Fall 2017 winter 2018 flipbook

ART + DESIGN + ARCHITECTURE

FALL/WINTER 2017 F/W 17 Feb. 2018 Display through CDN $9.95 US U.S.$9.95 $9.95 Can. $9.95

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Violante & Rochford Bring Big Design to a Small Space The Cadillac of Homes: DIY Goes Upscale Louis Grachos Spearheads Austin’s Artistic Awakening

Come Taste.

Come Learn to Cook.

Come Shop for the Holidays.

Located in the heart of historic downtown Santa Fe, the Santa Fe School of Cooking is an internationally acclaimed, recreational culinary school and market specializing in foods of the Southwest. We offer an array of Southwest Cooking Classes, Local Restaurant Tours, Hands-on Cooking Classes, New Mexico Culture and Cuisine Tour, Specialty Classes and Events, Private Events, Southwest Culinary Bootcamp, Extensive Market.

Call us to book your corporate or group event for the holidays.

125 North Guadalupe at Johnson Street 800.982.4688 | 505.983.4511 | santafeschoolofcooking.com

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Hand Engraving

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FEATURING SANTA FE COLLECTION ART COLLABORATION WITH JA SOON KIM

ALEXANDER BROWN alexanderbrownsculpture.com

Doragon, 49 x 108 x 25 inches. Opposite: Fleur du Vie, 21 x 21 inches. Butterfly Sentinel, 56 x 32 x 15 inches

LEFT AND TOP: DOUGLAS MERRIAM. RIGHT: KATIE JOHNSON

A true sense of place must also contain deep roots in time. That’s the approach of award-winning chef Charles Dale for his newest downtown Santa Fe restaurant. “We’re using foods that have been indigenous to the Southwest for thousands of years or more, and translating them through a modern lens,” Dale says. Borrowing from Mexican, Native American, and Mesoamerican traditions, Maize combines local and regional ingredients with fresh culinary imagination to produce modern Southwestern fare that is playful and fun, yet takes food seriously. “It’s conveyed in a way that’s convivial and promotes discussion, and maybe even laughter,” Dale says. Case in point: smokin’ nachos. When the lid on the dish is lifted, smoke briefly billows out.

Maize’s single menu, serving both dining room and bar, features such dishes as elk tenderloin carpaccio with local balsamic and wild greens salad; and black ash tamale with crayfish and mole Coloradito. Sharable plates include “tongue ’n cheek tacos” made with shredded Wagyu beef tongues and cheeks and tomatillo/chile sauce on freshly made corn tortillas; and bison sliders with bacon and tomato jam on house-made mini-buns.

The dinner-only restaurant’s warm, earth-toned ambiance, accented with touches of rich color, is by Santa Fe interior designer and artist Jennifer Day. On the walls are works by local artists, including a large piece by Day that emulates 6,000-year-old petroglyphs. Maize is the first of three new Santa Fe ventures for Dale in his restaurant developer role. Watch for A Mano (Italian) in November and an exciting reincarnation of Bobcat Bite in late 2018.

225 Johnson Street 505-780-5125 maizesantafe.com Tuesday–Thursday 4:30–9:30 Friday and Saturday 4:30–10:00

SOMETHING GREEN

LARRY BELL

Photography: Oliver Bell

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Solitude, 60" x 28", acrylic on canvas, 2017

Bring the outside into your new home custom-built by Zachary & Sons.

LEFT: JONATHAN TERCERO. RIGHT: DANIEL NADELBACH (2)

Winners of the 2017 Santa Fe Parade of Homes for Best Master Suite, Best Design, and Best Outdoor Living Space.

Zachary & Sons Homes designed and built this beautiful home with modern, clean lines overlooking breathtaking views of the 18th hole at Las Campanas. Golf from sunrise till sunset within walking distance to club amenities.

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Don't miss this rare opportunity to enjoy a new lifestyle created

by Zachary & Sons Homes.

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Santa Fe artist Maurice Burns earned his Bachelor of Fine Arts at the Rhode Island School of Design and his master’s from the Royal College of Art in London. He came west to Santa Fe from London in 1975 when he received a grant to set up visiting artist and artist-in-residence programs at the Institute of American Indian Arts (IAIA). While there he exhibited with new friends Fritz Scholder, T.C. Cannon, Earl Biss, Billy “War Soldier” Soza and others. His natural gift for drawing forms the basis for many of his works.

Awards and publications include: Pollock-Krasner Foundation Grant, MacDowell Colony Fellowship, Black Artists of a New Generation by Elton C. Fax, publisher Dodd, Meade & Company, Who’s Who in Black America, and numerous magazine articles including ones in Pasatiempo, THE, and the Santa Fe Arts Journal.

You can see Maurice Burns’s exciting work at a new show opening November 10 at the Center for Contemporary Arts in Santa Fe. Maurice sells his work out of his studio in Santa Fe and can be found online at mauriceburns.com or reached at 505-471-0501 or mobuman@gmail.com.

Right: Junior Wells, oil on canvas, 30” x 30”, 2017. Below: Monk’s Mood, oil on canvas, 8’ x 5’, 2014. Opposite, from top: Callejon de Hamil “Havana”, oil on canvas, 56” x 76”, 2016; Harlem, mixed media collage, 58” x 62”, 2001; Buffalo Soldier “TC”, oil on canvas, 48” x 44”, 1992.

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selbyfleetwood gallery.com 600 canyon rd Santa Fe, NM. 800.992.8877

Jamie Kirkland

Mountain Rhythms 48 x 60” oil on canvas

Premier contemporary landscape painter of the Southwest Jamie Kirkland’s painting is an invitation to enter a world of luminosity and to wander in the radiance of nature. “I begin each painting feeling tranquil in the mystery of uncovering what I cannot see or have not yet imagined. The expansiveness of the landscape itself is what most fascinates me. My compositions are intentionally minimalist, as I reduce the landscape to shapes and forms in much the way a poet expresses an idea in three lines of haiku.”

© Wendy McEahern

We are proud to have been a part of Tierra Concepts 2017 Grand Hacienda Award-Winning Home

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fused glass sculptures

Handcrafted dinnerware, pottery, glass art, lighting, furniture, and fine art by more than fifty contemporary artists.

features

90 68 An Out-of-Box Solution

Prefab construction proves its worth in the wilds of Taos.

By Ashley M. Biggers | Photos

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Robert Reck

A Man with Plan

Visionary Louis Grachos gives a funky town a fine-art boost at The Contemporary Austin.

By Ellen Berkovitch

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Takes Two 90 ItDesign duo Violante and Rochford contemporize Old Santa Fe with heart and style.

By Ashley M. Biggers | Photos

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Wendy McEahern

Alchemist 102 Architectural Craig Hoopes updates the Santa Fe aesthetic with sleek lines and modern materials.

By Ashley M. Biggers | Photos Kate Russell, and Robert Reck

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Daniel Nadelbach,

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TREND Fall 2017/ Winter 2018

A former auto designer spreads his artistic wings in a made-to-order Santa Fe home.

By Gussie Fauntleroy | Photos

by

Daniel Quat

ROBERT RECK FROM TOP LEFT: WENDY MCEAHERN, ROBERT RECK, DANIEL QUAT, DANIEL NADELBACH CLOCKWISE

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Claire Kahn & Andrew Fisher Present The Mystical Power Of Gold

ABOVE: ‘UNTITLED’ 2016, GILDED TAPESTRY, 29.5″ W X 29.5″ H, ANDREW FISHER NECKLACE: ‘PALE SAPPHIRES CUPPED IN GOLD’ CLAIRE KAHN.

OCTOBER

2017

Recognized as one of the most beautiful galleries in Santa Fe, Patina Gallery, in its 19th year, offers the finest in contemporary jewelry, fine art and design.

131 W. Palace Ave., Santa Fe, NM 87501 +1 505.986.3432

ART + DESIGN + ARCHITECTURE

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FROM THE PUBLISHER

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CONTRIBUTORS

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ON THE COVER: Kachina Peak Cabin, Taos, NM. Photo by Robert Reck.

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DESIGN WAVE In Northern New Mexico, architect Rye Lemons finds a welcoming environment to rediscover the beauty in functionality.

By Gussie Fauntleroy Photos by Kate Russell

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Violante & Rochford Bring Big Design to a Small Space The Cadillac of Homes: DIY Goes Upscale Louis Grachos Spearheads Austin’s Artistic Awakening

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PHOTO ESSAY From artists to bikers to hippies, pilgrims in a quest for beauty find inspiration in the land called Taos.

Photos and Text by Rima Krisst

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LIFESTYLE Actor Wes Studi surrounds himself with the evidence of disparate talents and passions at home in Santa Fe.

By Anya Sebastian Photos by Daniel Quat

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In Ivan Barnett’s Patina Gallery, the master craftsman now makes what he wants, one piece at a time.

By Megan Kamerick Portrait Courtesy of Patina Gallery

From top: Actor Wes Studi at home. Robby Romero rides in Taos. At Izanami Restaurant, Chef Kiko Rodriguez serves banbanji salad from the garden.

CDN $9.95 US U.S.$9.95 $9.95 Can. $9.95

HOW WE LIVE In her own home, developer and city politician Rebecca Wurzburger reflects on her long and winding road from Southern poverty.

By Gussie Fauntleroy Photos by Daniel Quat

ARTIST STUDIO Don Kennell’s animal sculptures of recycled materials make a big statement about nature.

By Anya Sebastian Photos by Daniel Quat

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FALL/WINTER 2017 F/W 17 Feb. 2018 Display through

Among the last surviving members of the Indian Group of Seven, Joseph Sanchez returns to his surrealistic studio work.

By Anya Sebastian Photos by Daniel Quat

PASSION OF THE PALATE

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GARDEN VARIETY Santa Fe chefs are following the farm-to-table trend quite literally, ensuring freshness and quality by growing their own produce.

By Kelly Koepke Photos by Douglas Merriam

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BITE & BUZZ Friendly competition among a handful of talented brewers has lifted Albuquerque to the top of the nation’s craft brewing craze.

Photos and Text

By Sergio Salvador

FROM TOP: DANIEL QUAT, RIMA KRISST, DOUGLAS MERRIAM

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FLASH 516 Arts explores artistic and actual pollination; donated scrapbooks offer an intimate look at the glamorous enigma of Pop Chalee.

ASPEN SANTA FE BALLET IN SANTA FE

THE NUTCRACKER December 16 - 17 LES BALLETS TROCKADERO DE MONTE CARLO January 23 AILEY II February 13 ASPEN SANTA FE BALLET WITH PIANIST JOYCE YANG March 31

ASFB ON TOUR GERMANTOWN, TN October 28 CHATTANOOGA, TN October 30 CARMEL, IN November 3 NEW ORLEANS, LA November 10-11 VERNON, BC, CANADA November 14 VICTORIA, BC, CANADA November 17-18 TULSA, OK January 26-27

PHOTO: MICHELE CARDAMONE

COLORADO SPRINGS, CO March 28 ORANGE COUNTY, CA April 5 NORTHRIDGE, CA April 7

w w w . a s p e n s a n t a f e b a l l e t . c o m BUSINESS PARTNER 

MEDIA SPONSORS 

GOVERNMENT / FOUNDATIONS  Melville Hankins

Family Foundation

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.

PUBLISHER Cynthia Marie Canyon EDITOR Kate Grigson ART DIRECTOR & GRAPHIC DESIGNER Janine Lehmann PRODUCTION MANAGER & ASSOCIATE GRAPHIC DESIGNER Jeanne Lambert CONSULTING EDITORS Rena Distasio, Nancy Zimmerman COPY EDITOR Brenda Poppy PHOTO PRODUCTION Boncratious

CONTRIBUTING WRITERS

Ellen Berkovitch, Ashley M. Biggers, Kathryn M Davis, Gussie Fauntleroy, Megan Kamerick, Kelly Koepke, Rima Krisst, Sergio Salvador, Anya Sebastian CONTRIBUTING PHOTOGRAPHERS Rima Krisst, Wendy McEahern, Douglas Merriam, Peter Ogilvie, Daniel Quat, Kate Russell, Sergio Salvador REGIONAL SALES DIRECTOR Judith Leyba, 505-988-5007

Cuba Fe - Home Cooking Santa Fe, New Mexico

NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services, disticor.com NEW MEXICO DISTRIBUTION Mark Gee ACCOUNTING Bettina Lea SOCIAL MEDIA MARKETING Loka Creative, lokacreative.com SUBSCRIPTIONS Bettina Lea PRINTING Transcontinental Inc., Montréal, Québec Lisa Paxton, 604-319-6381 Manufactured in the United States. Printed in Canada.

Copyright 2017 by Santa Fe 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 email santafetrend@gmail.com. Trend art + design + architecture + cuisine ISSN 2161-4229 is published quarterly (25,000 copies), distributed throughout New Mexico and the nation at premium outlets. Ask your local newsstand (anywhere worldwide) to carry Trend. Find us on Facebook at Trend art + design + architecture + cuisine magazine.

Editorial inquiries to editor@trendmagazineglobal.com.

Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 505-988-5007, trendmagazineglobal.com

“Better than any Cuban restaurant I ever dined at in Miami.”

1406 3rd Street, Santa Fe, New Mexico 505 204 4221 | www.cubafefood.com 34 TREND Fall 2017/ Winter 2018

FROM THE PUBLISHER s many of you reading this know, I have been publishing Trend magazine for over 18 years.

I am extremely proud of every issue, and of the team of people who have helped bring those issues to life. I am also grateful for the support of my advertisers and others in the community who believe in my mission to highlight the most compelling art, architecture, design, and cuisine in the region.

That is why, on July 8 of this year, I was so stunned to hear that the news of my indictment for failure to pay New Mexico state gross receipts taxes had actually made the local news.

My first thought was how this would affect this magazine, its team, and its advertisers.

I was disappointed that the reporters did not research the facts before publishing their story or running their news item. Sensationalism sells, and trying people in the press is, unfortunately, an all-too-common occurrence. At my arraignment July 14 the district attorney admitted that the numbers in each count of my indictment were incorrect.

To me this is not a criminal matter; it is a tax matter that should have been resolved between my business and the audit bureau. Putting out a magazine of the caliber of Trend is not an easy task. My first priority has always been to keep it alive and vibrant and to support the artists, writers, photographers, designers, and everyone else whose work makes the magazine the special publication that it is. I’m conscious of the fact that these people need outlets like Trend in order to make a living, and making sure they are paid has always been my number one concern.

Not only am I currently working with the state of New Mexico to meet my tax obligations, I have also filed a motion to dismiss the original indictment because of its false and misleading information. I am also negotiating with several potential investors who are interested in partnering with me to take the magazine to the next level. The idea is to turn Trend into a national and global publication, which is something I find really exciting. I have invested so much of my time, energy, heart, and soul into this magazine.

Cynthia Canyon Founder/Publisher 36 TREND Fall 2017/ Winter 2018

DANIEL QUAT

Trend appreciates your continued support and readership.

In grace,

DANIEL NADELBACH

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333 Montezuma Avenue, Suite 200 Santa Fe, NM 87501 | 505.986.1010 hoopesarchitects.com

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TOP ROW: JULIE SALVADOR, KERRI COTTLE, MICHAEL HESS. MIDDLE ROW: PETER OGILVIE, MARY ELKINS, DANIEL QUAT. BOTTOM ROW: WENDY MCEAHERN, SUZANNE MITCHELL, SERGIO SALVADOR

CONTRIBUTORS

CONTRIBUTORS

1 SERGIO SALVADOR 2 ELLEN BERKOVITCH 3 MEGAN KAMERICK 4 PETER OGILVIE 5 ROBERT RECK 6 DANIEL QUAT 7 WENDY MCEAHERN 8 RIMA KRISST 9 ASHLEY M. BIGGERS

1 Sergio Salvador is an Albuquerque-based professional photographer, occasional writer, and sometimes graphic designer. His photography has been featured on the Food Network and in New Mexico Magazine, The Santa Fean, New York Magazine, Vegetarian Times, Sunset Magazine, Trend, and other fine publications. Sergio lives near the University of New Mexico with his wife and sons, and spends much of his time at soccer fields and in Albuquerque’s world-class breweries.

2 Ellen Berkovitch started working as a writer and editor before you were born. She has been editor-in-chief of three magazines, including Trend. Most recently she was news director of Santa Fe Public Radio. She has been published in The Atlantic, Artforum, The New York Times and dozens of other magazines, newspapers, and websites. She is happiest when riding her horse and cooking elaborate meals.

Reporting “A Man with A Plan” marked her first—but not last—trip to Austin.

3 Megan Kamerick is an award-winning journalist and radio

producer based in Albuquerque, where she hosts Morning Edition on KUNM and freelances for New Mexico PBS, NPR and other outlets. She landed in New Mexico 13 years ago by way of Milwaukee, San Antonio, and New Orleans. A former business reporter, she’s excited to return to her first love, writing features about the arts and creative economy, for Trend.

4 Peter Ogilvie was raised in Southern California and studied art and architecture at Berkeley. He then moved to Cambridge, Massachusetts, and started making documentary films. Filmmaking led to still photography, both fine art and commercial. Pursuing his career in advertising, fashion, and fine art, he’s lived in San Francisco, Milan, Paris, New York, and New Mexico. He has traveled the world on assignment and won numerous awards for his work with clients like Saks Fifth Avenue, The Gap, AT&T, Sony, Macy’s, Vogue, Marie Claire, and GQ. His work shows at galleries in New York, Santa Fe, and Ohio.

5 Robert Reck’s photography is distinguished by a masterful use of light, strong composition, and a passion for the designs found in nature and the built environment.

He holds a master’s degree in art from the University of New Mexico, where he studied with such renowned artists

and historians as Thomas F. Barrow, Van Deren Coke, Betty Hahn, Rod Lazorik, and Beaumont Newhall. Reck was a staff photographer for Architectural Digest and has contributed to dozens of publications globally. He was the lead photographer for Santa Fe Style, published by Rizzoli International.

6 Daniel Quat has worked as a professional photographer for more than 40 years. He loves to capture the essence of his subjects, whether artists, dancers, landscapes, or horses. He began his career in New York City in 1971 as an advertising, still life, annual report, and magazine photographer, and has been published in Architectural Digest, Interior Design, Metropolitan Home, New York, and Museum. Over the past decade, Quat has specialized in environmental, dance, and equine portraiture.

7 Wendy McEahern is an architectural, commercial, editorial, and fine art photographer best known for her lighting, whether it is a diamond ring or 8,000-squarefoot luxury home. Her creative collaboration and enthusiasm in tackling difficult subjects keep her busy doing what she loves most: making images. A longtime Santa Fe resident, she shares her home and garden with her two cats and the occasional skunk and raccoon. Recently featured on the cover of Phoenix Home and Garden, her work has appeared in publications locally, regionally, nationally, and internationally.

8 Rima Krisst has a deep appreciation for the ancestral lands of the Southwest and the cultural traditions of its first peoples, which often guide her travels and inspire her passion for exploring the rich history of the region. She has made countless trips to Taos in all seasons for many reasons, each time savoring the natural beauty of the landscape and the Rio Grande. She is an advocate for protection of our national parks, public waterways, natural resources, and preservation of sacred sites. A ​ photographer and writer, s​ he a​ lso serves as Tribal Liaison for the Santa Fe Tourism Department.

9 Ashley M. Biggers is an Albuquerque-based freelance writer (word nerd and coffee addict) whose writing has appeared in New Mexico Magazine, Southwest Art, Paste, and Fodors.com. Her book Eco-Travel New Mexico: 86 Natural Destinations, Green Hotels, and Sustainable Adventures is due out from the University of New Mexico Press in October. For more information, visit ashleymbiggers.com. R

trendmagazineglobal.com

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Fertile Ground Gallery mines a flowering paradigm

Hive Scan 14 by Aganetha Dyck and Richard Dyck (Canada).

Opposite: Kelly Eckel (New Mexico), Bilateral Modification from the Morphogenic Series (2017), photopolymer etching.

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OPPOSITE: PETER DYCK

isitors to Albuquerque’s 516 Arts gallery may find Jennifer Angus’s In The Midnight Garden beautiful or repugnant, but probably nothing in between. The installation resembles ornate wallpaper, but look again and those raised patterns reveal themselves as actual insects. The crimson background gets its color from cochineal bugs. Angus’s work is one of many in the show Cross Pollination, centered around metaphors suggested by the theme, including actual pollinators and their uncertain future, as well as the crosspollination between art and science.

Bees, butterflies, birds, and other pollinators are in crisis, and that means humans are, too. About 75 percent of the world’s food crops rely on pollination, at least in part, as do some 90 percent of flowering plants. Using art to highlight these issues is a great way to deepen people’s awareness, says Suzanne Sbarge, 516 Arts gallery’s executive director. “Sometimes with science information, people’s eyes glaze over. This [exhibit] can reach people on a different level by tapping into their emotions.”

516 Arts has been known for promoting cross-pollination of ideas and events with cultural institutions around New Mexico since it opened more than a decade ago. It has mounted exhibitions that tackle thorny issues such as fire and climate change. In this case, curator Valerie Roybal is an artist and beekeeper who is passionate about the topic of pollinators. “The awareness needs to be

raised that we have to be more careful,” she says. “Otherwise we’ll wipe them out—and wipe out ourselves in the process.”

The exhibit includes local, national, and international artists in media including painting, photography, printmaking, sculpture, installation, film/video, and performance.

New Mexico artist and educator Kelly Eckel uses enhanced images of insect pieces to imagine new hybrid species. “So it’s very beautiful,” Roybal says, “but it also brings to mind [that] this could very well be the future of insects.”

The sculptures of Chinese artist Ren Ri were too delicate to transport, but visitors can see a video of his process, which used bees to create sculptures on a wooden frame. In Resonant Nest, Los Angeles artist Jessica Rath fashioned a sculptural bumblebee nest, inside of which human voices mouth bee communications that fluctuate with the proximity of observers and shifts in local weather data.

New Mexico artist Stephanie Lerma has re-created in paper the hanging clumps of migrating monarch butterflies, while Santa Fe multimedia artists Susanna Carlisle and Bruce Hamilton dispel the public’s fear, Roybal says, by way of a virtual encounter with bees—without fear of a sting. And at the city of Albuquerque’s Open Space Center, a permanent “bee hotel” sculpture by Roybal and Sheri Crider represents a growing nationwide trend to offer pollinators shelter year-round. —Megan Kamerick

Cross Pollination runs through November 11. More information at 516ARTS.org. trendmagazineglobal.com

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IAIA receives rare archive from 1930s artistic pioneer

T

he article in the scrapbook is a mystery, seemingly unrelated to anything in the artist’s life. It is about the explosion of yellow poppies and blue lupines following heavy rains in the Southwest, and someone has underlined the flower descriptions.

“That makes me wonder,” says Lara Evans, art historian with the Institute of American Indian Arts, as she pages through one of two scrapbooks recently donated to IAIA. “If I look at her paintings from this time period, would I find yellow poppies and blue lupines?”

The underlined passages, among many nuggets of potential insight into the artist known as Pop Chalee, appear in scrapbooks given to IAIA by her grandson Jack Cruz Hopkins. “I gave these things to IAIA because they needed to be archived and kept somewhere else besides the closet in my house,” Hopkins says. “My goal was to bring her back to life with a story about how these students in the 1930s at the Dunn School created what we know as modern Indian art.”

Born in Utah to a mother who was Swiss and Mormon, Merina Lujan had a father from Taos Pueblo, where she got the name Pop Chalee. She had her first art instruction from some of the Taos Masters before joining the legendary Santa Fe Indian School classes in the 1930s taught by Dorothy Dunn, whose cohorts included Pablita Velarde, Har-

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rison Begay, Allan Houser, and others who now represent the roots of modern Native American art.

Pop Chalee’s work stood out from the flat narratives of Pueblo life and mythology dubbed Studio Style and taught by Dunn as the only “authentic” Native American painting style. Sometimes derisively described as “Bambi art,” her vibrant colors and fantastic animals held symbolic meanings that have been overlooked by critics, Evans says. (Some have wondered whether Walt Disney’s designs for Bambi were, in fact, inspired by the artist also known as Flower Blue, since Disney himself had visited the Santa Fe Indian School.) Pop Chalee’s designs sometimes evoke the Persian miniatures she studied during her first year of art school, according to The World of Flower Blue, a biography by Margaret Cesa.

Starting in the 1930s, Pop Chalee grew to become one of the most well-known Native artists. She worked on New Deal projects and was part of the landmark 1939 San Francisco Exposition organized by the Indian Arts and Crafts Board. She also made connections with luminaries like Howard Hughes, who sought her out to create murals for the first Albuquerque airport, and key collectors like the McCormicks of Chicago. She and second husband Ed Lee Natay were hired as goodwill ambassadors on the Santa Fe Railway in the late 1940s, and

Matachine, at Albuquerque International Sunport, old terminal. Above: Pop Chalee with Otis Hopkins’s Taos Dancers, from left, Jerome Trujillo, Cruz Trujillo, Pop Chalee, Frank Marcus, c. 1935. Kellogg Studios.

TOP: COURTESY OF IAIA ARCHIVES, MERINA LUJAN HOPKINS (POP CHALEE) COLLECTION, SANTA FE, NEW MEXICO. BOTTOM: ALBUQUERQUE INTERNATIONAL SUNPORT

A Look at the Book of Pop Chalee

GIFT OF MR. AND MRS. READ MULLAN, HEARD MUSEUM COLLECTION, IAC347

could always find her by did a nationwide pubPop Chalee, Enchanted listening for her laugh.” licity tour for MGM’s Forest. Watercolor on paper, Many photos in the Annie Get Your Gun about 20" x 26". scrapbooks remain in 1950. unidentified, says IAIA Her scrapbooks archivist Ryan Flahive, include many photos from these adventures, as well as who has worked with Hopkins and Taos from earlier days at Taos Pueblo and elders to try to fill in information. A modin Santa Fe. Articles hail her as one of est grant from the New Mexico Historical the top Native female artists, yet many Records Advisory Board will fund consermore column inches are devoted to her vation of the scrapbooks and the creation appearance than to her art, including one of digital images. Flahive hopes the mateChicago paper that emphasizes the exoti- rial can present a more complete picture cism of her long braids and “ebony eyes.” of the artist, as part of the history stretchIn one glamour shot, she poses with a pot ing from the Santa Fe Indian School to the genesis of IAIA as its modern and in a studio wearing white buckskin boots.

She wore ceremonial clothes all the postmodern offspring.

Because they were maintained by Pop time, Hopkins says of his grandmother.

He recounts a story from Las Fiestas in Chalee and her sister, Evans says, the which an official from the Fiesta Council scrapbooks offer an intriguing window gave her an award, believing she was into the artistic life of the period. “It shows decked out in costume. Pop Chalee used who she was influenced by, who she was to drive around town in a convertible with following. It’s a handy record for who a friend who had a pet ocelot, he says, she was.” A 1978 article from the Arizona prompting tales of the pair dressed to kill, Republic details Pop Chalee’s advocacy with a tiger in the back seat. Artist Will for traditional art she considered authenShuster even created a giant effigy that tic, against more modern works.

“We know too much of these artists from hung at the Old Capitol building in Santa Fe. “Everybody wanted her at their party,” the point of view of the outsiders, and not Hopkins says. “My grandmother had a enough information from the artists themlaugh. Since she was only about five foot selves,” says Bruce Bernstein, executive one and she’d disappear into a crowd, we director of the Ralph T. Coe Foundation for continued on page 44

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the Arts. Evans agrees. “We don’t always have those kinds of materials from Native American artists from this time period, and it’s really important to have because it’s a starting point.”

Occasionally the scrapbooks offer unexpected flashes of insight. As Flahive

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carefully turns the pages and notices an article about Enchanted Forest, the large Pop Chalee piece outside his office, he notes that it was created for Hinkle’s Department Store.

“Interesting! Now we have some provenance for that piece!” —Megan Kamerick

Institute of American Indian Arts Santa Fe, NM 505-424-2325 iaia.edu

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DESIGN WAVE

BY GUSSIE FAUNTLEROY | PHOTOS BY KATE RUSSELL

A Taos architect shows that you don’t need a big footprint to have an expansive home

Living Large A

rchitect Rye Lemons remembers doing what he calls the “squint test” when a home he was working on near Taos was close to completion. Driving to the site one day, he stopped where the road overlooks the small agricultural valley where the house sits among alfalfa fields and semirural land. From a distance, the long, narrow, single-story structure looked just like another humble farmhouse or barn. In other words, it fit right in. “I wanted to be sensitive to that,” says Lemons, owner of the oneman firm Rise Architecture and Design in Taos.

Up close, however, the traditional Northern New Mexico style gives way to a less expected look. Roofline variations, exterior wall insets, wooden posts, and a slight change in grade seem to divide the linear structure into component parts. The clean, whitewashed feel of bright white stucco adds a universal, timeless quality, hinting at kinship with Mediterranean, classical European, or prairie farmhouse architecture. “I love how the blue sky is even more blue against the white. It’s all so crisp, strong, and simple,” Lemons says.

In fact, many of the elements most compelling to Lemons also appear in agrarian structures— strong lines, unembellished use of materials, and distinct sculptural and functional qualities.

These sturdy edifices—along with more traditional Southwest architecture—are among the influences that tend to linger at the edges of his mind as he designs. The same can be said

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Taos-based architect Rye Lemons appreciates New Mexico’s openness to “rethinking the norms”—in this case infusing the agrarian vernacular architecture of a simple white farmhouse with the slightly unexpected.

trendmagazineglobal.com

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DESIGN WAVE DESIGN WAVE

of the great National Park Service lodges built in the 1930s through the Works Projects Administration, which Lemons first admired on camping trips growing up. Not that a career in architecture was even on his radar in those days.

Raised in Fort Worth, Texas, Lemons was headed in the direction of recreation, parks, and tourism until partway through college. With roommates studying in the architecture program, his interest was stirred. He went on to Virginia Tech, where he discovered his “tribe” and earned a masters degree in architecture. The school emphasized a Bauhaus-style approach, combining art and craft with technical skills, and incorporating hands-on experience in metal, wood, printmaking, and ceramics. “We needed to understand materiality, density, process, and how it all goes together,” Lemons says.

Following graduation, Lemons joined the Aspen, Colorado, firm of Cottle Carr Yaw (CCY Architects). He remained there for nine years, working on a range of high-end residential and commercial projects. “It was a great training ground for the fundamentals of the profession, and at a scale and quality level that was really fun,” he says. Yet being part of a team entails an inherent distance from the totality of a project, and at a certain point Lemons knew he wanted to be intimately involved in the entire process. He wanted to see a design vision through from “day one to day end.”

In 2013 he set out on his own. His experience vacationing in Northern New Mexico had led him to purchase a small adobe house in Arroyo Seco north of Taos a few years back, which he’d been renovating on weekends. Wearing many hats, he now works from there—with projects in New Mexico and Colorado—and also plans to open an office in Santa Fe this year. “I’m the marketing person, the IT person, the bookkeeper, draftsman, client liaison,” he says, smiling. “It’s more responsibility, but there’s a continuity that I enjoy.”

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Clockwise from top: The clients wanted a low-maintenance home with straightforward use of materials that could be handled by local professionals: plain concrete and red oak floors, plaster, metal, and pine. Architect Rye Lemons.

A cozy reading nook off the master bedroom.

Opposite, top and bottom: Seen from above the agricultural valley near Taos where it sits, a family vacation home fits comfortably into its environment.

Simple materials and design are both functional and beautiful. A slightly stepped design creates pod-like areas, each with cross-ventilation and its own outside door, for privacy and a strong connection between indoors and out. trendmagazineglobal.com

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DESIGN WAVE

Lemons aims at “somehow initiating and fostering delight, so a house is not just a structure but truly has a sense of place.”

After working in Colorado, Lemons knew that Northern New Mexico would present familiar kinds of climate and site challenges.

He understands designing a roof to shed snow, for example, and how landscaping works in arid terrain. He was also drawn to the region’s diverse population and what he calls its “horizon mentality—very positive, forward-thinking, and independent. People can come here and just be themselves,” he says. “Architecture in New Mexico almost demands that you rethink the norms.” While the area’s traditional building approach represents an important inspiration, Lemons is interested in the “wisdom of vernacular without a nostalgic adherence to it,” he says. “I say yes to the spirit of the vernacular and its logical response to the environment, but I don’t mimic what’s come before.”

To interpret that spirit in a way that meets a client’s specific needs and desires, Lemons asks nuanced questions: How do you want to live in this house? What is your daily routine? “If there’s a simple solution or a complex one, I usually go toward simple,” he says.

For a recently retired Albuquerque couple, their responses led to a unique second home and extended family gathering spot near Taos. The couple wanted a low-maintenance house with a blend of traditional and contemporary elements. As the wife describes 50

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their vision: “We both really like the idea of the way prehistoric pueblos were accretionary—you have a pod and then add another and another.”

Lemons translated that concept into a common living, dining, and kitchen area and a single long hallway opening to two bedrooms, an office/work space, and two and a half baths. At just under 2,000 square feet, with a separate small pottery studio and a detached garage, the home was designed on a human, relatively modest scale, yet “somehow it lives large,” the architect says.

Contributing to the spacious feeling are seven-foot-tall doors and ceilings that rise to nine feet. Generous windows take advantage of the home’s long east-facing axis and mountain views.

Despite a focus on straightforward materials and clean design, Lemons always aims at “somehow initiating and fostering delight, so a house is not just a structure but truly has a sense of place.” In the year and a half since their home was completed, the owners have continually experienced that sense of delight. One lovely surprise: Because the east and west windows in the kitchen and living room face each other, a gentle reflection of color-filled skies is mirrored in the opposite windows at sunrise and sunset.

“That’s pretty cool,” the husband says. His wife sums up their feelings about the home: “It’s an absolutely gorgeous space.” R

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or jewelry designer and artist John Beeman, an important lesson he learned as an observant 12-year-old has since been a key to his success—and it wasn’t about art. Watching

his grandmother generously spread and receive love within her wide circle of friends, Beeman decided he wanted to be like that. As a result he has formed strong and lasting relationships in every avenue he has followed—as a librarian in South Florida, an administrative supervisor in Saudi Arabia, librarian and real estate agent in the Pacific Northwest, and gallery owner and jewelry designer in Gallup and online.

Always creative, Beeman played piano and organ as a boy despite physical limitations from polio. He learned to tailor as a teen and sewed clothes for his mother and himself, and later designed and created music recital gowns for friends. In the early 2000s he began making jewelry after buying a Northwest Native braided leather and beaded necklace and thinking, “I could make something like this!” But, he says laughing, “I got some beads, and no, I couldn’t make it.” Nevertheless he became obsessed with beads, taught himself to create jewelry, and began selling it through a Seattle gallery.

Wanting to meet those who bought his work, Beeman was passing through Gallup when he fell in love with the quiet and the people and, fortunately, he had the opportunity to open his own jewelry gallery there in 2010. Soon he was meet-

Owner John Beeman, at Beeman Jewelry Design

ing and collaborating with Native silversmiths, in particular Navajo artist Aaron Anderson. After 40 years as an avid collector of traditional and antique

Southwestern Native jewelry, Beeman’s focus shifted to contemporary style and a connection with living artists.

Now back in the Seattle area, he continues to collaborate with Southwestern Native silversmiths, frequently incorapproach. Recently when a friend was presented with an award at the White House, for instance, she was wearing a Beeman necklace specifically created for the event. Inspiration flows from knowing a client’s style and using the highest quality materials he can find, the artist says. “I love beauty in all forms, and jewelry is but one form—people are another.”

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THE BRIGHT SIDE OF THE TRACKS Creative energy at the Santa Fe Railyard just keeps growing

FRANK X CORDERO; KATE RUSSELL

I

n early 1880 the first train pulled into Santa Fe, stopping in the Railyard just a few minutes’ walk from downtown’s muddy and historic Plaza. The Atchison, Topeka & Santa Fe Railway brought more than the goods that previously took weeks or months to transport via wagon train along the Santa Fe Trail. The railroad also made tourism a reality as newcomers and visitors arrived along with goods and services. By 1917 the city, realizing it had something special, built the New Mexico Museum of Art on the northwest corner of the Plaza in the recently conceived Pueblo Revival style. The look and feel of the 21st-century Plaza district are a direct result of deliberate plans made by those early visionaries for the future of tourism in the City Different, made possible by the railroad.

Today’s decidedly contemporary Railyard Arts District (RAD) would be practically unrecognizable to those who first arrived on the AT&SF on a cold February in 1880. The district now holds space for leading galleries and organizations, including Charlotte Jackson Fine Art, Tai Modern, Evoke, Photoeye, and Form + Concept galleries. El Museo Cultural houses the Currents Santa Fe International New Media Festival every June, a month-long event that features program-

ming around the latest technological developments in art. Warehouse 21 hosts all kinds of arts and music workshops and events for Santa Fe youth. Santa Fe Clay is part of the district, as are the Violet Crown Cinemas and Railyard Performance Center. A favorite of locals and visitors alike is the biweekly Santa Fe Farmers Market, a year-round market and community center whose institute promotes locally grown food. Some of Santa Fe’s best farm-to-table restaurant chefs handpick their seasonal ingredients here.

A new live-work building is slated to open in spring—a three-story, 58-apartment complex called the Railyard Flats, with studios and one- and two-bedroom units renting for less than $2,000 a month. The developer envisions a shared live-work space downstairs, with free access to the city’s fastest internet provider. The building’s 40,000-plus square feet are a welcome addition to one of the nation’s tightest rental markets, with occupancy rates at 97.79 percent last fall. Urban infill remains one of the best hopes for this tough market, given a moratorium on new construction during the 2008-2013 recession.

A welcome sign of recovery, the Railyard Flats also point to the district’s growing popularity among tourist and locals alike.

The organization most responsible for the contemporary vibe of the Railyards’ renaissance is undoubtedly SITE Santa Fe. Founded in 1995 in an old beer warehouse next to the railroad tracks, SITE hosted the only international biennial in the United States at a time when biennials were not a dime a dozen. Not even the famous Whitney Museum of American Art could compete, as it only showed artists from the USA. SITE has continued to change with the times; while it still hosts biennial exhibitions, they no longer rely on “star” curators for headlines. Instead, Phillips Director and Chief Curator Irene Hofmann has inaugurated a re-imagined biennial series, SITElines: New Perspectives on Art of the Americas, to take place in three parts over the course of a half-dozen years. Since coming on board in 2010, Hofmann has been hard at work moving SITE from art-celebrity status to a more neighborhood-friendly place that just happens to host art, artists, and other guests from around the world.

Central to implementing this vision has been SITE’s yearlong renovation, to be unveiled in October. After intensive consultation with the SITE community, SHoP Architects envisioned a gathering place that is more open to, and engaged with, its trendmagazineglobal.com

55

surroundings. A new SITElab exhibition gallery in front will extend onto what used to be a gravel yard. Inside will be a café fronted by a glass-and-metal prow that offers what Hofmann calls “a welcoming gesture” to the neighborhood. Passersby will be able to peek in, and vice-versa, and come in any day of the week to grab lunch or a coffee, use the free Wi-Fi, or browse the museum store’s artist-produced goods and prints. This is a significant change for SITE, which used to remain closed on Mondays and Tuesdays as well as for weeks-long installation periods— a source of disappointment for visitors from out of town. As Anne Wrinkle, director of external affairs, put it, “SITE is eager to embrace the expanding Railyard District by becoming a community gathering space, and adding exciting content to the cultural scene of the neighborhood and beyond.”

In back, the original gallery walls and ceilings were replaced with humidity and temperature control that will allow previously inaccessible loans of artwork. Further back toward the old property line will be an auditorium seating about 200, an education programming lab and meeting room, and 56

TREND Fall 2017/ Winter 2018

a kitchen for caterers—all available to the community for rent. One of the most stunning alterations is a new mezzanine, open to our famous skies, for glamorous nighttime gatherings. It’s an extraordinary space, one that is already booked for several wedding receptions.

“The Railyard has become such a premier location for leading contemporary art in Santa Fe,” says Kenneth R. Marvel, co-owner of LewAllen Galleries, which moved from downtown in 2013. LewAllen’s 14,000-square-foot building has proved an important anchor to the district’s railway chic. The 27-year-old Charlotte Jackson Fine Art also transitioned from downtown in 2010, joining a number of other galleries housed in the contemporary glass-andmetal building that marks RAD’s location at Paseo de Peralta and South Guadalupe.

Jackson says she is “thrilled to be in the Railyard” and, having watched the transformations over the last seven years, feels it is “an exciting place to be, with the renovation of SITE Santa Fe and the contemporary museum moving in at the other end of Guadalupe Street.” Indeed, the Museum of New

Mexico is remaking the state Archives Building on Montezuma Avenue, next door to the Jean Cocteau Cinema, into a much-needed contemporary wing of its Museum of Art. Sandy Zane of Form + Concept gallery mentions more developments: “the relocated New Mexico School for the Arts to what was the Sanbusco shopping mall, two great theaters, and maybe even a complete makeover of El Museo Cultural,” saying that in a year or two the district might “lend such a special cachet to the City Different that it would rival any city in the U.S. as an arts destination” (which some fans might argue that it already does).

RAD art spaces all open their doors on the last Friday of every month for a districtsponsored Artwalk, which pulls the community together and adds to the “night on the town” vibe. From its past as a no-man’s-land of rundown warehouses along the tracks, the Railyard has evolved into a central presence in Santa Fe, a must-see for tourists that balances the historic downtown with a clear path forward for Santa Fe. Just as it did in the 19th century, the Railyard is opening a new chapter in Santa Fe’s history. R

BRANDON SODER

The renovated SITE Santa Fe features a prow-like opening to the neighborhood. Previous page: Free summer concerts at the Railyard draw crowds; SITE reflects New Mexico skies.

RAILYARD

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EVOKE CONTEMPORARY CHARLOTTE JACKSON FINE ART

DISTRICT

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BLUE RAIN GALLERY Representing Fine Contemporary Artists of Diverse Backgrounds 544 S. Guadalupe Street / 505.954.9902 / blueraingallery.com

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WILLIAM SIEGAL GALLERY

FORM & CONCEPT Art, Craft & Design 435 S. Guadalupe Street / 505.982.8111 / formandconcept.center

LEWALLEN GALLERIES Contemporary & Modern Art 1613 Paseo de Peralta / 505.988.3250 / lewallengalleries.com

PHOTO-EYE GALLERY

FORM & CONCEPT

Contemporary Photography 541 S. Guadalupe Street / 505.988.5152 x202 / photoeye.com/gallery

TAI MODERN Contemporary Japanese Bamboo Art & Modern American Art 1601 Paseo de Peralta / 505.984.1387 / taimodern.com

WILLIAM SIEGAL GALLERY Ancient Textiles & Objects + Contemporary Art

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540 S. Guadalupe Street / 505.820.3300 / williamsiegal.com

SITE SANTA FE Contemporary Art Museum 1606 Paseo de Peralta / 505.989.1199 / sitesantafe.org

SANTAFERAILYARDARTSDISTRICT.COM

MODERN AND CONTEMPORARY ART IN SANTA FE’S HISTORIC RAILYARD

W I L L I A M S I E G A L G A L L E RY ANCIENT CONTEMPORARY

Dear Friends, In 1971 I began to travel the world in search of beautiful and rare textiles and objects. During the past 46 years I have worked with exquisite examples of indigenous art forms from every continent. I have had the pleasure of placing them in many of the most important museums and private collections across the globe.

The 15 years I spent traveling the expanses of the Bolivian Altiplano studying the Aymara and Quechua communities and their beautiful weavings will remain the highlight of my professional life. I can only say thank you to those indigenous people for having preserved such a rich and diverse textile history for so many centuries.

Now, more than 40 years and three glorious galleries later, it is time for me to retire and move toward the next adventure! In March of 2018 I will close William Siegal Gallery. As a result, during the coming months I will attempt to sell every work of art in my inventory.

Bolivian Altiplano, 1977

In celebration of the incredible life these ancient cultures have given me, I invite you to visit the gallery, inspect our website, or just give us a call to ask questions and possibly walk away with museum-quality textiles and objects at prices never before offered. Our African, Asian, Central and South American inventory will be offered at discounts between 25 and 30 percent. Later this year, the discounts will begin to grow until everything is sold.

Anything left will be donated to museums or disposed of in some other joyous way.

If you think your favorite pieces will not be sold during the first round of discounts, wait longer, knowing the prices will drop. But also know that many others will be appreciating the same pieces. I encourage you to pick out a group of things and make me an offer. Let’s have some fun and all walk away happy!

It has been an incredible run for me and I hope to end it with a great year of celebration and gratitude.

Sincerely, Bill

W I L L I A M S I E G A L G A L L E RY A N C I E N T C O N T E M P O R A RY

RAILYARD DISTRICT 540 S. GUADALUPE STREET SANTA FE, NM 87501 505.820.3300 WILLIAMSIEGAL.COM

DESIGNED TO SUCCEED Baca Railyard poses a hip industrial counterpoint to its art district twin

A

s the Railyard Arts District makes headlines with the reopening of SITE Santa Fe, construction of the Railyard Flats, and the addition of a modern art wing to the New Mexico Museum of Art, the halo effect is reaching across Saint Francis Drive to that other Railyard district, the up-and-coming Baca Railyard.

Until recently this southern portion of the development was overshadowed by its more established brother to the north. But lately this 12-acre district that once held coal storage for the railway is coming into its own, thanks to the gravitational pull of a growing cluster of art and design businesses. Here, too, the sounds of new construction can be heard as developers bank on the growing prominence of the urban art neighborhoods north of Cerrillos Road—including the adjacent Baca Street Arts District anchored by Counter Culture Café—soon to be connected to the north Railyards by a pedestrian tunnel being built under Saint Francis Drive.

Todd Spitzer, former co-owner of Iconik Coffee Roasters, is opening Opuntia Café this year in an eco-conscious office/lodging complex right by the Saint Francis trail linkage. Offering high-quality coffee and “farm-centric” tea, plus a menu by James Beard semifinalist Kim Müller (formerly of 60

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Izanami), Opuntia will anchor the multi-use Trailhead Design Source complex being built within the shell of the old Monte Vista Fuel & Feed warehouse. It is expected to attract walkers and cyclists from the north Railyard to the strikingly modern buildings housing architecture, design, and art businesses that have multiplied in Baca Railyards.

Like the rest of the Railyard development, Baca profits from an unusual ownership model, with all the parcels owned by the city and leased to developers under the Railyard Master Plan. Since developers have only the building to finance, the area has attracted businesses that need affordable and customizable warehouse space, such as interior designers, antique stores, and live-work studios.

Architects and planners involved in the Railyard Master Plan also set down roots in Baca early on, recognizing the area’s potential and excited by the bold architectural statements of early pioneers like international artist Ricardo Mazal, who has a studio here, and the contemporary furniture store Molecule Design, built from shipping containers.

The result has been a move to brand Baca Railyard as Santa Fe’s “design district,” initiated by Adriana Siso, owner of Molecule Design, who also organized the first neighborhood block party in June. Baca Railyards

begins across the street from Counter Culture and is usually discovered via the designer showrooms visible along Cerrillos Road: Santa Fe Modern, Yares Art Projects, Jeff Littrell Antiques, and The Raven. On the streets tucked behind—Shoofly Street, Flagman Way, and Railfan Road—are dozens of small architecture, art, craft, and service businesses.

Construction is underway here on an expansion of Twisted Cow Compound, a livework condominium opening this year, as well as a residential complex by Devendra Contractor, a developer in the north Railyard.

He is calling the four detached homes with small gardens Shoofly Pie for the parcel’s wedge shape.

“It’s pretty exciting what’s happening there,” he says of all the new construction.

“And in a way it’s more along the lines of the original thinking about what the Railyard would be—a local, thriving, gritty, mixed-use neighborhood.”

“I’m just waiting for completion of Opuntia,” adds Siso, recalling the well-attended block party and the Baca Bash in July. Siso has built a Facebook page (“Baca Railyard District –Arts & Design Center”) and is working on preparing the community to join the greater Railyard phenomenon. “We have the tools in place,” she says. “We’re ready.” R

LEFT: DANIEL QUAT

Sculptures in the Baca Arts District and the Baca Railyard

BACA RAILYARD . 1226 FLAGMAN WAY . SANTA FE, NM . 505.989.9806

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Pacheco Park: Design District “We love this place!” Words often spoken to the merchants at one of Santa Fe’s best-kept secrets: Pacheco Park. Located at 1512 Pacheco Street in Santa Fe, Pacheco Park is a modern business complex and design center, anchored at one end by awardwinning eatery SweetWater Harvest Kitchen and on the other by luxury fixture supplier Santa Fe By Design.

“Pacheco Park businesses are contributing strongly to the re-birth of Santa Fe’s Midtown area,” says Tierra Concepts Marketing Director Saguna Severson. “The area is becoming a vibrant mix of commercial and residential offerings.”

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New Water Innovations Suite C104 505.216.0880 newwaterinnovations.com

D Maahs Construction, LLC Suite A206 505.992.8382 dmaahsconstruction.com

Design Connection Suite C203 505.982.4536

Nedret rugs and textiles LLC Suite C203 505.490.2324

Tierra Concepts, Inc. Suite D206 505.780.1157 TierraConceptsSantaFe.com

Counter Intelligence, LLC Suite C204 505.988.4007 ci4usantafe.com

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On Pacheco Street, you’ll find art galleries, apartments, offices, and pretty much every service you need to renovate or decorate a Northern New Mexico home or office.

Come to Pacheco Park for SweetWater Harvest Kitchen’s breakfast and lunch offerings.

(On Wednesday through Saturday nights, SweetWater offers Thai dinners.) Come to take a yoga class at Dragon Rising, or beautify yourself at Ritual Salon. Then take in the sumptuous offerings of Santa Fe’s finest interior designers, importers, and architects. See Buena Mano for that “perfect gift” or collectible; Nedret for high-end custom and antique rugs; Form + Function for lighting; and Design Connection for upholstery, bedding, and curtains. Too much sun coming into your casa? Protect your treasures with an elegant contemporary solution from Custom Window Coverings.

This fall, Pacheco Park will hold its annual Bark in the Park fundraiser for the Santa Fe Animal Shelter. This funfor-all-ages event includes a progressive meal, music, raffles, and prizes. Pets welcome!

The secret is out about Pacheco Park. Come and see for yourself.

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An Out-of-Box Solution Prefab home offers quick, affordable response to extreme alpine location

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BY ASHLEY M. BIGGERS | PHOTOS BY ROBERT RECK

six-month window to build a house in Taos Ski Valley up a narrow mountain road, dodging seasonal lightning storms: This was the cascade of obstacles confronting architect and developer Richard Yates and architect Aaron Bohrer as they designed Yates’s vacation home in the high-alpine environment in 2015. The house, known as Kachina Ridge, borrows its name from the 12,481-foot Kachina Peak, visible from the dwelling in the valley below.

It’s a location worth fighting for, so they did. The surprising result has all the practicality of the submarines on stilts of Antarctic research stations and the geothermal bunkers nestled in Iceland fjords, eschewing the alpine log cabin typical of this ski resort area in favor of a sleek, modern, prefabricated design.

With 30 years’ experience as an architect and president of Zydeco, a Santa Fe real estate development firm, Yates is accustomed to matching budget to vision, though perhaps never more so than with his own dwelling. His past projects have ranged from Hotel Santa Fe and Taos’s Fechin Inn to the Zona Rosa Condominiums in Santa Fe. Yates has established himself as a weaver of urban fabrics, currently developing the Zocalo Lofts in Albuquerque, a business incubator and retail space with upper-story living spaces that is meant to transform the gateway to the Barelas neighborhood at Fourth Street and Coal. He also envisions a high-rise luxury apartment building in Houston and a purpose-built FedEx shipping center and floating dock along the Hudson River in New York City that would turn the waterfront into a destination, with marinas, entertainment, and playing fields.

Bohrer, Zydeco’s senior architect, is known for applying prefabricated construction to situations beyond what one might imagine, taking advantage of the f lexibility and affordable price tag of the oft-maligned manufacturing process and elevating it through innovative design. Yates had earned his prime parcel in the Kachina Basin, below the iconic Bavarian Lodge & Restaurant, through consulting work, but had left it undeveloped for more than 20 years. “It was time to finally build something,” he says. >

From top: Richard Yates’s vacation home in Taos Ski Valley was built in one abbreviated growing season. A stairway leads to a guest bedroom and bathroom on the ground floor. Upstairs, the living room is set off from dining, kitchen, and master suite without dividing walls. Opposite: A cantilevered “solar cage” offers 360-degree views and passive solar heating.

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Kachina Ridge was built to withstand the weight of 12 feet of snow while departing from the typical alpine log cabin design.

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Although not traditionally alpine in form, the cabin retains mountain materials of corten, steel, and stone. The white stucco will be surrounded with stone basket gabions, and the white columns are meant to blend with the snow, accentuating the illusion of a floating second floor.

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Clockwise from left: The minimalist Ikea kitchen and wood accents add just enough warmth while ceding center stage to the mountain view.

The living room, on the second floor, has a fireplace on one end that echoes the solar cage opposite. Warmth, sun, and mountain views surround the room that appears to float amid the treetops.

Actually doing so presented formidable challenges: frozen ground that prevented digging foundations until May, snow blanketing the ground by October, and summer lightning storms above 10,000 feet, which shortened the already limited work days. Many area residents have their foundation built one year and finish the home the next. “I kept pricing it out,” Yates says, “and I didn’t want to spend that.” Opting for prefabricated construction allowed the 1,870-square-foot, two-bedroom, two-bathroom home to be built in one season. It also meant going before the town council of Taos Ski Valley, which does not allow modular homes or trailers— although the prefabricated home was neither.

Plans called for a long, cigar-box structure that could

be subdivided into sections. The wood-frame boxes were built at a rented Albuquerque construction yard, then set into place on-site. At 12 by 16 feet, the boxes met New Mexico Department of Transportation regulations on the dimensions of structures traveling the state’s highways and negotiating the hairpin turns along the road to Kachina Basin.

Before leaving the construction yard, the boxes were framed and finished with windows and heavy foam insulation to stand up to Taos winters—something the designers wanted to assure a responsible energy footprint. The structures were rigid enough to survive the convoy 152 miles north to Taos Ski Valley. Remaining to be installed on-site were electrical and plumbing trendmagazineglobal.com

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A circular driveway runs under the building, such that the top floor functions as a porte-cochere for overhead protection during bad weather, with the solar cage serving as a kind of light fixture.

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connections, drywall, finishing details like floors and cabinetry, and exterior finishes including metal and stucco. Meanwhile, AMFAB Steel in Bernalillo fabricated steel stilts to support the structure and a “solar cage” that juts out at one end.

As the components were being built, crews laid the foundations. “Doing two things at once gained us valuable time,” says Bohrer. Cranes lifted the boxes into place over six days, perching them on stilts hovering above the annual snowfall level and providing better mountain views through the towering ponderosas. “The aggregation approach—building in small, individual units—is part of the building’s final expression and its design DNA,” Bohrer says, “and once understood, the project begins to follow a construction logic all its own.”

Homeowners often dismiss prefabricated construction as flimsy, preferring the perceived Herculean qualities of site-built construction. But prefab can have Olympian qualities of its own: Kachina Ridge is built to withstand the weight of 12 feet of snow, which deposits loads of 100 pounds per square foot onto residents’ roofs.

Although Yates favors Art Deco, the crisp modern design of Kachina Ridge meets the spatial economy of the lot. On the ground floor is a bunk-style bedroom and full bathroom for visitors; the second story connects living room, dining room, kitchen, master bedroom, and three-quarter bathroom with elegant cherry wood floors. A floating fireplace sets off one end of the great room against a striking royal blue wall, while the solar cage opposite offers 360-degree views and provides passive solar heating throughout the day.

With this impressive architectural solution in place, will prefab homes be popping up across Taos Ski Valley? Probably not. Yates says many of the remaining sites are too steep even for this adaptable construction model.

But it might fit other ski resorts or coastal areas where homes must be raised above tidal surges, he says. “To build off-site, ship, and assemble on-site, there has to be an economic reason.” In this case, responding to those limitations resulted in one of the most unusual and striking homes in Taos Ski Valley. R trendmagazineglobal.com

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From Santa Fe to Austin, Louis Grachos’s strength is putting the artist first

BY ELLEN BERKOVITCH

ouis Grachos jogs nimbly down a staircase and greets me with a hug at the front door of the Laguna Gloria villa. The 1916 Italianate mansion overlooking Lake Austin rises to a three-story tower, its grille windows shaded by striped awnings. The name Laguna Gloria (“heavenly lagoon” in Italian) not only describes the manmade Lake Austin where small pleasure craft are bobbing on a warm Friday; it also completes the fantasia that Texas cattle heiress Clara Driscoll envisioned of her lakefront paradiso deep in Texas hill country.

Driscoll was one of a number of powerful 20th-century Texas women in art history, along with Marion Koogler McNay in San Antonio and Dominique de Menil in Houston. She had honeymooned in 1914 at Lake Como in Italy and professed a desire to stay forever, leading her husband to suggest he knew just the place, a little west of the city of Austin. Three decades later, Driscoll donated the site to be used for a city museum. Today the property, on the cusp of the new, reflects a cultural history emitting spark trails of change.

Animated and affable, Grachos describes Driscoll as a visionary of built landscapes as we stand outside at the point where place meets possibility. Laguna Gloria is now the headquarters of The Contemporary Austin at Laguna Gloria—which includes, most notably, the Betty and Edward Marcus Sculpture Park at Laguna Gloria, endowed with a $10 million gift from the Marcus Foundation. Mission-setting has been Grachos’s job since he arrived to be The Contemporary Austin’s first CEO and executive director in 2013. “It was my job to come up with a way of working with the space,” he says.

This newest executive position has required Grachos to resituate himself—as he habitually does—precisely where he is. Austin is the capital of Texas, but in terms of culture, that means music and food more than visual art. It’s a city teeming with tech startups, outdoor recreation, and biking millennials. Cranes dot the downtown skyline.

As Grachos points out in a discussion about the virtues of place, Austin is Texas’s outlier city: “The Republic of Austin,” ringed in pink for its stance on progressive issues from gay marriage to immigrant rights, in a state better known for fighting over who’s not bleeding sufficiently red.

The name “Republic of Austin” comes from the film Bernie, directed by Richard Linklater (of the acclaimed 2014 film Boyhood), who is a resident and founder of the Austin Film Society. Context makes for opportunity.

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ntil 2011, there was no Contemporary Austin. It arose out of The Austin Museum of Art (AMOA) and a non-collecting institution (Kunsthalle) called Arthouse, now the Jones Center. There is also a venerable Austin museum incarnated in the long, proud history of the Blanton Museum of Art at the University of Texas (UT). And then there is the scholarly archive at UT that is the Harry Ransom Center (which contains such objects as actress Gloria Swanson’s archive and one of the 21 known Gutenberg Bibles).

In the mid-2000s, the AMOA board had plans to construct a major new museum building with conservation facilities on Republic Square in downtown Austin, and had chosen “starchitect” Richard Gluckman to design it. The Great Recession of 2008–2009 was not the only complication. The Blanton essentially represented a preexisting condition of what the new building was intended to do. AMOA and Arthouse merged in 2011, and AMOA’s modest permanent holdings were transferred to the Blanton. The Austin Museum of Art was sold for $22 million, which became the seed money for the vision Grachos was hired to articulate. The Contemporary Austin got its name, and now includes both Laguna Gloria and the renamed Jones Center, as well as the Art School at Laguna Gloria.

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COURTESY OF THE ARTIST AND BLUM & POE, LOS ANGELES/NEW YORK/TOKYO. IMAGE COURTESY OF THE CONTEMPORARY AUSTIN. PHOTO BY BRIAN FITZSIMMONS.

Previous page: Anya Gallaccio, to see if time was there (2017).

Carved Texas limestone with granite, marble, sandstone, soapstone, and quartzite, approximately 4 X 15 X 12 feet.

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desert, Grachos worked with the likes of curators Francesco Bonami, Rosa Martinez, and Dave Hickey. He was, in fact, the person who selected and worked with Hickey on Beau Monde: Toward a Redeemed Cosmopolitanism, the 2001 biennial.

“Dave is a difficult guy, but he’s brilliant,” Grachos says. “I remember him saying, ‘I want this gallery to be a rectangle, with a gray industrial carpet, and it should look like André Emmerich, 1976.’ ” And he spent two days perfecting a letter to Ellsworth Kelly laying out his vision for that room, which would wed a four-paneled Kelly painting with five Ken Price ceramics. “Working with high-powered curators, we always managed to make it an artist-centric experience,” Grachos says of SITE Santa Fe—a priority he has frontloaded ever since.

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he Marcus Sculpture Park sits at the center of a master plan in the process of materializing, turning what had been Driscoll’s luxuri-

TOP: PHOTO BY BILL SALLANS. BOTTOM: CYNTHIA CANYON (2)

While there’s no question that the music coming out of Austin, and the singular festival South by Southwest, will keep the city at the top of the pop culture A-list, it is also looking increasingly like Austin will benefit from the impact that Santa Fe saw under Grachos’s arts leadership two decades ago, when he took a converted beer warehouse by the railroad tracks and turned it into a respected center for contemporary art through the SITE Santa Fe International Biennial. As Santa Fe critic Tom Collins described in Collector’s Guide in 2009, “There was a moment one summer in the early to mid-’90s when you could have dropped into Santa Fe and thought that you were in one of the art capitals of the world—Tribeca/Soho, Basel, Paris, Tokyo, say.”

Grachos himself is quick to credit the annealing properties that his experience in Santa Fe had on his subsequent career moves—to the Albright-Knox Art Gallery in Buffalo in 2003, and now The Contemporary Austin. Over the six years during which he turned SITE into a cultural catalyst in the

“Austin’s an outdoor city, so art in

COURTESY OF TOM SACHS STUDIO.

public places started to make sense.”

ant, overgrown gardens into a 21st-century sculpture destination on 14 acres. Laguna Gloria has also been (and remains) home to the non-degree-granting Art School at Laguna Gloria, open to the general public.

Groups of parents and kids eat bag lunches on picnic tables next to Tom Sachs’s tearemitting rabbit sculpture, Miffy Fountain.

Seeing the future has required literally clearing away some clingier parts of the past. Grachos can point out, thanks to hours spent walking the property and poring over master-plan documents with landscape architect Reed Hilderbrand, invasive Virginia creeper and groves of small trees proliferating to entropy. Phase I of the master plan entailed aggressively curtailing the hillside-climbing flora to realize a welcome pavilion for visitors, with an “arrival court” and terrace, café, and shop, and with stair-

cases replaced by ramps.

“Austin’s an outdoor city, so art in public places started to make sense,” Grachos says of his attentiveness to identifying where precisely The Contemporary Austin could shine.

“We felt we needed a program that was decidedly contemporary, that would be nimble and fluid, that would engage in public work and also focus on working with the artist in a really direct way.”

Leading a tour of artists he is working with today, we head to the bowl-like lakeside outdoor amphitheater, where live performances and film screenings complement the sculpture and the artists’ ideas. The location also bears out Grachos’s hunch that new audiences for the park’s art will come from unexpected sources, such as the standup paddleboarders and flat-bottom boaters waterside. “Forty water vehicles came up for

one program,” he notes.

From this spot, one can look up to a clearing where Chinese artist Ai Weiwei’s Iron Tree Trunk, acquired last year, practically perspires gravitas. Cast in one piece in Yorkshire, England, the stunning cast-iron sculpture of an ancient tree trunk is part lost world, part Chinese cultural history, a supersize Chinese scholar’s rock (an object that miniaturizes nature), bringing to evidence the many meanings of “nature” engaged by art in public places. Aspiration is in the air— and on the water.

Tom Sachs, Miffy Fountain (2008). Silicon bronze and paint, about 9 feet tall.

Opposite, top: Louis Grachos.

Bottom left: The entrance to the Marcus Sculpture Garden during the gala opening in April, with rideable Ferris wheel and architectural plans for the garden.

Bottom right: Garth Weiser was the featured artist in the main gallery at the grand opening of The Contemporary Austin in April. trendmagazineglobal.com

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COURTESY OF AI WEIWEI STUDIO AND LISSON GALLERY. IMAGE COURTESY OF THE CONTEMPORARY AUSTIN. PHOTO BY BRIAN FITZSIMMONS.

PHOTOGRAPH BY BRIAN FITZSIMMONS.

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ooking Up is precisely what Tom Friedman’s stainless steel sculpture is doing, head tilted skyward, evoking the same response in the viewer.

It was the first commission that Grachos made with funds from the Betty and Edward Marcus Foundation. After it went up at Marcus Sculpture Park, other versions of it began appearing—in the Park Avenue median in New York and near Chicago’s Lake Michigan.

The figure rises 33 feet. “He built a scaffolding with two-by-fours to get the scale,” Grachos says. “He used the height of the villa and the palm trees as the gauge.” The body, with its crumpled, Giacometti-esque surface, was achieved by crushing foil roasting pans to create the molds.

In a more guarded space behind a hedgerow, Paul McCarthy’s White Snow #3 smiles slyly. “McCarthy’s Snow White—her name inverted to White Snow,” says the Contemporary’s website, “is depicted as a caricature with bulbous cheeks, black instead of white, enticing visitors to join her as she rises out of a pile of scat …”

“We didn’t really know what to expect,” Grachos says of the public’s response, “but our educators told us how much of a catalyst this is for children.” They write stories while sitting on the grass in front.

As we plunge deeper into the gardens, Grachos directs me to another commission, Anya Gallaccio’s to see if time was there, an ancient sequoia trunk carved from Texas limestone. The Welsh artist used a tree stump for the form and, in a tribute to Clara Driscoll, made the smooth top a composite Italianate marble that refers back to the floor of the villa, while making a place for a visitor who has clambered up the side to sit.

Road Angel by Santa Fe-based artist and musician Terry Allen got placed deep inside a clearing last December, as if its driver had just pulled off the road. Ringed by palmettos, the verdigris bronze was cast in Bastrop, Texas, to simulate a 1953 Chevrolet coupe.

Evoking the sultriness of a west Texas summer evening, it resonates with memory and free association—and a looping soundtrack that includes the voices of poets and musi-

cians including Allen himself, his wife, Jo Harvey Allen, and friends, from Joe Ely and David Byrne to nearly 100 voices whose murmurings draw you right in.

“It all started in Santa Fe, where he laid out a few ideas and drawings,” Grachos explains. “Terry’s intent is to trigger memories of car culture and car history. Jo Harvey told a great story about how in Lubbock the kids would go to a cotton field with their cars, form a circle, turn the lights on, and all tune in to the same radio station. That’d be the party.”

Nic Nicosia, a Dallas artist who lived in Santa Fe for a decade and exhibited in the SITE biennial Beau Monde, has been working with Grachos on a commission called

Boaters are among the target audience for The Contemporary Austin. The Drift-In Theater Film Series invites museum members to anchor at the secluded lagoon at Laguna Gloria.

Opposite: Ai Weiwei, Iron Tree Trunk (2015), edition 1 of 3. Cast iron, about 15.5 feet high. trendmagazineglobal.com

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to be a curator of 17th-century Dutch art.

I wanted to work with living artists.”

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W

hen Grachos left SITE in 2002 to head the venerable AlbrightKnox Art Gallery in Buffalo, New York (where he spent the next ten years), the move represented a sea change from overseeing temporary exhibitions to concentrate on permanent acquisitions. He bought close to 1,200 new works and reinstalled permanent collections. Important gifts

included minimalist works from the Dorothy and Herbert Vogel collection. The magazine Buffalo Spree described his ethos in upstate New York as “giddyup.”

Buffalo was also the place where Grachos began looking closely at the innovations happening with the Public Art Fund and Madison Square Conservancy in New York City. “One of the things I really got excited about during my last two years in Buffalo,” he says, “was we took on the task of reinvigorating the exterior spaces. I started to see new life for art in public places.”

However the Driscoll villa in Austin ends up situated after its evolution into a sculptural sine qua non, there is also the space with walls that is the former Arthouse, now the Jones Center, on downtown Congress Avenue. It is a space close in mission and spirit, Grachos observes, to the Center for Contemporary Arts in Santa Fe.

COURTESY OF THE ARTIST AND L.A. LOUVER. IMAGE © THE CONTEMPORARY AUSTIN. PHOTOGRAPH BY BRIAN FITZSIMMONS.

“I didn’t want

The Twins, originally created for a solo exhibit at the former James Kelly Contemporary in 2011. “Louis is a great negotiator with all these people,” he commented of Grachos’s crossover ability to contend with curators, boards, and artists. “For the SITE biennial, he facilitated everything that Dave (Hickey) wanted. Now he’s holding the line for his vision at the Marcus. He’s also really all about the artist, and that’s kind of rare for museum directors.”

COURTESY OF THE ARTIST AND LUHRING AUGUSTINE, NEW YORK. IMAGE © THE CONTEMPORARY AUSTIN. PHOTOGRAPH BY BRIAN FITZSIMMONS

Clockwise from above: In front of the Driscoll Villa stands Tom Friedman’s Looking Up (2015), edition 1 of 3. Stainless steel, about 33 feet tall.

Paul McCarthy, White Snow #3 (2012). Bronze, about 8 feet tall.

Gillick, Raised Laguna Discussion Platform (Job #1073) (2013).

Painted steel, about 36 feet long by 13 feet high.

Opposite: Terry Allen, Road Angel (2016). Bronze with audio and light, about 15 feet long.

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COURTESY OF THE ARTIST AND GLADSTONE GALLERY, NEW YORK AND BRUSSELS. IMAGE © THE CONTEMPORARY AUSTIN. PHOTOGRAPH BY BRIAN FITZSIMMONS.

The Contemporary Austin’s Jones Center on Congress Avenue, with Jim Hodges’s With Liberty and Justice for All (A Work in Progress) (2014–2016). Stainless steel, Dichrolam, acrylic, enamel paint, and LED lights.

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The exhibit Monika Sosnowska: Habitat in the Jones Center (November 2016–February 2017).

Opposite: Ai Weiwei, Forever Bicycles (2014).

1,254 bicycles at Waller Delta as part of The Contemporary Austin’s Museum Without Walls Program.

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The result has been success with funders.

After the very big deal of beating out other top Texas arts institutions for the $10 million from the Dallas-based Marcus Foundation in 2013, another big coup followed —“a tremendous opportunity that I received last year,” as Grachos understatedly describes being selected to have The Contemporary Austin administer the new Suzanne Deal Booth Art Prize. The winning artist receives $100,000, and the institution $300,000 to mount a biennial show by the prizewinner.

The first recipient was L.A.-based Rodney McMillian, who paints on bed sheets procured at thrift stores and subjects broken-down couches and other discarded furnishings to a sculptural saw—a latter-day Gordon MattaClark meets David Hammons. An exhibition

by McMillian will go up next February at the Jones Center as the first Suzanne Deal Booth prize exhibition.

On a visit to Santa Fe in early August, Grachos shows me iPhone snaps of the

brand-new installation Water Woman, a cast bronze sculpture he acquired from Kenyanborn artist Wangechi Mutu for the sculpture park. Mutu’s show opened September 23 at the Jones Center. The pace is decidedly picking up.

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f the works now installed at the Marcus Sculpture Park—Orly Genger, Liam Gillick, John Grade, and the team of Teresa Hubbard/Alexander Birchler, among others—introduce capital-letter contemporary art names to Austin, they also point to the emphasis that Grachos places on allowing many entities to share in owning success.

As we set off downtown, he swings me by the Waller Creek Conservancy, an Austin nonprofit that is developing and maintaining what it calls a chain of urban parks around restored Waller Creek. Here Ai Weiwei’s installation Forever Bicycles is open to the public daily from sunrise to sunset in a collaboration with The Contemporary Austin.

IMAGE COURTESY OF THE CONTEMPORARY AUSTIN. PHOTOGRAPH BY COLIN DOYLE.

Located several blocks from the Texas Legislature, the building reopened last December after a renovation. It has an expanded gallery footprint of 3,000 square feet and a canopy-covered rooftop that positions it as an intellectual stage for speakers, films, and performances to pivot around the art programs within, and vice versa.

Grachos brought Heather Pesanti with him from Buffalo to be The Contemporary Austin’s senior curator, and it’s evident that collaboration still recharges Grachos’s battery, both inside the institution and outside of it. That also extends to working with other Texas nonprofits.

COURTESY OF AI WEIWEI STUDIO AND LISSON GALLERY. IMAGE COURTESY OF THE CONTEMPORARY AUSTIN/WALLER CREEK CONSERVANCY. PHOTOGRAPH BY BRIAN FITZSIMMONS.

Along with Iron Tree Trunk at Laguna Gloria, the sculptures send a double punch of public art that deals closely in issues “right up front in our community—freedom of expression, human rights,” Grachos says.

The polished chrome conveyances of Forever root deep in Ai’s childhood in China, as material emblems of the values celebrated in the sculpture, including freedom to travel, both in the mind and in the world. Disgraced cycling hero Lance Armstrong was Austin’s native son—an appropriate reminder of some big themes in modern-day sports: pollution vs. purity and the mighty done in by their own ambition, which here become the deftly handled topic of contemporary art. As Grachos recalls the care needed to install this 32-foot-high extravaganza made up of some 1,250 bicycles, we find ourselves gently surrounded by lunch-hour cyclists snapping selfies to post to Instagram. Shiny, shiny, shiny, the sculpture projects both tensile strength and inherent fragility.

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s Austin revels in its enlivened urban scene, its international art profile is also on the rise, Grachos believes. Los Angeles-based conceptual artist Ed Ruscha plans to leave his archive to the Ransom Center at UT. A 2,700-square-foot, $23 million Ellsworth Kelly pavilion is being built on the campus, to be called Austin and located just outside the Blanton Museum. Grachos describes it as a mini Byzantine chapel—think Dominique de Menil’s underwriting of university art departments in Houston—that will have Kelly works in stained glass.

Kelly also happens to have been the artist who populated Grachos’s “catalyst moment” in art, when he was a student at the Whitney Museum of American Art’s Independent Study Program. Curator Patterson Sims “just casually said to me, ‘Do you want to come upstairs? I’m going to meet Ellsworth. We’re going to make some decisions,’ ” Grachos relates, calling the ensuing conversation his

watershed moment. “I watched Patterson and Ellsworth talk in detail about the installation, and said, ‘This is what I want to do.’ I didn’t want to be a curator of 17th-century Dutch art. I wanted to work with living artists.”

If the mysterious woods as a new setting for art are always subject to the changing seasons, let’s not forget the transformative landscape of downtown Austin. We wind up our tour with a trip to the Jones Center that includes a Jim Hodges installation I’d seen before, to entirely different effect, outside the new Aspen Art Museum in 2014. Here on Congress Avenue in Austin, seven-foot-high letters spell out “With Liberty and Justice for All” like a bell ringing from the Jones Center rooftop. The mirrored surfaces reflect the urban environment and change color by day; at night they are lit from within, a 24-hour retort to the Texas Legislature. The subtitle of the sculpture is A Work in Progress, and that seems very much as it should, and must be, when art’s doing the talking. R trendmagazineglobal.com

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It Takes Two Design duo Violante and Rochford live large amid a small space

BY ASHLEY M. BIGGERS PHOTOS BY WENDY MCEAHERN

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fter nearly ten years as partners in one of Santa Fe’s most highly regarded interior design firms, Michael Violante and Paul Rochford say their own home is their best work yet. Tucked behind an adobe wall on East Alameda, the 1930s Santa Fe-style home is sophisticated without being fussy. (The couple’s two rescue dogs, Maxwell and Russell, regularly cuddle on the furniture, some of which uses outdoor-quality washable textiles.) It balances timeless elegance and approachability with reverence for the past and appreciation for the new.

That balance between seemingly disparate elements has long been a hallmark of V&R’s aesthetic, along with their assertion that the epitome of Santa Fe style is a “collected” house. From the days of El Camino Real and the Santa Fe Trail, settlers have carried goods from other locales to Santa Fe, blending these items with indigenous finds, and Violante and Rochford continue that tradition by drawing on resources from Los Angeles to Europe to find the perfect fit for their clients. The same is true in the duo’s home, which showcases their collections from other seasons of life along with new pieces, such as a commissioned dining room table by woodworker Christopher Thayer, one of many local craftsmen whose work they showcase in their design projects.

The house itself is also from another season of life. Not only was it built during a time when homes were smaller, more closed off, and not as expansive as we are used to today, it was also purchased as a guesthouse by Rochford and his life and business partner, Ron Messick, before tragedy ended both relationships. Just as the 18-month home renovation has been a process of tearing that home down to the studs and rebuilding, so too was Rochford’s life post-Messick, with whom he curated art and antiques before Messick passed away from cancer.

“Life changes in a split second,” Rochford ref lects.

Living alone for the first time in his adult life, he sought out then-friend Violante to design his home.

Violante, who hails from the Midwest, had natural design sensibilities from a young age, growing up trendmagazineglobal.com

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Clockwise from above: Multiple doorways lead outside, including from the kitchen to the patio, with its Portuguese-style stonework and grapevines that were off-limits during the renovation. Subdued cabinetry in the master bathroom.

The guest room enjoys the home’s boldest choice of colors, and storage space is cleverly hidden beneath the bed. The garden was the home’s selling point; the couple was married beneath the cottonwoods.

As animal-lovers, Michael Violante and Paul Rochford wanted their home to be canine-friendly.

Previous page: In the living room, skylights, white walls, and whitewashed floors show the couple’s art collection to full advantage.

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around women who redecorated every five years or so in pursuit of the latest interior décor trends. “I was moving my room around at seven or eight [years old], rearranging,” he says, shrugging. “I’ve always wanted to do this.”

After relocating to Santa Fe some 30 years ago, Violante designed projects across the country for ACC, a fine furnishings and design company. Then Rochford, a native Santa Fean, approached him with his solo project. While huddling over fabric swatches, the two fell in love and were soon married beneath the towering cottonwood canopy of their now home. Embracing Rochford’s carpe diem ethos, they also formalized a business relationship in 2008 with Violante & Rochford Interiors, a fullservice design firm combining Violante’s design expertise and Rochford’s business and art/antiquities acumen.

And while the two lived in Rochford’s little adobe on and off for ten years while searching for something more permanent, it turns out what they were looking for was in their possession all along along. They shared a love of the home’s stately cottonwoods and gardens, its intricate patio with rock laid to mimic a Portuguese street, and a decades-old grapevine that slithers up its metal portico. The house’s charming outdoor features inspired them to refresh it and make it their full-time residence.

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“Nobody does it better than Mother Nature,” Violante says of his perennial source of inspiration for color, pattern, and texture.

In fact, one of their design hallmarks is blending indoors and outdoors. “So many people move here because of the [natural environment]. So we bring those elements inside,” Violante says.

They turned to Carlotta From Paradise landscape architects to revamp their home’s garden, as they have many times before for clients’ homes.

Renovating was delicate work, since the dwelling was deemed a historically contributing property—one that adds to the historical integrity of the district—meaning every exterior change had to be approved by historic preservation boards. They worked with frequent collaborator Woods Design Builders, who served as both the architect and contractor on the project, to seamlessly blend an old Santa Fe­-style exterior with modern amenities on the interior—the hallmark style of Woods Design and Violante and Rochford-paired properties.

While charming, the house was dark and closed off, and Violante and Rochford wanted a light and bright space. Woods Design Builders added skylights, larger windows, and French doors off the dining room so that light f loods the interior, blending exterior and interior spaces. “It was a fruitful collaboration,”

says managing partner Rob Woods, “because we brought our historic and restoration sensibilities, and they brought their modern aesthetics.”

Walls were removed to create an open-concept living space, and a long, narrow hallway became useable space with a new f loor plan. Woods added on square footage with a mudroom and garage, which increased the livable space to just over 2,000 square feet and appear to be a natural extension of the original home. “Small houses make you think about every square inch,” Rochford says. Not only that, “This project was all about facing the secrets of an old house that only make themselves known when you start pulling things apart.”

With the groundwork laid, they turned to finishing touches.

Since a barrage of colors and patterns surrounds them at work, Violante says, “We come home to cleanse our palettes.”

“We work 12 hours a day, so it’s important to come home to a quiet and calm oasis,” Rochford adds.

Hard-trowel plaster walls and whitewashed wood f looring establish continuity between the rooms and serve as a blank but not austere canvas against which the furniture and the duo’s art and antiques become even more striking. Some of these pieces include ethereal landscapes by Carol Anthony, a turquoise

Doors from the master and orange color field by Emily bedroom and living room Mason, a horse sculpture dating to provide easy access to the Tang Dynasty, and a striking the patio, which boasts plenty of greenery and collection of African Big 5 portraits sunlight. Opposite: An by photographer Nick Brandt. (Many antique horse sculpture of the pieces the couple has collected lives harmoniously with contemporary paintings together reflect their shared love in the master bedroom. of animals.) Furniture and linens punctuate the neutral palette with bold yet chic hues—light olive green and white striped armchairs in the living room, a golden yellow duvet in the guest bedroom, and crimson throw pillows in the TV room, to name a few.

Working together on a client’s project is one thing, but how was it working on a shared personal space, one that would ref lect their distinct personalities as well as their shared sensibilities?

Violante reports that they worked together nearly seamlessly, making decisions quickly. “We do so much together, we know what we like,” he says. “There was no reason to overthink it.”

Rochford agrees. “There’s not one part of the house we feel like we made a mistake on. If we won the lottery, we wouldn’t change it. It fulfills every part of what we need.” trendmagazineglobal.com

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Interiors of the Sheffield home, built by Woods Design Builders with interiors by V&R. The design team is known for timeless elegance from the past that is meant to be lived in today, but they also strive to match their clients’ vision. “They somehow morph into you,” Kim Sheffield says of the design duo. “They can anticipate what you’re thinking and how you’re feeling about certain things.” trendmagazineglobal.com

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The Sheffield home on the east side of Santa Fe overlooks the city and is still within walking distance to Canyon Road; Woods Design Builders, working with V&R, created floor-to-ceiling windows to capture the views.

Opposite: A blend of old and new characterizes V&R style, which sometimes means coloring outside the lines.

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V & R and Woods Design Builders helped Chef Charles Dale and his wife, Leigh Miola, transform their home on Old Santa Fe Trail. They gutted the 1930s adobe and recreated it into a space reminiscent of Dale’s loft in SoHo, with tall ceilings and a large living space. “They wanted a soft contemporary look,” says builder Rob Woods. “So we had white plaster walls with stained beams and cabinetry that added splashes of historic Santa Fe style.”

Opposite: The kitchen in Dale’s home, designed and built by Woods and open to the rest of the house and outdoor living areas. R

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Bringing Old World principles to the new, Craig Hoopes unites traditional and modern, indoors and out

CREDIT

BY ASHLEY M. BIGGERS

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DANIEL NADELBACH CREDIT

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“We as human beings want to feel that there’s more to come...

When we stop believing there’s anything around the corner, we get old.

We try to design all of our buildings so there’s something to pull you in, so you’re not confined.”

Opposite and previous page: Floorto-ceiling doors at the Bunkowski residence allow for true indooroutdoor living. Inside, the unexpected awaits around every corner.

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hether it’s revitalizing a downtown performing arts venue or designing a living room for musicians rehearsing, Craig Hoopes has brought a harmonious blending of modern and traditional to his scores of Santa Fe architectural projects. Steeped in the architectural legacy of Le Corbusier, he reconciled the pioneering Modernist’s severe principles with the soft, round, earth-centered habitations of New Mexico’s traditional dwellings. Over his 40-year career—25 of them in Santa Fe—Hoopes has established a new vernacular of contemporary Santa Fe style.

He did it by entering into a relationship with place, rather than holding the arid landscape at bay. His structures invite the outside in, blurring the boundaries between domicile and desert.

Crisp interiors reflect the passage of time, collecting and casting light across space.

Starting at Cornell University, where he was steeped in what he calls the magic of Le Corbusier, Hoopes emerged in 1973 with an intricate knowledge of the Swiss-French architect’s point of view that would serve as a touchstone throughout his career. Yet he also continued to resist it as overly austere and sterile.

Admired and disparaged today in equal measure, the architect who called himself Le Corbusier (1887–1965) espoused a quintuplet of tenets, which he dubbed the Five Points of a New Architecture—such as perching buildings on ground-level support columns, creating open and free-flowing interiors, and incorporating rooftop gardens and grand windows that introduce natural light and exterior views. “I wanted to get away from that,” Hoopes says of the muse he calls “Corb.” But “I still liked some of the ideas, and there are some things I’ve been able to bring to New Mexico.”

His education didn’t stop at architecture. The philomath and Renaissance man studied art history in Florence and piano at the Peabody Institute of Johns Hopkins University from 1976 to 1981. “I just had to go and find out if I had any musical talent,” he says. Ultimately he decided that he was better suited to architecture than music, but his affinity for the arts has influenced the projects for which he is best known.

During his early years as an East Coast architect, Hoopes designed award-winning office complexes and facilities, but he felt his firm’s designs growing ever more ornamented, widening the gap to his minimalist leanings. “In the end I wanted the simplicity of a wall,” he says. “A plain wall can be extremely beautiful.”

Craving change, he headed west in 1992 to Santa Fe, a place he’d visited many times.

(His father worked in public relations at then-College of Santa Fe.) He founded Hoopes + Associates Architects the same year, keeping the firm intentionally small to focus on the contemporary design to which he remained devoted. Landing in a place where the prevailing design aesthetic was anything but modern, Hoopes could be said to have launched a mission to demonstrate that modern architecture can exist harmoniously with traditional Southwest forms.

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Homes as expressions of life “I’m a Modernist,” Hoopes declares. “We live in this time period, so we should honor the time we live in. From that standpoint, I want the work the firm does to reflect the time period.” He knows, however, that structures do not exist in a cultural or geographic vacuum, and over the decades his own aesthetic preferences, lessons from Le Corbusier, and the legacy of regional styles have played out in a long dialogue about the new tenets of Santa Fe style.

With an eye toward clean lines and intention, Hoopes’s designs repurpose classic regional styles. The thick walls are reimagined to incorporate cabinetry, in keeping with contemporary needs. Roof beams are decorative, casting light that reflects the passage of time through the space. Hoopes’s homes still nestle into the landscape, even perched on hilltops, but not out of any practical necessity to shelter from summer heat, winter cold, or spring winds. “Even though we’re doing something that’s very contemporary, there’s a sense of belonging to the land in the way the old houses used to do,” he says.

Creating this relationship with the land begins with positioning structures to maximize views, often of the Sangre de Cristo and Jemez mountains. Exterior spaces are foregrounded. “In our environment here, I want people to feel as much that they are living in the landscape as they are living in their house,” Hoopes says. “The house is not confining our lives. Our lives are expansive and take us in new directions and make us see things differently as time passes.” Homes should, too.

Hoopes’s adherence to the fluidity between indoor and outdoor spaces is certainly an inheritance from Le Corbusier. Classic Santa Fe homes, where residents’ lives were spent as much in outdoor courtyards as indoors, also blur these delineations. Hoopes draws frequently on floor-to-ceiling windows

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This transitional-style home includes some elements of traditional Santa Fe design in an open, contemporary layout.

Opposite: A stairwell off the patio leads to a roof deck with fire pit.

“Our lives are expansive and take us in new directions and make us see things differently as time passes.”

DANIEL NADELBACH

that flood interiors with light and bring the outdoors in, as in Ken and Karen Bunkowski’s home on the edge of the Galisteo Basin. The house shelters an interior courtyard that keeps New Mexico winds at bay. Floor-to-ceiling pocket doors provide year-round outdoor views and slide away when the weather is fine to open the home directly to Galisteo Basin views.

This interplay does not compromise the home’s energy efficiency. Hoopes’s firm followed sustainable design standards before they were buzzwords. Unlike traditional homes, which rely on thick adobe walls for insulation, he uses a less bulky double-insulation technique with eco-consciousness as the motivation.

“If we’re going to survive as a planet, we have to respect it and let it be a part of our lives,” he says. “It’s my great hope that we invent electronic walls in the future so we can walk in and out without walls, and that our houses are more like pavilions. People go sailing and mountain climbing to be a part of nature, but we can do that in our own homes. Our houses … should be something that take us into the outside.”

Like his Modernist models, Hoopes imagines buildings at human scale and has them follow our lifestyles rather than determine them. He also aims for approachability, as in the residence of John Rizzo and Annie Mansfield, still under construction. The unique curved home has two wings wrapping around a central courtyard in a “C.” The Northern California residents wanted a second home that welcomed the skies and terrain of Santa Fe. “It’s so beautiful, it’s a shame to close it off,” Rizzo says. “We wanted to live in a home, but feel like we were in the outdoors.”

They weren’t looking for a showpiece. “Sometimes contemporary homes are there to make a statement, not reflect the personalities of the people who live there,” Rizzo says. “We wanted something warm and friendly, which is how we view ourselves as people.” Hoopes’s circular design creates a cloistered family environment, an oasis within the vacation oasis of Santa Fe. “From a maternal point of view, it feels like it’s embracing the family,” Mansfield says. Family members have their own separate rooms but are never far apart and may glimpse each other through windows across the central

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courtyard. “The design lent itself to this notion that in the center core, everyone could be together,” Rizzo says. “Then [we all] go to private spaces and still feel connected.”

Finishes enhance the sense of intimacy. Hoopes leans away from the ubiquitous concrete of contemporary construction, with the single exception of stucco exteriors, a nod to regional standards. Counteracting the impression of sterility inside, he works with teams of interior designers who favor earthen materials like wood and stone, applied to blend interior and exterior areas.

That might mean matching the flooring to the hue of the dirt outside, erasing the boundary.

The Santa Fe adobe shared by two musicians bears Hoopes’s design hallmark of floor-to-ceiling windows welcoming exterior views and light, but no two walls are parallel, which cuts down on reverberation from the pair practicing or performing. A slanted ceiling enhances the room’s acoustic qualities.

In designing the gallery OTA Contemporary, Hoopes turned his attention to the needs of visual artists. Kiyomi Ota Baird, who had moved to Santa Fe from New Jersey, commissioned him to design both her gallery at Canyon Road and Paseo de Peralta, and a home studio addition. Since the gallery is in a historic district (although the building itself is only 20 years old), Hoopes’s firm worked closely with Baird to make it congruent with its surroundings while also feeling light, airy, and spacious, in accordance with her vision.

The result is “totally in keeping with the Santa Fe Canyon Road architectural feeling,” Baird says.

“He immediately understood the traffic pattern to maximize the visual space, inside and out.” Upon entering the space, which opened in May, rooms to the right and left wend around art-viewing culde-sacs before siphoning viewers into a high-ceilinged room outfitted with projectors, which can be closed off for multimedia installations, one of Baird’s specialties. Two lofty glass doors rim a final room, providing views and access to the courtyard. “It’s good to hold on to values and history,” Baird says, “but you need to keep alive the human spirit of continuing to grow and evolve. This

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This Hoopes-designed home evoked for him the Ancestral Puebloan cliff houses, which nestle into the environment as the house does into the hillside, dropping off to expansive views of the Jemez Mountains.

Opposite: Contemporary furniture plays against the softer, earthen architectural references.

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“There are always things that are hidden or revealed.

It goes along with the sense that we can never see our lives completely.”

building is an example of what is possible in Santa Fe today on this historic street.”

For the 2,000-square-foot studio attached to her adobe home with a pitched metal roof, Hoopes optimized mountain views and created a “contemporary cathedral feeling, because of the vaulted ceiling,” Baird says. Skylights fill the room with natural light while preserving wall space, one of the artist’s requirements. “It’s hard to be creative and not make contemporary homes look cookiecutter,” she says. “He keeps in mind the lifestyle of the people he’s designing for.”

To enhance his understanding of traditional architecture, Hoopes’s firm has taken on a number of restoration projects over the years. He earned historic preservation awards from the state of New Mexico and the city of Santa Fe in 2006 for his work on the Ortiz Velarde compound, where a property had been subdivided so children could build new homes around their parents’, in a traditional New Mexican configuration. Hoopes restored and updated the three-family compound from the 1890s to meet the needs of modern-day living. “We do it because it gives us ways of understanding how to make our contemporary buildings more authentic in the Southwest,” he says of such projects.

Perched on a hill with magnificent views, this musical Santa Fe home incorporates a slanted roof that further optimizes both the connection to the outdoors and sound quality in the living room– turned-performance space.

Opposite: Natural finishes throughout provide a feeling of warmth that is contemporary but not at all austere.

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The most visible of his preservation projects is undoubtedly the 2001 renovation of the Lensic Performing Arts Center, the most noteworthy of at least a dozen performance spaces in his portfolio. Almost as notable is his work on the Head Theater at Center Stage, the state theater of Maryland, which he completed just before he relocated to Santa Fe and which stands as a career highlight for the Baltimore native. “My love of music and performance has played a critical role in my life,” he explains. That design earned him a 1991 award from the American Institute of Architects and a 1993 award from Baltimore Heritage. Hoopes also designed the Weinberg Performing Arts Center in Maryland, a black box where tower seating can be changed quickly and fluidly. A project like that, he says, “gets you excited about not having limits.”

At the Lensic, Hoopes faced considerable limitations, balancing historic restrictions against the wish to make a small performance venue feel much bigger. Constricting as they sometimes were, the restrictions “make you come up with different solutions, which is fun for us,” he says.

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Acoustic accolades

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The distinctive round shape of the Rizzo-Mansfield home creates an intimate feel that allows family members to remain in visual contact while having defined spaces of their own.

Opposite: The exterior of OTA Contemporary blends into the historic facades of Canyon Road, while the interiors create the light, airy feel desired for displaying art.

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He considers it a compliment when longtime residents remark that the renovated structure seems unchanged. In fact, myriad subtle and large-scale additions have been subtly incorporated. Walls don’t touch the ceiling, allowing more reverb for the orchestras that perform there.

The theater was rebuilt from the proscenium stage arch to Palace Avenue behind the building.

The reconstructed backstage area allows the 1931 vaudeville stage to accordion from 15 to 55 feet deep to accommodate everything from an elementary school choir to the Russian ballet. For dance recitals, Hoopes re-imagined the theater floor from a straight rake to a subtle bowl shape, giving the audience unobstructed views of toe shoes on stage. These subtle innovations earned a 2001 award from the AIA/Western Mountain Region and a 2001 State of New Mexico Historic Preservation Award for a renovation that also served to revitalize downtown Santa Fe.

Sacred spaces

“I joke with my spiritual clients that what we do with them is just theater of a different kind,” says Hoopes. “There’s an auditorium, lights, a stage, and all the things that make for good theater, so it’s not that different,” he laughs.

TOP: ROBERT RECK. BOTTOM: COURTESY OF HOOPES ARCHITECTS

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ROBERT RECK

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Restoration of the Lensic Performing Arts Center (left and opposite) required carefully navigating historic preservation standards, including maintaining original plaster. Below: Architect Craig Hoopes has spent 25 of his 40 professional years in Santa Fe.

LEFT: ROBERT RECK. RIGHT: DANIEL QUAT

Contractor - Klinger

He had worked on the Carmelite Monastery in Baltimore while he was with Ziger, Hoopes & Snead, using the architecture to enhance the experience of mysticism. “As you move through the church, you never see the whole thing all at once,” he says. “There are always things that are hidden or revealed. It goes along with the sense that we can never see our lives completely.” The sanctuary is set in the round, with parishioners circling a central altar. Angled windows let in light and a perfectly placed skylight illuminates a box holding the Eucharist at noon on St. Teresa of Avila’s saint day. Bucking the grand scale of the Gothic and Romanesque churches of Europe, Hoopes’s design is more human-scaled. “The awe comes from the internal realization, rather than the outward manifestation of the building,” he says.

In Santa Fe, Hoopes has worked closely with the Rev. Talitha Arnold at the United Church of Santa Fe over the last 20 years through several renovations and expansions, the latest of which broke ground in August. “In a way, churches are very much like houses in that I don’t want to find a barrier,” Hoopes muses. “Our experience of God in the world should be about expanding out into the universe.”

In an early meeting with parishioners, Hoopes asked, “Where does worship start for you?” Seeing the many varied responses, he and the Rev. Arnold sought to infuse every space with a godly presence, from the sanctuary to the children’s rooms. “We consider the whole United Church of Santa Fe building to be sacred space that needs to be filled with God’s light, warmth, and welcome,” the minister says. “The experience of worship begins as one comes down the street and pulls into the parking lot, so the whole journey needs to guide and welcome one into the life of the community and the experience of God’s presence.”

Twenty-five years after arriving in New Mexico, Hoopes hardly sees his architectural journey as complete. In many of his spaces he aims to suggest that there’s always something waiting around the corner. “We as human beings want to feel that there’s more to come,” he says. “That’s what keeps us going and young. When we stop believing there’s anything around the corner, we get old.

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The Cadillac of Homes

Rolling into retirement, a former car designer puts a sleeker finish on Santa Fe style

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BY GUSSIE FAUNTLEROY | PHOTOS BY DANIEL QUAT

ne day, as construction was getting started on Dennis and Beverly Little’s Las Campanas home, the project’s production manager matter-of-factly pointed out to Dennis that of course the Littles would want to make some changes along the way. “No,” Dennis replied. “We’re done.”

He and Beverly, acting as their own general contractors and interior designers, had carefully chosen everything, from the custom plaster wall colors to flooring to appliances, including all the lighting and plumbing fixtures and every finish in the house. Instead of responding with vague gestures when asked about the size and placement of their cabinets, Dennis sat down with the cabinetmaker and sketched out the design and style, down to the hardware and type of wood.

This is what happens when a former world-class car designer and an ultra-organized former educator build a home. The Littles knew what they wanted, and Dennis’s 30 years as a designer for General Motors, including nine years as chief designer at Cadillac Design Studios, gave him the tools and experience to envision and communicate—and in some cases create—what they had in mind.

“I’m inside the engine compartment of a ’67 Jaguar. Give me a minute and let me get out,” Dennis says when reached by phone one day this summer. He and Beverly have owned the gunmetal gray E-Type Roadster since 1977, and while the engine is being rebuilt, Dennis is removing and restoring other parts. He climbs out and joins his wife to talk about the home they’ve lived in since 2006, when it was completed after a smooth, barely 13-month construction period.

With clean, strong lines, sets of tall and narrow windows, and utilitarian materials like cold rolled steel, the Littles’s home immediately took its place on the advance edge of what has become a swelling wave of contemporary architecture in Las Campanas.

Dennis now serves on the luxury subdivision’s architectural review committee, and calls the trend “a different spin on Santa Fe style.”

The Littles, both Ohio natives, moved to Santa Fe in 1999 after 31 years in the Detroit suburb of Rochester Hills. They’d been looking for a place to retire, Dennis from car design and Beverly after teaching public elementary and junior high school and then 12 years as a learning consultant in a pioneering general education support program for high school students. They wanted a place that was “completely different, and New Mexico obviously filled the bill,” Dennis says.

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Clockwise from above: Rusted-steel vertical panels and porch roof designed and built by Dennis Little frame the entryway and echo the lines of the house he designed with wife Beverly.

Dennis and Beverly stand outside the entryway, a courtyard accessed through a large rusted-steel pivot gate designed and fabricated

by Dennis after a welding course he took as the house was being built. A page from the idea book the Littles assembled as inspiration.

Each of the three bedrooms has an outdoor living space; Dennis designed and fabricated all the rusted-steel outdoor elements. His personal treasures include autographed baseballs and model cars.

Previous page: Dennis’s acrylic painting of a 1959 Cadillac tail fin covers the four touch-open doors of the front entry closet.

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A tall steel sculpture, the first that Dennis built, is powder coated in red and “huge,” a welding classmate exclaimed—to which Dennis responded, “Well, I designed cars.”

Opposite: Beverly also studied welding, after which the couple designed and built a rusted-steel sculpture together. Her favorite tool is the plasma cutter.

hired architect Deborah Auten. When they decided to sell that house and build their dream home, they turned to Auten again.

They wanted not only a more contemporary look, but also room for visits from their two grown daughters, both designers in Los Angeles. (Kelly is an interior designer and Christie founded and owns Vine Street Market USA, specializing in eco-friendly fashion totes.) This time the Littles included a separate guest wing, a media room, and generous outdoor living spaces, one for each of the three bedrooms and a large portal off the living room.

When the couple is sitting outside watching the sunset, Beverly says, “It’s so quiet we can hear dragonfly wings.”

The new design also included a threecar garage for the Jaguar, his-and-hers Harley Davidson V-Rods, and two Cadil-

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lacs. His is a Cadillac XT5 all-wheel drive and hers is a sporty ATS turbo. “We both like speed, but she’s the one I’m always telling to slow down,” Dennis says. Beverly smiles and adds, “On our motorcycles I always take the lead.” In 2010, the couple’s shared appreciation for finely built and meticulously maintained rides led them to establish and helm the annual Santa Fe Concorso, which has grown into a top-tier concours d’elegance that draws entrants from around the country and raises money for local youth organizations.

As the Littles gathered inspiration for their new home, they compiled an “idea book,” a binder filled with magazine photo clippings and Dennis’s sketches, annotated with sticky notes. It was an effective means of visual communication with each other and the architect. Some elements

they loved didn’t make it into the final house, but many did—like using dark gray, cold-rolled steel to clad the vertical surfaces of the kitchen island and the large refrigerator surround. Along with a soft matte finish on the black slate floors and silver-gray plaster walls, inspired by the color of a juniper branch, they wanted a nonreflective surface on the steel.

It was perhaps an unexpected choice for two people with a passion for shiny motorcycles and cars. Yet in this case the absence of ultra-polished surfaces helped create what some may consider an oxymoron: a highly contemporary house that is welcoming and warm. Adding to this feeling is a diffused quality of light achieved in part through several sets of tall, narrow windows inspired by the late Mexican architect Ricardo Legorreta, whose work in

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Clockwise from left: The hallway is gently lit by narrow vertical windows inspired by the late Mexican architect Ricardo Legorreta. On the wall hang paintings by Dennis.

On the dining table is a darkgreen patinaed bronze sculpture made by Beverly, cast from paper packing material dipped in wax, beneath an Italian Nessie light fixture. Black slate floors and silver-gray plaster walls provide a neutral background for the couple’s artwork, including a large painting by Dennis inspired by the Neon Boneyard in Las Vegas, Nevada. The chairs are vintage chrome and maroon leather Wassily, alongside a midcentury stainless steel arc lamp.

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Santa Fe includes the Santa Fe Art Institute. “For me as a designer, the repetition of the windows allowed that special play of light—sunlight or moonlight,” Dennis says. The Littles’s choice of finishes and window arrangements also allows the home’s artwork, much of it produced by Dennis, to become the focal point.

The home is also situated to showcase the natural beauty for which this part of the country is so famous. In Michigan the Littles lived surrounded by trees for 30 years. Back then, when Dennis would see sketches of cars from designers in other parts of the world, he was struck by how

those artists sometimes incorporated deep orange, red, and purple reflections in the car’s windows and chrome. “I’d wonder, where are they getting these ideas? Then we moved out here—to these sunsets,” he says, his voice touched with awe. He and Beverly appreciate Auten’s skill in orienting their home for the evening sky and also assuring that virtually every window faces mountain views, primarily the Jemez, but also the Sangre de Cristo and even the Sandia.

It’s against this striking backdrop that the Littles shared their home with family and friends in September as they hosted a

wedding reception for their older daughter, Christie. It’s also New Mexico’s expansiveness and beauty, previously unimaginable to them, that made another feature, an art studio, almost a necessity.

The son of a machinist, Dennis took his father’s advice as a young man and enrolled in mechanical engineering at Ohio University, where he and Beverly met. But math was not his good friend. He switched to art and discovered a natural talent. Combining that with a strong interest in cars (as a teen he won the Fisher Body Craftsman’s Guild Styling Award in the model car competition), he earned a trendmagazineglobal.com 123

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With a clear sense of what they wanted in every room, the couple chose dark gray coldrolled steel to clad the vertical surfaces of the unconventionally shaped kitchen island and large refrigerator surround. Pieces from their eclectic art collection add color and interest.

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Clockwise from bottom: Guests enjoy the portal, with outdoor furniture designed and built by Dennis. The Littles stroll by their gray 1967 Jaguar XKE Roadster and his-and-hers 2007 Harley Davidson V-Rods as they entertain car-loving friends: Lynn Springer, by her red 1964 Porsche 356C Coupe; Chris Hancock, in black shirt with his black 2001 Aston Martin Vantage Coupe; John Paul Gonzales, near his 1955 Mercedes-Benz 300 SL Gullwing Coupe; and Phillip Coombs and MaryEllen Collins, with MaryEllen’s silver 2002 Boxster S visible in back. Beverly, at left, and Dennis at the table, right, share a toast with friends.

BFA in industrial design, which included a course in car design. General Motors hired him right out of school, and his drawing skills were put to years of good use in that pre-computer-aided era.

These days Dennis’s creative output takes many forms. With time on his hands during construction, he learned welding at Santa Fe Community College and began to work with steel. Along with steel cladding for use in the kitchen, he fabricated steel furniture for the first time. He recounts a visit to Los Angeles, where he and Beverly were drawn to an outdoor furniture set with a midcentury modern look. Dennis wanted to buy it.

Beverly disagreed, saying the furniture sat too low. Dennis tried doing a sell job, but Beverly stood firm. “So I thought, I know how to solve this,” he says. He designed a similar set at the right height.

He cut and welded the steel, had it powder coated, and built a sofa, two chairs, and an outdoor daybed. He also created

abstract outdoor sculptures, exterior light fixtures, and the entrance courtyard’s broad, pivoting gate, all finished in rusted steel.

And he took up acrylic and watercolor paints, with which he had dabbled some years before. After decades of rendering extremely precise and detailed drawings of future cars, he found it liberating to wield a paintbrush with no parameters or anyone else’s expectations involved. At first he attached the brush to the end of a stick to help him relinquish tight control.

Although he no longer needs the stick, his unconventional approach involves working with the canvas flat on the floor or leaning against the studio wall. Today he spends time in the studio when the mood strikes him, making art for pleasure rather than for sale.

But a couple of years ago he had an assignment. “I told him it was time to change the artwork in the house, and he came up with four fabulous abstract

paintings,” Beverly says. The paintings, the largest of which measures 72-by-72 inches, were inspired by a visit to the Neon Boneyard in Las Vegas, Nevada, an outdoor museum of retired neon signs.

While the studio was originally built for Dennis, he scooted his art materials over and made room for a jeweler’s bench a few years ago after Beverly took a jewelry making class. She now creates contemporary pendants and bracelets, cast or fabricated in sterling silver, with nature as her inspiration—casting pencil cactus twigs or seedpods, for example. “As a teacher for 31 years I didn’t think I’d ever do artwork,” Beverly says. “But out here I think you allow yourself to be more free in spirit.”

Dennis’s career involved creativity, but, like his wife, he previously didn’t feel strongly compelled to express himself through art. Now he does. “Just living in New Mexico is so inspiring,” he says. “If you open your mind to it, you feel it. It allows the creativity to flow.” R trendmagazineglobal.com 127

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LIFESTYLE

BY ANYA SEBASTIAN PHOTOS BY DANIEL QUAT

Santa Fe’s Renaissance Man Actor Wes Studi finds in the City Different a home for both city and country dreams

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es Studi has made his name as a Native American movie star, but in his private life this gifted actor is a man of many parts. In addition to being an accomplished horseman, musician, sculptor, linguist, horse trainer, and teacher—all skills that he basically taught himself—he also has an eclectic art collection and bakes great pies. His wife, Maura, sums it all up by saying, “Wes has tremendous focus. Anything he puts his mind to he can get good at in a very short amount of time.”

Born into a ranching family in northeast Oklahoma, Studi first took to horses and music. A full-blooded member of the Cherokee nation, he grew up with traditional songs and dances, and his dad played in a country music band. Small in stature as a youth, he didn’t start riding until high school, since “my parents didn’t want to take the risk of me being thrown.” He soon made up for lost time, however, becoming an expert horseman and horse trainer before leaving for a brief stint in the Army.

On his return, Studi began acting in community theater in Tulsa, Oklahoma’s second-largest city. From there he progressed to educational theater and a part in the PBS documentary The Trial of Standing Bear. With that, he decided to try his luck in Los Angeles, where a friend had offered to put him up for a couple of months while he went looking for an agent.

As luck would have it, an American Indian registry existed at the time that helped Native actors connect with agents, and Studi was soon taken on. “Funnily enough, once I started working, I hardly ever worked in LA,” he says. “During the nine years or so that I lived there, I worked there maybe three or four times. Most jobs were on location somewhere else.”

One of those places was Santa Fe, where he spent about six weeks in the late 1980s shooting a television show pilot. “I was enchanted by life here,” he remembers, adding with a smile, “at first mainly by the lack of humidity.” A much smaller city back then, Santa Fe’s dirt roads, unique architecture, multicultural community, and laid-back lifestyle attracted him at once. “It was charming, and to me it was all very new and different.”

The friend who had put him up in Los Angeles also introduced him to Maura. Born in New York and raised in LA, she was part

of a family of accomplished actors and had herself gone to acting school in New York. She was also (and still is) a jazz vocalist who, as it turned out, kept a home in downtown Santa Fe. “My mother had a Mexican import business,” she explains, “and her specialty was real folk art, not tourist stuff. I grew up going on buying trips with her, so the culture here in Santa Fe was very familiar.” She had another connection here, too.

Renowned designer Alexander Girard, who lived in LA, had been buying pieces from Maura’s mother to add to the personal collection that he and his wife started on their honeymoon in Mexico in 1939. That extraordinary folk art collection, which grew to more than 90,000 pieces, was eventually donated to the Museum of International Folk Art, where it remains in a permanent display designed by Girard himself.

It wasn’t long before Wes and Maura took the first of several road trips to the place that was to become their new home. “We finally moved here in 1993,” Maura says. “We were married by then, Wes was working on Geronimo, and I was pregnant.” It seemed a logical choice, since they didn’t want to raise a child in Los Angeles and she already had a home here.

“We liked the fact that Santa Fe is smaller than the big cities we were used to,” Maura adds, “and there’s an amazing community of artistic, creative people here. And since LA is a multicultural city, we both feel more comfortable in a culture where everybody is not the same. So basically we moved here to have our baby and never left.” They have remained here ever since, albeit in a bigger house with more of a country feel on a few acres at the edge of town.

“Santa Fe is still a small town, but with much to offer,” Wes says. “It has definitely grown into more than just an art community, and now has a thriving film industry of its own.”

As it happens, his latest movie, shot in New Mexico, is due to be released this year. Hostiles, which also stars Christian Bale and Rosamund Pike, is set in 1892 and tells the story of a legendary army captain (Bale) who takes on one final mission before retiring—escorting a dying Cheyenne war chief (Studi) and his family back to sacred tribal lands.

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The Studis’s den and music room is a showcase for indigenous art they have collected on their travels, plus an alabaster sculpture

by Wes on the bottom shelf.

Previous page: Wes takes Chloe, his 4-year-old Tiger horse, out for a morning ride.

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Clockwise from top left: Wes makes a peach and mango pie using fruit from their own trees, one of his talents. On an end table is an award statue and a photo of Wes from the TNT film Broken Chain. Maura, who is an actress, acting coach, director, and writer, reads a script next to two Emmy Awards, hers for the documentary Canes of Power, and one given to her father, actor Jack Albertson, who starred in Chico and the Man. Wes and Maura rehearse for a gig.

Underneath a homemade pie is a deck of Celtic playing cards that Wes brought home from Dublin.

(Maura is of Irish descent.)

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The Studis play cards with director Chris Eyre and actress and filmmaker Georgina Lightning. They often have friends over for a friendly game, with much laughing and cheating, and often pie for dessert.

training horses, although he didn’t actually acquire one of his own until 2016, and even then purely by accident. A neighbor who specialized in breeding Tiger horses had hired Wes as her trainer, and when she decided to move some years later, he acquired a young foal whose mother had died. That horse, Chloe, is now in the process of being trained.

When it comes to his interest in collecting art, the Studis’s passion is evident in the enormous variety of works displayed throughout their home. Eskimo sculptures and New Zealand wood carvings mingle with Native American kachinas (purchased mostly at Indian Market), Mexican metal folk art pieces from bygone days, and paintings by both well-known artists like Frank Buffalo Hyde and friends Wes just likes to support.

The rationale for acquiring these pieces is always personal, he says, not financial. “I bought the Frank Buffalo Hyde piece because the subject is musicians, and that’s unusual for him. They’re also playing the guitar, and as a guitarist myself that resonated with me, too.” In a different case, he acquired a painting of a Native woman by another artist “because I realized that much of my art features men, and I wanted to restore some balance.”

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guitar, she sang, and they performed regularly in hotels and casinos, during Indian Market, and even at the Paolo Soleri Amphitheater. The musicians have moved on, and the band is no more, but Wes and Maura still perform together once in a while, most recently as a fundraiser for Standing Rock.

An accomplished bass guitarist, Wes has a number of guitars, including one specially made for him by master guitar maker Steve Davis of Albuquerque. Crafted from a selection of different woods, including a rare one from New Zealand, along with turquoise inserts, it took a year to make and is one of Wes’s most prized possessions.

One of the most recognizable faces in town, Wes doesn’t mind the fame. “There are quite a few celebrities living here now,” he notes, “and Santa Feans pretty much leave me alone.” Not a fan of social media, he took a while to be persuaded to log on. “Now I have a Facebook page and I occasionally use Twitter, but that’s it,” he declares.

Still, he has racked up well over 36,000 likes on his Facebook page and is clearly one of New Mexico’s best known Hollywood names. Yet, with interests ranging much farther, from nature to music, art, and even baking pies, it’s fair to say that Wes Studi manages to avoid playing to type. R

ARTIST STUDIO

BY ANYA SEBASTIAN PHOTOS BY DANIEL QUAT

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on Kennell is an artist with a mission. His larger-than-life metal sculptures, displayed mostly in public places, are, for him, a form of social speech. And the bigger the piece, the louder the voice.

His specialty is animals made of recycled materials like car hoods and sheet metal. The enormous, greenish-blue coyote in the Meow Wolf parking lot is typical of his work. Combining the whimsy of folk art with the majesty of monumental sculpture, Kennell’s pieces speak to what he calls the profound relationship between humans and animals, acting as reminders of the importance of the natural world to the evolution of the human species. “As an artist, I always wanted to make work that was accessible to everyone,” he says of his subjects and presentation. “Street art, not gallery art.”

Growing up in a ranching family in Texas, his talent went unrecognized until he took a drawing class in college. He had enrolled as a business major at the University of Texas in Houston, but one of his professors was so impressed by his artistic talent that he suggested Kennell change his major. “It was good timing for me,” he says. “It was the late ’80s, and

at that time [the art department’s] main focus was on working with found objects and attracting a public audience. We would make cars into artworks and take our art to the people. It was definitely a good place for me to get started.”

And that process stuck. Each of Kennell’s sculptures is made by hand. Nothing is cast, everything is meticulously pieced together, and the artist carefully studies each creature’s anatomy in detail to make sure his giant sculptures look as realistic as possible.

After 25 years of following his passion and supporting himself with side jobs like teaching, Kennell has now established himself as a unique talent in the art world. His monumental sculptures have been commissioned by organizations as diverse as the Philadelphia Zoo (a huge blue gorilla, originally on display in the Santa Fe Railyard) and the Coachella music festival in California. The biggest music festival in the U.S., Coachella is also known for its innovative art installations, and Kennell has several pieces on display there, including an enormous bear and a metal roadrunner, both of which incorporate a porch swing. “By inviting people to swing alongside a grizzly bear or giant bird, the viewer becomes a participant and a relationship is established,” Kennell says. There is also a ripple effect, because the festival displays its artworks for a couple of years, then donates them to nearby towns.

Kennell now employs three full-time assistants and is able to live comfortably as an artist without requiring a side job to sustain him. “I really appreciate that,” he says. “I became an artist because I wanted to make a difference in the world, and, though I could never have predicted it, my concerns have gone mainstream. Animals have come to represent environmental and ecological issues, so my work is now personal, practical, and political.”

Top: Sculptor Don Kennell, left, stands with intern Zach Nicholas and studio assistants Caleb Smith and Miguel Lucio in his workshop. Bottom: Kennell’s Trailblazer 1, a life-size bison made of welded and forged steel and galvanized sheet metal, with glass eyes.

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Cae nus dis andellatur,

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Kennell hopes his outsize creatures will help to focus our attention on environmental issues, like global warming and our throwaway consumerist culture. “All these things affect people throughout the world,” he points out, “and since animals impact people on a visceral level, that seems a good way to draw them in. If people can bond with an image, that can hopefully start a conversation.” R donkennell.com Clockwise from left: Kennell and assistants work on Colibree, a large hummingbird; Trailblazer, a bison; and Frequent Flyer, an aluminum bird. Concept drawings for monumental coyote sculptures titled Howl and Pounce, made of upcycled car hoods. Dash is a large wolf sculpture made of steel and car hoods.

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ARTIST STUDIO

BY MEGAN KAMERICK

Patina Gallery co-founder Ivan Barnett followed his own inclinations from craft to art and back again

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photo in Ivan Barnett’s studio shows when his love of the West took hold. In it he’s five years old, standing with his father under a Taos portal, wearing one of those kids’ cowboy hats from the 1950s. “I have visceral memories of it,” says the sculptor and longtime Santa Fe gallery owner. “This place was still pretty rugged.”

It was 1952, and the Westerns he had watched at home in Pennsylvania had suddenly become real.

Little Ivan wanted nothing more than to slip into that world. Luckily his father was a historic illustrator who had all kinds of costumes and props that allowed him to keep playing cowboy once vacation was over. “I wasn’t told, ‘You need to get a real life.’ It was, ‘Strap on a holster and go out and play.’ ” So instead of college, he opted for the Philadelphia College of Art. Then he was drafted during the Vietnam War to work in a military recruitment office in Washington, D.C. “My first job was to airbrush Nixon’s teeth and make them whiter,” he says.

Barnett went on to build a successful art career in rural Pennsylvania at a time when the American craft movement was on fire. He made weather vanes, collages, and mobiles, some of which were purchased by sculptor Alexander Girard for the collection that anchors the Museum of International Folk Art in Santa Fe. “I would make a design and it would be in 25 stores with my name on it, but I was getting bored with that,” Barnett recalls. “Boredom for me is a bad thing, because then it’s too much like a straight

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COURTESY OF PATINA GALLERY

Ivan Barnett, one of the few living artists represented in the Girard Wing of the Museum of International Folk Art, creates metal sculptures in his Santa Fe studio.

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job.” Barnett likes momentum. “I need for things to stay in motion.”

He yearned to get away from craft production. And the West continued to call. He finally settled in Santa Fe in 1992, and the Southwestern landscape fed his love for pattern and design and deepened his passion for abstraction.

Barnett’s studio and yard outline his path from traditional craft to the world of abstraction. His earlier pieces include whimsical metal animals on sticks, while the colorful silhouettes of his collages and mobiles echo Joan Miró and Wassily Kandinsky. “I’ve been fanatical about keeping work from each series, or the times I go into the studio, because the work always changes,” he says.

Barnett cuts shapes out of metal freehand, creating as he goes.

Since 1999 his creative energies have also gone into Patina Gallery, the iconic meeting ground of art and craft that he launched with his wife, Allison. Known for showcasing European studio jewelry, it also represents sculptors, painters, and potters, as well as works by international artists in a range of media.

As gallery director, he says, “I had to figure out ways where Patina’s work ... would satisfy me enough creatively—and I have.” Barnett continues, “And if I’m lucky, every three years I have a show of my own work.”

He had such a show earlier this year. And when he does go into the studio he feels free to follow his bliss. “I’m just thinking about what I can make and have a lot of fun doing that would be new and different and interesting.”R patina-gallery.com 144 TREND Fall 2017/ Winter 2018

COURTESY OF PATINA GALLERY (3)

Owners Allison and Ivan Barnett celebrated Patina Gallery’s 18th anniversary in August 2017. Right, from top: Barnett’s Mobile No.1 (2013). Pigmented oxidized steel, 18” x 36”.

Abstract 1 (2015). Digital photograph.

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ARTIST STUDIO

BY ANYA SEBASTIAN PHOTOS BY DANIEL QUAT

A pioneer of the contemporary Native art movement, Joseph Sanchez continues to dream large—on paper and canvas

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is father wanted him to be a baseball player, but Joseph Sanchez knew from a very young age that he wanted to be an artist. Growing up on the White Mountain Apache Reservation in Arizona, the small youth of mixed Native and European heritage honed his skills by drawing large portraits of friends and family, and was soon known as the school artist.

It wasn’t until much later that he considered art as a career, one that took him full circle through art activism, curating, training young artists, and now, nearing the age of 70, back to working full time in his Santa Fe studio. Through it all, Sanchez says, one basic preoccupation has not changed.

“I call myself a spiritual Surrealist,” he says. “What I paint about is women— starting out with thinking of woman as an object, but now having to do with the nurturing power of woman and its relationship to water, recycling water from earth to sky. Women have a unique perspective that men can’t have, because men don’t give birth. Men are about the taking, the warring factor, and women are left with their children, nurturing. And we need to nurture Mother Earth.”

Often bullied as a youth, Sanchez tried to compensate by joining the Marines in 1968. It was not a good fit for the young artist, who was sent for psychiatric evaluation after refusing to take part in a training exercise and repeat the words “kill your mother.” (His own mother had died when he was in high school.) But it was during this time that he began to assimilate his personal study of ancient and modern art in a large drawing called the Unconsummated Rape of Mongo.

Sanchez eventually deserted and fled to Canada, where he met painter and Native gallery owner Daphne Odjig. The driving force behind the Professional Native Indian Artists Inc., later known as the Indian Group of Seven, Odjig purchased a version of the Unconsummated Rape of Mongo and took Sanchez under her wing as the youngest member of the six Native artists who answered her call to form a new Native art movement.

Notable members Alex Janvier and Norval Morrisseau—in addition to Odjig herself—

Joseph Sanchez in his Santa Fe studio, where he likes working on multiple projects at once.

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Sanchez’s studio is laid out with his “Sacred Fire” paintings, acrylic and conte on linen and canvas. “I like to work really large,” he says, “like giant watercolors even though they’re acrylic. I work wet.”

went on to become some of Canada’s best-known artists.

“Natives couldn’t show anywhere at that time,” recalls Sanchez, who was then 26. “There were many talented artists, but their work was considered craft.” The Indian Group of Seven, so named after Canada’s Group of Seven landscape painters of the 1920s, aimed to change the way aboriginal art was viewed in the West. Theirs was a first, crucial step toward appreciating Native art as the product of individual artistic vision, rather than as anthropological artifact.

Sanchez exhibited internationally with the group and took on its mission of elevating Native art and the next generation of artists. Returning to the U.S. in 1976 under President Gerald Ford’s amnesty program, he settled in the Phoenix area in the 1980s, where he met gallery owner Riva Yares. He later helped her open the Santa Fe gallery known as Yares Art Projects.

Although he did continue to paint, for much of his career Sanchez threw his energies into furthering the careers of other artists. He organized art collectives, consulted for museums, curated exhibits, and developed curricula for school art programs. Moving to Santa Fe in the late 1990s, he became chief curator at the Institute of American Indian Arts museum (now the Museum of Contemporary Native Art) and was later U.S. curator for the SITE Santa Fe biennial Lucky Number 7. For his work, he was honored with the Allan Houser Memorial Award (part of the New Mexico Governor’s Awards for the Arts), which is given to individuals who have demonstrated both artistic success and community involvement.

Since retiring in 2010, Sanchez has returned to the studio with fresh energy. While he had helped others navigate the business of art, for most of his career he didn’t want to go through the hassle of it for himself. “I’m more about the process. I just roll them up,” he says of his paintings, which range from large to extra-extra large. “My work has always been kind of not popular—feminine body parts—though I’m painting about the sacredness of that. I’ve never had much success, so I supported myself as a museum person.

“Now that I’m older and retired, I’m more willing to share my work,” he continues. Exhibiting in galleries across Canada, where he had just completed an intensive workshop with mostly female artists, he felt energized to get back in the studio.

“I like working on multiple things at the same time,” he says—from scrolls up to 90 feet long to what he calls the “sky paintings” and a series that is completely blue. “I call them portals to the New Age,” he says of these, “because I feel that man’s time is basically over and it’s time for women to be recognized. Our planet is in dismal disarray because of that.”

In Canada he unfurled one of his scrolls over the balcony of a museum and saw it himself for the first time. “I do need to show them,” he muses.

“I would like to do something at [the Center for Contemporary Arts] or SITE [Santa Fe]. I don’t really know.”

Mostly he loves to create, and he takes part in mentoring programs whenever he is asked. As one of two surviving members of the Indian Group of Seven, he feels that he is still carrying the torch. “My mentor [Odjig], she was 97 when she passed last October. She said, ‘You have another 30 years,’ and I like to think about it that way,” he says, chuckling. “I like life, the energy of life—which is also like water.” JosephMSanchez.com R

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Earth Water Sky The Regal Nature of Taos

TEXT AND PHOTOS BY RIMA KRISST

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hether it’s the first time or the hundredth, the excitement and anticipation are palpable as one travels north toward Taos. The Rio Grande flows swiftly downstream in the opposite direction along the two-lane ribbon of road. In summer, brightly colored rafters dot the river as they negotiate the white water. Around every bend, the views are breathtaking as one enters the Rio Grande Gorge amid shadowy rocky peaks on either side, towering into the sky.

Visitors the world over make this trip and discover a mystique that is as ubiquitous as Northern New Mexico’s rugged natural beauty. Cresting the last hill before entering Taos, one is greeted by the splendor of the valley, the snakelike chasm carved into Taos Plateau, and a sweeping view of the majestic Sangre de Cristo Mountains.

Stark contrasts mark the Taos landscape, from mountains to gorge, in light and shadow, a relationship that is ever changing. At its deepest point, the Rio Grande flows 800 feet beneath the rim at ground level, with the steel Gorge Bridge offering dizzying views down into its depths.

The Taos landscape is often referred to as New Mexico’s crown jewel, an enduring mecca for artists. The big-sky country unleashes spectacular sunrises and sunsets, moonrises and moonsets, and extraordinary cloud formations. During the summer monsoon season, visitors and locals alike are captivated by quick storm bursts that can produce potent, dark clouds and sweeping rain bands moving across the landscape like veils, often leaving rainbows in their wake.

The valley is also home to Taos Pueblo, the longest continually inhabited Native American community in the U.S., and New Mexico’s northernmost Pueblo. The town of Taos, “Place of the Red Willow,” was named after the Pueblo, a UNESCO World Heritage Site and National Historic Landmark. More than a thousand years old, the village of Taos Pueblo is rich in history and tradition, and flourishes with lively culture, arts, tourism, and agriculture. Set against the backdrop of the sacred Taos Mountain, the Pueblo remains the cornerstone of

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“Like all artists, I want to cheat death a little and contribute something to the next generation.”

—Dennis Hopper

A red-tailed hawk soars over the Sangre de Cristo range at the Rio Grande Gorge in the Rio Grande del Norte National Monument. Previous page: Rafters navigating the Rio Grande are visible from the road to Taos.

the Taos community. The iconic multistoried traditional adobe dwellings made of earth, water, and straw occupy either side of Red Willow Creek (or Rio Pueblo), which runs through the Pueblo to join the Rio Grande at the gorge.

Higher than 7,000 feet in elevation, Taos enjoys four distinct seasons, each offering activities, events, and sightseeing opportunities. Taos is host to celebrations yearround, such as the intertribal Taos Pueblo Powwow, the Fiestas de Taos celebration of the town’s 400-year-old Spanish roots, a variety of art and crafts markets, and music and specialty festivals, including ones celebrating lilacs and hot-air balloons. The Pueblo also offers seasonal cultural activities and dances, some of them open to the public, as well as daily guided tours.

In the late 1800s, artists began to settle in Taos, and by the early 1900s they had formed the Taos Society of Artists, and later the Taos Art Colony. Painters often depicted the landscape, town, and cultural scenes, and it was largely through this 154 TREND Fall 2017/ Winter 2018

body of work that the rest of the nation came to know the majesty of Taos.

Notable figures such as Georgia O’Keeffe, Aldous Huxley, Carl Jung, Tennessee Williams, Mabel Dodge Luhan, Ansel Adams, R.C. Gorman, D.H. Lawrence, Millicent Rogers, Ram Dass, and Dennis Hopper, among others, were attracted to and inspired by the area’s rare beauty and tranquility. One feels connected to nature here in a way that lends itself to a heightened spirituality. This is a land where many legendary figures honed their craft and lived their passions.

Outdoor enthusiasts have multiple options, from trails for hiking, biking, and horseback riding to bird-watching, fishing, rock climbing, golfing, white-water rafting, kayaking, and skiing at the world-class Riders head into the mountains along the Easy Rider Rally & Ride route, which visits many places where Dennis Hopper’s eponymous film was shot. Opposite: Taos enjoys frequent rainbows, like this one appearing over pastures in front of Truchas Peaks on the High Road to Taos in Truchas.

Taos Ski Valley. With its 12,500-foot summit at Kachina Peak, this alpine resort is among the nation’s top-rated ski destinations, with outstanding terrain and trails.

The area also attracts bikers, who are drawn to the long horizon, clean air, and thrilling motorcycle rides on winding roads through a landscape populated with historic sites, scenic overlooks, and landmarks.

In the 1960s and ’70s, Taos became a magnet for hippie culture, and the countercultural vibe remains an integral part of the town’s character. The classic 1969 film Easy Rider brought to life the era of communes and unconventional freedom-seekers through the eyes of two Harley-riding icons portrayed by Dennis Hopper and Peter Fonda. The spirit of the movie lives on today at the annual gathering of fans, friends, and bikers for the Dennis Hopper Day Easy Rider Rally & Ride that commemorates the man and his love for Taos.

From wanderers, seekers, and adventurers to gypsies, spiritualists, and healers,

free-spirited souls are still a mainstay of Taos, which also attracts a large number of holistic and alternative health practitioners. It is a place that people come for retreat from city life, to bask in a place famously rejuvenating to mind, body, and soul. Streams, rivers, waterfalls, and mineral hot springs are accessible in the landscape, as are ruins and petroglyphs left by original inhabitants.

Taos architecture is dominated by the Spanish Colonial, Territorial, and Puebloinspired styles, like the San Francisco de Asis Mission Church, with its geometric adobe buttresses, a subject of many famous paintings and photographs. The arrival of Spanish colonizers in the 1600s began a process of blending Indian and Catholic traditions that is visible in area churches.

Taos Pueblo’s gorgeous San Geronimo de Taos Mission Church, established in 1850 after the original church was destroyed in the Mexican-American War in 1847, is one of many testaments to the strength and resilience of Taos Pueblo people. The Pueb-

lo’s annual San Geronimo Feast Day on September 30 celebrates the patron saint with a traditional pole climb and a large open-air arts and crafts market that attracts thousands of visitors.

A particularly magical time of year to visit is during the winter holidays, when you might find the whole region blanketed in snow. Taos Pueblo is known for the festivity of its Christmas Eve mass, procession, and lighting of the bonfires, followed by Deer Dances on Christmas Day, all open to the public. Visitors are reminded to be respectful of Pueblo protocol, as many cultural activities have ceremonial and religious significance.

Taos also hosts a wide range of live music, theatre, dance, and opera, and has a surprising number of art galleries and museums for the size of the town. The Millicent Rogers Museum, Taos Art Museum at Fechin House, Kit Carson Home and Museum, and the Harwood Museum of Art offer permanent collections that draw from local history and culture, as

well as rotating exhibitions of local and national artists.

Art is everywhere, from building murals to authentic Native American jewelry and crafts at the shops and on the Pueblo, where artist workshops are open to visitors. In addition to hosting a thriving community of artists, Taos welcomes collectors and art patrons, with many opportunities to buy direct from artisans, who can tell the story of the work and its cultural meaning and origin. Taos is truly an art-lover’s dream, as creativity and cultural entrepreneurship are at the foundation of its economy and way of life, and are celebrated year-round.

Whether in the convergence of people from around the world who come to experience its diverse cultural tapestry, the confluence of waters that animate its healing properties, or the astonishing play of light over the high desert and mountains, Taos is known to draw out the visionary in the viewer. It is a place to fall in love with the land. R trendmagazineglobal.com 155

“Dennis loved the Land of Enchantment and had a mystical connection to Taos.”

—Robby Romero

Lining up at the Rio Grande Gorge Bridge at sunset, riders prepare to honor the memory of Dennis Hopper.

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Clockwise from left: Mabel Dodge Luhan’s house, built by her husband Tony Luhan, was purchased

by Dennis Hopper in 1970 and became the gathering spot for many wild nights until it was sold in 1978.

Taos icons Dean Stockwell (left), actor and artist, and musician/impresario Robby Romero, who instituted the Dennis Hopper Day Easy Rider Rally & Ride in Taos, which is held every May to honor his lifelong friend.

Easy riders cross the Rio Grande Gorge Bridge, headed toward Taos Mountain. Romero and Suzanne Mitchell lead the pack at the Rio Grande Gorge Overlook.

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“I think New Mexico was the greatest experience from the outside world that I have ever had. It certainly changed me forever. Curious as it may sound, it was New Mexico that liberated me from the present era of civilization, the great era of material and mechanical development.”

—D.H. Lawrence

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Clockwise from left: Looking down off the bridge, it’s an 800-foot drop along the volcanic walls down to the Rio Grande. The bridge across the Rio Grande Gorge is a Taos landmark, offering a dizzying perspective of the mesa top perched between river and sky. Rafters negotiate the high waters of the Rio Grande and the hanging wooden bridge, as seen from the road to Taos. trendmagazineglobal.com 161

Robby Romero reflects on the past at a stop in Ranchos de Taos. Clockwise from above: The skies above Taos offer a drama of clouds during the summer monsoon season, dropping sheets of rain on Taos Mountain. At Taos Pueblo, Red Willow Creek splits the historic village in half. Visitors arrive daily to tour the Pueblo, a UNESCO World Heritage Site.

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At dusk, riders wind down at Taos Plaza for a buffalo feast, film, music, and a celebration. Top: Taos Pueblo Tribal Sheriff Gordon Martinez takes in a still morning of solitude at the John Dunn Bridge in the Rio Grande Gorge in Arroyo Hondo.

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Ron Larimore

Pueblo Christmas Eve, 20"x 24,” oil on canvas

El Prado Fall, 20"x 24,” oil on canvas,

Spring in the Carmel Valley, 16"x 16” oil on canvas

Sunset after the Storm, 8"x 8,” oil

Formerly a watercolorist, I have been painting exclusively in oils for the last five years, in studio and plein air, primarily in the Southwest. I have recently moved into a new, much larger studio/gallery space at 135 N. Plaza, just 1/2 block off the Taos Plaza, in Taos.

larimore.faso.com | 575.770.4462 | 135 N. Plaza Taos, NM

The Literal Landscape ~ New Work by Dora Dillistone Taos Center for the Arts October 30–December 10, 2017

First Snowfall, Dirt driven by sleet and snow on paper, snow, 84” x 54”

Elegance, Dirt, dry pigment driven by snow on paper, 46" x 60"

Earth, Wind and Fire The Literal Landscape

Taos Center for the Arts 145 Paseo del Pueblo Norte | Taos, NM 87571 | 575-758-7052 Dora Dillistone studio visits by appointment only, 575-776-8370 | doradillistone.com

PAUL O’CONNOR

The natural elements move the land in ways that the hand cannot expect or duplicate. The attempt to record an event leaves delicate and spontaneous marks fixed in time and space. In the process to not “make art”, the art is made.

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HOW WE LIVE

BY GUSSIE FAUNTLEROY PHOTOS BY DANIEL QUAT

Fully Her Own Rebecca Wurzburger reflects on old traditions, new beginnings, and what it means to call a house a home

T

here are things about her Southern roots that Rebecca Wurzburger finds herself enjoying these days, even though as a young woman she was ready to escape to a better life—things like changing her bedspread to correspond with the seasons, and the dark-green velvet curtains in her home office. Then there’s the Southern sense of humor and vestiges of an old-fashioned culture of politeness and civility, which she appreciates. And despite any hypocrisy she witnessed growing up in Tupelo, Mississippi, and small towns in Arkansas, the underlying Southern Baptist desire to make a difference in the world has embedded itself in her heart. That call to social justice has manifested itself over the years in her political and volunteer efforts, which span the gamut from affordable housing and economic and educational opportunity to environmental issues and women in leadership.

In the past few years Wurzburger has stepped out of the nonstop whirlwind that defined her public life for 12 years, during which she was a Santa Fe city councilor, mayor pro tem, and a member of numerous community-related boards.

Now she has the time to focus once more on her 35-year, award-winning career as a licensed contractor and developer, helping others create their own version of the beauty that surrounds her each day. As she does, she finds herself reflecting on the things that add up to make a space special and contribute to a genuine sense of home—something she never experienced while growing up.

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A distinguishing feature of Wurzburger’s current home, built in 2001, is a wide, curving, glass-walled corridor that runs the length of the house, as if to embrace the view of the Sun and Moon mountains east of Santa Fe. This design feature was replicated from her previous Santa Fe home, also designed by her former husband, architect Peter Wurzburger, after the family moved from Los Angeles in 1992. The space blends contemporary and traditional elements, creating a “very centering and open experience,” she says. A thick, Anasazi-style stacked-stone wall on the corridor’s inside curve contributes a timeless feeling of solidity that contrasts with the wall of glass. Against these windows, sunlight illuminates the Rose Chair, a modern sculptural chair of red powdercoated, hand-etched aluminum from Rand Marco Studios.

Wurzburger did the interior design for the home in her own inimitable style. In the dining room she painted the ceiling a rich, deep blue, inspired by a ceiling in King Ludwig II’s Bavarian castle. She holds formal dinner parties here at a circular mahogany table, just the right size for conversation, and flickering light from mirrored wall candles enhances the blue of the silk-covered ballroom chairs. “It’s a winter room,” she says.

In warm weather she loves to eat on the portal, serving her specialty brunch of chile relleno soufflé to friends under the patterns of shadow and sun produced by a slatted-wood roof.

Wurzburger’s office is another of her favorite rooms, one that glows from cus-

tom-plaster walls of soft gold mottled with grays. Over the fireplace is one of her most treasured objects, a painting of a woman holding a candle by French artist Henri Alberti. Among the other artwork collected over the years are antique Chinese textiles purchased from her best friend, the late Mark Navarro, and ceramics from the South Korean city of Icheon.

Known for its fine porcelain, Icheon is one of the places Wurzburger visited as part of the Creative Cities initiative she championed as a city councilor.

Gazing at these pieces, Wurzburger is reminded of how far she has come. In childhood the only semblance of fine art in her home was a $2 print of the endlessly reproduced Pinkie and The Blue Boy paintings from the 1700s in a plastic frame.

Her family moved so frequently between Mississippi and Arkansas that she really only remembers one of their homes. It was a modest house by a river in the small Arkansas town of Marked Tree, and it represented a brief happy period of relative normalcy in Wurzburger’s early life.

She has fond memories of her father fishing and frying up the catch, Bible classes under a tree, and playing dress-up with her sisters in their mother’s clothes. But the illusion of stability didn’t last.

Wurzburger’s father was a John Deere tractor salesman and an alcoholic. Rebecca adored him when he was at home and sober, but he left when she was young. Neither of her parents went to school beyond eighth grade. After her father moved out, her mother sold pots and pans door-todoor for a while, taking Rebecca with her

In the entryway, strong contemporary lines are offset

by Anasazi-inspired stonework.

The kimono-like tapestry incorporates recycled fabric from the film Blade Runner, and was made by its costume designer.

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as she collected weekly 50-cent payments from equally poor housewives who bought the cookware on an installment plan. The sole supporter of three daughters, her mother later became licensed to sell insurance, but there were still evictions from rental houses, sometimes two or more in one year.

Wurzburger was able to leave that life behind via a partial scholarship to Washington University in St. Louis, Missouri, aided by a financial gift from a woman in her church. She worked to pay her way while earning a bachelor’s degree in liberal arts and a master’s in social work, during which time she met Peter. She later earned a master’s and PhD in public administration from the University of Southern California in Los Angeles. Her first job in LA was as a criminal justice planner for the Regional Criminal Justice Planning Authority. This led to ten years as director of an innovative program in criminal justice planning and emerging issues analy-

sis that became a national model.

Wurzburger’s entrance into the world of building and developing began when she and Peter built their first home and a rental property, both in Los Angeles. In the late 1980s she convinced him to buy a small property on which he designed a five-unit development of single-family homes for first-time homebuyers. Rebecca managed the construction. When the first unit was built and sold in just three and a half months, she was hooked. After the project was completed, she shifted her interest to buying, renovating, and selling homes in downtown LA’s now-gentrified Silver Lake neighborhood. In the process, she learned more about the financial side of contracting, building under strict time pressures to get homes to market, and effectively managing male subcontractors.

It was the start of a construction management career that continued in Santa Fe, where a personal point of pride was cofounding Habitat for Humanity’s Women

Build program at Casa de Escudero, designed by the late Alfred von Bachmayr.

Because she has found herself excelling in fields traditionally dominated by men, Wurzburger actively encourages and supports women in politics and civic life. After years on the local boards of such organizations as Habitat for Humanity, Cornerstones, and the Santa Fe Community College Foundation, she is currently involved with the nonprofit Emerge New Mexico, aimed at helping women get elected to public office in the state. “I’m making it a priority to engage with and mentor young people, especially young women,” she says.

Opposite: Everything in the Wurzburger home is designed to project serenity, from the subtle pink cast in the white plaster walls to the owner’s collection of South Korean ceramic art.

Above: Blue and red powder-coated, hand-etched aluminum chairs from Rand Marco Studios provide a bright pop of color along a curved corridor.

Running the length of the home, the glass-wall corridor creates a strong visual connection between indoors and the native grass meadow with wildflowers outside.

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HOW WE LIVE

Wurzberger created a romantic respite in her master bedroom suite, mixing old and new against the shade of shimmering aspens and expansive views of the Jemez Mountains to the west. The antique American bed and mirror and antique Chinese chairs mix it up with a 200-year-old Chinese prayer shawl on the wall purchased from the late Marc Navarro, her friend and design collaborator for more than 40 years.

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HOW WE LIVE

A new friend, whom Wurzburger met through the New Mexico chapter of the International Women’s Forum, recently came for tea at her house. As soon as the woman walked in, she turned to her host and said, “You love beauty, don’t you?” The statement came almost as a revelation to Wurzburger, who has finally arranged her life in ways that allow her to spend more time at home. “I do love the beauty of my home,” she says. “I want to embrace what it means to me. My house reinforces my choice not to live a chaotic

Above: Wurzburger loves hosting brunches on the portal, where guests dine in the shifting light and shadow from a slatted-wood roof.

Opposite: The dining room offers a more intimate, formal, Old World feeling with its rich blue vaulted ceiling, pin lights, candle sconces, and silk-covered chairs. The round mahogany dining table was custom-designed by Wurzburger and local wood craftsman Abram Mills.

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life. It gives me the space for quiet reflection and rejuvenation.”

That doesn’t mean she’s slowing down in a languorous Southern sense. “I’m still a type A,” she says, smiling. But it seems the beauty of her home is teaching her a more relaxed way of being type A. As an avid reader and dedicated fan of the Lannan Foundation’s reading and lecture series, she enjoys early-morning reading to the sound of birdsong coming from the aspens outside her window. She sometimes eats breakfast at the ironwork table and chairs in the tiny garden facing Atalaya Mountain, and frequently hikes its paths. She has more time now to reconnect with old friends, make new friends, and visit her grown children— Morgan and his wife, Karen, in Paris, and Riana and her Australian husband, Matthew, in Portland, Oregon.

Wurzburger’s shift away from politics also has meant a return to building, mak-

ing herself and her years of experience available for residential and commercial new construction, renovations, and historic preservation. In 2016 she received the City of Santa Fe’s Historic Preservation Award for a renovation that joined two historic eastside properties through the use of a contemporary glass-walled addition. She approaches the work not only with a keen professional eye, but also a personal understanding of the importance of providing value for money spent.

Likewise, Wurzburger’s own past, along with her work with Habitat for Humanity, underscore her profound appreciation for a home that is fully her own. “For me, home really defines a safe place that cannot be taken away,” she says. “Every day, no matter where in this house I am, when I walk through the beauty of the spaces, I just feel so blessed. Mine is truly a home inspired by the special place that is Santa Fe.” R

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JONATHAN TERCERO

DESIGN PROFILES Inspired partnerships inform Santa Fe’s built environment

A Zachary & Sons Las Campanas home that won Best Master Suite, Best Design, and Best Outdoor Living Space in the 2017 Parade of Homes. The father and sons design/build firm this year earned a total of seven Parade of Homes awards. trendmagazineglobal.com

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Violante & Rochford Interiors

Two close-in-age teenage girls in a blended family. The notion conjures sweet friendship but also the potential for envy or subtle competition. Working with Woods Design Builders on an entire-house renovation for a Texas family’s vacation home, interior designers Paul Rochford and Michael Violante knew they needed to set the stage for harmony.

The duo designed two bedrooms to reflect each girl’s identity and taste. John Robshaw bedding in different colors and designs, locally crafted nightstands, and artwork from LewAllen Galleries create spaces that are equal but different.

Having selected items the girls would continue to enjoy, Rochford and Violante happily report that two years later (a lifetime in teen years), the project is “standing the test of time.”

405 Paseo de Peralta | Santa Fe | 505.983.3912 | vrinteriors.com 178

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WENDY MCEAHERN

PRIVATE CANYON ROAD RESIDENCE | SANTA FE

WENDY MCEAHERN

VIOLANTE & ROCHFORD INTERIORS trendmagazineglobal.com

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Woods Design Builders The real estate agent described the original house as ’50s chic. But it wasn’t chic, just outdated and in disrepair. Woods Design Builders took most of it down to the slab, an effort well worthwhile on a rare, almost four-acre, close-to-downtown lot with privacy and spectacular views. The Parade of Homes award-winning architect/ builders added to the original footprint, creating an open flow between the kitchen—featuring custom knotty alder wood cabinets—and breakfast nook and hearth room. Other touches included expansive windows, white oak floors, and reclaimed terra-cotta stone for the entryway floor. The result, says Rob Woods, is a “perfect family house using Woods’s timeless classic take on Santa Fe style.”

302 Catron St. | Santa Fe | 505.988.2413 | woodsbuilders.com

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KATE RUSSELL

C A M INO E N C ANTADO | S ANTA FE

KATE RUSSELL

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Santa Fe by Design One of the most eye-catching elements in the home that took this year’s Parade of Homes Grand Hacienda Award is an innovative multi-function kitchen sink called The Galley. Thoughtfully and elegantly designed, this five-footlong sink is fitted with layers of sliding cutting boards, a dish drying rack/hot plate trivet, and built-in serving bowls, colanders, and condiment trays. The unit is among the top-quality, cutting-edge selections in plumbing and door/ cabinet hardware provided by Santa Fe by Design for the Tierra Concepts-built home, with collaboration by Annie O’Carroll Interior Design. “Annie O’Carroll and Tierra Concepts’s vision is always extraordinary,” notes Harlin Robeson of Santa Fe by Design. “We’re proud to take that vision off the drawing board and help make it real.”

1512 Pacheco St., Suite D101 | Santa Fe | 505.988.4111 | santafebydesign.com 182

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RICHARD WHITE

8 PICACH O P EAK DRIVE | S ANTA FE

Image TK

Allbright & Lockwood WENDY MCEAHERN

8 P ICACH O PEAK DRIVE | SANTA F E Collaborating on the home that won the 2017 Parade of Homes Grand Hacienda Award was “so inspiring,” says Judith Reeder, co-owner of Allbright & Lockwood, the source for lighting and tile throughout the home. Working with interior designer Annie O’Carroll on the Tierra Concepts-built home resulted in an interior that is upscale and elegant, yet approachable. Among Allbright & Lockwood’s contributions: master-bath glass mosaic tile that seems made of shell, and lighting that appears embedded in the mirrors; hammered brass mosaic tile and distinctive LED pendants in the powder room; and in the kitchen, innovative Annie O’Carroll custom-designed lighting over the island. “We’re proud to have been able to collaborate with the designer and fulfill everyone’s dreams,” Reeder says.

621 Old Santa Fe Trail, #5 | Santa Fe | 505.986.1715 | allbrightlockwood.com trendmagazineglobal.com

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Zachary & Sons Homes As this 2017 Parade of Homes award-winning home attests, it’s more than possible to start with a relatively compact footprint on a relatively small lot and end up with a home that feels expansive and offers multiple spaces for outdoor living. That’s especially true when the lot overlooks the 18th hole, where two Jack Nicklaus golf courses and a lake converge. Zachary & Sons took advantage of the exceptional site to design and build a striking contemporary home notable for its generous use of glass, filling the home with light and views. The home took Best Outdoor Living, Best Design, and Best Master Suite awards. Another “best thing,” notes Joshua Shultz, one of Zachary’s sons, is the availability of similar nearby lots where someone else’s dream can come true.

418 Cerrillos Road, # 20 in the Design Center | Santa Fe | 505.603.7731 | zacharyandsons.com 184

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DANIEL NADELBACH

P R I VATE RE SIDENCE | LAS CAMPANA S

Statements IN TILE/LIGHTING/KITCHENS/FLOORING MAST E R BATH REMODEL | S AN TA F E

The change in this master bath was like night and day—or like the difference between a cave and the bright outdoors. Before the remodel, the large space was low-ceilinged, dark, and poorly designed. Afterward, with tile from Statements and design by Kitchens by Jeanné, it is light-filled, tranquil, and easy to clean. Marble-like porcelain tile contrasts with small, Calacatta marble mosaic tile on the wet-room walls, and the centerpiece is a custom, handcrafted Single European 72-inch cherrywood soaking tub from Bath in Wood of Maine. The homeowner’s response: Relaxing in the wooden tub, she feels like she’s in nature.

RICHARD WHITE

1441 Paseo De Peralta | Santa Fe | 505.988.4440 | statementsinsantafe.com

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Saveur Bistro 204 Montezuma Ave., Santa Fe 505.989.4200

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DOUGLAS MERRIAM

S

aveur Bistro owners Dee and Bernie Rusanowski have created a delightful restaurant in the heart of Santa Fe that caters to carnivores, vegetarians, and vegans alike. Established more than 14 years ago on the corner of Montezuma Avenue and Cerrillos Road, Saveur offers a wide selection of dishes made daily from the freshest ingredients. Quality matters, so eggs are all free-range and organic, salmon is flown in daily from Alaska, and everything, including soups and salad dressings, is made from scratch.

Furthermore, all fresh produce is treated to an anti-bacterial wash before use.

With its rustic tiled floors and gleaming copper plates, the restaurant has a French country charm that is cozy and inviting. Saveur is open from 7:45 to 10:30 for breakfast, and lunch service until 3:30, Monday through Friday. If you don’t have time to relax over breakfast or lunch, the restaurant also offers takeout. Desserts are inventive as well, ranging from decadent to refreshing—such as crème brulée, pot de crème (pure chocolate delight), queen’s lemon and mocha cakes, and pie selections.

Passion of thePalate

DOUGLAS MERRIAM

NEW MEXICO’S CULINARY INSPIRATION

The chilled Maine lobster salad at Arroyo Vino in Santa Fe, with heirloom tomato, burrata, cucumber, and basil seeds. trendmagazineglobal.com 187

MODERN COMFORT FOOD

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Originally from Mexico City, Chef Fernando Olea has been enthralling diners in Santa Fe since 1991 with his unique interpretation of contemporary and traditional Mexican dishes. Chef Olea creates sophisticated flavors using Old Mexico’s indigenous and culinary traditions alongside ingredients from around the world. His menu is deliberately small, featuring fresh and locally sourced produce and meats when possible.

221 Shelby Street Santa Fe NM 87501 505-983-8604 sazonsantafe.com Monday - Saturday Dinner Service • 5 pm until closed • Bar opens at 4 o’clock

Passionof thePalate

GARDEN VARIETY Santa Fe chefs respond to the demand for fresh local ingredients by growing their own As the farm-to-table trend moves into the mainstream of the culinary world, five Santa Fe chefs respond by growing their own ingredients. Each draws from his own garden to supply his kitchen, bringing the freshest seasonal vegetables, fruits, and herbs directly to the plate. And each uses his garden’s bounty in unexpected ways, incorporating unusual items into familiar dishes and highlighting the diversity of flavors that Mother Nature provides.

Clockwise from top left: Blue Heron Chef Rocky Durham, New Mexico Fine Dining’s Charles Dale, Izanami Chef Kiko Rodriguez, Arroyo Vino Chef Colin Shane, State Capitol Kitchen Chef Mark Connell.

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BY KELLY KOEPKE | PHOTOS BY DOUGLAS MERRIAM

C

hef Charles Dale’s grandmother passed her green thumb down to him. As he’s made his way around the world cooking, he’s used it to grow edibles for himself and his restaurants.

“Gardening and growing food is the truest expression of the love of cooking,” Dale says. “It’s the love of growing the product you’re going to use. When you’ve nurtured something from seed to the plate, the energy level of that is stupendous. That goes beyond “farm to table.” It’s farmer to line cook. Plus there’s the creativity aspect. Gardening is a peaceful, meditative process. Restaurants are stressful. Kitchens are chaotic. It’s nice to have the downtime in the garden to refresh your ideas.”

The chef and former owner of Bouche Bistro, Dale recently sold it to the consortium New Mexico Fine Dining, and became the man in charge of the menus and concepts for four local restaurants, including Bouche, Maize (formerly Georgia), A Mano (formerly Galisteo Bistro), and the currently shuttered Bobcat Bite.

Dale’s garden is an urban one at his home in the middle of town, only about 2,000 square feet. He’s installed a cistern to capture the summer’s monsoon rains, augmenting the water supply with drip irrigation. He says he’s contemplating how the other New Mexico Fine Dining restaurants can use locally sourced produce, too. But for now, his garden supplies just Bouche.

Even with 22 tomato plants, ten kinds of peppers, corn, beans, carrots, beets, potatoes, squash, Swiss chard, fava beans, kale, cucumbers, tomatillos, and lots of salad greens, Dale’s garden isn’t large enough to supply Bouche. But it is enough to create specials and featured dishes, like grilled wild salmon with freshly dug potatoes and Shishito peppers, or the inspiration of the moment: a ripe cherry tomato salad with grilled branzino and just-picked green beans.

Some of Dale’s favorite ingredients to grow are ones you might expect—the colorful varieties of heirloom tomatoes like Black Krim and Black Beauty—while others are more unusual. “I love growing French beans, haricots verts. You can pick thin, beautiful beans that are hard to find in the store or from suppliers. And potatoes are a gas to dig up! It’s so satisfying. You never know what you’re going to find burrowing in the ground,” he says.

Another favorite is fava beans, which he says he enjoys for their earthy flavor and color, as well as the processing they require.

“First you grow them, then husk them, then blanch them, and then peel off the outer layer. You start with a tub full and end with a cup.”

Chef Charles Dale in his garden.

This year’s late frost meant no stone fruit from his trees, with the exception of tart cherries, a condiment for Bouche’s legendary foie gras. “The short season is a challenge here. You’re never entirely sure when it’s OK to plant,” he says. “We lost a couple of plants this year with the warm spring. But we replanted.” What would he like to grow but doesn’t—either because the plants require too much room or the climate isn’t suited? “Fennel. It takes forever to grow, and I end up letting it go to seed or eating it as ‘baby.’ But then I’ve wiped out the entire harvest at once. And I’d love to grow spinach, but you need a field of it to be worthwhile and it bolts too quickly.”

Chef Rocky Durham of Blue Heron, the restaurant at Sunrise Springs Spa Resort south of Santa Fe, utilizes home-grown fare from not one but two farms. Sunrise Springs has 12 raised beds, many different kinds of fruit trees, and a gorgeous greenhouse maintained by the horticultural staff. He also uses produce grown at Ojo Farm, a two-acre plot at Ojo Caliente Mineral Springs Resort & Spa, Sunrise Springs’s sister property north of Santa Fe. “I speak with Mark, the farmer, every couple of weeks about what’s coming trendmagazineglobal.com 193

Passionof thePalate

Above left: Charles Dale in his kitchen. Above: Carrots, potatoes, and green beans from Dale’s garden. Left: Citrus-infused chicken with heirloom carrots, bush beans, and pan-roasted gnocchi.

up and my desires for future planting. All our arugula and greens for braising come from up north, as well as our beets, radishes, turnips, and beautiful heirloom tomatoes,” he says.

Future years should be even more fruitful at Sunrise Springs.

There are plans to expand the garden, with a new acequia system to provide irrigation for two acres earmarked for cultivation.

Resort visitors like knowing that what they are eating was grown on-site, too. “They love seeing someone in chef’s whites in the garden,” Durham says. “Whether it’s perception or reality that the chef was just down in the garden and then transformed what he picked into their lunch or dinner isn’t important.

Sometimes I send my cooks down to pick herbs for a dish just so customers will see them and begin to think about it.”

Durham says he’s a culinarian, not an agrarian, relying on the resort staff to plant and maintain the garden beds and trees. But he appreciates the relationship between the farmers who provide the ingredients and the chefs who use them to create fresh local dishes.

“Jacob, the landscaper here, is also well-versed in foraging. He brings me wild things that are edible, like porcini mushrooms.

There might be enough for a special for a few days,” he says. “I’m amazed, and I love what they do. I can’t do it myself, so instead I transform it.”

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Hyper-seasonality is a watchword for Durham, meaning he uses not just what’s in season, but also ingredients that are available for only a few days, like f lowers and squash blossoms and pea tendrils. Frequent diners may catch a snapshot of what Blue Heron is known for: an ever-changing menu of dishes that follows the brief, ephemeral nature of some ingredients.

“When English peas are in, we might do six or seven dishes on the menu using the tendrils, the shoots, and the peas themselves,” he explains. “But next week’s menu will be different because the peas are done.”

Other favorites include corn, as well as both summer and winter squashes. Durham says he loves to watch the squashes evolve. He uses the blossoms themselves and the baby squash with the blossom attached. “You know you’ve arrived when you’re eating flowers—it’s such a decadent luxury!”

Colin Shane became head chef at Arroyo Vino in 2014. Since then, he’s continued to expand the restaurant’s raised beds, direct soil beds, and greenhouses. Now Arroyo Vino’s two acres grow enough vegetables, herbs, and flowers that they have excess to sell, both to other local chefs and every Saturday at their farm stand.

“We have two full greenhouses, about 25 raised beds, three times that directly in the soil, and three herb beds,” Shane says. “We also

have four beehives. We funnel all the water from our catchment system into drip irrigation. But it’s really Lauren Kendall, my fiancée, who has grown the garden into a miniature farm.”

For Shane, reverse engineering the menu at Arroyo Vino is a process he enjoys. Rather than making a menu and ordering what he needs regardless of seasonality—the modus operandi for most chefs—Shane talks to Lauren and other purveyors and adapts his cooking to what they have. “I’m less involved in the picking and choosing of what’s being planted. I’m still consulted, and do give feedback about things like radish sizes, but for now this system is working, letting what’s ripe dictate the menu.”

That requires flexibility from him and his staff—both in the front of the house and in back. Because new items are introduced to the menu frequently, sometimes daily, servers must be trained to describe them to diners. Shane made a commitment to accept everything that Lauren grows, regardless of shape, size, or color, and to use the plants in their different stages of growth. For example, he likes cilantro for its leaves and flowers, as well as its seeds before they husk. “Cilantro seeds [coriander] have a very vegetal cilantro flavor, and the flowers are intense.”

Asking Shane to name his favorite garden ingredient is like asking a parent to pick a favorite child. What he will say is that he’s

From left: Blue Heron’s Chef Rocky Durham. Baby beet salad with house-made green goddess dressing.

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excited about sunflowers. “That is an untapped plant, because you can use the kernels and heart and petals. It’s super-versatile.”

Last year a favorite was the fibrous and hard roots of chard and kale. He pickled them because, he says, “I like to ferment items that might not be obvious or expected, and find other ways to incorporate different parts of the plant into my cooking.”

Other less-than-ordinary ingredients for Shane include herbs like salad burnet, a leafy plant that tastes like cucumber and melon. He also likes purslane, which most people consider a weed, as well as sorrel and lambsquarter.

The plant he’s most excited about is corn—specifically sweet baby corn, which is so tender you can eat the whole cob. A dish on the menu last summer included smoked scallops and baby corn served inside the husk. Diners can see the corn growing from their tables and can wander the garden before or after their meal for a true farm-to-table experience.

Chef Mark Connell’s gardening has made an impression on the Santa Fe culinary scene. In fact, he started the garden at Arroyo Vino when he was chef there. His love of gardening began during his three-month stint at Thomas Keller’s famous French Laundry in California’s Napa Valley. “We were growing our own ingredients there in a big area across from the restaurant,” Connell says.

“There was also a local farm about a quarter-mile away with a greenhouse and orchard. I spent a decent amount of time working on the farm. I got a different perspective on ingredients.”

Now that he’s in charge of cuisine at State Capital Kitchen, most of what he grows—including herbs, tomatoes, and greens—is in raised beds in the parking lot. “Part of wanting to do the raised beds was for the aesthetics of the building. We’ve got more beds planned for the future, too, including some on the roof. We don’t have the luxury of being out in the countryside with lots of space.”

Connell’s innovative cooking at State Capital Kitchen uses the urban garden’s four types of basil, other herbs including tarragon, garlic chives, and chervil, several varieties of peppers, and flowers like nasturtiums, which diners pass as they enter the restaurant.

“With some things that we don’t use in great amounts, we only need one or two plants to support the menu,” he adds. And SCK does tasting menus regularly, allowing Connell to improvise dishes based on what’s fresh, ripe, and grown specifically because the ingredients are not being used in other eateries in town.

Connell says he likes the idea of growing and being connected with the ingredients from the very beginning—from seed to caring for the plants to picking and cooking with them. “I get a lot of satisfaction from the process. If you’re a cook, the more involved you are with ingredients, the less likely you are to mess them up. When I look at where the ingredients come from, there’s no way I’m going to leave them in the oven too long or not season them properly.”

One of the most satisfying things for Connell is to give someone a nasturtium leaf or other blossom that they’ve never eaten.

“They are blown away by how it tastes. Fennel flowers, too. There’s something satisfying about grabbing a plant growing in your garden and putting it in your mouth. I always did that when I was an apprentice. It helps create a flavor memory for the future.”

From top: Farm manager Lauren Kendall in her garden next to Arroyo Vino, where her fiancé, Chef Colin Shane, serves edible flowers from her garden, bottom. Opposite: Chef Kiko Rodriguez’s garden banbanji salad with mustard-glazed chicken breast, cucumbers, tomatoes, daikon radish, heirloom carrots, avocado, spring lettuce mix, sesame vinaigrette. trendmagazineglobal.com 197

Passionof thePalate

Connell’s wish list of ingredients includes artichokes, but he doesn’t have the space to grow them. He is considering buying a plot of land outside of town where he could, though. Artichokes do grow well in New Mexico, but they need plenty of space.

Though costly, they are one of his favorite ingredients. “I don’t use them as much as I would like because they are expensive. I understand why, but can’t justify [the cost].”

Kiko Rodriguez has been head chef at Izanami, the Japanese izakaya restaurant at Ten Thousand Waves, for about a year and a half. In that time, he has had the opportunity to use the bounty of the restaurant’s garden in his daily tasting menus. “Every night

Chef Mark Connell’s ratatouille with daube of lamb-stuffed squash blossom, heirloom tomato, squash, eggplant, fennel, pecorino, basil.

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I have something on the chef’s tasting menu; today it’s a salad with spring mix, carrots, cucumber, daikon radishes, and tomatoes with a sesame dressing. They eat that salad a lot in Japan. We could add noodles, and at lunch serve it with shredded chicken breast,” he says.

Rodriguez consults regularly with the two women who are responsible for the farm across Hyde Park Road from the Japanese resort and spa. The garden is irrigated from the resort’s well, but relies on our fickle monsoon rains, too. Next year the garden will have its own well to supplement what falls from the sky.

Whatever they grow, he uses. Right now they are planning for winter’s greenhouse crops. He’s looking forward to beets and winter squashes like the gorgeous orange-fleshed kabocha. Though he says the farm is a decent size, it supplies only about 30 percent of his produce needs. Part of it is the altitude, and part is the soil. “We’re trying tomatoes this year, but they are taking a long time to ripen. We got lots of squash blossom, radishes, spring mix, kale, Japanese eggplant, rhubarb, fennel, cabbages, and edible flowers. Plus mizuna [Japanese mustard greens].”

Squash blossoms were a big deal for Rodriguez, as he says they are expensive but easy and tasty to serve, with a decided wow factor. He’d love to grow shishito peppers, which seem to do well in New Mexico (and are having a moment in the culinary world), as well as Japanese wasabi, a staple of the Izanami kitchen because of its burst of heat. “We’re getting that from Oregon, and it’s $100 for a pound. It would be great to save money on that.”

Another key element of Japanese cooking, shiso leaf, is also easy to grow, he says. “The flavor isn’t even close to mint, but it’s called Japanese mint. It has a strong aroma. It’s growing well for us this year. I was buying one kilo a week, but now I’m getting it mostly from the garden. That’s great,” he says.

A

s farm grows ever closer to the table, look for more chefs to apply their creativity and experimentation to New Mexico’s challenging gardening climate. And perhaps, like Vinaigrette salad restaurant creator Erin Wade, more farmers will bring their persistence and optimism into the kitchen. Either way, diners enjoy more fresh bounty from the garden of eatin’. R

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TOP LEFT: KITTY LEAKEN; TOP RIGHT, MIDDLE, BOTTOM: BONCRATIOUS.

The Compound 653 Canyon Road, Santa Fe, New Mexico 505.982.4353 | compoundrestaurant.com

I

n the 17 years since chef-owner Mark Kiffin took over the venerable Canyon Road institution, The Compound has shed its outdated ambience and re-established itself as one of Santa Fe’s prime destinations for fine dining. In keeping with this intention, he has also fashioned a menu that pays homage to classic Continental cooking while fusing fresh ingredients and flawless technique, yielding an updated take on contemporary American cuisine that has garnered some of the culinary world’s highest awards. Expect favorites to be prepared with innovative flourishes, like Scottish salmon with bacon-glazed Brussels sprout leaves, or braised lamb with flageolets and tomato jam alongside mint chimichurri. Open daily from 12 to 2 p.m. and 6 to 8 p.m. (except Sunday, which offers dinner only).

Clockwise from left: Compound Chef Mark Kiffin. Seared Scottish salmon with vegetable risotto. Exterior of the restaurant during the winter holidays. Main dining room at The Compound. trendmagazineglobal.com 199

TOP-TIER Albuquerque’s craft breweries punch well above their weight on the national scene

TEXT AND PHOTOS BY SERGIO SALVADOR

T

he history of beer making in New Mexico can be traced back to the mid-1800s, but it wasn’t until 1988, with the inception of Santa Fe Brewing Company, that the state earned a spot on the map of highly regarded craft producers. Albuquerque has since become a focal point for the independent brewing spirit, gaining a reputation not only for the quantity of its brewpubs but also the quality of their output. Last year Travelocity.com named Albuquerque one of the top 10 beer destinations in the United States, and in 2015 Travel + Leisure named it one of the 20 best cities for beer lovers in the nation.

In 2013 the New Mexico Brewers Guild listed 20 members on their “beer map.” Today that number stands at 45 in the Albuquerque area alone, ranging from industrial operations with taprooms to brewery restaurants with full kitchens and ambitious menus. There are breweries in nearly every neighborhood—to go watch the game, dress up and mingle, take in live music, or relax with the whole family. Their one common thread: the quality and variety of the beer.

Albuquerque brewers have long been interconnected, and their exchange of ideas and fostering of friendly competition has helped elevate the quality bar. This sense of community has added yet another distinguishing feature to ’Burque’s cultural landscape.

trendmagazineglobal.com 201

Marble Brewery Marble opened downtown in late 2008 and is now Albuquerque’s largest brewery, producing more than 17,000 barrels last year. In some sense, the city’s beer revolution could be said to have started with Marble.

“My goal has always been to create craveable, unabashedly bold beer,” says founder Ted Rice—and, as shown by their selection as Small Brewery and Small Brewery Brewer of the Year at the 2014 Great American Beer Festival (GABF), the Marble team is clearly doing just that.

With an expansion of its taproom in the industrial neighborhood south of Wells Park, Marble has evolved into one of the city’s premier outdoor live music venues, with shows four nights a week and a capacity of 450 people. Over the winter, they also added a rooftop tap terrace where patrons can take in breathtaking downtown views while grooving to tunes from the lower patio stage.

With new legislation allowing New Mexico breweries to operate up to three taprooms, Marble opened two satellite locations: one on the Westside and one in the Heights. Like the original, both were designed in collaboration with Modulus Design to provide an open, modern feel—the perfect setting to enjoy a glass of worldclass craft beer.

111 Marble Ave. NW; 505-243-2739; marblebrewery.com

La Cumbre Brewing Company In 2014 the New Mexico Senate officially designated the industrial area between Jefferson, Candelaria, I-25, and the North Diversion channel as Albuquerque’s “brewery district” for its conspicuous concentration of award-winning local breweries. One of them is La Cumbre, opened by Jeff Erway in 2010 and medaling at major 202

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beer festivals ever since. Most significantly, La Cumbre’s Project Dank was named overall winner at the prestigious 2017 National IPA Championships, beating out hundreds of competitors in what is arguably the nation’s signature style of craft beer.

Currently Albuquerque’s second-largest brewer, La Cumbre offers daily “real ales” in casks from their two beer engines. Real ales are unfiltered beers that are naturally carbonated through traditional methods and served warmer. Because they are unfiltered, they allow the full flavor profile of the ingredients to shine through, a fact that appeals to craft beer aficionados.

La Cumbre’s dog-friendly taproom is a cozy, two-story building with a large bar and comfortable seating. Many patrons work in the area, although the central location, low-key vibe, and distinguished beers draw customers from a wide demographic.

Outside, picnic tables on the east-facing patio seat around 50 and provide a glorious environment in which to enjoy the offerings of the revolving roster of food trucks that have become ubiquitous at breweries without kitchens. On Saturdays, patrons can also enjoy live music.

3313 Girard NE; 505-872-0225; lacumbrebrewing.com

Quarter Celtic Brewpub Brady McKeown is regarded as a treasure within the local brewing community. Early in his distinguished career, as head brewer for Il Vicino Brewing Company/Canteen Brewhouse, Brady’s Wet Mountain IPA won bronze at the 1995 GABF—Albuquerque’s first major medal. Twenty years later, on St. Patrick’s Day 2015, McKeown struck out on his own and opened Quarter Celtic with his brother, Ror, and a group of investors.

As the name suggests, Quarter Celtic pays homage to the Emerald Isle. A lively open kitchen doles out Irish favorites,

From left: Thai-style mussels at Bosque Brewing. La Cumbre Brewing Company founder Jeff Erway. The patio at La Cumbre’s taproom. Marble Brewery founder Ted Rice. Traditional bangers and mash at Quarter Celtic Brewpub.

Previous page: The patio at Marble Brewery downtown.

like bangers and mash and corned beef and cabbage, which complement a line of traditional Irish-style beers, including the top-selling Crimson Lass, an Irish red ale featuring Irish ale malt imported directly from Cork.

The dining room comfortably seats 100 and features 20-foot ceilings, an open view of the brewing facility, and a beautiful, centrally located bar in the shape of a clover. Four large-screen televisions are tuned to sports channels, and during the English Premier League season soccer fans converge here for important games and special Saturday morning breakfasts.

Quarter Celtic’s beers are not yet widely distributed, but enthusiasts can take home a traditional growler or try the Crowler, 32 ounces poured in a can and sealed through a seaming machine at the bar.

1100 San Mateo Blvd. NE; 505-503-1387; quartercelticbrewpub.com

Bosque Brewing In the fall of 2012 Gabe Jensen, Jotham Michnovicz, and Kevin Jameson leased a single suite in a nondescript commercial strip on San Mateo just north of Alameda. The NMSU grads shared an appreciation for quality beer and dreamed of owning a business, so they fired up a tiny three-barrel system, learned how to brew on it, and opened a quaint taproom with a couple of panini presses. Their motto: “People are about experiences; we are about people.”

The original Bosque location now occupies seven suites that house a commercial kitchen, a state-of-the-art 15-barrel system, and a dining area with room for more than 120 people. The team also opened two satellite taprooms, one in Nob Hill and one in Las Cruces, and, in 2014, added award-winning brewer John Bullard as a co-owner and director of brewing operations.

Bullard and his team crank out medaling beers and offer one of the most robust lines of seasonal specials in town. Executive kitchen manager Nick Van Stry has established Bosque as a culinary destination as well, serving amped-up pub food emphasizing quality ingredients that pair perfectly with the craft beer flowing from the taps.

Bosque’s friendly atmosphere is warm and, like most Duke City brewpubs, free of pretention, whether you’re chatting with the bartender or having dinner with the family.

8900 San Mateo Blvd. NE; 505-433-3889; bosquebrewing.com

Boxing Bear Brewing Company The name of this Corrales-area brewery derives from two of owner and head brewer Justin Hamilton’s dogs—a boxer and a large, ursine red-nose pit bull. “We are animal-lovers here, and think of our pub as a place that dog owners can congregate,” he says. This translates to a vast patio, which wraps around the dining room and bar and is popular with neighborhood canines and people.

Games are also a big draw at Boxing Bear. There is a large selection of board games, a cornhole pit on the patio, a foosball table, and a designated room where rambunctious games of Jenga XXL go down, all an integral part of the Boxing Bear experience since it opened in 2014.

The quality of the beer, however, is no game. In an unprecedented sweep in 2016, Boxing Bear’s Chocolate Milk Stout won gold at both the GABF and the World Beer Cup, while their Red Glove Double Red Ale brought another GABF gold medal to Albuquerque. The double gold achievement at the GABF was followed by Boxing Bear’s biggest accolade yet: being named the country’s 2016 Mid-Size Brewpub and Mid-Size Brewpub Brewer of the Year. trendmagazineglobal.com 203

From left: Chama River Brewing Company’s head brewer Andrew Krosche.

Boxing Bear Brewing Company co-owner Justin Hamilton.

In addition to these award-winning beverages, Boxing Bear’s small kitchen serves bar food like nachos, grilled paninis, and gourmet hot dogs to nibble on over a pint.

10200 Corrales Road NW; 505-897-2327; boxingbearbrewing.com

Chama River Brewing Company Every brewer mentioned in this rundown, with the exception of Brady McKeown, has worked at Chama River (until 2004 known as Blue Corn Café and Brewery). The mothership of the Albuquerque brewing community, Chama is where many of the city’s most talented brewers found the footing to move on to projects that have put Albuquerque on the international beer map.

In late August, as Trend went to press, Chama River Brewing suddenly announced that it had closed, to the astonishment of the Albuquerque brewing community. Parent company Santa Fe Dining offered no details, and president Randy Ropek would not say whether the move was permanent, according to the Albuquerque Journal.

Marble Brewery President Ted Rice, who got his start at Chama, said: “It’s been referred to as an incubator … a place where you could brew a wide variety of styles, have a captive audience and stand on the shoulders of a lot of great brewers,” according to the Journal.

The head brewer was Andrew Krosche, who had worked at Ponderosa Brewing and Marble Brewery. He was known for exploring and offering an adventurous assortment of seasonal and specialty beers, including “real ale” on Wednesday Pint Nights.

D

ozens more breweries beyond these heavyweights boast a loyal following across the Duke City, with new contenders consistently joining the scene. “In Albuquerque there’s at least four [breweries] I can think of in planning or about to open,” says John Gozigian, director of the New Mexico Brewers Guild—although

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the permitting process takes nearly a year. “A lot of brewers ... haven’t come out of that sector of Chama/Blue Corn/Marble—which is fine. It’s just gotten big enough that we don’t all know each other anymore.”

Among the newer breweries building buzz is Sidetrack Brewing Company, highlighted this summer by the New York Times, which shares a shaded urban patio with Zendo Coffee, one of the best cafes in town. The highly acclaimed Southern cuisine at Nexus Brewery packs the house as much as their award-winning beer. Fans of Belgian-style ales can visit the Monk’s Corner Taproom downtown, then walk around the corner to Red Door Brewing Company for a pint afterward.

In the North Valley, Steel Bender Brewyard started drawing crowds as soon as it opened, as much for its menu and appealing contemporary design as for its beer, produced on a top-notch commercial brewing system. Bombs Away, set to open later this year, will be the first brewery near Kirtland Air Force Base. Air Force vet John Degnaro and his wife, Hilary, hired brewer David Kimbrell, previously from La Cumbre and Santa Fe Brewing, to plan a simple taproom, large and inviting, with food trucks outside.

Concerns about the market becoming saturated hardly seem to be squelching Albuquerque’s thirst for craft beer—which also serves to keep the bar set high. Although zoning issues make it difficult to put a brewpub in many neighborhoods—neighbors often balk at establishments serving alcohol, Gozigian says—the family-friendly atmosphere of many taprooms is putting them more on a par with the English pub. He hopes that drinking and walkable neighborhoods can co-exist with local artisanal craft production. “People like local craft beer. That’s why you see breweries continuing to open to meet the demand.” R

Lunch: 11-3 505-984-8900 | www.MuseumHillCafe.net 710 Camino Lejo | Santa Fe, NM 87505

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BUILDERS, LIGHTING, FIXTURES, & MATERIALS Allbright & Lockwood allbrightlockwood.com 505-986-1715.....................................25, 183 Santa Fe by Design santafebydesign.com 505-988-4111.....................................64, 182

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