Land Water People Time 2023

Colcha at Martinez Hacienda

by Kika Vargas

The time-honored colcha (embroidered textiles) exhibition of 165 textiles, recently on display in the Martinez Hacienda, a living museum of the lateSpanish Colonial period, was one of the largest exhibits of its kind.

Colcha is a Spanish word for bedspread or quilt, which was then adopted to describe the stitch of the craft of detailed motifs unique to the Spanish villages of the Rio Grande Valley. Bordadoras (embroiderers) from Southern Colorado, Las Cruces and Silver City who, stitch by stitch, have devoted their time and effort to achieving this magnificent display of unique embroidery pieces of traditional religious motifs and contemporary subjects. The exhibit was dedicated to Santa Rosa de Lima, the Patroness of needle pieces, whose image was displayed in a tin frame.

Walking back in time, one entered the fortress-like Hacienda through the beautifully maintained courtyard, which encircles the building and guards the exhibit in the sala grande (living room). The venue serves as a historical record of frontier life and times of early 1800s.

The traditional textiles are made of handspun, hand-carded and hand-dyed churro wool in a sabanilla (loosely woven fabric backing), usually not framed, while the contemporary ones use different fabrics for backing and synthetic wool from mills and with commercial dyes.

The exhibit served as an education tool that teaches us to appreciate the traditional while exercising the freedom to utilize the materials that are available such as alpaca yarn for backing, and contemporary designs. It is a meditative and relaxing craft of embroidery with no knots; the back side is a meticulous replica of the front pattern.

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Frances Varos Graves / COURTESY PHOTO

THREE COUNTIES

Three studio tours not to be missed

by Lynne Robinson

The Taos Studio Tour

The Taos Studio Tour begins with the opening party previewing the work of Taos artists whose studios will be open during the tour. Start at the Taos Valley

Lodge with a great cup of coffee — you can see the Preview Show, featuring a piece of each artist’s work — then pick up a brochure and map, and begin the adventure of interacting with the artists and their remarkable creativity. During the tour, the studio tour gallery will be the hub for repeated viewing and purchase of artists’ work, information about the artists and answers to your questions.

For over a decade, Taos-area artists have displayed their work over Labor Day weekend, either in their working studios or in other venues, sharing with the public how they create their artwork. Over 30 artists — photographers, painters, printmakers, sculptors, jewelers, woodworkers, quilters, muralists, mosaicists, potters, glass artists and mixed media artists —

join forces to present a feast for the eyes.

Visit all or some of the sites over three days — Saturday, Sunday and Monday — in the beautiful Northern New Mexico community of Taos.

SEPT. 2-4 / 10-5PM

Labor Day Weekend

taosartistorg.org

The Santa Fe Studio Tour

The 2023 Tour celebrates a 10-Day City Wide Event

The Annual Santa Fe Studio Tour is now in its 15th year. Hosted by the Santa Fe Studio Arts Collective, this is one of Northern New Mexico’s premier art tour events. Free to the public, over 100 diverse and talented local artists open

their working studios during two weekends in October. New to the event this year, artists are also offering courses, studio talks and demonstrations during the week. Visit sfestudioart.com for more details.

Locals, visitors and collectors can choose to visit any number of the open studios where you will discover original art — paintings, photography, sculpture, jewelry,

ceramics and other unique works. Maps and a free Studio Tour downloadable app will

be available prior to the tour.

Kick-off begins with an opening Preview Gallery reception on Oct. 20, from 5-8 p.m. at the Santa Fe Woman’s Club, 1616 Old Pecos Trail. The gallery continues to be open at the Woman’s Club all weekend: 11 a.m.4 p.m. Artist studios will be open on Saturday and Sunday, Oct. 21-22 from 11 a.m.-5 p.m. There is also a free downloadable Studio Tour app available prior to the event to help you plan your tour. Visit santafestudioatour.app. Signs throughout the city, as well as maps, will guide visitors to the studios.

Many participating artists are offering over 35 in-studio workshops and demonstrations from Monday to Friday during the week of Oct. 23-28. Please check the listings on sfestudioart.com to reserve your spot. Availability is limited.

During the last weekend of the tour, visitors will be welcomed into the working studios of more than 100 local artists. Visit sfestudioart.com for more information and to download the free app available to help you plan your tour. OCT.

IMAGES COURTESY SANTA FE STUDIO TOUR

ARTS AND HUMANITIES

Featured selection of classes

67285 ANTH Intro Cultural Anthropology

on High Country

the picturesque roadways of the Northern Rio Grande National Heritage Area (NRGNHA), weaving through the enchanting counties of Santa Fe, Rio Arriba and Taos in Northern New Mexico. These regions boast a rich history and cultural heritage, encapsulated in the art that beckons visitors from all corners of the world.

LEOPOLDO ROMERO, a fifth-generation native hailing from the Village of Agua Fria in Santa Fe County, found solace in art as a refuge from the bullying he endured during his school days due to learning disabilities. His journey led him to pursue a formal art education at East Los Angeles College, where he focused solely on his craft. Many of his commissions feature historical themes, compelling statements and murals that narrate the stories of the past.

Romero continues to find inspiration in the captivating landscapes and life of Northern New Mexico. His art serves as a window to the world’s past and present, inviting contemplation and appreciation from all who encounter his masterpieces.

comes to life along NM 599 and CR 62 Northside Overpass/Interchange, with depictions of a burro and the Agua Fria spring adorning the bridge. These images represent the agricultural life that has been integral to the community for centuries.

In Rio Arriba County, Romero’s artwork titled “La Resolana: Una Vida Buena y Sana” captures a heartwarming community scene along the picturesque Rio Embudo. The artwork portrays agriculture as a path to a good and healthy lifestyle, celebrating the region’s cherished traditions.

In Taos County, Romero’s sign art takes center stage at Las Pistoleros Instituto Cultural de Arte in El Prado, featuring two women carrying firearms as a powerful metaphor symbolizing the strength and determination of women involved in unconventional pursuits.

Leopoldo Romero leaves an indelible mark on the Northern Rio Grande National Heritage Area, celebrating its unique heritage and contributions through his art; encapsulating the stories, traditions and landscapes that have shaped the vibrant tapestry of Northern New Mexico.

COURTESY PHOTO

AOS PUEBLO’S JOHN SUAZO uses his work to advance and preserve his history and culture. One of his best-known and most visible sculptures exists in front of the Taos County Judicial Complex. The four-sided work, “Historical Taos,” rests on 10,000 pounds of Indiana limestone. Suazo chose this material because of its resilience to weather conditions and strength for building construction. The artist faced challenges such as properly angled portions of the stone and not losing too much of the material during the sculpting process. “Once you carve too much, you can’t put the stone back together,” he explained. Criteria for the creation included imagery representing economy, traditions, culture and tourism.

“The first panel, facing the Taos main roadway, represents Taos, the way we grew up,” Suazo explained. The carved representations include images of a papoose, a child playing with a wooden car, sheep and a farmer’s dog.

Turning clockwise, the panel includes a priest and blessing of the land. The back or third panel features a skier enjoying a glide down the slope with a pueblo woman in close proximity. Panel number four focuses on a buffalo, Our Lady of Guadalupe Church and the Broken Wagon Wheel which represents the Taos Art Colony. The representation also includes the ancient Pueblo, offering a visually pleasing view of our local history.

Suazo shared the story of the installation of the sculpture. “How does one move a huge sculpture? It takes straps to move the image. Then, when the sculpture is in place, how does one remove the straps?” he asked. After much thought, Suazo arrived at a solution to the problem. “Ice will allow the straps to slide out once the work is in place, I thought. We froze some red bricks and attached them to the four corners and the center. The ice bricks really held it. After four hours, the ice melted into the sculpture. It worked,” Suazo smiled.

The artist’s other works include various facets of his talents. The Arizona State Museum in Tucson proudly exhibits his 6-foot-5 sculpture of mother and child entitled “Proud Mother.” Taos’ Harwood Museum, the Millicent Rogers Museum and the Taos Pueblo Clinic also house his work.

Suazo completes his work at his studio and offers the finished product at his Hunter Watching Shop on the north side of Taos Pueblo. The premises include John Suazo’s work of smaller sculptures of

birds, buffalo, mother and child, husband and wife, spirit eagles with a human face and an etching of Taos Pueblo on flat stone. His paintings emphasize Pueblo scenes, mountains and environmental issues. A special offering includes John Suazo’s book, “Stories of Taos Pueblo,” based on recordings of his grandfather Jim Suazo’s personal history. “You won’t find this history in books. It’s about time we started writing our own stories,” said Suazo.

A visit to the shop also includes conversation with Suazo, which he enjoys. Extra perks include the stories behind the sculpture and — who knows — obtaining an autograph executed on a copy of John Suazo’s book.

COURTESY PHOTO

Los Caminos Antiguos

Scenic & Historic Byways is located in the most southern central part of Colorado.

Located two hours north of Santa Fe, in the beautiful San Luis Valley between the Rocky Mountain Ranges of the Sangre de Cristos and the San Juans. Along its 129 mile route, interpretive markers tell the story of the land, the people and the history. The scenic drive will take you through the heart of the Sangre de Cristo

National Heritage Area.

For the uninitiated, lowriders are a post-WWII phenomenon that sprung up in Chicano communities across California and subsequently migrated east to, among other places, New Mexico. The cars are known for their modified suspensions, so their bodies graze the pavement with mere inches to spare, and for the frequent inclusion of pumping hydraulics which allow them to practically dance to the music blaring joyfully from open windows.

But it is the spectacular and uniquely New Mexican art adorning Valley lowriders that is as awe-inspiring as their mechanics. Against a backdrop of air brushing, pin-striping and plush custom interiors, Indigenous and religious portraits and symbolism are prominently displayed on hoods, trunks and doors, and many are embellished with dedications in memory of loved ones as a sign of respect.

“To us, lowriders mean family, faith and cultural roots,” explained Joan Medina, whose husband, Arthur “LowLow” Medina, is the third generation in a family of lowrider artists, and who together founded the Española Lowrider Association.

“With them, we express the pride in our heritage, its connection to our faith and our connection to each other,” noting both she and the Medina children have become as engaged with the artistry as her husband. (“Although I prefer the color pink and lots of glitter,” she laughed.)

One of the most notable lowrider examples to come out of Española Valley is “Dave’s Dream,” a 1969 Ford LTD whose modification was begun by the late Chimayó artist David Jaramillo. After his death, his family and other local artisans completed the customization that Jaramillo envisioned.

“Dave’s Dream” became a part of the permanent collection of the Smithsonian National Museum of American Art in 2022 and has since

JOSHUA A. BERMAN

JOSHUA A. BERMAN

The Española Valley is the defacto Lowrider Capital of the World.

been greeting visitors at the entranceway to the museum with its prominent display. Before it began the journey to Washington, D.C., hundreds of Norteños gathered at El Santuario de Chimayó for a blessing of the car, a tribute not only to the icon itself but to the recognition of a significant and wholly Latino contribution to

the contemporary American art scene.

“Lowriding is a reflection of the Mexican American post-war experience,” said Steve Velasquez, the museum’s curator of cultural and community life, in a press release announcing the vehicle’s acquisition. “Cars tell stories of individuals and communities, and car

clubs are a reflection and extension of that community.”

The Española Lowrider Association and other clubs in Northern New Mexico exemplify the deep roots lowriders have planted in the region. The members are profoundly engaged in volunteerism and use the draw of the cars for community outreach.

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ROAD & TRACK MAGAZINE

JOSHUA A. BERMAN

PHOTO BY ERIN MARTINEAU