s history through the last 100 years and a little bit more, this museum has been a really important thread that has run through it, and has been the crucible or the catalyst for so much of what has happened here and become important here,” said NMMA director Mary Kershaw.

PROTOTYPE FOR THE CITY DIFFERENT When the Museum of Art was founded, Santa Fe had been in a 30-year economic decline. The Santa Fe City Planning Board — founded just after New Mexico achieved statehood in 1912 — believed that promoting art, culture and tourism could reverse that trend.

The board produced a comprehensive plan modeled after the early-20th-century City Beautiful movement. But instead of choosing the classically influenced designs adopted by other U.S. cities, the board embraced Santa Fe’s unique character, from its Puebloan/Spanish colonial architecture to its winding streets, and began promoting the town as the “City Different.”

Among the planning board members was the Museum of New Mexico’s founder and first director, Edgar Lee Hewett, one of the strongest proponents for preserving Santa Fe’s character as “the most ancient city in America.” Hewett believed that a new museum — which the territorial legislature had authorized in 1909 — would be a cornerstone for attracting tourism. “From the outset these really visionary people

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Edgar L. Hewett (in white suit) during Santa Fe Fiesta

PHOTO ARCHIVES, PALACE OF THE GOVERNORS, SANTA FE

Robert Henri

looking at the creation of an art museum in 1917 in … a sort of western trading post town … was really very forward thinking,” Kershaw said.

Hewett’s efforts to promote the “New-Old Santa Fe” style began with the Palace of the Governors (the Museum of New Mexico’s first venue), where he replaced a territorial-style facade with the Puebloan/Spanish colonial-style portal seen today.

Under Hewett’s supervision, architects Rapp, Rapp and Hendrickson designed the Puebloan/Spanish colonial-style New Mexico Pavilion for the 1915 San Diego Panama-California Exposition. It was so successful that the state legislature approved it as a prototype for the new museum. The design incorporated elements from six Spanish-designed Pueblo mission churches and reversed the trend of covering adobe buildings with brick facades by placing an adobe facade over brick and steel I-beam construction.

Approximately 1,200 people attended the museum’s 1917 opening, a remarkable number in a town of 7,000 residents. Among them was artist Robert Henri, a member of New York’s Ashcan School, who had met Hewett at the Panama-California Exposition. Like many of Santa Fe’s early artists, Henri was a fierce supporter of the “New-Old Santa Fe” style. In a letter to a friend, Henri proclaimed that the new museum “is a wonder” and wrote, “My hope is that it will shame away the bungalow with which a few mistaken tastes have tried to make Los Angeles of Santa Fe, and the false fronts with which other mistaken tastes have tried to make New York of Santa Fe. Santa Fe may do the rare thing and become itself.”

Artists supported that vision with the homes they constructed. New York transplant Carlos Vierra’s design for his home was deemed a model for Puebloan/ Spanish colonial style. Los Cinco Pintores (the artists Will Shuster, Josef Bakos, Fremont Ellis, Walter Mruk and Willard Nash) became known as the “five little nuts in five adobe huts.”

After La Fonda Hotel (also designed by Rapp, Rapp and Hendrickson) opened in 1920, Pueblo/Spanish revival became the dominant form of architecture in the city.

A HOME FOR AMERICAN MODERNISTS At Henri’s urging, Hewett adopted a progressive open-door policy that allowed any resident or visiting artist to show at the museum simply by signing up on a clipboard.

The American modernist movement was in its infancy, but many established museums didn’t embrace it. The open-door policy drew artists such as George Bellows, Randall Davey and John Sloan to visit Santa Fe. Other notable artists who came here were Marsden Hartley, Paul Burlin, B.J.O. Nordfeldt, Gustave Baumann, Stuart Davis and Edward Hopper. Some stayed for a summer.

Others settled in permanently.

Hewett enticed artists with free studio space at the Palace, help finding places to live and even financial assistance. The Fred Harvey Company offered free train travel in exchange for artwork the company could use in its advertising.

The Museum of Art became a bustling center of creativity.

According to retired NMMA curator of education Ellen Zieselman, artists were free to use the alcove spaces however they chose, including as studio space or to sell their work. With only one gallery in town, the museum became the major venue for viewing and purchasing art. “Basically, it was a contemporary art facility. It was made for the artists of the time,” Zieselman said. “It did collect art

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from them, so they did see themselves as a museum, but it really was like a place to help facilitate artists making a living out here.”

The museum and the influx of artists had the desired effect, transforming Santa Fe into a nationally known cultural destination, attracting not only tourists but also a host of East Coast transplants.

It should be noted that Hewett never fully embraced the opendoor policy or what he called “ultramodernist” art. When a 1920 Santa Fe New Mexican editorial attacked the museum’s modernist art as Bolshevism, Hewett fired museum manager Sheldon Parsons. The open-door policy became more limited over the years and ended entirely in 1951.

FIESTAS, FAIRS AND FLOATS To further increase tourism, Hewett revived the Santa Fe Fiesta in 1919. The revival bore little resemblance to the fiestas initiated in 1712 to commemorate the Spanish reconquest of Santa Fe. Hewett’s version of Fiesta celebrated Santa Fe’s tricultural identity with days devoted to Spanish, Puebloan and Anglo culture. In 1922 he added an Exhibition of Indian Arts and Crafts to the celebration. This became the Southwest Indian Fair in 1923 and later evolved into Santa Fe Indian Market, now in its 96th year.

In 1924 artists and others protesting the commercialization of Fiesta created a counter-Fiesta called Pasatiempo, which included a Hysterical/Historical Parade.

In 1925 Shuster and Baumann built and burned the first Zozobra in Shuster’s backyard, making it a public event the following year. While the Pasatiempo countercelebration eventually faded away, the parade and burning of Zozobra remain popular events in Fiestas de Santa Fe.

AMERICAN INDIAN ART Hewett and the museum’s assistant director, Kenneth Chapman, were major proponents of Puebloan art. To counteract the deterioration of Puebloan pottery created by the curio trade, they encouraged superior workmanship with — in Hewett’s own words — “approval and substantial remuneration.”

Hewett was a major promoter of renowned potters Maria and Julian Martinez and hosted an exhibit of their work at NMMA in 1920. He also commissioned and exhibited work by Puebloan watercolor artists and provided display space for the work of Santa Fe Indian School students. In 1931 he opened the Hall of Indian Arts, which promoted Native art as fine art, not as craft or anthropological artifacts.

“He was one of the few people who at that time called Native American art ‘art.’ And that was a big deal at the time,” said Rebecca Aubin, NMMA head of education and visitor experience. Hewett’s support, though, was a mixed blessing.

He discouraged innovation and used juried shows to limit indigenous artists’ work to traditional tribal forms. (Although Hispanic artists exhibited at the museum, Hewett did not promote Spanish colonial arts as he did Native arts.)

NMMA’s support for American Indian art continued through the decades. The museum hosted Institute of American Indian Arts student exhibits until IAIA established its own museum, now the Museum of Contemporary Native Arts, and it was one of the early venues to exhibit Fritz Scholder’s contemporary art.

CONTINUING IMPACT Although NMMA’s impact became subtler over the decades, its influence continues to reverberate throughout the community. Works donated by both early and contemporary artists form the backbone of the museum’s 20,000-piece collection and are on regular display in the galleries. The alcoves no longer hold studios, but they do feature the work of living artists.

The museum has also supported and collaborated with other arts institutions.

NMMA transferred its collection of indigenous art to the Museum of Indian Arts and Culture when it opened in 1987. It partnered with Site Santa Fe to host a joint inaugural exhibit and helped promote the Georgia O’Keeffe Museum during its early years.

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Maria Martinez holding finished pottery, San Ildefonso Pueblo

EXHIBITIONS AND EVENTS The highlight of the summer is Lines of Thought: Drawings from Michelangelo to Now, on tour from the British Museum (May 27-Sept. 17). Lines of Thought examines the many ways artists have used drawing to record and provoke thought. It includes works by Leonardo da Vinci, Michelangelo, Albrecht Dürer, Piet Mondrian, Paul Cézanne, Pablo Picasso, Bridget Riley, Barbara Hepworth, Henry Moore, Franz Kline and Rachel Whiteread.

The museum will host a series of 100 programs, events and celebrations over the course of its anniversary year. The first, which takes place on June 10, before the official centennial begins, is Sombras del Pais (Shadows of the Country) — which will reintroduce audiences to native New Mexican Felipe Delgado (1899-1940) and his accompanist, Anna Maude Van Hoose (1884-1960). The two toured the Southwest, performing music from Spain, Mexico, New Mexico, Argentina and California, all sung in Spanish. The lecture-performance will recreate some of the duo’s programs held in the St. Francis Auditorium.

NMMA partners with the Philbrook Museum to present Cady Wells: Ruminations, which runs through Sept. 17. Wells (1904-1954) settled in Santa Fe in 1932. The exhibit features Wells’ uniquely modernist interpretations of southwestern landforms and cultural-religious traditions.

Light Tight: New Work by Meggan Gould and Andy Mattern creates a visual conversation about the tools and conventions of photography. Through Sept. 17.

NMMA will close from Sept. 18 to Nov. 25 for restoration and the installation of three new exhibitions. On Nov. 25, it kicks off its anniversary year with a daylong celebration.

Activities will include tours of the new exhibitions, music in St. Francis Auditorium and special programs and activities for all ages.

For more information about centennial events, visit 100years.nmartmuseum.org. For general information about the museum and other exhibits, log onto nmartmuseum.org.

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MANHATTAN PROJECT

▸

KITTY LEAKEN

Aerial view of Los Alamos National Laboratory, 1991

NEG #HP.2014.14.421 PALACE OF THE GOVERNORS PHOTO ARCHIVE, NEW MEXICO HISTORY MUSEUM

Main entry gate to Los Alamos National Laboratory, Los Alamos, New Mexico

SECRET CITY

BY TERRY D. ENGLAND

A look back at the Manhattan Project

NEG # 001317 PARKHURST, T. HARMON PALACE OF THE GOVERNORS PHOTO ARCHIVE, NEW MEXICO HISTORY MUSEUM

Boys in the Lodge, Los Alamos Ranch School, Los Alamos, New Mexico ca. 1925-1948 48

On Nov. 16, 1942, as a light snow fell, four men watched a group of schoolboys in shorts play hockey on a frozen pond.

“This is the place,” one of the men said.

That remark spelled the end of LARS — the Los Alamos Ranch School — and the beginning of what would become LANL — Los Alamos National Laboratory.

By 1942 Allied leaders feared that German scientists had a head start on a bomb that could destroy a city in one blow. After all, European scientists, many of them German, had already made fundamental discoveries about atomic fission, the process that drives nuclear reactions. Prodded by foreign scientists who had fled Nazi racial purification policies, the Allies finally decided the stakes were too high not to do something.

The result was the Manhattan Project — named after its headquarters but also to confuse spies — that would eventually spawn industrial and research facilities all over the country, employ thousands of people and spend billions of dollars. But before that could happen, a central laboratory, where scientists, engineers and technicians could design and test the weapon, was needed.

By late 1942, four sites in New Mexico — Gallup, Las Vegas, La Ventana and Jemez Springs — and several in other states had already been rejected. That’s what brought the four men — Robert Oppenheimer, theoretical physicist and newly appointed laboratory director; Army general Leslie R. Groves, commander of the project; physicist Edwin MacMillan; and Army major John H. Dudley, assigned to identify a site — to the gates of Los Alamos.

Oppenheimer already knew about the location, having come to New Mexico, like so many other sickly easterners, to improve his health. Once he’d learned to ride a horse, he traveled all over the Río Grande Valley, including up Pajarito Plateau to LARS.

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SANTA FE NEW MEXICAN FILE PHOTO

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On Sept. 10, 1945, seven atomic scientists look over a roentgenometer at Alamagordo, New Mexico, site of the first test atom bomb blast. Left to right: Dr K.T. Bainbridge, Dr. Joseph G. Hoffman, Dr. J.R. Oppenheimer, Dr. L.H. Hemplemann, Dr. V.W. Weiskoff, Dr. R.F. Bacher and Dr. Richard Dodson.

Group of physicists meeting in Los Alamos, New Mexico, 1946.

Front row left, Dr. Norris E. Bradbury; second row left, J. Robert Oppenheimer.

In 1917 Ashley Pond, another who had come west seeking better health through vigorous outdoor living, had established the ranch school in the pine forests of the plateau, 7,200 feet above sea level and surrounded by pueblo and U.S. Forest Service lands and old Spanish land grants. Boys ages 12 to 18 were assigned horses, and they rode horseback, hiked and camped all over the region.

It wasn’t all fun in the sun and snow, though. Teachers from Ivy League schools gave the boys a classical education that was just as vigorous as the outdoors training. Graduates would go on to careers in business, industry and military service.

But outside of this Shangri-La in the Jemez Mountains, the world was being convulsed by war, political events and scientific breakthroughs. Scientists were delving into the structure of the atom. They knew an atom of uranium could be split to release a great quantity of energy — the theoretical one small bomb that could destroy a whole city.

On Dec. 7, 1942, one year after the Japanese attack on Pearl Harbor, the Army told the school it was taking over its grounds. The last four seniors graduated in February to the sounds of bulldozers clearing trees. Fuller Lodge, the Big House sleeping quarters, classroom buildings and several faculty houses (later dubbed “Bathtub Row”) were turned to lab use. With little regard to aesthetics, workers hastily erected other buildings that would eventually house the main laboratory and all the apparatus needed to determine if an atomic bomb were even possible.

on the mesa. The first recruits were some of the most famous scientists in the world, among them Hans Bethe, Enrico Fermi, Edward Teller, I.I. Rabi, George Kistiakowsky, John von Neumann, Luis Alvarez, Emilio Segrè and Niels Bohr, who visited off and on to provide guidance and support. The call went out for young scientists and engineers to join them, but the need was so great that the Army established a Special Engineering Detachment made up of draftees with science degrees.

Wives and families arrived on “the Hill” too, creating headaches for Groves in trying to find them housing. Site Y — code for Los Alamos, the name of which was never to be said out loud — was an Army post surrounded by barbed wire and patrolled by MPs. Soldiers, including a contingent of WACs (members of the Women’s Army Corp), were everywhere.

Life was difficult for the wives of project scientists because their husbands could not talk about their work. Many wives took jobs on the project as typists and clerks, while some did mathematical calculations for “the gadget,” the code name for the bomb. Other wives formed a town council to inform the Army about domestic issues, such as the difficulty of using the coalfired “black beauty” ovens in the apartments.

Teachers soon became a critical need because

FAMILY TIES To house the people who were coming by the dozens — eventually hundreds — to do the work, a town with apartment buildings, laundries, a post exchange, a commissary, dining halls, a school and a hospital began to rise

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SANTA FE NEW MEXICAN COLLECTION

Workers at Los Alamos National Laboratory transport equipment for a nuclear test at Trinity Site, New Mexico.

the bomb wasn’t the only thing being produced there. Women from San Ildefonso, Santa Clara and Pojoaque Pueblos were bused in to serve as maids and cooks for working moms. Men from the pueblos found temporary work as carpenters and plumbers.

To combat the isolation, residents held dances, staged plays that spoofed the project and listened to music on a low-power radio station. They hiked the trails around the area, visited nearby Bandelier National Monument and sometimes traveled to Santa Fe. The presence of many unattached men and women in a confined space led to a few problems, including gambling, all-night parties and prostitution, to which the military commanders turned mostly a blind eye.

This all had to be squeezed in between a work schedule of six days a week, aimed at producing a workable weapon before Germany — or Japan — did. Scientists faced many critical and complex problems, but confidence grew that a uraniumbased weapon could work with a simple design.

In 1940 American scientists had discovered plutonium, an element that would fission more efficiently than uranium. That very characteristic, though, caused all sorts of engineering problems, which necessitated a test shot before deployment of a weapon. The desperate race to finish the bomb lasted beyond the surrender of Germany, so Japan then became the main target.

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LITTLE BOY AND FAT MAN Extraordinary security was aimed at preventing the bomb’s secrets from being stolen, but three spies working for the Soviet Union did exactly that.

Klaus Fuchs, a British scientist, first met contact Harry Gold on the Castillo Street Bridge in Santa Fe to pass information; they would continue to meet in various locations over the course of the project. Gold also received information from David Greenglass, a machinist working on the project.

Meanwhile, scientist Ted Hall met his Soviet contact on the University of New Mexico campus and handed over documents about the inner workings of the device. The purloined information saved the Soviet Union a lot of time in its own atomic weapons program. Fuchs, Gold and Greenglass eventually served prison time, but Hall’s part wasn’t uncovered until many years later.

On July 16, 1945, the efforts of the scientists and engineers paid off when a plutonium “gadget,” with an explosive yield of about 18,000 tons of TNT, was detonated at Trinity Site, 200 miles south of Los Alamos. A uranium bomb, nicknamed “Little Boy,” was already on its way to Tinian Island in the Pacific.

A B-29 bomber dropped it over Hiroshima on Aug. 6, killing 140,000. Three days later, “Fat Man,” a plutonium weapon based on the Trinity device, was dropped over Nagasaki, killing 70,000. Japan surrendered on Aug. 14.

After the war, Los Alamos nearly closed when many of the scientists and engineers left. But gradually the atomic bomb became a part of postwar U.S. deterrence policy, and the government decided to continue producing nuclear weapons. Los Alamos was charged with looking into the prospect of a “super,” a much more powerful weapon based on atomic fusion instead of fission. When the Soviet Union detonated its first atomic weapon in 1949, development of a super became paramount. It was also the beginning of the Cold War, in which the Soviets and Americans raced to develop bigger and better nuclear weapons as a deterrent against using them in war. This development led to atmospheric testing in Nevada and the South Pacific, until the dangers of radioactive fallout could not be ignored. The tests went

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IF YOU GO Bradbury Science Museum 1350 Central Ave. 505-667-4444 lanl.gov/museum

Interactive exhibits cover the Manhattan Project of World War II; recent renovations have expanded coverage to the Cold War and LANL’s applied research in areas beyond the bomb.

Open 1 to 5 p.m. Sunday and Monday; 10 a.m. to 5 p.m. Tuesday-Saturday. Closed Thanksgiving, Christmas and New Year’s Day. Free

Los Alamos History Museum PALACE OF THE GOVERNORS PHOTO ARCHIVE, NEW MEXICO HISTORY MUSEUM

The first atomic explosion, July 16, 1945, Trinity Site, New Mexico

underground in the 1950s. In 1989 the United States stopped designing nuclear weapons, and 1992 saw the last underground test of nuclear weapons.

The Lab continues work on nuclear weapons through its Stockpile Stewardship Program, ensuring that the weapons in the U.S. arsenal are safe and efficient and will work if needed. This mission includes the design and fabrication of plutonium pits, the triggers for nuclear bombs. The Lab also runs programs aimed at preventing the spread of nuclear weapons. Other recent projects have involved environmental science, super computing, solar energy, space exploration and nanotechnology.

The Lab has had to deal with fallout from the rush to develop the World War II bombs in the form of contamination from disposal of radioactive materials around the site. Much money and effort has been spent in cleaning up this Manhattan Project legacy.

Los Alamos itself has grown into a community of about 18,000. At first it was a closed town, where passes had to be shown at a gate just to enter. But free access gradually came as the Lab itself moved across a canyon. To keep the scientists and researchers happy, the government went on a building spree, erecting housing, a downtown shopping center, a post office, schools, a hospital, recreational facilities and horse stables.

While the location, in heavily forested mountains, is still a draw for residents and Lab employees, it does have its drawbacks. In 2000, a controlled burn to thin the forest on Cerro Grande Peak roared out of control, burning 200-plus houses in Los Alamos and forcing evacuation of the town. Los Alamos already had an evacuation plan, which had been used in the 1950s, in tests of civil defense in case of nuclear attack. That lesson came in handy 50 years later.

Terry D. England is a retired journalist. He worked for The Santa Fe New Mexican, including a stint as Books page editor, for many years. He also wrote several articles about the history of the Manhattan Project.

1050 Bathtub Row 505-662-6272 losalamoshistory.org

The museum focuses on the human history of the Manhattan Project and offers information on the Pajarito Plateau before the project began. The new Harold Agnew Cold War Galleries exhibit in the Hans Bethe House on Bathtub Row takes the history into the Cold War. Open 9 a.m. to 5 p.m. Monday-Friday; 10 a.m. to 4 p.m. Saturday and Sunday. Closed Thanksgiving, Christmas and New Year’s Day. Admission $5

Manhattan Project National Historical Park

475 20th St. 505-661-6277 nps.gov/mapr

The Lab sites aren’t open at this time, but information about them is available at the visitor’s center.

Summer hours: 10 a.m. to 4 p.m. Monday-Friday; 11 a.m. to 4 p.m. Saturday and Sunday

Los Alamos National Laboratory lanl.gov

The website details the Lab’s mission and projects, with articles about scientific research.

Trinity Site

575-678-1134 (White Sands Missile Range) www.wsmr.army.mil/PAO/Trinity Tours of Trinity Site, near Alamogordo in southern New Mexico, where the first atomic explosion took place, run on the first Saturday in April and the first Saturday in October. Access is through White Sands Missile Range.

The gate is open 8 a.m. to 2 p.m. Free; no reservations required

Secret City app

Available for Android devices from Google’s Play Store and on iTunes for Apple devices. Free

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reactor. Secret City, available from Google’s Play Store for Android devices and from iTunes for Apple devices, is seen as a way to bring the history of the project to life as it approaches its 75th anniversary.

The app can also be used on a Manhattan Project Walking Tour. Some structures built for the project still exist. For instance, the Little Theater was a cafeteria, and the Christian Science Reading Room was a dormitory for the Women’s Army Corps (WAC). Visitors can tap their camera icons and point their smartphones at QR codes on interpretive panels on the buildings to activate augmented reality within Secret City. That superimposes an image of a building as it looked in the project days, 19431945, over the 2017 version. Turning around while holding the device gives the user a 360-degree view.

OTHER ROADSIDE ATTRACTIONS

AN APP TO ACCESS “THE HILL” Ever wonder what was it like to report to Los Al — oops, to Site Y, in 1943?

The Secret City app will give you an idea, from check-in with Dorothy McKibben at 109 E. Palace Ave. in Santa Fe to the bus ride up “the Hill” and finally access to the tech area, the heart of the lab, where secret work on the atomic bomb was progressing.

Provided you earn that access, of course. To get clearance to all the sites, you have to follow the instructions in a particular order, which includes reading the information stored in “coins” to proceed.

You get a fairly detailed picture of what Site Y looked like, with high fences and massive Army-style buildings (though you don’t get to go inside). You can travel down “Bathtub Row,” former houses of the Los Alamos Ranch School (which occupied the area before the Manhattan Project chased the students and teachers away), where top officials of the project lived, and find J. Robert Oppenheimer smoking cigarettes in front of his house. Top clearance gets you to the remote sites, where researchers constructed the gun assembly for the uranium-based “Little Boy” weapon and the explosives casing for testing the plutonium-based design that became the “Fat Man” bomb, which was dropped on Nagasaki. Then it’s on to Trinity Site, where you can climb the shot tower and gaze upon the “gadget” that initiated the Atomic Age. The app lets you play the part of someone reporting to the site, where you are given a desk, a map of the site and filing cabinets full of information. You can choose your destination and go out and walk around, or you can choose the flyover, which gives you an eagle’s eye view of the layout of the project and surrounding town (minus the winter mud and summer dust).

During your explorations, you can find out a lot about the Manhattan Project — everything from the location to the big names in science who came to work on the bomb to the importance of the former Los Alamos Ranch School icehouse. By the time you’re done, you’ll have a pretty good idea what it took to reach the project’s goals in the complex and rushed effort to beat the Nazis to the A-bomb.

The app was developed by the VISIBLE (Virtual Simulation Baseline Experience) team at Los Alamos National Laboratory, said Linda Deck, director of the Bradbury Science Museum in Los Alamos.

Generally, the group does 3D modeling of spaces that might be too dangerous for anyone to go into, such as a building housing a nuclear 52

Secret City is only one of the Lab’s efforts to bring its history to the public. The Bradbury Science Museum has teamed with the Media Arts Program at New Mexico Highlands University to develop videos and other media to let visitors experience the 17 Manhattan Project National Historical Park sites that, so far, are still closed to the public. These sites contain the few remaining buildings used in the wartime effort to build atomic bombs. Before tourists can visit, though, the sites need to be repaired and stabilized. Plus, the structures are “behind the fence” — within restricted Lab areas — so logistics on opening them have yet to be worked out.

Until then, the NMHU efforts will have to suffice. They should be ready for use this summer, Deck said.

The museum is also gearing up for the 75th anniversary of the Manhattan Project with new exhibits and renovations to existing ones. When complete, the museum will have 60-plus interactive exhibits. While the museum’s main purpose is to tell the wartime story of the Lab, the new exhibits will extend the story of Los Alamos into the Cold War and after, Deck said. A 16-minute film called The Town That Never Was will be replaced by a new film that also covers postwar history.

The museum also plans to revamp its website. The Town That Never Was will move to the site, which will tell more about the people of the Manhattan Project — not just the top scientists and military officials but the “everyday personnel, the secretaries, the WACs, the other chemists and also the housekeepers,” many of whom came from San Ildefonso, Santa Clara and Tesuque Pueblos, Deck said.

The museum attracts 80,000 visitors a year from all 50 states and 150 countries.

Located on Central Avenue downtown, it’s an easy place to begin a walking tour.

Meanwhile, a few blocks west is the Los Alamos History Museum, housed inside one of the original buildings of the Los Alamos Ranch School. The building, at 1050 Bathtub Row, was used as a guest cottage during the Manhattan Project and is surrounded by other preserved school buildings, including Fuller Lodge and the Bathtub Row houses, so-called because they had the only tubs in all the project housing.

Museum exhibits begin with formation of the Pajarito Plateau from an erupting volcano millions of year ago. They then illustrate the arrival of Native Americans, followed hundreds of years later by European-American homesteaders, ranchers and land-grant families and, in 1917, the Los Alamos Ranch School. The museum takes a more personal look at what it was like to live in the town during the Manhattan Project, with exhibits showing the interior of housing units. Other exhibits include artifacts, documents, photographs and audio and video recordings of personal stories.

A renovation completed at the end of last year added and improved on exhibits and interactive programs.

The Hans Bethe House, a Bathtub Row building that was occupied by one of the top scientists of his time, is now home of the Harold Agnew Cold War Gallery, where the story of Los Alamos beyond World War II is on display. Exhibits include scientist profiles, a Nobel Prize display, awards for scientific excellence, information about Los Alamos as a model community for civil defense and a replica of a Cold War Los Alamos living room. (Harold Agnew rode on a B-29 as an observer of the Hiroshima bombing and later became the third director of what was then called the Los Alamos Scientific Laboratory.) The Bethe House is next to the home of the Lab’s wartime director, J. Robert Oppenheimer, which is privately owned.

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— TERRY D. ENGLAND

3:39 PM 4/17/17 1 Bienvenidos ad 2017.pdf

KESHi

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Summer Visitors Guide for Santa Fe and Northern New Mexico

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The Downtown Mother Ditch Much of Santa Fe was once irrigated by a large network of acequias, many of which were abandoned during World War II. Later, real estate development eliminated all but two, of which Acequia Madre is the most accessible. Portions of it run along Acequia Madre Street, not far from downtown, and a segment has been restored through Railyard Park, opposite Whole Foods on Cerrillos Road. With luck the visitor will chance upon the acequia during one of the infrequent days when water is actually flowing down the channel.

KERRY SHERCK

GLIMPSES of the ALHAMBRA Arab-inspired acequias still irrigate Northern New Mexico

BY STANLEY CRAWFORD

DON USNER

Crisscrossing beneath highways, back roads and lanes all over Northern New Mexico is a largely unseen network of arteries and veins that make up about 1,000 acequias, some dating to the 17th century. These small irrigation channels feed pastures, orchards, chile and corn patches, market farms and gardens in the narrow valleys holding tributaries of the Río Grande and the Pecos River, among others.

For the most part, acequias are unmarked as they pass under roadways.

Most of their names are unknown, except by their parciantes (members), comisionados (governing commissioners) 54

and mayordomos (ditch bosses). As a parciante of an acequia in the Embudo Valley, midway between Española and Taos, who served as a comisionado and mayordomo for many years, I can rattle off the names of the valley’s nine acequias — and tell you which ones you will drive across as you move around the valley: my own Acequia del Bosque, the upstream Acequia de Apodaca, Acequia de los Duranes, Acequia Martinez, Acequia Sancochada, Acequia del Medio and Acequia del Llano and the downstream Acequia de la Plaza and Acequia de la Junta y la Cienega. These names form a vivid catalog of the geographical subdivisions of our narrow valley.

The term acequia is Arabic, which perhaps accounts for the fact that the accent falls on the second syllable, not the next to last, contrary to rules of Spanish pronunciation. The word itself is a distant legacy of the medieval cultural exchange between Muslims and Christians during the long Moorish occupation of the Iberian Peninsula, during which Arabic became the language of culture for not only Muslims but also Christians and Jews. The Arab-influenced era ended with the surrender of the last Muslim outpost, Granada, with its magical water gardens of the Alhambra, in 1492.

Acequia traditions were brought over to the New World during the Spanish conquest and took root in the arid highland foothills of Northern New Mexico and southern Colorado. The term acequia can refer to either the physical irrigation ditch or the cultural institution and its administrative structure.

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Remarkably, the rules survive to this day: acequias are still governed under traditional Spanish water law customs. The acequia commission of three is elected by the landowning members at an annual meeting, as in some cases is the mayordomo; sometimes the mayordomo is appointed by the commission.

The commissioners are volunteers, though they are usually exempted from annual ditch dues. The mayordomo is usually paid a monthly stipend during the six- to eight-month irrigation season. Ditch dues (la limpia or la saca) are collected to pay for the annual digging out of the ditch. A fee called mayordomia is collected to pay the mayordomo — or mayordoma. Sometimes special assessments are levied to pay for rebuilding diversion dams or for repairing damage caused by flash floods.

The annual ditch digging takes place in March, April or May and is carried out by a crew of 10 to 30 workers, usually men but not always. Increasingly women are serving as commissioners and mayordomas in the Embudo Valley. Ditch dues are based on piones or peones, ratings that correspond roughly to the size of one’s property. My place consists of two irrigated acres and is rated at one pion, which means that for every day of ditch work, I am supposed to supply (or pay for) one worker.

Acequias are unique in being “utilities” closely governed by their landowning members, who through democratic procedures manage one of our most basic resources, water. In the 1960s, the New Mexico Legislature granted acequias status as “bodies politic, subdivisions of the state,” essentially ratifying their ability to levy taxes and condemn land.

More recent statues have allowed them to set up water banking systems, to protect and retain water rights on land not being currently irrigated and to prevent the transfer of water rights out of an acequia without approval of the majority of the membership. The New Mexico Acequia Association has been an important force in protecting and enhancing acequia rights in the Legislature and has been a source of information and education for commissioners and mayordomos.

Acequias are unique in other ways. In the many villages and small towns they serve, their landowning membership crosses all boundaries — ethnicity, race, religion, education and politics — a valuable feature in these times of political and cultural polarization. For new landowners or returning members of a community, Hispanic or Anglo, the acequia can be a passage into integrating or reintegrating into the area, a means to acquire friends and to work with neighbors on a common project. Some acequias cross pueblo boundaries, thus becoming subject to two types of customs and systems of governance.

There can be deep satisfaction in knowing that as a landowner, you are contributing to the maintenance and continuation of perhaps the oldest kind of engineered structure — in a vernacular sense — on the continent.

Winding their way through stretches of cottonwood and willow, acequia channels are often objects of beauty. Had they not been invented in arid North Africa, sooner or later an artist like Andy Goldsworthy would have done so to celebrate the presence of flowing water in an arid climate. And beauty often accompanies deep functionality: acequias serve to expand riparian habitats and widen migratory corridors.

When I looked down on the narrow channel of the first acequia I ever saw, in the backyard of a place my wife and I were deciding to rent many decades ago, I could not help but think that here was a natural version of the magical flows of the Alhambra I had once marveled at as a student.

DON USNER

Stanley Crawford farms and writes in the Embudo Valley. He is the author of Mayordomo: Chronicle of an Acequia in Northern New Mexico (University of New Mexico Press) and the forthcoming novel Village (Leaf Storm Press).

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Divine Union, 1970, California

COURTESY OF THE MUSEUM COLLECTION OF YOGI BHAJAN, SIRI SINGH SAHIB OF SIKH DHARMACTION

BE HERE NOW and THEN Voices of Counterculture in the Southwest

BY TANIA CASSELLE

Lex Gillan had no idea that he would make Meredith Davidson’s day when he contacted the New Mexico History Museum curator to ask if she had any gaps to fill in the Voices of Counterculture in the Southwest exhibition.

Formerly the yoga teacher at Ram Dass’ spiritual retreats, Gillan has a large collection of Ram Dass memorabilia, so when he heard about the forthcoming exhibition, he asked Davidson if she had any missing pieces.

PHOTO BY DOUGLAS MAGNUS, PALACE OF THE GOVERNORS PHOTO ARCHIVES

Solstice Lovers

Voices of Counterculture in the Southwest In keeping with the exhibition’s collaborative ethos, visitors are asked to tell their own stories in an audio feedback booth. A superbly rich book of personal essays is a must-buy companion to the exhibition.

Davidson most certainly did. She’d searched for months for a complete boxed set of From Bindu to Ojas — the forerunner to the best-selling 1971 book Be Here Now by Ram Dass. The From Bindu to Ojas pizza-box-size set, created and sent to followers by the nascent Lama Foundation community north of Taos, was a kind of spiritual guidance kit, including hand-bound booklets of Ram Dass’ teachings, sacred images and an LP of sacred chants.

But Davidson couldn’t find anyone who still had a complete set. “One thing was always missing. Mostly the LP record.”

Enter bibliophile Lex Gillan, who had two sets, both complete. He’d been using one as a show-and-tell about the origins of Be Here Now at his yoga teacher training courses.

“What was so amazing is that I had really given up on it,” said Davidson. “I was right at the edge of the deadline for adding new items, and out of the blue Lex contacted me. When those things happen, it’s a meant-to-be kind of thing.”

The Voices of Counterculture in the Southwest exhibition, running through February 11, 2018, explores the 1960s and ’70s counterculture movement in New Mexico through documentary photography, archival footage, artifacts and especially audio recordings. People who lived through this period tell their stories of social and political activism, spiritual exploration and back-to-the-land and communal living.

The journey begins with the 1955 recording of Allen Ginsberg debuting his poem Howl at Six Gallery in San Francisco — “a cultural tipping point,” said Davidson — and then rides quickly through the West Coast counterculture scene before landing in New Mexico just as many of the movers and shakers of the time came here.

Davidson’s co-curator, Jack Loeffler, was one of them, arriving in New Mexico in 1962. The author, activist and historian is a living encyclopedia of the counterculture, starting with his days as a young jazz musician in San Francisco in the 1950s. Many of the leading lights featured in the exhibition have been his close friends for half a century. They include Gary Snyder, Peter Coyote and Stewart Brand, creator of the Whole Earth Catalog and Loeffler’s partner in the 1960s America Needs Indians project.

Loeffler is not a fan of the word counterculture or the more shallow interpretations of the Summer of Love and the hippie movement. “It has been trivialized: the sex, drugs and rock and roll. One of the things that came out of it that is still present big time is the environmental movement, and I watched it evolve firsthand because I was part of it. I was a loner, not a communard,” he said, “but it was always in resistance to a prevailing system that I felt was really, really jeopardizing the planet itself.”

Loeffler’s course was set in 1957 when he went, as part of

DETAILS May 14-February 11, 2018 New Mexico History Museum, 113 Lincoln Ave., 505-476-5200, nmhistorymuseum.org $12 general admission; $7 New Mexico residents.

See website for free admission days.

A series of talks, activities and events accompany the museum exhibition, in addition to a Center for Contemporary Arts Cinematheque film series showing counterculture classics such as Easy Rider.

See nmhistorymuseum.org and ccasantafe.org for event and film schedules.

PHOTO BY ROBERTA PRICE

Further, summer solstice, 1969

the 433rd Army Band, to the Nevada Proving Grounds and witnessed an explosion as bright as the sun, followed by a mushroom cloud. “I was playing march music while they fired off an atomic bomb,” says Loeffler. “I witnessed three of those from seven miles away, and I realized that I’m not part of the culture that would condone such a thing.”

He aims to give a truthful and deeper presentation of the counterculture movement. “New Mexico became a nexus for people with this great sense of active imagination and experimentation. Some of it worked and some didn’t, but they tried and that’s what counts.”

We hear from a chorus of voices, including Philip Whalen, John Nichols, William DeBuys, E.A. Tony Mares, Edward

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VISIT

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Abbey, Sylvia Rodriguez, Roxanne Swentzell, Cipriano Vigil and Shonto Begay. We hear from those who founded and lived in the communes and communities, including New Buffalo, Lama Foundation, the Hog Farm, Libre, Placitas and the Yogi Bhajan summer solstice camps. Some of the recordings, such as an interview with Dolores Huerta, César Chavez’s partner in the United Farm Workers, are pulled from Loeffler’s archives.

Both curators emphasize collaborations and reciprocity between the newcomers and those who had been living here for generations. For instance, New Buffalo’s utopian vision of sustainability leaned heavily on expertise from Hispanic communities and Taos Pueblo. The Hopi Indians asked for help from the hippies in their fight against strip mining on their sacred Black Mesa.

Davidson said that one of the most moving moments in the exhibition is an interview with Santa Clara Pueblo artist Michael Naranjo in the Vietnam War section. Naranjo’s sculpture He’s My Brother shows a soldier carrying another soldier, and Naranjo tells about the moment in Vietnam when he lost his eyesight and the use of his hand.

“It’s a window into the complicated nature of the conflict,” said Davidson.

“There were so many people who served honorably and in some cases had horrific experiences and who are grappling with their own issues as veterans to this day. His interview is just gut wrenching … the impact it had on his life and his community. I think those sorts of stories of what it means to be an actor in history are important for people to take the time to really listen to.”

In keeping with the exhibition’s collaborative ethos, visitors are asked to tell their own stories in an audio feedback booth. A superbly rich book of personal essays is a must-buy companion to the exhibition.

Experience the and Tradition of seeing Nambé “It is Culture a very timely exhibit in that we are a lot ofPueblo parallels now in terms of what it means to be an engaged citizen,” says Davidson.

Loeffler sums it up: “We really need a huge wave of counterculture right now.”

✓ Nestled at the base of the Sangre de Cristo Mountains

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Tania Casselle is a freelance writer, editor and writing coach based in Taos, New Mexico.

the Culture Tradition ofof Nambé PuebloPueblo erienceExperience the Culture andand Tradition Nambé 58

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2O years of a Great American Artist, a Great American Story For two decades, the Georgia O’Keeffe Museum has shared the vision of a true original. Join us this summer as we look back and head forward.

Come be inspired.

CLOCKWISE: GEORGIA O’KEEFFE, ROAD TO PEDERNAL, 1941. OIL ON CANVAS 6 1/8 X 10 IN. GIFT OF THE GEORGIA O’KEEFFE FOUNDATION. © GEORGIA O’KEEFFE MUSEUM. ALFRED STIEGLITZ, GEORGIA O’KEEFFE, 1920/22. PALLADIUM PRINT. GIFT, THE GEORGIA O’KEEFFE FOUNDATION. © GEORGIA O’KEEFFE MUSEUM. LIVING ROOM, GEORGIA O’KEEFFE HOME & STUDIO, ABIQUIU, NM. PHOTO BY HERB LOTZ. © GEORGIA O’KEEFFE MUSEUM. PHOTO: GEORGIA O’KEEFFE MUSEUM. © GEORGIA O’KEEFFE MUSEUM.

GALLERIES

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Summer Visitors Guide for Santa Fe and Northern New Mexico 5 9 = MUSEUM STORE = RESEARCH

HOME AND STUDIO

WWW.OKEEFFEMUSEUM.ORG

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MYTHS & MYSTERIES

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IT MUST BE

SOMETHING IN THE AIR UFOS AND TIME TRAVELERS VISIT NEW MEXICO

BY EMILY DRABANSKI The popular television series The X-Files had a famous tagline: “The Truth Is Out There.” The show itself may also have been a bit out there, with stars David Duchovny and Gillian Anderson tramping across the country searching for clues about alien encounters and UFO landings — a search that often brought them to the Land of Enchantment.

With New Mexico’s wide-open skies, top-secret national-government laboratories and White Sands Missile Range, it’s not surprising that stories of UFO landings here have fueled conspiracy theories, science fiction plots and, in the city of Roswell, tourism.

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Here’s an overview of some of the more popular stories of close encounters of the New Mexico kind.

Roswell UFO Incident

The July 8, 1947, edition of The Roswell Daily Record carried this earthshaking headline: “RAAF [Roswell Army Air Field] Captures Flying Saucer on Ranch in Roswell Region.” The U.S. Air Force later issued a statement that the “saucer” was actually a weather balloon, but the incident had already captured the imagination of people from around the world. Rumor was that “alien bodies” — short in stature and with large heads — had been recovered, and speculation swirled about a government cover-up.

Whether you’re a UFO enthusiast or a skeptic, the prime time to visit Roswell is during the city’s annual UFO Festival, from June 30 to July 2. This summer marks 70 years since “the incident,” and the UFO Festival includes two conferences: The Roswell Daily Record’s Roswell Incident Conference (roswellincident.com) and the Challenges to ET Conference (roswellufo.com) debunking UFO theories. In addition to the scholarly events, the festival offers raucous activities on Saturday, July 1, including an Alien Pet Costume Contest, an Alien Costume Contest, a Steam Punk Ball and an evening UFO Festival Light Parade. The Roswell Galacticon, which runs from June 29 through July 1 in conjunction with the festival, includes comic book collectibles, gaming, cosplay and a Sci Fi Film Festival. Visit ufofestival.com and roswellfilmcon.com for up-to-date schedules of events.

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Aztec UFO Incident

Author Frank Scully got folks excited when he wrote a series of columns for Variety magazine about alleged UFO incidents near Aztec in 1948 and followed up with a book, Behind the Flying Saucers, in 1950. While the sightings are widely regarded as a hoax, his reports of 16 “humanoid” bodies caught people’s attention. Adding to the interest were his claims that the crashed UFO came from Venus and was taken by the U.S. government. Unfortunately, his primary sources were Silas Newton and Leo A. Gebauer, who were later exposed by True magazine to be frauds trying to peddle “doodlebugs” — devices supposedly based on “alien technology,” recovered from the crash site, and able to detect oil and gold.

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Lonnie Zamora Incident, Near Socorro

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Dulce Base

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Time Travelers

While not as well-known as the Roswell incident, a more mysterious encounter in 1964 on the outskirts of Socorro has never been completely explained away. The U.S. Air Force concluded that the explanation of the sightings was “unknown,” leaving the incident wide open to speculation. The fact that the report of a mysterious crash-landing of a shiny, oval-shaped object was made by on-duty police officer Lonnie Zamora added credibility to the eyewitness story. Some folks in Albuquerque recounted seeing a similar object piercing the night sky, headed in the direction of Socorro, about 20 minutes earlier and called into area radio and television stations, which reported the sightings before Officer Zamora called in his account. As Zamora spotted the “car,” he saw two figures (small in stature) near it. When he got closer, he said, the shiny craft made a roaring noise and he saw a shooting flame. Fleeing the roar and flame, he took up a position well beyond his vehicle yet kept the craft in view. His report stated, “Object was traveling very fast. It seemed to rise up, and take off immediately across country.” Investigators later found charred vegetation and an indentation in the earth at the site.

Albuquerque businessman Paul Bennewitz claimed he was intercepting communications from an alien spacecraft in 1979. In the 1980s, he spread the story of an alleged human-alien underground facility on the Colorado-New Mexico border near the town of Dulce. Some of the most far-fetched stories from the UFO community are tied to the Dulce base, where experiments on abductees have allegedly taken place. Stories of cattle mutilations in the area (reported in The Santa Fe New Mexican and The Taos News), first during the late 1970s and again in the 1990s, are often cited by UFO enthusiasts as a link to the Dulce base. A Sept. 15, 2015, Taos News story stated, “Folks got spooked. Not only were their animals dead and cut up in the strangest of ways, but the mutilations were oftentimes associated with people seeing strange lights in the sky — white, blue and red orbs, disks, things zooming past the stars hundreds if not thousands of miles per hour. Several paranormal investigators, including Chris O’Brien from the San Luis Valley in Colorado, documented story after story of black helicopters landing and taking off from the very fields where mutilated cows had been found.”

The popularity of television shows such as Outlanders, Timeless and Time After Time signal a resurgence of interest in time travel, popularized more than a century ago in H.G. Wells’ 1895 novel The Time Machine.

Andrew D. Basiago, a popular figure on internet sites who focuses on government cover-ups, has also shared purported time-travel experiences. A write-in candidate for U.S. president in 2016, the Washington state lawyer ran on the promise that he would reveal the truth about classified military-intelligence projects involving time travel, teleportation and trips to Mars. Basiago claims that he was brought into the CIA’s Pegasus Project (under control of the Defense Advanced Research Projects Agency) in 1967-1968 by his father and that he teleported from New Jersey to the state capitol complex in Santa Fe — specifically what is now the Bataan Memorial Building — at age 6. Basiago says he continued to return to Santa Fe with other “specially trained children” throughout the 1970s. He talks about his experiences on YouTube.

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Taos Hummmm

If UFO stories make you go “hmmm,” consider the mysterious Taos Hum. A small percentage of the town’s population claim they can hear a low, droning noise, not unlike a diesel engine. In the early 1990s, after residents began complaining about the low-level rumbling, some scientific experiments were conducted, but they reached no conclusions about the origin of the sound. (Other spots around the globe where some report hearing a hum include Bristol, England, and Windsor, Ontario.) Internet theories about the source of the sound range from ocean waves creating a vibrational hum to more otherworldly explanations. Those who hear the hum are called everything from superhearers to delusional.

In UFO circles, rumors persist that the hum is a sign of subliminal messages coming from either the government or from outer space — which brings us back to The X-Files. In a 1998 episode, Duchovny speculates that extremely low-frequency radio waves may be behind the Taos Hum. Hmmm … the truth is out there somewhere.

Emily Drabanski was the long-time editor-in-chief of New Mexico Magazine. These days she writes down-to-earth stories as the staff writer at Santa Fe Community College.

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Rise & Dine!

Breakfast in the city deliciously different

BY JOHN VOLLERTSON PHOTOS BY KITTY LEAKEN Breakfast is my favorite meal, but I love brunch even more. It occurs at a much more civilized hour, and I’m way more fun after I’ve had my coffee. Luckily for early risers looking for a hearty start to the day, our city offers locals and visiting foodies an eclectic array of destinations serving good strong coffee and yummy dishes to get the engine going. Happily for me, most of them continue to offer eggy stuff all morning.

Here are some of my favorites:

Sunrise Benedict: blue corn crepe, avocado, house-made sausage, poached egg

BLUE HERON AT SUNRISE SPRINGS 242 Los Pinos Road 877-977-8212, sunrisesprings.com It was smart of the new owners of Sunrise Springs to install local chef Rocky Durham at the stoves of their swanky spa/resort to lure locals to their culinary (and other) delights. The whole place has been spruced up — especially the Blue Heron, the main dining room, which overlooks one of the many ponds on the beautiful property. Durham’s approach to spa cuisine is fresh and flavorful — and diners reap the rewards. Breakfast is served all week long, but on the Sunday brunch menu it’s the Sunrise Benedict that floats my boat. Tender blue corn crepes sit in for the English muffin, while house-made sausage replaces the ham. I’m not sure hollandaise is “spa cuisine,” but if you stay for a massage, the therapist can redistribute the butter.

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Corncakes (with egg on top)

MODERN GENERAL 637 Cerrillos Road, 505-930-5462, moderngeneralnm.com Part of the charm of Modern General is sitting in a sunlit café, chock-full of nifty gadgets and quirky sundries, and enjoying some unique daytime dishes. Texans love both their kolaches and Santa Fe, so it was very clever of owner Erin Wade to include the pastries on the menu. Recently, Modcakes — exotic sweet and savory variations of the ubiquitous pancake — were added to the store’s offerings. These are not your grandma’s flapjacks; they’ve been transformed into the likes of prosciutto and robiola cheese corncakes with horseradish kefir; “supercakes” chock-full of super foods in the kale, flax and antioxidant vein; and, my favorite, coconut cakes topped with passion fruit curd and almond butter cream. Now that’s a pancake!

Supercakes

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Matcha Green Smoothie Bowl made with coconut milk, spinach, kale, banana and matcha green tea topped with hemp hearts and seasonal fruits

SWEETWATER HARVEST KITCHEN 1512 Pacheco St., Bldg. B 505-795-7383, sweetwatersf.com If you adhere to any of the currently popular diets or health trends, Sweetwater can help you stick to your regime — deliciously. The menu faithfully identifies gluten-free, vegetarian, vegan and other options, but at heart, the restaurant is simply focused on good food. The homemade crunchy granola helps you forget it’s healthy due to the ample bites of dried fruits and toasted coconut.

Vegans will love the scrambled tofu with black beans, sweet potato and avocado topped with spicy green or red chile; egg eaters will appreciate the delicate eggs en cocotte with mushrooms, spinach and local feta. Don’t miss the in-house baked pastries. You can wash them down with a spinach, kale, banana and matcha-tea-powder smoothie.

Housemade crunchy buckwheat granola with dried fruits and coconut served with housemade coconut nectar.

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Scrambled eggs on brioche with chives

BODEGA PRIME 1219 San Felipe Ave. 505-303-3535, bodegaprime.com Sometimes the day warrants a grab-and-go breakfast, and newish Bodega Prime has some yummy options, like a breakfast burger that pairs Magdalena pork sausage with peach ketchup and pickled onions, or scrambled eggs on brioche with chives, cheddar and tomatillo salsa. Chef/owner Noela Figueroa has recently doubled the size of the deli — great news for her many fans — and expanded hours to include a full-on brunch Saturdays and Sundays. I think a brunch menu should be judged by its eggs Benedict, and Bodega’s pork belly eggs Benedict over a savory squash latke has my vote for best brunch of the bunch. Vegetarians will love the Vietnamese-style pancake with tart tamarind sauce, while the voluptuous buttermilk biscuits and gravy will send carnivores into a frenzy.

Blackberry sage shrub Summer Visitors Guide for Santa Fe and Northern New Mexico

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CAFÉ PASQUAL’S 121 Don Gaspar Ave., 505-983-9340, pasquals.com One of the great joys I discovered on my first trip to Santa Fe, while exploring its culinary identity long before moving here, was breakfast at the ever popular and always delicious Café Pasqual’s. I do love dinner there, when the mood changes and calms down, but it’s the hustle and bustle of the brightly painted room and the strong cappuccinos served in a bowl instead of a cup that keep me in love every time I visit. The menu celebrates our history, our neighbors to the south and the latest trends — many set by chef/owner Katharine Kagel. I crave the delicate blintzes with strawberry jam; jones for the exotic huevos motuleños with sautéed banana, a crumble of feta, a kick of jalapeno salsa and a crown of black beans; dream about the smoked trout hash with the crispiest hash browns on the planet, sided with zippy tomatillo salsa; and absolutely need the amazingly lean corned beef hash with runny eggs. Don’t miss the new additions to the all-day menu: avocado toast with dukkah bacon and poached egg; 24-hour wood-smoked pastrami hash with eggs; and the corncake stack with red chile, maple syrup and queso blanco sauce — a real New Mexico treat.

Julia’s Wild Salmon Gravlax, Cognac-cured line-caught salmon slices, Gruyere potato cake, creme fraiche

Stack of corncakes with queso blanco, red chile and pure maple syrup

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Cloud Cakes

CAFÉ FINA 624 Old Las Vegas Highway 505-466-3886, cafefinasantafe.com Folks who live on the southeast side of town and in Eldorado have already discovered Café Fina, but it’s too good to serve just the suburbanites. If you ever catch me eating a pancake, it’s going to be the fluffy ricotta cloud cakes with berries and real maple syrup. The migas are a tasty mishmash of New Mexico ingredients: tortillas, salsa and local asadero cheese, sided by black beans and guac. I dare you to pass up the pastries — especially the Meyer lemon Shaker pie — and don’t forget to add green chile and cheese to your hash browns. Still in your pajamas? Use the drive-up window!

Owner Murphy O’Brien at the very popular breakfast drive-through at Café Fina

Summer Visitors Guide for Santa Fe and Northern New Mexico

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Annamaria O’Brien of the new Dolina with strawberry dumplings

DOLINA 402 N. Guadalupe St. 505-603-9200 Early this summer, Annamaria O’Brien, who created the wonderful pastries at Café Fina when it opened, takes her rolling pin and dough scraper downtown to open Dolina in the space recently vacated by Clafoutis (which moved to the Body premises on Cordova Road). O’Brien celebrates her Slovakian heritage with delicate goodies, including three of my favorites: her ever-so-soft gingerbread, tvarohove gulky (strawberry dumplings) and vanilkové venčeky — a creampuff-like affair stuffed with whipped cream. Dolina brings the fabulous traditions of an Eastern European coffeehouse to our shores. Brunch is served daily, with orders taken tableside.

Freelance food writer John Vollertsen (aka Chef Johnny Vee) is director of the Las Cosas Cooking School.

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704 Camino Lejo, Santa Fe, NM 87505 • 505-982-4636 or 1-800-607-4636

42ndAnnual Benefit Auction

Your purchases help support the museum’s educational programs and exhibitions!

August 1–11

New! Online Auction

See website for details.

Funded in Part by a Gift from

Thursday, August 17 Silent Auction and Live Auction Preview 3–5 p.m.

Friday, August 18

Live Auction Preview 10 a.m.–noon Live Auction Noon–3 p.m.

Food truck on-site August 18th. Offsite parking and free shuttle available.

For more information visit www.wheelwright.org/auction

Summer Visitors Guide for Santa Fe and Northern New Mexico

71

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Summer Visitors Guide for Santa Fe and Northern New Mexico

73

DAY TRIPS

▸

FROM MELLOW TO MOUNTAINOUS

Four day hikes to accommodate every type of hiker

STORY AND PHOTOS BY WHITNEY SPIVEY Santa Fe summers are ideal for being outside. The temperatures are never disagreeably hot, the humidity is rarely uncomfortable and most days end with a spectacular sunset. But before you head to a rooftop bar to enjoy the views, earn your margarita by taking advantage of Santa Fe’s hundreds of miles of area trails. Here are four favorite local day hikes that perfectly complement any summer day.

RAIL TRAIL

ASPEN VISTA

Distance from Plaza: 0.6 miles Elevation range: 6,600-6,880 feet Distance: up to 16 miles one way Terrain: easy

Distance from Plaza: 14 miles Elevation range: 10,000-12,047 feet Distance: up to 6 miles one way Terrain: moderate

This paved trail begins in the Railyard and stretches south across the city, allowing easy access to many great establishments — the Farmers Market, Iconik Coffee and Second Street Brewery, to name a few — but also crossing several major intersections. To enjoy a less urban hike, pick up the Rail Trail at Rabbit Road, where the asphalt path turns to dirt and unwinds, uninterrupted, nearly 12 miles across the desert to the small community of Eldorado. Along the way, you’ll see the Sangre de Cristo Mountains hugging Santa Fe to the east and the Jemez Mountains in the distance to the west. The terrain varies between flat and gently rolling — perfect for out-of-towners struggling with the altitude or veteran trail runners looking to test their speed.

Meandering through vast aspen groves, the first 3 miles of this trail are usually crowded in September and October, when the aspen leaves turn a fiery orange. But don’t discount this trail for summer use, especially if you can make it above the tree line, where the sweeping views are spectacular no matter the season.

This trail is not technical — it’s a wide jeep road — but it is fairly steep, eventually topping out at 12,047-foot Tesuque Peak. There, sit in the shadow of the microwave towers or the ski lift and enjoy a well-deserved snack before heading back down the mountain.

Don’t forget to check out the wildflowers along Tesuque Creek, which you’ll cross early in the hike.

How to get there: The parking lot is about 13 miles up Hyde Park Road. Look for the Aspen Vista picnic ground sign.

How to get there: Catch the paved trail at REI in the Railyard (500 Market St.). For an off-road adventure, park in the lot just west of the Rabbit Road-Vereda Serena intersection and hike south.

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DALE BALL TRAILS

SANTA FE BALDY

Distance from Plaza: 3 miles Elevation range: 7,250-8,577 feet Distance: up to 22 miles Terrain: moderate to strenuous

Distance from Plaza: 15 miles Elevation range: 10,250-12,622 feet Distance: 7 miles one way Terrain: strenuous

This well-marked — but often steep and technical — network of trails through piñon-juniper woodlands is just a short drive from downtown Santa Fe and offers outstanding views of the city to the southwest. In addition to hikers, mountain bikers and (supposedly) leashed dogs also frequent the trails, so remain attentive to those wanting to zip around you. People who like to hike with a particular destination in mind should consider climbing 8,577-foot Picacho Peak (just past Trail Marker 34), which offers stunning views of Santa Fe from its exposed summit.

If that climb doesn’t wear you out, head southeast across the ridge to the top of 9,121-foot Atalaya Mountain. Though technically not part of the Dale Ball network, Atalaya is often summited from this direction by seasoned hikers looking for an extra challenge.

The top of Santa Fe Baldy is the highest point in the mountains above town, which makes the trek to the summit a bucket-list hike for all Santa Feans — especially in late summer, when the route is free from snow. Starting at the ski area, you’ll climb steadily through the pine- and aspen-filled Santa Fe National Forest on Winsor Trail 254 before turning left onto Skyline Trail 251 at a grassy meadow. Upon reaching a saddle above the tree line, hang another left, and it’s only another very steep mile to the summit. There, guard your snacks from aggressive marmots and enjoy 360-degree views, including Lake Katherine to the northeast. If Baldy sounds enticing but is too much hiking for one day, camping (no permit required) is also an option. Just keep an eye on the weather, as sudden thunderstorms are common in summer.

How to get there: Parking lots at the Hyde Park Road/Sierra del Norte intersection and the Upper Canyon Road/Cerro Gordo Road intersection provide easy access.

How to get there: Drive all the way up Hyde Park Road and park at Ski Santa Fe. The trailhead is on the northwest side of the lot.

Summer Visitors Guide for Santa Fe and Northern New Mexico

75

VALLES CALDERA

A dynamic landscape in the heart of the Jemez Mountains STORY AND PHOTOS BY DON J. USNER

When first I picked up my camera and notebook and wandered into the valles, or golden grasslands, of the Valles Caldera in 2003, I was on a mission to tell a story. Visually and with words, I wanted to somehow encompass a landscape that had held me in its thrall since I was a child. As I noted in Valles Caldera: A Vision for New Mexico’s National Preserve, the book I co-authored in 2009 with William deBuys, for decades I had longed to explore the caldera. I had yearned to get beyond the fence that barred passage to all but a few with connections to the owners of the 100,000-acre ranch once known as Baca Location Number 1.

Fog lifting in the stand of old-growth ponderosa pines known as the History Grove

East Fork of the Jemez River in the Valle Grande

I wasn’t alone in my longing to breach the barriers and roam the caldera.

Outdoor enthusiasts had been champing at the bit since long before my time, but with the federal government’s purchase of the property in 2000, and its designation as Valles Caldera National Preserve, run by a presidentappointed board of trustees, that dream seemed tantalizingly within reach.

Still, when the gates swung open to the public, there were limitations and caveats that left many a hunter, angler, hiker and cattleman frustrated.

More pressingly, the trust couldn’t meet its obligation to be financially selfsufficient — a condition of the creation of the preserve — which, along with other problems, caused the novel management scheme to fail.

Then, in 2015, a full 15 years after the “private” signs came down, management of the beguiling landscape was transferred to the National Park Service, an agency with a long and respected history of managing iconic American places. A thrill was palpable as luminaries such as Secretary of the Interior Sally Jewell, U.S. Sen. Tom Udall, U.S. Sen. Martin Heinrich, former senator Jeff Bingaman and a host of environmentalists, hunters, anglers, Native Americans and others gathered with Park Service personnel to

Sunrise, Valle San Antonio, 2009 78

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Summer storms, Valle Grande, 2016

Before the federal government took over, the land’s stewards misunderstood the most potent natural process of all, wildland fire, so that by the late 1900s the forests had become a sleeping beast, ready to let loose with decades’ worth of stored-up energy.

celebrate in October 2015. Not only did Park Service oversight portend a tried and tested approach to providing public access while minimizing impacts; the agency also brought the institutional experience and expertise to properly steward the land’s prodigious biological, geological and archaeological resources. It even had a track record for handling thorny and complex issues surrounding protection of Native American sacred sites, a task demanding extraordinary dexterity in this place long revered by Native people.

Every human group that has cared for and used this land has left an imprint in its vast spaces. Native people hunted, built and visited shrines, gathered obsidian for their stone tools and dug pits to fashion into eagle traps. Ranchers brought in sheep and later cattle, which changed the vegetation and the very shape of the land, while lumbermen razed vast numbers of the land’s signature trees, the ponderosa pine and Douglas fir.

Then federal land managers aimed to bring practices in line with nuanced ideas about sustainability, endeavoring to moderate human impacts while introducing recreational use on a scale unseen before.

The Park Service inherited a landscape that had been subject not only to the habits of human use but also to dynamic processes at work in the caldera for millennia. Before the federal government took over, the land’s stewards misunderstood the most potent natural process of all, wildland fire, so that by the late 1900s the forests had become a sleeping beast, ready to let loose with decades’ worth of stored-up energy. The resulting infernos changed the caldera landscape more dramatically than anything else had for a century.

The Jemez Mountains are no stranger to fire, but prior to the 20th century, fires that moved through the montane forests and grasslands had a light touch. Frequent but relatively cool, these naturally ignited fires cleared underbrush, encouraged plant regeneration and improved conditions for wildlife. But intensive, long-term efforts to stamp out all fires altered the dynamics. Small trees, shrubs and downed wood piled up, until large

Corn lilies, Valle Grande

conflagrations were all but inevitable. The La Mesa Fire of 1977 was but a minor prelude. The dramatic Cerro Grande Fire — which burned through part of Los Alamos and threatened the National Laboratory — offered, in 2000, a stirring overture. But the Las Conchas Fire, which ravaged the mountains in 2011, roared out a finale, a crescendo in the cadence of forest succession.

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Grasslands, Valle Grande, 2009

The elysian grasslands seemed not touched at all, as they are adapted to burn from time to time and had recovered almost completely.

Such a fire was a new phenomenon. Sparked by a downed power line a few miles outside the boundaries of the preserve, the flames of the Las Conchas Fire moved swiftly across one-third of the caldera. Astonished firefighters could only sit back and watch as the fire front-raced faster than any previously clocked, torching nearly an acre of vegetation every second. By the time the last embers cooled, more than a month later, the 156,000-acre fire had earned renown as the largest in New Mexico history. Then, hot on the heels of the Las Conchas Fire, the Thompson Ridge Fire burned through the caldera in 2013, although this fire killed fewer trees and behaved more like a natural fire.

I had spent many a day in the caldera before any of these fires transformed it. I was deeply attached to the rich, lush, mixed conifer forests, to the giant firs and pines, to the singing aspen forests and the streams gurgling beneath tall grasses. It was with great trepidation, then, that 80

in 2015 I ventured in to have a look at the “new” caldera, now part of the nation’s great system of national parks but now greatly scarred and not soon to recover, if ever — or so I feared.

To my relief, I discovered when I drove across the Valle Grande that while many of the verdant forests on the flanks of the Sierra de los Valles were indeed crowned by row after row of charred, sticklike skeletons of trees, much of the preserve did not burn, and many other mountainsides remained as forested as before. The elysian grasslands seemed not touched at all, as they are adapted to burn from time to time and had recovered almost completely. Even the magnificent stand of ponderosa pines near the old ranch headquarters — a tiny remnant of the vast forests once common in New Mexico — was only lightly scorched.

Getting deeper into the caldera, it became apparent that expanses of lightly burned vegetation alternated with areas of devastation. I saw swaths of eroded land, where rainfall, unrestrained by vegetation, had roared down to dig deep gullies in the mountainsides. The silt-laden floods had smothered small streams, filling them and nearly annihilating their once-numerous brown and rainbow trout populations. Still, the larger watercourses were already recovering, with plenty of trout scattering at my approach. And a spectacular bloom of wildflowers filled the spaces between charred tree trunks, where legions of tiny aspen seedlings had also sprouted.

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Wildflower bloom, Cerro del Medio, 2014

A spectacular bloom of wildflowers filled the spaces between charred tree trunks, where legions of tiny aspen seedlings had also sprouted.

Since those first post-fire visits, I’ve returned several times to explore the caldera, finding the same wonderment and delight as before the fires.

It’s with great pleasure that I pay my modest entry fee, nod to the park rangers in their Smokey Bear sombreros and choose a destination in the sprawling preserve, still amazed at the fact that I can venture into all its varied landscapes, save for those reserved for Native American ceremonial purposes. I have enjoyed hiking, cross-country skiing, mountain biking and even driving to discover new treasures throughout the seasons and the far reaches of the Valles Caldera. It’s reassuring to know that the Park Service now has a good understanding of the role of fire and plans to restore fire to its historic, beneficial place in the ecosystem. It’s been a long time coming — proposals for a national park here had been put forward for more than a century — but this new unit of America’s world-renowned national parks was worth the wait.

Don Usner, a 13th-generation New Mexican, was born in 1957 in Embudo. He holds a BA from the University of California at Santa Cruz and an MA from the University of New Mexico. He has published several books of nonfiction, including Sabino’s Map: Life in Chimayó’s Old Plaza, Chasing Dichos through Chimayó, Valles Caldera: A Vision for New Mexico’s National Preserve, and most recently Órale! Lowrider: Custom Made in New Mexico.

Valle Toledo

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The Soda Dam, located along State Road 4, is evidence of the geothermal activity in the Jemez Mountains.

Jemez Hot Springs, home of Giggling Springs, offers a spa experience with soaking by the hour or by the day.

A DAY IN JEMEZ SPRINGS Hot springs, historic sites, Native culture STORY BY ASHLEY M. BIGGERS PHOTOS BY KERRY SHERCK Nestled in a valley along the sinuous Jemez River and scenic State Road 4, Jemez Springs is an oasis for hikers and hot springs lovers.

Its idyllic surrounds today oppose its fiery beginnings. Some 1.25 million years ago, an eruption in this volcanic hotbed cast ash across the Pajarito Plateau, leaving a caldera (crater) some 13 miles in diameter.

En route from Santa Fe through Los Alamos, then along State Road 4, the Valle Grande depression comes into view. The sweeping meadowland, sunken between forested peaks, is a fitting place for a scenic stop on the way to Jemez Springs. This aptly named locale — Valle Grande means “Big Valley” — is part of some 89,000 acres protected as the Valles Caldera National Preserve, newly part of the National Park Service.

The preserve is a refuge for elk and turkey — and humans, who escape the city for hiking, biking, horseback riding and fishing in the expansive grasslands carved by the Jemez River and numerous creeks. Hikers can complete the 2-mile Coyote Call loop trail, outside the park boundaries, or a 5-mile (one-way) climb to the top of South Mountain for expansive views of Valle Grande. From the visitor center, a 2-mile (one way) ramble along a logging road leads to historic cabins, including one featured in the Netflix 82

drama Longmire, which was filmed in New Mexico.

Heading to Jemez along State Road 4, aka the Jemez Mountain Trail National Scenic Byway, numerous trailheads tempt outdoors enthusiasts. Las Conchas, a local favorite with hikers and rock climbers, follows the Jemez River. Near Jemez Springs, Soda Dam is the first hint at the geothermal activity that bubbles beneath the surface of the Jemez Mountains. Here, mineral-rich water seeps from underground and crystalizes into limestone known as travertine. Over the centuries, the formation, which looks much like melting wax, has solidified into a 300-foot-long, 50-foot-high bulkhead, through which the Jemez River manages to cascade on its journey south.

With the area’s high concentration of geothermal activity, soak seekers will find several natural mineral pools within the Jemez Mountains.

McCauley Warm Springs can be reached via a 3.8-mile out-and-back hike beyond Battleship Rock’s prow, another iconic geological feature that can be seen from the roadway. Reaching Spence Hot Springs involves a shorter hike, though its rock-rimmed pools are much more popular — and sometimes overflowing with visitors.

THE TOWN In town, mineral-rich waters are pumped into indoor concrete tubs at Jemez Springs Bathhouse.

Giggling Springs, a small day resort in town, combines the alfresco experience with the ease of a spa experience. Giggling Springs sits next to Jemez’s original bathhouse, which was built in the mid-1800s and welcomed the public until a 1941 flood put it out of use. Today the original bathhouse is a ramshackle adobe,

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Mineral-rich waters are pumped into the indoor tubs at Jemez Springs Bathhouse.

Los Ojos Restaurant and Saloon offers travelers a place to stop and eat.

but its healing waters once drew visitors for months at a time. (The stagecoach ride here was strenuous.) Those waters, which originate beneath Valles Caldera, are today pumped into Giggling Springs’ four relaxing pools — three of which were added in 2016.

Although it emerges at a searing 142 degrees Fahrenheit, the water cools to between 100 and 104 degrees as it’s filtered and siphoned into pools adjacent to the Jemez River and beneath high desert cliffs. The water is rich in calcium, magnesium, lithium, iron, silica and copper — to which it owes its striking bluegreen color — minerals that are said to aid mood, arthritis, digestion and the skin, to name just a few benefits. The property is dotted with shade pergolas and hammocks that call for lounging after dipping in the pools, which can be done by the hour ($25) or day ($100). Owners Therese Councilor and Tanya Struble allow only around 20 soakers at a time to prevent overcrowding and to maintain the relaxed atmosphere.

The village’s top dining spots sit just across State Road 4 from Giggling Springs.

Motorcyclists flock to Los Ojos Restaurant and Saloon, a wood-clad bar with stagecoach-wheel chandeliers, where truck-stop pancakes and hearty burgers are favored menu fare. With its piñon tarts and fist-sized brownies, the pastry case at Highway 4 Coffee is hard to pass up. The café also has a wide-ranging menu and espresso pick-me-ups.

from the Four Corners area and built homes across Northern New Mexico. Upon first European contact, with the Coronado Expedition in 1541, tribal members were scattered across the land.

Today, the remains of 62 sites, from grand pueblo complexes to field houses, dot Santa Fe National Forest land.

The Spanish consolidated the Towa-speaking peoples in the valley. In 1622 Franciscan missionaries built San Jose de Guisewa Church. (Guisewa means “of the hot place,” a reference to the hot springs here.) The remains stand as Jemez Historic Site, where visitors can meander around Pueblo village mounds and enter the expansive nave of the stacked-stone walls of the church.

Today, members of Jemez Pueblo — one of the state’s 19 pueblos — reside just south of the historic site, at Walatowa (meaning “this is the place”). There are some 3,400 enrolled tribal members, and many live within the pueblo’s boundaries. The pueblo doesn’t allow visitors to wander the grounds. However, guests are welcome in the Walatowa Visitor Center, where a small but vibrant museum tells the pueblo’s history and explains cultural elements, such as the regalia worn for corn dances on St. Persingula Feast Day, celebrated on August 2, which visitors are invited to attend.

Across State Road 4 from the visitor center, paprika-colored cliffs rise to azure skies. Visitors may purchase a hiking pass from the visitor center ($5) or schedule a Pueblo guide ($7) to

THE PUEBLO Jemez Springs may earn the “springs” part of its name from its geothermal activity, but it owes “Jemez” to the Puebloan people who have made their homes here for hundreds of years. In the 13th century, the Jemez people migrated south

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Visitors can take a guided tour of the red rock area across from the Walatowa Visitor Center.

walk Red Rock Canyon Trail. Pueblo guides share the history and culture of the Jemez people as you wend along the 1.5-mile trail beneath the surprisingly multihued rocks, striated with rust, purple and white. Canyon wren calls cascaded through the crevasses as our guide, Matthew Gachupin, related how Puebloans ingeniously used each plant along our path: They harvested juniper for a tea to alleviate head colds and aid digestion. They wove yucca into rope — like the ones used to count down the days to the 1680 Pueblo Revolt, which united the Pueblos against the Spanish — and whittled the plant down to single fibers to paint the pueblo’s signature red ware and blackand-white pottery.

THE WINERY The last stop of the day lies farther south still, in the village of Ponderosa, where Ponderosa Valley Vineyards produces Riesling and Pinot Noir. Since 1996 owner Mary Street (and her husband, Henry, who has since passed away) has held the vineyard to a high standard. It releases only wine that has received at least a bronze medal in a formal wine competition. The vineyard’s New Mexico Riesling, with tropical aromas, and its 2014 Pinot Noir, with a floral nose and fruity finish, are multiple award winners.

From here, the quickest return to Santa Fe is to continue cruising through the high desert surrounds south to San Ysidro before cutting through Bernalillo and looping back to the City Different.

Albuquerque-based freelance journalist Ashley M. Biggers travels the state’s back roads, writing for New Mexico magazine, New Mexico Journey and Dorado magazine, among others. Her book Eco-Travel New Mexico is due out this fall from University of New Mexico Press.

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Visitors enter the nave of the San Jose de Giusewa Church in Jemez Springs, which dates back to 1622.

GETTING THERE Jemez Springs lies 87 miles northwest of Santa Fe. Approximate drive time is 1.5 hours.

From Santa Fe, follow U.S. 285 north to Pojoaque. At Pojoaque, follow State Road 502 then 501 west. Continue on State Road 4 toward Valles Caldera National Preserve and into Jemez Springs.

IF YOU GO VALLES CALDERA NATIONAL PRESERVE 575-829-4100, nps.gov/vall TOWN OF JEMEZ SPRINGS; SODA DAM NATURAL SPRINGS jemezsprings.org JEMEZ SPRINGS BATHHOUSE 062 Jemez Springs Plaza 575-829-3303, jemezspringsbathhouse.com GIGGLING SPRINGS 575-829-9175, gigglingsprings.com LOS OJOS RESTAURANT AND SALOON 575-829-3547, losojossaloon.com HIGHWAY 4 COFFEE 575-829-4655, hwy4coffee.com JEMEZ HISTORIC SITE 575-829-3530, nmstatemonuments.org/jemez JEMEZ PUEBLO WALATOWA VISITOR CENTER 575-834-7235, jemezpueblo.com PONDEROSA VALLEY VINEYARDS 800-WINE-MKR, ponderosawinery.com

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The barrel room at Ponderosa Winery, where red and white wines are aged.

Summer events in Jemez Springs

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7.4 Parade begins at 10 a.m. at Community Park and proceeds to the Fitzgerald Center, a mile north of the village. Arts and crafts, children’s activities, food and music are offered throughout the day at Fitzgerald Park. A concert is held at 6 p.m. at Hummingbird Music Camp. Fireworks (weather permitting) begin at sunset.

Contact the village office at 575-829-3540.

8.2 ST. PERSINGULA FEAST DAY Corn dances and other festivities take place at Jemez Pueblo.

Call 575-834-7235 or jemezpueblo.com for details.

8.13 COMMEMORATION OF PUEBLO INDEPENDENCE DAY Jemez Pueblo remembers the events of Aug. 10, 1680, when the Pueblo people launched a rebellion against Spanish colonization. Commemorative activities begin at 7 a.m. with a 13-mile pilgrimage run from Walatowa Visitor Center to Jemez Historic Site. The public is welcome to participate. Traditional Jemez dances and flute music are featured, along with arts and crafts and Native food between 10:30 a.m. and 3 p.m. Call 575-834-7235 for more information.

9.2 LABOR DAY FESTIVAL An end-of-summer blast with fun, games, music, food and drink. No charge.

Contact Joy Bandy at joybandy@gmail.com for more information.

10.21-22 JEMEZ MOUNTAIN TRAIL SALE Sellers set up their stalls all along the state road from San Ysidro to Thompson Ridge, 12 miles north of Jemez Springs. In 2016 approximately 150 sellers participated. Contact Joy Bandy at joybandy@gmail.com.

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COURTESY PALACE OF THE GOVERNORS NEG #002812

Santo Domingo Pueblo, ca. 1920

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Santa Ana Pueblo, ca. 1925-1945

PHOTO T. HARMON PARKHURST

COURTESY PALACE OF THE GOVERNORS NEG #004128

Santa Clara Pueblo ca. 1900

PHOTO T. HARMON PARKHURST

Songs of sustenance A Pueblo feast day remembrance

BY ROSEMARY DIAZ (Santa Clara Pueblo)

Cloud beings have been beckoned from the mountain peaks.

Cloud beings are traveling toward our village; village where wild roses grow.

Corn maiden spirits have been beckoned from the mountain peaks.

Corn maiden spirits are traveling toward our village; village of singing water.

The cloud beings have heard our prayers; clouds are gathering overhead.

Our prayers for rain will be answered.

The corn maiden spirits have heard our prayers; corn maiden spirits are gathering all around us.

Our prayers for sustenance will be answered.

The cloud beings have heard our prayers; there will be rain.

The corn maiden spirits have heard our prayers; there will be corn.

This is what we believe.

This is our sacred memory.

—Pueblo corn dance song

Saya wakes me as the first colors of the day dance across the smooth mud walls of our house and travel toward the cornfields at the southern end of the village: Village of Wild Roses and Singing Water. “Osha!” she says as I pull myself from my dreams. “Wake up!” Her voice marks the arrival of this sacred day.

I dress in the white wool manta and red woven belt made for me by Gia. The thin band of red across the flat plane of white represents the Tewa people walking across vast, snow-laden prairies that stretched out before them during their great migration from the north.

Saya danced this Corn Dance many times when she was young and knows the songs and steps from memory. She helps me with my tall buckskin moccasins, whose black soles curve upward, toward the sky, at the tip. Around the base of each she ties pelts of soft, thick skunk fur to pay homage to the creatures that dwell close to the ground. She wraps necklaces made from jet, coral, turquoise and heishe around my neck, each symbolic of our connection to things born of land, ocean, lake, canyon, sky, desert, mountain and prairie. This year I choose a green shawl, the color of still-growing corn. Once inside the dance, I will step in time with dancers wearing gold shawls, representing the tassels of the corn. A field of slender cornstalks illuminated by mottled sunlight is in my mind’s eye as the green and gold shawls move in response to each step of the dance.

I imagine walking through the dampness of long, soon-to-be-harvested rows. When birds or wind move near them and the corn blooms make low rustling sounds, the corn is ready for harvest.

We follow the colors of dawn down the narrow road, whose edges are defined by late-blooming cactuses and vines heavy with gourds. We do not speak as we walk alongside the quick-flowing stream that sings down from the canyon to the 88

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west, toward the waiting dance. The sound of water moving over smooth stones and the songs of tiny yellow birds resting on the softness of plump cattails fill the quiet between us.

Reaching the kiva as dawn becomes day, Saya and I are greeted by the scent of fresh evergreen branches, collected from deep within the canyon forest for this dance alone. The fragrant boughs, symbolizing the essence of life, are carried by each dancer. At dusk, after the last steps have been met by the warm, sandy earth beneath them, the branches will be tossed gently into the stream and carried by the currents back into the life force of the Tewa people.

Surrounded by the cool walls of the kiva and by the other dancers, the drummers and singers, Saya and I make final adjustments to my moccasins and fasten my tablita into place using the thin strips of rawhide attached to either end.

The headdress is nearly a hundred years old, painted with motifs of kiva steps, corn plants, birds and lightning bolts. Each of the other female dancers wears a tablita of similar design, which, aside from being worn for this particular dance each year, will remain in the trust of the kiva stronghold for generations to come.

Saya moves to the other end of the kiva, where the elders have gathered to pray for a good day and to oversee the dancers’ final preparations. I stand without her now, ready to dance the same steps to the same songs in the same place she did so long ago.

Small bustles of bright macaw feathers are attached to the back of our headdresses. A gentle pull tells me that mine is secure and will stay in place for the duration of the dance.

The soft sounding of a drum is our direction to move into our assigned positions. The dancers line up in the order determined by our kiva leader when we began nightly dance practice, nearly

The Pueblos and the plaza Rina Swentzell, who died in 2015, was raised in Santa Clara Pueblo in the 1940s, when community life still revolved largely around the plaza. She held degrees in education and architecture from New Mexico Highlands University and a doctorate in American studies from the University of New Mexico, and wrote extensively about the Pueblo world and its cultural expression in art and architecture. She writes in the book The Plazas of New Mexico: “In Tewa, the language of my home village, the plaza is known as the bupingeh, literally the “middle-heartplace.” This middle place is a container of people, activities, lights, shadows and symbolic significance.

It also contains the point of human origin, the nansipu, literally translated from Tewa as the “earthbelly-root.” … The important idea is that we are birthed by the earth, by the gia or mother, and the reminders of that very crucial understanding occur throughout the built and natural environment. The nansipu, then, is both a symbolic reminder and an actual place within the human community of that birthing. Within the Santa Clara plaza, it is marked by an inconspicuous stone sprinkled with cornmeal. …

“All human relationships and constructions in the pueblo, including the bupingeh, are focused on the larger natural context. It is not the individual’s relationship to the state but, rather, the human community or group relationship to nature that is crucial. Meaningfulness in the Pueblo world, then, is not limited to becoming a better human in the human context but about becoming like the clouds, about realizing our role within the natural context.

People prayed, danced, talked, slept, and ate within the bupingeh, the outdoor community space. All the while, the swirling energies contained in the space reminded them to be respectful of the clouds, mountains, plants, and other animals. …

“The Pueblo bupingeh, then, is part of a world and belief system that encourages humans to see themselves as one with the forces in the sky and earth and discourages human egotism. Its primary focus is to bring human awareness and activity in alignment with the energies of nature. As such, the bupingeh is not embellished with human-made objects — sculptures, park benches, gazebos, and little white fences — apart from the utilitarian shade structures and beehive ovens at its edges. It is elemental. The packed bare earth is unfettered to better welcome and meet the energies of the sky as universal femaleness meets universal maleness.”

COURTESY PALACE OF THE GOVERNORS NEG #012425

COURTESY PALACE OF THE GOVERNORS NEG #009826

San Juan Pueblo, ca. 1890

Santa Ildefonso Pueblo, ca. 1925-1945 PHOTO T. HARMON PARKHURST

COURTESY ROSEMARY DIAZ

RoseMary Diaz, Santa Clara Pueblo Basket Dance, 1991 a month past. The first verse of the first song resonates throughout the kiva; we are ready to step into the prayer.

As we emerge from the kiva, each female dancer is given two ears of corn, one to hold in each hand. This symbolizes the corn maidens bringing sustenance to the people. The corn has been ceremoniously prepared for the dance: The husks have been peeled away to reveal the rows of colors within. Each ear has been washed in mud from the river, then wrapped with a single evergreen branch. This represents the binding together of land and water, and the gifts born from the relationship between those elements and the Pueblo people.

We form two parallel rows as we follow the drummers and singers toward the center of the village. Each row is led by a male dancer and then alternates female/male down the remainder of the line. Gourd rattles carried by the men imitate the sound of raindrops falling onto dry land; their bows and arrows promise survival through the coming winter. Woven woolen kilts are embroidered with depictions of Avanyu, the great plumed serpent who brings thunder, rain and lightning to ensure plentiful harvests. Elk bone

chokers and breastplates sound like twinkling stars as they strike against dancers’ chests with each step.

The song begins slowly, then quickens to dictate a faster, higher step. The story of the Tewa people unfolds in a deep, resounding crescendo of voice and drum, carried through the village on the edges of warm breezes and the wings of bright-blue dragonflies.

In the final frames of the dance, our prayers for rain are answered: Clouds move in from all directions, swirling into and pushing out of each other and changing shape as they thunder across the sky. Lightning flashes above the mountain peaks, where katsinas live and morning glories vine over the edges of granite cliffs. Gentle drops fall all around.

Walking back down the narrow road toward home, Saya and I speak of Tewa creation stories and ponder how the Creator brought us into being. We speak of the place of emergence and of how our people traveled down steep mountains, over frozen lakes, through canyons and great forests, up rocky hills and across prairies to get from there to here. So many steps so long ago. And still so many to be taken.

Glossary Avanyu = water serpent Gia = mother Saya = great-grandmother Tablita = woman’s decorated wool headdress RoseMary Diaz has been attending and participating in Feast Day dances at Santa Clara Pueblo since the 1970s.

She wrote her first poem, a quatrain about a bird who talks, while attending the Pueblo Day School; she sends long-overdue thanks to her then-teacher, Mary McBride, for believing that she had something to say.

Summer Visitors Guide for Santa Fe and Northern New Mexico

Excerpted, with permission, from The Plazas of New Mexico, edited by Chris Wilson and Stefanos Polyoides, with photography by Miguel Gandert (Trinity University Press, 2011).

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Pueblo summer dances Many of New Mexico’s pueblos are named for their patron saints. Feast days celebrate these saints, and because the feast day calendar follows the Catholic Church’s observances of saints’ respective births and departures, the annual dates do not change. Feast days are held on the same date every year, rain or shine, generally following morning Mass. That said, dances may be postponed or altogether canceled due to unforeseen circumstances. Please call ahead to confirm the dates and details listed here.

June-September 2017, Pueblo dance calendar First Saturday in June: Blessing of the Fields with Corn Dances at Tesuque Pueblo June 13: San Antonio Feast Day with Comanche and Corn Dances at Picuris, Ohkay Owingeh (formerly San Juan), Santa Clara and Taos Pueblos

CONSIGNMENT

June 24: San Juan Feast Day with various dances at Ohkay Owingeh Pueblo and Buffalo, Comanche and Corn Dances at Taos Pueblo June 29: San Pedro Feast Day with Corn Dances at Santa Ana Pueblo Second weekend in July: Annual Taos Pueblo Powwow July 4: Celebration of the Waterfall at Nambe Pueblo July 14: Santa Buenaventura Feast Day with Corn Dances at Cochiti Pueblo July 25: Santiago Feast Day with Corn Dances at Taos Pueblo

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July 26: Santa Ana Feast Day with Corn Dances at Santa Ana and Taos Pueblos Aug. 2: San Persingula Feast Day with Corn Dances at Jemez Pueblo Aug. 4: Santo Domingo Feast Day with Corn and Harvest Dances at Santo Domingo Pueblo Aug. 9: San Lorenzo Sunset Vespers at Picuris Pueblo Aug. 10: San Lorenzo Feast Day with various dances, ceremonial foot races and a pole climb at Picuris Pueblo Aug. 10: San Lorenzo Feast Day with Corn Dances at Cochiti Pueblo Aug. 12: Santa Clara Feast Day with Buffalo, Comanche, Corn and Harvest Dances at Santa Clara Pueblo Sept. 8: Nativity of the Blessed Virgin Mary Feast Day with Corn Dances at San Ildefonso Pueblo Sept. 29: San Geronimo Eve Vespers with sundown dances at Taos Pueblo Sept. 30: San Geronimo Feast Day with Buffalo and Comanche Dances, ceremonial foot races and a pole climb at Taos Pueblo For more information and to confirm dates and specifics, call the pueblo or check its website before visiting.

Cochiti Pueblo: 505-465-2244 or pueblodecochiti.org Jemez Pueblo: 575-834-7235 or jemezpueblo.org Nambe Pueblo: 505-455-4400 or nambepueblo.org Ohkay Owingeh: 505-852-4400 Picuris Pueblo: 575-587-2519 or picurispueblo.org Pojoaque Pueblo: 505-455-5041 or pojoaque.org San Ildefonso Pueblo: 505-455-3549 or sanipueblo.org Santa Ana Pueblo: 505-867-3301 or santaana.org

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Santa Clara Pueblo: 505-753-7326 Santo Domingo Pueblo: 505-465-2214 Taos Pueblo: 505-758-1028 or taospueblo.org Tesuque Pueblo: 505-983-2667 Additional information, including tips on proper etiquette when attending dances at pueblos, is available through the Indian Pueblo Cultural Center: 505-843-7270, 800-766-4405 or indianpueblo.org.

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Whether you live here or are just visiting, you’ve no doubt fallen under the spell of The Land of Enchantment. The Santa Fe Community Foundation strengthens Santa Fe and northern New Mexico by giving to nonprofits that support our region’s culture, basic human service needs, education, sustainability, and help to build economic strength.

A PA R A D E O F H O M E S

If you’re interested in learning more about how to meet your own philanthropic goals, contact us! Email Christa Coggins, Vice President for Community Philanthropy at ccoggins@santafecf. org or visit our website at www.SantaFeCF.org

Save the Date

AUGUST 11-13 & 18-20 11 AM - 6 PM | Tickets are only $15 For entry information, sponsorship opportunities and to learn more, visit sfahba.com Home Building

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Resource Guide 2012 Santa Fe Area Home Builders Association haciendasmagazine.com • sfahba.com

Resource Guide 2013 Santa Fe Area Home Builders Association haciendasmagazine.com • sfahba.com

Resource Guide 2014 Santa Fe Area Home Builders Association sfahba.com

Journal North

Resource Guide 2015 Santa Fe Area Home Builders Association sfahba.com

SANTA FE AREA HOME BUILDERS ASSOCIATION ESTABLISHED 1880

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Resource Guide 2016 Santa Fe Area Home Builders Association sfahba.com

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Solutions: Intensive Outpatient Program for Adults Specializing in Behavioral Health AND/OR Substance Abuse Issues The Solutions Treatment Program is designed to address the Whole Person in response to core emotional themes. While providing a path of hope and discovery, our clients learn to heal the past, understand it’s impace on the present and learn new skills for the future.

Weekly Themes:

Treatment Modalities:

Issues Addressed:

Grief and Loss

Cognitive-Behavioral Therapy

Anxiety

Identity

Bio-psycho-social Assessment

Depression

Relationships

Body Centered Psychotherapy PTSD

Boundaries

Psycho-education

Eating Disorders

Life Transitions

Relapse Prevention

Dual-Diagnosis

Health & Wellness

Expressive Arts

Process Addictions

Work & Finance

Solution-Focused

Substance Abuse

Communication Skills Experiential Therapies Meaning & Purpose

Therapeutic Workshops

Co-Dependency Failure to Launch

In-network with Blue Cross, Presbyterian, and New Mexico Health Connections.

All other out-of-network insurance is accepted. Sliding scale fee available

2209 Miguel Chavez Road, Santa Fe, NM 7505 treatmentsolutions.org solutionstreatmentcenter@gmail.com (877) 499-1354 / (505) 424 3170

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223 N. Guadalupe, Santa Fe, NM 87501 • 505.982.0974 (Guadalupe & Catron) store1750@theupsstore.com Summer Visitors Guide for Santa Fe and Northern New Mexico

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GREGORY WAITS

Fresh Santa Fe co-founders Gregory Waits and Carolyn Parrs have hosted visual art shows, performance art, live music, new media installations and more in their warehouse space.

FRESH SANTA FE

ART & Upstarts

A guide to summer gallery shows

BY JORDAN EDDY If you’ve explored Santa Fe’s gallery scene in summers past, you’re bound to notice a shift this year. The City Different is legendary for its array of world-class art spaces, with juggernauts like The Owings Gallery, LewAllen Galleries and Peters Projects leading the pack.

On the avant-garde end of the scene, local art collective Meow Wolf recently celebrated the one-year anniversary of its grassroots art complex House of Eternal Return. The permanent art installation has garnered national press, grossed millions of dollars and emboldened other emerging art projects across the city. On every end of town, up-andcoming artists are invading walls with fresh, edgy artwork. Here’s our summer guide to the full spectrum of Santa Fe’s gallery scene, from longtime favorites to rebellious newcomers.

Tony Abeyta (b. 1965) Valley in the Fall, 2017 Oil on canvas 30 x 40 inches

THE OWINGS GALLERY

SILER DISTRICT

5. GALLERY

MEOW WOLF

5. Gallery hides in a humble storage space off Rufina Street but hosts some of the best contemporary art shows in town. Owner and curator Max Baseman has featured local artists such as Greta Young, Susanna and Bruce Carlisle and Ted Larsen in solo and group shows.

He has also exhibited works by legends of art history including Marcel Duchamp, Louise Bourgeois and Max Beckmann. Season highlight: Michael Diaz & Tom Miller (June 23-Aug. 4), an exhibition of formalist sculpture and works on paper. Diaz hails from Marfa, Texas, and Miller is a local artist who teaches at Santa Fe University of Art and Design.

1352 Rufina Circle 505-392-6369, meowwolf.com This scrappy, multidisciplinary art collective built a Victorian house in the middle of an abandoned bowling alley and surrounded it with intricate, interconnected art installations. The space celebrated its one-year anniversary in March, and it’s already the focal point of a burgeoning alternative arts district on the streets surrounding Siler Road. Season highlight: Watch Meow Wolf’s calendar for music performances in the intimate venue that adjoins the House of Eternal Return installation.

RADICAL ABACUS

1226 Calle de Comercio 505-795-3031, radicalabacus.com Curator John McKissick runs this experimental art space out of a surprisingly sleek garage that adjoins his house. Up-and-coming Santa Fe artists such as Jared Weiss, Krista Peters and the artist duo SCUBA have exhibited here, along with young luminaries from larger art centers. Season highlight: Martha Tuttle: Like Water I Have No Skin (June 23-July 9). Tuttle’s new series of textile paintings doubles as a backdrop for performance art, poetry readings and live music.

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2351 Fox Road 505-257-8417, 5pointgallery.com

OFFROAD PRODUCTIONS 2891 Trades West Road 505-670-9276

Michael Freed hosts seasonal, avant-garde exhibitions in his warehouse art studio. He puts together a group exhibition each summer and invites local curators to take over Offroad for weeklong displays in the winter, spring and fall. Season highlight: Known Subverts (July 15-22). Freed engages diverse artists who challenge norms, mores and standards of our time. The exhibition features Yuki Murata, Adam Rosen, Erika Wanenmacher and others.

Hung Liu Laborer: Mexican Child, 2016 Oil on canvas 36 x 36 inches

Kent Monkman The Three Graces, 2017 Acrylic on canvas 60 x 48 inches

TURNER CARROLL GALLERY

PETERS PROJECTS

FRESH SANTA FE

SANTA FE ARTS COMMISSION COMMUNITY GALLERY

2855 Cooks Road, Studio A 505-270-2654, freshsantafe.org Fresh Santa Fe co-founders Gregory Waits and Carolyn Parrs have hosted visual art shows, performance art, live music, new media installations and more in their warehouse space. Their mission is to elevate alternative and emerging artists and to compound creative energy in the Siler District. Season highlight: B&B&B: Babes & Blue Jeans & Barbecue (Aug. 4-27).

This all-female art show features the interdisciplinary collective Victory Grrrls, the art trio The Furies and other visual artists, poets and designers.

PLAZA KEEP CONTEMPORARY

112 W. San Francisco St. 505-307-9824, facebook.com/keepcontemporary Curators Jared Antonio-Justo Trujillo and Tommy Borunda unite a community of artists who draw inspiration from street art, pop art, skate culture and other bold aesthetics. This do-it-yourself space injects fresh energy from emerging artists into downtown Santa Fe. Season highlight: Group Show (June 9-July 7).

Featured artists include Nico Salazar, Andrea VargasMendoza and David Medrano.

201 W. Marcy St. 505-955-6705, santafenm.gov/community_gallery_1 Funded by the Santa Fe Arts Commission and located in one corner of the Santa Fe Community Convention Center, this gallery spotlights local artists of all stripes in its juried group shows. Season highlight: Spectacle (June 2-Aug. 31). Community Gallery offered a diverse group of New Mexico artists behind-the-scenes access to Santa Fe Opera and challenged them to create work inspired by different productions from the company’s summer season.

THE OWINGS GALLERY 120 E. Marcy St. 505-982-6244, owingsgallery.com

Experience historic American art — and new work by top contemporary artists, including Tony Abeyta and Luis Tapia — in this sprawling downtown gallery. New Mexico legends such as John Sloan, Marsden Hartley and Georgia O’Keeffe are represented in this expansive collection. Season highlight: Tony Abeyta (Aug. 17-Sept.

16). Modernist-inflected landscape paintings by the Santa Fe artist appear at the gallery’s project space (100 E. Palace Ave.), a short walk from the main space.

Summer Visitors Guide for Santa Fe and Northern New Mexico

CANYON ROAD TURNER CARROLL GALLERY 725 Canyon Road 505-986-9800, turnercarrollgallery.com

Turner Carroll Gallery celebrated its 25th anniversary last summer. Owners Michael Carroll and Tonya Turner Carroll aren’t afraid to take aesthetic risks or make bold political statements, making for one of Canyon Road’s most exciting curatorial programs. Season highlight: Hung Liu (July 7-Aug. 20). Best known for her large canvases depicting Chinese workers and concubines, the painter and sculptor presents a radically different series of paintings inspired by Dorothea Lange’s iconic Dust Bowl-era photographs.

PETERS PROJECTS

1011 Paseo de Peralta 505-954-5800, petersprojects.com Peters Projects is a museum-size contemporary art experiment that could exist only with the backing of Santa Fe’s top art dealer, Gerald Peters. Gallery director Eileen Braziel curates solo exhibitions by world-class contemporary artists such as Kiki Smith and Leonardo Drew, and CFile editors Garth Clark and Mark Del Vecchio present the city’s best ceramics shows. Season highlight: Kent Monkman (July 7-Sept. 2). The Canadian First Nations artist reexamines art history through monumental paintings that critique dominant art movements and narratives.

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Fritz Scholder Conjuror, 1995 Acrylic on canvas 40 x 30 inches

Andrea Vargas-Mendoza Rain, 2017 Pastel on paper 36 x 36 inches

Kali Spitzer Exploration of Resilience, Melaw Nakehk’o, 2016 Archival pigment print of tintype photography Copyright © Jessamyn Lovell

LEWALLEN GALLERIES

BLUE RAIN GALLERY

DAVID RICHARD GALLERY

TANSEY CONTEMPORARY

BLUE RAIN GALLERY

AXLE CONTEMPORARY

This gallery brings fine art and craft techniques crashing together. Ingenuity abounds in exhibitions of mixed media paintings, ceramics, fiber art and glass art.

Season highlight: Melinda Rosenberg (Aug. 4-27). The artist repurposes weathered wood from old furniture, dried-up Christmas trees and croquet mallets in her geometric wall sculptures.

Blue Rain Gallery’s eclectic collection nods to traditional Native American art and craft styles — and champions a powerful new contingent of contemporary indigenous artists. Season highlight: Spanish Market Group Show (July 7-22). Andrea VargasMendoza, Alberto Pancorbo and Natalia Anciso debut expressive figurative works.

RAILYARD DISTRICT

ELSEWHERE

Jerry Wellman and Matthew Chase-Daniel converted an old bread truck into a nonprofit, ever-moving art space that takes pitches for shows from local curators and artists. Check Twitter (@axleart) for to-the-minute updates on the truck’s location. Season highlight: Local Coloring (Aug.11-Sept. 3). Five local writers penned short stories and dozens of visual artists from across New Mexico illustrated the tales with line drawings in coloring-book style. Axle Contemporary Press will display the original artwork and debut a coloring book at the exhibition.

LEWALLEN GALLERIES

DAVID RICHARD GALLERY

Modern and contemporary artworks mingle in this lofty gallery in Santa Fe’s Railyard District. Season highlight: Fritz Scholder (June 9-July 23). The revolutionary Native American painter passed away in 2005. Art historians are only beginning to measure the colossal impact of his postmodern portraits, which evoked and then shattered Native American stereotypes.

Owners David Eichholtz and Richard Barger have a fantastic collection of op art from the 1960s and onward, but lately they’ve taken a wild curatorial leap into Santa Fe’s emerging art community. See works by highly established artists and young up-and-comers alike in this labyrinthine space. Season highlight: History/Her Story (June 23-July 29), an exhibition of six women photographers from New Mexico: Abbey Hepner, Jessamyn Lovell, Delilah Montoya, Cara Romero, Kali Spitzer and Laurie Turner.

652 Canyon Road 505-995-8513, tanseycontemporary.com

1613 Paseo de Peralta 505-988-3250, lewallencontemporary.com

544 S. Guadalupe St. 505-954-9902, www.blueraingallery.com

1570 Pacheco St., Suite A1 505-983-9555, davidrichardgallery.com

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Various locations 505-670-5854, axleart.com

Santa Fe resident Jordan Eddy covers visual arts locally and is a critic for Art Ltd.

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Summer Visitors Guide for Santa Fe and Northern New Mexico

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Melinda Risk Penney Bidwell July 14th 5-7pm

International Attraction FRANK BALAAM & ANGUS May 19

CLEO COLLECTION

Photography: Wendy McEahern

Elyria - Elisa Browsh July 28th 5-7pm

A Retrospective - 50 Years a Modernist PAUL-HENRI BOURGUIGNON June 2

ARTsmart’s Edible Art Tour

225 Canyon Road Santa Fe, NM 87501

Paired with PINK ADOBE June 9

505.982.3032 karenmelficollection.com

Celebrating 35 Years at Ventana DOUG DAWSON June 23

Sensuality in 2 and 3-D JOHN AXTON & MARK YALE HARRIS July 7

SATURDAY arket 8am-1pm M

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Early opening 7am June-Sept

OPEN YEAR-ROUND RAILYARD MARKET

TUESDAY arket M MAY 2 thru NOV. 21

Alive in the Wild REBECCA TOBEY & JEAN RICHARDSON July 28

An American Icon

Hours always the same as Saturday

JOHN NIETO August 18

RAILYARD MARKET

WEDNESDAY eningMarket Ev JUNE 21 thru SEPT. 27

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3pm-7pm

MARY SILVERWOOD & MARGARET NES September 15

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PAINT OUT Reception ANGUS, AXTON, BALAAM, DAWSON HUBBLE, ISENHOUR, MCCUAN & WEINMAN October 20

HISTORICAL CANYON ROAD PAINT OUT October 21

WWW.SANTAFEFARMERSMARKET.COM | 505.983.4098 Summer Visitors Guide for Santa Fe and Northern New Mexico

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Battle of Santiago

7.5 Max Baca

Albuquerque native and Grammy Award-winner Max Baca kicks off the 2017 Bandstand season with his incomparable Bajo Sexto sound.

Pharoah Sanders

7.8

The SOUNDS of Summer

Battle of Santiago

An eight-piece Toronto-based group, The Battle of Santiago combines classic AfroCuban rhythms and vocals with a distinctly Canadian post-rock spirit and sensibility.

7.12

The Santa Fe Plaza Bandstand program

The Peterson Brothers

BY STEPHANIE NAKHLEH For decades, Outside In Productions has been celebrating summer by bringing free live music to the Santa Fe Plaza. The roots of the nonprofit’s program reach back to 1997, when Outside In produced an evening of music as part of El Corazon de Santa Fe, a summer music festival. The production was such a success that City of Santa Fe awarded the organization $5,000 and a first-place prize for best event.

Outside In went on to produce Summer Scene in 1998, followed by Summer Bandstand in 2000. Finally, in 2003, the first official Santa Fe Bandstand was launched — a two-week festival featuring 24 bands.

The Santa Fe Bandstand program has since become an indispensable part of Santa Fe’s summer nights, offering music, community, dancing and fun. The eight-week 2017 season runs July 5 through August 25 and includes 66 different acts, a diverse mix of local, regional and national touring artists. All concerts take place at the Santa Fe Plaza’s bandstand, are free, and begin at 6 p.m., except on Chamber Music Festival nights (July 19 and 26 and August 2 and 9), when the show starts at 6:30 p.m.

Some highlights of this year’s program: 100

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This duo has opened for the likes of Gary Clark Jr., Los Lonely Boys, the late B.B. King, Buddy Guy and Willie Nelson. A modern blend of blues and funk from brothers Alex, 16, and Glenn, 19.

7.18 Carrie Rodriguez

Carrie’s latest bilingual release, “Lola,” was listed in Rolling Stone’s 40 Best Country Albums of 2016 and included in NPR'S Best 50 Records Of 2016.

7.19* Jane Bunnett & Maqueuque Music on the Hill, St John's College

The Peterson Brothers

Davina & The Vagabonds

7.22

8.11

Frank Solivan & Dirty Kitchen

Marcia Ball

7.25*

8.15

Davina & The Vagabonds

Native American Drumming Circle with Robert Mirabal

7.26

8.25

Santa Fe Opera Apprentices

Closing night with Meow Wolf Monster Battle Party

7.29*

* 12th Annual New Mexico Jazz Festival Santa Fe events For a complete listing of NMJF events, including Albuquerque performances, or for ticket and pricing information, call 505-268-0044 or visit outpostspace.org.

Winners of the 2016 Instrumental Group of the Year award by the International Bluegrass Music Association, this Grammynominated bluegrass band plays at the highest level.

One of Bandstand’s most requested artists, Davina brings her New Orleans charm, Memphis soul-swagger and tender gospel passages back for her first Bandstand appearance since 2014.

The Santa Fe Opera’s Apprentice Program for Singers is internationally recognized as one of the finest programs of its type.

Don’t miss hearing world class opera, up close and personal.

Ball is an American blues singer, pianist and four-time Grammy nominee. USA Today says she’s “a sensation, saucy singer and superb pianist ... where Texas stomp-rock and Louisiana blues-swamp meet.”

Two-time Grammy-Award-winner Robert Mirabal joins New Mexico’s best local drumming circles for a unique night of Native culture and dance.

Calling all monsters, aliens, heroes, robots and freaks: Assemble on the Santa Fe Plaza and battle it out on the dance floor.

Pharoah Sanders & Ravi Coltrane Lensic Performing Arts Center

Santa Fe Bandstand performances will also take place on Santa Fe’s fast-growing Southside on four Saturday nights, July 15 and 29, and August 5 and 12. Location to be announced; see santafebandstand.org for more information.

8.8 Dale Watson

Dubbed “the silver pompadoured, baritone beltin’, Lone-Star beer drinkin’, honky-tonk hellraiser” by The Austin Chronicle, Dale Watson is the undisputed King of Ameripolitain music.

Summer Visitors Guide for Santa Fe and Northern New Mexico

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Kasha-Katuwe

TENT ROCKS NATIONAL MONUMENT

505-465-8535

COCHITI PUEBLO

VISITOR CENTER

Cochiti Visitor Center 1101 State Rd 22 Cochiti Pueblo, NMÂ 87072 1 02

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MONDAY - FRIDAY 8AM-5PM SATURDAY - SUNDAY 9AM-5PM

A Prayer for Santa Fe

by Rev. Talitha Arnold

O Dios, El Senor, Great Spirit, El Shaddai, Adonai, Creator God, creating still.

By whatever name we know you, hear our prayers this day.

We thank you for the courage and the Santa Fe, the Holy Faith, of those who founded this city 400 years ago.

And we thank you, too, for the native peoples who prayed in this land for centuries before and for all who have come in the centuries since.

For all, be they native or newcomer, whose prayers continue to bless this city, we thank you this day.

With our prayers of thanks, hear too our prayers for guidance and wisdom.

Help us to learn from this good land and the beauty of creation all around us.

In this land of endless sky, teach us the boundlessness of your beauty and love.

In this land of little rain, teach us to share and to bless what you have given us.

In this land of brilliant sunrise and golden sunset, teach us to use each day to bless the lives of others.

In this land of many cultures and colors, give us your infinite imagination and teach us to respect and value all your children.

O God, our help in ages past, be our hope and the hope of this City of Santa Fe in all the years to come.

Help us all to build on the foundation of faith, hope, and love that others have laid here, so that all your people in this city might do justice, love mercy and walk humbly with You, now and always. Amen.

We invite you to worship with us while visiting Santa Fe. Sunday Summer Services: 8:30am Outdoor Communion; 10am inside.

THE UNITED CHURCH OF SANTA FE Rev. Talitha Arnold and Rev. Brandon Johnson, Ministers Jacquelyn Helin, Pianist and Music Director; Karen Marrolli, Choral Director; Andrea Hamilton, Children’s Director

1804 Arroyo Chamiso (at St. Michael’s Drive) 988-3295 unitedchurchofsantafe.org | Welcoming of all people.

“Love God, Love Neighbor, Love Creation.”

Summer Visitors Guide for Santa Fe and Northern New Mexico

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Find us on Facebook.

The Old Well of Acoma ca:1904. 11X14 Gold Tone By Edward S. Curtis

THE RAINBOW MAN since 1945

107 E. Palace Ave., Santa Fe 982-8706 www.rainbowman.com

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Conception, Abstraction, Reduction: T H E A R T O F DA N , A R LO & MICHAEL NAMINGHA

This year’s garden art exhibition features the works of internationally known artist, Dan Namingha, contemporary artist, Arlo Namingha, and conceptual artist, Michael Namingha.

O P E N 7 D AY S A W E E K , 9 A M – 5 P M

Museum Hill · 715 Camino Lejo Santa Fe · 505.471.9103

S A N TA F E B O TA N I C A L G A R D E N . O R G

S a n ta F e Chamber Music F e s t i va l Marc Neikrug, Artistic Director

July 16 - August 21, 2017 Season 45

Pictured: Rachel Barton Pine, John Storgårds, and Artist-in-Residence David Daniels.

505.982.1890 SantaFeChamberMusic.com

Summer Visitors Guide for Santa Fe and Northern New Mexico

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FROM CLASSICAL REPERTOIRE TO CUTTING-EDGE DEBUTS Santa Fe’s music scene is world class

BY CRAIG SMITH Classical music and dance events shimmer in the warm summer air. From opera to chamber music, choral works to ballet, the Santa Fe scene has something for every taste and interest.

Santa Fe Opera’s 61st season offers five works, from a frothy Viennese romp to a striking world premiere. The season runs from July 5 through Aug. 26, 2017.

Johann Strauss Jr.’s charming comedy Die Fledermaus receives nine performances, while Gaetano Donizetti’s tragic tale of thwarted love Lucia di Lammermoor receives 10. In its SFO premiere, Nikolai Rimsky-Korsakov’s satirical The Golden Cockerel will be mounted six times.

Alcina, George Frideric Handel’s Baroque tale of enchantment and love, runs five times.

The season’s world premiere, The (R)Evolution of Steve Jobs, will receive six performances.

Composed by Mason Bates, with libretto by Mark Campbell, the piece explores the complex personality and amazing achievements of Jobs, the man who made the Apple brand — and its attendant technology — ubiquitous. The technologically advanced production will be piloted by stage director Kevin Newbury.

“Our production will be using language and music in combination with innovative technology and design to tell a story that most in the tech

COURTESY PATINA GALLERY: FEARLESS GENIUS EXHIBIT

Steve Jobs Considers a Response. Palo Alto, California, 1986

industry know well,” Newbury said. “Unlike the linear narratives of Steve Jobs’ life we have seen and read, our opera takes a more heightened, nonlinear, theatrical approach. Mason Bates’ score features music as varied as electronics, acoustic guitar and lush string orchestrations.”

Victoria (Vita) Tzykun, the production’s scenic designer, added, “The products and experiences that Steve Jobs dreamed up with his teams defied expectations and provided a sense of wonder. That sense of wonder is what is very important to us to capture in this production. In order to provide that for modern audiences, we are harnessing cutting-edge technology and fusing it with traditional stagecraft in a way that will create a world that has never yet been seen on an operatic stage.”

In addition to its performances, Santa Fe Opera offers a wide range of operatic-themed attractions, from pre-performance dinners and lectures to behind-the-scenes tours of the production complex and grounds. Of course, one of the most popular of all summer outings continues — the opportunity to bring a picnic dinner and enjoy a pre-opera tailgate repast, with the opera’s amazing views as an additional alfresco treat.

❧❧❧ Two music groups celebrate major anniversaries this summer. The Santa Fe Chamber Music Festival marks its 45th season, and Santa Fe Desert Chorale its 35th. Both groups exert national impact while reveling in the unique sense of place that defines Santa Fe. At the Chamber Music Festival, more than 80 acclaimed artists and ensembles give more than 40 concerts that take in close to 100 works.

The season’s offerings include string quartets by Robert Schumann, a concert devoted to works by Dvořák and Mendelssohn, a recital by famed American violinist Rachel Barton Pine, music of Schubert and Mozart, the Beethoven string quartets, Schoenberg’s Transfigured Night, and works by Puccini, Verdi, Bach, Brahms, Kurt Weill and Vivaldi, among others.

Slated contemporary composers include William Bolcom, Brett Dean and Julian Anderson, all presenting new works commissioned by the festival.

Santa Fe Chamber Music performance

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Santa Fe Chamber Music performance

INSIGHTFOTO.COM

Santa Fe Opera

Countertenor David Daniels is artist-in-residence.

“Brett Dean, William Bolcom and Julian Anderson are in the forefront of internationally recognized composers,” said CMF executive director Steven Ovitsky. “They are mature, established creators working at the highest level of their artistic craft.

“Brett Dean will perform his composition Rooms of Elsinore — his first sonata for viola, his own instrument. This was co-commissioned with the Library of Congress and will have its world premiere in April during a Santa Fe Chamber Music Festival performance at the Library of Congress. Julian Anderson’s composition Sensation, a solo piano piece, was co-commissioned with the Aldeburgh Festival [Suffolk, UK]. William Bolcom’s Sextet, written for strings, winds, brass and piano, is a co-commission with Chamber Music Northwest and Great Mountains Music Festival of Korea.”

in-residence is Brandon Boyd. Brandon will set texts written by incarcerated youth. They will be performed at the Youth Development Center for teens incarcerated there at the time. They will also be performed at the Southside Library and then in the Justice program. The homeless shelter program is modeled after the Dallas Street Choir, which was founded in 2013.” (see next page for selected performances calendar) ▸

❧❧❧ Santa Fe Desert Chorale music director Joshua Habermann has programmed four repertoires. Local performances of Music from a Secret Chapel are slated for Immaculate Heart of Mary Chapel, while The Hope of Loving will be heard at the Church of the Holy Faith. Liberté: Music of Resistance and Revolution will be performed in the Cathedral Basilica of St. Francis of Assisi. Santa Fe’s Christ Church is the site for Justice. Habermann conducts the first three repertoires, while André J. Thomas leads Justice. In addition, the chorale presents two films with musical themes: The Singing Revolution on July 29 and When I Rise on Aug. 7. Both screen at Santa Fe’s Center for Contemporary Arts.

“The Justice program is multifaceted and has a component of community engagement work,” said executive director Janice Mayer. “This particular programming thread allows us to meet our two main components in the community,” at the Youth Development Center and the Interfaith Shelter.

Mayer continued, “The Youth Development Center has a poetry program run by Dimitri Martinez. Teens involved in the program write poetry — they’ve done spoken word presentations in the past. This year our composer-

CHELSEA CALL PHOTOGRAPHY

The Santa Fe Desert Chorale will perform Liberté: Music of Resistance and Revolution at the Cathedral Basilica of St. Francis of Assisi in summer 2017.

Summer Visitors Guide for Santa Fe and Northern New Mexico

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CHELSEA CALL PHOTOGRAPHY

The summer 2017 Justice program will be performed by the Santa Fe Desert Chorale at Christ Church Santa Fe.

CALENDAR

Selected summer 2017 performances Santa Fe Opera: 61st season

Santa Fe Desert Chorale: 35th season

July 5-Aug. 26, 2017 Santa Fe Opera Theater

July 19-Aug. 13, 2017, various locations

June 30; July 5, 8, 14 Aug. 1, 7, 14, 19, 26 Die Fledermaus by Johann Strauss Jr. Sung in English with English dialogue

Design with Glass Bullseye Glass Resource Center Santa Fe Glass art classes for all levels

Aug. 1, 5, 11 LibertĂŠ: Music of Resistance and Revolution

July 15, 19, 28; Aug. 3, 9, 18 The Golden Cockerel by Nikolai RimskyKorsakov Sung in Russian

July 29 Film: The Singing Revolution (with SFDC singers)

July 29; Aug. 2, 11, 17, 23 Alcina by George Frideric Handel Sung in Italian Call 505-986-5900 for prices and tickets, or visit santafeopera.org.

Santa Fe Chamber Music Festival: 45th season

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July 16-Aug. 21, 2017 various locations

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The festival presents more than 40 concerts throughout its season. For the performance schedule or to order tickets, call 505-982-1890 or visit santafechambermusic.com.

Plates by Anu Penttinen. Designed in residence at the Bullseye Glass Co. factory studios in Portland, Oregon, 2015.

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July 27, 30; Aug. 10 The Hope of Loving

July 1, 7, 12, 21, 31; Aug. 5, 8, 12, 16, 24 Lucia di Lammermoor by Gaetano Donizetti Sung in Italian

July 22, 26; Aug. 4, 10, 15, 25 The (R)Evolution of Steve Jobs by Mason Bates, with libretto by Mark Campbell Sung in English

805 Early St, Building E Santa Fe 505.467.8951

July 19, 23, 29; Aug. 2, 9 Music from a Secret Chapel

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Aug. 8, 12, 13 Justice

Aug. 7 Film: When I Rise Call 505-988-2282 for locations, prices and tickets, or visit desertchorale.org.

Performance Santa Fe 4 p.m. Sunday, July 30 Festival of Song Brief Encounters: three short, one-act operas Scottish Rite Center 463 Paseo de Peralta 4 p.m. Friday, Aug. 4 Anna Christy, soprano Location to be announced 4 p.m. Sunday, Aug. 20 Paula Murrihy, mezzo-soprano Location to be announced 7:30 p.m. Wednesday and Thursday, Aug. 9 and 10 Stars of American Ballet Lensic Performing Arts Center 211 W. San Francisco St.

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Summer Visitors Guide for Santa Fe and Northern New Mexico

1 09

THE POWER OF IMAGINATION

FEARLESS GENIUS:

Lecture, exhibit complement opera premiere

Ninety Hours a Week to Change the World. Palo Alto, California, 1986.

In the middle of a presentation to the NeXT team, Steve suddenly stopped and said, “Hey, everybody, let’s work nights and weekends until Christmas, and then we’ll take a week off.”

One of the engineers in the back of the room responded meekly, “Um, Steve, we already are working nights and weekends.”

BY ROB DEAN

Steve Jobs Explaining Ten Year Technology Development Cycles. Sonoma, California, 1986.

Steve Jobs shares with his team how technology evolves 25-30 year wave cycles. Steve hoped to ride the next wave by putting the power of a refrigerator-sized mainframe computer into a one-foot cube at a price affordable to universities. Thus NeXT Computer began as Steve’s quest for redemption after being fired from Apple in a humiliating boardroom coup.

He gathered the best and brightest around him and began a classic start-up with his own seed money. Every few months, Steve and the fledgling company would travel to a retreat in the country with their families to grapple with myriad technical issues and make plans. Most industry pundits believed it would be a huge success. Instead, it was the start of over a decade of struggle and failure for Steve. (All captions are excerpts from Doug Menuez’s book Fearless Genius.)

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Photojournalist Doug Menuez went to Silicon Valley in 1985 to cover Steve Jobs’ quest to transform education.

Jobs dreamed of a computer that would help “some student at Stanford to be able to cure cancer in his dorm room,” Menuez said, explaining his eagerness to witness the bursts of creativity that ultimately ignited the digital revolution and put a smartphone in the pockets of 220 million Americans.

“When I arrived in Silicon Valley, the innovators were confident they would succeed at building something important,” Menuez said of the young guns led by Jobs, the legendary founder of Apple. “As I watched, I began to think: Wow, there is a chance they could change everything.”

They did. And Menuez, having gained total access to Jobs during the most trying and creative time of the tech guru’s career, found an epic story that he shares in Santa Fe this summer.

Menuez, whose Fearless Genius: The Digital Revolution in Silicon Valley 19852000 (Atria Press) published in 2014, speaks at the Lensic Performing Arts Center on Wednesday, July 19. An exhibition of Menuez’s photography opens Friday, July 14, at the Patina Gallery. The public presentation and the photo exhibition coincide with and complement Santa Fe Opera’s world premiere of The (R)evolution of Steve Jobs on Saturday, July 22.

“At first I was drawn to Steve Jobs because he was working on a supercomputer for education,” Menuez said. “It turned out they were creating machines that tapped human creativity.” In 1985 Jobs, recently forced out at Apple, launched NeXT, a company that offered him both a fresh start and a chance to make history by popularizing a user-friendly computer.

Surprisingly, the secretive Jobs gave the photographer unprecedented freedom to point his Nikon at any person or place he found interesting. For three years, Menuez shadowed the computer genius as he presided over his personalcomputer proving ground.

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THE DIGITAL REVOLUTION 1985-2000

Exhortations, Incantations, Promises, and Threats. Redwood City, California, 1988.

Steve gives a rousing pep talk to inspire employees while also indulging in a short rant about revenge on Apple and John Sculley for kicking him out. NeXT was preparing to demonstrate their prototype at gala demonstrations in San Francisco and Washington, DC, although it would be almost another year before finished workstations would be shipped.

The Day Ross Perot Gave Steve Jobs $20 Million. Fremont, California, 1986.

Already a consummate showman, Steve thought it would be a great idea to pitch Ross Perot at a formal luncheon set up at the abandoned warehouse where he planned to build the NeXT factory. To invent cool new technology required investors like Perot and good storytelling was part of the game. He waved his arm around the abandoned warehouse and told Ross they would build the world’s most advanced robotic assembly line and sell 10,000 computers a month. Ross was blown away and wrote a check. Later, he said it was the worst mistake he ever made.

All the while, Menuez tried to stay a fly on the wall, studying everything, even the body language of his subject, a man notorious for crushing rivals who got in his way. About two years into the project, the photographer was setting up a shot when Jobs approached. Head down and wearing a forced half smile, sure signs of a disagreement brewing, Jobs picked that day to argue with Menuez over a portrait, merely one photo among thousands.

“He wanted people that would stand up to him,” Menuez explained, still reliving after 30 years how Jobs tried to take charge. “I fought back, and I won the argument actually.” That incident, Menuez said, illustrated a mental agility that let Jobs offer insight into every discussion while at the same time flashing an instinct to draw passion and talent from others.

At NeXT, Menuez found that the emerging story centered on the power of imagination. The work was a challenging change of pace for the photojournalist, who had previously traveled the globe covering combat, earthquakes and the AIDS epidemic. The Silicon Valley story was not a happening but an idea. How would he communicate the creativity simmering in the quiet of conference rooms or in the minds of Jobs and his developers?

“I would wait and watch and wait and watch until there was an explosion of activity,” Menuez remembered. “These innovators built everything we use today, things we take for granted. It was hard work.... They often worked through the night. The work drove some to the psych ward.” The end came only when Jobs sold NeXT and returned to Apple.

Today Menuez uses his talk and photo exhibit to take a new generation inside the world of Jobs and the whiz kids who followed him. “There is a romantic side, the sense of mission, a noble cause, the human side I think that’s missing in our culture today,” he said. “I had one guy stand up at one of my lectures. He started crying and said he would go home, quit his job and start doing something important with his life.”

The Jobs-inspired culture of innovation built platforms that have lasted 30

years. Now Menuez sees a need to think about the future, a subject sure to come up during his Lensic talk. “What we see in the latest developments today is the maturation of these technologies,” he concluded. “There’s a next wave coming. It’s going to dwarf everything that came before.”

IF YOU GO Friday, July 14 An exhibition of Doug Menuez’s photography opens at Patina Gallery (131 W. Palace Ave., 505-986-3432, patina-gallery.com).

Wednesday, July 19, 7:30 p.m. Menuez speaks at the Lensic Performing Arts Center (211 W. San Francisco St., 505-988-1234, lensic.org) Tickets $22.

‘The Tension of Opposites’ Santa Fe Opera’s world premiere of The (R)evolution of Steve Jobs has directly influenced a jewelry maker who uses new technologies to put beauty into people’s hands.

Genevieve Howard — one of 13 jewelry artists featured in Crafted Visions: The Tension of Opposites, opening Friday, July 21, at Patina Gallery in downtown Santa Fe — is an Irish artist and musician who has created a series of wearable pieces inspired by composer Mason Bates’ score.

Bates gave Howard exclusive access to his music. Using a computer, Howard created a graphic visualization from the notes. She then lasercut Japanese linen paper, stacked the slices and assembled them into necklaces and bracelets.

“Steve Jobs created choice and options for people,” said co-curator Ivy Ross, who invited Howard to be part of the jewelry exhibition. “I like the tension of opposites that he exposed. Jewelers and artists do the same.”

Summer Visitors Guide for Santa Fe and Northern New Mexico

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Tom Palmore, born 1944 Ada, Oklahoma; lives Santa Fe, New Mexico Survivor, 1995, oil on canvas, Museum purchase, 1993 General Obligations Bonds, 1995.30.1 Tonque Pueblo Jar, Rio Grande Glaze Ware, ca. 1450–1600 Clay, slip, glaze paint, Gift of Richard A. Bice via the Albuquerque Archaeological Society, PC1974.33.9 Cultural Services Department, City of Albuquerque, Richard J. Berry

Summer Visitors Guide for Santa Fe and Northern New Mexico

cabq.gov/museum 113

THE LOOK OF THE LAND

William deBuys, Pecos Wilderness, 2013

BY WILLIAM DEBUYS PHOTOS BY DON J. USNER The 30th anniversary edition of Enchantment and Exploitation: The Life and Hard Times of a New Mexico Mountain Range, published in 2015 by University of New Mexico Press, includes a completely new concluding chapter. Author William DeBuys notes that it contains “reflections on the probable impacts of climate change on the forests of Northern New Mexico.” That rewritten chapter, by the region’s foremost interpreter of its environmental and cultural landscapes, is reproduced here in its entirety.

Summit of Santa Fe Baldy 12,655 ft.

August 12, 2013

T

hrough binoculars, looking northeast, I can see the spot atop East Pecos Baldy where Vernon Orlando Bailey stood in August 1903. By the time of Bailey’s visit, the mountain had been part of the Pecos River

Forest Reserve for more than a decade, but it remained a remote, rarely visited place. Bailey was surely one of the first federal men to summit the peak since units of the Wheeler Survey visited the high country in 1874 and ’75.

1 14

My intention in coming to the mountains has been to stand where Bailey stood exactly 110 years earlier, but the route is closed. During the previous month, a lightning-ignited wildfire, dubbed the Jaroso fire, raged around three sides of Pecos Baldy, consuming 12,000 acres, and the Forest Service closed the burned area to entry. At last word it was said the closure might last until snow flies. Unable to reach Pecos Baldy, my companion and I have trekked to Santa Fe Baldy as a substitute. A lot of meaning is packed into that small and inconvenient fact.

Among the changes that have visited northern New Mexico since Enchantment and Exploitation was first published in 1985, none have been more arresting than the changes touching on fire. They are both symptom

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Last Chapter, Enchantment and Exploitation

Pecos Wilderness north of Santa Fe Baldy, 2013

and symbol of the new conditions presently emerging in “the natural world,” a phrase whose meaning was clearer thirty years ago than it is today.

My visit to Santa Fe Baldy is a kind of tribute to Vernon Bailey, one of the most remarkable personalities of New Mexico’s territorial period. In the late 1970s and early 1980s when I first wrote Enchantment and Exploration, his monograph, “Mammals of New Mexico,” recast by a publisher as Mammals of the Southwestern United States, was an indispensable guide for understanding the biota of the region, and also a rich source of period-revealing anecdote.

Years later I had the opportunity to study his field notes and reports in the archives of the Smithsonian Institution in Washington, D.C. For over four decades Bailey worked as a field man for the U.S. Bureau of Biological Survey, the predecessor agency of the U.S. Fish and Wildlife Service. Most of that time he served as the agency’s chief field naturalist, assessing the character of lands in every one of the lower forty-eight states — several of which, including New Mexico, were still territories when Bailey first knew them.

He was a small, wiry, owlish fellow, said to be humorous and generally unflappable. He felt a special kinship with animals. Although he had no children of his own, at family or social gatherings he might release a few jumping mice to entertain the youngsters or slyly let them peek at a bat sleeping in his pocket. Perhaps his worst professional censure came at the hands of his brother-in-law and early boss, C. Hart Merriam, the founder of the Biological Survey and the American originator of the concept of ecological life zones (similar ideas were independently developing in Europe). Bailey enraged Merriam when he shipped to Washington a badly packed collection of live snakes. When the package broke open and the contents slithered out, the resulting damage to relations with the Postal Service, according to Merriam, threatened the work of the Survey.

At the time of the Post Office catastrophe, however, Bailey was safely distant from his brother-in-law’s wrath. His life was in the field. He lived so long on the trail that even at home on Kalorama Avenue in Washington, D.C., so it was said, he would lift his plate before dinner was served to blow off the putative dust. Whether his wife, Florence, a redoubtable figure in her own right, was amused or irritated by this eccentricity has gone unrecorded.

Florence, the sister of C. Hart Merriam, was no stranger to backcountry.

When Bailey stood atop Pecos Baldy in 1903, Florence was close by, near the foot of the peak, probably stalking a songbird and collecting information for what would become an ornithological classic, Birds of New Mexico, published in 1928. Although frail and possibly tubercular, she could ride like a man (she wore a specially tailored skirt to do so), and she knew how to make an early version of the modern sleeping bag by dipping sheets in beeswax and dying them green so as not to show the dirt.

The Baileys’ 1903 field season began in mid-May at Santa Rosa on the Pecos River. With two assistants, Surber and Weller, they journeyed east across the plains nearly to Tucumcari, noting “long drouths [sic] and over stocking have made some of the valleys almost barren.” Toward the end of June they set out for the high country, roughly following the Pecos River upstream before detouring to Santa Fe, “an interesting old town, mainly Mexican,” for supplies, repairs, and mail. For nearly two weeks they lingered along the river between the town of Pecos and the village of Cowles (then known as Willis), surveying fauna and flora and, as one of Bailey’s journal entries reveals, losing track of time: “Thought it was Sunday so we washed our faces and combed our hair, wrote some letters and hunted birdnests till noon, then found out it was Monday and went to work.”

By July 21, they had “divided our outfit and left the wagons with all unnecessary baggage in Mr. Hanna’s corral [Hanna was the ranger of the forest reserve], packed our outfit on the two team horses and a burro and started up the trail toward the east side of Pecos Baldy.” When he was in the field, Bailey kept multiple records, beginning with a list of the plants and animals he encountered. He also maintained a daily journal of field notes, and periodically he produced a “physiography report,” which was essentially a portrait of the landscape he was visiting. He would describe it zone by zone, according to Merriam’s system, which in northern New Mexico ranged through Upper Sonoran (today generally referred to as piñon-juniper), Transition (ponderosa pine), Canadian (mixed conifer), and Hudsonian (spruce-fir), to Arctic Alpine. He supplemented his biological observations with musings on land use and history. Taken together, these reports, which

Summer Visitors Guide for Santa Fe and Northern New Mexico

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Last Chapter, Enchantment and Exploitation spanned the region, constitute a remarkable record of southwestern lands at the close of the territorial period.

The most telling remark in Bailey’s physiography report for the “Pecos River Mountains” is his statement, which may have formed in his mind as he stood atop Pecos Baldy, that “the forest (now included in the Pecos River Forest Reservation) has been sadly thinned by burning, fully three fourths of it having been burned over and a large part of the coniferous forest replaced by poplars [Populus tremuloides: aspen] or kept open by repeated burning for grazing land.”

Photographs of the high country from the early twentieth century, some of them taken by Bailey, bear this out. They show evidence of massive wildfires that ripped through the high country, probably a few decades earlier. Subsequent tree-ring research has bracketed the area Bailey visited with specific dates for stand-changing high-altitude fires. At least one large fire (there may have been several) in the Santa Barbara watershed at the north end of the Pecos Wilderness appears to have burned in 1842. A similar conflagration swept over the land now occupied by the Santa Fe Ski Basin in 1879 or 1880. Judging from Photo 71, which was taken only a year after Bailey’s visit to the high country, the evidence of burning he observed probably had its origin sometime close to 1879.

The specific causes of the fires are unknown, but 1879, to take one incendiary year, was extremely dry. One theory holds that in years (probably successive years) of exceptional drought, high-country forests became vulnerable to ignition from fires sweeping up from the foothills, and in the nineteenth century those fires were frequent. They were variously blamed on Indians (the usual scapegoats of the time), vandals, sheepherders burning pasture, prospectors removing vegetation to reveal the underlying mineral geology, locomotives spewing sparks, loggers careless with their slash, and travelers (who built big fires to keep warm in those pre-sleeping-bag days).

John Wesley Powell, who in the 1870s and ’80s was as well traveled in the West as anyone, initially joined the chorus that blamed Indians for the epidemic of fires, but by the end of his career he concluded that the fires were essentially a consequence of the westward movement of American society: “It is thus that, under conditions of civilization, the great forests of the arid lands are being swept from the mountains and plateaus.”

Certainly there is much truth to Powell’s observation, but in New Mexico and other thunder-rattled places, even when mischief and ignorance did not suffice, there was always an abundance of lightning. In fact, the dates that have emerged for stand-changing fires at high elevation show no bias toward the Anglo-American settlement period. They seem to be a feature of a longer and deeper fire regime, driven primarily by periodic drought and not so much by the machinations of people.

Bailey’s estimate of three-quarters, however, is a lot of the landscape to have shown the effects of fire at one time. His figure always stuck in my mind because it described a landscape I had never known. Through the 1970s, 1980s, and 1990s, I stood on a number of mountaintops in the southern Sangres, and the percentage of recently burned land I saw was always zero, making Bailey’s estimate seem otherworldly. For the better part of three decades, the portion of the Sangres that I personally knew simply didn’t burn, which is to say, if, during those years, a fire, for whatever reason, managed to start, it was snuffed out right away. By August 2013, however, the story had changed — not a little, but a lot.

From atop Santa Fe Baldy we can see Ute Mountain near the border with Colorado. The cloud-dappled Rio Grande valley spreads to the west, and the high country swells around us, rugged and vast. I imagine a line running through the peak from the Sandia Mountains above Albuquerque in the southwest to Santa Barbara Baldy, hub of the wilderness, in the northeast.

Looking toward the Española Valley, northwest of the line, my friend and I try to judge the proportion of forest within view that bears the effects of recent fire. We agree that it is about three-quarters, the same as Bailey’s 116

estimate. Leading contributors to that result include the 2013 Jaroso fire, the Pacheco Canyon fire of 2011, and parts of the Borrego fire of 2002, which Sierra Mosca, a tall intervening mountain, mostly screens. When we aboutface and look southeast of our imaginary line, the proportion of burned land drops a good deal, but it remains substantial. The drainage of the Rio Pecos lies in view, from its headwaters down to Pecos town and beyond. We estimate that at least ten percent of it shows the effects of recent fire. The burn scars on the rolling crests across the canyon belong to the Tres Lagunas fire (2013) and the larger Viveash fire (2000), most of the evidence of which lies hidden behind the nearer ridges.

Across the Rio Grande, in the much more flammable Jemez Mountains above Los Alamos, the effects of fire are even more widespread. Beginning in 1996, the Dome fire, followed by Oso Complex (1998), Cerro Grande (2000), and Las Conchas (2011) combined to burn away most of the ponderosa and mixed-conifer forests (Merriam’s transition and Canadian zones) across the east face of the mountain range. Each of these fires was large, spectacularly powerful, and, in terms of historical memory, unlike anything previous generations had seen. Two of them caused the temporary evacuation of Los Alamos, with the Cerro Grande fire destroying nearly 400 homes on the city’s western edge. The most recent, Las Conchas, scorched more than 150,000 acres, consuming nearly a third of that amount in its first day at the terrifying rate of one acre going up in flames every second during a span of fourteen hours. Even from across the breadth of the Rio Grande Valley, the scars on the east face of the Jemez are clearly evident. As we scan them, my companion, the photographer and writer Don Usner, becomes pensive.

He grew up in Los Alamos, and the Jemez Mountains were the site of his youthful explorations. In the Cerro Grande fire his childhood home, where his mother still lived, was burned to the ground. After a long silence, he says, “We were innocent for so long.”

A lot of New Mexicans, not just those who suffered losses in the fires, might say the same thing. Roughly a century of mostly confident land management nurtured a kind of innocence that was shared broadly through society. A large amount of both the confidence and the innocence derived from the suppression of nearly all wildfire for the better part of a century.

Efforts to “manage” the land, however, produced their intended outcomes less consistently than their agents wanted to believe. Until recently, outside a small circle of ecologists and foresters, few people imagined that society’s tight grip on the behavior of forests throughout the region might so suddenly and completely go slack. Until, in fact, it did.

The story of how control over nature yielded to a chaos of flames reveals much about how life in this place has been and will be. That story has emerged as a core narrative of the environmental history of New Mexico and much of the West in the late twentieth and early twenty-first centuries.

The dominoes began falling in pioneer days at the close of the nineteenth century. By connecting the region to distant markets, the newly arrived railroads fostered the buildup of large herds of cattle and sheep. The subsequent wave of overgrazing effectively eliminated the grass and other light fuels that had previously sustained frequent, low-intensity fires throughout most of the savannas and lower elevation forests of the region.

For centuries, the recurrent fires had thinned the forests, consuming seedlings and brush, preventing the accumulation of combustible fuel, and favoring the dominance of fire-adapted species like ponderosa pine. The frequent burns structured ecosystems on a vast scale, producing open stands of large trees with a grass understory, but by the 1890s, the fires had been starved of fuel, and they ceased to occur nearly everywhere.

Gradually, the disturbances of the pioneer period that John Wesley Powell had noted — the “conditions of civilization” that he believed were sweeping away the forests of the mountains and plateaus—succumbed to control, and a new belief, championed by the nascent Forest Service, began

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continued on page 118

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Last Chapter, Enchantment and Exploitation

Pecos Wilderness, looking west from Santa Fe Baldy, 2013

to win support, namely that fire was a mortal enemy of all forests and that it should be universally eliminated from timbered ecosystems, with no exceptions. The stance was ideological, not scientific, but it was fully in tune with the ethos of a society that took fierce pride in its ability to harness nature and to tame the wild lands of a broad continent. Extinguishing fire was part of the taming process.

When the climate turned wet, roughly from 1905 to 1922, the region’s forests had lacked natural thinning for nearly a generation. Abundant moisture enabled them to grow denser, and stand after stand thickened with young trees that low-intensity fires, in times past, would have killed. When dry times returned in the 1930s and especially during the powerful drought of the 1950s, the firefighting capabilities of the Forest Service and other agencies were sufficient to prevent a reemergence of the previous fire regime.

In the late 1970s, abundant moisture returned, lasting until 1995. These decades were one of the wettest periods in the thousand-year reconstructed climate history of the Southwest: “During this wet period the skiing was great most winters, the region’s reservoirs were full, and forest growth was strong. . . .Superficially at least, southwestern forests seemed to be resilient and secure.” It was an age of ecological innocence.

In those years of plentiful snow and strong summer rains, the region’s unnaturally dense forests of mixed conifer and ponderosa pine thickened further. Forest stands that in pre-settlement days might have supported fewer than 100 trees per acre now choked with a thousand, or even multiple thousands per acre. Many are the stories of people in pioneer days riding horseback through lands where now, even on foot, it was difficult to pick one’s way.

For a time, the long-settled forests surrounding the ancient villages of the Sangre de Cristos were a possible exception. Goats had traditionally been the most plentiful livestock of the villages, and where they grazed, they delayed the “woodification” of the landscape. Feeding on vegetation coarser than other livestock will consume, goats happily gobble up seedlings or browse young trees to death. In this narrow respect, they mimic the thinning effect of light fire. But after World War II, the village herds of sheep and goats gave way to relatively fewer numbers of cattle, which prefer grass while disdaining seedlings and other rough browse. Selective herbivory — the tendency of grazing animals to eat one set of foods and not another — can shape an ecosystem. One inadvertent effect of cattle raising in New Mexico, as an earlier chapter has mentioned, was to enable brush and trees to encroach upon meadows and savannas where grass, with fire’s help, had earlier ruled.

The population of trees boomed.

It was a little like a bomb being built in plain sight. The amount of fuel 118

that became massed in the form of tree trunks, branches, twigs, and leaves probably approached the maximum that the forest, given limitations of space and sunlight, could produce. But such an abundance of woody mass could not be sustained. A normal return to drier conditions was inevitable. When the rain and snow ceased to fall, the overcrowded trees would dehydrate, becoming stunted and stressed, and as a result susceptible to insects, disease, and a virulence of fire that would intensify as it fed on them.

The very structure of the forest was part of the problem. The jumble of woody plants now clustering on the forest floor included many small trees whose canopies were low enough to catch fire from flames on the ground.

Once aflame, these trees might then ignite the middling trees that leaned above them, and so on, up to the tops of the tallest forest giants. In this way, an otherwise minor blaze might climb a “ladder” of fuels and become a crown fire, also known as a stand-changing fire because it kills virtually all the trees it touches. Driven by the wind, such a fire surges from treetop to treetop, sometimes faster than a horse can run. As the fire grows hotter, its heat generates powerful convective air currents — winds that spread the fire still faster. When fuels are dry and plentiful, the day hot, and the initiating wind strong, a crown fire can boil into a holocaust.

For northern New Mexico the end of innocence came after a winter that was hardly a winter. There had been little snow; temperatures were high, and the forests were parched. On the windy morning of April 26, 1996, the Dome fire broke out in Santa Fe National Forest near the western boundary of Bandelier National Monument. Windblown embers from an abandoned campfire provided the spark, which in itself was not unusual. Far more impressive was the earliness of the season — it was only April — and the vehemence of the fire that erupted. A mushroom cloud, immense and billowing, soon towered above the Pajarito Plateau, home of Los Alamos National Laboratory. A distant observer might have wondered if the Lab’s nuclear genie had finally escaped its bottle. Few people expected that before long even larger, more powerful, and angrier clouds would darken the same skies.

Not that people were unaware a problem existed. By the late 1980s, a “forest health crisis” was generally agreed to exist. What to do about it, however, was a matter of dispute. For years, environmentalists, logging advocates, and land managers had argued, often in courtrooms, the merits and demerits of harvesting the last accessible stands of pre-settlement or “old growth” timber. They particularly debated the effect such harvesting would have on rare species like the northern spotted owl, and they failed to agree on a preferred way to address the overgrown state of the forests, which was seen variously as the result of too much human intervention,

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or not enough. The forests of the Southwest, like the rangelands of the region, had become contested ground in the truest sense. Every acre was argued over. Every proposal for logging, thinning, or leaving alone was met with a counterproposal.

Yet amid the turbulence of contending opinions City of Rocks State Park and agendas, a central issue remained undiscussed. Clear in retrospect but seemingly invisible at the time was the looming presence of climate-driven forces that would moot many of the questions being so hotly debated.

The Southwest has always been subject to drought. The great medieval civilizations centered at Chaco Canyon and Mesa Verde, to cite only two of many possible examples, rose and fell in large measure according to the favorability of the region’s variable climate. Periods of reliable, if not abundant, precipitation supported their expansion. Megadroughts — droughts lasting multiple decades — accompanied their respective declines.

Scientists now believe that such droughts — or the equally exceptional wet periods that are their inverse — are driven by shifts in the behavior of the oceans, the Pacific current popularly called El Niño being the best-known example. El Niño features the arrival of unusually warm water off the coast of northern South America in early winter (when the arrival of the original El Niño, the Christ child, is celebrated at Christmas). Because El Niño tends to bring abundant winter precipitation to the Southwest, skiers, irrigators, and water managers love it. Its opposite, La Niña, produces dry winters, low reservoirs, and widespread anxiety. Together the two conditions comprise the so-called El Niño Southern Oscillation (ENSO). A breakthrough scientific paper in 1990 showed ENSO to be a strong predictor of regional fire behavior in the Southwest, going back centuries. Since then, researchers have found further links between regional weather patterns and ocean phenomena, including not just ENSO but the Pacific Decadal Oscillation (PDO) and the Atlantic Multidecadal Oscillation (AMO).

The exact manner in which these deep-lying oceanic forces combine to produce swings from drought to wet and back again, for the present, remains unknown. Indeed, ambiguity and uncertainty attend much of our understanding of the planetary forces that shape weather and climate. The years since the end of the Southwest’s late-twentieth-century wet period, which ended in 1995, have on the whole been brutally dry; it is possible they constitute the onset, if not the main body, of a megadrought. The stresses they have imposed on living systems have been comparable to megadroughts of the past. But time will tell. Without knowing the future, one cannot see the dimensions of the period one is in. The duration of a drought can be understood only retrospectively, and most long droughts are periodically interrupted by wet years, which obscure the overall pattern.

On the other hand, it may be that the departure of wet years so spectacularly announced by the Dome fire made way not for drought but for a “new normal.”

Drought, after all, is exceptional. It exists in relation to a base state that is wetter. In the Southwest, the megadroughts of the past have been defined in comparison to a baseline of greater precipitation, averaged over centuries. But that average is not immutable. Theoretically, it could shift downward.

Some climate modelers say that the downshift has already begun. One of the boldest statements comes from a team led by Richard Seager at the Lamont-Doherty Earth Observatory at Columbia University. “There is broad consensus among climate models,” Seager wrote in Science in 2007, “that this region will dry in the twenty-first century and that the transition to a more arid climate should already be underway.” He continued, “The levels of aridity of the recent multi-year drought [of the late 1990s and early 2000s] or the Dust Bowl and the 1950s drought will become the new climatology of the American Southwest within a timeframe of years to decades.” By “new climatology” Seager and his colleagues mean “base state” or “new normal.”

The new climatology will represent the conditions upon which the droughts — and wet periods — of the future will be superimposed. If Seager is right, the droughts of the future will be more severe than the droughts of the past, and the wet periods will not be as wet.

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Not everyone consents that a new normal is emerging, but climate scientists agree that the effects of anthropogenic (or human-caused) climate change are already being felt in the Southwest and that these effects will intensify in the decades ahead. Among the predictions: • The region will get hotter. Mean temperatures, especially in summer and fall, will continue to increase. Barring significant success in limiting global greenhouse gas emissions, the total increase, measured against pre-1970 averages, could reach 8° F. by the end of the century. It is worth bearing in mind that this is approximately the same increase in mean temperature that characterized the transition from the Pleistocene epoch — the so-called Ice Ages — to the Holocene, the epoch in which human civilization developed.

What took thousands of years in that instance may now be accomplished in a single century.

• The region will get drier. Winter precipitation is considered likely to decrease as storm tracks move farther north. Even if precipitation stays steady, effective aridity will increase because higher temperatures will boost evaporation.

• Streamflow, which is heavily influenced by both evaporation and precipitation, will decrease substantially. Some projections indicate a decline of 20 percent or more. The implications of diminished flow in the Rio Grande, the Colorado River, and other major streams are extremely worrisome, given that the region’s hydrological resources are already fully or over-allocated.

• More precipitation will fall as rain, less as snow, a trend that bodes ill for traditional irrigation agriculture, which has depended on healthy mountain snowpacks for water storage. Also, owing to higher temperatures, spring runoff will occur earlier, posing additional difficulties for irrigation agriculture and bringing an ever-earlier onset of fire season.

• Extreme weather events, including downpours, floods, and violent winds, will probably become more extreme and more frequent. Heat is a form of energy. A hotter atmosphere is more energetic and hence inherently more powerful than its cooler predecessor. Warm air also has the capacity to hold more moisture than cool air, which creates the ironic but potentially calamitous potential for heavy floods and severe drought to occur close together in time, producing, among other things, ideal conditions for arroyo cutting.

While we can confidently predict that the future will be hotter and drier, it is much harder to forecast how these changes will affect living biological communities. One of the more useful tools toward that end is a measurement called the Forest Drought-Stress Index, or FDSI. Park Williams, a statistically adept ecologist, developed it with the help of many collaborators while working at Los Alamos National Laboratories. (Since then he has joined Seager at Lamont-Doherty). The index synthesizes winter precipitation and moisture stress levels deduced from a one-thousand-year tree-ring record.

Its highs and lows track forest productivity, tree mortality, and bark-beetle and wildfire outbreaks with high accuracy, making it the best indicator yet devised for determining how trees at a given site have fared in the past or can be expected to fare in the future. Projecting the FDSI forward in concert with prevailing climate change models offers a way to peer into the future of the Southwest’s forest ecosystems and gain some idea of what their fate is likely to be. Unfortunately, the vision thus afforded is not a happy one.

If the climate models are roughly correct, then by mid-century (a mere moment away in the life-span of a ponderosa) the by-then “normal” stresses of heat and moisture loss on southwestern forests will exceed the most severe levels the forests have experienced in the last thousand years. Saying that is a mouthful, so it bears repeating: Williams’s FDSI indicates that in the 2050s, only a few decades from now, life for a ponderosa pine, a Douglas fir, or any other southwestern tree on average will be worse than it was during the driest, fiercest megadroughts of the past, going back to the days of Chacoan civilization and beyond.

Assessing the impacts of the great droughts of the past is difficult but not impossible. For very distant events, researchers might analyze pollens buried at archaeological digs and other datable sites to determine what plants, including trees, were present in that vicinity at various times in the past.

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Last Chapter, Enchantment and Exploitation These analyses, although hardly definitive, suggest that the megadroughts of the Chaco Canyon and Mesa Verde eras probably triggered widespread dieoffs among the forest trees of the region. A more precise reckoning of drought impact can be made for recent events by simply seeing how many long-lived trees from that period remain alive today. Many southwestern conifers have the potential to live longer than 400 years, but it happens that few trees of that age can be found in the region. One theory holds that the greater part of region’s forests succumbed to the megadrought of 1572–87, the fourth most severe drought of the last thousand years and the most severe since 1300.

Fire was no doubt an agent of that catastrophic die-off, but bark beetles and other insects probably played a role, too. Different species of bark beetles are adapted to different species of trees, but pretty much every tree in southwestern forests has a bark beetle pest. The beetles feed, mate, and hatch their young in the inner bark of the trees they prey on. The trees’ defense is to drown them or flush them out with copious flows of sap. In times of drought, however, the trees not just dehydrated but “starving”: the stress of the drought depresses their ability to photosynthesize and maintain their metabolism, thereby also reducing their ability to manufacture expensive resin defenses. So the beetles prevail, and the more they prevail, the more of their young survive, and the bigger their swarms become. Eventually their numbers may overwhelm the defenses of even healthy trees. (A warming climate also favors the insects by reducing the hard winter freezes that limit the number that will emerge in spring and by stretching the frost-free breeding season during which they can reproduce.)

In the recent drought years of 2001–3, bark beetles, combined with heat and moisture stress, accounted for the death of ponderosa and piñon pines across 2,609,475 acres of Arizona and New Mexico, an area twice the size of Delaware. Those years were a period of record-setting fires, but even so, the loss of trees to beetles far exceeded the loss to flames. The insects’ rising toll is not restricted to the arid Southwest. The heavy, forest-changing impacts of beetles have been documented throughout the West from British Columbia to Yellowstone to Colorado’s vast stands of lodgepole pines.

The vision revealed by the FDSI is apocalyptic. It suggests that an environmental quartet of horsemen — fire, insects, heat, and drought — is riding toward a midcentury rendezvous with the forest ecosystems of the Southwest. And also with human society — we who depend on those ecosystems in myriad ways, from the tangible value of water yield and erosion control to the intangible solace they provide as places of emotional and spiritual refuge.

As with most apocalyptic visions, however, this one is not exact.

The vagaries of the AMO, PDO, ENSO, and perhaps other oceanic and atmospheric forces, may stave off the day of reckoning by decades. Human society may also win more time by reforming its energy-consumption habits and greatly diminishing the waste stream of greenhouse gases it pours into the air. And of course, there may be errors of calculation buried in the climate models or in the FDSI itself where neither their authors nor their peer reviewers have been able to detect them. In each of these cases, however, the likely alternative is delay, not avoidance. The writing, so to speak, is on the wall, and soon to be on the land. It will constitute, to quote Aldo Leopold, “the plain story written on the face of Nature.”

When Vernon Bailey read the 1903 version of that story from the top of Pecos Baldy, three-quarters of the Pecos High Country showed the effects of recent fire, the adjective “recent” meaning within the previous generation or two. Bailey looked out on lands that had undergone massive change, but it was change that was cycling back, through aspen regeneration and other intermediate stages, toward something similar to what had been there before.

One hundred ten years later, when Don Usner and I stood on Santa Fe Baldy, the percentage of burned land was smaller but rising, and the mountains gave the appearance of returning to a condition more similar to what Bailey viewed than to any that had prevailed in the years between his time and ours.

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William deBuys climbing up Santa Fe Baldy, 2013

Viewed from a broad perspective, there are few surprises in the gradual attainment of a full cycle of change from fire’s dominance to a lack of fire to fire’s return to dominance. Earth, after all, is an oxygen planet. Sooner or later, lots of things burn. What makes the prospect of the future unusual, as we understand it now, is the probability that, beyond some as yet undefined threshold(s), the ecosystems that prevail in the future will not be earlier successional versions of the systems they replace. It is more than likely that new, perhaps quite novel assemblages of organisms, better adapted to hotter and drier conditions, will take hold where the old familiar forests once stood.

Such a pattern is already emerging in the Jemez Mountains.

Big, hot conflagrations like the Cerro Grande fire (43,000 acres) create such expansive “holes” in the forest cover that most conifers, lacking winged seeds or other means of long-range dispersal, cannot effectively recolonize them.

If the burned area is large enough and hot enough, aspen also reach their limits. Moreover the propensity of burned areas to burn again in successive fires, as occurred when the Las Conchas fire swept across mountainsides that the Cerro Grande fire had scorched, results in landscapes dominated not by trees but by clonal shrubs like New Mexico locust and Gambel oak, which resist drought well and can survive the burning of their aboveground parts, yet resprout after a fire and grow again with vigor. And burn and resprout yet again. A visitor to Pecos Baldy in the year 2053 or 2063, treading in Bailey’s footsteps, might behold a panorama dominated by plants such as these.

From one point of view, such an eventuality would constitute a catastrophe — the loss of long-honed, dynamically balanced ecosystems.

The loss also, from a human perspective, of a highly valued kind of beauty and a sense of historical and spatial continuity. From another, more dispassionate perspective, those losses can be seen as transformation, not annihilation: a “reorganization of ecosystem patterns and processes,” which will ultimately lead to the emergence of communities better adapted to new climatic conditions.

In the literature of nature writing, the majesty of high mountain country is often evoked as a symbol of permanence, constancy, and long duration. The mountains of the future will continue to warrant such depictions, at least in a geological sense. The permanence of their ecosystems will be another matter. Their forests, constituted as people of recent centuries have known them, may eventually metamorphose into something quite different — new ecosystems consisting of assemblages of plants never until then brought together, at least not across large areas, and covering thousands of acres whose previous principal constituents have become few or strangely absent.

The possibility exists that the mountains of the future will be a whole new world, launched on a novel evolutionary trajectory.

From Enchantment and Exploitation, Revised and Expanded Edition: The Life and Hard Times of a New Mexico Mountain Range by William deBuys.

Copyright © 2015 University of New Mexico Press, 2015.

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