Trend Magazine Santa Fe - Summer 2013 by Trend

HARMONY CUBED The art of Stuart Arends

BEYOND STRUCTURE Rick Joy’s architecture as sensory experience

DENNIS HOPPER Rebel with a cause

ROMANCING THE MACHINE

Santa Fe’s Concorso celebrates automotive high style

ALSO: Creative Santa Fe solves the Rubik’s Cube of how to create a city that inspires us all SUM 13 SUMMER 2013 $9.95 CDN $7.95 Display through SeptUS 2013

U.S. $7.95 Can. $9.95 32

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CALENDAR: Six months of Santa Fe gallery openings, events, and cultural happenings

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features

contents Summer 2 0 13

Shiny New Toys: Trophy Hunting in Today’s Art Market What does the trend towards art as spectacle mean for the future of galleries and collectors? By Kathryn M Davis

The Spaces in Between Architect Rick Joy’s atmospheric homes engage their occupants in a sensory dialog between form and function, interior and exterior. By Rena Distasio

104

Dream Machines With romance, verve, and a bit of vintage flair, Santa Fe’s Concorso celebrates the history and artistry of some of the world’s finest automobiles. By Wesley Pulkka

113

Walking Contradiction Dennis Hopper’s friends and colleagues reflect on his life, art, and passion for Taos. By Lyn Bleiler

Pure Harmony and the Song of Angels

PETER OGILVIE CREDIT

198

In the hands of artist Stuart Arends, simple cubes become visual poems in paint, wood, and wax. By Ric Lum | Photos by Kate Russell 24

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701 Canyon Road Santa Fe, NM 87501 505.992.8878 www.FineArtSantaFe.com

EDITOR-AT-LARGE

32 CONTRIBUTORS 34 FLASH The Liquid Enchantment of Santa Fe Spirits; Albuquerque Film & Media Experience Promotes the Art of Storytelling; CCA and 516: Non-profit Art Spaces Create Cultural Hubs; Robert Mirabal: Music and Myth

44 Q+A Catching up on Creative Santa Fe’s vision By Ric Lum

52 COLLECTORS More than just places to sit, these iconic chairs are works of art to their collectors. By Heidi Utz

64 DESIGN WAVE Groundbreaking digital technologies present infinite design possibilities By Thomas Lehn

72 OUTLOOK Denver’s Clyfford Still Museum is both an architectural jewel and a fitting repository for the vast collection of one of Modern Art’s most creative visions. by Susan Bell | Photos by Peter Ogilvie

FASHION

142

An elegant spin on the concept of light and dark with fashions provided by Santa Fe Dry Goods; Artist Virgil Ortiz reinterprets ancient Native American archetypes for an exciting line of contemporary fashions. Photos by Peter Ogilvie

ARTIST STUDIO

190

Kevin Cannon links the past with the present in his historical Taos home and studio. By Lyn Bleiler | Photos by Lee Clockman

TUNES

208

Eliza Gilkyson Takes a Dip in the River of Gold; David Manzanares Spins Magic From His Northern New Mexico Roots; Matthew Andrae’s Fall to Grace By April Reese

CALENDAR OF EVENTS

226

A comprehensive listing of more than 40 of Santa Fe’s galleries and cultural happenings

TAOS HUM

236

Former Hollywood set designer Bruce Williams creates a lifelike imaginary world. By Lyn Bleiler | Photos by Lee Clockman

GASTRONOMICA

240

120 TAOS CULTURE

Chef Charles Dale brings Parisienne bonhomie to Santa Fe’s dining scene. Story and photos by Gabriella Marks

Ranchos de Taos Plaza remains a vital economic and social nexus for this Northern New Mexico community. By Lyn Bleiler | Photos by Robert Cafazzo

ON THE COVER: P.D.F. 4 (2009–2012), oil paint on solid wax and Untitled Wax (2012), aluminum on solid wax, both by Stuart Arends

PETER OGILVIE

30 PUBLISHER’S PERSPECTIVE/

CREDIT

dePaRtMents 26

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c e c i l

t o u c h o n

PDP 609, rice paper + acrylic on panel, 57 x 57 inches

NÜART GALLERY® 505.988.3888

670 canyon road I santa fe I new mexico I 87501

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PUBLISHER Cynthia Marie Canyon

EntErtainmEnt SyStEmS • Audio & Video HomE tHEatEr • motoriZED SHaDES & DraPES HomE automation • Flat PanEl tElEviSionS ProgrammED rEmotE ControlS

EDITOR Rena Distasio ART DIRECTOR Janine Lehmann COPY CHIEF, EDITORIAL Cyndi Wood EDITOR-AT-LARGE Ric Lum DESIGN PRODUCTION Sara Spinale PHOTO PRODUCTION Boncratious, Lee Clockman CONTRIBUTING WRITERS Lyn Bleiler, Kathryn M Davis, Rena Distasio, Kelly Koepke, Gussie Fauntleroy, Thomas Lehn, Ric Lum, Gabriella Marks, Wesley Pulkka, April Reese, Heidi Utz, Pete Warzel CONTRIBUTING PHOTOGRAPHERS AND ARTISTS Lee Clockman, Lisa Law, Louis Leray, Gabriella Marks, Peter Ogilvie, Kate Russell, Anne Staveley FASHION PRODUCTION CREW Eric Radack, Kimber Lopez, Serena Peñaloza SALES MANAGER Kimber Lopez, 505-988-5007 REGIONAL SALES DIRECTOR Judith Leyba NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services disticor.com NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 ACCOUNTING Danna Cooper SUBSCRIPTIONS Visit trendmagazineglobal.com and click “Subscribe,” call 505-988-5007, or send $15.99 for one year to Trend, P.O. Box 1951, Santa Fe, NM 87504-1951. PREPRESS Fire Dragon Color, Santa Fe, New Mexico PRINTING Publication Printers, Denver, Colorado Manufactured and printed in the United States. Copyright 2013 by Trend, LLC. All rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-988-5007 or send an e-mail to perform@santafetrend.com.

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Trend art + design + architecture ISSN 2161-4229 is published two times in 2013, with Summer (circulation 25,000) and Fall/Winter/Spring issues (circulation 35,000) distributed at outlets throughout northern and central New Mexico and throughout the nation at premium outlets, local grocery stores, Barnes & Noble, and Hastings stores. Please ask your newsstand to carry Trend and friend us on Facebook. Direct editorial inquiries to editor@trendmagazineglobal.com. Trend, P.O. Box 1951, Santa Fe, NM 87504-1951, 505-988-5007

Taos

DennisHopper, Hopper,1991, 1991,paul paul o’connor Dennis o’connor©©

It’s not for everyone 222 Paseo del Pueblo Norte . Taos . New Mexico . 575.751.7702

EDITOR-AT-LARGE

PUBLISHER’S PERSPECTIVE

This issue we’ve invited our editor-at-large, Ric Lum, to share some of his thoughts about the stories in these pages.

have always been excited about the future of Santa Fe and its surrounding communities. Now, more than ever, I sense a trend towards the spirit of cooperation arising from within the city I call home. I’ve experienced this new energy through my work with various businesses and organizations. To me, it signals the exciting potential for unparalleled growth and a vision of a creative cultural community that could change the perspective of visitors from around the world and those of us who already live here. After I read the Creative Santa Fe Q&A starting on page 44, my own ideas on how to address the Rubik’s Cube of Santa Fe’s development and improvement issues—issues with long-term implications for the city’s built environment—began to seem even more real. The different organizations that are collaborating to create the future of our city, including the newly formed nonprofit Santa Fe Friends of Architecture, of which I am on the board, give me hope. Many talented people are dedicated to evolving our city with structure, grace, and leadership, and working the puzzle of past decisions and future directions so that the solution makes sense. Just as we are becoming a city that thinks and develops sustainably, I believe our vision for tourism will develop accordingly to create a harmonious and well-structured city offering grand experiences in art, design, architecture, and fine cuisine, and providing excellent quality services that promote relaxation and adventure. I know this is only the beginning, but I have faith in the courage of the people rolling up their sleeves to pitch in and make significant changes that will inspire us all, creating a communal vision and pride as our city grows toward the next century. I am looking forward to watching as courageous and forward-thinking young entrepreneurs are nurtured through their start-ups and grow their businesses, leading the way in a neverending cycle that supports our community in its creative future. Like the artwork of Stuart Arends showcased on the cover and inside these pages—the largest issue of Trend we have ever produced—we hope your peek into the vision of potential of our small corner of the world reveals a simple and pure reflection of truth that we all can trust and see manifest. Cynthia Canyon Publisher and Founder 30

TREND Summer 2013

Cheers! Ric Lum

RIGHT: ANNE STAVELEY

alph Waldo Emerson once wrote that the health of the eye seems to demand a horizon, and we are never tired as long as we can see far enough. Here in New Mexico we are blessed with an abundance of expansive views, and this great wealth of space and light is partly what draws so many creative people. My own romance with New Mexico has its roots in the images of Ansel Adams, Edward Weston, and Georgia O’Keeffe, whose work was introduced to me as a youth by my godmother, Mary Lee. I am grateful for her discerning and critical eye, as she just passed a few months ago. It was she who first took me to the San Francisco Museum of Modern Art, where I had my first encounter with Clyfford Still’s enormous abstract paintings, which in some ways seem to reflect the wide-open spaces of the American West. In this issue, writer Susan Bell and photographer Peter Ogilvie showcase the museum, built as a tribute to Still’s tenacity and no doubt a great gift to the city of Denver and to art lovers everywhere. I wonder what Still would have thought of the frenetic upper reaches of today’s art market, explored by Kathryn M Davis in her feature on page 82. The market’s current disarray makes even more poignant Ad Reinhardt’s assertion that “Art is art. Everything else is everything else.” We also turn our attention this issue to Stuart Arends, Kevin Cannon, and architect Rick Joy, who allow us a privileged glimpse into their workspaces and creative processes. In another piece, Gabriella Marks visits chef Charles Dale in his new restaurant, once again highlighting our belief that the essence of great food begins with the local farmers’ cornucopia. The fierce independence of the creative innovators in our region is exemplified by the life of Dennis Hopper. Lyn Bleiler examines his iconoclastic relationship to art, artist, and the place he loved to call home: Taos, New Mexico. Hopper has much to teach us, not the least of which is the importance of creative energy, the refined eye, and leading an uncompromising life.

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PETER OGILVIE

Peter Ogilvie was raised in Southern California and studied Art and Architecture at University of California at Berkeley. After graduation he moved to Cambridge, Massachusetts, and started making documentary films. Filmmaking lead to still photography, both fine art and commercial. Pursuing his career in advertising, fashion, and fine art photography, he has lived in San Francisco, Milan, Paris, New York, and now New Mexico. He has traveled the world on assignments and has won numerous advertising and graphic awards for his work with clients like Saks Fifth Avenue, GAP, AT&T, Levi Strauss & Co., Sony, Macy’s, Vogue, Marie Claire, and GQ.

MARTINE TREMBLAY

Kathryn M Davis, art historian, writer/editor, and curator, specializes in modern and contemporary visual arts and critical theory. Based in New Mexico, she is a contributing writer for various Santa Fe–based and national magazines. Davis hosts a weekly radio show about art on KVSF 101.5 FM. She has taught art history at the Santa Fe University of Art + Design and the University of Tennessee as well as at nonprofit arts organizations. Davis received an MA in the Art of the Americas from the University of New Mexico in 1998.

Susan Bell was raised in Albuquerque and returned to New Mexico 12 years ago to settle in a house she built outside Santa Fe. In this issue she collaborates with her husband, Peter Ogilvie, and rediscovers her love of art criticism, studied long ago at Mills College. When she is not remodeling houses or designing jewelry or traveling, she writes for pleasure and occasionally for Trend.

Thomas Lehn is an artist, interior/furniture designer and maker who specializes in multidisciplinary solutions. His Santa Fe–based design practice, Thomas Lehn Designs, blends programmatic requirements with spirited space/object making. Recipient of many national awards, Lehn has been Principal/Director of multidisciplinary architectural design firms and was Assistant Professor/Interior Architecture, School of the Art Institute of Chicago. Currently he teaches at the Santa Fe University of Art and Design. He is also the co-chair of Design Santa Fe, a city-wide program that promotes design awareness.

PETER OGILVIE

PEGGY MCCONNELL

Heidi Utz has been a professional writer and editor for the past 30 years. She has served as an editor for Outside magazine, Mothering magazine, Pasatiempo, and John Muir Publications, and has published widely in publications including Outside, E: The Environmental Magazine, the Santa Fean, New Mexico magazine, and NPR.org. She wrote the architectural history section for Montezuma: The Castle in the West (UNM Press, 2002) and has completed four children’s books. She’s ergonomically enamored of her Herman Miller Aeron chair.

ERIC SWANSON

MARGOT GEISTZ

CONTRIBUTORS

Louis Leray (who shot pages 162–183 and Coyote Café Experience) is a commercial photographer who graduated from UNM with a Bachelors Degree in Film Theory and Criticism. He worked in New York City for documentary pioneer Albert Maysles and later shot and directed television commercials, music videos, short films, feature films, corporate videos and PSAs, while also working with the Kirshenbaum & Bond advertising agency and director Barry Levinson. He moved to Santa Fe in 2002 and launched the arts and culture publication BLISS. R

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The Liquid Enchantment of Santa Fe Spirits By Pete Warzel

pon first meeting Colin Keegan, one question comes instantly to mind: Why, in the throes of an economic downturn, does a smart man turn his back on a comfortable job and start a distillery? What is the attraction here—and throughout the United States—for small-batch spirits? Ironically, the answer lies in the economics and, of course, a bit of madness for whiskey. “Idealists start distilleries or microbreweries,” says Keegan. “Look at where they are proliferating—Colorado, Oregon, and now New Mexico. All proving grounds.” That may be the spark, but the locomotion is the demand for value in a tight economy and the desire to support community endeavors rather than large production companies. Santa Fe Spirits is the small-batch artisan distillery Keegan founded in 2010 that is housed in three industrial, live/work space units near the airport. “Not my taste in building style, but practical,” he says, spoken like a former architect. Keegan came to Santa Fe from Newcastle Upon Tyne, England, via the Virgin Islands, and worked as

Owner Colin Keegan and distiller Nick Jones

an architect throughout New Mexico for 18 years. Annual pressings of apples from his home orchard were the catalyst for what has now become the distillery’s signature brandy. Master distiller Nick Jones, introduced to Keegan by a mutual friend, crafted the brandy’s

prototype after attending one of the pressings, and Keegan was impressed. Realizing that high-end home building was taking a beating in the down economy, he plotted expansion and a way to a dream, giving up designing for distilling. He hired Jones as head distiller and his first employee. Jones, a Colorado Springs native and graduate of St. John’s College of Santa Fe, shares Keegan’s gregarious spirit, sense of humor, and passion for distilling. Jones spent five years as master brewer at Santa Fe Brewing Company and brings a love of local materials and excellence to Santa Fe Spirits. “I don’t have to worry about the quality of our products because Nick won’t push it out the door until it is absolutely right,” says Keegan. Santa Fe Spirits bottles and distributes four distinct products. Silver Coyote Whiskey, spelled with the American “key” and not the traditional “ky” of Keegan’s homeland, is perhaps the best known. Silver Coyote has landed at the top of many competitions, winning the gold from the Beverage Testing Institute and silver at the San Francisco World Spirits Competition in

Barrels in the aging room. At right: Still with apple brandy, which recently won a Gold Medal at the 2013 Denver International Spirits Competition. In fact, 2013 is shaping up to be an award-winning year for Santa Fe Spirits. Wheeler’s Gin, Expedition Vodka, and Silver Coyote Pure Malt Whiskey were recently awarded Silver Medals at the San Francisco World Spirits Competition.

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COURTESY OF SANTA FE SPIRITS

continued on page 39

FLASHFLASH n e w s ,n ge owsss, i pg ,o sas ni pd , i an nn du ei n dn ou e n d o

Albuquerque Film & Media Experience Promotes the Art of Storytelling By Kelly Koepke

TOP: LARRY MICHAELS PHOTOGRAPHY; BOTTOM: SIBYLLE SZAGGARS-REDFORD

lbuquerque’s profile in the film and television industry has been on the rise for years, thanks in part to Breaking Bad, the Duke City–based television series that has won multiple Emmys, and movies like The Lone Ranger and We're the Millers. Boosting that recognition to a worldwide scale and transforming the community through the power Lainie Quirk and Ivan Wiener of art and film is what Ivan Wiener and partner Lainie “Sevanté” Quirk had in mind when they founded the Albuquerque Film & Media Experience in 2010. Wiener, a longtime TV and film producer, and Quirk, a special event producer with more than 25 years of experience, want the entire world to know what a mecca New Mexico is for creative types. While the organization’s signature event is the June film, digital media, and performance series Get Your Kicks & Flicks on Route 66, AFME’s year-round programming supports all sectors of the creative industry and often showcases locally, nationally, and internationally recognized talents. A recent highlight was the June 7 talk by Robert Redford and president/CEO of Americans for the Arts, Robert Lynch, followed by a collaborative multimedia performance event on June 8 to benefit the National Dance Institute of New Mexico. The audience was treated to sets designed by Redford’s wife, artist Sibylle Szaggars-Redford, choreography by NDI founding artistic director Catherine Oppenheimer, a live piano performance by Icelandic composer and musician David Thor Jonsson, and a poetry reading by Robert Redford. Sibylle Szaggars-Redford Collaboration with other community organizations is also a goal, says Wiener. “We’re engaging students from the Media Arts Collaborative Charter School to create internships where students will learn about how a film festival works, make documentaries, and put together panel discussions.” AFME’s advisory board member Santosh Shah, a diplomat, television producer, and youth leader from Nepal, recently shared his perspective with students, and the ten winners of an AFME–sponsored art contest for up-and-coming New Mexico middle, high school, and college students recently met with renowned artist Michael Ostaski to discuss painting. The organization is also in talks with the City of Albuquerque for a cross-cultural exchange program. “New Mexico can shine on a global platform through film and other art forms,” says Wiener. “We want to show off what we have here—our cultural heritage, our filmmaking opportunities. We want to create a resurgence here that allows all of us to thrive.” R

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Summer 2013 TREND

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and

516 Nonprofit Art Spaces Create Cultural Hubs

“T

he world needs non-commercial gathering places where people can feel safe enough to connect with each other and discuss the kind of ideas that help society move forward,” says Jason Silverman, director of the film program at Santa Fe’s Center for Contemporary Arts. “We face a lot of challenges in society. None will be solved if we sit in our individual spaces. We need to be together.” Silverman, along with visual arts director Erin Elder, bring passion and

years of experience to programming CCA’s Cinematheque and Munoz Waxman Galleries, respectively. Since 1979, CCA’s film, visual arts, performance, and educational programming has drawn upwards of 50,000 visitors per year to its gallery, theater, and blackbox spaces. The nonprofit organization recently completed a nearly $2 million renovation to its theater and gallery, boasting strong community support and partnerships with more than 80 area organizations for its film and lecture series, exhibits, and musical performances. Suzanne Sbarge, executive director of Albuquerque’s 516 ARTS, shares CCA’s goal of serving as a vital conduit between the arts and the community at large. Named for its address on Central Avenue in downtown Albuquerque, 516 ARTS blurs the gallery/museum distinction. The organization programs, presents, and partners with other groups for exhibitions, events, and experiences that focus on world cultural issues like technology and its impact on the human and artistic experience. 516 ARTS was instrumental in bringing the 18th International Symposium on Electronic Arts to New Mexico last year. ISEA, a series of events and discussions exploring the intersections of art, technology and nature, was presented through a collaboration of more than 20 venues across the state. In a time when small arts organizations are perceived as suffering due to decreased corporate and foundation giving, CCA and 516 ARTS have bucked the trend of reduced services. Dedication to purpose and an emphasis on community partnerships prove that audiences respond to contemporary visual and performance art that addresses social and community undercurrents. These two organizations, in their separate cities, share a mission to serve as a hub for visual art, culture, film, and music, and, by doing so, continue to deeply engage their communities. John Hitchcock, Chemically Wasted Warhorse (2011), screenprint and drawing, at 516 ARTS.

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COURTESY OF 516 ARTS

CCA

By Kelly Koepke

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From left: Scenes from the films Renoir, Much Ado About Nothing and Becoming Traviata

FROM LEFT: COURTESY OF IDP DISTRIBUTION; ROADSIDE ATTRACTIONS; DISTRIB FILMS

This Summer at CCA and 516 At CCA Muñoz Waxman Galleries

At CCA Cinematheque

Through June 30

June

The Curve, CENTER’S International Photographic Award recipients, recognizes fine art or documentary projects on the brink of wider acclaim.

Much Ado About Nothing. A new imagining of Shakespeare’s classic from pop icon Joss Whedon.

Currents 2013 brings together the work of established, unrecognized, and emerging new media artists from around world. July 12–September 22 Making Places. An intimate examination of what it takes to develop an art-driven life from Linda Fleming and Michael Moore. September 27 Make Out Sessions. More than 30 invited artists make art outside of the studio while the public watches, in hour-long sessions. Includes evening auction, live music, and food.

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It’s a Disaster. An all-star cast (America Ferrara, Julia Stiles, David Cross) transform an uneasy meal into an unforgettably hilarious one. Renoir. On the Côte d’Azur in 1915, a free-spirited young woman enters the world of Auguste Renoir—still mourning the death of his wife— and son, the aspiring artist Jean. Central Station. In Rio, the callous Dora (Fernanda Montenegro, nominated for an Oscar) writes letters for a parade of poor and illiterate. After hearing the story of a recently orphaned nine-year-old boy, she decides to take him on a search for his father through the countryside.

Becoming Traviata. Director Philippe Béziat follows the legendary soprano Natalie Dessay, who first sang Violetta at the Santa Fe Opera in 2009, as she works with diligence and inspiration on the way to the opening night of La Traviata at France’s Aix-en-Provence Festival. July The Hunt. A beloved kindergarten aide (Mads Mikkelsen, winner, Best Actor at Cannes) is accused of inappropriately touching a young girl.

At 516 ARTS June 29–September 21 Air, Land, Seed. Curated by Nancy Marie Mithlo, this group exhibition of Native American artists offers a compelling look at the effects of the military and corporatization on land-based indigenous cultures. Octopus Dreams. Curated by Suzanne Fricke with Beverly Morris. Features works on paper by contemporary Native American artists.

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Robert Mirabal Music and Myth By Gussie Fauntleroy

TREND Summer 2013

Robert Mirabal performing at the Waldorf School Christmas Show

team with the New York City-based string quartet, ETHEL. Members of the internationally acclaimed group Dancing Earth, choreographed by Rulan Tangen, will dazzle with indigenous contemporary dance. Yet while spirited and entertaining, the performance offers a message grounded in humility and collective wisdom based on the ancient and continuing ways of living from seed and soil. This wisdom, passed down through generations in the form of stories, is personified in the show as mythological characters that also represent universal archetypes. Pollen Child travels from plant to plant as an aerialist; the Raven Mocker is a Pueblo version of yin/yang; and the character of Drought can also be seen as barrenness of imagination, family, or culture, Mirabal explains. Music

and Myth is “an honoring, a celebration,” the artist says. “And the invitation in all Pueblo prayers is that it’s not just for us, it’s for the world.” Mirabal is the show’s co-executive producer along with Art Fegan, while JoAnn Young of Young Productions, Inc. will produce the performance for television. Robert Mirabal: Music and Myth airs on PBS beginning in March 2014. Tickets for the 90-minute live performance are available through the Santa Fe Opera box office (santafeopera.org). Donation pledges to KNME-TV at certain levels receive thank-you gifts including show tickets, CDs and DVDs containing additional performance material, and an after-show opportunity to meet Mirabal and the cast. Contact KNME at newmexicopbs.org. R

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JIM COX

ast fall Robert Mirabal saved 15 bags of cornhusks from the harvest on his Taos Pueblo farm. This summer the worldrenowned Grammy Award–winning musician, dancer, and storyteller is busy designing costumes using those husks and other materials. He’s choreographing dances, composing music, and fleshing out characters from Pueblo mythology. He’s writing poetic narrative, visualizing elements of stage production, and contemplating traditional and contemporary perspectives on what he calls the “agri/culture” of Native peoples who follow the way of corn. The results of all this creative energy will light up the stage at the Santa Fe Opera on the evenings of August 30 and 31 when Robert Mirabal: Music and Myth will be produced and filmed as a PBS special to be broadcast nationwide next spring. “I’m pretty lucky—my whole culture still expresses itself in celebration of seed to earth to cultivation. We have the song of the harvest, the song of the beans, the song of corn,” Mirabal says. Now the 46-year-old multitalented artist is transforming the traditional spirit of those songs, dances, and stories into something inspiring, entertaining, and new. It’s an artistic approach that has characterized his career. For more than two decades Mirabal has created new sounds by fusing his own Native flute-playing with roots and world music traditions ranging from Asian, African, Celtic, and Haitian to hip-hop and contemporary tribal rock. His 2001 PBS special and CD, Music From a Painted Cave, brought national recognition. The two-time Grammy Award winner has been twice named Native American Music Awards Artist of the Year. Music and Myth features Pueblothemed and opera-worthy costumes of Mirabal’s design. His own band will

SANTA FE SPIRITS continued from page 34

2012. The whiskey is known in distiller’s colloquial as an “American White Dog”— a well crafted but un-aged whiskey that is clear—gin clear—or in this case, whiskey clear. Aging in barrels gives whiskey its various amber tones and essence of wood and smoke, but it takes time. Since it doesn’t require aging, a White Dog is the small distiller’s bread and butter, generating immediate revenue while buying time for barrel batches to sit, age, and follow. And they do follow. Santa Fe Spirits has a single-malt whiskey that has been in the barrel for two years and is due for release in September 2013. Without a name as yet, it promises to be a true single malt with a distinctive New Mexico identity. The best known of the single malts are scotch whiskies, fired with peat from the local bogs that lend their particular tastes. Lacking the geology for wetland peat in a desert environment, Santa Fe Spirits smokes their malt with mesquite, promising a communion with the hills around Santa Fe. The distillery’s Apple Brandy has also won awards, as has their Expedition Vodka. Wheeler’s Gin, named after the explorer who scaled New Mexico’s highest peak, rounds out the product menu. All spirits are made with as many local ingredients as possible, grounding the distillery deeply in the landscape and climate of the Southwest. As the demand for Apple Brandy grew, Keegan needed a larger, more dependable supply of highgrade apples aside from those in his own orchard, so in 2012 he struck a deal with growers in Velarde, New Mexico. Santa Fe Spirits Apple Brandy can now be purchased in Colorado, Texas, Oregon, and on home ground in New Mexico. Total distillery output for 2012 was 600 cases of spirits, with an expanded distribution of 4000 cases planned for 2013. “I made the decision to start this business while drinking a whiskey, thinking it was an easy sell, forgetting it takes years to get a new business to success,” says the architect of Santa Fe Sprits. “Whiskey has a way of motivating, doesn’t it?” R Summer 2013 TREND

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Q&A

BY RIC LUM | PHOTOS BY KATE RUSSELL

What’s New with

Creative Santa Fe?

Chairman of the board Bill Miller, creative director Laura Carpenter, and executive director Cyndi Conn discuss the organization’s history, current initiatives, and its exciting plans for the future. Ric Lum How did Creative Santa Fe get started, and what has Creative Santa Fe been up to lately? Bill Miller Creative Santa Fe started with a conversation Laura and I had in late winter of 2011. We’d been asked to be on a panel at the Santa Fe Art Institute, and after the panel conversation we started talking. Laura, as you know, came back to Santa Fe in late 2010.

Rather than starting our own 501(c)3 we approached Tom Aageson, who for many years was Executive Director of Museum of New Mexico Foundation and also on the board of Creative Santa Fe. We said that we’d like to work with him in a new, energetic way to do something about the creative economy. The board gave us the go ahead, so I became chair, Laura and Cyndi came in, and we began to put this together.

Laura Carpenter That’s right, I did.

Cyndi Conn At the end of 2012, we start-

BM She made some observations that Santa Fe is great but couldn’t we do something to help it be better and to really capture its potential? And I thought to myself, you know, that’s a great question and we should pay some serious attention to it. Cyndi and Laura had been in contact and Cyndi quickly came into the conversation. The three of us spoke with a few people here in Santa Fe who might have an opinion as well, and all that led to the conclusion that, yes, this was an important subject and there wasn’t really a nonprofit that could tackle some of the bigger problems in a collaborative way. Creative Santa Fe originally was set up as an organization funded by the city and the McCune Foundation to enhance our creative economy, and we adopted that mission. The change was in how we went about it. We’ve adopted a collaborative model based on finding those things in Santa Fe that can be done to enhance the economy and make life better for residents as well as tourists, and then bring together all the constituent parties that need to be together to make it happen. 44

TREND Summer 2013

ed to put the organization together and recognized that we wanted to explore what other cities are doing to make a major collective impact for lasting change—who are the leaders, what does the language look like, and how would those projects and processes be relevant to Santa Fe? So we did a series of public lectures and private workshops to understand the national dialog and figure out some local projects that might make sense for our community. And then we worked to identify the key players in our community, what’s already in process, and how can we become a catalyst to create an implementation strategy, get everybody around the table, and make an actual and lasting impact in our community. We brought in Eddie Friel, an international expert in city transformation and cultural tourism. We brought in Artspace, the country’s leading developer of affordable live/work art spaces. We brought in Walter Hood, an internationally known landscape architect who represented the United States for the Venice Biennale of architecture this past year. We brought in Jason Schupbach, the newly appointed

director of design for the NEA to talk about city design and communities working together to attract larger grants. We brought in Candy Chang, an artist and activist, to talk about crowdsourcing. We were invited to be one of the pilot cities for her Neighborland crowdsourcing platform website. We also brought in the editor of Metropolis magazine, Susan Szenasy. Metropolis is deeply engaged in the discussion of how design can influence cities and the importance of design in everyday life and in larger projects. So, through a series of talks and workshops we started to connect with a cross section of the community. Many groups that had never met, that didn’t realize they were working on similar projects with shared goals, began to connect and share ideas. We began to create a network of shared knowledge, information, and resources within our community. Through that network, we pinpointed three major, on-going initiatives that we decided to launch, beginning in 2013. One is an affordable live/work space for artists and creatives that is also a place for incubation, of shared resources, small business development, potentially a marketplace, and a collaborative venue for creative people such as artists, architects, chefs, landscape designers, web designers.

BM It could even be entrepreneurs. CC And it will be affordable, providing opportunities for people who otherwise would not be able to live and work in Santa Fe to stay here, which is one of our key goals: How do you get Santa Fe’s youth not only to graduate from high school and

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RL Are you working with the local government, with Mayor Cross?

Yes. The mayor’s aware of it. We’ve started conversations with city councilors and, because we need city support and state tax credit financing, hopefully this will be a good project for them. But there will also be philanthropy and national grants. This is a project that’s been on the books for Santa Fe for years. Now we’re going to try to make it happen.

From left: Ric Lum discusses the latest happenings at Creative Santa Fe with Cyndi Conn, Bill Miller, and Laura Carpenter.

college here but to be able to afford to stay here as young professionals?

BM We’re doing the project in collaboration with Artspace, a nonprofit in Minneapolis. Artspace consults with folks like us who want to bring various parties together. It’s a multi-year, multi-step project, and it’s probably $12 to $18 million bottom line. The thing that’s neat about it is that the community investment is very low relative to the total project. Artspace takes responsibility for the management and ownership in perpetuity of the space, so that it is much more than a consultant: it’s the owner/operator of the facility, and it’s done this 30-plus times in the United States, so it knows how to do it. The operation is headed by a local board that it sets up, but they have policies, procedures, and they know how to do artist surveys, which is our next step. We’re trying to survey at least 3000 creative types, and not just visual artists but chefs, entrepreneurs, circus performers, you name it. The goal is to have something like a zocalo, a place where people can come and visit these young artists who we can now keep in Santa Fe because the space is affordable—and the city doesn’t have to do anything once it’s done. They don’t have to provide ongoing funding, they don’t have to provide any kind of oversight. What the city does is reap the gross receipts and property tax benefits.

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The bottom line is that teaming with pros like Artspace really makes this doable. We’re willing to take the local lead by working with nine or ten other nonprofits in Santa Fe to make this happen. Wherever Artspace happens, wherever you create a meeting place where artists live and work and can show their wares, other businesses start to spring up. The economic development impact is much bigger, potentially, than just the work/live space itself.

RL Have you been able to identify spaces? BM The next step is to survey artists to find out if they are interested in this kind of space. If so, would they live in it? How much could they afford to pay? Do they have special needs in the way of equipment, facilities? Where would they like to see it located? We’ve identified a couple of places. One would be on St. Michaels and another might be in the south Railyard district in the Baca Street area. There could be other sites, and we’ll find out based on the survey what the people who are going to live and work there really want. And we’re about ready to kick that off. By the time they do all the data gathering and the analysis, it’s probably four to six months of work. We’ll derive conclusions and then move on to the next stages of securing a location and preliminary design, etc.

CC And we’re working with a lot of the people that had initially come to Santa Fe with this idea. People originally from Beehive and other similar initiatives that began this discussion years ago, they’re now a part of this conversation as well. It’s a completely inclusive process.

RL Tell us about DesignLAB. LC Last year, we co-sponsored the inaugural DesignLAB, which I think turned out very successfully. That event is something we will continue to work with. DesignLAB is a Santa Fe–based annual juried competition in which artists and designers from throughout the Southwest submit entries based on certain criteria, and then the winning designs are shown at local galleries. This year it is going to be at SITE Santa Fe and David Richards Gallery. We participated in Re:Mike and have become a fiscal sponsor for it. We’ve also worked with Meow Wolf and the Santa Fe Arts Commission. We’ve tried to identify a lot of different groups to get to know what they’re up to and how they Summer 2013 TREND

Q&A

might be interested in working with us. RL Tell us about your second initiative related to walkability and connectivity.

LC There are two parts to bringing Santa Fe together. One is to create a more walkable city. We’ve focused a lot on biking, and that’s been terrific, but it was brought up in one of our first presentations that our sidewalks are really terrible. So we’ve begun to think about how to get people to be conscious of that aspect of the city, and how the city could be improved by becoming more walkable. Linking different areas of the city physically also becomes a way to link different groups. So it’s on two levels that we see the walkability and connectivity happen.

CC And there are examples throughout the country of backbone organizations— which is what we’re really becoming in this community—that operate without a competitive agenda and who instead focus on convening and networking groups. The purpose of this networking is to promote our specific initiatives but also to create community connections that can spin off into their own new collaborative projects. So that’s really one of our big goals—to get the community interacting and sharing information in ways that it otherwise might not. For our first walkability initiative, we will look at connecting the downtown Plaza to the Railyard. Basically, locals get in their cars to drive from the Plaza to the Railyard, and tourists have absolutely no idea how to get from one place to the other. We want to create a clearer path for locals and tourists alike to walk more. 46

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There is so much evidence that walkability boosts local economies, makes cities safer, greener, more beautiful, and draws tourism. In our first initiative on June 15, we are helping reopen the downtown DeVargas Skate Park, and are partnering with the park’s designer, Surrounding Landscape Architecture firm, as well as the City of Santa Fe, Santa Fe Skate School, local skating groups, New Mexico Arts, Santa Fe Botanical Garden, and Currents International New Media Festival, just to name a few, and this reopening is generating so much excitement and so much enthusiasm. We’re working with skaters who actually created their own Facebook page to begin this dialogue. We’ll have music, we’ll have performances. The street will be closed on DeVargas for the reopening, so we’ll ideally have some food trucks and it will be a very big festival. But beyond celebrating a downtown park that is equidistant between the Railyard and the Plaza, we are going to introduce the idea of expanding this project along the river. So the entire river dialog is addressed, and we will present many solutions for better use of our water, irrigation, and water catchment systems, in addition to more walkable sidewalks and more shady areas. Laura, do you want to talk about some of the details that Surrounding Landscape will be doing in DeVargas Skate Park?

LC Right now the river is isolated between a couple of walls, so you can’t really get to it. Surroundings wants to take down the wall on the DeVargas side and have it slope down, creating a multimodal trail

that runs below the underpasses so that bicycles and pedestrians can use it without having to cross the street. That’s part of the long-term plan, along with a small amphitheater. We would like to show that by getting people excited about what’s possible, we could build some public/ private partnerships that allow the city to make things happen faster.

CC And there would also be a new ramada that will provide shade and some permanent furniture, all sorts of new seating. The skate park is an urban plaza design—the national group Gridline is doing it. So when skaters aren’t there, the park functions as an urban plaza, where people can sit and eat and relax and it will be lit until 11 p.m. every night, which we’re finding is a very big need for Santa Fe’s youth—to have somewhere safe and well-lit to go and do things like skate and spend time together. So that is our second big initiative.

RL And your third? CC Our third is an initiative that we’re calling Explore Santa Fe, which is a community youth mapping project. We are working with Sherry Wagner, a consultant based in San Antonio, Texas. She has done these sorts of projects in the United States and was one of the main leaders spearheading and overseeing the entire San Antonio River Walk project. She’s working with us to build a curriculum for 4th and 5th graders. We will start with one pilot project in a public elementary school in Santa Fe, an after school program that teaches these kids how to map and survey

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Creative Santa Fe’s collaborative model sparks economy-boosting initiatives that welcome the input of all interested parties—with the ultimate goal of making Santa Fe a better place for both residents and visitors.

their community, not in just a literal sense of mapping, but also how you video tape, interview, explore, and start to really look at your community and how you fit within your community. And once they learn these basic skills—we’re using a STEM- and arts-based curriculum—and figure out what they want to do, we will actually work with the city to involve the kids in a project that is in progress in their neighborhood. And so they start to learn that they can have a voice in how their community is shaped. Not only do they learn that, but it also helps educate their families that they can get involved in that civic discourse as well. One of our main objectives is to bring new voices to the table so the same people do not always dictate how the city operates. It’s a whole new group of people speaking for the entire community, voices that otherwise would not be heard. For this partnership we’re also working with the Educational Development Center in Boston. They have been doing these types of projects throughout the world, and so they’ve chosen the project in Santa Fe to be one of theirs. We’re also partnering with the Jane Goodall Institute’s Roots and Shoots program that has been doing community mapping throughout the world. They have pilot projects in New York, Denver, and Los Angeles, and now they’re going to work with us on one for Santa Fe.

BM We really want to serve the entire community, not just the downtown/north side. And the south side is probably one of the most vibrant areas of Santa Fe today. You go down there at night around

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the cinema complex and the restaurants, where the Plaza restaurant is–there’s a lot of energy there, and we want to work with that. We’re thinking that the community youth mapping project might be a good project for the south side, the far south side to reinforce the idea that we need to make our neighborhoods more userfriendly for our children. So this is not just about high-end arts and culture—it’s much more than that. This is really trying to be grassroots and trying to make an impact that’s felt in the local community.

CC Another main, ongoing part of Creative Santa Fe is what we’re calling the Imagined Futures aspect of our organization, our “cauldron” of ideas. When we first started having public workshops and private talks, we started figuring out different opportunities that might ultimately become collaborative initiatives. We realized we had so many projects that could have a very deep and important impact in Santa Fe that we needed an incubation aspect. And so we work with those ideas, having private meetings with interested groups, and once we have the right collaborators, enough community buy-in, a very strong strategy for implementation, and possible funding streams, then that cauldron idea will come out as one of our next initiatives. And so there’s a whole group of projects—the three we’ve chosen were the ones that seem the most appropriate and that the community was ready for right now. But Laura, do you want to talk about some of the big ideas we have for the cauldron?

LC Happy to. I have always thought Santa Summer 2013 TREND

Q&A

Fe was a place where time slows down, and I’ve thought it would be a great place for people to meet and have conferences in a way that isn’t possible in larger cities where people are racing from one thing to another. Part of the idea is to do some sort of conference that makes it possible for people to have conversations that matter and talk about the things we’re facing as a community, and how Santa Fe might be able to incubate some of those ideas. And then also doing another kind of festival that brings an international audience here. We feel that we need to keep competing internationally, and getting our name out there. We’ve been unique in the United States because we are the City Different. I would like Santa Fe to continue to bring people here, because once they get here, a lot of them will come back. We’ve also had an idea for an online magazine that would really show off all the great things that are happening here, and take on some of the topics that we’re dealing with. Or perhaps some sort of graduate-level institute that operates like Black Mountain College [the experimental liberal arts college established in 1933 in North Carolina].

CC I want to emphasize that we invite collaboration. If anyone hears what we’re doing or reads about what we’re doing, and says “that’s exactly something I’ve been wanting to do” or “I have that in the works,” that’s where we invite everybody to the table. Because one of our main objectives as an organization is to remain small, nimble, and lean. We want to activate projects, help strategize how they’re going to be realized, work on collaborative impact and collective funding, and then let those projects go on their way with the appropriate leadership. We don’t need ownership of any of the projects. We want them to come to the table and be a part of what we’re doing and spearhead it. Lead it with us.

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“Our main objective is to remain small, nimble, and lean. We want to activate projects and then let those projects go on their way with the appropriate leadership.” —Cyndi Conn

BM It’s a challenge. And speaking of challenges, let me talk about the funding side of this, because I think people underestimate the difficulty of starting a nonprofit organization. One of our funding ideas is to try and bring in new money from outside of Santa Fe into Santa Fe, but that’s not to say we can get by with no Santa Fe financing—of course that won’t happen. However, I think the Artspace project is interesting in that the bulk of the financing won’t be from local individuals in Santa Fe or from the city of Santa Fe, it’ll be from a whole collaborative network of funders. So we’re trying to do something that’s collective, where we can have a broader impact through collaboration and partnership and philanthropy, where people come to us and say, “Okay, you’ve got a project, it’s a big project, it’s a multiyear project, and we’ll support that.” And these are things that no nonprofit could do by themselves; they’re not even thinking in these terms. If we can improve the lot of Santa Fe, it benefits everybody—the hotels, the restaurants, the nonprofits, the city government. The challenge is for us to become better understood in Santa Fe. We’re trying to do something on a larger scale with collaborative partners to make a real impact on the community. LC We didn’t dream this up completely, it’s part of the zeitgeist. A lot of major foundations are looking to fund groups who collaborate. We think that Santa Fe has the ability to attract additional funding if we put those groups together.

RL Are there any particular challenges given the city’s multicultural aspect?

BM How you engage the entire community is the trick. A lot of people have tried, and a lot of people haven’t been very successful, honestly. But take the community youth mapping project, for

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instance. It involves 4th and 5th graders, it requires teacher supervision, it’s after hours, it involves parents, it empowers these kids to think differently about their neighborhood, and it convinces them that they can make a difference. My personal wish is that we do this on the south side. I’d love to work with city councilors who represent those areas.

CC What Bill is using as an example is really the overall strategy. If you get completely disparate groups to work together on a project, there’s a place for mutual respect and for listening and learning what all these different groups represent, where the similarities lie, where the differences lie. Innovation really emerges at that cross section of diversity, not when all the same people in the same groups sit around the same table. We’ve determined that in these types of collaborative initiatives, people are not sitting around talking about what we could all do someday, they’re talking about who’s going to be in charge of each aspect, who’s going to do each part. When you get people to engage with an end goal, it makes it easier to create deep and respectful cross sectional/cross cultural relationships. It’s not tokenism, where we’re going to include somebody from every part of our tri-cultural community—it’s let’s get everybody involved who has a voice in this so everybody comes to the table with an equal say. Our initiatives have the potential for great socioeconomic benefits to the community, but maybe even more so, it’s getting the community to communicate and collaborate. BM The other survey we’re going to do for the Artspace project is going to extend to Española, the pueblos, the south side. If anybody knows groups that connect us with creative people—I don’t care what they do—then we need that. And that’s harder to get, frankly, on the south side and some other areas than it is in the

north side and mainstream Santa Fe.

CC But an example is the skaters that we’re working with. They are coming from different reservations, from the south side, from downtown, from all different schools. They’re already so engaged in this project that they’re a completely natural group to enlist in disseminating the survey. So each of our initiatives overlap in that community connection capacity. BM We’re evolving. We’re going to get better at this. None of us has done this before. I think what we can do is have the energy to pull the collaboration together, sort through the ideas, find out where we’ve got good partners who really want to work hard, where there’s a clear plan and a funding strategy. And we can help manage it. All of us are willing to take on tough new projects—that’s really fun. If they were easy it would already be done. And for us to make ourselves understood in the community is a big challenge. Because people say, “What do we need you for? What are you going to do?” They want a five-second elevator speech that answers those questions precisely. Well, it’s not that easy, unfortunately. This is more complicated, and it’s longer term.

RL Well, it mirrors Santa Fe—it’s complex. BM It’s not a simple place, and everybody has an opinion. If this effort is just about ideas and conversation, that’s not going to fly. It has to be about doing it, making something happen that has a real benefit to this community. If we can’t pull that off, then I will consider it a failure. It has to be tangible. People have to say, “Yeah, that works and, boy, we like it.” CC And people have to say, “I had a hand in making that happen.” For more information, visit creativesantafe.org Summer 2013 TREND

Acclaim of Thrones More than just places to sit, these iconic chairs have places in the heart as well as home BY HEIDI UTZ

TREND Summer 2013

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GABRIELLA MARKS

COLLECTORS

ur favorite chairs reveal much about what we valueâ&#x20AC;&#x201D;from stiff, formal, Victorian creations to more relaxed, even playful, midtwentieth-century designs that whisper the promise of richer, more beautiful lives. Chairs can reflect the spirit of the times, or at least times that are fondly imagined. They can bolster egos or demonstrate refined (or not-so-refined) taste. Some say they even offer insight into the human soul. Chair designers must address the competing concerns of ergonomics, materials, aesthetics, cultural trends, and technology. Yet they can also transcend these aspects, using the design to render their philosophies and wildest dreams in three dimensions. Six local aficionados recount how they discovered that special chair in their lives. Several embrace the work of Charles and Ray Eames, whose designs are perennial darlings among the creative class, especially the 1956 lounger. Indeed, the Eamesesâ&#x20AC;&#x2122; sculptural forms, use of new processes and materials, and fawning concern with comfort revolutionized Midcentury furniture design. Regardless of who designed their chairs, to their owners, each of them offer far more than just a seat.

Dennis and Beverly Little

GABRIELLA MARKS (2)

anta Fe Concorso honcho Dennis Little had just married his sweetheart, Beverly, in 1968 and had begun working as a designer at General Motors Design Studios while she taught elementary school. They were young, broke, and living in a diminutive apartment in a Detroit suburb. One day a coworker presented Dennis with the opportunity to purchase their first piece of furniture, an Eames 670/71 recliner and ottoman set. It had originally been intended to retrofit a Learjet, but the deal had fallen through. For $550, the richly grained rosewood and black, glove-leather lounger could be theirs. Temptation loomed large. “In its day, after the war, laminated and bent plywood was a new technology,” says Dennis. “It was a new look compared to others out there. It had this elegance and grace that was just timeless.” After the couple brought their Eames home, they hid the news from their parents. “They would have thought we’d lost our minds.” The icon of Midcentury Modern remained their lushly comfortable little secret, and a few weeks later Dennis’s draft number was called. Shortly thereafter, they purchased a sofa. The next day, they received the news that he was being sent to Vietnam. “We joked that we probably shouldn’t make any additional furniture purchases.” Dennis returned safely and went on to helm Cadillac Design Interiors. Today the recliner and ottoman sit in commanding splendor in their media room. Their parents would be pleased to know that the set’s value has risen to about $5000. While they’ve used it often over the past 45 years, the Littles still consider it an objet d’art. More recently they purchased a second, identical piece so that both of their design-savvy daughters can eventually have one. Their collection also includes a Le Corbusier LC4 chaise longue and Dennis and Beverly Little in their Eames recliners. Top: Their Le Corbusier chaise is another iconic lounger coveted by collectors. Marcel Breuer’s B3 “Wassily.”

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past historical examples to copy, Wright was creating unique work based on our time and our lives,” he notes. “Gertrude Stein wrote about the idea of ‘beginning again and again’ as we live in the ‘continuous present.’ This is what Wright was doing.” Wright deemed furnishings like the Robie House chair—which Prince purchased at auction—such an integral part of his design that his contracts sometimes stipulated that furniture could never be moved. Prince appreciates that Wright himself most likely designed this slab-back oak chair without delegating the task to his assistants. Prince’s studio also sports a duo of chairs from Delano Mortuary, a California funeral home Wright designed in the late 1950s. Similar in feel to those he created for Midway Gardens and Japan’s Imperial Hotel, these sturdy chairs have a circular, vinyl-cushioned seat and back made of tubular steel. Distinguished, yes. But comfortable? Well . . . Wright once quipped that he was “black and blue from too close an association with my own furniture.” Apparently, Wright sat in many chairs—but never his own.

COLLECTORS

Bart Prince

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Two styles, one architect. A pair of cushioned vinyl and metal chairs have a definite space-age vibe while the Robie House chair exhibits the angular lines we associate most closely with Wright’s Prairie Style designs.

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GABRIELLA MARKS (2)

rchitect Bart Prince and I are searching for his Frank Lloyd Wright chair in a model of the 1910 Robie House online. “Wow,” he says, looking at the massive, straight-backed dining room chairs, “those really ritualize dining. They’re a lot more Downton Abbey than anything we’d generally find in America.” Similarly, in 2013 it’s odd to stumble across one of Wright’s stiff, formal armchairs in Prince’s wild-and-woolly “spaceship” home in Albuquerque’s Nob Hill. But maybe this meeting of two radical minds is less incongruous than it seems. Like Prince, Wright in his day was similarly a maverick, creating a fresh style of architecture considered a century ahead of its time. Perhaps Prince recognized this when he made Wright a childhood hero, and later understood their philosophical attunement. As obliging and down-to-earth as his designs are extraterrestrial, Prince belongs to Wright’s lineage while expanding on his approaches. “At a time when most architects were looking to Europe or

Sal Hamdy

GABRIELLA MARKS

al Hamdy first glimpsed George Hunzinger’s Lollipop chair at one of Paris’s marchés aux puces 20 years ago. A young film student at the Sorbonne, he lacked the means to afford the $600 price tag but nevertheless fell hard for the stick-and-ball armchair and never forgot it. This January the Egyptianborn dealer discovered its peer at an Albuquerque auction and knew this time he wouldn’t let it get away. The whimsical chair now sits in his office among a roomful of 18th- to 20th-century European treasures at the recently opened Antique & Consignment at the White Swan. Hamdy admits that he’s cannily priced it to never sell, and hopes to take it and a colorful Gerard Rigot cat-shaped folk art chair home with him some day. Constructed circa 1870, the idiosyncratic Victorian-era maple rocker sports back carvings that do indeed resemble lollipops and a built-in upholstered seat cushion. A Germantrained furniture maker who was considered one of 19th-century America’s most innovative craftsmen, Hunzinger built the playful armchair to amuse his young daughter. Highly popular, oft-patented, and widely copied, the “protomodernist” was known for combining decorative style with machine production in his New York studios. While Hamdy prefers more to gaze at its beauty than sit in it, he describes the chair as amazingly comfortable and solidly built. “The way it’s carved, its appearance, the mechanism, everything about it is a piece of art that looks like it was designed in this century. And it’s never had to be repaired—140 years later, it’s still basically brand new.” Hamdy, who traded a film career to join his entire family in the antique business, says he hopes to one day hold an exhibit of unusual chairs in the massive Cerrillos Road warehouse they opened last September.

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Hunzinger used the distinctive lollipop stick-and-ball spindle on many of his works, including the platform rocker that captured Sal Hamdy’s eye—and heart—at an Albuquerque auction.

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Paul Stevenson Oles, FAIA

rchitect and illustrator Steve Oles has worked beside, and been inspired by, some of the key figures in 20th-century architecture. As a child, the architectural drawings of Eliel Saarinen intrigued him. He later attended Yale hoping to study with Eliel’s son, Eero. Shortly after grad school, Oles worked for Bauhaus innovator Walter Gropius, as the younger Saarinen also had. So it’s no surprise that the living room of his self-designed, LEED-certified home holds one of Eero’s signature creations, the Womb chair (1948). While intentionally creating a sculptural piece, the pragmatic Finnish furniture-maker-turned-architect was also driven by ergonomics, yielding a chair that Oles deems “famously comfortable.” Its soft, organic form—which drew on designs he developed with Charles Eames—invites you to curl up in it for hours on end. In a welcoming, minimalist room perched above city lights, the cushioned fiberglass-on-steel frame chair sits diagonally across from its Midcentury peer, the Eames 670/671 rosewood lounger. As Saarinen and Eames were friends, collaborators, and kindred spirits, Oles likes to imagine that the chairs whisper secret conversations late into the night. Oles—who served as I.M. Pei’s preferred architectural illustrator for 30 years on projects that included the National Gallery of Art, the Grand Louvre, and the Javits Center—has a great appreciation for Charles and Ray Eames, who top his pantheon of heroes. “I admire their playfulness, inventiveness, joie de vivre, and audacity. They really drank it in, which was very inspiring.” He purchased their best-known chair, derived from a plywood sculpture by Ray Eames, three years ago. He calls the classic lounger a culmination of the entire history of their work. “It’s 97 percent of perfection, though still a work in progress. If Charles were alive, he’d still be tinkering with it. The armrests alone had 13 iterations. But nevertheless, it works so well for so many people that it’s classic with a capital C.”

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TOP: PETER OGILVIE (2); BOTTOM: GABRIELLA MARKS (2)

COLLECTORS

Susan Bell

PETER OGILVIE

hen restoration architect Penelope Hartshorne Batcheler married fellow architect George Dewey Batcheler in 1968, she presented him with an unusual wedding present: an Eames 670/71 recliner. A preservationist who worked for the National Park Service, Penelope became the chief architect on the 1960s renovation of Philadelphia’s Congress Hall and Independence Hall, leading to the rebirth of that historical district. Her longtime Quaker spouse was more of a Modernist, who built hospitals and designed the city’s Friends Select School. Together the duo became well-known movers and shakers in Philadelphia. When they renovated a Georgian-style rowhouse on the cobblestones of Society Hill, the well-loved chair occupied a prominent place amidst Penelope’s preferred Scandinavian modern touches, a nod to her architectural work in Sweden. For the past four years, the chair has graced the Santa Fe home library of their niece, Susan Bell, where it fits right in. “With its worn brown leather, it looks just like an old book,” Bell says. The Santa Fe artist adores Eames chairs, and calls it the most comfortable seat in the house. “Before the word ergonomic came into existence, the Eameses were talking about it. My husband [photographer Peter Ogilvie] and I use the chair all the time.” Accompanied by an Eames molded plywood lounge chair, the two pieces together, says Bell, epitomize the very best of the period. “They look great and sit great, but,” she continues, echoing the sentiments of chair lovers everywhere, “they take a particular command of the space, so you have to have them in the right place. You can’t put them just anywhere.”

Susan Bell’s Eames recliner and ottoman are more than art pieces—they are treasured family heirlooms that occupy a place of honor in her home. Opposite: What makes a chair more than just a place to sit? The ability to combine comfort as well as beauty, to inspire daydreams as well as encourage rest. For Steve Oles, the Womb Chair and 670/671 lounger perfectly embody that spirit.

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Garth Clark

eramics gallerist, critic, and historian Garth Clark and his partner, Mark Del Vecchio, had long been fans of the work of industrial designer Russel Wright, whose early dinnerware designs they’d collected for years. So when a margarita-induced spree at the New York Modernism Show found them saddled with two Norman Cherner plywood chairs that ill-fitted their bodies, they were happy to trade with famed Midcentury Modern dealer Mark McDonald for a pair of Wright’s 1935 American Modern chairs. Set on persuading Americans to embrace Modernism during the 1930s, ’40s, and ’50s, From left: Del Vecchio and Clark appreciate their Russel Wright chairs for their Wright created his most popular furniture solid, no-nonsense construction. They’re comfortable, too, as their furry friend line for Conant Ball from 1935 to 1939. These most likely can attest. At least when Clark and Del Vecchio aren’t looking. large, American Streamline–style, blondewood recliners sport a maple frame, a combined armrest and front leg, a sturdy ladder back, removable leather cushions, and a matching ottoman. Like several of his peers, Wright hoped to bring sophisticated design to the masses by creating midrange seating that was both stylish and comfortable. “What I enjoy about this chair is that it takes the basic technique of [Michael] Thonet’s bentwood Art Nouveau lyricism and replaces it with a solid, streamlined aesthetic,” says Clark. “It’s a very 1930s American style of furniture, less refined than its European counterpart, more pioneer.” Clark also admires its rugged strength and large, welcoming leather cushions. “It’s not effete or precious. It even creaks and groans at times, which . . . is part of the chair’s charm, chattering when I relax. It’s almost a greeting.” The chairs sit before a large window in their home’s guest room, overlooking a desert garden and the Santa Fe National Forest foothills. Says Clark: “Sitting there watching the sun go down in the evening with a Pinot Noir is a joy.” R

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COLLECTORS

2013 SEASON

ASPEN SANTA FE BALLET ASPEN SANTA FE BALLET ASPEN SANTA FE BALLET ASPEN SANTA FE BALLET ASPEN SANTA FE BALLET

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PROGRAM A JULY 12 & 13 PROGRAM B AUGUST 31 THE NUTCRACKER DECEMBER 21 & 22

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Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. If this logo is to be used 2 inches or smaller, please use the one below. The smaller logo’s zia has no black outline.

PHOTO: LOIS GREENFIELD

JAVIER LOPEZ BARBOSA

“Uplifting Angel” Oil/MM on Canvas 58 X 52

MARK WHITE CONTEMPORAY 1611 PASEO DE PERALTA S A N T A F E , N M 8 7 5 0 1 505-982-2073 www.markwhitecontemporary.com

Woods Design Builders is known for exceptional design and craftsmanship in high-end homes, remodels, and additions featuring the firm’s signature classic and timeless Santa Fe style. The oldest family owned and operated design-build firm in Santa Fe, Woods has earned numerous top awards for design, craftsmanship, green building, and energy efficiency. Trend asked the Woods team—Sharon and her sons Shane and Rob Woods—about their recent projects, vision, and award-winning approach.

WOODS DESIGN BUILDERS

What have you worked on lately that you’re most proud of? We are really proud of the wider range we’re doing both stylistically and geographically. Our current projects are a 7000-square-foot ski-in/skiout mountain cabin at Taos Ski Valley; a Northern New Mexico–style ranch in El Vado, NM; a historical renovation in Old Town Albuquerque; and multiple remodels and new custom homes in Santa Fe. What’s most important in the company’s approach to designing and building a home? Listening to our clients is paramount. They are integral to our approach, our success, and the success of all our projects. Clients bring their own vision and ideas, and we view our relationship with them as a collaboration and do everything we can to give them their dream home. We design and build our clients’ homes around their particular lifestyle and needs. Every Woods home is unique because of what each individual brings to a project. What’s your philosophy about incorporating the land into your projects? Our goal is to incorporate Santa Fe’s stunningly beautiful natural features—the views, mountains, blue skies—into our projects. A Woods home appears to be born out of the land, comfortably nestled into the landscape, with large rooms opening up to sweeping portals overlooking expansive views. What are some key green-building elements that commonly go into your

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projects these days? Green-building materials and practices are becoming more affordable and easier to retrofit. Currently, we are working on a large remodel that will be heated and cooled by geothermal technology, will recycle water through a graywater system, store rain water with a 15,000-gallon cistern tank, and all exterior walls will be coated with a layer of polyurethane foam—resulting in extremely low energy usage. Green homes can be achieved without compromising the desired aesthetic or breaking the budget.

Why should a client choose a designbuild firm such as Woods over hiring an independent architect and contractor? We believe the design-build concept is the most effective approach to ensure the success of a project, both aesthetically and financially. Often when a client hires an architect independently, costs can be significantly higher and an adversarial relationship can exist between the architect and contractor. The Woods Design-Build approach is team oriented, with the architect, designer, construction manager, and client all working together to overcome obstacles and deliver a project on time, within budget, and that exceeds the client’s expectations. Woods has perfected this process. We want the journey to be exciting, creative, and satisfying for our clients. What separates Woods from the rest of the pack? Woods has been building homes locally for almost 40 years and we have the best reputation in town. We are a family-owned firm deeply vested in the success of each project and in taking care of our clients from the moment they walk through our door until long after their project has been completed. This commitment to excellence and dedication to client service translates into the perfect home that we hope our clients will cherish. A Woods home features the highest quality of materials, pride in craftsmanship, and impeccable attention to detail. Our goal is to exceed our clients’ expectations in every way possible.

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Woods Design Builders 302 Catron Street Santa Fe, NM 87501 (505) 988-2413 woodsbuilders@earthlink.net

Design Wave

BY THOMAS LEHN

New conversations in product design

n this post-mechanized era of digital manufacturing, industrial designers are creating products with seamless fluidity, balancing hand and computer savvy to render useful objects with evocative sensibilities. Some of Santa Fe’s top design showrooms present buyers with the opportunity to access the work of several of these contemporary, globally recognized industrial designers. Each designer offers a unique conceptual position: Some utilize cutting-edge technologies and innovative materials, while others produce intriguing forms using traditional methods. Together, they present a compelling body of work that explores the expanding relationship between form and function in this new era of f lexible production. They are also exploring the various ways in which digital fabrication alters traditional design processes, and how these technologies can help artisans craft products that speak more powerfully to our emotions and interface more intuitively with our needs. Currently, many product manufacturers have shifted their production from traditional handmade and machine-made techniques involving subtractive processes such as cutting, drilling, and shaping to a totally integrated digital system that involves additive processes. Computer-aided manufacturing (CAM) accomplishes this by quickly fabricating physical parts, assemblies, or scale-model prototypes using three-dimensional computer-aided design (CAD) data. The technologies are groundbreaking in their application: Three-dimensional printing makes solid objects of virtually any shape from a digital model by using an additive process in which resinous materials are laid down in successive layers to achieve dimension. Scanning in 3D allows real objects to be replicated without the use of expensive, difficult, and damaging molding techniques. Computer numerical control (CNC) is a milling system that consists of a table that moves in the x- and y-axes, and a tool spindle that moves in the z-axis (depth). And motion capture technology borrowed from the animators of film and computer games translates movement into 3D files, allowing industrial designers to literally draw in space. Yuki Murata owns New Mexico–based Moderngoods, which specializes in contemporary bone china tableware. Her Japanese and American heritage informs her aesthetics and reflects

The soaring, wing-like backs of Yves Béhar’s Sayl Chair (this page and opposite top) were influenced by the structure of San Francisco’s Golden Gate Bridge. Manufactured by Herman Miller, it is available through Design Warehouse in Santa Fe. Opposite: A tumbler from Yuki Murata’s Smush series. This and other pieces in the line are carried at Victoria Price Art & Design in Santa Fe.

OPPOSITE PAGE AND TOP: COURTESY OF HERMAN MILLER; BOTTOM: BABAK DOWLATSHAHI @ INSIGHT FOTO

a passion for working with organic form. Trained as an architect and product designer and skilled in AutoCAD drawing techniques, Murata nonetheless prefers to draw and craft her master prototype. As she says, “Nothing replaces the tactility of the hand.” Her work has the precision and clarity of digital production while maintaining organic sensibilities. Contrary to most of her contemporaries, Murata’s process is intentionally non-digital. For her, the digital process gets in the way. “AutoCAD changes the way I think about designing,” she says. She finds that the slower speed of drawing and manually crafting objects is more creative. Her method—the age-old process of ceramic slip casting—allows her to reveal the unique spirit of vessel making as demonstrated by the items in her Smush series. She has even gone so far as to instruct her manufacturers to further “smush” each vessel a little when they come out of the molds. This approach results in pieces that are each uniquely imperfect, touched first by Murata’s own hands when making the original forms and then by those who mass-produce them. On the other extreme is the design group Front, based in Stockholm, Sweden. Front was established in 2003 by four friends—Sofia Lagerkvist, Charlotte von der Lancken, Anna Lindgren, and Katja Sävström—who met while students at the city’s industrial design program at the University College of Arts, Crafts, and Design (Konstfack). Front’s Blow Away Vase, designed for the Dutch interior design manufacturing company Moooi, starts off as a classic piece in the Royal Delft style. It is then given a “twist,” as if blown to one side by a great gust of wind. Front’s designers achieved this incredibly realistic distortion using CAD and animation software, which then served as the model from which they created an intricate mold to preserve the fluidity of the shape in rigid porcelain. Recently acquired by London’s Victoria and Albert Museum as part of their permanent ceramics collection, Blow Away Vase is an amusing commentary on our dynamically changing global culture. Front also employs an innovative method to materialize

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freehand sketches. Advanced digital techniques are combined to achieve this process: For their series called Sketch, they utilized a program that allows the user to draw in space using a special pen that emits trails of light. Motion capture records the illuminated pen strokes and turns them into three-dimensional digital files. Next, they employ a method that translates those gestures into a digital graphic representation that they then develop into a three-dimensional object through rapid prototyping. Finally, the light sketches become actual pieces of furniture. These works are based on common discussions, explorations, and experiments by Front’s members, each of whom is intimately involved from concept to final product. The completed objects communicate stories to the observer that go beyond the utilitarian; at a deeper level they comment on the processes involved in their creation, the materials used, and even design conventions within the field itself. While upholstered furniture is traditionally constructed upon a frame built from metal, plastic, or wood, Bradley Quinn, author of Textile Futures, explains that a few cutting-edge designers are integrating textile techniques into their work to create seat, frame, and surface in a single gesture. These designers are exploring the use of memory materials, flexible supports, carbon filaments, and aramid fibers (also known as Kevlar®). As a result, traditional techniques like weaving, crocheting, braiding, and felting are now integrated into furniture that doesn’t require a conventional frame. Marcel Wanders is a textile provocateur/designer exploring this new structural development. As part of his Dry Tech series produced by Droog Design in 1996, Wanders designed Knotted Chair, a lightweight lounger completely fabricated from aramid fibers. Using a technique similar to macramé, Wanders knotted aramid braid around a carbon-fiber core, dipped it into epoxy resin, and then hung it in a frame to dry. The result is a hardwearing, lightweight chair that is flexible yet strong. Yves Béhar also takes an out-of-the-box approach to furniture design. “I believe design’s purpose is not only to show us the Summer 2013 TREND

Design Wave

COURTESY OF FRONT DESIGN GROUP

Sketch performance by Front using motion capture technology. Below right: A grouping of Sketch furniture fabricated by rapid prototype technology. Below left: Horizon Light, designed by Peter Stathis and Michael McCoy, is manufactured by Humanscale and available at Victoria Price Art & Design. It is also included in many permanent design collections, including New York’s MoMA and the Smithsonian’s Cooper Hewitt National Design Museum. Opposite: Front’s Blow Away Vase, manufactured by Moooi, is available at Molecule Design in Santa Fe. Knotted Chair, designed by Marcel Wanders for Droog Design, is in MoMA’s permanent collection and available at Molecule Design.

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TOP: COURTESY OF MOOOI; BOTTOM: COURTESY OF CAPPELLINI

future,” he says, “but to bring us the future.” As the founder of fuseproject, an industrial design and branding firm established in 1999, Béhar’s work embodies modern interpretations of classic designs with an eye towards sustainability. His Sayl Chair is such an example. The concept evolved after Herman Miller asked Béhar to design an affordable chair that would incorporate the renowned manufacturer’s dedication to eloquence, ergonomics, smart engineering, and sustainable use of materials. Béhar, who lives in San Francisco, began by researching designs that deliver the most function using the least amount of materials. This led him to take a look at his city’s best-known landmark: the Golden Gate Bridge. As Herman Miller’s website states:

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“The 3D Suspension Technology in the Sayl Chair is a breakthrough in seating technology. The suspension material is stretched from the Y-Tower at the back of the chair just as cables are stretched from the towers of a suspension bridge.” This not only allows for a better range of body motion, but creates an object that resonates with users on an emotional level as well. For all its functionality, the chair is also strikingly beautiful. Herman Miller’s aggressive plan to meet significant sustainability goals by 2020 means that Béhar’s chair, along with all of the firm’s other products, will have a zero carbon footprint and will generate zero hazardous waste and zero air emissions (VOCs). The company also plans to achieve 100 percent of sales from its DfE-approved (Design for Environment

team) products by that date. Horizon Light, designed by Michael McCoy and Peter Stathis for Humanscale, is remarkable for its simplicity, utilitarian operation, and graceful appearance. Michael McCoy says that as technology becomes more complex, “It is the designer’s role to create a more satisfying and intuitive experience with the products they design.” Objects, he believes, should communicate how they are to be used and what they can do for us through their form. In order to do this, the design incorporates the concept of “shape coding,” in which the form naturally explains its function. This concept, a derivative of the industrial design term known as product semantics, indicates an increasing preoccupation with reinterpreting the ways in which form, decoration, color, and other visible product Summer 2013 TREND

Design Wave

features can communicate additional meaning to consumers and users. In designing Horizon Light, McCoy and Stathis employed spherical joints at the lamp head and base to communicate its fluid adjustability to any desired angle. “Everyone can look at a spherical joint and immediately understand its possibilities based on their life experiences with that kind of mechanism,” says McCoy. “Other kinds of lamp mechanisms, with multiple and sometimes hidden pivot points, don’t communicate the possibilities or the operation as clearly.” Unlike most lamps produced today, the slender rectangular head of Horizon Light is free of the annoying glare normally associated with LED lighting. Through the use of a completely new technology called Thin Film LED, a soft, warm light is emitted instead. McCoy and Stathis also intended to create a simple integrated form—rather than a mechanical contraption with many parts—by reducing the number of main visual elements to three: the lamp head, the base, and the support arm. By doing so they achieved an elegance that is unmatched in current lamp design. Horizon Light is also a sustainable, cradleto-cradle product. Not only does its design dramatically minimize the number of component parts, it is engineered for efficient disassembly, consumes only 9 watts, and lasts for 25 years. As digital production continues to evolve, questions arise in the minds of designers and consumers alike. Will this technology lead us to a more resourceful future while maintaining a minimum carbon footprint? How will our traditional handmade values integrate into this new idiom? And, now that we have precise, rapid technology available, will it lead designers to a more fluid integration of pragmatics and poetics? The answers will surely evolve along with the technology, but one thing is certain: these designers and others like them will keep pushing the envelope to sustain our needs as well as our desires. R 68

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khang pham-new Khang Pham-New with "Escutcheon" Yellow Granite 72" high © KPN

ÓInfinityÒ © Khang Pham-New

Red Granite

114" tall

On view at Glenn Green Galleries + Sculpture Garden in Tesuque, New Mexico

Peter Woytuk working on "Elephants" plaster models in his studio 2013.

ÓElephantsÒ © Peter Woytuk

Bronze

12' high x 20' long

peTer woyTuk

+ SculpTure garden Santa Fe-Tesuque: Gallery & Sculpture Garden (Five miles north of the Santa Fe Plaza) 136 Tesuque Village Road Santa Fe, New Mexico 87506 505.820.0008 Scottsdale: The Phoenician Resort 6000 E Camelback Road Scottsdale, AZ 85251 Take an online art tour: glenngreengalleries.com

OUTLOOK

BY SUSAN BELL | PHOTOS BY PETER OGILVIE

Bleached oak floors echo textured concrete walls that appear to float beneath the perforated concrete ceiling. Glass railings preserve the sense of openness and flow between rooms, stitching both floors together. Opposite: The fourth show to be mounted since the museumâ&#x20AC;&#x2122;s opening in 2011 is called Red/Yellow/Blue (and Black and White): Clyfford Still as a Colorist. Thoughtful sight lines weave the spaces together in graceful choreography and allow paintings to be seen from afar.

Proportion and Principle

Denver’s Clyfford Still Museum

here are few museums in the world devoted to the work of a single artist—think of the Picasso Museum in Paris, Georgia O’Keefe Museum in Santa Fe, Andy Warhol Museum in Pittsburgh, and Donald Judd’s installations in Marfa, Texas. And now, Denver has the Clyfford Still Museum. After seven years of negotiation and construction, the 28,000-square-foot exhibition and study center opened in November 2011. Without a doubt, it is another jewel in the city’s significant and sophisticated civic crown, representing a successful partnership between public and private interests. Those unfamiliar with the story of the museum’s establishment, however, might have a few questions. Why Clyfford Still? And, why Denver? The answers reveal a fascinating and baroque story that involves a singular artist with an abiding desire to control his legacy, an eccentric one-page will, a visionary mayor, and a passionate group of donors. The saga begins with Still himself. Not as widely known as some of his contemporaries—Mark Rothko, Jackson Pollock, and Willem de Kooning—Clyfford Still is nonetheless one of

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the giants of Abstract Expressionism, the uniquely American art movement that began after World War II and dominated the international art world for three decades. Abstract Expressionist canvasses tended to be large, enveloping the viewer (some say because the artists worked in such huge lofts). The critic Clement Greenberg called them “action painters” and, indeed, their bold painterly gestures abandoned all recognizable imagery. Still was one of the earliest painters to develop a mature style in this mode, and he is widely acknowledged as one of the movement’s most significant contributors. His friend Jackson Pollock said of him, “Still makes the rest of us look academic.” Still’s work and teachings were extremely influential in California before he made the inevitable move to the East Coast. Between 1946 and 1951, he frequently commuted between California and New York, making the trip in his beloved Mark IV Jaguar. Though living in San Francisco, he was intimately aware of the work that was being done on the opposite coast. In 1951 he moved to New York City, the epicenter of the contemporary art world, the place where the Abstract Expressionists and their Summer 2013 TREND

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In the “yellow” gallery, eight paintings from different decades— all using vibrant yellows—demonstrate Still’s evolving style.

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OUTLOOK

Still’s late paintings reveal more and more of the natural canvas, which becomes an essential element, as in this explosive black and white work, PH-929, from 1974.

colleagues, dealers, friends, and hangers-on painted and talked, argued and painted. Living by a self-styled set of Calvinist-like principles, Clyfford Still was one of the most exacting and cantankerous of the Abstract Expressionists. He tightly controlled who bought, showed, and collected his work. He once even gloated that he had deliberately sold New York’s MoMA an inferior copy of a piece in which they had expressed interest as revenge for not choosing the painting he actually wanted them to buy. Painting was a serious matter for Still. “These are not paintings in the usual sense,” he wrote, “they are life and death merging in fearful union. As for me, they kindle a fire; through them I breathe again, hold a golden cord, find my own revelation.” These emotional extremes are evident in his thickly troweled, almost violent slashings of color and in his work’s immense space and sheer size. For example, PH-247 (1951), which currently hangs in the museum, is a giant blue beauty at a full 16 feet by 10 feet. It doesn’t just envelope viewers; it nearly devours them. Still was also powerfully articulate. When he believed they 76

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were not living up to his ideals, he used this skill to eviscerate critics, potential collectors, art galleries, museum curators, dealers, and even his own contemporaries. He is the only artist to refuse an invitation to the Venice Biennale, citing the artistic and political “machinations of such exhibitions.” He ruthlessly cut ties with friends such as Rothko and Barnett Newman when he felt they were selling out to the art establishment. He once went so far as to visit a friend’s house and cut his own painting out of its frame because he objected to the way it was displayed. Then there is the famous rant to a critic whose review he detested. He mailed her a scathing letter along with a pair of rubber pants. After a decade in New York, Still and his wife, Patricia, moved to a farm in rural Maryland. It was a retreat from the art world he had come to despise, but hardly retirement: Still continued to paint and carefully orchestrate the dissemination of his work. He would appear at intervals that, in retrospect, seem calculated to keep him in the public eye—but just enough. Shows of his works were mounted at the Los Angeles County Museum of Art and the Institute of Contemporary Art at the

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Not wishing to detract from the pure emotion he was determined to evoke, Still used numbers in lieu of actual titles. This ravishing blue painting from 1951, PH-247, stretches a full 16 feet across.

University of Pennsylvania. He maintained his connection with the Albright-Knox Art Gallery in Buffalo, New York. There were solo shows at the San Francisco MoMA and the Metropolitan Museum of Art, both essentially curated by Still himself. He even went so far as to dictate the color for the wall paint—Benjamin Moore White No. 14-4. Astonishingly, during his lifetime only 150 paintings were sold to collectors or gifted to institutions. At the time of his death in 1980, over 94 percent of his life’s work was carefully preserved in his Maryland studio. Much of it had not been seen since early in his career and equally as much had never been exhibited or seen at all. Nor would they be any time soon. All of the 2400 works in the estate—roughly 825 paintings and 1575 works on paper, estimated to be worth in excess of $1 billion—were shut off from public view and scholarly study. Clyfford Still’s one-page will was calculated to preserve his legacy in exactly the manner he chose. As emphatic in death as he was in life, Still decreed that all his artwork comprising his entire estate be given to an American city willing to construct

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“permanent quarters exclusively” for the complete collection and to “assure their physical survival with the explicit requirement that none of these works of art will be sold, given, or exchanged, but are to be retained . . . in perpetuity for exhibition and study.” There were, of course, many municipal suitors for this collection, but circumstances—and a bit of luck—brought it to Denver. As she grew closer to her 80th birthday, Patricia Still, sole executor of her husband’s estate, reached out to her nephew, Curt Freed, a research physician who lives and teaches in Denver. She asked him to explore the possibility of locating the collection in that city. Part of her interest was undoubtedly the fact that Denver reflects many of the values that Still himself admired: It is distinctly western, but with a newness that encompasses a forward-looking civic ethos. It is also a city perched between towering mountains and the American short grass prairie, echoing Still’s own upbringing in North Dakota, Canada, and eastern Washington. In 2004 Denver’s newly elected mayor, John Hickenlooper— along with Freed and members of Denver’s Office of Art, Summer 2013 TREND

Brad Cloepfilâ&#x20AC;&#x2122;s quiet rectangle sits solidly in the shadow of the soaring angles of the Denver Art Museum. Vertical, irregularly spaced cedar slats protect the ground floorâ&#x20AC;&#x2122;s archive room and the southwest terrace from the harsh western exposure. A grove of sycamores on the northern plaza will mature to soften the concrete walls and welcome visitors with a green bower in summer and sculptural form in winter.

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Culture, and Film—brokered a deal with Patricia Still to designate Denver as the home of both the Clyfford Still and Patricia Still estates. Sadly, Patricia would not live to see their dream manifest: she died the following year at the age of 85. The city acquired the land, and with the broad participation of multiple partners, city government, the Denver Art Museum, and many founding members of the museum, raised $29 million to fund the project. However, museums require an on-going source of funds to perpetuate their work of scholarship, preservation, curatorial responsibilities, and operating expenses. To enable the museum to carry out these responsibilities, four paintings from Patricia’s private collection of her husband’s work were sold at auction, raising a staggering $111.4 million and ensuring that Clyfford Still’s wishes would be honored in perpetuity. It was good fortune that Hickenlooper, now governor of Colorado, was well versed in the ideas of the urban theorist Richard Florida. Florida’s recipe for a vital city is the deliberate cultivation of a rich cultural center—one that draws residents and visitors to live, work, visit, and use the city center. Hickenlooper had similar visions for Denver, and today the concept seems to be working. The Civic Cultural Center Complex comprising the Denver Art Museum’s two eclectic buildings, the complex forms of the Michael Graves–designed Denver Public Library, and the esplanades and outdoor spaces connecting them with the Clyfford Still Museum are crowded even mid-week. Lofts, work spaces, boutiques, galleries, and restaurants continue to replace many of the district’s parking lots and dilapidated old buildings. Brad Cloepfil of Portland’s Architectural Alliance was chosen to design the museum, although Still, ever in control, had specific stipulations concerning its function. For example, although the sale of books and postcards would be allowed, there could otherwise be no cafe, auditorium, or store. As a result, the Clyfford Still Museum may be the only one in the world where one cannot buy a tote bag. Because the museum is home to such a large body of work, at any given time only a small number of pieces are shown in carefully curated exhibitions. The current show, mounted by the museum’s director, Dean Sobel, and adjunct curator, David Anfam, is the fourth since its opening. It is easy to imagine that Still would admire Cloepfil’s design, for the artist’s paintings rest beautifully in the spaces. Deeply textured, poured in place, board-formed concrete walls define the grounded, boxy structure. It sits with quiet strength in the shadow of the enormous titanium-clad bird shapes of the Denver Art Museum, designed by Daniel Libeskind. The two buildings complement each other and will do so even more once the grove of sycamores planted at the Clyfford Still Museum’s entrance matures. A deeply shaded reception area greets visitors on the first f loor, which also houses conservation studios and displays of various Clyfford Still artifacts, including his palette knives. Upstairs, nine rectilinear galleries unfold in a graceful rhythm.

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Still’s severe self-portrait from 1940 commands from the top of the stairs as the visitor ascends from the lobby. But his gaze also penetrates multiple galleries, ever asserting control of his domain. He would undoubtedly approve.

First come three smaller rooms filled with work from the 1930s that illustrate Still’s evolution to pure abstraction. Then the galleries open to reveal perfectly proportioned larger rooms that exhibit his enormous paintings on soaring walls under beautifully controlled natural light. The ceiling is comprised of a series of oval perforations, set on the diagonal, that are controlled by light-sensitive shades that respond to the day’s continual shifts in illumination. Enhanced by straightforward incandescent lighting, they ensure that Still’s works are seen under the most optimal of conditions. Two outdoor terraces shaded by cedar slats and planted with native grasses offer visual and physical respite from the explosive energy of the paintings. The sight lines from gallery to gallery are spectacular, allowing viewers to experience isolated paintings from a great distance. Cloepfil had the enviable task of knowing exactly what these galleries were to display. He knew their scale and he knew their power. His is a pitch-perfect home for Clyfford Still’s monumental work. Lucky Denver. Lucky us. R Summer 2013 TREND

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Art for what Burdick called in her article “urban theater on a massive scale,” did it also prepare the way for the commodification of visual culture? Or would we have gotten there on our own, lifting the consumption of art into what Miami–based art collector Jeff Gelblum describes as a “bubble,” not unlike other such financial dystopias as The Netherlands’ 17th-century “tulipomania,” the dot-com boom of the 1980s and ’90s, or the housing bubble that burst in 2008 and continues to plague us? With the decline of real estate as a sure moneymaker, super-wealthy collectors have, according to many critics, ruined the art market by treating it as 0recent article, “Dave Hickey’s Politics of Beauty” in the Chronicle of Higher Education, MacArthur-award-winning critic Hickey points out that “art, like money, has no inherent value. Both are embodiments of a promise—in the case of art, that the experience of beauty can be sustained by owning it.” Essentially, then, art is valuable only because we’ve agreed that it is. And the more money a painting goes for, the more we value it—for its social meaning as a fetish rather than for any

Shiny New Toys

Trophy Hunting in Today’s Art Market BY KATHRYN M DAVIS

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LEFT: KATE RUSSELL; RIGHT: COURTESY OF JAMES KELLY

ne hundred years ago, the International Exhibition of Modern Art in New York City, universally known as the Armory Show, boosted awareness in the United States of the “new spirit” that was Modern Art—amid delicious scandal and glorious gossip. Despite chortles by critics (The New York Times described Marcel Duchamp’s Nude Descending a Staircase as an “explosion in a shingle factory”), Modernism wasn’t about to go away. More than 75,000 people visited the Armory Show, and when it traveled to Chicago and Boston, another 250,000 spectators gawked and guffawed. Students at the School of the Art Institute in Chicago burned effigies of those appalling new Modernists, Brancusi and Matisse. The art of the spectacle—and its doppelgänger, spectacle as art—had been born. And it has yet to disappear. In her December 2012 Financial Times article about the event, Ariella Budick noted that “America’s first blockbuster show, which was promoted with the flair usually devoted to Broadway spectaculars . . . was impossible to ignore.” The significance of the centennial anniversary of one of America’s earliest Modern Art events cannot be overlooked. Today, its descendents engage in similar extravaganzas of self-promotion and overhyped sales records. If the first Armory Show truly harnessed Modern

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inherent aesthetic or material value. The old dictum to “buy art you love” has been replaced by the canvas as a commodity sold by volume. During pre-recession Art Basel Miami Beach, I actually overheard two couples weighing the investment value of a Mark Rothko painting by the square foot as compared to paintings made by a lesserknown, non-trophy artist. For them, Rothko was the better bet. These days, few doubt that “art collecting is in a disarray,” as Garth Clark posits. Clark and his partner, Mark Del Vecchio, brought ceramics from craft status into the prestigious, if somewhat bewildering, realm of Post Modern art. The couple lives in Santa Fe, New Mexico, but continues to be globally renowned, not only for their decades of work as gallerists in New York and Los Angeles but also for their books, curatorial practice, and critical presence. They happen to have quite an art collection, too. In addition to clayworks, it’s comprised mostly of photography and works in several mediums by mid-career artists from around the world. Hardly the stratosphere that Clark laments. For Clark, high-end art fairs and their shockingly wealthy clients are to blame for the decline of a

Installation of a recent exhibition of works by Arlene Shechet at James Kelly Contemporary. Kelly has been nurturing relationships with his collectors for years.

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working- and middle-class clientele for artists and galleries. Never afraid to be direct, he sums up the current state of the art market: “To fly around the world, from Basel to Miami to Hong Kong or wherever the next big fair is happening, is for wealthy jackdaws with private jets.” The media contributes to the mythology that art collecting is only for the 1 percent by covering such spectacular purchases as the record-breaking sale last summer of Munch’s The Scream for $120 million, making it the most expensive artwork ever sold at auction to date. Its buyer, Leon Black, made headlines again recently by purchasing the bankrupted Hostess Brands. Black’s shopping habits are not inherently wrong in and of themselves. In fact, I say more power to him and his company, Apollo Global Management, for saving the Ho-Ho. The point here is that an economic disparity of this staggering an extent ensures that the rest of us can consider ourselves lucky to buy poster art and eat Hostess Twinkies. Writing this year for the London art fair Collect, Clark proposed the Teeter Totter Principle. He describes it this way: “Think of the gallery as the fulcrum of a teeter totter with the artist in one seat and the collector on the other. Working off the pivot point, one leverages maker and buyer. If the pivot fails nobody can play; momentum ends. Bottom line is that there are too few teeter totters in the playground.” Typically, art dealers and their galleries have served the role of fulcrum, that balancing point between the artist and the buyer. With fewer teeter totters, the fulcrums are apt to rust in an untended playground. Clark maintains that “galleries remain the most important conduit between maker and buyer.” He readily concedes that “within reason, fairs are essential.” It is doubtful that the average viewer would wish to see the international fair circuit stamped out completely. The Venice Biennale, for example, has been around since 1895 and is an arbiter of important international contemporary art. People don’t visit Venice to buy, at least not officially, since a ban on sales was put into effect in 1968. Instead, writes Jonathon Jones of The Guardian in his “tips for culture vultures,” the Biennale is about the spectacle of visual consumerism: Everyone is “trying desperately to see what everyone else is 84

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seeing.” The inimitable Jerry Saltz, senior art critic and columnist for New York Magazine, confesses that he doesn’t go to art fairs to look at art—“too crowded”—but to people watch. This recent bit of news describes the impact, dollar-wise, of trophy-hunting in the art market: According to arts writer William Poundstone, who wrote in a post on his blog Los Angeles County Museum on Fire, “An upcoming Damien Hirst catalog will list 1400 ‘spot paintings.’ The record, pre-recession price for a spot painting was $3.48 million. Guesstimating that the average spot painting is worth $1 million—in somebody’s mind—the aggregate value of all the Hirst spot paintings would be around $1.4 billion, the gross domestic product of Belize. OK,” continues Poundstone, “but the spot paintings have been produced over a 27-year period, from 1986 to the present. The average value of Hirst spot paintings produced per year comes to about $50 million. That still tops the gross domestic product of two sovereign nations, Tuvalu and Niue.” Jones terms this kind of cultural consumption, which borders on voyeurism, “the art equivalent of the giant cruise ships that have industrialized Venetian tourism.” No wonder practically every major city in the world—and many smallish ones—has an art fair of its own. The question remains: Are there too many fairs now, and have they turned into franchises of some corporatized theme park in different languages? Flavorpill, the self-described online “social discovery engine and curated event marketplace,” recently listed “The 10 Pieces of Art You See at Every Art Fair.” From neon text art (tip of the hat to Bruce Nauman, who did it nearly 50 years ago) to something referencing something classical to “a video installation that requires headphones” because “no one ever watches them from start to finish.” Last on the list is “something by a forlorn painter who does ‘real’ paintings.” Generally, that artist can be found at the bar, where, generally, no one is looking for him. I would add to Flavorpill’s list, anything by Andy Warhol. Warhol seems to have replaced Rothko in the sure-thing world of hedge-fund billionaire collectors-turned-investors. Setting aside issues like what gazillions of dollars are doing to the art market at its uppermost end, what is going on with those

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LEFT: COURTESY OF JANE SAUER GALLERY; RIGHT: COURTESY OF ELAINE BRAZIEL

Santa Fe gallerist Jane Sauer took this photo while attending Art Palm Beach in January 2013. Sauer finds that she must rely on art fairs to keep her gallery in the minds of an international audience. Right: David Leigh at a gallery installation for Eileen Braziel Art Advisors. Opposite: A Gathering Space, installation by David Narro Associates with Scotland’s Gareth Hoskins Architects at the Venice Architecture Biennial in 2008. Marcel Duchamp’s Nude Descending a Staircase No. 2 (1912) made her first—and quite scandalous—American appearance at the famous 1913 New York Armory Show.

mid-range galleries that are key to healthy collecting? “Brick-andmortar galleries are becoming mere staging grounds to gather work for the next fair,” warns Clark. “The fair system is destroying the gallery experience and with it the development of new collectors. Some collectors are self-motivated and will collect no matter what. For others the process is often a gentle transition into a friendly mid-range gallery world where hours are spent educating them and opening their eyes.” Interviews with gallerists and their collectors made clear that the types of relationships between one end of the teeter totter and its fulcrum come only after hours and years of mutual trust. For collector Gelblum, who goes to the mega-fairs with “a check in my wallet,” the “giant high-end art malls” that fairs and auctions have become still do not replace galleries. The collector, he says, must conduct “real investigation” at the gallery, allowing him to go to the fairs as an educated consumer. But Gelblum is a dedicated collector, not merely an investor. He advises that prospective buyers hunker down and figure out what they really like. Build a trusted relationship with a gallery and avoid the “arbitrage game for the trophy hunters.” Art prices can go down, Gelblum reminds us, but true collectors don’t stop buying just because values are up or the walls are filled. “If all you want is a painting over the sofa, you’re not a collector,” he declares. True-blue sorts like Gelblum aside, however, most gallerists will tell you that they’ve noticed they have to work harder and longer—over the course of years—to develop those relationships that result in mid-range collecting. Eileen Braziel, a Santa Fe–based art advisor who took to curating and selling art during the dot-com boom in the ’90s, has noticed that “art collectors who took risks with emerging and new artists in the past are very rare now.” She says that “selling art has always been difficult when it’s about integrity,” and paraphrases Gertrude Stein: “I do want to get rich but I never want to do what there is to do to get rich.” On the other hand fairs can help galleries, or at least did so in the past. Jane Sauer, who owns a gallery on Santa Fe’s Canyon Road, is rarely there. She works ridiculously hard, traveling from fair to fair to earn a living for her artists and staff. Sauer notes that “collecting

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has changed considerably.” Many of her earlier clients are no longer buying as they pare down their possessions, and “they are not being replaced, as in past years, because of economic realities. The upper- and middleclass collectors are concerned with more basic needs.” Sauer is extending her reach by using the fairs that still function in the mid-range price brackets. Most gallerists find that the fairs, once the backbone of significant sales, have gotten saturated. James Kelly, a mainstay in Santa Fe’s Railyard Arts District, perceives that the market has slowed significantly since 2008, and that traveling to art fairs is less lucrative than it was in the past. Galleries pay out thousands, if not hundreds of thousands, of dollars to participate, “and there is no guarantee of being successful, unless your program is devoted to trophy artists.” Nonetheless, he feels that “art fairs are here to stay, and are becoming so important for sales that some entities are questioning why they maintain stand-alone locations.” However, he concludes, galleries are indispensable for promoting programs that lead to artist recognition, which leads to acceptance into the art fairs. Charlotte Jackson, whose gallery is also in the Railyard District, does two fairs each year, including ART Santa Fe; she feels that “showing up” is the name of the game. She should know—she’s been a gallerist for three decades. Saltz, in his widely read article, “The Death of the Gallery Show” in the April 8, 2013, issue of New York Magazine, bemoans the loss of intimacy at gallery shows, which have become “just another cog in the global wheel” of art commerce. Many dealers admit that some of their collectors never set foot in a gallery; the Internet is replacing the need to travel to view art in person. Optimally, this is where art fairs can function hand-in-hand with galleries; individuals who can’t, say, travel to Santa Fe from the East Coast every year can find their favorite New Mexico dealers in Miami, New York, Chicago, or Los Angeles. It remains to be seen whether such a model can and will continue to be worthwhile for Summer 2013 TREND

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Bruce Nauman, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) (1967), neon tubing with clear glass tubing suspension frame, Philadelphia Museum of Art. Its message continues to resonate to this day, and can perhaps be seen as a tongue-in-cheek reflection of what art should be, has been, or never was in the first place.

all parties. Saltz has his doubts: “When so much art is sold online or at art fairs . . . it leaves out everyone who isn’t already a brand. This art exists only as commerce, not as conversation or discourse.” Galleries are not the only institutions to suffer. In his article, “The Rush to the Box Office,” published on March 28, 2013, in The Art Newspaper, Blake Gopnik addresses the shifting role museums play in the art-as-spectacle phenomenon. Formerly places for quiet contemplation, he says, “the museum as library, where you choose what and how you will see, is being replaced by the museum as amusement park, with visitors strapped into the rides.” That matters, he writes, because the exhibition-as-entertainment business has profoundly changed the act of looking at art. “When a great art object is doing its best work, there is a difficulty, an imponderability, a resistance to language that can force its viewers to do the hardest thinking they’ve ever done.” That kind of critical thinking, and the associated benefits of wondering for the sake of wondering, are being lost as art is turned into a commodity, a profit-making “event” like the opening of a blockbuster movie. No wonder so many VIP art events these days are saturated with celebrities. For Hickey, the enduring mystery of the art market is that “some people would rather possess an object of marginal utility than the ultra-usable money they exchange for it.” If, he argues, we can somehow continue to support an art market that is driven by desire rather than profit, we will continue to live in a world of beauty—the beauty of something that delights us. That should not be something that only the very rich can experience. As long as it’s free to visit a gallery, we owe it to ourselves—and the future of art—to do so. R

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The Academy for the Love of Learning A PlAce FoR RecAPtuRinG the exPeRience oF BeinG ReAl

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true love of learning means being awake to a sense of wonder and awe. Being awake means having a direct experience of the world while touching the deepest levels of inner life. But the modern world doesn’t teach us any of this. It trains us to skim nonstop across the surface of things—websites to news headlines to tweets—without registering the depth or authenticity of what we read and see. The Academy for the Love of Learning turns that model on its side, reaching toward the highest human values and the deepest wisdom to bring out in individuals and groups the essence of what it means to truly learn—which is also the essence of what it means to be. By assisting with that emergence in people of all ages and backgrounds, the Academy’s founder and facilitators hope the organization will serve as a catalyst in a larger, life-affirming cultural shift. Established as a non-profit in 1998, the Academy offers a range of programs and training for educators, parents, organizations, and individuals based on what founder and president Aaron Stern calls “transformational learning.” This multidisciplinary approach incorporates a spectrum of experiential learning activity, including the arts, transpersonal studies, contemplation, and earth-based wisdom. At the heart of the method is the equation: experience + reflection = learning. The Academy’s foundation course, Leading by Being, is an intensive 18-month training for adults from all walks of life who aspire to interact with the world in a more intentional, authentic way. Participants often find themselves unlearning and relearning—recognizing and re-forming old patterns “in a way that is more aligned with our deepest voices,” Stern says. The

Advertisement Teacher Renewal program helps public school teachers rediscover their own passion for learning and take that infectious spirit back with them to the classroom. Among other programs is El Otro Lado, in which individuals of all ages explore their deepest stories through art-making and storytelling. Stern is an educator, researcher, consultant, and former dean of Chicago’s American Conservatory of Music. He developed the ideas and vision behind the Academy over years of conversation and exploration with his mentor, Leonard Bernstein, and others of like mind. The Academy presented its first workshops and trainings in 2000. In 2003 the organization purchased the historic 86-acre estate southeast of Santa Fe once owned by Ernest Thompson Seton (1860–1946), a naturalist, artist, writer, and co-founder of the Boy Scouts of America. After the property’s historic main structure, known as Seton Castle, burned during remodeling in 2005, Academy officials eventually decided to build a new facility on the site. In every aspect of its design, the campus is aimed at reflecting, embodying, and supporting the experience of participants and staff in the Academy’s transformational work. In keeping with Seton’s legacy of respect for the Earth—and with a learning approach that encourages heightened awareness of our impact on the world around us—the campus was constructed with ecological consciousness and offers wonderful views of its natural surroundings. Outdoor gathering spaces and the placement of doors and generous areas of glass allow for visual and physical indoor-outdoor movement, mirroring the learning model’s intrinsic inside-outside flow. “There’s a dance between what we take in from the outside and what we experience from within,” Stern observes. Green-built components include climate-appropriate landscaping, sun-tracking solar panels, and geothermal wells. The building earned the 2012 Sustainable Santa Fe Award for its innovative water harvesting system, and the Academy is in the process of applying for Gold LEED certification from the internationally-recognized rating system, Leadership in Energy and Environmental Design. At the heart of the facility is a circular, adobe meditation room with a traditional packed-mud floor. As with the entire campus, the serene space serves both a practical and symbolic role and reveals how the two aspects intertwine and reinforce each other when the goal is to embrace and embody the fullness of life. As Stern puts it: “The meditation room represents the space, the stillness, and the grounding that we believe we must hold at the center of all we do, as an organization and as individuals.” For more information, visit aloveoflearning.org.

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BY RENA DISTASIO PHOTOS BY PETER OGILVIE

Atmosphere and Identity in the Architecture of Rick Joy

BILL TIMMERMAN

bout 50 miles south of Santa Fe, just outside the ghost town of Golden, New Mexico, a linear construct of wood, steel, and glass stretches along a flat expanse of desert ground intermittently dotted with low-lying juniper and wiry patches of cactus. Rick Joy’s Lone Mountain Ranch House is a commanding piece of architecture—assertive in its geometry, muscular in its materials, yet at the same time airy and elegant— visually congruent with its site while showcasing complex interplays between surface and light, interior and exterior. At the opposite end of the continent amid 210 acres of rolling hills and lush thickets outside Woodstock, Vermont, stands Joy’s Modernist interpretation of classic New England gabled architecture. Rather than seeming to light upon the earth, Woodstock Farm’s home and barn instead appear to have sprung up from it, elongated, fully-formed fortifications armored in stone, wood, and shingle. The two seemingly different concepts are united by a singular vision. Instead of initially conceiving a form, Rick Joy aims for ambience, in most cases achieving in his work a hushed, almost monastic stillness that allows for total awareness of the sights, sounds, smells, and tastes of one’s surroundings. “I start with the search for atmosphere, striving to create a beautiful space. In one project, I imagined a couple, one person cooking, the other reading the paper. How does that look like? How do they feel? I think about those kinds o f things long before any form or materiality comes into place.” The primary goal of his architecture, he asserts, is to tell the stories of our lives. It would be tempting to call the results minimalist, but Joy balks at any attempt to slap an “ism”

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on his work. “Minimalist implies simplistic,” he explains. “I like to use the word maximalist instead. There’s not too much, there’s not too little. It’s just right, which is maximizing atmosphere, experience, and culture. It’s like the spaces in between the notes of a Miles Davis piece that become most important.” Those spaces in between notes, the way music can paint an image and elicit a visceral response, is something with which the Maine born-andbred Joy is intimately familiar. After graduating high school and accepting a full scholarship to study classical music and jazz at the University of Maine, he spent ten years working as a musician. Until the day it dawned on him that the late-night, semi-itinerant lifestyle was not working for him. “I was helping a friend build a house and I was really getting into the swing of it,” he says. He also remembered a conversation he had with a high school guidance counselor. Apparently, Joy’s aptitude tests revealed that he would excel at two professions in particular: air traffic controlling and architecture. “Well,” he laughs, “they’re both about landing things, aren’t they?” After researching a number of programs, Joy applied to and was accepted by the University of Arizona, nearly 2500 miles away from home. “Their architecture program was really strong and it was affordable as well,” he says of his decision. “And I felt at that point that a move to a completely different environment would be good for me.” Fully intending to head back home after his graduation in 1990, Joy found himself, like so many artists before him, unable to resist the beauty of the Sonoran desert. To some, that beauty can be unnerving. There is all that sky, for one. Few natural features pierce its unrelieved expanse—even the most towering saguaros seem dwarfed, and if a mesa happens to get in the way, it at least has the good sense to mimic, not invade, the horizon line. On occasion, there is a mountain. Otherwise, the view towards the horizon can remain uninterrupted for 50 miles or more. Closer to the earth, the shadows cast in the hours that bookend high noon are shelter for creatures much smaller and wilier than humans. But from the beginning of his career, Joy understood that the stark and often harsh landscape of the desert Southwest also presents unique and complex opportunities for harmonizing the natural with the built environment. In his introduction to the monograph Rick Joy

“My work aims to maximize atmosphere, experience, and culture. It’s like the spaces in between the notes of a Miles Davis piece that become most important.”

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Desert Works, Juhani Pallasmaa suggests that the crucible for this aptitude was Joy’s fortuitous three-year internship with William Bruder in Phoenix. “The internship must have been significant to the formation of Joy’s architectural sensibilities,” Pallasmaa writes, “particularly the interplay of rusticity and refinement, roughness of materials and technical sophistication, formal simplicity, and concealed wealth of associations.” He also ponders the architectural legacy that ties Joy to Frank Lloyd Wright—Bruder studied under Wright protégé Paolo Soleri—and asserts that some of Wright’s techniques “can still be felt as distant tremors in Joy’s buildings.” Ultimately, however, Pallasmaa concludes

that Joy’s allegiance to Modernism is what sets him apart from his predecessors. “He is a constituent of the ongoing dialectics of modernity . . . in a perpetual process of questioning the accepted view of reality and the cultural convention.” Says Joy of his process: “I start by being comprehensively observant, really focused, almost a junkie for atmospheric experiences with color and light.” In fact, he says, he considers light to be a material, as malleable as steel or concrete. It is, in fact, what Pallasmaa calls Joy’s material vocabulary—rammedearth walls, undivided glass openings, weathered steel—that gives voice to the ongoing dialogue between actual and abstract, interior and exterior. >

From the outside looking inâ&#x20AC;&#x201D;and then out again. Joyâ&#x20AC;&#x2122;s Lone Mountain Ranch House plays with perceptions of interior versus exterior and two-dimensional versus three-dimensional space. Left: Canted roof angles at opposite ends of the house allow for rainwater to run off into large corrugated-steel cisterns.

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Floor-to-ceiling windows create a dynamic relationship between the intimacy of Lone Mountainâ&#x20AC;&#x2122;s living/dining area and the immensity of the landscape beyond its walls.

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ABOVE LEFT: BILL TILLERMAN (2)

Instead, the sun’s illumination creates a startling juxtaposition between the intimacy of the interiors and the immense expanse of desert revealed through the length of floor-to-ceiling windows. The effect, says Pallasmaa, flattens the landscape and makes of it a kind of “monumental painting.” Even when not working in the desert, Joy is alert to the nuances of his immediate surroundings. He cites as an example a house he built outside Miami on Key Biscayne: “I noticed that there were all these beautiful layers of natural and man-made landscape between the street and the water. We designed the house to reflect that, with views between each of the rooms.” Whatever the project, Joy’s primary approach is always experiential. “Rather than simply following the brief and making a f loor plan with a roof on it, I try to offer my clients a lifestyle proposition.” He points to his Nomad house in Tucson as one of the stronger examples of this approach. Built in 2005, it comprises three rusted steel boxes that sit above the ground on five acres of land at the base of the Tucson Mountains. Each box is a separate living space, designed, Joy says, “To take advantage of the day’s lighting events, each with a single aperture.” The main space with living room, kitchen, and dining area faces southeast to take advantage of the early evening light as it strikes the low-lying landscape; the bedroom showcases the early morning sunlight as it illuminates the mountains to the southwest; and the den/guestroom opens up to an intimate still life of rock and cactus. >

Opposite and bottom: Lone Mountain. Top: Nomad House. Middle: Vermont Farm. Sunlight is as much a material in Joy’s work as wood and stone—and he is always sensitive to its different qualities, pointing out: “Back east, sunlight is more diffuse because it hits particles of water in the air; in the desert it hits particles of dust.”

This interplay becomes perfectly apparent in southern Utah’s Amangiri Resort (2009), in which Joy was a collaborator. Here, inspiration came not only from the physical structure of the surrounding mesas and rock formations, but also from the path of the sunlight as it moves across their surfaces throughout the day. In both its shape and its materials—an aggregate of cement and local sand—the resort is an astonishing reflection of the physical and atmospheric qualities of the landscape in which it is situated. Sunlight is a catalyst in Joy’s classic desert homes as well, however, within these structures, the melding of rock, sky, and landscape with the built form is not always a seamless proposition. Summer 2013 TREND

“I’m interested in identity of place, but I’m not interested in going back to archaic forms. I’m trying to dig deeper. We’re all part of evolution—every craft and profession is evolving. I want to reach and help things grow.” Amangiri Resort in Canyon Point, Southern Utah, doesn’t blend into the surrounding landscape so much as it reflects its various colors, textures, and forms. 100

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For Joy, working within the natural environment is not an either/or proposition. His environmentalism—for lack of a better word—is based upon the idea that all good design is by its nature sustainable. As he writes of the Nomad house in Desert Works: “The three boxes have landed in their rightful place, nestled in a secluded bowl-like formation on the land, striving for low impact and equilibrium among the ancient saguaros.” They fit in, he says, but they are not apologetic. Another of his core values is to build to heirloom quality, utilizing materials that are native to or in some way reflect each region’s distinct geography. However, in no way does he look backwards. “I’m interested in identity of place, but not in the sense of local vernacular. I’m trying to dig deeper. We’re all part of evolution—every craft and profession is evolving. I’m not

interested in going back to archaic forms. Iz want to reach and help things grow.” Lone Mountain, for instance, which was completed for the owners of the 27,000acre Lone Mountain Wagyu beef ranch, features a number of sustainable design elements, including several borrowed from Japanese design. “Both for budgetary reasons and because the site is very fragile, we clad Lone Mountain in charred wood,” says Joy, explaining that the Japanese, who are also vulnerable to wildfires, discovered that charred wood is resistant to further burning. “The region where Lone Mountain sits is wildfire prone, so we utilized that particular technique, as well as raising the home 18 inches off the landscape.” The roof, made from heavy galvanized steel, is twisted at the opposing corners, allowing rainwater to funnel off into two large cisterns.

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Although primarily known for these desert homes, Joy currently has several commercial projects in the works on the East Coast, including a luxury resort in upstate New York and the new Princeton University train station. With each project, the approach is the same: “Whether a home, a luxury hotel, or a train station, these are all places I can help bring identity to, by thinking of lifestyle experiences. They are each places in their own right, part and parcel of the landscape. That doesn’t necessarily mean they have to look like they have always been there—a building can stand out, we can assert its man-made features and still be respectful.” Joy’s reputation has grown steadily since he established his practice in 1993. He is the recipient of numerous industry awards, including the 2002 American Academy of Arts and Letters Award in

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Architecture and the 2004 National Design Award from the Smithsonian Institute/Cooper-Hewitt Museum. Most recently he was given the Jeff Harnar Award for Contemporary Architecture in New Mexico 2013 for the Lone Mountain Ranch House. Even celebrity has come calling. In 2004 he received a fax from Francis Ford Coppola and his wife, Eleanor, stating that they were looking to build a new home and had been admiring his work from afar. The resulting 2400-square-foot off-grid, solar-paneled home in Napa is, says Joy, “Discrete, simple, and one of my best projects.” Busier than ever, Joy admits his greatest challenge at the moment is juggling the artistic and business sides of his practice, Rick Joy Architects. He remains rooted to Tucson, where he lives with his wife,

lighting designer Claudia Kappl, and to maintaining ties with its community. “I walk to work, I walk home, and along the way I make a point to stop in and visit with people I know. It keeps me connected.” He has also taken up running along the trails that wind through the surrounding hills, enjoying on foot the beauties of the landscape that has served as such inspiration in his architecture. He also still works out of the same offices that he designed and built 20 years ago on Tucson’s South Rubio Avenue. “I purposefully stay in this building to keep myself from growing too much,” he says. Not because he has any plans to slow down but because, “Architecture is all about taking the time to really work— because it is hard work. It’s like being a musician. You have to keep practicing. That’s how you get better and better.” R Summer 2013 TREND 101

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Dream Machines BY WESLEY PULKKA

The world’s finest automobiles ignite imaginations at the Santa Fe Concorso

or more than a century the automobile has captured the imaginations of artists, engineers, designers, collectors, and racecar drivers—as well as those of us who just drive around town with secret Grand Prix fantasies. Possessed by firebreathing machinery masked by supple leathers, elegant rare wood veneers, and beautifully sculpted bodies, the most finely crafted automobiles are siren songs for dreamers everywhere. Now in its fourth season, the Santa Fe Concorso at the Club at Las Campanas draws fans of all ages to celebrate the artful technological mysteries of the world’s finest vehicles. >

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rolling works of art,” says Dennis Little. “It is designed to be an exclusive show that fetes the original aesthetics of classic automotive and vehicle design over the past ten decades. Though we appreciate restoration details, we encourage our judges to look for elegant and authentic vehicles that increase their heart rates and excite their senses.” The Littles were inspired and encouraged to create the Concorso by the late American racing legend Phil Hill and pioneer female racecar driver, sports writer, and photographer Denise McCluggage. Hill was the only American-born driver to win the Formula One World Driver’s Championship, and he had the proud distinction of winning both his inaugural race in 1949 and his final pre-retirement

For the Concorso’s organizers, the event is as much about art history as it is about vehicle history—a contest of beauty and authenticity designed to get the heart racing.

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PREVIOUS SPREAD: PETER OGILVIE; ABOVE: PETER BOURASSA

Widely recognized as the Southwest’s premiere automotive gathering, the Santa Fe Concorso is limited to 100 of the best cars submitted by owners or invited for jury selection—with separate categories for classic motorcycles, bicycles, and vintage aircraft. Dennis Little, retired chief designer for Cadillac, and his wife, Beverly, are the founders of the Santa Fe Consorso. They consider the three-day event a way for collectors, spectators, and guests to join together to appreciate these premium vehicles and the marriage between art, science, and creative technology that they represent. “We designed the Concorso as a boutique ‘contest of beauty’ [concourse de elegance] that focuses on the concept that these luxury sports and racing cars are

GARRET VREELAND

race in 1967. A personal friend of the Littles, Hill participated as a judge for the Pebble Beach Concourse de Elegance for a record 40 consecutive years. McCluggage, who resides in Santa Fe, paved the way for such female greats as Janet Guthrie (the first woman to run the Indy 500), drag racers Shirley Muldowney and Nicole Lyons, and NASCAR stars Danica Patrick and Johanna Long, among others. “When Phil passed away we realized that if we wanted to honor the greats of racing and the cars they drove, time was not on our side,” says Dennis. “So we gathered supporters and seeded the event with $1000 on the table. To our amazement we were able to raise our first year’s expenses and field a successful Concorso right out of the gate.” >

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The Concorso is an international event that has its origins in 17th-century France, where members of the French aristocracy paraded their luxurious horse-drawn carriages throughout the parks of Paris during summer weekends and holidays. The Santa Fe Concorso continues the tradition of elegance, and this year nostalgia becomes reality as dapper-looking characters straight out of F. Scott Fitzgerald’s The Great Gatsby mingle with attendees. Everyone is encouraged to “dress to impress,” either in period clothing or with eclectic Santa Fe spirit, but should also wear soft-soled shoes suitable for the golf course. Summer 2013 TREND 107

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The Concorso’s Friday night kickoff at Hangar K at the Santa Fe Air Center is a spirited party that consistently sells out each year. Attendees can indulge their passion for fine vintage flying and racing machines while enjoying lively camaraderie, exceptional music, a cigar bar, cocktails and tastings, and plenty of epicurean delicacies. They can also take part in fun activities like this timed Model T assembly demo at last year’s event.

stunning panoramic views of the Sangre de Christo, Sandia, and Jemez mountain ranges under New Mexico’s distinctive crystal-blue sky. “I think the setting is perfect and it really gives people a chance to ask questions, tell stories, and learn more about these cars and why we collectors really care about them,” says board member Skip Atkins. He counts among his acquisitions two Shelby Cobra sports cars powered by Ford engines and

sporting their original showroom-condition aluminum bodies, as well as an impressive Aston Martin, a deep black 1970 Mercedes Cabriolet, a GT 350 Mustang, and a beautiful slate gray 1951 Porsche with a very rare two-piece windshield. Atkins also owns a wonderful collection of children’s pedal cars, whose joyful zest adds a playful note to the serious air of “high zoot” muscle cars that otherwise dominate his garage. Atkins has participated in the Concorso

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CLOCKWISE FROM TOP: DEXTER PEACOCK; GARRET VREELAND; GARRET VREELAND (2)

Since that first Concorso in 2010, the non-profit weekend event has grown from 800 spectators to last year’s 2000 attendees—and has donated more than $50,000 to local charities. Event organizers want visitors to have an experience that parallels the feeling of walking into an art gallery and being drawn to that one work that makes your heart race. For the Littles and their board of directors, the Concorso is as much about art history as it is about vehicle history, and it’s primarily a contest of beauty and authenticity. In 1912, F.T. Marinetti recognized the automobile’s artistic appeal in The Founding and Manifesto of Futurism: “We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents with explosive breath—a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.” It could be argued, of course, that the outspread wings and wind-blown gown of this ancient Greek statue inspired a spate of similarly winged females to be sculpted into classic car hood ornaments—and perhaps even influenced the sinuous hoods, rooflines, and fenders that distinguish the automobiles of the 1930s. But the Littles and their board are also concerned with the holistic beauty of classic automobiles. Indeed, they are quite a sight when viewed on the gently rolling ninth fairway at Las Campanas Sunrise Golf Course, punctuated with checkered flags and attendees in period costumes and surrounded by

PETER OGILVIE (2)

since its inception and is a recent addition to the board. During a 51-year-long automotive career, Atkins connected with serious collectors like comedian Jay Leno, who, according to Atkins, not only knows an enormous amount about cars but is also a very nice guy. Last year’s Concorso charity auction featured four tickets to visit Leno’s Big Dog Garage in Southern California. This year’s Concorso begins on September 27 with a tribute to Denise McCluggage at the Club at Las Campanas. A handful of her original racecars will be on display outside. Among the guests in attendance will be her lifelong friend, British racing legend Sir Stirling Moss. A VIP gathering at the Santa Fe Air Center will follow, featuring a special speed display of vintage racing cars, luxury cars, and P-51 Mustang and British solo seat Spitfire World War II fighter planes. Car owners, Concorso sponsors, and honored guests will be treated to a musical interlude by world-renowned jazz and classical clarinetist Eddie Daniels, who is noted for his elegance and virtuosity and whom critic Leonard Feather has credited with musically reinventing the jazz clarinet. On Saturday, car owners will be invited on a driving tour through Santa Fe’s

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Each year’s touring event gives drivers a chance to feel the thrill of the open road and experience some of New Mexico’s most breathtaking scenery. Last year, drivers like Marvin and Rosemary Price (above, in their 1941 Cadillac Fleetwood 60 Special) made a high mountain tour through the scenic Valles Caldera National Preserve in the Jemez Mountains. This year’s tour takes drivers along the storied Turquoise Trail.

Canyon Road art district to Galisteo, where they will cruise through the newly paved CR 42 to the storied Turquoise Trail, making a stop at Cerrillos. The drivers will wind along challenging country roads through an awe-inspiring landscape, allowing passerby a rare view of throttled-up rolling works of art. This year’s lineup will include such

beauties as Steve McQueen’s 1957 Jaguar XKSS, with its voluptuous body lines and deep gloss midnight black paint, along with an assortment of C-Type and D-Type Jaguars that dominated international racing for nearly ten years. Special guest Norman Dewis, Jaguar’s legendary development and test driver from 1952 to 1984, will accompany the cars. (Dewis and Moss rode together in a C-Type Jaguar in the 1952 Mille Miglia race.) Also on display will be a 1907 Renault, 1955 Ferrari 500 Mondial, 1928 Packard 526 Sedan, 1927 Buick Limousine, 1959 Morris Minor Traveler, and 2013 Shelby Mustang. Although no traffic laws are likely to be broken, many car owners might imagine flooring the throttle and living by Marinetti’s vision: “We intend to sing the love of danger, the habit of energy and fearlessness . . . we want to hymn the man at the wheel, who hurls the lance of his spirit across the Earth, along the circle of its orbit.” > Summer 2013 TREND 109

Some of the lean machines featured at last year’s Concorso: A 1978 Lotus 79/1 “John Player Special” Formula 1 racecar, owned by Regogo Racing LLC and driven by Mario Andretti; a 2010 Bugatti Veyron 16.4 Grand Sport production car; and the World’s Fastest Indian, the 1920 motorcycle with which Burt Munro became a Bonneville Salt Flats record holder in August 1967.

PETER OGILVIE (3)

It is interesting to note that during his career, Moss eschewed concerns for safety, which he thought were highly overrated. “Safety didn’t really come into it,” he said during an interview for Car and Driver magazine’s January 2013 issue. “If you were looking for thrilling things to do, the danger of racing was part of the attraction . . . if you did have a shunt and catch fire, your best bet was to get the hell out of there, and that’s why we never wore seatbelts.” Moss claims that he was never buckled in while driving in 527 races, finishing 375 and winning 212. We now know that seatbelts do in fact save lives and are therefore mandatory for all drivers, racing or otherwise—but no one can dispute Moss’s roll-the-dice courage and phenomenal success. On Sunday all entrants and their automobiles will gather on the ninth fairway of the golf course for the final celebration and judging. Visitors will have the opportunity

CLOCKWISE FROM TOP: PETER OGILVIE; DENNIS LITTLE; GARRET VREELAND; DEXTER PEACOCK

Clockwise from left: Left to right, Pat Bondurant and racing legends Bob Bondurant and Sir Stirling Moss. Alma Hill, Phil Hill, and Denise McCluggage were instrumental in bringing the Concorso to Santa Fe. Award presenters Katalina Parrish and Dennis Little with last year’s Best of Show for Elegance winner: the 1930 Stutz Model M Lancefield Coupe owned by Richard and Irina Mitchell. The Best of Show and Best of Class awards.

to meet and chat with racing greats, car owners, collectors, and restorers. The judges will include international award-winning restoration experts James Stranberg and Paul Russell, and racers Moss, McCluggage, and Al Unser, Sr. Awards will include Best of Show for Elegance, Best of Show for Sport, and Moss, McCluggage, and Unser will each present Best in Class trophies in their names. The Littles and their board of advisors want the event to continue to grow, while still remaining small enough that all attendees have the opportunity to view the cars and converse with the owners. Dennis Little explains that even though attendance has increased considerably, the organizers do not intend to try to match the 15,000 to 20,000 attendees that view 400 to 500 cars at Pebble Beach,

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Amelia Island, and other large Concorsos. For Dennis Little, the Santa Fe Concorso is the culmination of a boyhood fascination with the automobile that led him as a teenager to enter the Fisher Body Craftsman’s Guild Model Car Competition. After winning “Best Design” honors that included a styling scholarship, Little majored in Industrial Design at Ohio University where he met Beverly. Upon graduation, General Motors readily accepted his application to work in their design studios, where he joyfully toiled from 1968 to 1999, spending the last nine years as chief designer for the Cadillac division. While there, Little designed the body and interior of GM’s first all-electric car, the EV-1, setting the precedent for the current Chevy Volt that carries its own gasolinepowered generator. He also designed the

classic 1992 Cadillac Seville, 1993 Oldsmobile Aurora, and three presidential limousines. “I feel very fortunate to have found my career at an early age,” he says. “I was naive about how the world worked. When I entered the design competition I had no idea that you could earn a living designing cars. I just saw it as a challenge to figure out how to build a really good model car. Looking back, it was a wonderful learning process.” Dennis and Beverly are now in their second careers, helping to deepen the public’s appreciation and understanding of the past century of artistic and technological evolution. You may see them tooling by in their elegant 1967 Jaguar XKE Roadster or cutting a hard corner on their Harley Davidson V-Rods. You may not, however, be able to distract their attention from the road ahead. R Summer 2013 TREND 111

He’s a Walking Contradiction, Partly Truth and Partly Fiction Reflections and Reminiscences of Dennis Hopper in Taos

O © LISA LAW

By Lyn Bleiler

ne can only imagine the impact Dennis Hopper had on the tiny village of Taos, New Mexico, when he blew into town on his Harley at the height of America’s most radical decade. Back then, he was considered a paranoid, pistol-packing local menace— a far cry from his eventual evolution into beloved denizen, which culminated in his designation as Honorary Mayor of Taos in conjunction with a town-wide celebration, Dennis Hopper at Sushi a la Hattori restaurant in Taos, May 2009 Hopper at the Harwood, in 2009. Upon receiving the keys to Taos, Hopper said with a smile, “Who would have believed this in the ’60s?” Just over a year later, in June 2010, he was laid to rest near the village that had been his physical and spiritual home for nearly 50 years. A lot has happened since. Within weeks of his passing—and in the midst of considerable controversy—a retrospective titled Dennis Hopper Double Standard opened at the Museum of Contemporary Art in Los Angeles. Said to be the first comprehensive exhibition of Hopper’s artwork to be presented by a North American museum, the show was curated by Hopper’s friend, New York artist Julian Schnabel, and included photographs, paintings, assemblages, graffiti-inspired wall constructions, billboard paintings, sculptures, and film installations. Hopper was also a passionate art collector and his was considered one of the most extensive collections in the U.S. In a highly publicized feeding frenzy, it was parceled off and sent to auction in what fellow collector and artist Ron Cooper says is, “Tragic. One of the most unfortunate things that I have seen happen in the world of art in the last 40 years is the cheap auctioning and breaking up of Dennis’s collection.” While his life’s accumulation of artwork has been flung to the far corners of the globe, writers and filmmakers are beginning to explore Hopper’s legacy as one of modern culture’s most controversial and contradictory figures. An independent film about his life in Taos titled The New Neighbor, directed by Kathleen Brennan and co-produced by Brennan and John Hamilton, was released in 2011. It has since been shown at Taos Shortz Film Festival, the Santa Fe Independent Film Festival, and The Female Eye Film Festival in Toronto. And this year a new biography by Tom Folsom, HOPPER: A Journey into the American Dream, was released by HarperCollins. The book’s dedication reads “For Dean,” a combination, says Folsom, of Hopper’s longtime friend Dean Stockwell, James Dean, and the rebel spirit revealed throughout the book—and indeed throughout Hopper’s life. Now that several seasons of dust has settled on Hopper’s intentionally humble, dirt-mound burial site, his own words lend an interesting perspective—as do the reflections of his fellow artists and Taos friends—on Hopper’s influence as artist, art collector, and member of the Taos community.

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Dodge Luhan’s] house, and I remember telling him, ‘Dennis, man, Taos is the place.’” While he also kept a home in Los Angeles, for the rest of his life Taos indeed became the place for Hopper—although some have often wondered why. “Maybe Dennis was on some sort of spiritual search, but the reality is that Taos was a rat hole,” says artist Ron Davis. “You can take that scene in Easy Rider where Bobby Walker is at the commune at face value. There is something about that at the time maybe Dennis didn’t even know. Watching it now, it feels very ironic. Like, ‘Oh, we are going to plant seeds now.’ It was the ’60s, you know? [You’ve got] Timothy Leary saying, ‘We’re all going to have internal freedom, man.’ But we all know that that went out the window with Altamont.” Self-proclaimed showman R.C. Israel arrived the same year as Hopper. “He opened a gallery in 1971, Dennis Hopper Works of Art, in Cabot Plaza. His objective was to show the community what artists were doing in New York and San Francisco by showing art from his own collection,” Israel says. “We knew the same artists, Bruce Conner and Andy Warhol and Edward Curtis, whose photos weren’t well known then. Dennis collected Lichtenstein, and he knew the New York artists of the

JACK SMITH

“It’s obvious that Taos is Dennis’s spiritual home. They say he spent his lost years there, but I think those years were anything but. In fact, they may have been the years where he found himself.” —Tom Folsom

Taos: The Early Years High on the prospect of filming the first serious portrayal of the turbulent times and counterculture of the 1960s, Hopper and his crew were literally “on the road” in search of film locations for a movie he had written. In a 2009 video interview with Rick Romancito of The Taos News, Hopper said, “I was coming down from Farmington with my production manager looking for locations for Easy Rider and we got down to Española and he said well, ‘If we take a left here we’ll go to Santa Fe. If we take a right we go to Taos, and Taos is an art community,’ and I said, ‘Well I don’t want to go to any damn art community, man! We are making Easy Rider.’ He took the wrong turn and I ended up in Taos . . . in the plaza, and this Indian guy as I was getting out of the car came up to me and he says, ‘The mountain is smiling on you. I know where you need to go.’ And he took me out to New Buffalo, which is what I was looking for—a commune—so that’s the way it started.” Stockwell elaborates: “He did some locations around Taos for Easy Rider. I think that’s what got him hooked, because he was trying to decide between buying a ranch in Nevada and [Mabel

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HOPPER AT THE HARWOOD

BOTTOM LEFT: © LISA LAW; TOP: DENNIS HOPPER, COURTESY OF THE DENNIS HOPPER ART TRUST; BOTTOM RIGHT: DENNIS HOPPER, COURTESY JACK SMITH.

To mark the 40th anniversary of Easy Rider’s release, the town of Taos hosted a “Summer of Love 2009” celebration. At the heart of the festivities were two exhibitions at the University of New Mexico’s Harwood Museum of Art: Dennis Hopper Photographs and Paintings and L.A. to Taos: 40 Years of Friendship, which Hopper himself developed. As he told Rick Romancito of The Taos News: “When I first was told I was going to curate a show, I thought I’d start with anyone I had ever met in Taos. I’d start with Georgia O’Keeffe, and Andrew Dasburg and Dorothy Brett, and go all the way through. I suddenly realized that was a little ambitious, so I went back and I thought it through and realized that there were five guys that lived here that I had known for over 40 years.” Those turned out to be Ron Cooper, Ron Davis, Ken Price, Larry Bell, and Dean Stockwell. “I wanted to show what they were doing then, and what they are doing now,” Hopper continued. “I wanted people to see how long they’d been doing what they’re doing and how important it is in the world.” The Hopper at the Harwood exhibitions, as they became collectively known, were shown from May 8 to September 20, 2009.

“Biker Couple,” one of Hopper’s photos from the Hopper at the Harwood exhibition.

They garnered national attention and were widely attended. Curator Jina Brenneman told The New Neighbor filmmakers that she was surprised that Hopper, given his fame, would “give us the time of day.” Turns out he did more than that. “He became part of the Harwood family. He was very much at home here. He didn’t hesitate to spend time with us and to commit to being at the Harwood because he believed so much in the town of Taos.”

Larry Bell at the opening of Dennis Hopper’s one-man show Out of the Sixties at Sena Gallery West. He is standing in front of his portrait, which Hopper took in Los Angeles in 1964. Right: Portrait of Jack Smith, taken by Hopper in 2008, at Smith’s Reed Street Studios in Taos. Opposite: Dennis and Henry Hopper with German screenwriter Norman Ohler, Lindrith, New Mexico, 2009 “The Pilgrim: Chapter 33” Words and Music by Kris Kristofferson © 1970 (Renewed 1998) RESACA MUSIC PUBLISHING CO. All Rights Controlled and Administered by EMI BLACKWOOD MUSIC INC. All Rights Reserved International Copyright Secured Used by Permission Reprinted with Permission of Hal Leonard Corporation

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From left: Ron Davis, Ron Cooper, Dean Stockwell, Dennis Hopper, and Larry Bell

He’s a Pilgrim and a Preacher and a Problem When He’s Stoned With the bad boy image firmly established in James Dean’s wake, along with the heady success of Easy Rider, Hopper spiraled out of control in the 1970s. There was the eight-day marriage to the Mamas and the Papas singer Michele Phillips and Hopper’s Taos arrest in 1975 for reckless driving, failure to report an accident, and leaving the scene. Not to mention countless stories of guntoting altercations with locals. Reflecting on those days in a 2006 interview with GQ, Hopper said, “I was doing half a gallon of rum, 28 beers, and three grams of coke a day just to get by.” In an interview for The New Neighbor, Israel recalls that, “During the time Dennis was living at the Mabel Dodge Lujan house, he brought people in from all over the world and there was a constant party going on.” With the round-the-clock partying and serious substance abuse came delusional thinking and mistrust of epic proportion. “He just seemed very paranoid. Perhaps he was irrationally afraid of people, maybe suspicious of things that were going on that were probably quite okay,” says Pam MacArthur, former 116

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Director of Dennis Hopper Works of Art, in The New Neighbor. “He carried a pistol because he was convinced that people were coming to get him.” Artist Jane Mingenbach, a neighbor of Hopper’s when he lived at Mabel’s (a.k.a. the “mud palace”), says in the film, “He would have this whole place always patrolled. He’d come over and say, ‘Okay, Jane, don’t worry.’ He was always afraid that these outside people or something were gonna beat him up.” “He was hard core,” says Davis. “He went insane. He’d be up on the Mabel Dodge house roof shooting at imaginary helicopters. He was parading his addiction. Maybe it was a cry for help. And you have to think, too, he was a kid from Dodge City, Kansas, for Christ’s sake, with a Warner Brother’s contract at 18.” But, as artist Jack Smith points out, “Wild behavior defines him as well as creative genius, but those were craziness years. Everybody was like that. Dennis wasn’t alone in that. We were all living a certain moment in time.” Serious and Sober Hopper officially bottomed out while in Mexico to play, of all things, the head of the Drug Enforcement Administration in a German film called Euer Weg Führt durch die Hölle (Jungle Fever). Folsom writes in his book, “Hopper found himself in his pajamas in the Mexican jungle after becoming fascinated with some outer-space holograms he saw flashing and dancing in his periphery . . . A few hours later, the sun came up on [Hopper naked] walking down a road into the Mexican city of Cuernavaca.” Soon he was on a plane to the States to undergo rehab.

WILLIAM DAVIS

’60s and collected a lot of their work.” Hopper also purchased the old El Cortez Theater in Ranchos de Taos, which was open to the public for a time, then open for premieres by invitation only, and ultimately became Hopper’s art studio. Israel goes on to recall, “After Dennis decided to close the theater, he took out all the seats except 52—because it is the number of seats he said were in the actor’s theater in New York.”

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CLOCKWISE FROM TOP LEFT: JINA BRENNEMAN; © LISA LAW (2); JACK SMITH

Clockwise from top left: Art and culture critic Dave Hickey heads the August 1, 2009, panel discussion in conjunction with the Hopper at the Harwood exhibition. Also on the dais are Larry Bell, Ron Cooper, Dennis Hopper, and Ronald Davis. Dean Stockwell with his piece Dice Cube, part of the exhibition at Ray Trotter’s R.B. Ravens Gallery, 2009. R.C. Israel at Dean Stockwell’s Ranchos de Taos home, March 2005. Henry Lee Hopper at his father’s studio at the El Cortez Theater.

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“With Dennis it was always about the art and the artist. He was an incredibly creative person with an incredible generosity of spirit. He liked to play with others, and he played with others very well.” —Jack Smith “He had a lot of ups and downs in his career and made a wise decision to give up drinking about 30 years before he died because he could see that he needed to do that,” Israel notes. “I always admired that.”

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that he made in Peru [The Last Movie] was completely Duchampian and completely Jasper Johnsian. It was brilliant! And the reason it failed as a commercial film was because it was high art.” Legacy Through a Lens Though Hopper was most known for his work in film, many people have equal respect for his talent as a photographer. “His real passion was his character assimilation in his acting,” Bell says. “He had the same creative passion in his photography.” Clearly the creative outlet afforded by this work meant a great deal to Hopper, who wrote in a curator statement of his 2009 Harwood Museum of Art show LA to Taos: 40 Years of Friendship, “I never made a cent from these photos. They cost me money but kept me alive.” The subject of an early Hopper portrait, Davis recalls meeting him in 1966 or 1967. Vogue had commissioned Hopper to take photos to accompany an essay on Los Angeles artists by John Coplans called “Art Bloom.” Davis was one of the subjects. “Dennis came up to my studio in Pasadena to take a portrait, and asked me where I wanted to go for the shot. I said, ‘Well,

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COURTESY OF MUSEUM OF CONTEMPORARY ART, LOS ANGELES

Generous Genius Hopper’s life can be read as a series of contradictory roles, from James Dean’s protégé to fanatical madman to sober Republican who backed both Bushes in their presidential campaigns. Yet, when speaking with people who knew him, two consistent personality traits emerge: generous and genius, a true Renaissance Man. Says Dean Stockwell, “Dennis always had a big problem turning people down. He was very generous, both with his time and talent.” Smith concurs. “With Dennis it was always about the art and the artist. He was an incredibly creative person with an incredible generosity of spirit. He liked to play with others, and he played with others very well.” Similarly, artist Larry Bell recalls, “He was a good friend for about 50 years. One of the last things he did was to come and see a show I had in Los Angeles. He came to my first show in LA, too. I was very touched.” While working with him on the 2009 Hopper at the Harwood events, curator Jina Brenneman recounts how impressed she was with his determination. “Every ounce of his being was focused on doing or promoting creativity and imagination and not letting any naysayer get in the way. He wasn’t afraid of bucking the system. It didn’t matter if the person he met was famous or unknown—if they were involved in the creative process they were part of his tribe.” As for his genius, Ron Cooper says, “He was a very talented multidisciplinary artist. I actually think that the so-called failed movie

there’s a mural on the wall of this deli with cows in a pasture and a ventilator in the sky.’ Hopper liked the idea. So I’m sitting there on a stool and he is laying in the gutter with a 35 mm camera rolling around to get a good angle. The connection was there between us. I was hysterical. He’d be like, ‘Move your hand over two inches’ or ‘do this.’ In other words, he directed.” In 2006, Hopper prophetically told GQ of his photography: “I was doing something that I thought could have some impact some day.” A collection of photos chosen by Hopper and New York gallery owner Tony Shafrazi culminated in a volume titled Photographs 1961–1967 DENNIS HOPPER, published by Taschen. With essays by Shafrazi and Walter Hopps of Los Angeles’ Ferus Gallery fame, the book captures a decade of cultural transformation from the mundane—strangers in everyday settings—to the monumental, such as Martin Luther King on the legendary Civil Rights March from Selma to Montgomery. Taking Every Wrong Direction on His Lonely Way Back Home A wrong direction brought Hopper to Taos and on occasion he that brought him to Northern New Mexico, and on occasion he

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Installation view of Dennis Hopper bemoaned his decision to live Double Standard at The Geffen there, once telling Davis that he Contemporary at the Museum of went up and sat in D.H. LawContemporary Art in Los Angeles, July 11–September 26, 2010. rence’s chair and “it didn’t do Curated by Julian Schnabel, anything for my career.” Howit was the first comprehensive ever, ultimately Hopper chose to exhibition of Hopper’s work to be mounted by a North American be buried in Taos. museum. The photograph that “It’s obvious that Taos is Deninspired the name of the exhibinis’s spiritual home,” says Tom tion, “Double Standard,” encomFolsom. “They say he spent his passes one entire wall, at left. lost years in Taos, but I think those years were anything but. In fact, they may have been the years where he found himself.” And, in doing so, significantly added to the Taos tradition of attracting trailblazing individuals. “It should not be underestimated what Dennis did in helping to bring enormous creative energy to Taos,” says Smith. “Not just his own, but that of all the people who came to Taos to be a part of what Dennis himself created here. Without Dennis, Taos would a completely different place.” R Summer 2013 TREND 119

Taos

Culture

BY LYN BLEILER | PHOTOS BY ROBERT CAFAZZO

Ranchos de Taos Plaza Historic charm and modern-day hospitality form the heart of community

ith the San Francisco de Asis Mission Church (a National Historic Landmark) as centerpiece, the recently revived Old Martina’s Hall, and the recognition of Dennis Hopper’s Old Cortez Theater, the Ranchos de Taos Plaza is enjoying a Renaissance as an attractive historic district while retaining a humble, authentic Northern New Mexican ambiance. Surrounded on all sides by an adobe wall, the original fort-like Ranchos de Taos Plaza was built by Spanish settlers in the 1700s as protection from Comanche, Ute, and Apache raids. The San Francisco de Asis Mission Church was built between 1772 and 1816, and each year parishioners and others participate in the enjarre, or remudding, of the church’s adobe exterior. The unique architectural design of the rear of the church has become an iconic image through paintings by notables such as Georgia O’Keeffe and photographs by Ansel Adams and Paul Strand.

The church was originally built to face a stretch of the old Santa Fe Trail. Since 1948, i has housed the mysterious Shadow of the Cross painting of Christ—said to glow and change dimension in total darkness. The church’s gift shop features santos, retablos, folk art, and religious artifacts by local artists Lydia Garcia, Carmen Velarde, Lloyd Rivera, and William Hart (a.k.a. Father Bill) McNichols. Facing the back of the church is newly resurrected Old Martina’s Hall. Already a popular gathering place, it features a bakery and full bar and serves breakfast, lunch, and dinner. Upstairs dining areas provide a spectacular view of the church and surrounding plaza. Since opening in September 2012, the restored dance hall in the back has hosted a variety of lively events, and the building’s major facelift has significantly improved the plaza’s profile. Proprietor Martina Gebhardt is busy planning her next improvement, a holistic spa and wellness center. The new facility will occupy an adjacent space (formerly Orlando’s Pawn Shop) between Old Martina’s Hall and the Old Cortez Theater, which Dennis Hopper bought in the 1970s and kept as an art studio and gallery until he passed away in 2009.

On the north side of Martina’s Hall in a 200-year-old former home is one of the area’s oldest galleries, R.B. Ravens. Known worldwide as a top dealer in pre-1930s Navajo rugs, owner Ray Trotter lectures at universities and museums on Navajo textiles and Pueblo pots. Having lived in Ranchos for more than three decades, Trotter has numerous stories. “We’ve seen some good times out here. We’d have mariachis and bonfires and we’d keep the galleries open. It was really a fiesta here at Christmas.” And he has plenty of fond memories of his former neighbor and longtime friend, Dennis Hopper. “He was one of the sweetest people I’ve ever known.” Of his new neighbor, Trotter says, “Martina did an amazing job saving that old building. It is the best restoration project in the state of New Mexico, and I’ve seen a lot of them. Interspersed among the shops, galleries, and eating establishments are a few private residences, artist studios, and relics of crumbling adobe structures that add to the plaza’s refreshingly non-gentrified, unspoiled authenticity. For instance, on the eastern corner is the former Andy’s La Fiesta Saloon, closed to the public but restored to its original structural integrity by

San Francisco de Asis Mission Church receives a new exterior coating of mud.

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its current owner. Exterior hand lettering reading, “Owner Andy Vigil, Restaurant— discount liquors, curio and gift shops, and drive up window” hints at the massive building’s former incarnations. Trotter recalls the days of drive-up liquor windows on the plaza: from his gallery, he watched farmers arrive on tractors and saw many a sauced-up caballero slide off their horses while reaching for replenishments. The Medina family’s Ranchos Plaza Grill serves a special Sunday morning breakfast—a favorite among churchgoers— and offers a daily New Mexican menu for lunch and dinner. A stone’s throw away is Orr’s Trading Post, run by Del Orr, whose family has been in the trading post business for more than a century. Alicia and Gabriel Abrums’s Chimayo Trading Del Norte specializes in Pueblo and Casas Grandes pottery, Navajo weavings, and Native American jewelry, kachinas, fetishes, and paintings by many of the Southwest’s best known contemporary and historic artists. Gabriel Abrums— a distinguished jewelry designer in his own right—works in a studio in the back of the shop. Born and raised in Chimayo, Gabriel says he and Alicia chose the Ranchos de Taos Plaza location ten ...ten years ago because, “We wanted to be in an historic area and this is one of the last holdouts of an authentic New Mexico plaza.” 122

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Two Graces Plaza Gallery offers an interesting mix of books, vintage curios, Fred Harvey jewelry and memorabilia, Hopi kachinas, and Pueblo pottery. Both accomplished painters, co-owners Robert Cafazzo and Holly Sievers’s own artwork is also on display. “From the moment I drove into Taos from Santa Fe over 25 years ago and saw the Church lit up that evening, I knew this is where I wanted to have a business,” says Cafazzo. At the northern edge of the historic district, the Ranchos Trading Post—owned and operated by the Sahd family since before the Great Depression—was active as a general store complete with soda fountain, drug store, butcher shop, and liquor store until 1981. The historic architectural gem is located, according to Dennis Waltrip, “At the end of the High Road to Taos, or at the beginning, depending on how you look at it.” One side of the building houses Rancho’s Antiques, owned by Waltrip and his partner Sandra Dardon, which specializes in Spanish Colonial doors, furniture, and devotional art. The other side of the building is home to the award-winning Trading Post Café & Gallery of Kimberly Armstrong and Chef René Mettler. With indoor and seasonal outdoor dining, multiple fireplaces, a generous wooden bar, and alternating artwork (including Mettler’s), the cozy café has

The Two Graces Plaza Gallery attracts locals and visitors with its mix of modern and vintage items.

long been a favorite among locals. Internationally known artist Agnes Martin was a regular, eating lunch there up to four days a week for years. Armstrong recalls, “Agnes was one of our first guests when we opened 19 years ago, and she became a very close friend.” Chef René occasionally packed picnic lunches for Armstrong and Martin, complete with firewood for outdoor grilling, and the pair would head off for adventurous day trips. “Always steak and tomatoes. She loved steak and tomatoes. And always Chianti,” Armstrong says. “Those were special times for us.” Just south of the Ranchos Plaza is Renee and Phillip MacNutt’s pet-friendly Adobe & Pines Inn Bed and Breakfast. Situated on a wooded three-acre parcel, the romantic retreat includes an historic 1830s adobe hacienda with a grand portal, labyrinth, Zen garden, resident chickens, and gourmet breakfasts. Overall, the Ranchos de Taos Historic District entrepreneurs share a palpable sense of pride, optimism, and community. As Trotter says, “I’m proud to be part of the Ranchos community. There are times I feel a lot more connected to them than I do to my own family.” R

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PHOTOS BY PETER OGILVIE

ashion can be as timeless as fine art—and just as stimulating. Here, flowing shapes and diaphanous fabrics bring a sensual refinement to the edginess of black leather, blending the fierce and the feminine in a contemporary take on the old “power suit.” The look is complemented by strong, sculptural jewelry, each piece selected for its dramatic impact and unifying effect. The juxtaposition of light and dark is at once bold and demure, with hints of B&D in the form of bungee cords and leather leggings pairing effortlessly with the less intimidating allure of ruffles and chiffon. Who needs stuffy power suits when you’ve got artistic inspiration on your side?

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Peachoo + Krejberg blouse. Santa Fe Dry Goods Daniel DiCaprio ebony and silver earrings. Ford and Forlano polymer clay and silver necklace. Mary Donald rubber bracelet. Patina Jewelry

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Leave it to Renaissance man Virgil Ortiz to connect the art of his ancestors to superheroes and high fashion, all while throwing in a history lesson or two. Using the ancient techniques of his Cochiti Pueblo forebears, Ortiz honors the role of pottery making as a chronicle of his peopleâ&#x20AC;&#x2122;s lives and culture by perpetuating the technique but updating the content. His apparel line was inspired by this pottery, wherein female superheroes like the Blind Archers reenact pivotal events of the Pueblo Revolt of 1680, evincing fearlessness and adaptability against the forces of opposition. Ortizâ&#x20AC;&#x2122;s designs push the underground-Goth-club-scene vibe to a higher level, resulting in strong, empowering fashion statements with a whiff of danger about them. 152

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A Day in Pictures

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Roy Flynn of Boots & Boogie is a premier custom boot designer in santa Fe, recently crafting these hand-tooled “scorpion” boots with texas boot maker eddie Kimmel and world-class leather tooler Blake Kral. Roy commissioned a “scorpion amidst the flora” for the men’s boot—which is cut by hand entirely with a knife.

Men’s cowhide leather tooled boot $6000 per pair. Women’s short boot from the same series without the scorpion $1500. Boots & Boogie Contact Roy Flynn 505 983 0777

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santa fe pens is New Mexicoâ&#x20AC;&#x2122;s largest purveyor of fine writing instruments and investment grade limited edition pens, featuring more than 20 different manufacturers. Owner Neal Frank is an internationally recognized authority in vintage and modern pen appraisals and repairs. Santa Fe Pens has provided outstanding customer service for nearly 20 years in its Sanbusco location. santafepens.com 505 989 4742

The XV Annual Santa Fe Edition Fountain Pen, a Santa Fe Pens exclusive, was handcrafted in Italy by the Visconti Pen Company. Only 40 fountain and 10 roller ball models were produced. Retail for the fountain pen is $595 and $450 for the roller ball model.

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Creative Director, Melodi Wyss, designed this Asian fusion look with AVEDA makeup, AlphaParf hair color, and Moroccan Oil. In the beauty business, designing hair and makeup for the runway is exciting. But only master artisans can make hair color and styling products seem to disappear, transforming into nothing but a look of natural beauty (opposite). Haircut, hair color and highlights, nails, and makeup by Melodi, Crystal, Heather, and Nikky of Rock Paper Scissor Salonspa. 505-955-8500 RockPaperScissorSalonspa.com

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pandora,

a home decor boutique in Sanbusco, provides a lush experience of color and texture opposite with Missoni Giacomo robe, Missoni Jocker throw, and Gretel Underwood throw above headboard. Wall hanging is a kuba cloth from the Congo. African pillows made of kuba cloth from the Congo and mudcloth from Mali. Colorful ikat pillows from Uzbekistan. Capuccino courtesy of El Tesoro Cafe in the mall. 505 982 3298 pandorasantafe.com

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Enjoy local organic food at Cafe Greco, made to order seven days a week. Choose from a variety of Lavazza coffee drinks, smoothies, daily fresh soup, sandwiches, grass-fed meats, and New Mexican tacos. Inside seating and beautiful outdoor patio create a relaxing cafe ambience to complement the exquisite Canyon Road art and shopping experience. Find Cafe Greco alongside JewelMark at the start of Canyon Road. NANIS Silver and Marcasite ensemble. USA made black cocktail dress and jacket from Jacquelineâ&#x20AC;&#x2122;s Place.

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From JeWel MaRK Ring, bracelet, earrings, and necklace in rare natural Burma rubies with diamonds set in 18K gold.

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destination marcy street

destinationmarcystreet.com popsantafe.com DESTINATION MARCY STREET offers locals and visitors a unique opportunity to enjoy fine dining, delve into the Santa Fe art scene, and shop at boutique stores in a fun and creative atmosphere. Located just steps away from the Santa Fe Plaza, the charm of Marcy Street is something everyone should experience.

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destination marcy street

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laurasheppherd.com designwarehousesantafe.com ART DIRECTOR Eric Radack | PHOTOGRAPHY Anne Staveley | ADDITIONAL STILL AND VIDEO IMAGES Jack Boubelik, Desert Bingo Productions, and Elene Gvilia PRODUCTION MANAGER Kimber Lopez | MODELS Solitaire, Jaden Brookes, Quinn Ernwood, Allen Matsuka, and Jaya Turtle | MASK ART Caity Kennedy and Matt King | CATERING Il Piatto and Capitol Coffee Company | PERFORMANCE ARTIST Winter Riddle | HAIR Serena Pe単aloza and Lisle Pino of Sacred Serenity MAKEUP AND BODY PAINTING Golda Blaise, Winter Riddle, and Serena Pe単aloza 186

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destination marcy street

wearaboutssantafe.com rougecat.com THANK YOU lululemon Santa Fe; Doug, Matt, Honey, and Crystal, (Il Piatto); Jedd, Jane, and Jamie (Shiprock Gallery); Paige, Megan, Sabrina, and Diana (WearAbouts); Laura and Francine (Laura Sheppherd); Alex, Justin, and Gordon (Luxx Hotel), Mark, Heidi, and Willow (Rouge Cat); Sharla and Michael (Pop Gallery); Wise Fool and SF Photo Workshops

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santa feâ&#x20AC;&#x2122;s designer hotel 105 east marcy street 505 988 5899 luxxhotel.com

Artist

STUDIO

BY LYN BLEILER | PHOTOS BY LEE CLOCKMAN

Kevin Cannon: A Curious Continuum

lthough raised studied with legendary leathin Queens, erworkers Raymond and New York, first Malachy Duncan of the famed generation Irishbohemian Isadora Duncan American Kevin clan—and accomplished artFrancis Cannon exudes a ist/designer Roger Rilleau. refreshing old world charm. Between 1967 and 1971, His bookishly fierce intellect, Cannon was an art and music engaging wit, and tweedy student at City College of New manner seem born of a simYork and took periodic trips pler era and, while certainly abroad. For a time, he studied in step with modern times, with bridle maker Fred Pathe prefers a philosophical terson on Long Island, and lifestyle of art-making, music, later opened a sandal shop and solitude. “But then, you in West Hampton Beach. In know, twice a week you think, 1974, his journey led to Pow‘I want to live in New York or ell, Wyoming, where he and Paris,’” he says. “But that’s a friend spent a winter apthe way we all are, right?” prenticing with master saddle Often starting with a quick maker Cliff Ketchum before ultimately settling in Taos. sketch and using leather as Cannon resides in an hishis medium, Cannon creates toric Taos artist enclave at the sensual, biomorphic shapes end of a dirt lane. In earlier that are suggestive of recogyears, the two adobe studios nizable objects, yet ultimately that comprise his holdings exist in their own abstract rehave housed such luminaries ality. In a piece for ART News, as D.H. and Frieda Lawrence, Ann Landi wrote, “Kevin Cannon’s sculptures glow with a Kevin Cannon in his studio. Opposite: Three graphite drawings reveal the artist’s exception- Carl Jung, Igor Stravinsky, smoothly burnished warmth, al skill at imbuing simple, often abstract shapes with character, substance, and luminosity. and Tennessee Williams. In the summer of 1927, Willa absorbing and reflecting light Cather is said to have worked on Death Comes for the Archbishop in from their sinuous folds and quirky shapes.” Cannon also the house Cannon now occupies, and in the late 1930s, Austriancreates exquisite graphite-on-paper drawings, often of his sculpborn artist Gisella Loeffler—known for her colorful handmade tural forms or of quiet domestic scenes—for instance, objects clothing and exuberant lifestyle—and her husband, carpenter on a kitchen counter—made luminous through his masterful Frank Chase, moved into the opposite studio. “Frank made all execution. the woodwork here. Doors, cabinet handles, all made from used Asked to describe his work, Cannon says, “I have no idea what lumber found on the street,” Cannon says. “Every nail was hamI am doing. The making of art or music or mathematics, it’s a mered and re-bent, yet when he died he had a fortune in the bank. long line with a life of its own. At some point you realize, here it That’s just the way he was.” Cannon is clearly a worthy steward is! It’s the subconscious saying, here’s the bus. Get on it. This is in this continuum. the constant. And you just dive in at a certain point.” As for his Tucked beneath mature cottonwood trees, the grounds are borleather-sculpting process, he explains, “It’s about banging, stitchdered by Taos Pueblo land and a seven-mile-long acequia madre, ing, gluing, pattern making, and seam binding . . . somewhere hand dug in the early 1600s. The majestic Taos Mountain forms between surgery and tailoring.” a stunning backdrop. “I remember driving back here for the first Cannon made his first foray into leatherwork at the age of 15. At time and it just washed over me,” Cannon said. “You’re thinkthat time he and his friends were spending their summer days at ing of this stuff your whole life, that’s what Freud tells us. Our the beach, and Cannon, who wanted a pair of sandals, deconstructsubconscious makes no mistakes. Driving back here, something ed an old pair of shoes and successfully reworked them. He was happened.” later drawn to a leatherwork/sandal-making shop in Greenwich Touring Cannon’s home studio has all of the intrigue of an arVillage, and it was there that his unique education truly began, cheological scavenger hunt. Entering through a no-frills kitchen, learning from William Ford and from Barbara Shaum—who

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one stands on uneven brick flooring under a low ceiling. Functional relics like a monsterous metal gas heater, four-coil burner stove, and vintage KLH Model 20 radio have long since settled in place. A bouquet of worn toothbrushes sits on a shelf sink-side, while a tattered religious painting featuring Christ with one hand on a globe, the fingers of his other making a peace symbol, sets a mystical tone next to an ancient refrigerator. “When I was a kid growing up in New York going to the Catholic Church you’d always see these. It is probably School of Zubarán.” Moving in to inspect it more closely, Cannon says, “It is beautifully painted. I found it on the street in New York.” A bare-bones wooden staircase in the kitchen leads to a sparsely furnished bedroom where every object takes on an elevated significance. A World War II Danish Army jacket that Cannon has worn for years hangs on the wall, old guitar cases line up under his bed, and a small bookcase holds seemingly well-ordered volumes whereas larger books and periodicals are neatly stacked on the floor. An Indian blanket covers a modest mattress, and unadorned windows provide mesmerizing views that include the crumbling remains of a neighboring adobe making a slow, dignified return to the earth. Downstairs to the left, one enters another in a series of small, rabbit-warren-like rooms. Here Cannon points out a somewhat 192

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Cannon’s leather sculptures seem at once alien and biomorphic. He himself describes this grouping as “Pacific leg family on way to the well.” Above: A series of “posed pods” cloaked in burnished leather.

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A rustic trostero holds a jumble of books, several leather sculptures, and a graphite drawing. Below: An old cowboy gear box sits beneath a cabinet door painted by D.H. Lawrence.

primitively painted recessed wall cabinet door—the handiwork of D.H. Lawrence—behind which are stored a series of his small leather sculptures. On display are two pairs of masterfully constructed leather sandals, as well as an artfully crafted classic satchel—“the kind you’d carry to the prep school I didn’t go to,” says Cannon—and a 19th-century leather box, both created by Cannon in the 1970s. Through a low doorway is yet another small room, this one with an empty fireplace and the pleasantly faint aroma of piñon ash. Stored sculptures are draped with white fabric, like furnishings in an off-season seashore cottage. Through a final passageway is Cannon’s cozy art studio. A fireplace, built in a recessed alcove adorned with corbels from a church built in 1640, is outlined by fissured cracks that give the illusion of breaking away, however slowly, from the surrounding plastered wall. Varying lengths of linen stitching thread dangle like a horsetail from a width of cord, while tools of the leatherworking trade found in flea markets in France and Spain are respectfully splayed out on a wooden worktable. A worn yet solid art deco chair sits fireside, as does a small Southwestern-style carved day bed, while a formidable wooden contraption that turns out to be a stitching horse used in harness construction occupies a corner of the room. A vintage radio similar to the one in the kitchen and a prehistoric portable television with rabbit ears are the room’s only bits of “technology.” A peaceful quiet permeates the studio, where time seems to operate on a different dimension—a contemplative dimension in which Cannon is clearly in his element. He is guided purely by intuition with no concern for art market trends. In 1990 he discovered from a cousin in Blackrock, County Dublin, that the Irish Cannons have a long continuum as master leather smiths, though it appears that Kevin is the first of his family to explore purely artistic expression through this medium. “What is the function of art?” Cannon asks. “It gives us hope. It reminds us of ourselves. You feel you’ve been there. When you look at it you think, I know that!” R

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The serene humanism of

Pure Harmony and 196

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Stuart Arends

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BY RIC LUM | PHOTOS BY KATE RUSSELL

illard, New Mexico, home to artist Stuart Arends, is exactly 83.3 miles from Santa Fe, an hour-and-a-half ride almost directly south on US 41. Since we first met in Santa Fe in 2011, Arends has been inviting me down for a visit, with an offer of a green chile cheeseburger lunch at the Willard Cantina. Today I’m finally taking him up on his offer. It’s a sunny spring morning, a good time to hop on the bike for the first ride of the season. I head out onto the road, and the low, piñon-dotted hills surrounding Lamy and Galisteo meld into a blur of blues, greens, and dusty browns just outside my peripheral vision. Dropping down through the Galisteo Basin the landscape begins to open up, revealing just how scorched this droughtridden section of the American shortgrass prairie has become. But people still make their lives out here, in towns small and large, with sturdy-sounding names like Stanley, Moriarty, Estancia, Mountainair. Finally, I arrive at the Willard Cantina, a classic one-story stucco building with a bar and café whose patrons range from local ranchers and farmers to bikers and assorted wayward travelers. Arends is waiting for me in his desertrat-style jeep, and when I pull up, he jumps out, offers his hand, and ushers me through the door. The Cantina’s owner and various locals greet him with that easy familiarity of close-knit neighbors, and lunch turns out to be as promised: a perfect green chile cheeseburger with a heaping helping of discussion about everything from local ranch politics to environmental issues and energy policy. Arends first came to New Mexico in 1983 when he was invited to be a resident at the Roswell Art Center. Afterward, he went on to run the residency program for six years. When asked why he chose to eventually settle in Willard, he says, “I looked for a long time for a place to move to. I finally figured I needed to be within

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Under the great wide open: Arends’s home and studio in Willard, New Mexico. Opposite, clockwise from top left: A few of the artist’s favorite things. Arends at his front door. P.D.F. 4 (2009-2012), oil on wax. The artist’s luminous space features only those things that are needed to live and work. Previous spread: Stuart Arends in his light-filled studio.

a certain radius from Albuquerque and Santa Fe, as well as close to an airport. So I put a compass on the map and made a 100 mile circle from Santa Fe.” Born in 1950 in Waterloo, Iowa, to parents who traversed the Dust Bowl, Arends was the first member of his family to attend college. Not only that, he decided to forgo studies in more conventional fields to answer the call that had been ringing in his head since he first encountered Winslow Homer’s light-filled watercolors as a child. “I was just trying to paint like that,” he says. “There was something magical about them, and then I discovered John Marin. But I never thought I’d have a career as an artist, ever. I thought I’d be an art teacher—or a foundry worker.” He began his education at Western State Colorado University in Gunnison, followed by a year at the Banff School of Fine Arts in Alberta, Canada. He eventually received his MFA from the Otis College of Art and Design in Los Angeles. Once lunch is complete, we head south in the Jeep for another ten miles or so

to Arends’s home and studio, located on the original Luna Ranch homestead that was established in the late 1800s. His only neighbor is the ranch’s headquarters—a full two miles away by dirt road. The building is a modest construct, a 1500-square-foot corrugated-metal structure ringed by windows and painted entirely white, inside and out. Just off the simply furnished living room is a small exhibition space holding several pieces, followed by the studio itself, monastic in size and reminding me of the photos I’ve seen of Thomas Merton’s room, with its single bed, crucifix, and a small Ad Reinhardt painting on the wall. “There is a big difference between what you have and what you need,” says Arends. “You can have all kinds of stuff, but you actually need a lot less.” I also think about the story Arends told me at lunch after I inquired about Giulia Caccia Dominioni, a beautiful, aristocratic young woman from Milan to whom I was introduced by Arends and his girlfriend Nancy. The granddaughter of the late art Summer 2013 TREND 201

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â&#x20AC;&#x153;I saw a cardboard box lying on the floor of my studio. I picked it up and painted it red. I stuck it on the wall, and, bang! That was it. My works have been feeding of that original box for thirty years.â&#x20AC;?

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ALESSANDRO ZAMBIANCHI, SIMPLY.IT, MILANO; RIGHT: COURTESY OF STUART ARENDS

CREDIT

collector Giuseppe Panza, Arends had arranged for Dominioni to spend a few months living at the neighboring cattle ranch. Arends reports it took her a while to get used to the austerity of her surroundings, but she was soon making daily forays on horseback out into the landscape. It is no coincidence that Arends had facilitated the visit. Dominioni’s family have been friends and collectors of Arends’s work for years and her grandfather was quite possibly one of the artist’s biggest fans. Possessed of a keen eye and an insatiable curiosity, Panza is considered to have been one of the most visionary collectors of the second half of the 20th century, known for showcasing works with great sensitivity to their surroundings and interaction with light and architecture. In addition to his other holdings, Panza had amassed nearly 120 of Arends’s works, and wrote the following about the artist in his 2008 book, Memories of a Collector: He uses all kinds of materials: oil, acrylic, wax. Each cube is painted with all the care needed for something huge. Each piece has its own individuality and is complete in itself. Strangely enough, when they are hung on a wall they need a great deal of space. Their presence is highly visible. His work has no particular aim; there is no ideology behind it, nor the need to express any personal situation. The only aim is beauty of the composition and colors. It is a search for pure harmony, something similar to a song of angels; it is about living happily in serenity without torments and anxieties, which of course, can also lead to great art if the antitheses are resolved through clarity of contemplation. Arends is also included in a number of other well-known collections, including those of the Berlingeri, Kramarksy, and Donald Bryant Jr. families; Microsoft Corporation; and the Lannan Foundation. He exhibits regularly in the U.S. and Europe

in solo exhibitions and group shows, and his work graces dozens of museums and galleries throughout the world, including the Whitney Museum of American Art, University of New Mexico Art Museum, Museo Cantonale d’Arte, Corcoran Gallery, and Albright-Knox Art Gallery. Arends began his career, he says, “As a traditional painter, blah, blah, blah,” but soon realized he needed to somehow make what he describes as “a mark that would stand as a mark and not be open to interpretation.” This desire came

Untitled (1980), oil and acrylic on cardboard. Opposite: Villa Menafoglio Litta Panza, Varese Villa. On wall at left, O.S. 24 (1993), oil on steel. On wall at right, O.S. 19 (1993), oil on steel.

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Unfolded A-11 (2002), oil on aluminum. Opposite: Winfred 27 (2012), oil and wax on wood. Bottom right: Wedge 48 (2007), oil on aluminum.

out of his burgeoning love for gestural abstraction and the influences of Abstract Expressionism. “I come from de Kooning and those sort of guys,” he says. “I love the idea of just moving paint around.” In 1980, the year between his two years of graduate school, Arends arrived at a point in his work that Frank Stella called, “What you see is what you see.” In other words, says Arends: “You just have to deal with the material aspect in the thing, rather than its potential illusions.” Each of his canvases were becoming increasingly smaller and thicker until the day, Arends recounts, “I saw a cardboard box lying on the floor of my studio. I picked it up and painted it red. I stuck it on the wall, and, bang! That was it. My works have been feeding of that original box for thirty years.” For Arends, it was a process of “equalizing the sides, tops, and bottoms of a canvas” to its logical conclusion: a cube. To Susan Harris, who writes in 204

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Stuart Arends: Work, 1985–1996, it was something much more sophisticated: “Arends’s small boxes are commanding objects that occupy literal space. They are making a significant contribution to the revitalization of abstract painting at a moment when its relevance has been called into question.” As an extension of that original box, Arends also tends to work in series. For instance, those that comprise his P.D.F works reflect his response to Piero della Francesca’s experiments with mathematics and perspective. “It just blew me away, such presence; that surface, so alive,” he says of his initial encounter during a formative trip to Italy. “The guy was right there.” But whereas the Renaissance master painted the illusion of shapes, perspective, and light, Arends plucks those elements from the two-dimensional surface of the canvas, abstracts their essences, and places them on the wall as complete objects in time and space.

Arends points out a piece hanging on his studio wall, a wedge shape milled out of a solid billet of aluminum with a flat surface on top angling precisely at each side to hug the wall. Some areas are painted white, some are left raw aluminum. Its power as an object lies not just in the contrast between paint and material surface, but in the way it is manifested by the shadows cast on the wall and the movement of the ambient light playing with the shape. In his Winfred series, Arends presents an ambiguous surface of numerals rendered as colored forms. In addition to reflecting his love of gestural painting, the works also tell a story. Winfred, a town in South Dakota, is where Arends’s mother grew up during the Depression. The numbers on the paintings represent the years during which the United States suffered through the crisis, and the materials are connected to Winfred’s present attempt at economic renewal.

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During a trip to take his mother back to see the place where she grew up, Arends encountered a town ravaged by time and economic despair. Little was left, but the Winfred schoolhouse was still standing, now transformed into a honey processing plant. It was here that Arends purchased a box of wax, which eventually became a primary material in the series. Compelling stories for compelling work—so much so that I’m startled to realize hours have passed. Weather is coming in, and the need to get back to Santa Fe is now foremost in my mind. Before we go, however, Arends pulls out one more piece. Part of his most recent series, Stormy Mondays, it is a box constructed of corrugated plastic, wood, and oil paint. The plastic forms are translucent, a fully realized achievement of implied inner light emanating outward that the older works had only hinted at. “Yes,” says Arends, “the Stormy Mondays are a big step. An impor-

Arends plucks the illusion of shape, perspective, and light from the twodimensional surface of the canvas, abstracts their essences, and places them on the wall as complete objects in time and space.

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tant one, I think. A lot of the influences are coming together and moving me along.” A painter working from his spot in the great expanse of New Mexican desert, Stuart Arends is nonetheless never too far from the incredible history of his medium. He holds our gaze—a thread to the past, a promise for the future—thanks to the humble but grand gesture of his hand. R

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P H OTO BY D E X T E R P E ACO C K

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TUNES

By April Reese

“I

just wanna get going before I’m too old/ To drink for a while from the river of gold,” Eliza Gilkyson sings in “River of Gold,” from her Redemption Road album. In the 17 years since that record was released, the 63-year-old singer-songwriterguitarist has taken many such satisfying sips. At an age when some artists start thinking about retiring or struggle to keep the passion for their art alive, Gilkyson sounds more inspired than ever. Now at work on her 19th album—produced by her son and collaborator, Cisco Ryder—Gilkyson sounds like a woman who has found hard-won contentment in both her professional and personal life. In writing the songs for her new album, tentatively titled The Nocturne Diaries, she “got a blast of inspiration,” she says—usually after the sun went down. “Sometimes I’d wake up at night and I’d hear my husband breathing and I’d be so grateful that I have this person to live with, so grateful for my life,” says Gilkyson, who is married to the writer and scholar Robert Jensen. But Gilkyson, who is known for her astute distillations of the injustices of the 208

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world, also continues to chronicle those worries on the new record. The new album, released in May 2013, is about what’s happening in the world and the challenges of remaining human, she says. Gilkyson was born in North Hollywood to Jane and Terry Gilkyson, a successful songwriter, but moved to Santa Fe when she was 17 after her mother died. The family had visited often: Her aunt Patty Agnew ran the House of Music on Marcy Street in the 1950s, and her uncle David Agnew owned the Country Store on West Marcy Street, across from where the clothing store Mira stands today. Gilkyson married and raised her children in Santa Fe and Cerrillos before moving to Austin, Texas. She returns to New Mexico often, and the region’s evergreen-studded mountains, blood-orange sunsets, and starry nights continue to influence her music. “Ever since I left I’ve been bereft,” she says. “New Mexico is where my heart lies. It’s where I’ll scatter my ashes someday.” The magnetic pull of Santa Fe is so strong that Gilkyson recently bought a small adobe on Upper Canyon Road, which she hopes to visit during the summers.

Gilkyson has built a loyal following during her almost five decades in the music business but has never had the chance to completely immerse herself in the “river of gold” like some of her contemporaries. Nonetheless, she has found certain kinds of success that cannot be measured in album sales or bank account balances. Two thousand five was an especially golden year for Gilkyson. She released the album Paradise Hotel, which includes the song “Requiem,” a haunting elegy inspired by the devastating 2004 Indian Ocean tsunami in Southeast Asia. When Hurricane Katrina pummeled the Gulf Coast in August 2005, just weeks after the record was released, residents found comfort in the song. “I had written the song sort of as a vehicle for grieving,” Gilkyson recalls. “I had been watching the news . . . watching people die. I thought, ‘I’ve got to write a song that’s a vehicle for the collective here.’ It just got picked up, because it was a prayer.” The national choral group Conspirare Choir recorded “Requiem” and received two Grammy nominations. The song was also performed in Japan after the tsunami there. The same year, continued on page 212

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Coad Miller

Eliza Gilkyson Takes a Dip in The River of Gold

TUNES

By April Reese

David Manzanares Spins Magic from His Northern New Mexico Roots

coad Miller

eff Bridges, playing Bad Blake, the washed-up country star in the 2009 film Crazy Heart, was about to step onstage before several thousand people at the Journal Pavilion in Albuquerque. The cast and crew had exactly six minutes to capture a pivotal scene in which Blake is invited onstage by hot ticket Tommy Sweet, played by Colin Farrell. The shoot was during a real-life Toby Keith concert: the crew had permission to film during intermission as long as production didn’t delay Keith’s performance. But as Bridges moved toward the stage with his band, he paused to ask David Manzanares, who played his band leader Nick, a question. “Jeff was so gracious and said, ‘Is that right? Would I go out first?’ I said, ‘No way, your band goes out first. You’re the star.’” Manzanares, a musician and producer as well as an actor, location scout, and production manager for the film industry, pauses to take a sip of his margarita in the Library Room at Santa Fe’s La Posada Hotel. “So that’s where my worlds in film and music collided.”

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Before Hollywood came calling, Manzanares, who grew up on his family’s ranch in Abiquiu, was already a successful musician and record producer. Manzanares and his five siblings are part of a family with deep, centuries-old ties to Northern New Mexico. They grew up listening to country and western and traditional Latin music, and began playing music at an early age. Today, Manzanares and his brother Michael are co-leaders of the band that bears their surname. Melding traditional Latin sounds with rock and Middle Eastern influences, the band has received international recognition, winning an Independent Music Award for Latin Album of the Year for their release Nuevo Latino in 2006 and placing in the top three in Billboard magazine’s 13th annual World Song Contest for “Que Se Va” that same year. The band has also won numerous New Mexico Music Awards. “Our voices mix well together,” says Michael. “It’s that family thing—since we’ve grown up together, I think we know where the other person is going with the music, with the song. It’s really enjoyable to play off each other’s energy.” Michael also

shares David’s passion for the film industry and is a crew member on Breaking Bad, the popular AMC series shot in Albuquerque. Outside, a steady snow has begun falling as Manzanares ref lects on his multi-faceted professional life. Despite his success in both the music and film worlds, he remains firmly rooted in the place where he was born and raised. He credits his groundedness in large part to a friend of the family, Santa Clara Pueblo potter Teresita Naranjo, who imparted some enduring words of wisdom to the 16-year-old Manzanares. “She had come over for a visit, and I played a song,” he recalls. “She said, ‘That was beautiful. You have a gift. When the Creator gives someone an art, it should be shared with the world. It’s your responsibility now to hone your craft, to work on it. Because it’s not yours anymore. It was given to you, and you have to make it as good as you can, for us.’” His involvement in the film industry was an accident. Spotting some intruders on the family ranch he went out to investigate, shotgun in hand. The trespassers turned out to be a production crew shooting an ad for a continued on page 212

David Manzanares plays with brother Michael (left) Summer 2013 Trend 209

TUNES

By April Reese

Matthew Andrae’s Fall to Grace

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a less accomplished player to master. His guitar playing imbues his music with a vibrant, buoyant feel, the sonic equivalent of a springtime inner tube ride down a churning Rio Grande. Andrae’s musical journey began when his parents, a physicist and a historian, took him to a José Feliciano concert when he was a young boy. “The band was so raucous, and he was making the guitar do something it’s never done before,” he says. Soon afterward, his mother bought his first guitar for $12 from a neighbor in Los Alamos. “I think from the moment I started playing, it felt right,” he says. “The sound of the guitar, the smell of the guitar, the way it felt against my chest.” Feliciano’s use of pulgar—creating a rhythm with the thumb—strongly influenced him, says Andrae. When playing live shows, “if I don’t get asked every night, ‘where’s the drum machine,’ I’m not doing something right.” Between well-timed thumps, his right hand is a one-man band, with his thumb playing a bass line and his four fingers playing rhythm and melody—all at the same time. “I hear some people say they don’t like playing solo, because it’s too austere, too

Matthew Andrae singing with Imogen Heap

lonely, but not me,” Andrae says, over a shared bowl of cheese puffs and pretzels. “It’s a never-ending refinement of a very simple concept. At a certain point, there’s a little moment of grace. The internal editor goes away, the joy can start, the energy moves, and people react to it.” But, he cautions, reaching that moment of bliss can have its downside. “The danger is that you start to say, ‘I’m awesome!’ And you fall from grace. That’s when you start overplaying, or forget the lyrics.” Plenty of people, of course, do think Andrae is pretty awesome. His playing has attracted the attention of other folk and pop artists, including Imogen Heap, for whom Andrae has opened as the warm-up act and has joined onstage twice. “He’s one of those rare people who can combine instrumental talent, instrumental innovation, and vocal talent with great songwriting, both musically and lyrically,” says Steve Rodby, a Chicago– based jazz bass player who recorded with Andrae in Santa Fe in 2008. “And he can fuse them all together into a single powerful message . . . one that is aware of our times and of its social issues.”

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Jennifer esperanza

ne of the first things you notice about Matthew Andrae is his fingernails. The ones on his right hand are long. Very long. He may get some strange looks at the bank or the supermarket, but Andrae’s Dolly Parton-esque nails are key to his trademark guitar-picking style. They essentially give him five built-in picks instead of one hand-held one, like many guitarists use. Having the ability to pluck several strings in rapid succession, in a way that creates a bright, crisp sound, is part of what makes his playing so distinctive. While fairly common among flamenco or classical players, it’s an unusual technique in the folk-pop world. “I have a technical guitar approach that I try to use simply,” he says, sitting at his dining room table in the house he shares with his wife, Amy, and their young daughter, Celine, who sits nearby on the couch watching a video and playing with the family cat, Boy-Boy. It’s a deceptive simplicity. Andrae, who studied at the New England Conservatory and Berklee College of Music in Boston, is adept at complex rhythms and guitar licks that he makes look easy but actually would require many hours of practice for

Like many musicians, Andrae has struggled with stage fright. For years, he drowned it with alcohol, which just “solved” one problem by creating another. And while he admits that “the suffering was great for my music,” after a particularly disastrous succession of events six years ago, he stopped drinking. “I can take hints better now,” he says. “When life is knocking you over the head saying, ‘maybe you’re a fool,’ you should listen.” It was a tipping point that catapulted him into a new era of his life, defined by marriage and fatherhood, his collaboration with Heap, and a European recording contract. His song “Sweet Celine,” written for his newborn daughter in 2007, has garnered 654,125 hits (and counting) on YouTube and attracted the attention of a French record label. When Andrae isn’t inventing songs and riffs, these days you can find him perfecting another invention: an indoor hanging garden. Using simple technology that consists of a carefully cut sheet of white plastic, some soil pellets, and a small amount of strategically placed water, Andrae has come up with a smallscale growing system that he hopes can help people—especially those with low incomes—cultivate their own food in their own homes, even in cramped spaces. The gardens are designed to hang on the wall and don’t need much light. With the global population expected to increase to more than nine billion by 2050, which is sure to place unprecedented stress on the world’s food systems in a warming world, being able to grow one’s own food even without a yard could mean the difference between survival and starvation in some parts of the world. “You’ll be able to grow ten plants, and those ten plants can dig you out of a hole,” he says. “My goal here is just to build a really great thing that works.” Which is what he’s all tried to do all along with his music. “It’s kind of like I play guitar,” Andrae says, as Celine climbs into his lap. “There’s all these little things that go into it, but I want it to sound effortless and graceful. I hope people experience it based on the emotion of it.”

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Gilkyson received three Austin Music Awards and four Folk Alliance Music Awards, including Song of the Year for “Man of God,” a satiric indictment of the Bush administration’s use of religion in politics that received airplay around the world. Producer Mark Hallman, who has collaborated with Gilkyson on several albums, says that what sets her apart from other singer-songwriters is her unique ability to be both vulnerable and cutting. “She’s got an edge to her songwriting that other folk singers don’t have,” Hallman says. “She can at one time be just very beautiful and serene, and at another cut to the bone.” While she explores common themes of love and loss, Gilkyson isn’t afraid to shine a strong light into the darkest corners of humanity. She practices what she preaches: In 2010, she co-founded 5604 Manor, a community center in Austin that promotes political activism on issues of race, patriarchy, and global injustice.

But putting her political views on such prominent display has its downside. “I do get a lot of flak, and it hurts me commercially, too. I just played a gig in the South, and I realized some of those people aren’t going to appreciate what I bring to the table. I’m not a person Eliza with her children in Tesuque in 1980 who invites conflict. But I have to “I don’t have any vices anymore. I’ll do live with myself. I feel I must write about it anything to stay healthy so I can keep playand maybe condemn myself to obscurity as ing music. I keep thinking the songs aren’t a result. That’s the dilemma.” going to keep coming. But the muse is still Despite her status as a sexagenarian, finding me a worthy vehicle. And as long Gilkyson, who looks younger than her as that keeps happening I’ll keep doing it.” age, says she plans to keep making music elizagilkyson.com as long as she’s physically able.

clothing catalogue. Putting the gun aside, Manzanares instead helped the crew find the locations they needed, and through word-of-mouth began picking up official scouting jobs for other shoots, eventually leading to film work. If there’s one common denominator in all of Manzanares’s various projects, it’s his inviolate connection to the landscape and culture in which he grew up. It has influenced both his music and film projects—sometimes in unforeseeable ways. On Crazy Heart, for instance, Manzanares was first hired as a location scout. But when Scott Cooper, who wrote, directed, and produced the film, came to El Farol to scope out the restaurant for a scene on the night Manzanares was playing, David ended up with a new job: Nick the band leader. “I remember seeing him and thinking, ‘Wow, he would be great,’” Cooper recalls. “I thought he was such a likable presence, and a great musician, and that he’d really 212

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fit in with that band. I hired him for the part immediately.” On one of Manzanares’s more recent projects, the film Bless Me Ultima, he was also first hired as a location manager but ended up playing a small part as Blas Montano and serving as cultural advisor on the project. The film tells the story of a young boy and his bond with a curandera, or Hispanic medicine woman, who comes to live with his family in Northern New Mexico in the 1940s. His deep knowledge of that way of life came in handy several times during the film as he helped to authentically recreate the cultural landscape of 1940s Northern New Mexico—from slang words to the precise way in which Ultima’s nemeses used the sign of the cross against her. “I grew up in the ’60s and ’70s, but it might as well have been the ’30s and ’40s given what we were exposed to—chopping wood, wood-burning stoves, a Little House

on the Prairie kind of existence,” he recalls. “Even though it was decades later, as a kid I was still living in that Ultima world. So every question they asked me, I was able to say, this is what you need to do.” The film, which is getting favorable reviews, is a rare glimpse into the largely unknown cultural practices of the area. “What an awesome opportunity to educate,” says Manzanares. More recently, Manzanares served as music conductor of an 1860s quintet, which also featured his son Max on trumpet, in the film Sweetwater. The film debuted at the Sundance Film Festival in February. While juggling so many different jobs and interests can make his life frenetic at times, Manzanares says he never takes any of it for granted. “I am so grateful,” he says, before heading out into the quiet, snowy night. R davidmanzanares.com

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lisa law

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Photos by Kate Russell

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Special Section |Gallery Views

Peyton Wright Gallery As the art world welcomes a larger presence of young, informed collectors who are fluid in the digital marketplace, Peyton Wright Gallery is at the forefront of that movement, expanding its international collector base. “Our growth this year will be anchored by our involvement in several major art fairs and a more substantial presence online,” notes owner John Schaefer. Meanwhile on Palace Avenue, the 19thcentury National Register gallery presents immaculately hung exhibitions by notable American Modernists and postwar Abstract Expressionists. Among these: Charles Green Shaw, Charles Hinman, Al Loving, Jr., and James Brooks. From December to March each year, Peyton Wright offers exceptional historic art of the Americas, including Spanish Colonial painting and masterfully crafted silverwork.

Gallery owner John Wright Schaefer. Behind him on either side from left to right are geometric paintings by Herbert Bayer: 10 B (1977), acrylic on canvas, and 10 A (1977), acrylic on canvas. Directly behind Mr. Schaefer is Charles Hinman’s Lalande (1980), acrylic on shaped canvas.

237 East Palace Avenue, Santa Fe, NM 505-989-9888, 800-879-8898 peytonwright.com 214

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Special Section |Gallery Views

Zane Bennett Contemporary Art If Zane Bennett Contemporary Art did nothing more than present works by the finest internationally recognized, blue chip, and local and regional contemporary artists in its light-filled, architecturally significant art space, that would justify collectors’ high regard. But Zane Bennett is equally committed to supporting Santa Fe’s vibrant arts community through lectures, film screenings, fundraisers, and educational events. In August, the gallery’s most important exhibition of the summer, Native Vanguard, showcases contemporary Native masters including George Longfish, Armond Lara, T.C. Canon, Roxanne Swentzell, and David Johns, among others. Lectures by Alfred Young Man and Pulitzer Prize winner N. Scott Momaday are highlighted events of the exhibition. Year round, Zane Bennett exhibits work by such stellar artists as Helen Frankenthaler, Ellsworth Kelly, and Robert Motherwell. 435 South Guadalupe Street, Santa Fe, NM 505-982-8111 zanebennettgallery.com

Left to right: Artist Armond Lara, gallery owner Sandy Zane, and show curator Raoul Paisner with three of Lara’s marionettes: Frida Kahlo, Billy the Kid, and Salvador Dali.

Special Section |Gallery Views

GF Contemporary

From left to right: Owner Deborah Fritz, art consultant Jocelyne Brown, and gallery director Sabine Hirsch, with artwork from left to right from Michael Hudock, Paul Shapiro, Michael Wilding, Paul Shapiro, and Pascal.

With more than 4000 square feet of elegant art space on Canyon Road, GF Contemporary provides museumquality two- and three-dimensional art ranging from highly contemporary works to those with a more experimental edge. Established in 2009 by Deborah Fritz, who also owns and operates Giacobbe-Fritz Fine Art, the gallery features sought-after artists along with those beginning to emerge into collectors’ sights. Local artists with a national and international reputation include Paul Shapiro, CJ Wells, Nigel Conway, and French-born wood artist Pascal. “Collectors travel to our gallery because we take pride in offering the finest in contemporary artwork. They know the reputation of our esteemed artists and they can always discover new talent. This is essential to their collecting process,” states gallery director Sabine Hirsch. GF Contemporary, 707 Canyon Road 505-983-3707 gfcontemporary.com

Giacobbe-Fritz Fine Art Giacobbe-Fritz Fine Art is home to some of Santa Fe’s most inspired contemporary representational painting and sculpture. Started in 2001 by sisters Kimberly Giacobbe and Deborah Fritz in a rambling 1890 adobe, Giacobbe-Fritz features engaging works by painters such as Craig Kosak, Connie Dillman, and Ben Steele. Director Palin Wiltshire describes the gallery’s selection as “tremendously eclectic”—yet the artworks “have in common the qualities of excellence, warmth, freshness, integrity, the embrace of color and texture, and a delight in portraying the world we share.” A second gallery within the gallery is The Graphics House, representing fine printmaking since 1974. 702 Canyon Road, Santa Fe, NM 505-986-1156 giacobbefritz.com 216

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Left to right: Gallery director Palin Wiltshire, owner Deborah Fritz, and registrar Suzy Santaella with artwork from left to right by Mark Gould and Ben Steele.

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Special Section|Gallery Views

Winterowd Fine Art

CredIT

The awe-inspiring beauty and diversity of the natural world is the overarching inspiration for the highly talented artists represented by Winterowd Fine Art. Each artist’s expression is as varied as nature itself, from representational to abstraction in two- and threedimensional works, including painting, sculpture, ceramic, installation, and glass art. The gallery, in a spacious, airy adobe on Canyon Road, features artists primarily from the Southwest. “I believe in the power of an object to bring extreme joy into the lives of those who live with it,” observes owner Karla Winterowd. “We have seen what art collectors acquire is a reflection of what they love and valu : We offer sophisticated art at an affordable price.” 701 Canyon Road, Santa Fe, NM 505-992-8878 fineartsantafe.com

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Gallery owner Karla Winterowd with, from left to right, Charlie Burk Grasses, oil on panel; Don Quade Stripes and Swirls, acrylic on panel; and Gretchen Wachs, ceramic sculpture. Summer 2013 Trend 217

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Gallery owner Phyllis Kapp

Waxlander Gallery As Phyllis Kapp likes to say, “Everyone has troubles, but why put them on the wall?” The smile-inducing question exemplifies the octogenarian artist and gallery owner’s warm, welcoming, upbeat approach to painting and life. At Waxlander Gallery and Sculpture Garden, Kapp’s entire staff mirrors this approach. The Canyon Road gallery, established by Kapp almost 30 years ago, features vibrant works in a wide range of mediums by such award-winning artists as Marshall Noice, Matthew Higginbotham, Lori Faye Bock, Christopher Owen Nelson, and Bruce King, Andree Hudson, and Kapp herself. “The artists I select are very sincere of heart and have good happiness in their souls,” Kapp says. 622 Canyon Road, Santa Fe, NM 505-984-2202 waxlander.com

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Special Section|Gallery Views

Mark White Contemporary

Mark White Fine Art

Mark White Contemporary, an arrestingly up-to-the-moment art space in the Railyard across from SITE Santa Fe, was established by artist and gallery owner Mark White in 2012. Vaulted ceilings, expansive walls, and a clean, modern mood provide an impeccable setting for large, innovative works by such artists as Javier Lopez Barbosa, Palo Klein Uber, and Joyce DiBona, among others. An extensive outdoor sculpture area features monumental figurative and conceptual sculpture by Mark White, along with Siri Hollander’s larger-than-life horses in steel and cement. The gallery’s smart location and contemporary vision complement the more intimate ambiance and historic charm of Mark White Fine Art on Canyon Road.

Mark White’s captivating kinetic wind sculptures first catch the eye in the sculpture garden at Mark White Fine Art. “Everything is in flux,” the artist and gallery owner points out. Siri Hollander’s spirited steel horses and John Kessler’s volcanic glass bears add to the feeling of dynamic vibrancy, which continues inside the lovely 18th-century adobe on Canyon Road. Shimmering aluminum engravings, richly hued abstract paintings, and mixedmedia works by Javier Lopez Barbosa, Ethan White, and Charles Veilleux, among others, seem to shift and glow in the changing light. The experience, appreciated by collectors and visitors, is a delicious paradox of exciting calm.

1161 Paseo de Peralta, Santa Fe, NM 505-982-2073 markwhitecontemporary.com trendmagazineglobal.com

414 Canyon Road, Santa Fe, NM 505-982-2073 markwhitefineart.com

Works by Mark White and eight other artists.

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Special Special Section Section||Gallery Gallery Views Views

Meyer East Gallery As As one one of of the the only only Canyon Canyon Road Road galleries galleries with with aa full full focus focus on on contemporary contemporary representational representational art, art, Meyer Meyer East East fills fills aa niche niche for for art art lovers lovers with with aa taste taste for for realism, realism, whether whether straight-up straight-up or or stylized, stylized, but but always always with with aa compelling compelling contemporary contemporary touch. touch. Still Still life, life, landscape, landscape, figurative, figurative, and and other other representational representational painting painting genres, genres, along along with with three-dimensional three-dimensional works, works, boast boast such such names names as as Donald Donald Roller Roller Wilson, Wilson, Fatima Fatima Ronquillo, Ronquillo, David David Dornan, Dornan, and and Melinda Melinda K. K. Hall. Hall. The The spacious spacious gallery gallery is is known known for for its its friendly, friendly, knowledgeable knowledgeable staff staff and and for for lively, lively, enjoyable enjoyable art art openings openings with with live live music music and and open open bars. bars. Notes Notes cocodirector director Michael Michael Laemmle, Laemmle, “Meyer “Meyer East East has has long long been been deemed deemed aa primary primary destination destination for for seasoned seasoned and and new new collectors collectors alike.” alike.” Co-director Co-director Michael Michael Laemmle Laemmle with, with, from from left left to to right, right, David David Dornan’s Dornan’s Ironworks, Ironworks, Profile Profile I,I, and and Upset, Upset, all all oil oil on on canvas. canvas.

225 225 Canyon Canyon Road, Road, Santa Santa Fe, Fe, NM NM 505-983-1657 505-983-1657 meyereastgallery.com meyereastgallery.com

Meyer Gallery It’s It’s no no secret—collectors secret—collectors nationally nationally and and internationally internationally know know where where to to come come in in Santa Santa Fe Fe for for exceptional exceptional representational representational art. art. Presenting Presenting the the highest highest caliber caliber painting painting and and bronze bronze sculpture sculpture was was the the intention intention when when Meyer Meyer Gallery Gallery was was founded founded in in Park Park City, City, Utah, Utah, in in 1967. 1967. For For more more than than aa quarter-century quarter-century the the same same mission mission has has held held true true at at Meyer Meyer Gallery Gallery in in Santa Santa Fe. Fe. Works Works by by more more than than 50 50 living living artists— artists— including including renowned renowned names names such such as as Milt Milt Kobayashi, Kobayashi, Robert Robert Daughters, Daughters, and and Dave Dave McGary McGary as as well well as as mid-career mid-career and and emerging emerging artists—grace artists—grace the the lightlightfilled filled space. space. At At aa prime prime Canyon Canyon Road Road location, location, Meyer Meyer is is also also known known for for its its sculpture sculpture garden, garden, where where bronze bronze children children and and other other figures figures by by acclaimed acclaimed sculptors sculptors are are alive alive with with charm. charm.

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Gallery Gallery director director John John Manzari Manzari with, with, from from left left to to right, right, Gordon Gordon Brown’s Brown’s Red Red Skies Skies and and Morning Morning Mist, Mist, both both in in oil, oil, with with Dave Dave McGary’s McGary’s bronze bronze work work in in the the foreground. foreground.

225 225 Canyon Canyon Road, Road, Santa Santa Fe, Fe, NM NM 505-983-1434, 505-983-1434, 800-779-7387 800-779-7387 meyergalleries.com meyergalleries.com

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Addison Rowe Fine Art Gallery A depth of experience and true passion for art have defined gallery owner, art consultant, and certified appraiser Victoria Addison through her more than 25 years as a professional in the fine art field. Addison was a private dealer in New York City and gallery owner in Chicago’s River North Area before establishing Addison Rowe Fine Art Gallery in Santa Fe. Today the gallery presents a distinctive collection of works by early 20th-century artists with ties to Santa Fe and Taos. Observes Addison: “I believe this time period was the most exciting for artistic expression and change, and the Southwest was a large draw for artists from around the world.” 229 East Mary Street, Santa Fe, NM 505-982-1533 addisonrowe.com

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Victoria Addison with, left, Robert Henri’s The Goat Herder, oil on canvas. In room behind her, Emil Bisttram’s White Noise, Summer 2013lacquer Trend 221 acrylic on board.

Special Section |Gallery Views

La Mesa of Santa Fe A lot has changed in the more than 30 years since Mary Larson established La Mesa of Santa Fe. What hasn’t changed is the gallery’s vision: presenting decorative and functional art with a focus on extraordinary color and design. La Mesa’s more than 60 artists create handcrafted items for the entire home, including tableware, fine furniture, sculpture, ceramics, paintings, and glass art. Artists such as Suzanne Betz and Louise Casselman offer fine art for the wall, while works by Melissa Haid, Russ Vogt, and Christopher Thomson, among others, add color and delight, indoors or out. “We’ve evolved and expanded to where art flows out into the garden as well as being a focal point of the home,” Larson says.

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Gracing the outside of the gallery are ceramic bead “reed” sculptures by Russ Vogt and a fused-glass wall sculpture by Melissa Haid.

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Special Section|Gallery Views

Hunter Kirkland Contemporary At the corner of Canyon Road and Paseo de Peralta—the gateway to Canyon Road—Hunter Kirkland Contemporary presents one of Santa Fe’s most inviting gallery spaces, offering an aesthetically pleasing, intellectually satisfying collection by contemporary artists with established careers. Owner/director Nancy Hunter exhibits the work of regionally and nationally known artists, each of whom has developed a clear and unique contemporary vision. Hunter and her knowledgeable staff are always happy to share their expertise with both seasoned and new collectors. As Hunter expresses it, “Hunter Kirkland offers a great opportunity to view exceptional contemporary work in a stunning location—a beautiful way to begin one’s exploration of art on Canyon Road.” 200 Canyon Road, Santa Fe, NM 505-984-2111 hunterkirklandcontemporary.com

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Owner/director Nancy Hunter with Charlotte Foust’s Milk and Honey (2013), acrylic on canvas. Summer 2013 Trend 223

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From left to right: Kim Kelly, Juan Kelly, and Kayden Kelly, with Juan Kelly’s Mares de Otono, oil on canvas.

Nüart Gallery Nüart Gallery’s thoughtfully selected stable of mid-career and established artists spans a wide range of contemporary genres and styles, including abstract and figurative works. Yet, whether painting or sculpture, each of the gallery’s offerings is marked by masterful composition, a strong imaginative element, and attention to surface treatment. Costa Rican-born artist Juan Kelly and his wife, Kim Kelly, established Nüart in 2001. The 3000-square-foot art space provides a welcoming, clean-lined backdrop for works by artists from the United States, Latin America, Europe, and Asia. “We are passionate about the artwork we carry,” Juan notes. 670 Canyon Road, Santa Fe, NM 505-988-3888 nuartgallery.com 224

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PHOTO: KATE RUSSELL

Bright Ideas for Lighting Dahl Lighting Showroom 1000A Siler Park Lane, Santa Fe (505) 471-7272 dahllighting.com trendmagazineglobal.com

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2013 Guide to the Best of Santa Fe’s Art and Cultural Events

Gallery Openings and Artist Shows

ART SANTA FE Santa Fe Convention Center Gala opening and vernissage July 11, 5–8 p.m. July 12 through 14 artsantafe.com

INTERNATIONAL FOLK ART MARKET Museum Hill, Santa Fe July 12, 13 , & 14 folkartmarket.org

SITE SANTA FE Enrique Martínez Celaya: The Pearl July 13–October 13 sitesantafe.org

BURNING OF ZOZOBRA Fort Marcy Park, Santa Fe September 5, 6–9 p.m. santafe.org

CURRENTS 2013 The Santa Fe International New Media Festival June 14–30 currentsnewsmedia.org

DESIGN SANTA FE Home & Garden Tour

August 9–11, August 16–18

santafeinteriordesigners presents.com

DESIGN CRAWL: A CITYWIDE CELEBRATION Opening party: October 30 October 30–November 1

INVITATIONAL EXHIBITION Life Support: Art Design Sustenance November 1–29

DESIGN DIALOGUE/WORKSHOPS Making Things in a Digital Age November 2

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TREND Summer 2013

Glen Green Melanie Yazzie Exhibit Closes July 20

Beals & Abate Teruko Wilde Opening Reception June 7, 5–8 p.m.

Addison Rowe Emil Bisttram Exhibit Closes June 30

DESIGNLAB: NEXT NEST Making Things in a Digital Age

La Donna del Lago

July 13, 17, 26, 8:30 p.m. August 1, 6, 14, 8:00 p.m.

November 2–29

La Traviata

SANTA FE AREA HOME BUILDERS ASSOCIATION Haciendas A Parade of Homes

July 20, 24, 8:30 p.m. July 29 & August 2, 5, 10, 16, 22, 8:00 p.m.

August 9–11, August 16–18 sfahba.com

Oscar

July 27, 8:30 p.m. July 31 & August 9, 12, 17, 8:00 p.m.

SANTA FE CONCORSO The Club at Las Campanas

Apprentice Showcase Scenes

September 27–29 santafeconcorso.com

August 11, 18, 8:30 p.m.

Robert Mirabal: Music and Myth August 30 and 31, 7 p.m.

SANTA FE OPERA santafeopera.org

SANTA FE WINE AND CHILE FIESTA

The Grand Duchess of Gerolstein

June 28 & July 3, 6, 12, 19, 8:30 p.m. July 30 & August 7, 15, 21, 24, 8:00 p.m.

September 25–29 santafewineandchile.org

SWAIA SANTA FE ZINDIAN MARKET

The Marriage of Figaro

June 29 & July 5, 10, 8:30 p.m. August 3, 8, 13, 20, 23, 8:00 p.m.

August 12–18 swaia.org

Giacobbe Fritz Ben Steele Opening Reception June 21, 5–7 p.m.

James Kelly Contemporary Enrique Martinez Celaya Opening reception July 13, 5–7 p.m.

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June 2013

New Concept Gallery Woody Galloway Opening Reception June 14, 5–7 p.m.

A GALLERY Third Annual RISD Show: New Mexico Alumni

CHARLOTTE JACKSON FINE ART Friends and Family Closes July 23 Heiner Thiel & Michael Post: Colours of Space

June 14–July 27 Opening reception: June 14, 5–7 p.m.

June 28–July 21 Opening reception: June 28, 5–7 p.m.

ADDISON ROWE GALLERY Highlights of Southwest Modernism: Showcasing works by Joel Reed, Andrew Dasburg, Raymond Jonson, Victor Higgins, Emil Bisttram, and Howard Cook

CHIAROSCURO CONTEMPORARY ART John Geldersma Gayle Crites

BEALS & ABBATE FINE ART Appreciation featuring Teruko Wilde

CLOUD5PROJECT

Closes June 30

June 7–June 30 Opening reception: June 7, 5–8 p.m.

CARDONA-HINE GALLERY IN TRUCHAS Celebrating 25 years this summer CASWECK GALLERIES Ronald Kil: A New Mexican Cowboy History Opens June 1

CHALK FARM GALLERY The Enchanted Word of Robert Bissell July 26–August 31 Opening reception: July 26, 5–8 p.m.

June 7–July 7 Opening reception: June 7, 5–7 p.m.

Stephen Auger: Undulations, Caity Kennedy: Moon Jelly

(outdoor light installation) Shiny Light and Moon Jelly, with Stephen Auger, Caity Kennedy, and others For show dates, please visit cloud5project.com Opening Reception: June 28, 8:30 p.m.

DAVID RICHARD GALLERY Paul Reed: A Career Exploring Color and Visual Perception Steven Alexander: Slave to Love June 21–July 27

Trygve Faste: Technoforms Opening reception: June 28, 5–7 p.m.

EVOKE CONTEMPORARY Lynn Boggess: Solo Exhibition June 7–June 30 Opening reception: June 7, 5–7 p.m.

GEBERT CONTEMPORARY Covington Jordan: Fable Closes July 1

GF CONTEMPORARY The Ladies Show: Shelly Lewis Stanfield, Ali Cavanaugh, Rachel Rivera, America Meredith, and Thais Mather June 21–July 5 Opening reception: June 21, 5–8 p.m.

GIACOBBE FRITZ FINE ART Ben Steele’s Wild West Art Show: The Best Show on Canvas June 21–July 5 Opening reception: June 21, 5–7 p.m.

GLENN GREEN GALLERIES + SCULPTURE GARDEN New works on paper by Melanie Yazzie Closes July 20

Recent monumental works in granite by Khang Pham-New Closes August 2

GVG CONTEMPORARY Forge, Spin, Wrap and Weld: Metal work by Ernst Gruler, Donald Gialanella, Christopher Bathgate, and Jamie Monroe Closes June 14

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La Mesa Russ Vogt Opening Reception June 14, 5–7 p.m.

GVG CONTEMPORARY Southwest Abstraction II: New Work by Mary Tomas, Scott Wilson MacLaren, and Jarrett West June 28–July 19 Opening reception: June 28, 5–7 p.m.

HUNTER KIRKLAND CONTEMPORARY Rick Stevens, Oil & Pastel Paintings June 21–July 7 Opening reception: June 21, 5–7 p.m.

LA MESA OF SANTA FE Russ Vogt

New ceramic garden sculptures Opening reception: June 14, 5–7 p.m. Artist presentation: June 14, 15, & 16

MARJI GALLERY Aboriginal Summer: featuring master works by aboriginal artists

Gallery Openings and Artist Shows

JUNE

Nuart John Tarahteeff Opening Reception June 21, 5–7 p.m.

Closes September 30

MEYER EAST GALLERY Robert LaDuke Opening reception: June 21, 6-8 p.m.

NEW CONCEPT GALLERY Santa Fe & Beyond June 14–July 8 Opening reception: June 14, 5–7 p.m.

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June–July 2013

Winterowd Fine Art Sarah Bienvenu Opening Reception June 28, 5–7 p.m.

Gallery Openings and Artist Shows

NUART GALLERY John Tarahteeff: Undertow June 21–July 7 Opening reception: June 21, 5–7 p.m.

PEYTON WRIGHT GALLERY Postwar American Abstraction: Downing, Loving, and Pollock May 3–June 25

June 28–July 20 Opening reception: June 28, 4–7 p.m.

WAXLANDER GALLERY & SCULPTURE GARDEN Nature’s Hues: Distinct and Obscure

POP GALLERY 6th Annual POP Femme Sugar-Coated Strange Aunia Kahn, Silence of Broken Ground

New works by Marshall Noice June 25–July 8 Opening reception: June 28, 5–7 p.m.

Photo Montages: Barbey & Mosedale

June 19–July 13 Opening reception: June 7, 5–7 p.m.

Closes June 30

June 1–July

Jacob Johnson: Contemporary works on paper Opening reception: June 21, 5–7 p.m.

SELBY FLEETWOOD GALLERY Adam Shaw: Theory of Everything June 21–July 2 Opening reception: June 28, 5–7:30 p.m.

SHIPROCK SANTA FE From the Mesas: Arts of the Hopi Pueblos May 17–September 11 Available in gallery or at shiprocksantafe.com

TAI GALLERY Emerging Bamboo, a curated show of emerging bamboo artists Closes June 21

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Nagakura Kenichi, classic Japanese bamboo basketry with a contemporary sensibility

TREND Summer 2013

WILLIAM SIEGAL GALLERY Alison Keogh and Polly Baron

WINTEROWD FINE ART Sarah Bienvenu: Cast of Light featuring new watercolors June 28–July 11 Opening reception: June 28, 5–7 p.m.

YARES ART PROJECTS Sam Scott: Four Tides, Four Decades Closes July 1

ZANE BENNETT CONTEMPORARY ART Paladino/Mixografia: Prints by Mimmo Paladino Closes June 21

Robert Dean Stockwell: New Dice Sculptures June 28–July 19 Opening reception: June 28, 5–7 p.m.

GF Contemporary Michael Hudock Opening Reception July 26, 5–8 p.m.

Projections in New Media, Featuring Derek Larson, Inhye Lee, and Molly Bradbury

In conjunction with Currents 2013 June14–July19 Opening reception: June 14, 5–7 p.m.

JULY ADDISON ROWE GALLERY The Art of the Transcendental Painting Group July 1–August 31 Opening reception: July 26, 5–7 p.m.

BEALS & ABBATE FINE ART A Story Within a Story featuring Rebecca Tobey July 2–July 15 Opening reception: July 5, 5–8 p.m.

CASWECK GALLERIES Robin Rotenier, Fine Jeweler: A Parisian Living in New York Opening July

CHARLOTTE JACKSON FINE ART Group Exhibzzzzition July 26–August 26 Opening reception: July 26, 5–7 p.m.

CHIAROSCURO CONTEMPORARY ART Chris Richter Rebecca Bluestone July 12–August 11 Opening reception: July 13, 5–7 p.m.

EVOKE CONTEMPORARY Pamela Wilson: Low-Flying Dream Girls July 5–July 31 Opening reception: July 5, 5–7 p.m.

GEBERT CONTEMPORARY Otis Jones: Recent paintings July 5–August 12 Opening reception: July 5, 5–7 p.m.

GF CONTEMPORARY Pascal: July 5th – July 19 Michael Hudock & Marcelo Suaznabar July 5–July 25

Michael Hudock & Marcelo Suaznabar July 26–August 9 Opening reception: July 26, 5–8 p.m.

GIACOBBE FRITZ FINE ART Wendy Chidester July 12–July 26 Opening reception: July 12, 5–7 p.m.

GLENN GREEN GALLERIES + SCULPTURE GARDEN Peter Woytuk: New Sculpture in Bronze July 1–October 30

GVG CONTEMPORARY Dimensionality: New Paintings by Blair Vaughn-Gruler and Oliver Polzin July 26–August 16 Opening reception: July 26, 5–7 p.m.

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July–August 2013

SITE Santa Fe Enrique Martínez Celaya Public Opening July 12, 5–7 p.m.

Charlotte Jackson Fine Art William Metcalf

MEYER EAST GALLERY David Dornan

Michael Madzo: Acrylic Paintings Sewn with Cotton Threads

Nathan Bennett

July 26–August 11 Opening reception: July 26, 5–7 p.m.

JAMES KELLY CONTEMPORARY Enrique Martinez Celaya: Concepts and Studies for The Pearl July 13–August 17 Opening reception: July 13, 5–7 p.m. KARAN RUHLEN GALLERY Surface Beauty: Baker, Koment, Long-Postal, Smithey, Thomas July 12–July 24 Opening reception: July 12, 5–7 p.m.

California Dreaming: Form & Color, Daniel Phill & Bret Price July 26–August 8 Opening reception: July 26, 5–7 p.m.

MARJI GALLERY Brooklyn artist Erica Harris Collage: To translate a universal language July 5–August 5 Opening reception: July 5, 5–8 p.m.

MARK WHITE FINE ART & MARK WHITE CONTEMPORARY Music in Color: New Paintings by Javier Lopez Barbosa July 5–July 21 Opening receptions: July 5, 5–8 p.m. & July 6, 4–6 p.m.

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Opening reception: July 5, 6–8 p.m. Opening reception: July 19, 6–8 p.m.

NEW CONCEPT GALLERY Big & Bold, Abstract Work by 8 Artists July 12–August 5 Opening reception: July 12, 5–7 p.m.

NUART GALLERY Michael Bergt July 12–July 28 Opening reception: July 12, 5–7 p.m.

Howard Hersh: encaustic July 19–August 4 Opening reception: July 19, 5–7 p.m.

PEYTON WRIGHT GALLERY Mokha Laget: Color Walk July 5–July 31 Opening reception: July 5, 5–8 p.m.

POP GALLERY Daniel Martin Diaz, Soul of Silence July 5–August 31 Opening reception: July 27, 6 p.m.

SELBY FLEETWOOD GALLERY Rodney Hatfield: New Work July 12–June 23 Opening reception: July 12, 5–7:30 p.m.

SHIPROCK SANTA FE Feral at Heart: Patrick Mehaffy July 11–August 1, 2013 Opening reception: July 11, 2013, 5–7 p.m.

SITE SANTA FE Enrique Martínez Celaya: The Pearl, a museum-wide, multi-media installation July 13–October 13 Public opening: July 12, 5–7 p.m.

TAI GALLERY Fujinuma Noboru, recent expressions in bamboo July 26–August 10 Opening reception: July 26, 4–7 p.m.

WAXLANDER GALLERY & SCULPTURE GARDEN Figuratively Romantic New works by Andree Hudson July 9–July 22 Opening reception: July 12, 5–7 p.m.

Weaving Sunshine: New works by Suzanne Donazetti July 30–August 12 Opening reception: August 2, 5–7 p.m.

WILLIAM SIEGAL GALLERY Paula Castillo and Paula Roland July 19–August 10 Opening reception: July 19, 5–7 p.m.

YARES ART PROJECTS Milton Avery and Jules Olitski: Radiance and Reflection, Colorist and Colorfield Manuel Neri: The Mujer Pegada Series, Drawings and Sculptures July 5–August 31 Opening reception: July 5, 5:30–7:30 p.m.

ZANE BENNETT CONTEMPORARY ART Native Vanguard: Contemporary Masters July 26–August 23 Opening reception: August 15, 5–7 p.m.

AUGUST JAMES KELLY CONTEMPORARY Sharon Core: 1606–1907 Series August 23–October 19 Opening reception: August 23, 5–7 p.m.

Gallery Openings and Artist Shows

HUNTER KIRKLAND CONTEMPORARY Ted Gall: Bronze and Stainless Steel Sculpture

Yares Art Projects Sam Scott

A GALLERY Tayo Heuser: East to West Drawings and wall pieces Noel Aranov and Clark Man: Sculpture and wall pieces August 2–September 14 Opening reception: August 2, 5–7 p.m.

WINDSOR BETTS ART BROKERAGE 25th Birthday Celebration! Opening reception: July 5, 5–7 p.m.

Summer 2013 TREND

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August 2013

Casweck Galleries Ernest Chiriacka

Gallery Openings and Artist Shows

BEALS & ABBATE FINE ART Wonderment featuring Raymond Nordwall August 1–August 20 Opening reception: August 9, 5–8 p.m.

Native Music featuring Upton Ethelbah August 6–August 20 Opening reception: August 16, 5–8 p.m.

CASWECK GALLERIES Robbi Firestone, Portrait Series: Spirit of Santa Fe Muses, Makers and Mavens Opening reception: August 9

CHARLOTTE JACKSON FINE ART Group Exhibition

August 30–September 23 Opening reception: August 30, 5-7 p.m.

CHIAROSCURO CONTEMPORARY ART Contemporary Indian Market: Featuring Work by Rick Bartow, Rose B. Simpson, and Emmi Whitehorse August 16–September 14 Opening reception: August 16, 5–7 p.m.

DAVID RICHARD GALLERY Ted Larsen: New Works Peter Demos: New Paintings Matthew Penkala: There’s No Shame In It

EVOKE CONTEMPORARY Louisa McElwain: Retrospective of a New Mexico Master August 2–August 31 Opening reception: August 2, 5–7 p.m.

GEBERT CONTEMPORARY Keiko Sadakane: Thoughts on Piero della Francesca August 23–September 10 Opening reception: August 23, 5–7 p.m.

GF CONTEMPORARY Nigel Conway

August 30–September 13 Opening reception: August 30, 5–8 p.m.

GIACOBBE FRITZ FINE ART Two Women Painting Impressionism: Connie Dillman & Deb Kaylor August 23–September 6 Opening reception: August 23, 5–7 p.m.

GVG CONTEMPORARY Sculpniture: New Work by Ernst Gruler August 23–September 16 Opening reception: August 23, 5–7 p.m.

HULSE/WARMAN GALLERY Michelle Cooke/New Works

August 4–September 15 Artist reception: contact gallery

HUNTER KIRKLAND CONTEMPORARY Eric Boyer, Wire Mesh Sculpture Charlotte Foust, Acrylic and Mixed-Media Paintings August 23–September 8 Opening reception: August 23, 5–7 p.m.

JAMES KELLY CONTEMPORARY Sharon Core: New Photographs KARAN RUHLEN GALLERY The Post-Modern Landscape: Kurt Meer, Stephen Pentak, Pauline Ziegen August 16–August 29 Opening reception: August 16, 5–7 p.m.

MARC NAVARRO GALLERY Ethnographic Art Show August 8–13

MARJI GALLERY Matthew Frederick: An amusing spin on landscape painting August 9–September 13 Opening reception: August 9, 5–8 p.m.

MARK WHITE FINE ART & MARK WHITE CONTEMPORARY Upon Reflection: New Paintings by Mark White August 30–September 15 Opening receptions: August 30, 5–8 p.m. August 31, 4–6 p.m.

Peyton Wright Gallery Jack Roth (1927-2004)

MEYER EAST GALLERY Melinda K Hall Opening reception: August 2, 6–8 p.m.

Michael Workman

Opening reception: August 16, 6–8 p.m.

Fatima Ronquillo

Opening reception: August 30, 6–8 p.m.

NEW CONCEPT GALLERY Aaron Karp, Acrylic Abstractive Paintings August 9–September 2 Opening reception: August 9, 5–7 p.m.

NUART GALLERY Hyunmee Lee

August 2–August 18 Opening reception: August 2, 5–7 p.m.

Santiago Perez: oil

August 9–August 25 Opening reception: August 9, 5–7 p.m.

PEYTON WRIGHT GALLERY Charles Green Shaw: Idioms August 2–September 3 Opening reception: August 2, 5–8 p.m.

ArtAspen

August 1–4 Aspen, Colorado Opening night gala: August 1, 5–9 p.m.

August 2–September 7 Opening reception: August 2, 5–7 p.m.

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TREND Summer 2013

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August–September 2013

Hulse/Warman Gallery David Alexander

August 2–August 31 Opening reception: August 17, 6 p.m.

SELBY FLEETWOOD GALLERY Kevin Box: Paper Proof August 2–August 13 Opening reception: August 2, 5–7:30 p.m.

SHIPROCK SANTA FE Textiles Indigenes de Mayo August 1–September 30 Opening reception: August 10, 5–7 p.m.

Indian Market Artist Reception August 1–September 30 Opening reception: August 15, 1–3 p.m.

TAI GALLERY Beppu Bamboo Artists Group Show, featuring new works by Morigami Jin and Nakatomi Hajime, and introducing several new artists August 30–September 21 Opening reception: August 30

WAXLANDER GALLERY AND SCULPTURE GARDEN Through the Refracted Light New works by Bruce King August 13–August 26 Opening reception: August 23, 5–7 p.m.

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Uncommon Ground New works by Matthew Higginbotham August 27–September 9 Opening reception: August 30, 5–7 p.m.

WILLIAM SIEGAL GALLERY Karen Gunderson, David Henderson and Paulo Cavinato August 16–September 14 Opening reception: August 16, 5–7 p.m.

WINDSOR BETTS ART BROKERAGE Kevin Red Star: New Works August 15–September Opening reception: August 16, 5–8 p.m. (Indian Market weekend)

ZANE BENNETT CONTEMPORARY ART Gail Bird and Yazzie Johnson: Contemporary Jewelry Opening reception: August 16, 4–6 p.m. (Indian Market weekend)

Susan Davidoff + Rachelle Theiwes August 30–September 20 Opening reception: August 30, 5–7 p.m.

SEPTEMBER A GALLERY Nat Hesse and Carol Ware: Sculpture and Wall Pieces David Forlano: Paintings

September 20–November 9 Opening reception: September 20, 5–7 p.m.

BEALS & ABBATE FINE ART Winging It featuring Frank Gonzales September 24–October 7 Opening reception: September 27, 5–8 p.m.

CASWECK GALLERIES Brant Kingman: Sculptor of Bronze, Steel, and Light Opening September

CHARLOTTE JACKSON FINE ART Tony DeLap: Paintings and Drawings, Past and Present September 27–October 20 Opening reception: September 27, 5–7 p.m.

CHIAROSCURO CONTEMPORARY ART Mike Stack

September 20–October 18 Opening reception: September 20, 5–7 p.m.

DAVID RICHARD GALLERY Allan Graham: A Survey of Art and Text September 13–October 19 Opening reception: October 8, 5–7 p.m.

EVOKE CONTEMPORARY Points of View: Group show featuring Matthew Cornell, Francis Di Fronzo, Lisa Grossman September 13–September 30 Opening reception: September 13, 5–7 p.m.

Mark White Fine Art & Mark White Contemporary Mark White Opening Receptions August 30, 5–8 p.m. August 31, 4–6 p.m.

GEBERT CONTEMPORARY Around the Globe: Rakuko Naito, Eric Cruikshank, Ugo Noger, Chen Xi Opening reception: September 13, 5–7 p.m.

GIACOBBE FRITZ FINE ART Britt Freda September 6–September 20 Opening reception: September 6, 5–7 p.m.

GVG CONTEMPORARY Anniversary Celebration

September 20–October 11

HULSE/WARMAN GALLERY David Alexander: Drawing Into Taos September 29–October 27 Artist reception: contact gallery

HUNTER KIRKLAND CONTEMPORARY T Barny: Stone and Bronze Sculpture

Gallery Openings and Artist Shows

POP GALLERY Joel Nakamura, Creature Quest

Windsor Betts Kevin Red Star Opening Reception August 16, 5–8 p.m.

Laura Wait: Encaustic

September 20–October 6 Opening reception: September 20, 5–7 p.m.

KARAN RUHLEN GALLERY Wax Works: Martha Rea Baker, Mary Long-Postal, Ellen Koment September 13–September 26 Opening reception: September 13, 5–7 p.m.

MARJI GALLERY James Hoyle: Contemporary Impressionist September 20–October 21 Opening reception: September 20, 5–8 p.m.

Summer 2013 TREND

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September–November 2013

Evoke Kent Williams Opening Reception October 4, 5–7 p.m.

Gallery Openings and Artist Shows

MEYER EAST GALLERY Jacob Pfeiffer Opening reception: September 13, 6–8 p.m.

Natalie Featherston

Opening reception: September 27, 6–8 p.m.

NEW CONCEPT GALLERY Kathleen Doyle Cook September 6–30 Opening reception: September 6, 5–7 p.m.

NUART GALLERY Alexandra Eldridge

September 13–September 29 Opening reception: September 13, 5–7 p.m.

PEYTON WRIGHT GALLERY Stanton Macdonald-Wright: Homage to Color September 6–October 2 Opening reception: September 6, 5–8 p.m.

POP GALLERY POP Goes to the Dogs, Annual Benefit for Assistance Dogs of the West

September 6–October 30 Closing reception: September 28 (during Santa Fe Wine & Chile Fiesta)

SELBY FLEETWOOD GALLERY MF Cardamone, A New American Botanical: Plants of Peru, Florida, and Arizona September 27–October 8 Opening reception: September 27, 5–7:30 p.m.

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WILLIAM SIEGAL GALLERY Signe Stuart and Peter Ogilvie September 20–October 26 Opening reception: September 20, 5–7 p.m.

YARES ART PROJECTS Penelope Krebs: Stripe Paintings Susanna Carlisle and Bruce Hamilton: Video Installations September 6–November 2 Opening reception: September 6, 5:30–7:30 p.m.

ZANE BENNETT CONTEMPORARY ART Fences: Tom Miller

September 27–October 18 Opening reception: September 27, 5–7 p.m.

OCTOBER CHARLOTTE JACKSON FINE ART Group Exhibition

October 25–November 24 Opening reception: October 25, 5–7 p.m.

HUNTER KIRKLAND CONTEMPORARY Peter Burega, Oil Paintings on Wood Panel October 11–November 3 Opening reception: October 11, 5–7 p.m.

KARAN RUHLEN GALLERY Recent Landscapes: Near and Far October 18–October 31 Opening reception: October 18, 5–7 p.m.

CRMA/5th Annual Paint Out with Martha Mans October 19, 11 a.m.–4 p.m.

MARJI GALLERY Aboriginal Contemporary Artists New Works October 25–December 31 Opening reception: October 25, 5–7:30 p.m.

MEYER EAST GALLERY Ricardo Fernandez and Yanira Pastor Opening reception: October 4, 6–8 p.m.

EVOKE CONTEMPORARY Kent Williams: Solo Exhibition

NUART GALLERY Erin Cone

GEBERT CONTEMPORARY Dirk De Bruycker: New Work

PEYTON WRIGHT GALLERY Charles Hinman: The Shape of Things

October 4–October 31 Opening reception: October 4, 5–7 p.m.

October 4–November 12 Opening reception: October 4, 5–7 p.m.

October 4–October 20 Opening reception: October 4, 5–7 p.m.

Marji Patrick Tjungurrayi Opening Reception October 25, 5–7:30 p.m.

POP GALLERY Toys! A Custom Vinyl Show

Benefit for the Children’s Museum October 4–December 31 Kids’ reception: October 4, 5–7 p.m.

SELBY FLEETWOOD GALLERY Margi Lucena: With Clear Eyes October 18–October 29 Opening reception: October 18, 5–7:30 p.m.

WAXLANDER GALLERY AND SCULPTURE GARDEN The Eyes Have It! New works by Lori Faye Bock and Sharon Markwardt October 1–October 14 Opening reception: October 4, 5–7 p.m.

Sixth Annual Historic Canyon Road Paint-Out October 19, 10 a.m.–3 p.m.

WINTEROWD FINE ART Don Quade: Lyrical Paintings October 18–October 31 Opening reception: October 18, 5–7 p.m.

ZANE BENNETT CONTEMPORARY ART Sculpture: Raku, Ceramic and Bronze Kellogg Johnson October 25–November 22 Opening reception: October 25, 5–7 p.m.

October 4–November 13 Opening reception: October 4, 5–8 p.m.

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Santa Fe Botanical Garden at Museum Hill GRAND OPENING JULY 19–21, 2013

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Introducing the Orchard Gardens, a collection of plants carefully selected for their beauty and adaptation to our Northern New Mexico climate. Amid a backdrop of stone and steel, the Garden will delight visitors with a seasonally changing display. Come and enjoy the diversity presented in our meadow, the mixed fruit tree orchard, and the Rose and Lavender Walk. See New Mexico native plants as you’ve never seen them before, artistically contributing to a garden that reflects this rich and wonderful landscape. Linger under the shade of a grape vine or rose-covered arbor. Experience the beauty of the Dry Garden, a courtyard planted with some well-loved and some rare and unusual succulents, agaves and cacti. Learn how to identify a tree you may not have seen before. Appreciate a subtle yet stunning combination of grasses and perennials.

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November–December 2013

Karan Ruhlen Martha Mans Opening Reception October 18, 5–7 p.m.

POP Maurice Sendak November 1–December 31

Gallery Openings and Artist Shows

NOVEMBER

GEBERT CONTEMPORARY COLIN COCHRAN: NEW WORK

A GALLERY Norbert Voelkel and Alice van Buren: New Musings

November 29–January 3, 2014 Opening reception: November 29, 5–7 p.m.

November 15–December 31 Opening reception: November 15, 5–7 p.m.

CHARLOTTE JACKSON FINE ART David Simpson

November 29–December 29 Opening reception: November 29, 5–7 p.m.

DAVID RICHARD GALLERY SOFA Chicago Chicago, IL November 1–November 3

Design Invitational: Life Support: Art <-> Design, Sustenance November 1–29 davidrichardgallery.com

HULSE/WARMAN GALLERY August Muth/New Works

November 10–January 5, 2014 Artist reception: contact gallery

YARES ART PROJECTS Group Show

November 5–December 31

ZANE BENNETT CONTEMPORARY ART Sculpture: Dunham Aurelius November 15–December 27 Opening reception: November 15, 5—7 p.m.

POP GALLERY Wild Rumpus: Celebrating the 50th Anniversary of Maurice Sendak’s classic book Where the Wild Things Are

DECEMBER

WAXLANDER GALLERY & SCULPTURE GARDEN Tis the Season! A holiday group show

Tamarind Lithography Workshop, Lithographs from the Los Angeles Years 1960–1970, Part I

November 1–December 31

November 26–January 1, 2014 Opening reception: November 29, 5–7 p.m.

WILLIAM SIEGAL GALLERY Chris Enos, Large Format

DAVID RICHARD GALLERY Art Miami Miami, FL December 4–December 8

Leon Berkowitz, Survey of Paintings from 1960s through 1980s December 13–January 18, 2014 Opening reception: December 13, 5–7 p.m.

PEYTON WRIGHT GALLERY 21st Annual Art of Devotion Exhibition

December 6–February 28, 2014 Opening reception: Friday, December 6, 5-8 pm

GEBERT CONTEMPORARY Fung Mung Chip: Meaning in Timing

December 20–January 28, 2014 Opening reception: December 20, 5–7 p.m.

SHIPROCK SANTA FE Annual Holiday Event

December 1–January 30, 2014 Opening reception: December 26, 5–7 p.m.

ZANE BENNETT CONTEMPORARY ART Annual Group Show

December 13–January 10, 2014 Opening reception: December 13, 5–7 p.m.

Polaroid Flowers November 1–January 3, 2014

Hunter Kirkland Contemporary Peter Burega Opening October 11

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Karan Ruhlen Kurt Meer Opening Reception August 16, 5–7 p.m.

Zane Bennett Contemporary Dean Stockwell Opening Reception June 28, 5–7 p.m.

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a r t s c o u t ● ■ ▲ s a n t a fe P R I VAT E A RT TO U RS O F S A N TA F E C O N T E M P O R A RY A RT ST U D I O S & G A L L E R I E S

a la n edis on 208.720.1728 arts co uts antafe.com

STEPHEN AUGER STUDIO

CLOUD 5

PROJECT SPACE for lectures, conversations, workshops and installations For a schedule of openings, events and to arrange a studio visit:

StephenAuger.com 505-577-5282

Taos HUM

BY LYN BLEILER | PHOTOS BY LEE CLOCKMAN

Trains, (High) Plains, and Automobiles A former Hollywood set designer creates a fantasy world in accordance with his own specifications

here have been rumblings circulating about a formidable miniature railroad installation being constructed in a private residence near Taos’s Blueberry Hill: How it encompasses a sweeping southwest panorama. How the attention to detail is mind-blowing. And how visiting it is like entering another dimension. All true, yet nothing can fully prepare one for the experience of actually seeing what former set designer Bruce Williams refers to as his “fantasy world.” William’s’ extensive train layout and intricate landscape is the culmination of a lifetime of fascination with trains dating back to what he remembers as an idyllic childhood in San Antonio, Texas. “I’ve always had an interest in the model train thing. It has been a constant in my life,” he recalls. His grandfather and uncles worked for the railroad, and according to Williams, his father—an electrical engineer—had a talent for building architectural models. “I’m sure it influenced my career choice.“ After earning a Masters of Fine Arts from Tulane University, where he also taught and worked at the campus art gallery, Williams accepted For Williams, the joy is in the details. This miniature replica of a Dodge Meadowbrook pulling an Airstream trailer harkens back to a time when family vacations were all about hitting the road. The Golden State Limited, led by a Southern Pacific “Daylight” locomotive, crosses Canyon Diablo. Opposite: Williams dusting a train. Constant care is required to keep everything clean and running smoothly.

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a position teaching fine art classes in California. Once there, however, he soon found lucrative employment as a scenic carpenter for feature films. “I made so much more money doing carpentry. I was motivated by economics—and I loved the work.” Putting teaching on the back burner, he started his own scene shop business that grew to be one of the three biggest in the industry—and is still going strong today. “You might say I got in on the golden age of set design before models were computer generated,” Williams mused. “I loved building things from historic periods. And it was always interesting. One week you are building the Papal apartments and the next a science fiction set or dog food commercial.” His company also worked on a number of extensive feature film

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productions—each with their own specific challenges. “Making movies is very much about play. As difficult and frustrating and hard as the work is, it is still a ‘hey kids, let’s put on a show’ kind of deal. It’s show biz.” But the nature of the business is fraught with killer deadlines, which, after 20 years in the industry, were beginning to take a toll. Williams began to dream of a slowerpaced life as a fine furniture builder in Northern New Mexico. He and his thenwife mapped out a five-year exit strategy, but health issues in the early 1990s and subsequent divorce accelerated his plan. With a nod to Hollywood influences, in early 2000 Williams designed what was to be a “bachelor pad” loosely based on Dorothy’s home in The Wizard of Oz.

Incorporating plinth block placements, beaded wainscoting, doors and other architectural details of the Kansas house, and working side-by-side with a construction crew, Williams created what he refers to as a “Victorian/Territorial-style 1900s vintage dwelling.” While just over a decade old, the house has a surprisingly settled, even historic vibe. Possibly of equal importance is the adjacent two-story structure built in 2002, which Williams designed with very clear specifications in mind. The downstairs space is a functional furniture-making workshop lined with well-cared-for tools and smelling faintly of freshly sawn wood. In the middle of the ceiling—hermetically sealed with a plastic dust membrane—is an attic-like pull-down staircase operated Summer 2013 TREND 237

Taos HUM

by aircraft cables and counterweights that, while not intended for this purpose, add a certain drama (and creakiness) to the unveiling. Ascending the stairs into the 15 foot by 31 foot skylit space feels a bit like replicating Charlton Heston’s performance in The Ten Commandments, especially when the sound of an operetta beckons from above. As the upstairs comes into view, one is literally surrounded on all sides by a heavenly expanse of blue sky and interesting cloud activity. This cycloramic masterpiece is the work of “Sky Man” Gary Lloyd, one of Hollywood’s foremost sky painters. For the landscape itself, Williams employed many tricks of his trade, such as forced perspective to give the illusion of vast distances. In one area, for instance, a railroad-model-scale city appears in the foreground while hundreds of miniscule, handcrafted piñon and juniper trees dot the horizon. According to Williams, this formidable scene represents an imagined world set in, say, spring of 1950. “In a sense I am recreating my childhood by building model train layouts,” he explains. Tracks wind through a city with a pleasant public area named the Hugo Z. Hackenbush Park—after the Groucho Marx role in A Day at the Races—and past an old house of ill repute with peeling paint and a seductively lit upstairs peep

Williams has created a world as charming as it is detailed, with sweet scenes like feeding chickens out in the yard or families gathering at the local camposanto. Opposite: This night scene at the Mission Revival passenger depot is only inches high, but so realistic it could pass for a movie still.

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show. Off in the distance is a mysterious “Institute”—think Peter Lorre and Vincent Price—that Williams refers to as “an homage to creepy ’50s movies.” Further along, the tracks lead through an ancient adobe pueblo with graveyard, livestock, and weathered structures. The Featherstone Trading Company is named for his friend Curtis, a former member of Williams’s western swing/jazz roots band Lonesome Town who died a few years ago. Other attractions include remains of a mining village of “unspecified mineral extraction”—another curious science fiction reference—with remnants of a cantina and rickety company housing. A little over eight years ago, Williams found a kindred creative spirit in Norwegian-born Edle Anderson, a graduate of Yale University’s Drama School with an impressive career in theatrical costuming on Broadway and who is now at the Santa Fe Opera. Anderson was eager to see the studio on her first visit to his property, but Williams was hesitant. He finally relented by showing her his downstairs workspace, but that was as far as it went. “I said, well what’s up there?” Anderson recalls. “And Bruce said ‘just an upstairs.’” Finally, several months

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later, the two returned to his house after a night of playing poker and drinking wine with friends. “We were both kind of schnookered when we came back and Bruce said, ‘I want to show you another side of myself’,” Anderson says with a smile. “And he takes down the staircase with the cable and weights and I’m thinking, uh, oh, where are my car keys? But I followed him up, and what a relief. There were trains, not chains!” The couple has been married for four years now and Anderson has recently moved from Santa Fe to live in Taos fulltime. Fortunately, the one-story territorial style of the house layout lends itself perfectly to add-ons. And add on they did. The “bachelor pad” kitchen became a comfortable dining room, complete with Williams’s carefully constructed period built-ins. A light-filled new kitchen was added, with custom cabinetry also designed and built by Williams. So custom, in fact, that it includes a diorama housing a scale model of a Santa Fe Railroad engine and Spanish colonial revival/California mission–style train depot created with accomplished model builder Jeff Welter. Williams attributes the diorama to inf luences by legendary Hollywood

interior designer Barbara Pohlman who he refers to as, “Brilliant! One of my all-time favorite clients.” Nearby, a glassfront cabinet holds a treasured collection of railroad dining car Mimbreño china by architect and interior designer Mary Colter, known for legendary contributions to landmark properties throughout the Southwest, including Santa Fe’s La Fonda Hotel. At the back of the house, a spacious, professional textile studio was added for Anderson. As for the train layout, Williams says, “I’m the art director in a sense, but I always take input from folks helping out. It is very much a group process.” For many years, a growing number of friends—and friends of friends—have gotten involved in what were originally Wednesday evening “train nights” that are now held on Sundays (less temptation to uncork a wine bottle). There is a Zen-like quality to these collaborations. A regular participant once told Williams, “It’s kind of like getting high without smoking.” During these festive weekly gatherings, Williams and Anderson always have a big pot of something heating on the stove— homemade chicken soup, green chile stew—and fresh cornbread from the oven. Like a scene from Seven Brides for Seven Brothers, the crew breaks for a hearty meal around a long wooden table in a farmhouselike setting straight out of Kansas. Anderson gradually gravitated toward participating not only in the midday meal but also in hands-on miniature set design. According to Williams, she did a fair amount of work on the house of ill repute—“oh, and helped with the placement of chickens and sheep around the old adobe settlement, too.” Clearly pleased to have her input, Williams said, “It creates an interesting dynamic now that Edle is involved.” While there are areas still under construction, it appears to the onlooker that the finish line is in sight. But when asked what will happen when the layout is complete, Williams replies with a smile, “Oh, it won’t ever really be finished. Where else do you get to make your own reality?” R Summer 2013 TREND 239

GASTRONOMICA STORY AND PHOTOS BY GABRIELLA MARKS

BOUCHE BISTRO The bistronomie bonhomie of Chef Charles Dale

t’s early evening at 451 West Alameda, and Charles Dale surveys the room. The space is intimate for a restaurant, seating 36 in a building more than 70 years old. It was once a grocery store, once the restaurant Aqua Santa, and is now the stage on which Chef Dale entertains. Dale is at the helm of the open kitchen, framed by the reflective steel of ovens and range and the brilliant copper service table before him. His perspective is part logistics, part preference. Dale, who was born in France and pals around with luminaries such as Jacques Pépin, made significant upgrades to the essentials of the kitchen and aesthetic revisions to the entrance floor and the booths that border the room. However, he had no desire to change the overall 240

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blueprint and even commissioned hand-aged furniture by local craftsman to match the original wooden plank floor and maintain the overall ambiance of a historic dining area. But Dale is also in that precise position because he is both chef and restauranteur. From his location in the kitchen, he can see everything—from the first patron of the evening as he enters the door, to the expression on the face of a diner after her first taste of the meal. The room is his instrument, and he pays careful attention to the pitch and tone, tuning flavors, lighting, and pairings to curate the quintessential evening meal. Chef Dale debuted in Santa Fe with the launch of Terra at Encantada, and when news spread that he was leaving, there

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was mourning throughout the local culinary landscape. Fortunately for Santa Feans, Dale felt committed to Santa Fe after developing a close-knit group of friends and patrons during his five years there. Although he was entertaining lucrative offers elsewhere, when he discovered that Aqua Santa’s former location was becoming available, there was no question where his next venture would lie. With more than 30 years spent in some of the finest kitchens in the world, cooking and learning beside great masters of contemporary cuisine, Dale now brings this experience to bear at Bouche Bistro. Yet for all his experience, Dale is still trying new things, and Bouche marks a departure from his previous efforts. Following an apprenticeship that took him from Le Cirque in New York to Paris, Lyon, and then back to New York—working beside such masters as Daniel Boulud, Barry Wine, Jean-Paul Lacombe, and Georges Masraff—Dale opened his first restaurant, Renaissance, in Aspen, Colorado. With Renaissance, Dale sought to produce the most exacting, luxurious cuisine conceivable, and his efforts were recognized with nearly every major culinary and wine award in America, including Food and Wine Magazine’s Best New Chef in 1995; the James Beard Foundation nomination for Best Chef in 1998 and 1999; Wine Spectator’s Best of Award of Excellence; Distinguished – Restaurants of North America (DiRoNA); and Mobil Four Star.

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Chef de Cuisine Sllin Cruz So Dale has earned the accolades. examines a local lamb Now, he’s focusing on creating a restaudelivery, and farmer Jose Gonzalez brings fresh spinach rant as a way of life—a place to cook, to for the night’s Chef’s Dinner. greet friends, and perhaps even a place Chef Dale, shown opposite, collaborated with local he can dine with his family. That’s the designers to create Bouche’s secret behind the Bouche Bistro: It’s classic Parisian bistro interior. The renovated dining room not about the most prestigious clientele, features custom-made booths the most expensive ingredients, or the from Hill and Associates, hardwood trim built by most groundbreaking new molecular Mike Stoller and antiqued gastronomy techniques. Instead, it’s by Christopher Thayer, and mirrors designed by architect about a sustainable quality of life; it is Stephen Samuelson. about bistronomie. During the past decade, Parisian restaurants have been trending toward a style of dining coined bistronomique. Perhaps a reflection of the shifts in global economies coupled with shifts in aesthetic preference for the “authentic,” the simple and true, bistronomie presents a distinct alternative to high-end, “luxe” cuisine. While the menu is seasonal and climate driven, Dale also understands the relationship patrons have with their favorite eateries and appreciates the importance of continuity in the menu throughout the year. “People come not just for the restaurant and the ambience, but also what they remember about the restaurant. If you don’t have some of the things they remember, they feel a little cheated.” But neither is the menu set in stone: Dale is committed to the right food for the time and place. “In the winter, because it’s cold here, I’m going to lean more on my Parisian and Lyonnaise roots,” he explains, “and in the summer I’m going to concentrate on my Provençal heritage.” Laughing, he adds, “I’ll probably have a mutiny when I remove the short ribs from the menu, but I’ve

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GASTRONOMICA

Gonzalez inspects his first crop of spring greens. Gonzalez Farms is just one of several local purveyors that provide produce for the restaurant.

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got to–I’m not serving short ribs in July!” As Dale describes, this is “a very personal expression of who I am and what I believe.” Bouche Bistro is for people who believe as he does: in value, good taste, proper seasoning— in happy food, cooked with joy. Value is central to Dale’s notion of success with Bouche. At Renaissance in Aspen, he was acutely aware that his friends couldn’t afford to eat there. He is now on a path to finding the balance between quality and reasonable pricing, blending that awareness into the core value for the restaurant. This philosophy applies both to the menu and the wine list. In sharp contrast to the 18-page list from Renaissance, Bouche offers 60 labels, across two pages, at prices well below the markup restaurants are typically known to add. Here, again, the goal was to create value from the perspective of the guest. In his own dining experiences, he has felt wary of the pricing inflation of wines. That hesitation made him ask, “Why should I drink a less good wine when someone else is cooking for me?” Instead, Dale and managing associate Paul Montoya have handpicked a wine list that compliments the menu, priced to encourage the pour. The menu is curated to savor locally grown meat and produce. In the high desert this can be a challenge, but a resourceful approach to purveyors makes it possible. In keeping with his hands-on approach to every aspect of the restaurant, Dale put his menu where his harvest is: last summer he worked with Azul Cobb and Monika Hellwegen of the landscape design company Carlotta From Paradise to create a working vegetable and herb garden at his own home. Surprisingly, Dale was the first client to request a vegetable garden design, and Cobb and Hellwegen were thrilled to take part. “It’s amazing how much you can grow in a small space,” says Cobb. The secret is good soil. That, in combination with good sunlight and good heat, renders prolific produce, even here at altitude. Dale’s garden yield of tomatoes, squash, peppers, greens, and herbs will be a mainstay for the Bouche kitchen in summer months. In addition, Dale specifically plans the seasonal menu around the produce he knows he can rely on, based on his ongoing relationships

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GASTRONOMICA

Among this eveningâ&#x20AC;&#x2122;s Chefâ&#x20AC;&#x2122;s Table guests: artist Ai Krasner (top left); Pollo Real proprietor Tom Delehanty (to her left); and artist Tasha Ostrander (top right photo, speaking with Chef Dale). The dinner: duck lardoons, poached eggs, and broiled Humboldt Fog cheese; whole roasted Pollo Real French hens; El Duende spinach; fingerling potatoes; and caramelized apple tarte tatin (opposite) for desert.

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with local growers like Jose Gonzalez of Gonzalez Farms in El Duende. Within his own family, too, there is connection to the kitchen: he is looking forward to cooking this summer with the organic potatoes that Gemini Farms is growing on Chimayo land that belongs to his brother in law (and archeologist for the state of New Mexico), Lloyd Moiola. From Dale’s perspective, the world of cooking and restaurants is an ongoing dialogue with his purveyors, his patrons, and his mentors. Prior to opening Bouche this past January, he strategized details of the bistro with Daniel Boulud, with whom his apprenticeship flourished. He marvels at that ongoing exchange. “It’s 20 years since I left his kitchen, and he’s still mentoring me.” For Dale, this is central to his philosophy of cooking: “Cooking is an apprenticeship, and it’s a mentorship, at its best.” And he is dedicated to mentoring young chefs, like his Chef de Cuisine Sllin Cruz and select others that now have

their own restaurants. In the summer of 2012, Dale gathered five of his chef protégés to join him in creating a benefit dinner for the Charles Dale Scholarship Fund. The fund, administered by the James Beard Foundation, has sponsored a scholarship at the new Santa Fe Culinary academy, which he sees as an exciting and catalytic force for the future of the Santa Fe food scene. Dale’s repertoire as chef, restauranteur, author, entrepreneur—his former company Dale’s Kitchen featured a signature line of marinades and stock—gives him unique insight into the inner workings of the life of a restaurant. At first, Bouche may seem like a modest transition after some of his previous undertakings, but as you walk in on a summer evening and become aware of the attention to detail in every decision that has lead to the meal set before you, you can appreciate the magnitude of the vision. For Dale, after earning the awards, opening Bouche each evening is its own reward. And now it’s Santa Fe’s, too. R

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Chef Dale created his Chef’s Table dinners because he enjoys the social aspect of preparing and sharing food. “I wanted to have a place where people could come in and dine without a reservation, and with whom I could engage,” he says. Ostrander sums up her experience as managing associate Paul Montoya (at right) pours a glass of wine: “I feel lucky to be seated between the actual farmer and butcher that provided the raw ingredients for our spread—the meal took on the romance of real food prepared with old recipes.”

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reservations 505 983 1615 coyotecafe.com

The CoyoTe Café experienCe

The CoyoTe Café experienCe How could it get any better? Coyote Café is already known as the most exciting restaurant in Santa Fe, with its open-kitchen experience of gastronomic magic in action, a wall of 20-foot windows overlooking Water Street, and the Rooftop Cantina’s summertime fiesta mood. It already has one of Santa Fe’s finest wine lists, selected with a sommelier’s discernment and a global approach. And of course it has the charmed culinary creations of Chef Eric DiStefano’s intrepid hand, all served with knowledgeable efficiency and grace. Coyote’s mixologist and hands-on co-owner Quinn Stephenson explains how he continuously aims even higher: “While training staff I try to encourage a higher level of consciousness—to be in the moment, to serve our guests from an empathetic standpoint. I empower them to make decisions that will enhance the guests’ experience.” This combination of thoughtfulness and professionalism distinguishes Coyote Café’s approach across the board. Since its establishment more than 25 years ago by acclaimed chef Mark Miller, the Water Street landmark has consistently aimed beyond the expected, even among its peers in Santa Fe’s fine dining mileau. Today Coyote Café is co-owned by Stephenson, Chef DiStefano, Sara Chapman, and Tori Mendes. With an all-star mix of experience, vision, and intuitive smarts, the team has finetuned an already classic dining destination, fusing world-class culinary standards with just the right amount of Santa Fe leisure bliss. The restaurant’s two distinct dining areas—the spacious, second-floor Café and the Rooftop Cantina (open April through October)—offer a happy choice in ambiance, menus, and price: from elegant to festive, champagne to green chile margaritas, mesquite-grilled Maine lobster tails to a Kobe beef burger with boardwalk fries. A pioneer of the open kitchen concept, the Café was years ahead of its time when designed. “It’s the best seat in town on a busy night to watch our chefs execute dinner for 200 guests,” Stephenson says. Also featuring expansive window views of downtown Santa Fe and more intimate seating beside the kiva fireplace, the open, high-ceilinged space accommodates a spectrum of celebratory or quiet dinner moods for locals and visitors alike.

On the open-air rooftop in Santa Fe’s clear summer air, the Cantina’s casual atmosphere and signature Southwestern-fusion menu consistently draw lively crowds. As Stephenson puts it, “Imagine: You’re on the roof watching the purple and pink sun go down over Northern New Mexico, upbeat Latin music in the background, the place is packed, and everyone has a smile on their face, drinking a craft cocktail or cold beer and enjoying well prepared traditional Southwestern fare. Life is good!” Chef DiStefano’s take on Southwestern cuisine includes such innovative starters as barbecue duck quesadilla with jack cheese and poblano chiles, pico de gallo, Mexican crema and lime greens. Among the Cantina’s six varieties of soft corn tacos are Baja-style fish tacos with chile aioli, tempura Mahi-Mahi, mango-lime salsa, celery Thai slaw and Cotija cheese. The Kobe beef burger, another favorite, is accompanied by boardwalk fries and embellished with Hatch green chile, sharp cheddar cheese, sliced smoked ham, crispy fried Vidalia onions, greens, tomato and cilantro mayonnaise, pickles, and habanero tomato ketchup. In the Café, an extraordinary dining experience may begin with one of Quinn Stephenson’s

custom-made cocktails or a selection of wine from the restaurant’s 12page wine list. Among these are wines that have been cellared for more than a decade in the restaurant’s temperature-controlled third-floor wine vault. The Café’s new summer menu presents such tempting starters as creamy cognac lobster bisque—or “lobster latté,” as DiStefano calls it—featuring sautéed Maine lobster, croutons, and frothy crema on top. DiStefano’s top signature dish is also the restaurant’s most popular: the Tellicherry pepper elk tenderloin, served with roasted garlic smashed potatoes, applewood smoked bacon, and brandied mushroom sauce. For meatless fare, the Café’s organic vegetarian prix fixe dinner showcases grilled roesti potato and asparagus salad with spicy chipotle vinaigrette; sherry infused mushroom strudel with roasted tomato Provençale and asparagus sauce; and house-made desserts by pastry chef Erica Rodriguez. As with the Café’s popular four-to nine-course tasting menus, each course of the vegetarian dinner may be paired with a select choice of wines for a truly memorable meal. DiStefano, who completed four years of pastry apprenticeship, often collaborates with Rodriguez in designing new desserts. “She’s amazing,” he says. “As soon as the white peaches or apricots come out we offer desserts like white peach tart with white chocolate and raspberry sauce, apricot swan, or apricot crème brulee.” Indeed, the use of local, regional, and organic ingredients is central to Coyote Café’s philosophy. Farm-totable sourcing highlights the value of freshness and indigenous Southwest flavors, while DiStefano’s love of French, Asian, and other world cuisines results in sophisticated, globally inspired dishes presented with artistic flair. Named Santa Fe Chef of the Year and nominated for the James Beard Award, DiStefano was trained in Manhattan under esteemed French chef Daniel Boulud and has worked in restaurants around the world. The Pennsylvania native settled in Santa Fe in the mid-1990s and now coowns and heads up the kitchens of Coyote Café and Geronimo. On the beverage side of things, Stephenson is known as an innovative mixologist who borrows from cutting-edge culinary techniques, with inspiration and ingredients from the kitchen. The Santa Fe native grew up in the restaurant field—“I have it flowing through my veins,”

he says. He describes his beverage-creation style as molecular mixology. Just as molecular gastronomy employs scientifically precise, avant-guard kitchen equipment and techniques to produce desired qualities in food, similar processes create delightful, inventive properties and flavors in drinks. Stephenson and DiStefano share a sense of limitless possibility in the expression of delicious, exciting, aesthetically exquisite fare. “I dream about food all night. I wake up, run to work, and make what I was thinking about,” DiStefano says. But the dream encompasses much more than food and drink. It embodies every tiny—yet essential—detail that goes into making the Coyote Café a stellar dining experience.

reservations 505 983 1615 coyotecafe.com

Full Bar Specialty Cocktails Lounge Area

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Award-Winning Wine List Classic French Bistro Faire Extensive Selection of Wines by the Glass Photos ÂŠ Kate Russell

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Sun-Thur, 5:00 -9:00 pm u Fri - SaT, 5:00 - 9:30 pm 315 Old SanTa Fe Trail u SanTa Fe, nm u www.315 SanTaFe.cOm reServaTiOnS recOmmended: (505) 986.9190

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Wine/Dine Advertisement

Museum Hill Café 710 Camino Lejo, Santa Fe, New Mexico 505-984-8900 | museumhillcafe.net Lunch 7 days a week June 1–Sept. 2. Closed Mondays thereafter.

LEFT: KATE RUSSELL; LEFT: DOUGLAS MERRIAM

here couldn’t be a more perfect match: An eclectic, inspired, international lunch and dinner menu sprinkled with American favorites and paired with world-class museums of regional and international focus. Even better: the unrivaled Museum Hill Café experience anytime, with or without a museum visit. High on Milner Plaza overlooking eastside Santa Fe, the restaurant delights locals and visitors alike with fresh, perfectly prepared dishes and fine wines, extraordinary views, live music, and generous free parking. Under owner Weldon Fulton’s stewardship since 2010, Museum Hill Café is known for its signature Southwestern fusion dishes, including Asian shrimp tacos and smoked duck flautas. Locally raised grass-fed Bonanza Creek beef, fresh grilled salmon salad, and what some consider the best Rueben sandwich in Santa Fe are among the café’s other appetizing year-round offerings. The kitchen also creates special menus reflecting current museum exhibitions—for example, dishes inspired by New World Cuisine: The Histories of Chocolate, Mate y Más at the International Folk Art Museum next door. An expanded outdoor dining area sets the stage not only for a perfect blue-sky lunch (daily except Mondays) or a lovely Friday evening meal, but also for entertainment. Dinner is served on Fridays, accompanied by live music, from 5 to 8 p.m. between Memorial Day and Labor Day; musicians on piano or guitar often serenade diners at lunch. Fulton, who owned and operated restaurants in Southern California before settling in Santa Fe, describes Museum Hill Café’s culinary offerings, ambiance, location, and service as a “high-end Right: Mandarin orange and Chinese chili add a burst of bright flavor to the Asian shrimp experience at café prices.” Visit museumhillcafe. tacos. Napa cabbage supplies crunch while corn tortillas and avocados add local flavor. Left: Enjoy the million dollar views while sipping a glass of wine or beer. net or call 505-984-8900.

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Saveur Bistro Saveur means taste, and the name says it all.

204 Montezuma, Santa Fe, New Mexico | 505-989-4200 Open Mondays through Fridays, 7:45 a.m. to 3:45 p.m. Breakfast, lunch, and catering.

BY SKYA ABBATE | PHOTOS BY KATE RUSSELL

hen you walk in the front door of Saveur, you know this is a special place. The deli counter, reminiscent of fine European specialty shops, is lined with an exceptional variety of fresh cheeses and meats. Laced among them are tempting desserts—pure presentations of sweet promise. Moving along you stop in your tracks, halted by the visual array of common and exotic vegetables, prepared to enhance not only their taste but their inherent colors, shapes, and sizes. Slices of bell peppers grilled to perfection and anointed in olive oil, a boat of baby pink shrimp in an earthy avocado, angelic deviled eggs, crisp salads in nuances of green, cubed garnet beets, tart artichokes, and a host of other vegetables make you ponder the wisdom of nature. Hot entrees of delicate meats and comforting potatoes or noodles, and three steaming soups ranging from a playful seduction to a hearty repast for a busy afternoon at the office meet the needs of the local and visiting clientele. Fresh made-to-order sandwiches, daily specials, cool and hot drinks, and wines to celebrate the day or complement the natural menu are all offered for a complete dining adventure. With its charming café ambiance and range of delectables, Saveur is simply a place of abundance. “Organic and local whenever possible” is the food philosophy of the proprietors Dee and Bernie Rusanowski. Food preparation and presentation is their passion, as is their personal connection with their customers, clearly evident in their enthusiastic greetings to all as they enter—both from the register (where you weigh and pay for your buffet selections) and as they mingle among the diners. For ten years they have been the voice of Saveur in a town known for artistry, breathtaking beauty, and friendliness. Whether you crave a custom breakfast or a continental buffet of hand-squeezed juices and fruit-filled pastries, breakfast at Saveur is a special way to start the day Monday through Friday. As a destination for lunch, it is the perfect spot to bring family, friends, and colleagues to graze the buffet or enjoy a full gourmet meal—all accompanied by a glass or two of well-priced French wine and a luscious dessert. And if you want a great meal for dinner, you can buy the fresh food remaining at 3:30 p.m. for a Saveur feast at home. The restaurant sparkles from top to bottom, from the clear glass windows framed with French lace, to the busy yet perfectly run kitchen, to the burnished Saltillo floors and the gleam in Dee and Bernie’s eyes. Rich palettes of tranquil landscapes and saintly birds comprise a backdrop to lively conversation—and you are sure to run into someone you know as they drop by for a quick cup of soup or coffee to go. Saveur has a spirit all its own—beautifully prepared food in all its organic, visual, and gustatory glory served with genuine care, friendliness, and pride. For the freshest, most satisfying food and friendships, this is simply the best restaurant in town.

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Everything at Saveur is as beautiful as it is deliciousâ&#x20AC;&#x201D;even a simple sandwich (opposite) is prepared with an artful eye. The variety of buffet items invite diners to create their own plates, or take a bit here and there to accompany a bowl of soup or a hearty sandwich. Opposite: Owners Dee and Bernie Rusanowski

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ADVERTISERS ANTIQUES, HOME FURNISHINGS, RUGS & ACCENTS ACC Fine Furnishings & Interior Design accsantafe.com 505-984-0955........................................... 47 Antique Warehouse antiquewarehouse-santafe.com 505-984-1159......................................... 174 Asian Adobe asianadobe.com 505-992-6846........................................... 23 Casa Nova casanovagallery.com 505-983-8558......................................... 172 Constellation Home Electronics constellationsantafe.com 505-983-9988........................................... 28 David Naylor Interiors davidnaylorinteriors.com 505-988-3170.............................................. 9 Jennifer Ashton Interiors jenniferashtoninteriors.com 505-913-0104............................................ 80 Molecule Design moleculedesign.net 505-989-9806.......................................... 163 Moss Outdoor mossoutdoor.com 505-989-7300.......................................... 173 Pandora pandorasantafe.com 505-982-3298.................................... 17–179 Santa Kilim santakilim.com 505-986-0340.......................................... 140 Shiprock Gallery shiprocksantafe.com 505-982-8478.....................inside front cover Violante & Rochford Interiors vrinteriors.com 505-983-3912.............................................. 1 Xanadu xanadusantafe.com 505-424-3231...................................... 90–91 ARCHITECTS, DESIGNERS & LANDSCAPE COMPANIES Clemens & Associates clemensandassociates.com 505-982-4005.......................................... 211 ARTISTS & GALLERIES Addison Rowe Gallery addisonrowe.com 505-982-1533.................................. 130, 221 Art Scout Santa Fe-Alan Edison artscoutsantafe.com 208-720-1728......................................... 235 Chalk Farm Gallery chalkfarmgallery.com 505-983-7125.......................................... 134 Charlotte Jackson Fine Art charlottejackson.com 505-989-8688.............................................. 5 Chimayo Trading Del Norte chimayoarts.com 800-248-7859.......................................... 123 Cloud 5-Stephen Auger Studio stevenauger.com 505-577-5282.......................................... 235 David Richard Gallery davidrichardgallery.com 505-983-9555.......................................... 2–3 Earthfire Gems Gallery earthfiregems.com 800-467-6503.............................................. 8 GF Contemporary gfcontemporary.com 505-983-3707.................................. 141, 216 Giacobbe Fritz Fine Art giacobbefritz.com 505-986-1156...................................141, 216 Glenn Green Galleries and Sculpture Garden glenngreengalleries.com 505-820-0008....................................... 70-71 Heidi Loewen Porcelain Gallery heidiloewen.com 505-988-2225.......................................... 164 Houshang’s Gallery houshangart.com 505-988-3322............................................ 81 Hulse/Warman Gallery 575-751-7702............................................ 29 254

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Hunter Kirkland Contemporary hunterkirklandcontemporary.com 505-984-2111.................................. 135, 223 James Kelly Contemporary James Kelly.com 505-989-1601..............................................4 Jane Sauer Gallery jsauergallery.com 505-995-8513...................................... 16–17 Karen Melfi Collection karenmelficollection.com 505-988-3170.......................................... 138 Karen Ruhlen Gallery karanruhlen.com 505-820-0807.....................inside back cover Kristin Johnson Fine Art kjfagallery.com 505-699-6576.................................. 126–127 Liquid Light Glass liquidlightglass.com 505-820-2222............................................... 165 La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688.................................. 137, 222 Mark White Contemporary markwhitecontemporary.com 505-982-2073........................................61, 219 Mark White Fine Art markfineart.com 505-982-2073.................................... 60, 219 Meyer Gallery meyergalleries.com 505-983-1434......................................136, 220 Meyer Easy Gallery meyereastgallery.com 505-983-1657......................................136, 220 Michael Wigley Galleries, Ltd michaelwigleygalleries.com 505-984-8986.......................................128-129 Nüart Gallery nuartgallery.com 505-988-3888........................................27, 224 Peyton Wright peytonwright.com 505-989-9888......................... 214, back cover POP Gallery popsantafe.com 505-820-0788........................................87, 184 RC Gorman Navajo Gallery rcgormangallery.com 800-219-3250.............................................. 124 Two Graces Plaza Gallery twograces.com 575-758-4101.............................................. 123 Ventana Fine Art ventanafineart.com 505-983-8815......................................132–133 Waxlander Gallery waxlander.com 505-984-2202......................................139, 218 William Siegal Gallery williamsiegal.com 505-820-3300..................................................6 Winterowd Fine Art fineartsantafe.com 505-992-8878........................................25, 217 Zane Bennett Contemporary Art zanebennettgallery.com 505-982-8111...........................................7, 215 AUTOMOBILES Chalmer’s Capital Ford chalmerscapitalford.com 888-460-1719................................................50 Melloy Jaguar melloyjaguar.com 505-265-7701.............................................. 103 BUILDERS, CRAFTSMEN, DEVELOPERS & MATERIALS AllBright & LockWood allbrightlockwood.com 505-986-1715................................................31 Dahl destinationdahl.com 505-471-1811................................................86 Dahl Lighting Showroom dahllighting.com 505-471-7272.............................................. 225 D Maahs Construction dmaahsconstruction.com 505-992-8382................................................42 Fabu-WALL-ous Solutions fabuwallous.com 505-982-9699................................................80 Santa Fe By Design santafebydesign.com 505-988-4111.................................................41 Statements in Tile/Lighting/Kitchens/Flooring 505-988-4440................................................39

Woods Design Builders woodsbuilders.com 505-988-2413..........................................62–63 CITIES, EVENTS,MUSEUMS & EDUCATION The Academy for the Love of Learning aloveoflearning.org (505) 995-1860........................................88–89 AIA Santa Fe www.aiasantafe.org 505-577-6545.............................................. 207 Art Santa Fe artsantafe.com 505-988-8883................................................40 Aspen Santa Fe Ballet aspensantafeballet.com 505-988-1234.................................................59 Bat Mart 920baca.com............................................... 256 Canyon Road Santa Fe visitcanyonroad.com ................................... 131 Design Santa Fe designsantafe.org..........................................68 Friends of Architecture 505-428-9056.............................................. 207 Hacienda’s Parade of Homes 505-982-1774.............................................. 102 Poeh Cultural Center & Museum poehmuseum.com 505-455-5041................................................69 Railyard Arts District santaferailyardartsdistrict.com.................... 112 Santa Fe Botanical Garden santafebotanicalgarden.org 505-471-9103.............................................. 233 Santa Fe Concorso santafeconcorso.com................................... 206 FASHION, JEWELRY & ACCESSORIES Atelier Danielle atelierdanielle.com 505-986-9710.............................................. 102 Beeman beemanjewelrydesign.com 505-726-9100................................................51 Boots & Boogie 505-983-0777.............................................. 171 Dancing Ladies 505-988-1100.............................................. 167 Golden Eye golden-eye.com 505-984-0040................................................35 Harrys 505-988-1959.................................................55 Jacqueline’s Place 505-820-6542.............................................. 183 Jewel Mark jewelmark.net 505-820-6304.......................................181-182 Karen Melfi Collection karenmelficollection.com 800-884-7079.............................................. 138 Kioti 505-984-9836.............................................. 178 Laura Sheppherd laurasheppherd.com 505-986-1444.............................................. 186 Lily of the West Boutique lilyofthewest.com 505-982-5402.............................................. 168 lululemon Santa Fe lululemon.com/santafe 505-983-0266.............................................. 184 O’Farrell Hat Company 505-989-9666.............................................. 162 Overland overland.com 505-986-0757.............................................. 175 Pink Rhino pinkrhinodirtylaundry.com 505-804-6445.............................................. 170 Pinkoyote pinkoyote.com 505-983-3030......................................148–151 Rippel and Company johnrippel.com 505-986-9115..............................................169 Rocki Gorman rockigorman.com 505-983-7833..........................................18–21 Sanbusco Market Center sanbusco.com 505-820-9919......................................176–179 Santa Fe Dry Goods santafedrygoods.com 505-983-8142..........................................10–13 Santa Fe Pens santafepens.com 505-989-4742.............................................. 176

Spirit of the Earth spiritoftheearth.com 505-988-9558...................... 14–15, 160–161 Teca Tu tecatu.com 505-982-9374.......................................... 177 Trout Medicine Jewelry terrydiers.com 505-660-7854.......................................... 134 WearAbouts wearaboutssantafe.com 505-982-1399.................................. 185, 187 HEALTH & BEAUTY A Day at the Mind Spa adayatthemindspa.com 505-983-5777.......................................... 206 Botwin Eye Group botwineyegroup.com 505-954-4442............................................ 22 Lotus Beauty 505-988-9965.......................................... 166 Rock Paper Scissor Salonspa rockpaperscissorsalonspa.com 505-955-8500.......................................... 178 Sacred Serenity 505-702-5021.............................................. 159 Southwest CARE Center southwestcare.org 505-989-8200...........................................211 PHOTOGRAPHY Anne Staveley Portrait Photography annestaveley.com 505-577-1555...........................................189 Peter Ogilvie Photography ogilviephoto.com 505-820-6001...................................194–197 REAL ESTATE, BANKS & MORTGAGE COMPANIES Los Alamos National Bank lanb.com 800-684-5262............................................ 48 Pacheco Park pachecopark.com 505-780-1159........................................... 43 Yancy Whittaker Coldwell Banker Previews International santafehomesandestates.com 505-988-7285............................................ 33 RESTAURANTS, LOUNGES, CATERERS & LODGING 315 Restaurant and Bistro 315santafe.com 505-986-9190.......................................... 250 Adobe & Pines Inn adobepines.com 575-751-0947.......................................... 123 Caffe Greco 505-820-7996.......................................... 180 Coyote Cafe coyotecafe.com 505-983-1615......................................246–249 Graham’s Grill grahamstaos.com 575-751-1350.......................................... 125 Heritage Hotels and Resorts hhandr.com 877-901-7666.......................................... 243 The Historic Taos Inn taosinn.com 888-518-8267.......................................... 125 Hotel La Fonda De Taos lafondadetaos.com 575-758-2211.......................................... 124 Il Piatto ilpiattosantafe.com 505-984-1091.......................................... 185 Luxx Hotel luxxhotel.com 505-988-5899.......................................... 188 Midtown Bistro midtownbistrosf.com 505-820-3121..........................................255 Museum Hill Café museumhillcafe.net 505-984-8900.......................................... 251 Old Martina’s Hall oldmartinashall.com 575-758-3003.......................................... 121 Rouge Cat rougecat.com 505-983-6603...........................................187 Saveur Bistro 505-989-4200................................. 252–253 Terracotta Wine Bistro 505-438-2877............................................ 57 Walter Burke Catering walterburkecatering.com 505-473-9600.......................................... 250

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PHOTOS BY KATE RUSSELL

A Midtown Bistro: A Fresh Approach

he most exciting new restaurant to emerge on Santa Fe’s fine dining scene earned instant popularity and acclaim by carving out its own distinctive niche. It’s not tucked away in an old adobe and it’s not downtown. Instead, in an airy, serene, and cheerful dining space with a touch of industrial chic, Midtown Bistro offers seasonally changing menus featuring sophisticated cuisine with a Southwestern flair. And the Bistro’s location near the rail line on West San Mateo offers easy accessibility from all parts of town. Longtime Santa Fe restaurateur Edmund Catanach and chef Angel Estrada—whose extensive experience includes six years as Santacafé’s executive chef—opened Midtown Bistro in December 2012. Since then for lunch, dinner, and Sunday brunch, it’s been “reservations advised.” Estrada is known for colorful, beautifully presented plates and a commitment to fresh ingredients sourced locally and regionally. Among his culinary standouts: Santa Fe’s only gluten-free crispy calamari, served with chipotle aioli and habanero pineapple sauce. Also popular at lunch are the Bistro’s Pacific blue crab cakes with mixed greens, mango salsa, and lemon aioli. Evening diners rave about Estrada’s grilled New Zealand rack of lamb with minted couscous, red bell peppers, rainbow chard, and tamarind glaze—and the dish’s surprisingly comfortable price. In summer Midtown Bistro expands its seating capacity with patio dining amid gorgeous native landscaping and burbling stone fountains from the adjacent Ironstone Gardens. Hidden away from the street yet with easy parking, the Bistro presents elegant, friendly-priced fare and welcoming, knowledgeable service, whether inside amid fresh white tablecloths and red leather captain’s chairs or outside in Santa Fe’s clear, enlivening air.

901 West San Mateo, Santa Fe, NM 505-820-3121 midtownbistrosf.com

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Alaskan halibut with risotto, English peas, and basil pesto Summer 2013 TREND

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