2017 Spanish Market Guide

SPANISH S PA N I S H CO LO N I A L A RTS S O C I E T Y P R E S E N TS

MARKET MEL RIVERA

2017 MASTER’S AWARD FOR LIFETIME ACHIEVEMENT

THE SANTA FE NEW MEXICAN

2017 Spanish Market 3

where do you belong?

Santuario de Chimayรณ. Photograph by Douglas Merriam.

The Cultural Atlas of New Mexico leads you to historic churches and other cultural places throughout thhe LLand of Enchantment. Organized by region, proximity andd inteerest, the Cultural Atlas will help you find where you beloong.

http://atlas.nmculture.org 4

2017 Spanish Market

live guitar music in the gallery in the exhibition Flamenco: From Spain to New Mexico

Select Wednesday afternoons 1–3 p.m.

July 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luís Campos August 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jaime Martínez August 30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Joaquín Gallegos September 6 . . . . . Closing fiesta featuring Casa Flamenca

FUNDING FOR THE EXHIBITION Flamenco: From Spain to New Mexico has been made possible in part by Lead Corporate Sponsor El Farol, with additional support from the International Folk Art Foundation and the Museum of New Mexico Foundation’s Exhibition Development Fund. Pictured: guitarist Joaquín Gallegos (courtesy photo).

WEDNESDAYS ARE FREE for New Mexico resident seniors 60 and over; children 16 andunder and MUSEUM MEMBERS ALWAYS FREE (MuseumFoundation.org/join)!

FREE ADMISSON SUNDAY, AUGUST 6 & SUNDAY, SEPTEMBER 3 for New Mexico residents with valid ID. Enjoy bistro dining with a view at Museum Hill Café.

ON MUSEUM HILL IN SANTA FE · 505-476-1200 · InternationalFolkArt.org · 2017 Spanish Market 5

You dropped while you shopped.

Introducing online scheduling for Urgent Care visits.

phs.org/urgentcare

454 St. Michael’s Dr.

|

You can also schedule by phone and we still accept walk-ins.

URGENT CARE HOURS: Mon-Fri 8 am – 7 pm, Sat, Sun and Holidays 8 am – 5 pm.

We accept most insurance plans, including: Presbyterian Health Plan · Blue Cross Blue Shield · Cigna · United Healthcare · TRICARE · Aetna · and others

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2017 Spanish Market

ON THE COVER Mel Rivera, recipient of the 2017 Master’s Award for Lifetime Achievement COVER PHOTO Kitty Leaken

SPANISH MARKET 66th TRADITIONAL

PUBLISHED JULY 24, 2017

2017

OWNER Robin Martin

Inside

PUBLISHER Tom Cross EDITOR Ray Rivera

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

Welcome Letter from David Setford

SCAS Staff and Board

10 Spanish Market Is “New Mexico True”

A look at the event’s sponsor, the Spanish Colonial Arts Society.

By Arin McKenna

magazine editor Daniel Gibson photography Gene Peach copy editor Peg Goldstein

12 Schedule of Events

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

16 Poster Artist Nicolás Otero. By Arnold Vigil 18 Grand Prize Winner

Joseph López of Española secures a major award for his painted bultos and relief carvings. By Arnold Vigil

ADVERTISING SALES Chris Alexander Mike Flores Sandra Jaramillo Ofelia Martinez Deb Meyers Dana Teton Erica Valdez

20 2017 Master’s Award for Lifetime Achievement

Mel Rivera of Nambe is honored with the market’s top award for his extraordinary work in straw appliqué. By Daniel Gibson

26 Booth Locator Map

ADVERTISING ART DEPARTMENT creative and marketing manager Kathryn Lopez designers Elspeth Hilbert, Joan Scholl, Rick Artiaga digital brand specialist Michael Harrison

28 Traditional Spanish Market 2017 Alphabetical Artist Directory

TECHNOLOGY technology director Michael Campbell

32 ¡Anima! The Heart and Spirit of Spanish Colonial Art

30 Traditional Spanish Market 2017 Youth Artist Directory Profiles of three class winners of 2016: Patricio Chavez, Onofre Lucero and Roxanne Shaw-Galindo. By Patricia Marina Trujillo

WEB digital enterprise editor Henry Lopez www.santafenewmexican.com

36 On the Frontier

Spanish Market artists working in obsure fields include Camilla Trujillo, Nicholas Madrid and Jerry Montoya. By Adele Oliveira & Daniel Gibson

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

40 Straw Appliqué

A look at the work and lives of master artists of this homegrown art medium: Pat Gurule Griego and Jean Moya. By Gayle Gertler

DISTRIBUTION circulation director Michael Reichard distribution coordinator Reggie Perez

44 Contemporary Hispanic Market Highlights. By Arnold Vigil

ADDRESS 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

46 Contemporary Hispanic Market Poster Artist AnaMarie Samaniego

By Arnold Vigil

48 Contemporary Hispanic Market Booth Locator Map & Artist List

PHOTOS BY GENE PEACH

2017 Spanish Market 7

¡Bienvenidos! Welcome to Spanish Market Everyone at the Spanish Colonial Arts Society welcomes you to the 66th consecutive Traditional Spanish Market.

We hope you enjoy the works of art so beautifully grouped around the Plaza and find something that you love to take home and cherish. You will truly be taking a piece of the history of New Mexico and the Southwest into your lives. But beware: For some people, one piece is never enough!

The Spanish Colonial Arts Society’s mission is “to preserve, promote, exhibit and educate the public” about historic and present-day traditions in New Mexico and the former Spanish world. The market started in 1926, a year after the society was founded. The first market consisted of the sale of a few works at the New Mexico Museum of Fine Arts; it later moved to the portal of the Palace of the Governors. During the Great Depression and World War II, the market took a hiatus, returning with renewed vigor in 1951.

Since then, it has taken its place annually on the historic Santa Fe Plaza on the last full weekend in July. The number of artists has grown, from barely 10 at first to more than 230 today. At the center of our gathering is the youth market, where artists age 7 to 17 — each guided by an adult mentor — learn how to display and sell their work and how to converse with the general public.

Although we are not the largest heritage market in Santa Fe (our friends at Indian Market have that distinct honor), we have a unique significance to New Mexico. This is not just because the market is a living, breathing historical tradition but also because of its economic impact. Almost all market artists are from New Mexico, so money from their sales stays in the local economy rather than being siphoned off and sent to faraway places. Neither does the Spanish Colonial Arts Society retain any money from artists’ market sales.

In addition, a 2016 survey showed that our 95,000 visitors spent $3.8 million on lodging and a total of just over $4.2 million in greater Santa Fe. Nearly half of our visitors live more than 50 miles from the Plaza, and of those, nearly half are from out of state. We are very proud of those numbers and hope residents will realize the significant impact we have on the local economy.

Few people know that many of our artists are full-time professionals. Even those who are not rely on the market to make ends meet and feed their families. The traditions they follow are incredibly time-consuming.

Often, like their forebears, they go into the hills to find natural material such as aspen, piñon or pine to carve or paint on. The wood then has to be adzed to size, in itself a laborious and skilled process. Many pigments are found in secret places, on rough hillsides many miles from civilization. Gesso is mixed from locally sourced gypsum and rabbit-hide glue. Wool is gathered, spun into yarn and hand-dyed with natural pigments from the earth or from plants. Our artists don’t purchase their materials at the craft store — the traditions they follow are part of the history and the authenticity of what they produce.

So, bearing all this in mind, how long does it take to make even a modest piece of colcha or a small retablo?

The time varies, but certainly many, many hours. So if you buy a work of art at the market for $100 or $1,000, the price is probably a conservative reflection of the time the artist has spent on it, likely amounting to not much more than minimum wage. The faith and tradition behind the work also make it much more meaningful than a factory-produced tourist item.

So we urge you to support our artists in whatever way you can. Help us preserve an essential element of the potent “New Mexican mix.” Go home with an authentic piece of New Mexico; buy local!

Finally, we would like to thank all our sponsors for their continued support of Traditional Spanish Market.

These include The Santa Fe New Mexican, New Mexico True and the New Mexico Department of Tourism, the City of Santa Fe Arts Commission, Heritage Hotels and Resorts, Santafe.com, AmeriCorps, New Mexico Arts and all the businesses and private individuals who sponsor booths at the market. We could not have done it without all of you, and we appreciate your contributions very much!

David F. Setford Executive Director Spanish Colonial Arts Society

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2017 Spanish Market

2017 Spanish Colonial Arts Society STAFF David F. Setford — Executive Director Maggie Magalnick — Spanish Market Director Josie Caruso — Assistant Curator of Textiles (volunteer) Tannis Eberts — Collections Manager/Curator Assistant Theresa Gallegos — Visitor Services, MoSCA Patricia Garduño — Membership Coordinator Robin Farwell Gavin — Chief Curator, MoSCA Jana Gottshalk — Assistant Curator Valerie Kendall — Special Events and Fundraising Coordinator Donald Medina — Facility Manager Joseph Morales — Visitor Services, MoSCA Reine Moure — Exhibition Designer and Preparator (volunteer) Miquela Salazar-Korte — Education Coordinator Daniel Palacios — Security Jean Ross — Visitor Services, MoSCA Natasha Rudolph — Multimedia Designer (AmeriCorps volunteer) Grace Servas — Spanish Market Assistant (volunteer) Verity Setford — Visitor Services, MoSCA Barbara Swartz — Finance Coordinator

BOARD OF DIRECTORS Executive Board Larry Lujan — President Joel Goldfrank — Vice President Bob Gallegos — Secretary

Directors Robert Coffland Teresita Gonzales-Corral William Frej Patricio Gonzales Penelope Hunter-Stiebel Kris Lajeskie Diane Martinez Joe Moure Mark Rhodes Ambassador Edward Romero

International Board of Directors James M. Long — Founder Joel Goldfrank

Advisory Board William N. Ashbey Barbara Carpio Hoover Eileen Wells

Honorary Board Governor Susana Martinez Mayor Javier M. Gonzales Marta Weigle Nancy Meem Wirth

John Hardy and Classic Chain Collection are Registered Trademarks.

The Artisan Handcrafted Classic Chain Collection

On the Santa Fe Plaza 78 E. San Francisco Street Santa Fe, New Mexico 505-603-0191 2017 Spanish Market 9

TRADITIONAL SPANISH MARKET

Joseph Ascensión López

Monica Sosaya

Ramón José López

SPANISH MARKET IS “NEW MEXICO TRUE” STORY BY ARIN MCKENNA PHOTOS BY GENE PEACH Spanish Colonial Arts Society (SCAS) executive director David F. Setford contends that Spanish Market epitomizes “New Mexico True,” the New Mexico Tourism Department’s tagline.

“If people are really interested in ‘New Mexico True,’ then this really is New Mexico True. This is part of the heart and soul of New Mexico, these traditions, this culture,” Setford says. “It’s not the only one, but it’s one of the really important ones.

And that’s what the market does. It keeps it alive and it keeps it in people’s minds and it educates them about it.”

SCAS has been instrumental in keeping artistic traditions alive since 1926, when it initiated the first Spanish Market. Setford notes that even then, New Mexican Hispanic culture — which dates back to the arrival of the first Spanish colonists in 1598 — was one of the lures for early-20th-century tourists, just as it is today.

The market went into hiatus during the Depression and World War II but is now celebrating its 66th continuous year since it was reinitiated in 1951.

According to Setford, this is the largest Hispanic art festival in the country. SCAS estimates that the 2016 market set a record with 95,000 visitors.

SCAS also hosts winter markets in Albuquerque and Las Cruces. All three markets spotlight every element of Hispanic culture — visual arts, music, dance and food — and include educational elements such as lectures and hands-on art experiences for local schoolchildren. Setford stresses the authenticity of this art. Strict standards require adherence to methods and materials the artists’ colonial ancestors used.

Market artists gather plant and mineral pigments and indigenous wood in the countryside, then adz or carve the wood to the needed shapes and create paints from the pigments. They mix gesso from rabbit-skin glue and gypsum.

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2017 Spanish Market

“These are the same working methods that were common in the 16th, 17th, 18th centuries,” Setford notes. “And that’s what makes these such an amazing representation of living history and what is important.”

When people complain about prices for these original artworks — comparing them to the cost of inexpensive replicas — Setford replies, “There’s no connection to history. There’s no connection with the culture. There’s no connection to what’s important to New Mexico if you do that. You’re just buying something that’s been created in a huge tourist workshop or maybe even printed by a machine.

“What’s really important are the things that connect us to our roots and how we got here and who we are and that make us bigger rather than smaller. And I think that’s what this work does.”

New artists refresh the pool The youth market — which Setford calls the market’s “spiritual center” — is one of the key initiatives for keeping traditions alive. Two youth market artists, Skylar Valdez and Nicolas Turk, both juried into the adult market this year. New artists also help keep the market vital. This year SCAS welcomes nine new artists and four reentering artists, juried into eight categories.

Market director Maggie Magalnick is especially excited to have a new artist in the copper engraving category. Since the category was initiated in 2012, only Ramón José López (who researched and advocated for the new category) and Joseph Chavez have participated in the discipline. This year Lillian Padilla Autio joins their ranks.

Magalnick urges market-goers to visit new artists on Palace Avenue and San Francisco Street, in front of the New Mexico Museum of Art and La Fonda, respectively. “It’s very exciting to see those who are coming up into market, as well as, of course, our masters and our youth who are on the Plaza itself,” Magalnick says.

Eleven established artists are also expanding into new categories. Potter Alfred

TRADITIONAL SPANISH MARKET

Vicki Rodriguez

Arthur Lopez

Blea, for example, is branching out into ironwork. Carlos Santistevan Sr. — who works in several categories — has now juried into furniture and furnishings, as has reentering artist Manuel Trujillo.

This year’s most important change is a new venue for the Friday night preview, which will be held at El Museo Cultural de Santa Fe (in the Santa Fe Railyard at 555 Camino de la Familia). There, artists will have more than 10,000 square feet to exhibit the pieces they submit for judging. Since collectors line up at booths before 8 a.m. Saturday to purchase award-winning pieces, the preview may be the only opportunity to view some of the best art at the market. Magalnick points out that the Rail Runner train will deposit Albuquerque residents just a few hundred feet from the preview location.

Nuestra Música lives SCAS has also taken over as organizer for Nuestra Música. This annual celebration of New Mexican Hispano folk music was founded in 2001. When Enrique Lamadrid and Jack and Celestia Loeffler recently decided to retire as organizers, SCAS stepped in. The show now becomes one of the pre-market ¡Viva La Cultura! events, held at the Santa Fe Plaza Bandstand from 6 to 9 p.m. on July 27.

SCAS was one of the original co-partners in creating the event. “So it makes all the sense in the world for us to take it up,” Setford said. “We wanted to make sure that that tradition endured, because it’s the music of the people, and we felt it was something the community did not want to lose.”

Antonia Apodaca y Trio Jalapeño are among the Nuestra Música performers.

The 93-year-old Apodaca is a bundle of energy who always delights audiences.

Other performers include Robert Martinez, Cipriano Vigil y Familia and Orquesta Lone Piñon.

Other ¡Viva La Cultura! highlights include tours of the Mesa Prieta Petroglyph Project and open studio tours with Spanish Market artists. On July 29 the Santa Fe School of Cooking holds its annual Spanish Market Class (reserve in advance), which is a green chile workshop this year. Both Mesa Prieta and the School of Cooking donate part of their proceeds to SCAS. (For details see “Schedule of Events.”)

Bandstand entertainment during the market itself is always a big hit. This year’s performers include Cuarenta y Cinco, a group known for its high-energy dance

Mai Ly Torres Baker

music, and EmiArteFlamenco, featuring La Emi and Vicente Griego.

Attendees can also enjoy traditional foods at the Washington Avenue food court.

Those who want to learn more about New Mexico Hispanic culture can browse the book tent sponsored by University of New Mexico Press.

SCAS is also upping the market’s social media presence, regularly adding artists’ ruminations about why they participate, along with photos of them and their work, to the SCAS Facebook page. Those who “like” the page can receive live updates during this year’s market.

Frieda Kahlo at MoSCA Make time to visit the Museum of Spanish Colonial Art (MoSCA, at 750 Camino Lejo, 505-982-2226), which hosts Mirror, Mirror: Photographs of Frida Kahlo. The exhibit traces Kahlo’s journey from a self-possessed adolescent to a 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. The exhibit also includes works inspired by Kahlo’s career by Spanish Market artists working in the innovations category.

A lecture series hosted by David Setford and Penelope Hunter-Stiebel, will be held in conjunction with the exhibition at the Udall Center for Museum Resources (725 Camino Lejo). “Frida and Feminism,” presented by Tey Marianna Nunn, will be held Aug. 17 at 6 p.m.; “Frida’s Intimate Friends, Iconic Artists,” presented by Carolyn Kastner, will be held Sept. 16 at 2 p.m. Admission to each lecture is $20 for nonmembers and $10 for MoSCA members. For details call 505-982-2226.

According to Setford, exhibits such as Mirror, Mirror advance the society’s mission to explore Spanish colonial art — both contemporary and historic — from inside and outside New Mexico. “We wanted to show how the Spanish colonial tradition goes in many different directions,” Setford says. “Frida was in Mexico, not in New Mexico (though she did visit Santa Fe several times), but she was so influenced by the Spanish colonial tradition. She has taken the influence of Spanish colonial retablos and she’s done an update on that.”

For further details on either SCAS or Spanish Market, visit spanishcolonial.org/.

2017 Spanish Market 11

SPANISH MARKET WEEK

¡VIVA LA CULTURA 2017! EVENTS SCHEDULE MONDAY, JULY 24

the north, is home to more than 100,000 petroglyphs. Join the Mesa Prieta Petroglyph Project for a Spanish colonial-themed docentled tour of the petroglyphs, which document the effects of Spanish culture on the Puebloans of Mesa Prieta. They saw horses, sheep, priests, conquistadors and firearms for the first time and recorded their impressions on the dark volcanic boulders.

Tours begin at 8:30 a.m. and are approximately 1.5 to 2 hours long. $50 per person (with 10 percent donated to Spanish Market). Parties are limited to 12. You must register in advance; directions available at registration. Visit mesaprietapetroglyphs. org for information.

Artist Studio Tour: Andrew Garcia and Lorrie Garcia (Furniture and furnishings, painted bultos, retablos) 9 a.m.-7 p.m.

1325 State Road 75, Peñasco (on the High Road to Taos) Call for directions: 575-779-1723, free Artist Studio Tour: Bernadette Pino (Painted bultos) 11 a.m.-3 p.m.

16 W. Romero Road, Ranchos de Taos Call for directions: 575-758-1409, free Artist Studio Tour: Felipe Rivera (Painted bultos, retablos, precious metals) 8 a.m.-5 p.m.

13 Peralta Blvd., Peralta Call for directions: 505-249-8226, free Artist Studio Tour: Pete Ortega (Woodcarving, unpainted bultos) 9 a.m.-6 p.m.

5239 Via Del Cielo, Santa Fe Call for directions: 505-920-6983, free Artist Studio Tour: Irvin Trujillo and Lisa Trujillo (Weaving, innovations within tradition in weaving) 9 a.m.-6 p.m.

Centinela Traditional Arts, 946 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-2180, free Artist Studio Tour: Eugene D. Vigil and Rose A. Vigil (Weaving) 10 a.m.-5 p.m.

Las Vigiles Living Traditions, 776 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-4522, free Poster Signing with Nicolás Otero 5-7 p.m.

A first for Spanish Market, a limited-edition poster depicting an award-winning altar screen by Nicolás Otero will be on view and for sale. The artist will attend and sign posters.

Light refreshments served. Hosted by the Spanish Colonial Arts Society. Free.

Museum of Spanish Colonial Art, 750 Camino Lejo, Santa Fe (505-982-2226)

TUESDAY, JULY 25 Artist Studio Tour: Andrew Garcia and Lorrie Garcia (Furniture and furnishings, painted bultos, retablos) 9 a.m.-7 p.m.

1325 State Road 75, Peñasco (on the High Road to Taos) Call for directions: 575-779-1723, free Artist Studio Tour: Frankie Nazario Lucero (Painted bultos, painted reliefs, retablos) 10 a.m.-3 p.m.

128 Lorenzo Road, Santa Fe Call for directions: 505-231-3374, free Artist Studio Tour: Diana Moya Lujan (Straw appliqué, innovations within tradition

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2017 Spanish Market

in straw appliqué) 9 a.m.-2 p.m.

1014 Calle Lento, Santa Fe Call for directions: 505-983-5410, free Artist Studio Tour: Andrew Montoya (Retablos, painted bultos) 9 p.m.-3 p.m.

3528 Deledda Road N.E., Rio Rancho Call first: 505-470-6202, free Artist Studio Tour: Bernadette Pino (Painted bultos) 11 a.m.-3 p.m.

16 W. Romero Road, Ranchos de Taos Call for directions: 575-758-1409, free Artist Studio Tour: Felipe Rivera (Painted bultos, retablos, precious metals) 8 a.m.-5 p.m.

13 Peralta Blvd., Peralta Call for directions: 505-249-8226, free Artist Studio Tour: Pete Ortega (Woodcarving, unpainted bultos) 9 a.m.-6 p.m.

5239 Via Del Cielo, Santa Fe Call for directions: 505-920-6983, free Artist Studio Tour: Irvin Trujillo and Lisa Trujillo (Weaving, innovations within tradition in weaving) 9 a.m.- 6 p.m.

Centinela Traditional Arts, 946 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-2180, free Artist Studio Tour: Eugene D. Vigil and Rose A. Vigil (Weaving) 10 a.m.- 5 p.m.

Las Vigiles Living Traditions, 776 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-4522, free The Wisdom Archive: Documentary Film Premiers 7:30 p.m. (doors open at 7 p.m.)

Be the first to view world premieres of three documentaries about masters of Northern New Mexico art and music by Emmy-award-

winning directors Scott Andrews and Christopher Beaver. Monica Sosaya: Maestra de Tradición (12 min.) is a loving portrait of the “grand dame” of Spanish Market. Recuerdo (18 min.) provides a rare and exclusive look behind the scenes with renowned artist and santero Nicholas Herrera of El Rito. Cipriano Vigil: Musico de la Gente (38 min.) is the life story of a “New Mexico State Treasure” and acknowledged master of Northern New Mexico music. All the artists and both of the directors will take part in a Q&A after the screening. $10.50 general admission; $9 seniors, students, teachers and military; special member pricing Center for Contemporary Arts 1050 Old Pecos Trail, Santa Fe (505-982-1338)

WEDNESDAY, JULY 26 Mesa Prieta Petroglyph Project Tours at the Wells Petroglyph Preserve Mesa Prieta, a landmass that begins at Ohkay Owingeh Pueblo and extends 12 miles to

Artist Studio Tour: Andrew Garcia and Lorrie Garcia (Furniture and furnishings, painted bultos, retablos) 3-7 p.m.

1325 State Road 75, Peñasco (on the High Road to Taos) Call for directions: 575-779-1723, free Artist Studio Tour: Justin Gallegos Mayrant (Tinwork) 10 a.m.-5 p.m.

1155 Delora, Unit D, Santa Fe (park on street) Call for directions: 505-577-5493, free Artist Studio Tour: Bernadette Pino (Painted bultos) 11 a.m.-3 p.m.

16 W. Romero Road, Ranchos de Taos Call for directions: 575-758-1409, free Artist Studio Tour: Pete Ortega (Woodcarving, unpainted bultos) 9 a.m.-6 p.m.

5239 Via Del Cielo, Santa Fe Call for directions: 505-920-6983, free Artist Studio Tour: Irvin Trujillo and Lisa Trujillo (Weaving, innovations within tradition in weaving) 9 a.m.- 6 p.m.

Centinela Traditional Arts, 946 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-2180, free

SPANISH MARKET WEEK

¡VIVA LA CULTURA 2017! EVENTS SCHEDULE SPANISH MARKET

ENTERTAINMENT SCHEDULE Both Saturday and Sunday feature live music, dance and other performances on the Plaza Bandstand. All performances are free. Seating is limited.

SATURDAY, JULY 29

SUNDAY, JULY 30

9-10 a.m.

8-9 a.m.

La Rondalla, with familiar and popular Spanish songs.

10-11 a.m.

Opening events, including presentation of the resolution for Spanish Arts and Culture Week in Santa Fe by Mayor Pro Tem Signe Lindell, presentation of Master of Lifetime Achievement Awards and presentation of Youth Market Awards, with guest presenter Ana Pacheco.

11 a.m.-noon

Emi Arte Flamenco presents the dance and music show Flamenco Youth de Santa Fe. noon-1 p.m.

Sangre Joven performs Northern New Mexico Spanish music.

1-2 p.m.

Los Tristones Alegres shines with acoustic New Mexican roots music.

2-3 p.m.

La Emi y Vicente Griego and their inspired flamenco company.

Market Mass at the Cathedral Basilica of St. Francis of Assisi, followed by artist procession from the cathedral to the Plaza Bandstand.

9-9:45 a.m.

Archbishop’s blessing of the market and presentation of the Archbishop’s Award to artist Antonia Apodaca.

9:45-11 a.m.

David García performs traditional New Mexican music.

11 a.m.-noon

Ramon y Lydia play polka, ranchero, country and cumbia tunes. noon-1 p.m

Zia presents traditional Northern New Mexican and Mexican music.

1-3 p.m.

Chris Arellano y Nuevo Americana play alternative country with a Norteño twist.

3-4:45 p.m.

Cuarenta y Cinco finish with a blend of rancheros, cumbias, balses and boleros.

3.30-4:30 p.m.

THURSDAY, JULY 27 Mesa Prieta Petroglyph Project tours at The Wells Petroglyph Preserve For details, see July 26 Artist Studio Tour: Andrew Garcia and Lorrie Garcia (Furniture and furnishings, painted bultos, retablos) 9 a.m.-1 p.m.

1325 State Road 75, Peñasco (on the High Road to Taos) Call for directions: 575-779-1723, free Artist Studio Tour: Adrian Montoya (Retablos, hide painting)

Nuestra Musica 6-9 p.m.

An evening of New Mexican music “then and now” featuring Robert Martinez, Cipriano Vigil y Familia, Orquesta Lone Piñon and others.

Santa Fe Plaza Bandstand, free

FRIDAY, JULY 28 Mesa Prieta Petroglyph Project Tours at the Wells Petroglyph Preserve For details, see July 26 Artist Studio Tour: Pete Ortega (Woodcarving, unpainted bultos) 9 a.m.-6 p.m.

5239 Via Del Cielo, Santa Fe Call for directions: 505-920-6983, free

Mariachi Sonidos del Monte closes with mariachi and Mexican folk music.

Spanish Market Artists’ Reception 5:30-7:30 p.m.

The Santa Fe Hispanic Chamber of Commerce honors 24 Traditional Spanish Market artists and hosts a reception for 2017 poster artist Martha Varoz Ewing. $25 per person. To purchase tickets, visit SFHCCnm.org or call 505-473-0348, ext. 1 Elks Lodge, 1615 Old Pecos Trail, Santa Fe

Las Vigiles Living Traditions, 776 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-4522, free

4-8 p.m.

6721 Ranchitos Road N.E., Albuquerque Call first: 505-220-3187, free Artist Studio Tour: Felipe Rivera (Painted bultos, retablos, precious metals) 8 a.m.-5 p.m.

13 Peralta Blvd., Peralta Call for directions: 505-249-8226, free Artist Studio Tour: Pete Ortega (Woodcarving, unpainted bultos) 9 a.m.-6 p.m.

5239 Via Del Cielo, Santa Fe Call for directions: 505-920-6983, free Artist Studio Tour: Irvin Trujillo and Lisa Trujillo (Weaving, innovations within tradition in weaving) 9 a.m.-6 p.m.

Centinela Traditional Arts, 946 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-2180, free Artist Studio Tour: Eugene D. Vigil and Rose A. Vigil (Weaving) 10 a.m.-5 p.m.

Artist Studio Tour: Irvin Trujillo and Lisa Trujillo (Weaving, innovations within tradition in weaving) 9 a.m.-6 p.m.

Centinela Traditional Arts, 946 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-2180, free Artist Studio Tour: Eugene D. Vigil and Rose A. Vigil (Weaving) 10 a.m.-3 p.m.

Las Vigiles Living Traditions, 776 State Road 76, Chimayó (on the High Road to Taos) Call for directions: 505-351-4522, free Traditional Spanish Market Preview Collector’s hour: 5-6 p.m.

Public viewing: 6-8 p.m.

The Spanish Colonial Arts Society presents awards to market artists and offers first views of the award-winning pieces for 2017. Cash bar featuring co-host VARA Wines.

El Museo Cultural de Santa Fe 555 Camino de la Familia, Santa Fe Collectors hour $80; public viewing $20.

Call 505-982-2226 for tickets.

SATURDAY, JULY 29 66th Annual Traditional Spanish Market Santa Fe Plaza and surrounding streets 8 a.m.-5 p.m.

Some 230 adult and youth artists exhibit and sell handmade work. Visitors will enjoy bandstand entertainment throughout the weekend and a food court offering Hispanic cuisine, cold and hot drinks and desserts.

Other highlights include book signings at the University of New Mexico Press booth, hands-on arts projects at the Los Maestros booth and weaving demonstrations at the El Rancho de Las Golondrinas booth.

5KGiveaway: Raffle to support the missions of the Spanish Colonial Arts Society; only 500 tickets sold. First prize $5,000; second prize $1,000; third prize $500. Winners announced 2 p.m. Sunday, July 30, on the bandstand. Visit SCAS booths for details. Free admission Cooking Class 10 a.m.

Join James Campbell Caruso, chef/owner of Santa Fe’s La Boca and Taberna, to explore the flavors of Spanish tapas, with recipes derived from his restaurant menus. $90 plus tax (20 percent of proceeds donated to the Spanish Colonial Arts Society). Call 800982-4688 or 505-983-4511 to register or sign up online at santafeschoolofcooking.com.

Santa Fe School of Cooking 125 N. Guadalupe St., Santa Fe

SUNDAY, JULY 30 Spanish Market Mass 8-9 a.m.

Spanish Market Mass and blessing of market artists and their work, followed by a market artist procession to the Plaza Bandstand. Free Cathedral Basilica of Saint Francis of Assisi, Cathedral Place 66th Annual Traditional Spanish Market Santa Fe Plaza and surrounding streets For details, see July 29

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Author book signing schedule University of New Mexico Press authors will sign their books at the press booth on the Plaza throughout the weekend. (See map for location)

SATURDAY, JULY 29 10-11 a.m.

Anna M. Nogar — Sisters in Blue/Hermanas de Azul: Sor María de Ágreda Comes to New Mexico 11 a.m.-noon

Jane Stacey and Lynn Walters — The Cooking with Kids Cookbook 1-2 p.m.

Melissa Savage — Río: A Photographic Journey down the Old Río Grande 2-3 p.m.

Sue Boggio and Mare Pearl — Long Night Moon: A Novel 3-4 p.m.

Doug Thompson — Underground Ranger: Adventures in Carlsbad Caverns National Park and Other Remarkable Places

SUNDAY, JULY 30 10-11:30 a.m.

Don Usner — ¡Órale! Lowrider: Custom Made in New Mexico 11:30 a.m.-1 p.m.

Ana Pacheco — Early Santa Fe 1:30-3 p.m.

Judy Alderete Garcia — Memories of Torreón, New Mexico 3-4:30 p.m.

Santa Cruz de La Cañada Historical Working Group — La Iglesia de Santa Cruz de la Cañada 1695-2016 (2nd edition) Presented by University of New Mexico Press

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Opening October 27, 2017 5:00 pm - 9:00 pm The Delta • Espanola, NM Show will run from October 27, 2017 through October 29, 2017

, , Jewelry: Shane Casias Model: Valerie Clark Photographer: Richard Rieckenberg.

Emerging Artists: Gabriel Duran & Brayan Moreno Youth Artist: Kaitlyn Ortiz Curators: Toby Morfin & Dio Dominguez Sponsored By:

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Annual Sale 25% to 40% Off

Photo: Wendy McEahern

All Merchandise on Display

from July 14th to July 30th

FAIRCHILD & CO. 110 West San Francisco Street • Santa Fe 505.984.1419 • fairchildjewelry.com

Teresa May Duran

Spanish Colonial Artist

Booth #45

“For behold, from henceforth all generations shall call me blessed.”

Luke 1:48

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NICOLÁS OTERO 2017 SPANISH MARKET POSTER ARTIST

BY ARNOLD VIGIL When he was growing up in the Tomé area between Los Lunas and Belén, Nicolás Otero, this year’s Spanish Market Poster Artist, says no one around him dabbled in art. And it wasn’t until he was an underclassman at Los Lunas High School that he realized that he might possess an unknown and undeveloped talent.

Otero explains that Rhonda Crespin, from the outreach program of the Spanish Colonial Arts Society, came to the Valencia County school, gave students a presentation and offered two apprenticeships to aspiring artists. Otero was one of two students selected, and he hasn’t stopped creating Spanish colonial art since.

The 36-year-old says he immediately began showing his newly created pieces at Spanish Market’s youth division in 1997. He’s been fashioning art and showing pieces at Spanish Market going on 20 straight years.

The carved wooden altar screen that graces this year’s poster measures 5.5 feet high by 5.5 feet wide and was purchased by the Museum of Spanish Colonial Art last year. The retablo, which features many religious-based images, is now part of the museum’s collection. Otero’s ornately painted pieces grace the walls of churches, galleries and private collections.

Otero says that in addition to being chosen the poster artist last year (this award is made at one market for implementation the next), he took 80 pieces to the show and sold all of them. This year, the grade-school art teacher by day hopes to have at least 45 pieces ready for Spanish Market’s opening. “It’s gone well,” reflects Otero, who has often said that he’s been fortunate to study under many masters of Spanish colonial art. “I’ve been blessed. I don’t take it for granted.”

All Otero’s pieces feature carved wood — usually pine — natural pigments and gesso. He usually enters work in several categories: retablos, innovations within retablos, animal hide painting and the long lost art of ramilletes (pronounced rahme-yeh-tehs), which are paper flowers that once adorned altars and important documents. “There are very few of us who hide paint and make ramilletes,” he says.

The artist says that he occasionally creates projects in a more contemporary style, including a portrait of the late artist Frida Kahlo. Otero also teamed up with New Mexican icon Rudolfo Anaya to illustrate Anaya’s book How Hollyhocks Came to New Mexico.

Otero says that he’s recently been teaching his 5-year-old son, Xavier, how to paint but that the tyke still hasn’t shown an interest in santos. “He likes to paint fishermen and fish.”

For details on Nicolás Otero, visit nicolasotero.com.

Traditional Spanish Market July 29 & 30, 2017

Premier Opera Dinner Destination Celebrating the simple pleasures of Italian wood-fired cooking. From beautifully prepared fish and meats, to pastas made in-house each day and served as a canvas for fresh and flavorful ingredients.

Enjoy our full bar and amazing outdoor patio.

505-954-1272

w w w. e l n i d o s a n t a f e . c o m

Award-Winning Precious Metals Artist Booth 151 Lincoln Avenue on the Plaza SANTA FE SILVERWORKS

by Gregory Segura Studio by Appointment 505.670.3955

santafesilverworks.com facebook.com/santafesilverworks 2017 Spanish Market 17

2016 SPANISH MARKET GRAND PRIZE WINNER

JOSEPH ASCENSIÓN LÓPEZ

BY ARNOLD VIGIL PHOTOS BY GENE PEACH THE GRAND PRIZE WINNER at the 2016 Traditional Spanish Market, Joseph Ascensión López, knows that an artist draws inspiration from many unusual things and sometimes in the most unlikely of places. But the creator of the winning piece, Cristo en Agonia: ¿Dios mío, Dios mío, por qué me as abandonago? (Christ in Agony: My God, my God, why have you abandoned me?), admits that inspiration for the work came from a plainly obvious site — a santos and bultos installation within the Palace of the Governors near the museum’s bookstore.

The 47-year-old López, who has shown at Spanish Market since he was a youth in the early 1980s, says he felt compelled to take numerous trips on his lunch hour to the Palace bookstore off the Plaza to glimpse a particular carving in the 12th-century Crusader Cross or Jerusalem Cross style, made by an unknown New Mexican santero. It is believed that this carver, known only as the Master of Lattice-Work Cross, created the piece sometime in the 1800s.

“My goal was not to copy exactly what he had done but to re-create it in my own style,” López says. “That’s [Cristo en Agonia] the only piece I took to Spanish Market. I worked on it from about Thanksgiving until a week before market opened.”

Cristo en Agonia is inspirational in its own right, as it stands nearly 4 feet tall, nearly 2 feet wide and almost a foot in depth. It is fashioned from New Mexico aspen, pine, Russian olive branches and thorns, string, natural pigments and homemade gesso.

The months-long art project paid off for the La Mesilla artist, as it not only won first place in the painted bulto category and Best of Show but also the Purchase Award from the Spanish Colonial Arts Society. The work is now in SCAS’s permanent collection and on view at the Museum of Spanish Colonial Art on Museum Hill.

“It’s always nice when your artwork goes into a public place like a church or a museum as compared with a private collection where it isn’t easy to see,” López says. “All my pieces have a mysterious journey — you never know where they are going to end up. They choose for themselves.”

This year, the 6-foot-4 López, a former basketball player at Española Valley High School and Grand Canyon State University, says he is entering work in other categories, including retablos and traditional woodcarving, apart from his usual painted bultos and wooden reliefs. He says that when he began showing as a youth at Spanish Market, he focused on straw appliqué, which he now incorporates into some of the retablos he creates.

For more information about Joseph López, visit lopezarte.com.

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Mirror, Mirror Photographs of Frida Kahlo

Frida Looking Into Mirror, 1944, by Lola Ă lvarez Bravo Courtesy of Throckmorton Fine Art, New York

May 6, 2017 - October 29, 2017 Follow Frida from a self-possessed teen to a passionate wife and lover, an independent artist, fashion icon, and object of cult-like reverence through over 50 portraits by photographers including Manuel and Lola Alvarez Bravo, Imogen Cunningham, Carl Van Vechten, and Nickolas Muray.

Museum of Spanish Colonial Art • Santa Fe, New Mexico To purchase tickets go to tickets.ticketssantafe.org 2017 Spanish Market 19

2017 MASTER’S AWARD FOR LIFETIME ACHIEVEMENT

MASTER ARTIST MEL RIVERA

Spinning gold from straw Artists led by Rivera revive a fading art form, creating intricate, eye-pleasing, narrative tableaus

STORY BY DANIEL GIBSON PHOTOS BY KITTY LEAKEN “I got interested in straw when I was about 18,” explains Mel Rivera of Nambe. “I began to do some research and looked around to see what examples I could find. There were just a few old pieces in museums and, at the time, just one older couple in Spanish Market doing straw, Eliseo and Paul Rodriguez. It was one of the ‘dying arts.’ I tried it out and succeeded in making one piece, but then went off to college and didn’t do any art for four years. When I came back I really started doing art, initially woodcarving — St. Francis figures in the Ben Ortega style. With one, I placed a cross with straw appliqué in his hands. Someone saw it and asked me to do another. From there I really started into straw work.”

Indeed. Since that day many years ago, Rivera has gone on to do hundreds of pieces featuring straw appliqué, elevating the work to such a level that he has been recognized by the Spanish Colonial Arts Society, the sponsors of Spanish Market, as its Master Artist of 2017. He follows on the heels of santero Victor Goler and jeweler Lawrence Baca.

“It’s taken a little while to sink in, but I am very honored by the award,” he noted in a recent interview in his studio and home. “I’ve been showing at Spanish Market a long time and done a lot, even though it doesn’t always feel like it at the moment. I’m very happy to be receiving this award — it’s a great accomplishment. A lot of the time, straw does not get the recognition other forms of Spanish colonial art get, which are more popular.”

Grandfather was noted artist It seems like a path he was destined to walk. Aside from some silversmithing and painting classes in high school — taught

by Rosina Lopez de Short, who also shows at Spanish Market — Rivera is entirely self-taught. But he was inspired by art as a boy. His father was an occasional carver; the Albuquerque Museum of Art and History has one of his carved wood panels. More importantly, his grandfather was a noted carver and furniture maker associated with the Works Progress Administration. Many doors and pieces of furniture he made grace the family’s comfortable and attractive home in Nambe.

Most of his grandfather’s time and energy, though, went into launching and running the Nambe Trading Post, where he predominately sold pottery, jewelry and other works created by regional Indian artisans. “I can remember driving up to Canyon Road with him and parking. He’d sell Navajo rugs out of the trunk,” recalls Rivera. “The trading post is a big part of why I got into straw appliqué. I spent a lot of time helping them out with the post, and when there weren’t customers, I would practice working with the straw.”

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The Rodriguezes did not want to share details on straw work, “so I had to figure it out on my own and came up with my own design style. I juried into Spanish Market with straw works on my first try, in 1987 I believe. When I got in, there was just the Rodriguez family and Jimmy Trujillo of Albuquerque doing straw.”

The lack of practitioners had partly to do with the difficulty of the medium. He first had to learn how to soak, split open and flatten the straw to create his working materials. “You have to figure out first how to work with the straw. Then the true artist takes off from there into their own designs. And the technique of this, and all hand arts, is difficult to master.”

Finding gold One must first find the raw material, often referred to as “poor man’s gold.” Not just any old straw will do. “Early on, I would just buy a bale of straw, but such straw is crushed and often twisted, making it difficult to work with. So I began growing my own and buying some unbaled straw from various vendors.” Straws from rye wheat, plain wheat, oats and barley provide a range of tones, from pale colors to tans, browns and golds. Rivera also works occasionally in brightly colored, dyed straw. Jimmy Trujillo was the first artist Rivera noticed using colored straw. Rivera had tried incorporating various types of Indian corn husks, which are naturally colored, and had also experimented with boiling straw in dye. But he discovered that colored straw was being used by artists of the International Wheat Weavers Association and found sources where it could be bought.

He also had to master the art of woodworking, which forms the basic surface for most pieces. “I do all my own woodwork. I have

a shop with all kinds of saws, and I cut out the shapes, assemble them, gesso them, sand them and then apply paint — usually acrylics. So there is a lot of work before I actually get to the straw appliqué.”

With his techniques mastered, his material assembled and his forms dancing in his head, Rivera is set to begin his creative process. The results are truly awesome, with finely rendered details and impressive, often complex designs. He creates lots of crosses, “because they are so popular in Santa Fe,” but other favored subjects and forms include images of St. Francis, candlesticks, Nativity scenes and hinged boxes. His larger crosses are noted for their stair-step end cuts, which he picked up from the kiva-step design found commonly on Pueblo pottery and other arts. Other crosses feature a raised, 3-D heart in the center, and he’s made several really ambitious crosses, some as tall as 5 feet, that portray the Stations of the Cross.

Many works feature complex and tiny fields of flowers and petals. He also creates raised, 3-D effects by soaking fibers in water and twisting them together to form ropelike cords.

A few years ago he tried his hand at a new form, using blown eggs as his base. He began with small gourds and then discovered goose, ostrich and, most recently, emu eggs. One of his naturally black emu eggs is on display at the Museum of Spanish Colonial Art (MoSCA) in a section of the show Mirror, Mirror: Photographs of Frieda Kahlo. He also uses tinwork to frame or accentuate some pieces, and he believes he was the first artist to mix tin and straw together. He further distinguishes his work by mixing paints to create unique colors, such as his classic blood reds.

He first sees a piece in his mind’s eye, then executes it. He is always searching for new forms, distinctive processes and techniques to keep the work fresh while staying within the confines of traditional materials and themes. “The traditions are very important to me, but I try to think of new designs and ways to use straw.”

Widespread acclaim His inventiveness yet adherence to old forms and traditions has led to widespread acclaim for Rivera. He has won numerous awards and has work at MoSCA and the Museum of International Folk Art, as well as the Taylor Museum of Colorado Springs, the Denver Art Museum

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and Regis University in Denver. He’s had a show in Italy and another at the Southwest Museum in Los Angeles. “People from all over have collected my work, and I have a piece hanging in Lourdes, France, and another in Japan.” His work has also been included in several books, including Across Frontiers: Hispanic Crafts of New Mexico and Nativities of the Southwest.

He shows at the summer Santa Fe Spanish Market, the Winter Spanish Market in Albuquerque, the Denver Spanish Market and the annual Hispanic festival at the Heard Museum in Phoenix. He also participates in the spring Spanish Market in Las Cruces.

“It keeps me busy! It’s also a big job keeping up with the yard, the house and the business we have on the property.” And he is also raising two teenage girls. The oldest is 13, and last year she received a first place and best of youth division award at Spanish Market for her own straw work. “It is not easy for kids; it takes them a while to get it,” notes Rivera. They must first develop the patience and fine motor skills required, especially using the cutting tools. “Twelve to fourteen is usually a good age to introduce kids to it.”

Besides introducing his own girls to the art, Rivera has also dedicated significant time to teaching other youth and to community involvement — other important aspects of being

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selected as this year’s Master Artist. “I am often asked to come and do presentations at schools in Pojoaque, Nambe and Los Alamos, or at MoSCA,” he says.

There is also the trading post to run. He has a manager to help out: Cathy Smith, who has added her own interest in vintage western clothing, beaded leather goods, cowboy boots and other Americana. The post, which is open daily in summer, except on Tuesdays, also has a small section devoted to Rivera’s straw creations.

Despite his workload, Rivera hopes to again tackle woodcarving, perhaps incorporating straw work into it. Whatever the future holds for Rivera, you can be sure it will be interesting, and an expression of his hard work, organizational skills and creative drive.

Mel Rivera’s Spanish Market booth is located under the portal of the Palace of he Governors. For further details, contact him at melvin.rivera@q.com.

Daniel Gibson was born and raised in New Mexico and is the editor of this and other annual magazines for “The Santa Fe New Mexican,” including “Land Water People Time.”

ANTHONY E. MARTINEZ

MORE ON MEL

BY GAYLE GERTLER In his trading post in Nambe, Mel Rivera plucks a large, eye-grabbing cross off the wall. Multicolored straw birds, butterflies and plants crowd both arms of the cross, cast into relief by the black background paint.

Beautifully carved rosettes decorate each of the four ends. The cross measures 18 by 26 inches and has a price tag of $1,500. On another cross, a delicate nativity scene made entirely from straw fills the short arm.

Rivera, 53, was originally a wood carver. He made statues of St. Francis, traditionally rendered with his arms full of birds. One day Rivera experimented with giving St. Francis a straw appliqué cross, and he was hooked. He prowled the museums, looking for examples of the craft. His head filled with possible designs. He taught himself and never looked back.

Today he cuts his own wood, sands it, paints it with black acrylic, cuts and places the straw to create the design he wants and then glues it down and preserves it with a clear matte finish. He often works in tan tones and grows different types of straw — including wheat, oat and rye — for their different shades. When he wants straw in a color other than tan, he buys it.

His work is in demand all over the world, yet it’s hard to find locally.

A few places in Santa Fe carry straw appliqué — the store at the Loretto Chapel has some. Rivera used to sell out of his car on Canyon Road before he made a name for himself. “We don’t have many outlets for our work,” he says. “You just don’t see it.’’

Traditional New Mexico Trastero with Hidden Secret Compartment, pine with acrylic paints, natural pigments and hand forged hardware, 72 x 32 x 16 1/2 inches. © 2017 Anthony Martinez, courtesy Gerald Peters Gallery.

NOW THROUGH AUGUST 19, 2017 For inquiries contact Maria Hajic, Director email: mhajic@gpgallery.com, call: (505) 954-5719 View additional works at www.gpgallery.com

1005 Paseo de Peralta, Santa Fe, New Mexico 87501 2017 Spanish Market 23

LOCAL EXPERTS, GLOBAL REACH

Bonhams specialists will be in New Mexico this summer to offer complimentary valuations with a view to consign for upcoming auctions.

A NAVAJO LATE CLASSIC BLANKET To be offered in Bonhams’ Native American Art auction, December 4, 2017 Consignments now invited Please contact our local representative: Michael Bartlett +1 (505) 820-0701 michael.bartlett@bonhams.com

bonhams.com/newmexico © 2017 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Bond No. 57BSBGL0808

History Is Aliveat El Rancho de las Golondrinas Our mission — to inspire learning and preserve the legacy of the land through encounters with the traditions and culture of New Mexico’s Hispano past.

Proud Traditional Spanish Market Sponsors of the Leonora Curtin Paloheimo Award For Excellence in Traditional Furniture and the El Rancho de las Golondrinas Award for Excellence in Traditional Tinwork.

Join us in experiencing New Mexico’s past — Museum open Wednesday–Sunday, 10am–4pm, June 1 through October 1, 2017 Visit our booth on the southwest corner of the Plaza during Spanish Market for free passes to Las Golondrinas.

334 Los Pinos Road  Santa Fe , NM  505-471-2261 ext. 101  golondrinas.org 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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Traditional Spanish Market 2017 Sheridan Ave.

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In celebration of Spanish Market, Santa Fe Trails bus system is furnishing free bus fare for Santa Fe Trails and Santa Fe Ride on July 29-30. The Sheridan Street transit center will be temporarily relocated to Alameda between Sandoval and Guadualupe Street effective July 28 at 6 a.m.

For further information, call 505-955-2001.

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2017 TRADITIONAL SPANISH MARKET ARTIST DIRECTORY Photos by Gene Peach taken at the 2016 Spanish Market

Krissa Maria Lopez

Racheal Roybal-Montoya

Ernie Lujan

Andrew Montoya

Lorrie Garcia

Frank Zamora

*Masters Award for Lifetime Achievement Recipient

Jenina Carriaga-Lambert Retablos Booth #89

Teresa May Duran Retablos, Painted Reliefs, Innovations within Tradition in Retablos Booth #45

Ronald S. Garcia Painted Bultos, Retablos, Painted Reliefs Booth #44

Anita Rael Hisenberg Colcha Embroidery Booth #99

Ramón José López *2008 Painted Bultos, Furniture and Furnishings, Retablos, Precious Metals, Hide Painting, Copper Engraving Booth #108

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José Armijo Painted Bultos, Retablos, Gesso Reliefs, Precious Metals Booth #37

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Jason Baca Tinwork, Retablos Booth #8

Charles M. Carrillo *2006 Santos of New Mexico Painted Bultos, Retablos, Painted Reliefs, Gesso Reliefs, Innovations within Tradition in Retablos Booth #152 Debbie B. Carrillo *2014 Santos of New Mexico Pottery Booth #153

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Charlie A. Esquibel Furniture and Furnishings Booth #36 Martha Varoz Ewing Paja Art Straw Appliqué, Tinwork, Innovations within Tradition in Straw Appliqué Booth #96

Lawrence Baca *2015 First Phase Jewelry Precious Metals, Innovations within Tradition in Precious Metals Booth #98

Marie Romero Cash *1992 Retablos, Painted Bultos, Innovations within Tradition in Painted Bultos Booth #24

Daniel Barela Barela Traditional Fine Art Unpainted Bultos Booth #128

Shane Casias Shane Casias Designs, LLC Precious Metals Booth #104

Luis Barela Barela Woodcarving Unpainted Bultos Booth #128

Joseph Manuel Chávez P. Flores Hide Painting, Copper Engraving Matthew Straw Appliqué Booth #146 Booth #103 Patricio John Chávez Geraldine Flores de Silva Chavez Gallery Retablos, Gesso Reliefs, Painted Unpainted Relief Panels, Bultos, Innovations within Unpainted Bultos Tradition in Retablos Booth #116 Booth #29 Shawna Lee Chávez Chávez Gallery Retablos Richard Gabriel Jr. Booth #116 Tinwork Booth #71 James M. Córdova James Córdova Arts John M. Gallegos Painted Bultos, Retablos Retablos Booth #155 Booth #75

Alfred Blea Pottery, Ironwork Booth #143 Lena Blea Straw Appliqué Booth #35 Irene Brandtner de Martínez Colcha Embroidery, Retablos Booth #147 Kevin Burgess-Chavez BC Designs Tinwork, Innovations within Tradition in Tinwork, Retablos, Revival Arts: Ramilletes Booth #50

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Lawrence Córdova Painted Bultos, Retablos Booth #40 Matthew R. Córdova Unpainted Bultos, Retablos, Woodcarving Booth #55

Vincent Campos Retablos Booth #66

Rhonda L. Crespin Painted Bultos, Retablos Booth #91

Adán Carriaga Painted Bultos, Retablos Booth #89

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Kyle Fast Wolf Retablos Booth #39 Cristina Hernandez Feldewert Tinwork, Straw Appliqué Booth #81

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Carmen Campos Tinwork Booth #66

Christine Montaño Carey Tinwork, Retablos, Innovations within Tradition in Tinwork and Retablos Booth #157

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Ruben M. Gallegos Retablos, Gesso Reliefs, Innovations within Tradition in Retablos Booth #112 Andrew C. Garcia Furniture and Furnishings Booth #86 Frank L. Garcia Painted Bultos, Retablos, Hide Painting Booth #31

JD Damron y Valdes de Martinez Tinwork Booth #93

Lorrie I. Garcia Painted Bultos, Retablos Booth #87

Matthew Duran Furniture and Furnishings, Precious Metals, Innovations within Tradition in Furniture and Furnishings Booth #133

Mark A. Garcia Painted Bultos, Retabos Booth #13 Michelle Romero Garcia Colcha Embroidery, Tinwork Booth #9

Sophie N. Garcia Retablos Booth #56

Bill Lovato Hyde Painted Bultos, Painted Reliefs, Retablos Booth #65

Susie G. Garcia Nambe Weaver Weaving Booth #27

Luke Lovato Hyde Retablos, Painted Reliefs, Hide Painting Booth #64

Gustavo Victor Goler *2016 Painted Bulto, Retablos, Painted Reliefs, Innovations within Tradition in Painted Bultos Booth #102 Julia R. Gomez Colcha Embroidery, Innovations within Tradition in Colcha Embroidery Booth #107

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John Jimenez *2004 Retablos, Precious Metals, Furniture and Furnishings, Innovations within Tradition in Retablos Booth #18

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Raymond López Painted Bultos, Retablos, Furniture and Furnishings Booth #85 Rosina López de Short Painted Reliefs, Retablos Booth #12 Andrea M. Lozano Woodcarving Booth #123 Floyd Lucero Woodcarving, Unpainted Bultos Booth #127

Della Vigil Gonzales Straw Appliqué, Innovations within Tradition in Straw Appliqué Booth #49

Ellen Chavez de Leitner Retablos Booth #136

Frankie Nazario Lucero Retablos, Painted Bultos, Painted Reliefs Booth #69

Patrick Leyba Furniture and Furnishings Booth #84

Fran Gonzales Tinwork, Straw Appliqué Booth #58

Joseph Lobato Straw Appliqué Booth #129

José A. Lucero Painted Bultos, Retablos, Innovations within Tradition in Retablos Booth #120

Juan R. Gonzales Weaving Booth #54

Judy Varoz Long Straw Appliqué, Tinwork Booth #100

Michael E. Griego Tinwork Booth #99

Arthur López Painted Bultos, Painted Reliefs, Innovations within Tradition in Painted Bultos Booth #20

Pat Gurulé Griego Straw Appliqué Booth #78 Eugenio “Gene” Gurulé Tinwork, Innovations within Tradition in Tinwork Booth #111 Annette Gutierrez-Turk Weaving, Colcha Embroidery, Innovations within Tradition in Colcha Embroidery Booth #68

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Monica Sosaya Halford *1994 Colcha Embroidery, Retablos, Hide Painting Booth #14 Rita Padilla Haufmann Weaving Booth #88 Elena Miera Herrera Retablos Booth #124

Felix A. López *2007 Painted Bultos, Straw Appliqué Booth #25 Fred Ray López Tinwork, Innovations within Tradition in Tinwork Booth #125 Joseph Ascensión López Painted Bultos, Painted Reliefs, Woodcarving, Retablos Booth #25 Juan López Precious Metals Booth #113 Krissa Maria López Retablos, Straw Appliqué Booth #26 Peter E. López Painted Bultos, Retablos, Gesso Reliefs, Painted Reliefs Booth #156

Onofre E. Lucero Retablos Booth #10 Tim Lucero Retablos Booth #114 Diana Moya Lujan Straw Appliqué, Innovations within Tradition in Straw Appliqué Booth #38 Ernie R. Lujan Painted Bultos, Retablos, Gesso Reliefs, Painted Reliefs Booth #144 Jerome P. Lujan Painted Bultos, Retablos, Gesso Reliefs Booth #138 Lenise Lujan-Martinez Straw Appliqué Booth #22 Marie Antoinette Luna Retablos Booth #48

2017 TRADITIONAL SPANISH MARKET ARTIST DIRECTORY Photos by Gene Peach taken at the 2016 Spanish Market

Felipe Rivera

Andrew Montoya

Gregory Segura

Rhonda Crespin

Judy Varoz Long

Vincent Vieira

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Brigida Montes Straw Appliqué Booth #30

Bernadette Pino Painted Bultos Booth #132

David A. Romero Painted Bultos Booth #60

Roxanne Shaw-Galindo Retablos Booth #79

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Adrian Montoya Retablos, Hide Painting Booth #53

Federico Prudencio Furniture and Furnishings, Painted Bultos, Painted Reliefs Booth #137

Fred Romero Furniture and Furnishings Booth #109

Daniel Madrid Tinwork Booth #1 Larry E. Madrid Ironwork, Innovations within Tradition in Ironwork Booth #122 Nicolás Madrid Tinwork Booth #142 David E. Manzanares Unpainted Relief Panels, Woodcarving Booth #59 Bernadette Marquez Straw Appliqué, Precious Metals Booth #20 Byron Martinez Unpainted Bultos, Woodcarving, Unpainted Relief Panels Booth #106 Doreen R. Martinez Painted Reliefs, Retablos, Straw Appliqué Booth #52 Juan D. Martinez JD Martinez, LLC Tinwork, Painted Bultos Booth #82 Karen V. Martinez Weaving Booth #119 Ronald J. Martinez Painted Bultos, Painted Reliefs, Furniture and Furnishings Booth #52 Yvonne B. Martinez Weaving Booth #141 Justin Gallegos Mayrant Tinwork, Innovations within Tradition in Tinwork Booth #139 Norma Medina Weaving Booth #154 Edward Mier Furniture and Furnishings Booth #115 Margarito R.Mondragon Painted Bultos, Retablos, Painted Reliefs, Hide Painting, Innovations within Tradition in Retablos Booth #43

Andrew Montoya Painted Bultos, Retablos, Innovations within Tradition in Painted Bultos Booth #117 Gilbert J. Montoya Painted Bultos, Retablos Booth #94 Jerry Montoya Tinwork, Retablos, Innovations within Tradition in Tinwork Booth #77 Craig Martin Moya Straw Appliqué, Innovations within Tradition in Straw Appliqué Booth #134 Jean Anaya Moya Retablos, Straw Appliqué, Hide Painting, Painted Bultos, Innovations within Tradition in Straw Appliqué Booth #134

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Adan E. Ortega Pottery Booth #118 Pete Ortega Woodcarving, Unpainted Bultos Booth #11 Sabinita Lopez Ortiz *2000 Woodcarving, Unpainted Bultos Booth #41 Carlos José Otero Painted Bultos, Retablos, Painted Reliefs, Gesso Reliefs Booth #76 Nicolás R. Otero Retablos, Innovations within Tradition in Retablos, Hide Painting, Revival Arts: Ramilletes Booth #105

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Lillian Padilla Copper Engraving Booth #61 Rodolfo Parga Painted Bultos, Painted Reliefs Booth #110 Kaitlin A. Gonzales Peña Precious Metals Booth #16

Richard Prudencio Furniture and Furnishings Booth #121

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Carlos A. Rael Retablos, Painted Bultos Booth #130 Daniel Rael Unpainted Relief Panels, Woodcarving, Unpainted Bultos Booth #46 Felipe Rivera Precious Metals, Retablos, Painted Bultos Booth #70 Mel Rivera *2017 Straw Appliqué, Innovations within Tradition in Straw Appliqué Booth #17 Catherine Robles-Shaw Retablos, Painted Bultos, Innovations within Tradition in Retablos Booth #80 Bernadette M. Rodriguez Straw Appliqué Booth #135 Felicia Rodriguez Retablos, Painted Bultos Booth #51 Terri I. Rodriguez Precious Metals Booth #126 Tomasita Rodriguez Painted Bultos, Unpainted Bultos, Woodcarving Booth #42 Vicki Rodriguez Straw Appliqué Booth #19 Adam Matthew Romero Retablos Booth #131 Cleo Romero Tinwork, Innovations within Tradition in Tinwork, Woodcarving Booth #74

Racheal Roybal-Montoya Precious Metals Booth #101 Mesa Ruiz Pottery Booth #6

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Frank Salazar Unpainted Bultos, Woodcarving Booth #7 Leonardo Gregorio Salazar Unpainted Bultos Booth #150 Charlie Sanchez, Jr. Straw Appliqué, Innovations within Tradition in Straw Appliqué Booth #92 Vanessa Sanchez-Burge Straw Appliqué Booth #83 Don Leon Sandoval Weaving, Retablos Booth #15 Carlos Santistevan Jr. Hide Painting Booth #30 Carlos Santistevan Sr. *2002 Painted Bultos, Hide Painting, Retablos, Unpainted Bultos, Woodcarving, Innovations within Tradition in Woodcarving and Unpainted Bultos, Unpainted Relief Panels, Revival Arts: Bone Carving, Furniture and Furnishings Booth #33 Gregory P. Segura Precious Metals Booth #151 Arlene Cisneros Sena *2012 Retablos Booth #148 Marie Sena Retablos Booth #90

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Vicente Telles Retablos Booth #2 Johanna Terrazas Weaving Booth #34 Camilla Trujillo Pottery, Innovations within Tradition in Pottery Booth #23 Floyd Anthony Trujillo Terrazas Traditional Arts Precious Metals Booth #5 Irvin Trujillo *2005 Weaving, Innovations within Tradition in Weaving Booth #21 Jimmy E. Trujillo *2013 Straw Appliqué, Revival Arts: Bone Carving Booth #28 Lisa Trujillo Weaving, Innovations within Tradition in Weaving Booth #21 Manuel Trujillo Furniture and Furnishings Booth #57 Pedro Trujillo Straw Appliqué, Precious Metals, Painted Bultos, Woodcarving Booth #97 Randy Trujillo Furniture and Furnishings Booth #47 Sean Trujillo Retablos Booth #32 Nicholas Turk Woodcarving Booth #41

Skyler Valdez Retablos Booth #62 Timothy A.Valdez Straw Appliqué, Innovations within Tradition in Straw Appliqué Booth #149 Felipe Varela Straw Appliqué Booth #4 Vincent Vieira Tinwork, Straw Appliqué Booth #63 Eugene D. Vigil Weaving Booth #73 Gloria Vigil Precious Metals Booth #3 Jennette Vigil Weaving Booth #140 Rose A. Vigil Weaving Booth #73

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Sean Wells Retablos Booth #145 Nina Arroyo Wood Colcha Embroidery Booth #95

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Jason Younis y Delgado Tinwork Booth #145

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Frank Zamora Retablos, Woodcarving Booth #32

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Cindee Ulibarri Retablos Booth #72

Ralph A. Sena *2011 Precious Metals, Ironwork, Innovations within Tradition in Precious Metals Booth #67

2017 Spanish Market 29

2017 TRADITIONAL SPANISH MARKET YOUTH ARTIST DIRECTORY

Nicholas Turk

Elena Abeyta Booth #102B Retablos Mentor: Arlene Cisneros Sena Selycia Abeyta Booth #102A Colcha Embroidery Mentor: Julia Gomez Macaila Armijo Booth #103 Retablos, Gesso Reliefs, Pottery Mentors: José Armijo and Debbie Carrillo Marissa Chavez Booth #115 Woodcarving Mentor: Andrea Lozano Gabriel Duran Booth #126 Furniture and Furnishings, Precious Metals Mentor: Matthew Duran

Contemporary Hispanic Market on Lincoln Ave., Booth # 16

Kwani Jemu Eva López Booth #111A Retablos, Hide Painting, Straw Appliqué Mentors: Jean Anaya Moya and Krissa Maria López P’oe Tsire Micaela López Booth #111B Retablos, Hide Painting, Straw Appliqué Mentors: Jean Anaya Moya and Krissa Maria López Janae Lujan Booth #122A Painted Bultos, Retablos, Gesso Reliefs Mentor: Jerome P. Lujan Jordan Lujan Booth #122B Painted Bultos, Retablos, Gesso Reliefs Mentor: Jerome P. Lujan

Analisa Encinias Booth #112 Retablos Mentor: Adrian Montoya

Joseph Lujan Booth #123 Painted Bultos, Retablos, Gesso Reliefs Mentor: Jerome P. Lujan

Dominic Garcia Booth #127 Furniture and Furnishings, Retablos, Painted Bultos Mentors: Andrew Garcia and Lorrie Garcia

Nathaneal Lujan Booth #124 Painted Bultos, Retablos, Gesso Reliefs Mentor: Jerome P. Lujan

Nicole Garcia Booth #101 Straw Appliqué Mentor: Diana Moya Lujan

Emma Juliana Lujan y Davis Booth #107A Straw Appliqué, Retablos Mentors: Diana Moya Lujan and Jean Anaya Moya

Adriana Estelle Gonzales Booth #113 Retablos Mentor: Charlie Carrillo

Hannah Isabella Lujan y Davis Booth #107B Straw Appliqué Mentor: Diana Moya Lujan

Liberty Mary Gonzales Booth #114 Retablos Mentor: Charlie Carrillo

Madison Simoné Lujan y Davis Booth #108A Straw Appliqué Mentor: Diana Moya Lujan

Sydney Halford de Sosaya Booth #117A Retablos, Colcha Embroidery Mentor: Monica Sosaya Halford Ezekiel Korte Booth #120A Tinwork Mentor: Richard Gabriel Jr. Hunter Lawson Booth #120B Retablos Mentor: Arlene Cisneros Sena

Serina Martinez Booth #105 Weaving Mentor: Karen Martinez Ruben Martinez III Booth #100 Unpainted Bultos, Woodcarving Mentor: Pete Ortega Leyen Montes Booth #106A Retablos Mentor: Carlos Santistevan Sr. Mia Montes Booth #106B Retablos Mentor: Carlos Santistevan Sr.

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Aubrey Montoya Booth #119 Retablos Mentor: Gilbert Montoya Simona Linda Rael Booth #121 Retablos Mentor: Arlene Cisneros Sena Ariana Selena Rivera Booth #109A Straw Appliqué Mentor: Matthew Flores Avion Rivera Booth #109B Straw Appliqué Mentor: Matthew Flores Joshua Rivera Booth #110A Retablos, Painted Bultos Mentor: Felipe Rivera Rachel Rivera Booth #104 Straw Appliqué Mentor: Mel Rivera Joaquin Rodriguez Booth #125 Retablos, Hide Painting Mentor: Jean Anaya Moya Sarah Salazar y Weiler Booth #118 Straw Appliqué Mentor: Judy Varoz Long Nathan Sánchez de Martinez Booth #110B Straw Appliqué Mentor: Vanessa SánchezBurge Kayla Short Booth #116A Retablos Mentor: Rosina López de Short Aaliyah Tapia Booth #117B Retablos Mentor: Monica Sosaya Halford Andrea Lee Torres Booth #108B Straw Appliqué Mentor: Diana Moya Lujan Hailey Valdivia Booth #116B Retablos Mentor: Andrew Montoya Dylan Vigil Booth #128 Weaving Mentor: Karen Martinez

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2017 Spanish Market 31

Patricio Chávez

Onofre Lucero

¡ANIMA! The heart and spirit of Spanish colonial art

BY PATRICIA MARINA TRUJILLO As artists prepare for Spanish Market, households and studios across the Nuevomexico homeland begin to fill with the supplies needed to create the artwork. There might be piles of cottonwood branches leaned up against a wall like ancianos waiting to tell their stories.

Carving tools are being sharpened and oiled in preparation. Dried flowers and clays are reconstituted into the palette of saints. This process of making ready for use, for composing, gives New Mexico artists the anima to get to work.

If you’ve never heard that word before, anima literally translates from Spanish to English as “spirit.” In the Norte, anima is common vernacular for that ethereal force that gives us the underlying motivation to bring our faith to our daily work. You can be full of it, as in “I’m all anima’o to start painting!” It can set a mood: “Estoy con el

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ánimo para tallar” (I’m with the spirit to carve). And for the artists of Spanish Market, anima can be understood as the drive that keeps them creating beautiful devotions in the intergenerational practice of taking found materials and transforming them into works of art.

The artists featured below, each a major award winner at the 2016 event, know that Spanish colonial art is a work of the heart; it might be something that we learned from our grandparents. The faith lives on in each piece, and it is how we keep culture alive.

Onofre Lucero, Aztec, New Mexico Large Retablos Award, Altar Screen Award and E. Boyd Memorial Award Onofre Lucero was born in Albuquerque. He came from a modest household rich with creativity, tradition and faith. Some of his

Onofre Lucero

Patricio Chávez

earliest memories of creating art came from his parents. His mother loved to paint with oils, and when Onofre was little, he would ask to paint alongside her. And when he and his siblings pretended to be cowboys and couldn’t afford cap guns, their father would carve them small wooden guns to play with. He also taught them how to carve wooden soldiers.

What he most fondly remembers is how his mother created beautiful Christmas ornaments. She grew up on a homestead in Gobernador, near Dulce, and Lucero remembers that she would talk about how they made their paints, how they had to make do with what they had. Lucero cherishes his collection of ornaments, some that are 30, 40, even 50 years old. His primary influences come from his family, their Catholic devotions and the beauty of their everyday practices.

The artwork that he does now, he reflects, “has to come from the heart, because you are working with memories that your mom and dad gave you. And when you carve something, you put your heart — you put them — into it.” Lucero likens the work to the telling of a good story. “When you read a good story, you become part of it. That’s the way art becomes; you work and become part of that painting.” He strives to create unique and original pieces each time he sits down to carve, always attempting to do his best work in the moment.

When looking at his work, you will notice that each piece is unique; you won’t see the same rosette or design twice. He is dedicated to creating an experience for his patrons, one that draws them closer to the faith in which the artwork is founded. Lucero believes that the labor of love, the anima that he puts into his pieces, draws him closer to his beliefs and brings other people into what he sees. His hope is that whoever ends ups with his art can see their own faith as a reflection. When it is all said and done, the artist humbly asserts, “I hope I can pass something on to my family, that they will remember their Tío Onofre and they will be inspired to do something.”

Onofre Lucero can be reached at 505-836-9651.

Patricio Chávez, Chimayó, New Mexico Unpainted Relief Panels Award and Leo Salazar Award for Unpainted Relief Carving Patricio Chávez comes from a long line of santeros. Growing up around art, he was motivated to study painting in college. But after college, he had the anima to learn his father’s craft, woodcarving. He began a deep study by apprenticing with his father, who introduced him to the late, great Luisito Lujan and other “old-time” wood carvers in the area. In this school, he learned that reverence for resources, the camaraderie of collaboration and connection to the sacred were all part of the mastery of this form.

“We collect local woods: juniper, a cousin of cedar, and the cottonwood. We go up and down the Río Grande looking for the wood.

It’s funny, but you can really get into the wood.”

Chávez reflects that he’s painted santos and retablos before but that unpainted carving is a niche that he fell into. “It chose me, and I’ll keep it up. I started with a piece of cedar my dad gave me, and I could see the beauty in the wood.” Patricio’s carved version of The Last Supper earned him entry into Spanish Market. He appreciates the nuances of wood grain and says that they influence the details that he coaxes from their form. It’s a connection that reminds him of the spiritual dimensions of carving.

He reflects, “It’s a sacred image. There’s that energy. It’s very spiritual and emotional. We put our heart and soul into it. That’s also energy. And then whoever buys it, they usually have it blessed. So it’s triply blessed.” When a piece is finished, he reflects on the hours and days that went into it. Beyond that, he reflects on the lineage of artists who came before him: “I feel like I am walking in my grandfather’s footsteps. I live in his house. My dad lives across the street. I can’t help but think of the five generations of men who did this before me.”

Patricio Chávez can be reached at 505-351-2519.

2017 Spanish Market 33

Roxanne Shaw-Galindo

Roxanne Shaw-Galindo

Roxanne Shaw-Galindo, Nederland, Colorado

Because of her full-time employment, she must paint in the morning before work and during the evenings and weekends. It is a labor of love. The artist calls upon her own spirituality to guide her through the process, finding continuous anima in her subjects.

“As the [santo’s] eyes come into being, their nose, their hair, I pray to them to help guide me and help me. I pray for the saints. I pray for my family and myself. I pray for the people who will buy the saints. Saints helps us all.” She is passionate for santos but has a soft spot in her heart for San José. “I have a large personal collection of other artists’ work, but I’d say that I have about 100 San Josés. He is the patron saint of my family because he is the patron saint of carpenters and workers. There’s lots of carpenters in the family, a lot of hard workers.”

Roxanne Galindo-Shaw can be reached at roxfish18@aol.com.

Rafael Aragon Award in Retablos “We all have our own techniques,” Roxanne Shaw-Galindo shares about her process, “but I start with the face first. I need someone to talk to, to connect to. I want to connect.”

Shaw-Galindo grew up at Spanish Market; she started as a youth artist and has been in the market for 22 years. Preparing for the market is a season all its own in her household. It starts after Easter, when the artist feels refreshed and motivated to begin preparations. Faith is what keeps Galindo-Shaw painting the santos, because it is also a lot of time and a lot of hard work for this mom with a full-time job.

She starts by prepping all her retablo boards, often about 30. Then she pulls out the trove of paint bases she’s collected throughout the year: cochineal, walnut shells, aspen bark and earthen minerals — all dried up. She fine-grinds the materials and mixes them to create her palette. “The challenge is to make enough to last the season and to keep your paint the exact color. You don’t want to run out of paint, the rabbit-skin glue or piñon sap,” Galindo-Shaw shares.

When she is finished preparing her supplies, she gets to painting.

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Patricia Trujillo, PhD, is the director of equity and diversity and an associate professor of English and Chicana/o studies at Northern New Mexico College.

Trujillo is a faculty adviser for the ¡Sostenga! Farm and serves on the boards of the Northern Rio Grande National Heritage Area, NMWomen.org and Tewa Women United. She is the creative writing editor of “Chicana/Latina Studies,” a national journal housed at University of Texas at San Antonio.

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2017 Spanish Market 35

NICOLAS MADRID

ON THE FRONTIER Artists working in obscure and forgotten mediums

BY ADELE OLIVEIRA AND DANIEL GIBSON A visit to Spanish Market will always turn up a convention of carved and painted saints, retablos and bultos, plus large numbers of artists working in straw appliqué and other familiar mediums. But careful observers will spy, tucked between these booths, an occasional artist working in some obscure medium or process, from forged iron and “combed tin” to forgotten pottery styles. Join us for a look at the work and lives of artists toiling away on the frontiers of Spanish colonial arts.

Nicholas Madrid “My family and I are known for our Mesilla tinwork, a technique that was used in southern New Mexico in the 1900s,” notes 34-year-old Nicholas Madrid, who lives in Española. “There was never really a name for it; it was called Mesilla tinwork because the artists who did it mostly lived in Mesilla. It’s also called combed glass.

“In the ’90s, we found a family in Mexico, in the city Imuris, Sonora, who practiced a similar technique, and we spent some time at their house learning from them,” he explains. “When I got back, I messed with the

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techniques. I use asphaltum tar over glass, and then I comb it off to make a design, and it reveals the colors behind the glass. The Mesilla tin maker would use newspaper clippings and seed packets behind his glass. There was another artist called Jose Maria Apodaca [mid-1800s] who practiced the technique. He did cool rosette designs and experimented with layers.

I love the colors used by the old retablo artists. They’re real natural, and I like to let my pieces oxidize a lot.”

His parents, Mary Jo and Jimmy Madrid, first juried into Spanish Market in 1994 and Nicholas into the youth market. Today he is carrying on the family tradition with his own daughter. “Tradition and Spanish Market are important to me because of my daughter — I want her to be able to see and understand the traditional arts. I really like the fact there are firm guidelines for Spanish Market — there’s a time and place for innovation, but this place is to uphold what the ancestors did.”

Madrid’s work is sold at El Potrero Trading Post in Chimayó, but he also does special orders. He recently completed a major commission for the new Blake Hotel at Taos Ski Valley, including a 40-pound chandelier, and earlier he did tinwork for Hotel Chimayó in Santa Fe. Madrid’s workshop is in his garage, which also houses his weight-

JERRY MONTOYA

lifting equipment and all his handmade tools. He cuts the glass himself.

“When I’m designing, I just play. The design just kind of comes out. If it’s a commissioned piece, like for the Blake Hotel, I try to keep what the designer wants in mind, but I figure if they don’t like it, I’ll make it anyway and I can sell it elsewhere. But I’ve never had a commissioned piece declined.”

For details on Nicolas Madrid, visit potrerotradingpost.com/ NicolasMadrid.html.

Jerry Montoya “I do a lot of tinwork, particularly crosses, and am juried into tin in the innovations category for Spanish Market,” explains Jerry Montoya, who grew up and lives in Grants. “But my tinwork is different; I use a process called repujado, which is a style of embossing [as opposed to engraved tinwork]. I didn’t invent the repujado process but made it my own. My work is free-form hand-embossed using homemade tools. Then I apply an oxidized patina that gives it a rustic look.”

Montoya is also juried into retablos for Spanish Market, but he says, “I don’t do the traditional sconces or that kind of thing. I’ve been described as a ‘missing link.’ My style was kind of contemporary; now I’m leaning more toward traditional style. I consider myself a contemporary santero, but I do use all the traditional materials.”

Art has been calling to him since childhood. “I’ve been an artist since about the third grade I think. I’ve always been doing art, especially when I reached high school. I’ve been doing this type of [devotional, Spanish colonial] art for about 25 years. I used to do contemporary work and was juried into the contemporary Hispanic Market for about 12 years. But all my friends were in traditional [market], and I wanted to be traditional, but I just wasn’t ready yet. Then friends like Charlie Carrillo, Jimmy Trujillo and Arlene Cisneros Sena taught me how to work with traditional materials, and Michael Griego helped me learn tin.

“When Michael showed me how to do tin, I thought, ‘Don’t want to do this.’ But later I remembered what he’d shown me, and I started doing retablos and large crosses, and painting retablo style with homemade gesso, homemade pigments and piñon sap varnish. I wanted to frame the retablos with tin, using the techniques that Michael had showed me, and I tried doing some repoussé-type work, mainly embossing. I tried that and it worked kind of well, and I went crazy from there. Then I started experimenting, especially with the patinas, to make the traditional feel different. Today my tin is art itself, not just used as framing.”

In addition to Spanish Market, Montoya sells at many other festivals and various shops, including venues in El Paso, Arizona and Santa Fe. He used to work for Federal Express and spent 10 years teaching art in three elementary schools in Grants.

Jerry Montoya can be reached at jerrymontoya.com.

2017 Spanish Market 37

CAMILLA TRUJILLO

Camilla Trujillo “I’m one of those artists who always knew I was an artist, but didn’t know how or when it would happen,” says Camilla Trujillo, who has built a modest but unique career working in an obscure field of Spanish colonial pottery. Her sturdy, shallow soup bowls — often called soup plates or soperos — and other utilitarian pieces, finished with handsome creamy slips and simple designs, harken back to New Mexico’s earliest European roots.

The Española High School graduate spent a year at University of New Mexico, but she missed the country life and settled down in the Arroyo Seco area. There she became friends with Santa Clara Pueblo native Jody Fowell and decided to take a pottery class from her mother, the renowned potter Rose Naranjo.

“It was a one-semester class, but I developed a friendship with the family and had an association with them as a student for 10 years.

They took me in their pickup truck to gather clay and taught me to use cottonwood bark to fire with. I eventually had enough knowledge to make pottery on my own terms and came home to being a potter.

That was 30 years ago. The term ‘Spanish colonial pottery’ wasn’t even accepted then, other than micaceous clay to cook in, and at Spanish Market, my kind of pottery was tolerated, but they didn’t really believe it was a tradition.

“But my friend Bob Wilson and I started taking these hiking trips to the ruins of Spanish colonial villages near Abiquiú, El Rito and in Valencia County. We found lots of potsherds, which turned out to be soup plate lips. They were often tan and red. Some had designs; others were plain. You could see the smoke marks on them. Then I discovered the work of the archaeologist Herbert W. Dick. He determined that Native American potters had made soup plates for Spanish colonial settlers in

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the period before the Pueblo Revolt, and afterwards that the colonists had continued to make these soup plates for themselves and surrounding villages. I looked at pottery archives at UNM. I figured out a lot by looking at boxes of sherds. The plates of the Río Abajo area had narrow flanges and rims. In the north, wide rims are more typical — that’s the Río Arriba soup plate.”

More recently, Trujillo has begun making storage jars. “They’re so thick [she holds her fingers 3 inches apart] that they’re like a refrigerator, and were used to store milk, meat or fruit. They were buried in cold sand and covered with a heavy rock, a process adapted from Native Americans.”

A trip to Mexico City not long ago set her off on yet another tack, the creation of chocolate safes, or fortified clay storage jars. In Mexico the jars were glazed with tin; in New Mexico they had hand-polished finishes. “Wealthy Mexican and New Mexican families had servants, and they locked up their cacao beans because they could be used as legal tender. When I saw these historic jars, I realized that every era has its status symbols.” She teamed up with Rene Zamora, a local blacksmith, to make a chocolate safe based upon an example they found in the Museum of International Folk Art. The piece has a steel locking lid with a handmade spring that pops open with a key.

“Most of the other potters at Spanish Market stick to micaceous ware,” she concludes. “But this is part of our past as well. The old wares call out to us, saying, ‘Don’t forget us. We exist in your DNA and your memory.’

My ancestors were creative people making a new life in a new land. I am proud to carry on those traditions.”

Camilla Trujillo can be reached at lamorena@usa.com.

Adele Olivera was raised in Santa Fe and returned five years ago for a job as a general assignment reporter at “The New Mexican.” Now a freelance writer, she covers art and culture in New Mexico and beyond.

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2017 Spanish Market 39

STRAW APPLIQUÉ Ancient and ingenious art form shines

BY GAYLE GERTLER The construction of the railroad brought many changes to the West — some large, some small. One impact, unnoticed by many, was the near loss of an art form first brought to the wilderness of New Mexico

by Spanish missionaries hundreds of years ago.

It’s called straw appliqué — also straw inlay or overlay — the art of decorating wood with designs cobbled together out of pieces of straw. In earlier times, art materials were few and far betw tween w in the region — particularly anything as precious as gold! — so artists used what they could find. They discovered they could cut and flatten fll pieces of straw and then glue them onto flat fll wood surfaces, creating golden crosses, figu gures u of saints and other devotional works.

But trains that eventually crisscrossed the country brought plaster of Paris and other ready-made statues of saints and other religious imagery to the region, and the art of straw appliqué nearly died out.

But not quite. In the 1930s, a few artists, supported by the largest of the New Deal employment efforts, the Works Progress Administration, began resurrecting the old New Mexican craft. Today a few dozen artists practice the art here, and as you prowl the booths of Spanish Market, you’ll see numerous artists displaying straw designs. Most commonly straw is found in crosses, but you’ll also see it in retablos and in combination with tin and other mixed media.

It’s a difficult, time-consuming and intricate craft, and the artists who practice it are committed to its survival. Historically artists used only natural straws in a range of golds to pale yellows. But some twenty-firsttw w century artists dye their straw to create a rainbow of colors.

PAT GRIEGO

Pat Griego

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2017 Spanish Market

The religious aspect of the art appeals very strongly to Pat Gurule Griego of Los Lunas, who came to the craft about seven years ago. A friend saw a straw appliqué artist in Spanish Market, made a small piece and showed it to Griego as they worked together at a bank the following Monday.

“I was stunned,” recalls Griego, 72. “I had always wanted to learn how to do that.” Without much more than that, Griego was launched. She and her friend experimented, “got straw and food all over us and had a blast.” That was in 2010. In 2012 she was accepted into Spanish Market.

Her specialty is crosses. “My faith is very important to me,” she says. “I was brought up Catholic and attended Guadalupe Elementary School and Loretto Academy in Santa Fe. Before I start working on my crosses, I always light a candle and say a prayer.’’

Her favorites are the Jerusalem Cross, one large cross with four smaller crosses branching up and down from the smaller arm, and the Cross of Tau, a simple cross based on the shape of the Greek letter T. The four smaller crosses on the Jerusalem Cross represent the four apostles, and the larger cross represents Christ.

She understands the commercial limitations imposed by the unswervingly Catholic content of her art, but that won’t cause her to change. “I just love the crosses,” she says. “Maybe the next generation will expand beyond” the themes that call to her.

For details on Pat Griego, write to patstrawart@gmail.com.

Jean Moya

JEAN MOYA Jean Moya of Galisteo also got hooked on straw. She first tried retablos, but there are so many retablo artists around that she couldn’t get a space in Spanish Market. Someone suggested she try straw appliqué, so she took a class, made a small cross and the hook was set.

“I just let it evolve, let it happen,” she says. “It was trial and error.”

That first effort hangs on the wall in her living room, an unassuming little cross in the midst of later, more ambitious efforts — including one as tall as the artist! She didn’t give up retablos; she just began making them out of straw, sometimes with painted corners or painted center images Then it was on to bultos. She learned to carve, but she saw room for straw appliqué there too. Her bultos now boast delicate straw appliqué clothing. The questions she asked herself as the art evolved were always, “What can I embellish with the straw?” and “How can I move forward without losing the straw?”

Five generations of her family have lived in her house in Galisteo, going back to the land grant given to her great-great-grandfather, but Moya, the daughter of an artist, is the first to turn her eyes to straw appliqué. She is not, however, the last. A spectacularly decorated chest

done by her son sits in the living room, its top and sides covered with fascinating geometric patterns.

Moya, 57, who took the market’s Best of Show Award in 2005, is content to stick with the traditions of straw appliqué. “It’s all religious-based, all the Spanish colonial,” she notes. “Today everybody is trying to find their culture, and this is going back to our heritage and our religion.”

She sells at markets and to private collectors who see her at markets and then place orders. A triptych commissioned by a customer is in progress on her worktable, getting ready to tell a story in straw.

Her small retablos go for around $350; the large bultos for $4,000 to $5,000. The beginning may be straw and wood, but the finished product is a piece of art incorporating many dozens of hours of tedious work. It’s hard on the eyes and it’s hard on the hands. But that’s okay with Moya, who says of straw appliqué, “We don’t want it to die out again.’’

For details on Jean Moya, write to janayamoya@yahoo.com.

Gayle Gertler moved to Santa Fe two years ago. She knew almost nothing about straw appliqué before writing this story but is now a big fan.

2017 Spanish Market 41

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2017 Spanish Market

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2017 Spanish Market 43

2017 CONTEMPORARY HISPANIC MARKET

2016 Contemporary Spanish Market Best of Show winner Robb Rael

BUCKINGTRADITION

BY ARNOLD VIGIL PHOTOS BY GENE PEACH Since Contemporary Hispanic Market is now in its third decade of showcasing innovative New Mexican artists on nearly the entire stretch of Lincoln Avenue, it could be argued that the annual event is becoming traditional in its own right. But the market was founded 31 years ago by 11 innovative artists in the courtyard of the Palace of the Governors on the premise of bucking tradition and the strict artistic guidelines of the simultaneously occurring Traditional Spanish Market across the way on the Plaza.

And its current leadership strives to keep it that way, with an emphasis on keeping things fresh and original, and offering an alternative haven for aspiring Hispanic artists to flourish and show and sell their work. That’s why in the recent past, to stave off complacency, artists in the contemporary market have had to re-jury into the event so that the public can expect new and vibrant art.

About a quarter this year’s 133 participants will be “brand new,” according to Ramona Vigil-Eastwood, president of the event, and the rest will be artists who have been there before with their cutting-edge creations. Vigil-Eastwood says that some familiar faces are not returning this year, with some missing the deadline to enter.

“Come and look at the new and upcoming artists and check out people who have come over from Traditional [Spanish] Market,” she says.

One such crossover is silversmith Bo López, now in his second year

44

2017 Spanish Market

participating in Contemporary Hispanic Market after winning Best of Show honors with an ornately engraved pair of sterling silver candlesticks at Traditional Spanish Market in 2015. The son of award-winning traditional Spanish colonial art creator Ramon Jóse López and artist Nance López, the 34-year-old first entered Traditional Spanish Market’s youth division when he was just 6. For a second consecutive year, he joins twin brother, Miller López, who is a regular participant on the contemporary side.

Creativity flourishes “There’s so much more creative freedom and flexibility,” says López of his switch to Contemporary Hispanic Market. “My designs are now more geometric and inspired by nature (rather than relying heavily on religiousbased themes). Last year was really successful and I added more customers. I look forward to this year.”

López says that he has fashioned many pen-engraved, sterling silver pieces for this year’s Contemporary Hispanic Market. Both the artist and his work can be found in Booth 14, toward the middle of Lincoln Avenue on the west side.

Vigil-Eastwood says that one new face to look for is up-and-coming Zahra Marwan, whose watercolors and drawings are guaranteed to turn heads and capture the focus of those fascinated by multicultural identity. Marwan, who was born in Kuwait and raised mostly in Albuquerque, has said that she is interested in both editorial illustration and flamenco dancing and

Ignacio “Bud” Godinez

Mike Vargas

Gilberto Romero

that sometimes it’s hard to choose between the two. She has also traveled extensively in Europe and the Middle East.

Another new “artist to look for,” Vigil-Eastwood says, is Dionicio Dominguez of Santa Cruz, whose mixed-media pieces have a sparkling quality that does not translate well in photographs. “His work is stunning, and I don’t know how he is able to create that finish on his work,” she says. “It’s really hard to describe. You just have to see it!”

Also on tap this year is veteran artist Amado M. Peña Jr., who grew up in Laredo, Texas, in mostly the Mexican-American cultural traditions of his father but later began learning and incorporating the Pascua Yaqui cultural influences of his mother into his art. Peña, who specializes in painting, drawing and printmaking, has lived in the Santa Fe area since the early 1980s.

Vigil-Eastwood says that artists who jury into Contemporary Hispanic Market are trusted on the honor system to be at least one-quarter Hispanic and to be residents of New Mexico. A three-member jury, selected by the market’s eight-member board, interviewed prospective participants at a West Alameda Street dance studio in January.

Awards presented after opening In keeping with the dynamic nature of Contemporary Hispanic Market, VigilEastwood says that winners will not be selected until the event is already under way on Saturday, July 29, whereas in the past, pieces were judged before the show started. She says the three jurors will independently visit each of the 133 artist booths on Saturday morning, so as not to influence each other, and then meet later in the day to compare notes and select the winners. Later, the market’s governing board will present the awards at the winners’ individual booths.

Vigil-Eastwood says they want to ensure that winners have consistent quality in their entire body of work rather than, perhaps, just one outstanding piece submitted for judging. “We want the artists to keep high standards in their work.”

In addition to the Best of Show award, two first-time exhibitor awards will be presented, plus the Los Alamos National Bank Award, the Felipe Samaniego MD Fund Award, and awards in most of the event’s 15 diverse categories, including ceramics/pottery, fiber/textiles, precious and nonprecious

2016 Contemporary Spanish Market Best of Show winner Robb Rael and 2016 Traditional Spanish Market Grand Prize winner Joseph Ascensión López

jewelry, glass art, watercolors, metalwork, mixed media, acrylic/oil painting, photography, sculpture, furniture, printmaking/hand-pulled prints, pastels, woodworking and drawing.

Contemporary Hispanic Market takes place on Lincoln Avenue from 8 a.m. to 5 p.m. on Saturday, July 29, and Sunday, July 30. All 133 artists and craftspeople will be present in their booths and will offer their creations for viewing and sale.

For more information visit contemporaryhispanicmarketinc.com.

Arnold Vigil of Santa Fe produced scores of articles, photographs and books as an editor at “New Mexico Magazine” before the terrible “Susanami of 2011” swept him and many of his coworkers away. He finished his state government career with a quite satisfying stint as a senior archivist with the State Records Center and Archives.

2017 Spanish Market 45

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ANAMARIA SAMANIEGO 2017 CONTEMPORARY HISPANIC MARKET POSTER ARTIST

BY ARNOLD VIGIL

FRANKIE NAZARIO LUCERO | 505.231.3374 | BOOTH #69 www.FrankieLucero.com 46

2017 Spanish Market

Even though AnaMaria Samaniego’s absolutely stunning plein-air prints exude the great outdoors, the 2017 Contemporary Hispanic Market poster artist admits that her work is created entirely indoors. The printmaker says this is dictated more by practical necessity and than by choice.

She explains that the sun and elements on-site quickly dry out the art materials needed to create prints, which slowly and richly develop through a detailed process that includes drawing from photographs, applying layers of oils and etching in the controlled environment of a studio. But Samaniego actually spends a great deal of time up close and personal, absorbing each and every scene she depicts, paying particular attention to how light changes the terrain with the sun’s movement.

“I need to know the lay of the land so that I can get that feel in the final piece,” the 56-year-old Samaniego says. “People tell me that they look at my art and feel like they are actually there.”

Samaniego was born in Mesquite, New Mexico, and has lived in Santa Fe since 1980, when she enrolled in the College of Santa Fe. She says she mostly uses paper towels, clipped cotton swabs, and rollers to take layer upon layer of oil-based ink away in her extensive printmaking process.

The artist, who also teaches art at Northern New Mexico Community College in Española and Western New Mexico University in Silver City, says that she drew inspiration for this year’s poster, Amalia, from the work of the late French painter Edgar Degas, considered one of the founders of impressionism in the 1800s.

Learn more about the printmaker at facebook.com/artistasamaniego or schedule an appointment to see her work at artistasamaniego@aol.com.

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Please Join Us To all our Family & Friends

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2017 Santa Fe

Thank You “Gracias”

for all your prayers, kindness & support Charles & Debbie Carrillo Booth numbers 152 & 153

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FEDERAL PLACE Mayling Garcia - Flower Art Hangings Stained Glass Effect Roger Martinez - Mixed Media Wall Art Audrey Martinez - M/M Recycled Sculpture Maria Medina - Paintings Joe Santiago - Waterfalls David Santiago - Drawings Charles Michael Salazar - Photography

73 72 71 70 69 68 67

Francisco Sanabria - Oils on Canvas Thomas Vigil - Acrylic/Aerosol Paintings Sharon & Adam Candelario - Etched Metal Work Dennis Gomez - Jewelry Rita Sanchez - Metal,Glass, Straw: Mirrors & Crosses Eloise M. Estrada - Mixed Media Painted Boxes David Saiz - Oil Paintings Margo Nimon - Glass Art Sandra Duran Wilson - Mixed Media Collage

66 65 64 63 62 61 60 59 58

Erin Gomez - Photography Celia Cortez - Drawings Jason Borrego - Paintings Andrew Martinez - Mixed Media Tin & Glass Nikolas Duran Geiger - Watercolors Armado Adrian-Lopez - Mixed Media, Oil/AcrylicPaintings

57 56 55 54 53 52

Thomas Sena - Mixed Media Drums John Trujillo - Jewelry Esteban I. Duran - M/M Recyled Art & Sculpture Michael Martinez - Acrylic Paintings Jade Leyva - Acrylic on Masonite Carolee J. Friday - Traditional Photography

51 50 49 48 47 46 MARCY ST.

Gilberto Romero - Metal Sculpture Greta Ruiz - Handbuilt Ceramics Susana Erling - Mixed Media Paper Sculpture Mark Jimenez - Jewelry Gilberto Olivas - Clay Pottery

45 44 43 42 41

Rene` Zamora - Metalwork & Furniture Celeste Medina - Mixed Media Tinwork Nancy Sala - Glass Art Nancy Camacho - Painted Tortillas,Paintings, M/M Ron Rodriguez - Wood Carvings Jo Beth Vigil-Price - Mixed Media Gourds

40 39 38 37 36 35

Johnny Lorenzo - Acrylic/Oil Paintings Kelly Cedeno - Mixed Media Gourds Adrian Martinez - Wood Inlay Sculpture Diego Velazquez - Metal Work Cruz Flores - Woodworking: Crosses Brenda Flores - Mixed Media & Carved Sculptures Jacob Tarazon-Matteson - M/M, Paintings, Printmaking Steve Malavolta - Wooden Puzzles Peggy Chavez - Fiber Crochet Jonathan Sanchez - Handpulled Serigraphs

34 33 32 31 30 29 28 27 26 25

Anthony Fernandez - Paintings Marion Martinez - M/M Tech-Jewelry, Sculpture, Wall Art Ben Lopez - Metalwork Crosses Manual (Bo) Rivera - Photography Eric Silva - Airbrush Paintings Bo Lopez - Jewelry Miller Lopez - Oil on Linen

24 23 22 21 20 19 18

Clarence Medina - Oil Paintings/Micaceous Pottery Bernadette & Oscar Caraveo - Jewelry Joshua Gallegos - Mixed Media Art David Vega Chavez - Watercolor Paintings

17 16 15 14

Ginger & Stanley Olivarez - Pottery & Mixed Media Art Robert Medina-Cook - Mixed Media Collage Art AnaMaria Samaniego - Monotypes

13 12 11

Michelle Ferran - Watercolor Paintings Mike Vargas - M/M Paintings on Handmade Paper Edwin Rivera - Mixed Media Michelle Tapia - Jewelry Steve Reyes - Pastels Lucille Miera - Acrylic Paintings De Angelo Rodriguez - Paintings, Drawings Mark Padilla - Stone Sculpture Dionicio Dominguez - Mixed Media Paintings on Metal Ramona Vigil-Eastwood - Handcrafted Jewelry

10 9 8 7 6 5 4 3 2 1

L I N C O L N A V E N U E

S H E R I D A N

Suzanne Lopez - Mixed Media Objects Melissa Dominguez - Jewelry Zahra Marwan - Watercolor Art Andrew M. Ortiz - Hardwood Boxes Amos Salazar - Woodworking Anna Chavez - Acrylic Paintings

128 127 126 125 124 123

Leah Henriquez Ready - Beaded Jewelry Rudy Gallegos - Photography Omar Ganzo - Mixed Media Paintings Aaron Jaramillo - Oil Paintings Teresa Gutierrez - Mixed Media Edward Trujillo - Mixed Media & Oil Paintings

122 121 120 119 118 117 116

Dona Calles - Metal Work & Mixed Media Claudia Chavez - Beaded Jewelry Rick Martinez - Mixed Media Air Brush Art Angie & Manuel Casias - Mixed Media Dorothy Lopez - Photography Catherine Baca - Mixed Media Art Luis Prieto-Wilmot - Drawings

115 114 113 112 111 110

Debora Duran-Geiger - Ceramic Tiles Billy Godinez - Metal Work Karen Godinez - Mixed Media Bird Houses Harley Godinez - Printmaking Nadine Mahres - Acrylic Paintings Ignacio Godinez - Barbed Wire Sculpture

P O R T A

Under ground Parking Garage

109 Ray Barela - Wooden Hollow Form Vessels 108 Joseph Mark Chavez - Chainsaw Sculpture

L I N C O L N A V E N U E

P O T T I E S

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2017 Spanish Market

107 106 105 104

Manuel (Neo) Fernandez - Oil on Canvas R. Diane Martinez - Pottery Vincent Brito - Mixed Media Shell Art Kenn Ashe - Acrylic Paintings

103 102 101 100 99 98 97 96

Guilloume - Sculpture & Oil Paintings Claudio Tolousse Perez - Metalwork Raymond Sedillo - Handmade Electric Guitars Kenneth M. Chavez - Mixed Media Jason & Evelyn Padilla - Stained Glass Art David Trujillo - Metal Sculpture Mario Vargas - Sculpture Valerie Vigil-Quintana - Rosaries

95 94 93 92 91 90 89 88 87 86

Amado Pena - Drawings & Printmaking Gilbert Candelaria - Mixed Media Recycled Art John Perea - Metal Art, Non Precious Jewelry Richard Salas - Metal Work Richard Trujillo - Acrylic Paintings Jeremy Montoya - Serigraphs: Printmaking Cynthia Cook - Mixed Media Fine Art Collage Christopher Martinez - Photography Chris Vasquez - Mixed Media Airbrush Art William Gonzales - Printmaking

85 Eugene Koroneos - Metal Work 84 Valarie Chavez - Mixed Media Crosses 83 Keith Garcia - Metal Work 82 Amanda Ramirez - Drawings 81 Cipriano Vigil - Cigar Box Guitars 80 79 78 77 76

Robb Rael - Gouache Paintings Andy Valdez - Oil Paintings Daniel Torres - Mixed Media Art Dolores M. Aragon - Pastel, Paintings, Mixed Media Julian Romero - Wood Relief Art, Printmaking CHM 74 Contemporary Hispanic Market Art & Information Booth

PALACE AVENUE PLAZA

48

134 133 132 131 130 129

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2017 CONTEMPORARY HISPANIC MARKET BOOTH LOCATOR MAP

N

2017 Contemporary Hispanic Market Artist List 65 Tomas Vigil, acrylic spray paint on canvas 66 Francisco Sanabria, oil/acrylic on canvas 67 Charles Michael Salazar, photography 1 Ramona Vigil-Eastwood, handcrafted jewelry 68 David Santiago, drawings 2 * Dionicio M. Dominguez, mixed-media 69 Joe Santiago, mixed media/water fountains paintings 70 Maria Medina, oil paintings 3 Marcos Padilla, stone sculpture 71 Audrey Martinez, sculpture/recycled materials 4 DeAngelo Rodriguez, mixed-media art & 72 * Roger Martinez, mixed media/paintings on drawings wood 5 * Lucille Miera, acrylic paintings 73 Mayling Garcia, mixed media/stained glass 6 Steve Reyes, mixed-media paintings 74 Information Booth/posters/etc.

7 Michelle Tapia, jewelry 75 Information Booth/posters/etc.

8 Edwin Rivera, mixed media 76 Julian H. Romero, wood relief prints 9 Mike Vargas, mixed media 77 Dolores M. Aragon, mxed media/paintings 10 Michelle D. Ferran, watercolor paintings 78 Daniel Torres, mixed media 11 Ana Maria Samaniego, monotypes 79 Andy Valdez, oil/acrylic paintings 12 Robert Medina-Cook, mixed-media collage 80 Robb Rael, gouache paintings 13 * Ginger & Stanley Greigo de Olivarez, 81 Cipriano Vigil, cigar box guitars ceramics/mixed-media art 82 * Amanda Ramirez, drawings 14 David Vega Chavez, watercolor paintings 83 Keith J. Garcia, metal 15 Joshua Gallegos, mixed media 84 Valerie Chavez, mixed media/crosses 16 Bernadette & Oscar Caraveo, jewelry 85 * Gino K, Koroneos, metal 17 Clarence Medina, oil paintings 86 William A. Gonzales, prints 18 Miller Lopez, oil paintings 87 Chris Vasquez, mixed media 19 Bo Lopez, jewelry 88 Christopher Martinez, photography 20 * Eric Silva, airbrush acrylic paintings 89 Cynthia Cook, mixed media/collage 21 Manuel Rivera, photography 90 Jeremy Montoya, serigraphs 22 Ben Lopez, mixed media/metal crosses 91 Richard Trujillo, acrylic paintings 23 Marion Martinez, mixed media/jewelry/ 92 Richard Salas, metal sculpture 93 John F. Perea, metal & jewelry 24 Anthony Fernandez, paintings 94 Gilbert Candelaria, mixed media/recycled 25 Jonathan Sanchez, serigraphs materials 26 Peggy Chavez, fiber/crochet 95 Amado Pena, prints & drawings 27 Steve Malavolta, wooden puzzles 96 Valerie Vigil-Quintana, rosaries 28 Jacob Tarazon-Matteson, mixed media/ 97 Mario Vargas, wood sculpture carvings collage/oil paintings/prints 98 David Trujillo, metal sculpture 29 Brenda Flores, mixed media/papier-mâché 99 Jason & Evelyn Padilla, stained glass 30 Cruz Flores, wooden crosses 100 Kenneth M Chavez, mixed media 31 Diego Velazquez, fabricated metalwork 101 Raymond Sedillo, handmade electric guitars 32 Adrian S. Martinez, sculpture/wood inlay 102 * Claudio Tolousse Perez, metal 33 Kelly Cedeno, mixed media/gourds 103 Guilloume Perez-Zapata, oil paintings & 34 Johnny Lorenzo, acrylic paintings on wood sculpture 35 * JoBeth Vigil-Price, mixed media/gourds 104 * Ken Ashe, acrylic paintings 36 Ron S. Rodriguez, wood carvings 37 Nancy Camacho, mixed media/painted tortillas 105 * Vincent Brito, mixed media/shell 106 Diane Martinez, clay pottery 38 Nancy Sala, glass art & glass jewelry 107 Manuel “Neo” Fernandez, oil on canvas 39 Celeste Medina, mixed media/tin 108 Joseph Mark Chavez, chainsaw sculpture 40 * Rene Zamora, metalwork & furniture 109 * Ray Barela, hollow form-wood bowls 41 Gilberto Olivas, pottery 110 Ignacio Godinez, barbed wire sculpture 42 Mark Jimenez, jewelry 111 * Nadine Mahres, acrylic paintings 43 Susana Erling, mixed media/paper sculpture 112 * Harley D Godinez, printmaking 44 Greta Ruiz, hand-built ceramics 113 * Karen Godinez, mixed media/bird houses 45 Gilberto Romero, stone & metal sculpture 114 Billy Godinez, scrap metal 46 Carolee J. Friday, photography 115 Debora Duran-Geiger, ceramic tiles 47 Jade Leyva, paintings on board 116 Luis Prieto-Wilmot, drawings 48 Michael Martinez, acrylic paintings 117 Catherine Baca, mixed media 49 * Esteban Duran, mixed media/sculpture 118 Dorothy Lopez, photography 50 John Trujillo, jewelry 119 Angie & Manuel Casias, mixed media/block 51 Thomas Sena, mixed media/drums prints 52 Armando Adrian-Lopez, mixed media/ oil & 120 Rick Martinez, mixed media/airbrush painting acrylic paintings 121 Claudia Chavez, beaded jewelry 53 Nikolas Duran-Geiger, watercolor/pen & ink 54 * Andrew Martinez, mixed media/tin & stained 122 Dona Calles, mixed media/metal 123 Edward Trujillo, oil on wood & canvas glass 124 Teresa Gutierrez, shadowbox woodworking 55 Jason Borrego, acrylic paintings 125 * Aaron Jaramillo, oil paintings 56 * Celia Cortez, drawings 126 Omar Ganzo, mixed media/paintings 57 Erin Gomez, photography 127 * Rudy Gallegos, photography 58 Sandra Duran Wilson, mixed media/collage & sculpture 128 Leah Henriquez-Ready, beaded jewelry 59 Margo Nimon, glass 129 Anna Chavez, paintings 60 David Saiz, oil paintings 130 Amos Salazar, wood 61 Eloise Marie Estrada, mixed media/painted 131 * Andrew Ortiz, hardwood boxes boxes 132 * Zahra Marwan, watercolors 62 * Rita Ribera Sanchez, mixed media/metalwork 133 Melissa Dominguez, sterling silver jewelry 63 * Dennis Gomez, jewelry 134 Suzanne Lopez, mixed media 64 Sharon & Adam Candelario, etched metal Booth Artist Media * New Artist

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