ART + DESIGN + ARCHITECTURE
in his Prime New Mexico’s Transcendental Painting Group:
A New Way Forward
Art Meets Industry on Siler Road
SUMMER 2017 SUM 17 Sept. 2017 Display through $9.95 CDN $9.95 US
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PHOTOGRAPHED BY PETER LINDBERGH MOJAVE DESERT, CALIFORNIA Jac wears the MP-3 30 TH
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Susan Stamm Evans Set of Five Face Fragments 5.5” x 5” x 5” each bronze vertical or horizontal orientation
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Golden Light, 2017, acrylic on canvas, 60 × 48 inches CHARLOTTE FOUST
CHARLOTTE FOUST Intersecting Forms | August 11 – 27, 2017
Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111 www.hunterkirklandcontemporary.com
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features
54 54 Art and Soul
78 In Situ
By Nancy Zimmerman
By Gussie Fauntleroy | Photos
64 Sarkisian in his Prime
90 Boom Town
On the eve of his 90th birthday, the artist remains an enthusiastic maker of art. By Kathryn M Davis | Photos
by
Peter Ogilvie
A home by Albuquerque architect Graham Hogan was designed for aging in place.
TREND Summer 2017
Kate Russell
A new complex in the Siler Road neighborhood will provide rentals and a maker space for creatives. By Christina Procter | Photos
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by
by
Kate Russell
COURTESY OF PAUL SARKISIAN
How a little-known group of New Mexico painters helped change the art world.
Fearless Genius Opening July 14, 2017 Steve Jobs said everything is possible. Doug Menuez is the photographer who captured it all.
Exclusive exhibition exploring the digital (R)evolution in Silicon Valley.
patina-gallery.com 131 W. Palace Ave., Santa Fe, NM +1 505.986.3432 PHOTO: ABOVE: STEVE JOBS AT NeXT, SONOMA, 1986 RIGHT: STEVE JOBS GIVES PEP TALK, REDWOOD CITY, 1988
Departments
158 30
FROM THE PUBLISHER
31
CONTRIBUTORS
32
ON THE COVER: Paul Sarkisian’s Untitled, #53 (2001), polymer resin and mixed media on panel
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DESIGN WAVE The process of designing and building a custom home does not have to be fraught with friction. This Santa Fe homeowner proves it can actually be a dream come true. By Nancy Zimmerman Photos by Kate Russell
STATE OF THE ART The (R)evolution of Steve Jobs breaks the operatic mold with its world premiere in Santa Fe. By Heidi Utz
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126
ARTIST PROFILE Dynamic tension and lifegenerating movement have been a hallmark of Peter Chinni’s sculpture for more than seven decades. By Gussie Fauntleroy Photos by Kate Russell
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ARTIST STUDIO Mixing recycled materials, the elements of collage, and a bold sense of color and line, Erin Currier imbues her portraits of unsung individuals with the power of devotional art. By Nancy Zimmerman Portrait by Daniel Quat Kristin Diener’s wearable art is more than just decorative— it’s a vehicle for her reflections on travel, time, and discipline. By Rena Distasio Photos by Kate Russell
126 From top: Earthship in Taos. The Trinity Kitchen team at Meow Wolf. Peter Chinni in his studio.
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Charles Gurd creates works of art as conduits of energy between creator and viewer. By Nancy Zimmerman Portrait by Christina La Liberté
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158 CONSCIOUS BUILDING The Earthship community outside Taos evolves from its hippie roots into a model of sustainable living for the mainstream. By Ashley M. Biggers Photos by Kirsten Jacobsen
181 PASSION OF THE PALATE
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WELL-SEASONED Friends and family gather to celebrate photographer Douglas Merriam’s first cookbook, an ode to the joys and challenges of cooking seasonally in Santa Fe. By Andrew Roush Photos by Douglas Merriam
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HUNGRY LIKE THE WOLF Meow Wolf nourishes Santa Fe diners with its unique take on Cajun-Creole food-truck cuisine. By Megan Kamerick Photos by Kate Russell
TOP: KIRSTEN JACOBSEN. CENTER: KATE RUSSELL. BOTTOM: PETER OGILVIE
FLASH A new exhibit at the Museum of Spanish Colonial Art captures Frida Kahlo’s life through photography; Dr. Estevan Rael-Gálvez’s cultural cartography project will serve as a roadmap to Santa Fe’s creative future; Friends of the Orphan Signs gives new life to the remnants of Albuquerque’s retail landscape.
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santa fe A
S P E C T R U M
A R T
S H O W
PUBLISHER Cynthia Marie Canyon EDITOR Rena Distasio ART DIRECTOR & GRAPHIC DESIGNER Janine Lehmann PRODUCTION MANAGER & ASSOCIATE GRAPHIC DESIGNER Jeanne Lambert CONSULTING EDITOR Nancy Zimmerman COPY EDITOR Brenda Poppy PHOTO PRODUCTION Boncratious
CONTRIBUTING WRITERS
Ashley M. Biggers, Kathryn M Davis, Rena Distasio, Gussie Fauntleroy, Megan Kamerick, Keiko Ohnuma, Nicky Pessaroff, Christina Procter, Andrew Roush, Heidi Utz, Nancy Zimmerman CONTRIBUTING PHOTOGRAPHERS Christina La Liberté, Douglas Merriam, Peter Ogilvie, Daniel Quat, Kate Russell Organic Corn / Rhett Lynch
Untitled / Douglas Mehrens
Figure / Gold Pool by Andrea Broyles
REGIONAL SALES DIRECTOR Judith Leyba, 505-988-5007 NORTH AMERICAN DISTRIBUTION Disticor Magazine Distribution Services, disticor.com NEW MEXICO DISTRIBUTION Andy Otterstrom, 505-920-6370 ACCOUNTING Deanna Einspahr SOCIAL MEDIA MARKETING Loka Creative, lokacreative.com SUBSCRIPTIONS Visit trendmagazineglobal.com and click “Subscribe,” call 505-988-5007, or send $24.99 for one year (four issues) to Trend, P.O. Box 1951, Santa Fe, NM 87504 -1951. PREPRESS Fire Dragon Color, Santa Fe, New Mexico
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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, with issues 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.
A R T S A N T A F E . C O M
Trend, P.O. Box 1951, Santa Fe, NM 87504-1951 505-988-5007, trendmagazineglobal.com
28 TREND Summer 2017
ETHELINDA
FROM THE PUBLISHER
Foundations of Change
W
hen I began Trend 18 years ago, I did so in the best place in the world to create—and buy—art, thanks to the artists who live here. As with many issues of Trend, the summer issue celebrates the exquisite work produced in Santa Fe, Albuquerque, and Taos—as in the studio of Paul Sarkisian (p. 64), who at 89 has ridden waves of change and inspiration throughout his career and remains as enthralled with color and design as ever. The issue also delves into the region’s transformational force in the art world. Nancy Zimmerman traces the Transcendental Painting Group (p. 54) from Taos across the globe. That little-known group, with members hailing from all over the world drawn to Southwest’s creative hotbed, exhibited an uncanny purity of purpose and style, yet created dazzling and diverse paintings that reflected the zeitgeist. Amid these versatile and globally minded artists, Trend is poised for a similar phase of change and growth. After 18 years, it’s time to let the magazine that I have nurtured through thick and thin grow under new ownership, one that can take it into the national and global arena, focused not only on the creative communities of the Southwest, but on the art, design, architecture, and cuisine of the Americas as a whole. I have put Trend magazine up for sale, and the buyer who decides to carry on my legacy will get to helm one of the best magazines being published today. Trend has been meticulously cared for by a brilliant art director and a team of editors, writers, and photographers, all of whom have breathed life into every issue with their creativity and grace. These last two issues we will publish have that spark of love and care that makes Trend worth reading and collecting. The proper investor will galvanize Trend’s nearly twenty-year legacy into a magazine that cultivates in-depth and authentic reflections on the culture of the Americas that is worthy not only of newsstands but also museum shops on both sides of the equator. I pray that a buyer will step up and continue publishing a magazine that has ridden the wave of so many cycles, as well as the changes to traditional media wrought by the digital era—not just for myself, but for the readers too, who appreciate a magazine that is well written, well edited, and well designed. If you’re interested in helping Trend grow and evolve to the next level, please contact me. I won’t be retiring entirely, though. While Trend magazine evolves into its new global incarnation, I will remain in the community that has nourished me all these years, raising my son and putting out a new publication, an annual photo-driven Lookbook, which has the composition of a magazine but the impact of a coffee-table book. I do hope you enjoy our last summer issue of Trend, which is filled with the great writing and photography that have inspired readers for nearly two decades. And look for our final issue this fall; I promise it will be something you will wish to share with friends and keep forever. In knowing harmony of all, Cynthia Canyon Publisher
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CONTRIBUTORS
kate russell gussie fauntleroy
CLOCKWISE: DEARING FAUNTLEROY, NO CREDIT REQUESTED; KATE RUSSELL, SUSAN BELL; NO CREDIT REQUESTED; NO CREDIT REQUESTED
douglas merriam
peter ogilvie
NANCY ZIMMERMAN christina procter
Living in a straw-bale house with two-foot-thick walls in southern Colorado, writer Gussie Fauntleroy appreciates the sense of solidity and sheltering calm described by the owners of the Graham Hogan– designed home she writes about in this issue. Gussie has been contributing to national and regional publications for 25 years, primarily on art, architecture, and design. She is the author of three books on visual artists. gussiefauntleroy.com
Christina Procter grew up romping around the woods outside of Boston before studying and teaching in the UK, Argentina, and New York City, eventually finding a home in the high desert of Santa Fe. A writer and photographer, she’s a contributing editor with Trend and partners with videographers to create short films. At the moment, she’s writing a script for a feature-length documentary about artist collective Meow Wolf.
Douglas Merriam bounces around the country on assignment for various magazines, restaurants, and resorts, always looking for the perfect slice of blueberry pie or burrito smothered in red chile. He can be found both in Maine and Santa Fe, where he spends most of his time. Doug just published Farm Fresh Journey, The Santa Fe Farmers Market Cookbook, and contributes proceeds back to the farmers market. If he weren’t a photographer he would be a farmer or a restaurateur, but only if he won the lottery first.
Kate Russell is an editorial and commercial photographer based in Santa Fe. Whether she is chasing the light or creating it, she strives to show her subjects with simplicity, respect, and curiosity. The subjects she has covered are as varied as her background: action, architecture, art, circus, food, friends, life, and travel. The lines frequently blur. Kate follows stories that exist around us all in everyday life, capturing and revealing the quotidian with keen insight and nuance. A longtime contributor to Trend, her work can also be found in the Wall Street Journal, the New York Times, T Magazine, and many other regional, national, and international publications. Her published books include The Restaurant Martín Cookbook and designer David Naylor’s Old World Interiors.
After years of working in fashion and design in San Francisco, Milan, Paris, and New York, photographer Peter Ogilvie surrendered to the call of the wild and, in 2004, relocated both home and studio to Santa Fe. “There is nothing quite like the open spaces of New Mexico. Though my travels have taken me all over the planet to beautiful places both urban and remote, I have come to deeply savor the vast skies and landscape of the Southwest. It is all about the light. It verges on the surreal and continually surprises. Working with Trend on the Paul Sarkisian story was great fun, and I thank Peter Sarkisian for all his help,” Olgilvie says.
Nancy Zimmerman has worked as a writer, editor, translator, and video producer/scriptwriter for more years than she cares to remember. A veteran of the magazine trenches, she has served as editor-inchief of Islands, Southwest editor for Sunset, and executive editor of Outside’s special travel issues. She has also written dozens of feature articles, profiles, web copy, blogs, and newsletters. When she’s not being a word nerd she likes to travel, read, study foreign languages, and enjoy great food and wine. R
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Frida Kahlo’s Unflinching Gaze
Frida Kahlo on White Bench, New York (2nd Edition) by Nickolas Muray
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MODELS, TAKE NOTE: If you need lessons on how to stare down the camera, look to Frida Kahlo. Kahlo learned the power of the lens early from her father, a professional photographer. David Westin, director of the Spanish Colonial Arts Society and the resident expert in Modernism, believes that this early exposure gave Kahlo a greater understanding of her own persona. “The photographs taken of her might be considered works by her, as she was so aware of herself,” Westin explains. The Mexican painter is known as much for her life, her politics, and her love affairs as for her art. The Museum of Spanish Colonial Art provides us with a new opportunity to explore that life in a photography exhibition, Mirror, Mirror: Photographs of Frida Kahlo. Guest curator Penelope Hunter-Stiebel jumped at the chance to offer this exhibit to a New Mexican audience. “As a curator, your first job is to distill the art as a visitor experience,” Hunter-Stiebel says. In this instance, she decided to use photographs of Kahlo to document her life. “It’s a way of accessing who Frida Kahlo was.” Fifty images by such renowned photographers as Imogen Cunningham, Carl Van Vechten, and Nickolas Muray capture Kahlo from age 18 to her death at age 47. These images, first displayed at the Throckmorton Fine Art gallery in New York City, are joined by two linked exhibitions: photographs by William Frej that display the Kahlo
COURTESY OF SPENCER THROCKMORTON FINE ART
A new exhibit at the Museum of Spanish Colonial Art captures the icon’s life through photography
COURTESY OF SPENCER THROCKMORTON FINE ART
Frida at work on Wounded Table, shot by Bernard Silberstein. Below: Frida with Emmy Lou Packard, 1941. The photo was set up by Packard and shot by Diego Rivera.
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© Mystery’s Consort by Pamela Becker 2014
Pamela Becker Fine Art
family home, Casa Azul, which is now the Frida Kahlo Museum in Mexico City, and a group of works created by local Spanish Market artists in homage to Kahlo that convey Kahlo’s influence on modern Spanish Colonial art forms. Mirror, Mirror, which is on display through October 29, definitely lends a new perspective to the life and art of an icon. Try not to blink. —Nicky Pessaroff
Museum of Spanish Colonial Art
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Santa Fe, NM
505-982-2226
spanishcolonial.org
COURTESY OF SPENCER THROCKMORTON FINE ART (2)
Frida with Granizo by Nickolas Muray. Left: Frida with Michoacan Gourd On Head by Carl Van Vechten
Cultural Cartography
COURTESY OF RAEL-GÁLVEZ (2)
SINCE BABYLONIAN TIMES, cartographers have penciled maps to trace humanity’s place in the world. Yet geography isn’t the only way we establish a sense of place. In March 2016, the city of Santa Fe tasked Dr. Estevan RaelGálvez, principal of Creative Strategies 360° consulting firm, with inventorying Santa Fe’s cultural assets and fashioning a roadmap to honor, cultivate, and create culture. Rael-Gálvez says that as a cultural anthropologist and arts administrator (he was previously the state historian of New Mexico and executive director of the National Hispanic Cultural Center), he is uniquely positioned to see the impact of arts and humanities on everyday lives. Fairly typical among municipalities, cultural assessments like this one are used to focus arts programming and funding. Although the outcomes were similar here, Rael-Gálvez took an alternate approach by considering culture beyond the tourist experience. He sought it out not only in museums and high-end galleries but also in barbershops and barrios. Santa Fe is generally recognized as
a top cultural destination—take, for instance, its recent National Geographic World Legacy Award for “sense of place”—yet the report’s findings were more nuanced. Among benchmark cities, Santa Fe spends less per capita than the median on arts programming. Although Rael-Gálvez had anticipated the sentiment, Culture Connects Santa Fe: A Cultural Cartography revealed a seldom-articulated feeling: Santa Fe is a tale of two cities. The city has scores of writers and editors and, at the same time, a high illiteracy rate. It boasts the Santa Fe Opera, Museum Hill, and a plethora of other culturally rich destinations, yet many residents feel alienated from them. The executive summary notes, “The community-eroding effect of displacement and gentrification is apparent in every quarter of the city.” The city unveiled Culture Connects Santa Fe in January and formally adopted it in February. It’s a metaphorical roadmap that traces the city’s culture— it’s in every nook and cranny—and paves the way forward; however, it’s so newly embraced that few concrete steps have been taken. (Rael-Gálvez is careful not
Culture Planning
to employ the bureaucratic term “strategic plan,” though it does bear some similarities.) One such step was Santa Fe City Manager Brian K. Snyder’s March request for a 36-month position to oversee the project’s implementation. Culture Connects Santa Fe includes dozens of recommendations, as well as ideas about implementation. For example, it cites the overarching need for greater youth participation, then suggests specifics like recruiting teens to cultural organizations, providing greater intergenerational programming, and encouraging organizations to form youth programs around culinary and agricultural traditions. The wide-reaching proposals also touch on cultivating culture in neighborhoods beyond the Plaza and Canyon Road and investing in the local creative class by expanding affordable housing and access to markets. Although Culture Connects Santa Fe shows the way, it’s now up to stakeholders to follow so it doesn’t become a static document. “I hope it continues to evolve,” says Rael-Gálvez. “This is just the basic framework for how to invest in community.” —Ashley M. Biggers
Cultural map of Santa Fe. Right: Dr. Estevan Rael-Gálvez
santafenm.gov/news
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ARTs Culture
MOTORISTS ALONG ALBUQUERQUE’S Central Avenue are accustomed to cruising past derelict holdovers from Route 66’s glory days, those ramshackle signs that identify businesses long shuttered. These days, however, they’re encountering a new brand of public art that breathes new life into the neighborhood while drawing attention to its distinct identity. The nonprofit Friends of the Orphan Signs adopts these signs (called “orphans” in the historic preservation community), bringing together professional artists and the public to transform them from hollow, paint-chipped frames into art. The signs are beautiful, especially amid the urban blight from which they spring, as well as thoughtful and divergent from the sea of commercial messaging typically found on such signs. The work is not historic preservation in the truest sense, as FOS doesn’t return the signs to their previous identities but rather revitalizes them. “We are preserving vestiges of the past and keeping historic continuity and part of Albuquerque’s identity,” says executive director Ellen Babcock. Since the group’s 2010 incorporation, it has refurbished (sometimes literally, since the vintage signs are often in disrepair) a handful of signs across the city using grants from the National Endowment for the Arts, Albuquerque Public Art, and other foundations. Occasionally FOS works exclusively with a group of professional artists; other times it uses its educational arm to loop in students at local charter schools and Highland High School. For example, in 2012’s Revivir, a billboard at 4119 Central Avenue, FOS members and
Revivir, a project with Highland High students funded by the CABQ public art program, 2012.
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ELLEN BABCOCK/FRIENDS OF OPRHAN SIGNS (2)
Artist Nani Chacon and Highland High students created a transportation-themed sign for the defunct Royal Hotel in 2014.
Highland students created a sign that depicts a woman pouring water in front of the Sandia Mountains, rendered in bright hues that befit the Mother Road’s vibe. As with many of FOS’s projects, the image is a photo collage that is graphic enough to be “read” even as drivers speed past at 35 mph. Many signs have more intricate details that can only be appreciated by pedestrians strolling Central Avenue or waiting for the bus. Passersby even contributed to one project at the former Trade Winds Motel, texting artistic snippets that FOS then posted on the reader board. Gems include “The bus is never closed to crazy” and “I clap for you in my head all the time.” FOS continues to lead workshops at Highland High during which the students experience true artistic experimentation, bringing signs from the idea stage to completion. A recent class collaborated on the theme of justice, creating and staging performances with picket signs, photographs of which will soon appear on another sign.
In keeping with Babcock’s training and philosophies as an artist (she also teaches sculpture at UNM), the process is democratic. Members of the Harwood Art Center community contributed to the permanent installation of the Seedling sign outside the center’s studio at Sixth and Mountain, creating the image of an owl floating in a rainbow of childlike brushwork and a menagerie that includes pandas and puffins dressed for a night on the town. In the group’s latest project, a soon-to-be completed sign at Casa Barelas, FOS held public workshops, gathering photographs and manipulating them as a group for the oval sign with low-draw LED lighting to be posted at the former Filling Station on Fourth Street. The signs circumvent traditional art spaces and are immediately public and widely seen. “We’re infusing the landscape with the mysterious, the surprising, the creative, the enlightening,” artist Lindsey Fromm says. —Ashley M. Biggers
The World’s Largest Collection of Art by the Transcendental Painting Group
friendsoftheorphansigns.org
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STATE of the ART
Jobs theEnigma
Santa Fe Opera breaks the mold with an exciting world premiere
H
e may not have been a master manipulator like Iago, or the prince of darkness like Mephistopheles, but in the pantheon of operatically bad hombres, Steve Jobs definitely holds his own. And though we may shake our heads at his evil exploits, we embrace like dear friends his inventions that bring the world to our palm. The irony that a life so fraught with interpersonal difficulty could be responsible for connecting millions every day has not been lost on the Santa Fe Opera (SFO), which gives The (R)evolution of Steve Jobs its world premiere this summer. The Apple cofounder’s life was far from a predictable arc—and his personal evolution came to impact the revolution he sparked. As the opera’s composer Mason Bates (Alternative Energy, Liquid Interface) puts it, “To have him go from basically being a countercultural figure who’s doing acid or hacking into the Vatican to creating the most valuable company in the world—and what happens to a person when they travel that distance—that’s really interesting.” When the brilliant composer, known for uniquely combining orchestral and electronic dance music, asked master librettist Mark Campbell (Silent Night) to collaborate
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on the first opera about Jobs, they agreed to a completely nonlinear treatment, organized around thematic elements: Jobs’s romantic and family relationships, his trajectory as a computer mogul, his Buddhist practice and spiritual advisor, and the humanizing influence of wife Laurene. During a Santa Fe Opera preview at the Guggenheim Museum in April, Campbell noted, “I was more interested in the heart and the soul of the man. And chronology doesn’t always obey that. Opera can do it really well because it doesn’t have the same rules of time that we might ascribe with a straight play or straight script.” Finding the sympathetically human moments within a CV that includes workplace tyranny, blatant egotism, employee abuse, rapacious business dealings, and denial of both paternity and support to his first love and daughter was not the easiest of tasks. In writing the opera, Campbell chose to research his bio purely from public domain material and opted not to speak with Jobs’s nearest and dearest. A balanced portrait—of neither hero nor villain—emerged. Much of the opera limns Jobs’s emotional and spiritual worlds, as evoked within his personal relationships. To amplify the
interpersonal dynamics, Bates assigned a distinct musical palette to each character. “Steve Jobs has this busy inner soul, so we have this acoustic guitar picking throughout,” he says. “We also hear a quicksilver electronic world associated with Steve. Whereas his wife, Laurene, has more oceanic strings associated with her. [Spiritual advisor] Kobun has these processed prayer bowls and chimes and gongs, also alto f lutes, sort of shakuhachiish. What I find interesting musically is that when people interact, we hear how these sound worlds collide.” This seamless integration of variegated sounds is what Bates, who is the Kennedy Center’s first composer-in-residence, does best. His musical language combines classical, jazz harmonies, and techno rhythms into pieces that have been praised for exuding a sense of contemporaneous Americana not unlike how Aaron Copland captured the 20th century. Despite his formal training at Juilliard, Bates writes work both accessible and engaging to a younger audience. The 40-year-old appears to have struck the balance between pursuing traditional forms while forging ahead into territories that feel contemporary and fresh enough to compel close listening. In awarding Bates a
COURTESY OF VICTORIA TZYKUN
BY HEIDI UTZ
Grammy Award–winning Cooke has been acclaimed for her versatility and elegant directness, as well as her commitment to new music. In premiering an opera about a millennial hero written by a Bay Area composer who moonlights as electronica DJ Masonic, SFO is clearly hoping to attract a new and different audience, one that may have never set foot in an opera house—along with a few fans from Silicon Valley as well. Those with postmodern attention spans may be relieved to hear that the 18-scene, one-act show clocks in at just 90 minutes—and is sung in English. To boost the hipness factor, Bates will play his Mac laptop from the musicians’ pit during each performance. The day Jobs announced the first iPhone in 2007 was a defining moment that SFO media director Daniel Zillmann says he recalls quite clearly, along with how it rocked the tech community in which he was employed at that time. “I think a lot of people will remember that moment,” he says. And the very technology the opera portrays will be an important tool in promoting it, Zillmann adds. On July 20, SFO will hold a social-media InstaMeet of the final dress rehearsal, expected to potentially engage six million viewers worldwide. Undoubtedly Jobs would have enjoyed facilitating, yet again, this thread of connection, unimaginable just a decade ago. R World premiere: 7/22; santafeopera.org
Eldorado Dental
photo: Daniel Quat
Heinz Award, philanthropist Teresa Heinz Kerry remarked, “His music has moved the orchestra into the digital age and dissolved the boundaries of classical music.” In its quest to create for the viewer a full sensory immersion, (R)evolution utilizes extensive cutting-edge video projection and lighting design. The set itself is very simple, consisting of six large rectangles that move across a grid. “The core idea is to create a visually minimal physical environment that can morph in an endless variety of ways through physical movement, video, and light,” notes scenic designer Victoria Tzykun. Yards of LED tape set these boxes aglow—not unlike that sleek device in your pocket. “It’s so theatrical,” says director Kevin Newbury. “It traverses time and space—it’s not linear. What makes the Apple devices so fascinating is that design, technology, use, function are all mixed in together. My favorite opera and theater is when you don’t really know what’s scenery, what’s lighting, what’s video because it’s all working in tandem to create one seamless whole.” Key players in this gestalt are Edward Parks as Jobs and mezzo-soprano Sasha Cooke as Laurene, both new to SFO. Parks has been praised for his warm, velvety baritone and commanding stage presence. The role demands extreme agility, as he appears in almost every scene and must switch among different parts of Jobs’ life constantly throughout the performance.
If your smile isn’t becoming to you, you should be coming to me! - Dr. Haley Ritchey
DAVID OCSTA/COURTESY OF SANTA FE OPERA
1 Caliente Road, Suite E
ph: 466.0999 eldoradodental.com
Edward Parks as Steve Jobs. Opposite: A rendering of Steve Jobs’s office by designer Victoria Tzykun. trendmagazineglobal.com
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We accept VA benefits
RAILYARD
ARTS
EVOKE CONTEMPORARY CHARLOTTE JACKSON FINE ART
DISTRICT
SITE SANTA FE © SHoP
BLUE RAIN GALLERY Representing Fine Contemporary Artists of Diverse Backgrounds 544 S. Guadalupe Street / 505.954.9902 / blueraingallery.com
BLUE RAIN GALLERY
CHARLOTTE JACKSON FINE ART American & European Contemporary Art 554 S. Guadalupe Street / 505.989.8688 / charlottejackson.com
EVOKE CONTEMPORARY
PHOTO-EYE GALLERY
Provocative + Compelling Contemporary Art 550 S. Guadalupe Street / 505.995.9902 / evokecontemporary.com
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
TAI MODERN LEWALLEN GALLERIES
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
ERIN CURRIER
Fiesta Queens VII, acrylic and mixed media on panel, 48" h x 36" w
544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com
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 Bolivian Altiplano, 1977 later, it is time for me to look for 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. 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
W I L L I A M S I E G A L G A L L E RY ANCIENT CONTEMPORARY
the art of living and living with art 530 SOUTH GUADELUPE
IN THE HISTORIC RAILYARD DISTRICT
CASANOVAGALLERY.COM
505 983 8558
IMAGES COURTESY OF PICHULIK AND CAITLIN ELIZABETH PHOTOGRAPHY LLC
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INTERNATIONAL FOLK ART, FASHION & HOME DECOR ~ ALL YEAR ROUND ~
Situated in the heart of Santa Fe’s historic Railyard district is Casa Nova, a dynamic, upmarket shop highly regarded for its unique blend of art, craft and living and contemporary design. A medley of cultural fusion, owner Natalie Fitz-Gerald describes her approach as “the art of living and living with art.” The style is urban, ethnic, edgy, and vibrant with echoes of traditional forms. The cornerstone of Casa Nova’s trading ethos is the support and nurturing of local artists, craftspeople and designers. The store’s wonderful displays showcase some of the best of Africa’s artistic talents and many cooperatives for whom these sales represent a sustainable
income and financial independence. Also represented are works from minority hill tribes in China, weavers and ceramists in Mexico, craftspeople in the Philippines and Thailand, local New Mexican artists and craftspeople, and many others. Casa Nova is considered a “must-see” for locals to bring their out-of-town visitors, and the perfect place to find that truly unusual gift. Fitz-Gerald and her colleague Nelly-Joy Irakoze have an amazing eye for fine design and craftsmanship and create an ever-changing range of inventory in Casa Nova that includes textiles, bedding, kitchenware, home décor, jewelry, fashion and ethnic and folk art.
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I
t was hard to believe ten years ago, when the neighborhood consisted of railroad tracks, empty warehouses, and the hulking old beer storage facility that became SITE Santa Fe, that anything would come of Santa Fe’s master plan for a revitalized Railyard District. Today it’s hard to believe there was ever any doubt. From the recent addition of the 11-screen Violet Crown Cinema and the gradual transplanting of the most aspirational contemporary galleries to the promise of spacious, well-lit modern buildings, it’s fair to say the Santa Fe Railyard has arrived. The crown jewel was, and remains, SITE Santa Fe, currently undergoing a major expansion that will bring in the neighborhood to enjoy its menu of public events in a hip new gathering place open to the stars. Beside it, the long-underutilized Railyard Park is becoming known more for wholesome recreational events, like free summer movies and art festivals, than the panhandlers and protesters of years past.
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But it is undoubtedly the year-round Santa Fe Farmers Market and Railyard Artisan Market that have endeared the neighborhood to locals and visitors alike. While the 2008 recession slowed and sometimes reversed development of Railyard buildings—some of which are just now coming out of receivership—the gradual increase in public events has continued to build interest in a fresh alternative to downtown venues, especially in the busy summer months. “In the early years, we had 20 events a year,” says Richard Czoski, executive director of the nonprofit Santa Fe Railyard Community Corporation, which leases and manages all 50 acres of Railyard land owned by the city. “We’re closer to 90 events a year today. By virtue of that increase, more people come and see what the Railyard has to offer, and that builds on itself. But that’s been a concentrated effort on our part that grew every year.” Residential construction is the final piece of the neighborhood
FRANKXCORDERO
As the city kicks off a summer of high-profile events, the center of action shifts to the Railyard Arts District
CLOCKWISE FROM TOP LEFT: FRANK ROSE/FORM & CONCEPT; DANIEL QUAT (3); SANDRA BRICE
Clockwise from top left: Patrons of the gallery Form & Concept on Guadalupe Street relax in front of a monumental sculpture; dancer Viktoria Shushan strikes a pose in front of the iconic water tower; a scene from the Farmers Market that takes place Tuesdays and Saturdays in summer; the indoor farmers market during the cooler months; the railroad-themed bar serves beer and wine to moviegoers enjoying the summer entertainment. Opposite: The free summer concert series attracts enthusiastic crowds.
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TOP: SHoP ARCHITECTS PC. BOTTOM: COURTESY OF BLUE RAIN GALLERY
An art opening for popular local artist Erin Currier at Blue Rain Gallery. Top: A rendering of the design for SITE Santa Fe’s renovation by SHoP Architects.
A patron takes in the distinctive works at William Siegal Gallery.
puzzle. A 58-unit apartment building is scheduled for completion in early 2018 across the tracks from Railyard Park, on a site where the ArtYard Condominiums went into foreclosure during the recession. The Railyard Flats units will be “sized to represent good value downtown,” says Czoski, and the developer paid a fee to price them at market rate rather than as “affordable.” As the Railyard district nears capacity, with just one large commercial parcel available next to Warehouse 21, controversy has erupted over the intentions of developers signing recent leases. Nearby gallery owners opposed a three-story building to begin construction this summer on Alcaldesa Street, across from the Water Tower, to house a 2,500-square-foot restaurant, retail shops, and offices. Parking and noise and height limitations are among the concerns. The neighboring Welders Supply Building that used to house Bon Marche will open as a coffee shop in August, Czoski said. Worries about noise and alcohol also followed after plans were revealed for a bowling alley serving beer that was scheduled to open on the second floor of the Market Station building, until the owner declared bankruptcy. “That building will be under new ownership by the end of this year as the bankruptcy comes to conclusion,” Czoski says. “I’ve been told that there is demand for all those spaces,” he says of the often-empty storefronts, although he cannot announce leases until after the building sells. Meanwhile, events planned for Railyard Park and Railyard
Plaza this summer promise to make it a gathering spot to rival the Santa Fe Plaza for those seeking free entertainment. Free concerts every Saturday through Aug. 12 at the Water Tower will include New York City’s all-female Mariachi Flor de Toloache (July 1), singer-songwriter Ian Moore (July 8), and Latin swing band Los Hacheros from Brooklyn (July 22). Local musicians play every Wednesday night during the midweek Farmers Market, when art galleries also stay open late, and each month the streets stay lively for Last Friday Artwalk. For families, there are free movies in Railyard Park every other Friday, including Happy Gilmore (July 14) and La La Land (Aug. 11). A number of festivals are also planned, including Best of Santa Fe (July 28), We Are the Seeds indigenous art festival (Aug. 17-19), Earwaves Music Festival (Aug. 26), and the After Hours Alliance (AHA) Progressive Arts Fair (Sept. 17). Named one of the nation’s six Great Public Spaces by the American Planning Association in 2015—along with San Diego’s Balboa Park and Millennium Park in Chicago—the Santa Fe Railyard’s standing among city planners rests on a foundation not visible from the streets. The 2002 Railyard Master Plan guiding development came about through a vigorous community planning process that favored local business, pedestrian use, environmental sustainability, and preservation of historical character, exemplifying, as the AHA puts it, “what great places can be built through successful public-private partnerships.” trendmagazineglobal.com
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business profile
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June 2, is a retrospective, and Hail!
Hail! Rock ‘n’ Roll: Portraits of an Era, July 7–Sept. 1, features work by Kennedy and four other photographers. Pilar Law, owner of Santa Fe’s Edition One Gallery, curated
David Michael Kennedy Photograph by Jacquelyn Rei | El Rito, NM
both shows. Kennedy’s internationally collected photography is also on
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ers. “Every time I take a picture,” he says, “I’m saying ‘yes’ to life.”
El Rito, NM (505) 660-3312 davidmichaelkennedy.com
David Michael Kennedy Photographic Studio and Gallery
Master of the Platinum Palladium Printing Process 1179 Highway 554 El Rito, New Mexico 87530 open by appointment 575-581-9504 www.davidmichaelkennedy.com
business profile
David Naylor Interiors architects and designers
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T
here was a time early in his career when David Naylor took custom interior design almost to an extreme, having
his Northern New Mexico workshop create virtually everything for his clients, from wood-carved furniture and builtin cabinetry to architectural elements. Thirty years later, Naylor’s approach has broadened considerably, yet items from his workshop continue to be a strong part of his repertoire. “There’s a vocabulary I have in the inventory of things made in my workshop that is as relevant today as when it was created years ago,” he says. But now he thoughtfully draws from many other sources as well. “I like seeing what other workshops are doing,” he notes. “They’re good companions to my work.” Since 1997, Naylor’s highly acclaimed work has included full-service residential and commercial interior design, from single rooms to complete home remodels to new construction. It’s a creative direction that came naturally to the designer, who grew up near Philadelphia and attended the
Owner David Naylor at David Naylor Interiors of Santa Fe
Philadelphia College of Art. His move to Santa Fe came in 1988 when he traveled from New York City to help friends remodel a restaurant. Although the friends left, Naylor stayed, buying, remodeling, and selling a series of eastside homes before establishing his firm, now including his “beautiful team” of six. Today David Naylor Interiors’s clients span the country, from Hawaii to Florida, some having learned of his work through his handsome coffee-table book, Old World Interiors: A Modern Interpretation, published in 2008 by Gibbs Smith. Frequently, clients request a contemporary feeling that also incorporates regional and Old World elements to produce a natural, earthy aesthetic, rather than an urban look. “I love to celebrate the regional in an updated way,” he says. With full-house remodels or new construction in particular, Naylor finds himself truly in his element, engaged in decisions about surfaces and finishes that set the stage for the final design. By that time, he says, “I understand the house fully and know what clothes it would wear best.” Yet after 30 years in the business, he is equally fluent in every aspect of design.
111 North St. Francis Drive | Santa Fe, NM (505) 988-3170 | DavidNaylorInteriors.com 52
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KATE RUSSELL
As he puts it: “On any budget, in any home, beautiful transformation can occur.”
2017 EXHIBITIONS John Bock Carol Bove Anya Gallaccio Ryan Gander Mark Lewis Lionel Maunz Wangechi Mutu Monika Sosnowska Garth Weiser Ai Weiwei And, announcing the exhibition for the inaugural Suzanne Deal Booth Art Prize winner
Rodney McMillian Opening February 3, 2018 Jones Center 700 Congress Avenue
Betty and Edward Marcus Sculpture Park / Laguna Gloria 3809 West 35th Street Austin, Texas 78703
thecontemporaryaustin.org This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department; a grant from the Texas Commission on the Arts; a grant from Humanities Texas, the state affiliate of the National Endowment for the Humanities; and an award from the National Endowment for the Arts. Art Works.
Art and Soul How a little-known group of New Mexico painters helped change the art world
COURTESY OF ADDISON ROWE GALLERY, SANTA FE
BY NANCY ZIMMERMAN
espite its relative isolation, New Mexico has been home to more than its fair share of artists and artistic movements over the years. But while most people know of the more famous artists and alliances that put the state on the artistic map—Los Cinco Pintores of Santa Fe and the Taos Modernists among them—one group remains relatively obscure despite its contributions in bringing nonobjective and abstract art into the mainstream during the years leading up to World War II. Although its existence was shortlived, that group brought together some of the art world’s bright lights for a brief but influential period of artistic experimentation and philosophical exploration. The year was 1938. The unsettling drumbeat of impending war in Europe had the world on edge as Hitler invaded Austria and began eyeing Czechoslovakia. In the U.S., the slow but steady ascent from the depths of the Great Depression was temporarily derailed by a new recession. Uncertainty and fear were becoming endemic, with political institutions here and abroad struggling to adjust to rapidly unfolding events. The time was ripe for a new consciousness to emerge, one that would assuage the dread and revive America’s celebrated optimism, but it wasn’t likely to come from the Establishment, which dealt with matters of policy and politics. As is often the case, it needed to come from the world of art, which transcends barriers of language and culture to reach people everywhere with its universally understood expressions of truth. That inchoate longing for some kind of connection to an overarching consciousness permeated even, or perhaps especially, the remoteness of New Mexico, where artists reveled in the isolation and physical beauty of a region that inspired both reverence for the spiritual world and experimentation with color and form. Out of this creative environment came a new approach to painting, one that sought to connect with a more spiritual, universal force through evocative geometries, lines, and color, led by a group of painters whose nonobjective and abstract works departed from the representational bent of the traditional art world. They called themselves the Transcendental Painting Group (TPG), and they produced a manifesto that clarified their purpose and announced to the world their adoption of a distinct set of values. The gist of the manifesto was the group’s stated goal “to carry painting beyond the appearance of the physical world through new concepts of space, color, light, and design, to imaginative realms that are idealistic and spiritual.” Another aim was to defend and promote the often-reviled abstract and nonobjective art that ran counter to the prevailing aesthetic and philosophy of the time. The TPG members had been impressed by the works and words of Wassily Kandinsky and Piet Mondrian that were shaking up the art establishment elsewhere, and they were influenced trendmagazineglobal.com
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“Art will unify all humanity. Art is one— indivisible . . . Art is the manifestation of the coming synthesis.” Dane Rudhyar, a Paris-born avant-garde writer, musician, composer, astrologer, and philosopher who had studied Theosophy and Buddhism and who, along with Jonson, was a principal author of the TPG manifesto. After much discussion, the group selected the term “transcendental” to represent them because of its universal sense of shared values that eschewed such concepts as religion, politics, fashion, and commercialism in favor of promoting a sense of the sublime, of connecting to the realm of the spirit. While likeminded in their philosophies, the group was an
eclectic bunch, with differing painting styles, and not all of them lived in New Mexico the entire time, although the core group did. Cofounder Jonson (pronounced Jonesson) had left Chicago for Santa Fe in 1924, leaving behind his career as a set designer and lighting innovator whose groundbreaking work had achieved worldwide recognition. Jonson studied art from an early age while growing up in Portland, Oregon, but it was in Chicago that his intellectual and spiritual appreciation of art developed. There he met Nicholas
COURTESY OF THE PALACE OF THE GOVERNORS PHOTO ARCHIVES
strongly by the philosophical concepts of Theosophy, Zen Buddhism, and Dynamic Symmetry. By banding together and giving their overlapping philosophies and styles a name, they hoped to help each other find ways to exhibit their art and exert their influence on a scene that routinely resisted their nontraditional approach to painting. Thus it was in early June of 1938 that painters Raymond Jonson and Emil Bisttram officially founded the TPG during a meeting at Bisttram’s home in Taos that brought together a varied group of painters. Also present at the meeting was
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LEFT: COURTESY OF THE PALACE OF THE GOVERNORS PHOTO ARCHIVES. RIGHT: © THE RAYMOND JONSON COLLECTION, UNIVERSITY OF NEW MEXICO ART MUSEUM
Emil Bisstram self-portrait, 1935. Right: Raymond Jonson in Taos, 1938. Opposite: A Lumpkins mural created for the Laboratory of Anthropology, 1934, when he was transitioning from representational work to a more abstract style. Previous spread: Untitled by Emil Bisttram.
Roerich, the Russian-born painter, writer, archaeologist, teacher, and Theosophist who had studied Eastern religions and whose influential work to preserve art and architecture during times of war earned him several nominations for the Nobel Peace Prize. Roerich and Jonson joined forces to launch Cor Ardens, an international association formed to hold unjuried art exhibitions, establish museums to house permanent collections of members’ work, and promote dance, drama, literature, and musical composition. As that group’s first president, Jonson gained experience in organizing artistic alliances that would later help him establish the TPG in New Mexico. In addition to Roerich, Jonson’s other main influence during his Chicago years was Wassily Kandinsky, whose book The Art of Spiritual Harmony (currently reissued as Concerning the Spiritual in Art) laid out a theory of relationships between colors and emotions and offered a rationale for abstract art that Jonson found inspiring. He brought that inspiration with him to New Mexico, where his figures, still lifes, and landscapes began to morph in the direction of abstraction.
Cofounder Emil Bisttram followed a similarly circuitous route to New Mexico. Born in Hungary in 1895, he immigrated to America with his family at age 11 and eventually pursued a career in commercial design, opening the first freelance art service for advertising agencies in New York when he was just 20 years old. At the same time he studied art in the evenings at the Art Students League, the New York School of Fine and Applied Art (eventually renamed Parsons School of Design, where Bisttram later taught art), and the National Academy of Design. He was particularly taken with the concept of Dynamic Symmetry, a natural methodology using mathematics to create geometrical designs, also referred to as the Golden Mean. He was invited by Roerich to teach at the New York Master Institute of United Arts of the Roerich Museum, which promoted the idea of shared values among music, painting, sculpture, ballet, and drama. Roerich’s motto was: “Art will unify all humanity. Art is one—indivisible… Art is the manifestation of the coming synthesis.” Bisttram first visited Taos in 1930, where
he went to unwind from the stress of New York and the shock of the recent stock market crash. Like so many artists before and since, he was entranced by the area’s physical beauty. That same beauty confounded him in his efforts to paint, however, as he wrote: “Whenever I tried to paint what was before me, I was frustrated by the grandeur of the scenery and the limitless space, but above all there was that strange, almost mystic quality of light.” He returned to New York, and in 1931 was awarded a Guggenheim Fellowship to study mural painting, which led him to Mexico to learn from renowned muralist Diego Rivera. He came back to Taos in 1932 to settle permanently, initially doing as other artists had done upon arriving there: painting Native Americans and local architecture. But his work gradually became less representational and more abstract as he experimented with form and color, influenced, as Jonson had been, by the works and writings of Kandinsky. He founded the Taos School of Art, adopting a curriculum that emphasized the concept of Dynamic Symmetry, which, he said, “releases the imaginative power, liberating the creative forces toward a final unquestionable order.” The following year he founded the Heptagon Gallery, the first commercial art gallery in Taos. Unlike Bisttram, who had grown up in a New York City tenement and struggled to pursue his painting while earning a living as a commercial artist, TPG founding member Lawren Harris enjoyed a privileged upbringing in Ontario, Canada. His family’s wealth allowed him to focus on painting, studying in Canada and later in Berlin, where he was exposed to the works of Kandinsky, Gauguin, and Cézanne as part of a sophisticated curriculum that included philosophy. As his interest in philosophy—and Eastern thought in particular—grew, he was drawn to Theosophy, a movement that seeks direct knowledge of the mysteries of life and the nature of divinity. Harris worked as an illustrator for Harper’s Magazine, among other trendmagazineglobal.com
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TOP: CROCKER ART MUSEUM PURCHASE, GEORGE AND BEA GIBSON FUND WITH CONTRIBUTIONS FROM BARBARA AND WILLIAM HYLAND AND LOREN G. LIPSON, M.D., 2015.25, © THE RAYMOND JONSON COLLECTION, UNIVERSITY OF NEW MEXICO ART MUSEUM, ALBUQUERQUE, NM, PHOTO COURTESY ADDISON ROWE GALLERY, LLC, SANTA FE; BOTTOM: COURTESY OF COLLECTION OF THE NEW MEXICO MUSEUM OF ART. MUSEUM PURCHASE, 2005 (2005.27.1) PHOTO BY BLAIR CLARK
publications, and he organized sketching trips with fellow artists who were to become Canada’s Group of Seven, an alliance of painters who were inspired by the sublime Canadian landscape and who sought to express its primeval spirit. At this point Harris’s work was evolving toward a more abstract style that was described in the Toronto Star in 1928 as “Transcendentalism . . . despairingly beautiful and inhuman.” He showed his art in the Société Anonyme’s International Exhibition of Modern Art at the Brooklyn Museum, organized by Katherine Dreier, who was also interested in Theosophy and believed that art had a role to play in humanity’s spiritual development. In early 1938, when Harris moved to Santa Fe and met Jonson, his broad knowledge of Theosophy meshed well with the views of the other artists, and he joined the ongoing dialogue that soon gave rise to the TPG. Agnes Pelton, another TPG member, was born in 1881 in Stuttgart, Germany, to American parents. After the death of her father in 1890, she and her mother moved to Brooklyn, where she studied piano. She enrolled at the Pratt Institute at age 14 and began studying art, and upon graduation continued private art studies with two of her Pratt instructors. After a year in Italy, where she studied Italian painters and life drawing at the British Academy in Rome, she embarked on a series of paintings she called Imaginative Paintings that drew on her explorations into the effects of natural light in the outdoors. When artist Walt Kuhn, who organized the famed Armory Show of 1913, saw her work, he invited her to show two of these paintings in the exhibition. Pelton visited Taos in 1919 as a guest of Mabel Dodge, and her work at the time concentrated on realistic portraiture and landscapes. By 1921 she had begun painting abstractions, and she exhibited her work at the Argent Galleries in New York in 1931 and in 1933 at the Museum of New Mexico as part of the Santa Fe
TOP: COURTESY OF COLLECTION OF THE NEW MEXICO MUSEUM OF ART, MUSEUM PURCHASE WITH FUNDS FROM THE COLLECTORS’ CLUB, 1998 (1998.15.1). PHOTO BY BLAIR CLARK. © NEW MEXICO MUSEUM OF ART; BOTTOM: COURTESY ADDISON ROWE GALLERY, SANTA FE
Triangle (1940) by WIlliam Lumpkins, who blended geometric shapes with organic ones to produce works that evoked emotion and rhythm through color. Top: Untitled, oil on board, by Florence Pierce, 1952. Her use of color and form created a sense of motion within the painting. Titles Opposite and caption bottom: Awakening (Memory of Father), oil on canvas, by Agnes Pelton, 1943. Opposite top: Oil #2 by Raymond Jonson, 1942.
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The TPG’s yearning for a purity of purpose and style yielded a stunning array of paintings, apolitical in content but responsive to the political zeitgeist of the time. Fiesta group exhibition, along with Jonson. Having moved to the Palm Springs area, she embarked on a study of Agni yoga, an offshoot of Theosophy promoted by Roerich. By this time she was carrying on a regular correspondence with Jonson, who had been thrilled to include her work in the group show. Although she embraced abstraction, she continued to work in a representational style as well, mounting 14 solo exhibitions and participating in 20 group exhibitions in the U.S. and abroad from 1911 to 1936. Pelton remained in California despite her membership in the TPG, but her work was eminently compatible, both stylistically and philosophically, with that of the other members. Pelton had been introduced to the TPG by Rudhyar, a close friend. While living in Taos and Santa Fe, Rudhyar also met Jonson and the two hit it off. Rudhyar was a key participant in the founding of the TPG and one of the vice presidents of TPG’s nonprofit promotional arm, the American Foundation for Transcendental Painting, although he wasn’t a member of the painters’ group. He wrote articles and gave lectures to bolster the group’s goal of introducing the concept of abstract art to a larger public, and he also took up painting himself, putting the TPG principles to work in paintings that were based on their nonobjective and spiritual goals. The only native New Mexican in the group was William Lumpkins, also a member of the Rio Grande Painters group. Lumpkins achieved renown both as an artist and an architect, pioneering solar adobe architecture and cofounding the 60
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Santa Fe Art Institute. Born and raised on a ranch in Clayton, he was somewhat incongruously introduced to Zen Buddhism as a boy by one of the ranch’s tenants, who had traveled extensively in Asia. Lumpkins began studying architecture at the University of New Mexico, but Zen philosophy remained a strong influence. His first foray into abstract painting came in 1930, when his new friend Stuart Walker taught him the concept of using color as a means of expressing emotions. Walker had transitioned from representational paintings of Southwestern subjects to abstracted landscape studies based on color, rhythm, and design, developing a style that combined geometric figures with organic ones. Walker would also join the TPG, as would Lumpkins’s friend Robert Gribbroek, who had studied with Bisttram at the Taos School of Art; it was Gribbroek who first introduced Lumpkins to Bisttram. Lumpkins met Jonson in Santa Fe when his daily walk to work at the Works Progress Administration, where he served as an architect, took him past Jonson’s home, and the two struck up a friendship. Despite his achievements as an architect, Lumpkins also painted continually, his abstracted watercolors garnering him increasing acclaim over the years. In a review of his 1987 retrospective exhibition published in Artspace, his naturalness and spontaneity were lauded: “The quiet greatness of his work seems to have come to him simply as a part of his metabolism. It was this quality of ease and spontaneity which also set him apart from
the other members of the [TPG] . . . Perhaps, as much as anything, it is Lumpkins’s study of Zen which links him to . . . expressionist attitudes toward spontaneity.” In addition to Lumpkins’s friend Gribbroek, whose geometrical forms and intense color play distinguished his nonobjective work, the Taos School of Art supplied other TPG members as well. Prominent among these was Florence Miller Pierce, at 19 the youngest member of the group. A native of Washington, D.C., Miller Pierce studied art at the Studio School of the Phillips Memorial Art Gallery (now called the Phillips Collection), where she learned of Bisttram’s Taos School of Art. She spent the summer there in 1936, then returned to Washington to study at the Corcoran School of Art. There she met artist Auriel Bessemer, a devotee of Theosophy who introduced her to that discipline’s principles. She returned to Taos and enrolled in Bisttram’s school, where she met and married fellow student Horace Towner Pierce. Miller Pierce described her art from that time as an attempt “to delve beyond the bonds of matter.” Florence and H.T. Pierce left New Mexico in 1940, relocating first to New York and later to Los Angeles, but they maintained their membership in the TPG. Miller Pierce’s work evolved from drawings to abstract paintings based on floral and shell-like shapes suspended in space, using two or three contrasting colors that emphasized the relationships within the space. In later years, after moving back to New Mexico, she honed a technique using poured resin after a serendipitous accident;
PHOTO REPRODUCED BY PERMISSION OF LEYLA RUDHYAR HILL
Dynamic Equilibrium by Dane Rudhyar, from his Archetype series, 1947–48. Rudhyar was instrumental in the founding of the TPG and helped write its manifesto. trendmagazineglobal.com
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BOTTOM: FROM ESTATE OF THE ARTIST, PHOTO COURTESY ADDISON ROWE GALLERY, SANTA FE. TOP LEFT: COURTESY ADDISON ROWE GALLERY, SANTA FE. TOP RIGHT: GUY CROSS.
Untitled by Florence Pierce, sumi ink. Top left: Untitled by Emil Bisttram. Top right: Florence Pierce at work in her studio in the 1990s. Opposite: In Untitled by Ed Garman, 1942, geometric shapes are arranged to create a thought-provoking internal dynamic.
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she spilled some resin onto a sheet of aluminum and was transfixed by the resin’s translucent quality. She continued using this technique for the rest of her life, demonstrating the depth and complexity of Minimalism in her luminous creations. Colorado-born H.T. Pierce, for his part, achieved recognition for the 30 airbrushed watercolor studies he created for an animated film, Spiral Symphony, in 1939. Exhibited in 1940 at New York’s Museum of Modern Art, Lumpkins called the works “a real breakthrough,” and composer Leopold Stokowski created a score to accompany them. They brought the project to Disney Studios, which used several of the techniques in its film Fantasia. The last member to join the TPG was Ed Garman, who grew up in the coal country of eastern Pennsylvania. After graduating from high school in 1933, he moved west to escape the fetid air and enrolled at the University of New Mexico, where he was deeply affected by the area’s open spaces and magical light. Like Jonson, he studied theater design, developing an abstract style that used light and space to bring emphasis to the actors’ movements. He employed this same technique in his landscapes, still lifes, and portraits, finding new expression in abstraction. After reading Kandinsky’s book, he was further inspired, writing: “I realized how these theories heightened the direction I had chosen to investigate and develop toward the modern ideal in painting.” The TPG was successful in introducing people to abstraction and nonobjectivism, mounting shows at the 1939 New York World’s Fair and the Golden Gate International Exposition in San Francisco, and in 1940 at the Museum of NonObjective Painting (later called the Guggenheim). But that momentum was interrupted by America’s entry into World War II in 1941, and the group officially
disbanded in 1945 as the members dispersed. Yet despite the alliance’s small size, geographic isolation, and short lifespan, all the artists except for Walker, who died in 1940, went on to enjoy long and prolific careers while maintaining the philosophical underpinnings that had brought them together in the first place. The obscurity of the New Mexico art scene at the time notwithstanding, these were accomplished, well-respected artists whose talents brought them national and worldwide acclaim and helped to make abstract art more accessible to the masses. The TPG’s yearning for a purity of purpose and style yielded a stunning array of paintings, apolitical in content but responsive to the political zeitgeist of the time, with an energetic essence that did indeed transcend the stultifying conformity of the era and which remains relevant today. Although the group rarely painted
together, the camaraderie born of shared philosophy as well as the excitement of living on what was still the frontier bound them to one another in profound ways. The most important of these was their spiritual affinity and their belief that art could be a conduit to the divine, that the very act of creating it releases the power of the spirit and can change the world. By exploring that power through line, form, color, and light, they sought to transform the language of art and thereby restore the spiritual equilibrium that would heal society’s strife. In a world apparently gone mad, they strove to transcend the material realm, connecting with the oneness of spirit that underlay their philosophical approach to painting. Then, as now, divine truth as experienced through art functioned as a transformative force; the work of the Transcendental Painting Group offers us a pathway to understanding the universal force that unites us all. R trendmagazineglobal.com
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BY KATHRYN M DAVIS | PHOTOS BY PETER OGILVIE
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t age 89, Paul Sarkisian is as delighted with making art as he was when he first began some 70 years ago. His huge studio in a rural part of Santa Fe is loaded with works from nearly every phase of his long and highly regarded career: He transitioned from Abstract Expressionism to a more figurative Surrealism, and from there to a high Realism that rivals the trompe l’oeil techniques of the old masters, then on to turning small freehand drawings into huge wall constructions that look strikingly like giant puzzles. His current work includes the remaking of an old series of intensely colored monoprints he made by hand, adding collage elements to each unique print; he also has recently completed a series that involves a Xeroxing process on (mostly) black-and-white, monolithic panels. Meeting with Sarkisian at his studio, it is apparent that he is as absorbed now in the joys of combining color, shape, and line as any young art student. He remains an uncomplicated man who lives with family and makes art, seeming to understand on a deep level just how lucky he is to do what he loves with the people he loves. Paul Sarkisian knows how to live in the moment, but boy, does he have some history behind him! Born in Chicago, where he studied on a scholarship at the School of the Art Institute of Chicago, Sarkisian moved to Los Angeles in the 1950s. There he connected with one of the most important curators of that time and place, the brilliant Walter Hopps, who would go on to create “out-of-the-box” exhibitions for such esteemed organizations as the Whitney Museum of American Art, the Guggenheim, and the Venice Biennale. Sarkisian’s connection to Hopps led to exhibits of his work at the Ferus Gallery and the Pasadena Art Museum. Ferus closed in 1966 after a successful run of exhibitions that included works by Ed Ruscha, Jasper Johns, Roy Lichtenstein, and Andy Warhol’s iconic soup cans. (Just for fun, watch The Cool School, a documentary released in 2008 about Ferus and its bad-boy artists.) The Pasadena museum evolved into the internationally recognized Norton Simon in the 1970s—a time when artists could rent a warehouse space for a studio for well under $100 a month in Pasadena’s Old Town, where Sarkisian and his wife, Carol, also an accomplished artist, chose to settle. The event considered to have marked the beginning of the contemporary art scene in Los Angeles was the 1955 Santa Monica Pier show Action, of which Sarkisian was a part, along with Jay DeFeo and Craig Kauffman, among others. Sarkisian and his cohorts, chosen by a 23-year-old Hopps to show on the pier around a stationary carousel he’d rented for $80, brought
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L.A. had no avant-garde because it had no garde—no mighty, monolithic artistic establishment ruling the city’s cultural life. Twentieth-century art in Southern California varied from conservative to adventurous, the cautious to the inspired, but there was no aesthetic edifice to topple. The city was too young, too new, too much of a vast and indifferent sprawl for one cultural establishment to have a stranglehold. What emerged instead in postwar L.A. was an unorthodox iconoclasm. It recognized the wildness of individual personality and the social messiness of life . . . . 66
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This sense of “individual personality” would become increasingly urgent to Sarkisian as he explored numerous movements in art, from his early blackand-white Expressionist paintings in Action to teasing the figure out of the abstraction in a surrealist fashion to a version of photorealism called the New Realism, which brought him great success and admiration in the 1970s and ’80s. Yet he wouldn’t stop with that particular style of painting, either. Whatever it was that he was investigating, Sarkisian did it wholeheartedly, just as he continues to do today. Sarkisian remained in Pasadena until 1971, when the celebrated Clinton Adams of the University of New Mexico’s Tamarind Institute invited him to come to New Mexico and create a series of lithographs. Shortly after completing his work at Tamarind in Albuquerque, Paul, Carol, and their young son, Peter, moved to the little mining town of Cerrillos
southeast of Santa Fe. It’s easy to imagine the ebullient Paul and his family living in the old schoolhouse just outside of Cerrillos, roller-skating around the gymnasium with Georgia O’Keeffe to the “loud rock ‘n’ roll music” of the 1970s. As Sarkisian remembers, “Georgia was just Georgia. She made her character, which was very cultured in her early life, into her art. I was privileged to have her as a friend.” In fact, O’Keeffe trusted Sarkisian enough as an artist and friend that she once invited him to her studio in Abiquiú to help her attempt to resolve how she could continue painting despite her failing eyesight. Sarkisian told O’Keeffe that he wouldn’t guide her drawing hand, so they worked out a method that involved her making cutouts so that she could feel the shapes she wanted to create. Another friend of the family’s during that time was physicist Richard Feynman, who had been recruited to join the Manhattan Project in Los Alamos during
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the latest art to Southern California, akin to the New York School of Abstract Expressionism, which had only recently become known as “action painting.” Los Angeles Times arts critic Christopher Knight noted in an article published in 2011 about the Getty’s blockbuster series of exhibitions, Pacific Standard Time:
A large-scale wall construction of shaped, painted panels from a phase of works begun in the 1990s. Opposite: One of Sarkisian’s photorealistic “facade” paintings from the early 1970s. Previous spread: Paul Sarkisian in front of one of his “spoon paintings” holding a portrait of himself as a young man.
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people that we did in the ’70s. They were beautiful; they were wholesome.” He says that the earnestness and experimentation of the hippie period made them “very alert” to life itself. The artist took a more minimalist approach to his work beginning in the 1990s, as he began reducing carefully rendered objects to their mere shapes. The results comprise arresting, insistently contemporary wall panels with wide swaths of color and pattern painted in polymer resin and automotive enamel. As machined as they appear, they begin as free-hand pencil drawings. Sarkisian continues to work on these today. The evolution of Sarkisian’s artistic output was explored in 2005, when Louis Grachos guest-curated a masterful retrospective of his works at SITE Santa
Fe. This exhibition was the first museum presentation of the artist’s previous ten years of work in an antithetical new style, a Post-Minimalism that couldn’t have been more distant from his New Realism. Sarkisian had moved on from one end of the painting spectrum to another— hyperreal, large-scale work in gradations of black and white, often of architectural features. One of these was in the SITE show, the (Untitled) (El Paso) of 1971-72, a piece that dates back to the artist’s arrival in New Mexico. The El Paso piece remains in Sarkisian’s studio, a notable example of a drafting style that seems to go beyond everyday reality to a housefly’s view of the trappings of life. This monumental painting shows Sarkisian’s New Realist style, which would somehow evolve over a decade into the simplified yet monumental
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World War II. While in Los Angeles during the ’60s, Feynman had asked Sarkisian to teach him to draw. They would go to the “go-go” bars and sit in the back, drawing the girls who danced there. Son Peter, also an accomplished artist, recalls, “Feynman sought refuge among the artists, and my dad was one of his best friends.” Paul teased his son by saying that he and Feynman were at the go-go joints mostly to look at the girls, but told his wife that they were using them to practice drawing the human figure. Father and son remember the Nobel-winning scientist sitting on the kitchen floor of their home in Pasadena, playing bongos during their many house parties. “He was shaking his head and saliva was flying everywhere, just like a Saint Bernard! He was so passionate.” Sarkisian adds, “We were lucky to know the nice
A recent untitled “rainbow” wall construction in Sarkisian’s studio. Opposite: His blue wall construction on display at SITE Santa Fe in 2005.
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treatment was so realistic that auctioneers and other experts often believed that they were looking at found objects—folded newspapers, color swatches, bits of screen, and the like—under glass. These days, a visit to his studio reveals that Sarkisian’s energy has hardly flagged. A wiry dynamo, he zigs and zags his way through his huge, cluttered workroom like a bird in a tree. At one point, he holds
a vivid fuchsia shape against a sparking panel of mustard yellow and exclaims, “Look at that! Now, that’s art!” He enjoys bantering with visitors by telling them just how much of a genius he is, and it’s easy to agree with him. Since the early 2000s, Sarkisian has returned to a basic exploration of color, form, and line. At the same time, he is enjoying a series of mostly black-and-
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installations that many of his fans are familiar with—large-scale structural paintings that incorporate shaped panels, tinted resin, and industrial enamel. Before that period, Sarkisian’s presence was a must in practically every photorealist exhibition in the world, with each painting taking roughly two years to complete because of their enormous size and phenomenal detail. His trompe l’oeil
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A nearly monochromatic wall construction at SITE Santa Fe in 2005. Top: A detail of one of his puzzle-piece constructions. Opposite: A trompe l’oeil painting made to look like a collage. Previous spread: Sarkisian in his studio. The trompe l’oeil painting on the far wall is from the New Realism series Sarkisian created in the 1970s.
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Sarkisian’s highly machined-looking installations begin as freehand drawings. Top: A Surrealist painting presages his New Realism. Opposite: Sarkisian’s studio, where he currently is reformatting vibrant monoprints into collages. The (Untitled) (El Paso) painting on the wall was in SITE Santa Fe’s exhibition of 2005.
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An installation view of Sarkisian’s exhibition at SITE Santa Fe. Opposite: Surrealist nudes in a quasi-Western scene.
white paintings that he calls the “spoon paintings,” after a large panel composed of images of spoons. The technical term for the photocopy process he uses is xerography, in which toner (or, literally, tones of color) is fused onto paper that is mounted on panels. Santa Fe–based gallerist Charlotte Jackson was particularly taken with Sarkisian’s art. She says that she had “admired Paul Sarkisian’s work for many years, ever since seeing the major exhibition at SITE Santa Fe. I had known his name, but to see the breadth of work in that exhibition in that space was just amazing.” She discussed representing him, but he wasn’t ready to commit to a new gallery since leaving New York City’s Nancy Hoffman Gallery in 1981. Meanwhile, he continued to keep works for sale at longtime
friend Linda Durham’s galleries. Jackson’s interest in showing his work never faded, however, and she approached him again recently about letting her represent him. “About a year ago, I asked again, and this time there was serious consideration on his part. Paul and son Peter came to see me and talked about starting small with a handful of works in an upcoming show, and we have been going strong ever since. Over the last seven or eight months I have featured one of his larger works in each of the many group exhibits I have been doing. As a matter of fact, having his work in the gallery has been the anchor for me in creating these powerful group exhibitions.” Sarkisian continues to work on a series of monoprints—remarkably bright for that medium—that he made on his own
printer in the late ’80s. He is reviving them, adding various collage elements and transforming them into something he clearly relishes. The viewer can discern how the earlier trompe l’oeil newspaper bits of his monolithic New Realist paintings have merged into uncomplicated forms whose brilliance is enhanced by automotive paint and glitter. These prints are extraordinarily high-energy compositions. A vibrancy and enthusiasm emanates from them as some 30-plus prints lie on his studio floor. Sarkisian notes that he likes to make the pieces “fight,” as each artwork struggles to emerge victorious over all the others amid the multitude of tensions between them. When asked what he’s been doing lately, the artist replies, “It’s unbelievable! I’m doing more than ever!” He adds, slyly, “You’re looking at good art.” R trendmagazineglobal.com
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A home by Albuquerque architect Graham Hogan was designed for aging in place
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IN SITU BY GUSSIE FAUNTLEROY | PHOTOS BY KATE RUSSELL
t’s possible to have a series of dream homes, one after another, since dreams change over time. But there can be only one “dream-come-true” home, the one you want to remain in for the rest of your years on Earth, according to a retired professional couple who enlisted architect Graham Hogan to design and build them such a home. For Hogan, president of the Albuquerque firm Studio GP, the project combined a Modernist aesthetic, sustainable building principles, and elements from a field that is poised to grow exponentially in the coming years: practical and beautiful designs for aging in place. Designing the Santa Fe–area home—Hogan’s first residential project through his own firm—opened a new chapter in the 49-year-old architect’s career after almost two decades on the team of internationally acclaimed Antoine Predock of Albuquerque. As a senior associate under Predock, Hogan headed up major residential, public, and commercial design-build projects. Among
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them: homes in New Mexico and Colorado, the Cornerstone Art Center for Colorado College in Colorado Springs, the School of Architecture and Planning at the University of New Mexico, and the $351 million Canadian Museum for Human Rights in Winnipeg, Manitoba, a commission Predock earned through an international design competition involving architects from 64 countries. The homeowners became familiar with Hogan some years ago when Predock designed and built their previous Santa Fe dream home after they retired to New Mexico from the East Coast. They were drawn to the younger architect’s genial manner, and they knew Hogan’s aesthetic was aligned with their own. They also believed he was well suited to taking on the multilayered challenges involved in creating their final home. Among other things, this house needed to express contemporary, minimalist beauty in an environmentally conscious, energy-efficient manner. It needed to
Inspired by the long sightlines through layers of interior doorways in Chaco Canyon’s stone structures, architect Graham Hogan recreated that look in this home. The design also reflects the homeowners’ desire to avoid corridor hallways.
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incorporate amenities the couple has long desired—like a Finnishstyle sauna and an outdoor shower—and feature display space for their extensive collection of ancient Asian ceramics and other art. Most important for the independent-minded couple, both in their mid-70s at the time, the home needed to anticipate the inevitable physical limitations and psychological changes that come with growing old. The son of a builder, Hogan was raised in a mountain community west of Boulder. He developed a fascination with structures and architecture as a boy while watching his father design and build the two houses in which he grew up. His inclination for creative thinking was also influenced by his mother, an artist who served as curator at a Denver-area art center. “I always had a clear direction, always a focus on architecture,” Hogan says. At the University of Colorado in Boulder he earned a bachelor’s degree in environmental design through the school’s architecture program. Following graduation, he lived for a few years in Seattle and worked for Dutch designer-builder Hendrikus Schraven. (Hogan later found out that he shares his June 24 birthday with Schraven, Predock, and Albuquerque architect Bart Prince—apparently an auspicious date for the birth of architects.) Ready to return to the Rocky Mountain region and seeking a graduate program with a strong emphasis on sustainable design, Hogan moved to Albuquerque and earned a Master of Architecture degree from UNM. While completing his thesis he was hired by Predock, an AIA Gold Medal winner also recognized with a New Mexico Governor’s Award for Excellence in the Arts and a Lifetime Achievement Award from the Cooper-Hewitt National Design Museum, among other honors. Hogan soon advanced to increasingly complex assignments within the firm. “He’s a strong thinker and was a quick learner, hard worker, and very
dedicated,” Predock says of Hogan’s years on the team. In 2000 Hogan became an associate, and toward the end of his time with the firm was heavily involved in the multi-year Canadian Museum for Human Rights project. In 2013, with the Canadian project completed, Hogan was approached by the retired professional couple whose Santa Fe home Predock had designed and built. They wanted to know if Hogan could take on their final dream home. It was the right nudge at the right time for the younger architect. “They gave me the ability to step right into it,” he says. “I left Predock and started their project the next day.” For his part, Predock was pleased to see Hogan spreading his wings. “He has true passion about architecture. He’s a real believer, and that’s a very rare trait in an architect,” Predock says. In founding Studio GP, Hogan teamed up with architect Paul Fehlau, who previously served as an executive senior associate under Predock. The downtown Albuquerque firm currently has a staff of four or five, depending on what’s in the hopper at any given moment. Since completion of the Santa Fe dream-come-true home, their projects have included residences in New Mexico and Colorado and a mandala-inspired Tibetan Buddhist temple (not yet built) at its Zuni Mountain retreat near Grants, among other projects. Having shepherded major Predock projects from the conceptual stage through completion, Hogan and Fehlau had the tools to dive quickly into a wide range of endeavors. Along with learning from Predock himself, they were able to broaden their vision by working with diverse architects from around the world, from China to Qatar. For Hogan, bringing those skills back to the Southwest and designing structures that relate intrinsically to a sense of place are among the most meaningful aspects of the work, he says. “One
Left: While one side of the home is tucked into the earth, generous, well-placed windows balance that anchored feeling with an expansive sense of distance and sky. Right: An open flow between rooms, smooth but not slippery floors, and a single-level layout optimize the home for ease, enjoyment, and accessibility as the owners age. Opposite: Interior and exterior rammed-earth walls create a feeling of solidity and permanence that add to the home’s comforting serenity. trendmagazineglobal.com
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The home’s peaceful vibe is enhanced by the art, in this case a classic bronze Buddha and monk from the late 19th/early 20th century portion of Thailand’s Bangkok Period. Opposite: A rare hand-colored woodblock print of the Japanese Buddhist deity Monju, by artist and Japanese National Treasure Shiko Munakata, holds an honored spot above the fireplace. On the hearth sits a trio of organically shaped washi paper lamps by Kyoto lamp artist Eriko Horiki.
thing I really admire about Antoine and which we embody in our work: He would always say we need our projects to connect to the deep time of the site. That means the geology of the site before humans, and the first early cultural influences—how did they build and work with the site?” The site for this the couple’s final dream home was a low alluvial ridgetop eroded over millennia by water flows from the nearby Sangre de Cristo Mountains. Drawing on the region’s centuries-old practice of building with indigenous materials, Hogan decided to use rammed earth for the east- and west-facing walls, as well as the interior walls. He called on master rammedearth builder Mike Sims, whose team produced the strong-lined walls and finished them with a subtle visual pattern that left the surface physically smooth. One side of the 4,981-square-foot home is notched into the ridgeline, as if emerging organically from the earth, and both sides offer expansive views. The roof and end walls are clad in zinc, a corrosion-resistant, low-
maintenance material analogous to traditional Northern New Mexico pitched metal roofs. “We used a simple material palette—rammed earth, wood, glass. I’m a big fan of clean lines and honest use of materials,” Hogan says. The zinc’s matte-gray color complements the silvery hues of the landscape’s sage branches, cholla skeletons, and juniper bark, while the folded roof planes echo the shapes of the hills and mountains beyond. The architect borrowed from the aesthetic of masonry structures at Chaco Canyon in creating a long sightline through interior doorways that open one beyond the other. “It makes a wonderful sort of cadence as you move from space to space,” he says. For the homeowners, the choice of materials and design also translated into something intangible yet essential at this stage in their lives: a feeling of being enfolded, protected, and rooted in the sheltering earth. “We told Graham we needed a place that’s safe—and not just physically safe, as in no slippery floors. We trendmagazineglobal.com
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Longtime collectors, the couple wanted a home where their extensive collection of ceramic art, including ancient Chinese and Japanese pottery and rare Japanese prints, couldwas be displayed and The home designed to showcase the owners’ extensive colenjoyed. lection of ceramic art, which ranges from pottery of the Chinese 84
Han Dynasty (second century AD) to work by Japanese National Treasure Tatsuzo Shimaoka, an assortment by American potter TREND 2017 and Pueblo and Navajo pottery. WarrenSummer MacKenzie,
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An Asian aesthetic and mid-century modern furniture combine to produce a quiet, comfortable atmosphere in the master bedroom. The white oak chest and cabinet are by architect and designer Charles Webb of Cambridge, Massachusetts. They are flanked by Billy Baldwin slipper chairs, one adorned with a late 19th-century throne cover from the Forbidden City in Beijing. A late 19th-century Joseon dynasty Korean “moon jar� takes center stage. Left: The meditation room, with a tatami floor of woven igusa grass from Japan, contains only a simple low table and four indigo-dyed hemp cushions by Ippigiya, the traditional purveyor of meditation cushions for Kyoto temples. Opposite: Rammed earth provides a striking backdrop for a 200-year-old Korean chest and modern Korean ceramic pot.
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Albuquerque-based architect Graham Hogan. Opposite: The east-facing “sunset deck” allows the owners to enjoy alpenglow on the Sangre de Cristos while relaxing to the sounds of a water feature designed by Hogan. Top: A freestanding Finnish sauna on one of the decks received an authentic touch—the artisan who built it happened to be of Finnish ancestry. An outdoor shower allows for a quick but private cool-down after enjoying the sauna or walking the dog on a hot day.
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also needed the psychological effect of feeling sheltered, because we’re more vulnerable as we get older,” the wife explains. A full year into living in the house, the couple says this need is being beautifully met. “We just feel anchored and safe.” At the same time, the generous sizing and placement of windows visually melds indoors and outdoors into what the wife describes as a “very pure space.” Reflecting the home’s Asian-inspired character, another interior space that is both closely contained and open to the sky is a small meditation room with a center skylight and Japanese-made igusa grass tatami on the floor. Paradoxically, the wife says, despite being so filled with light, the ascetically furnished room offers a womblike embrace. For an opposite, purely open-air experience, after walking the dog, for instance, the wife can step into the outdoor shower to cool down and then dry off on one of the decks. In chilly weather the homeowners enjoy a freestanding Finnish-style sauna of recycled wood. Among the home’s other thoughtfully conceived outdoor living spaces is an east-facing “sunset deck.” Because the evening sun can be overly intense facing west, the homeowners wanted a place to relax and enjoy the alpenglow, the sunset spreading its “blood of Christ” colors across the mountains to the east. As the wife relates, “Every night in summer we have a ceremony of having a drink and looking toward the Sangres at sunset. We sit there until darkness falls and listen to the water, watching the sky change and letting the desert silence hug us.” The watery sounds are produced by a custom water feature of Hogan’s design, a minimalist fountain
of ten upward-facing spigots controlled by a rheostat so that the rising columns of water can sound like a gentle trickle or a noisy waterfall. While the home allows the senses to be bathed in beauty, its more unobtrusive, almost invisible qualities are what make it possible for the couple to remain there through their elder years. Aside from being on a single level with wide doorways to accommodate an unsteady gait or a wheelchair, other details provide literal support for aging. In the master bedroom, for example, the custom, built-in bed is low to the floor and features a short but sturdy oak grip bar that lifts up and locks in place and can be lowered back into the headboard when not in use. Throughout the house, doors have easy-open levers rather than knobs. The bathrooms feature a special Japanese toilet whose lid lifts itself—“kind of spooky,” the wife laughs—and Danish-made grab bars with a graceful beauty that disguises their purpose. Even lighting and acoustics were designed for older eyes and ears. “My personal crusade is for aging in place, and that’s not well developed yet in domestic architecture,” says the wife, who describes herself and her husband as longtime architecture junkies. “The challenge is to not make it look like a nursing home.” Adds Hogan: “We had discussions about every aspect of how this house will work as the owners get older. I learned a lot about aging. You learn so much from every project.” One area where Hogan brought significant experience to the
table was that of sustainable design. The two-foot-thick rammedearth walls not only create a sense of solidity, permanence, and weight that feels sheltering and serene but they also provide mass to retain heat or coolness and keep the interior comfortable throughout the year. A highly efficient radiant floor heating and cooling system uses a closed-loop heat exchange to pull warmth inside in winter from a single solar panel, and release heat to the outside in summer. The multi-pitched roof funnels rainwater through concealed gutters and into two 5,000-gallon underground cisterns for outdoor watering. Hogan also created the landscape design, collaborating with local professionals to select climateappropriate plants that visually complement the surrounding environment. An ancient Sanskrit poem honoring the morning with salutations to the sunrise is inscribed on a plaque on the home’s east-facing bedroom deck. During the groundbreaking, the couple had Hogan read the poem aloud. Its 2,500-year-old wisdom includes a line the couple tries to keep in mind as they move into their octogenarian years: Each day contains all the verities and realities of life. Because those realities include different kinds of challenges in older age, the ultimate home should continually optimize one’s ability to meet them, the wife says. “We told Graham the overall purpose for us with this house is to be able to face each day with energy and optimism. There has to be a partnership between us and the house each moment of the day.” R studiogpllc.com trendmagazineglobal.com
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BY CHRISTINA PROCTER
| PHOTOGRAPHS BY KATE RUSSELL
BOOM TOWN A new complex in the Siler Road neighborhood will provide rentals and a maker space for creatives
When Hector Garcia left Juárez, Mexico, at age 13, he was making three dollars a week, one of which he’d spend on an English class. He crossed the border alone with high hopes and reached Santa Fe, where he lived at the Boys and Girls Club and soon got citizenship—but he never dreamed that someday he’d run Aztec Upholstery and become the city’s main supplier to high-end interior designers. w Garcia’s shop is located next to Java Joe’s off Siler Road, and his is just one of the industrial area’s many success stories. Garcia and his apprentices make the pieces that end up in Parade of Homes and ShowHouse Santa Fe each year, but this is nothing unusual in a neighborhood of makers. Next door, brothers Jorge and Rodrigo of Rodriguez Woodworks have made custom cabinetry for hotels and homes for 20 years. w “I love this neighborhood,” says Garcia, who built his career by plying the skills he learned making furniture and leather working with his father and grandfather. “At the body shop that used to be across the street from me, that guy gave me my first opportunity.” 90
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hat makes a neighborhood great? Those involved in planning the Siler Road affordable live-work apartments for creatives have been asking the question about this area of Santa Fe for years. In 2018, the dirt piles of an empty city lot will be replaced with the carefully designed Siler Yard Arts and Creativity Center (ACC), where makers of all genres will cohabit in affordable rental units designed to maximize their crafts. They’ll also have access, along with the rest of the neighborhood, to a maker space with the latest industry tools. The district, which extends along Siler Road between Agua Fria and Cerrillos and incorporates Rufina Street, has long been known for its industrial production, cheap rent, and affable commercial neighbors. The abundance of trade shops has formed the underpinning of the city and contributed to its style—not to mention providing paint jobs for its more fetching lowriders. Musicians, curators, and artists, along with technicians and tinkerers, are taking advantage of the economical accommodations and “anything goes” nature of the neighborhood, and they’re growing in numbers.
“One of the reasons I believe in this project is that it’s happening at the right time in the right place,” says Trey Jordan, one of the architects on ACC’s design team. “It’s not ‘build it and they’ll come.’ It’s ‘build it because they’re already there.’ ” This growth began long before Meow Wolf started making millions out of a formerly derelict bowling alley on Rufina Circle, back when the group was throwing house parMetal artist and sound ties and taking part in an underground savant Peter Joseph has arts scene that gave rise to venues like worked in the area for Radical Abacus, Ghost, and, more recentyears, producing multily, Fresh Santa Fe, run by architect and media installations that are exhibited internationartist Gregory Waits. Bucking the trends ally. Opposite: Joseph’s of Santa Fe’s traditional art markets and studio also houses an rising tourist prices, the area’s vigorous expansive metal shop. DIY scene has drawn attention to a wider creative market among the stonemasons, metalsmiths, and other makers who have shared their skills and networked among themselves for decades. Artists have long staked a claim in the area, among them blue-chip painter Paul Shapiro, sculptor Paul Bloch, trendmagazineglobal.com
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Hector Garcia founded Aztec Upholstery, which has been a hub for the city’s top interior designers for decades. Opposite, from left: Angelo Valencia, Reymundo Ochoa, and Efran Valencia of Angelo’s Auto Care and Repair shop on Rufina Street.
and metal designer Peter Joseph. At artist August Muth’s holography studio, apprentices come from all over the world to train with a master. “It’s really the center of the city,” says Zane Fischer, founder of MAKE Santa Fe, a nonprofit community workspace where people can access tools, resources, and workshops to help them realize their creative projects. “That’s not only true geographically and by population density, but it’s the heart and soul, where the real making has been going on since the ’60s.” Creative Santa Fe, an arts organization that works to strengthen the creative economy through collaborative projects, began investigating how to tackle community development in response to an economic study that identified the city at the top of the nation’s art markets, with $1.1 billion moving through annually. And yet, says director Cyndi Conn, “no one in our community was actively leading an affordable housing project for creative individuals to ensure this group’s long-term sustainability.” Meanwhile, explains housing consultant Daniel Werwath, the 92
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city has experienced a housing crisis, with rents rising unchecked and affordable rental projects repeatedly squashed by neighborhood associations. “Without affordable rental housing,” he says, “the city’s development will drive out the diversity we’re known for, and leave in its stead a retirement wasteland.” Creative Santa Fe called in experts from Artspace, a leading developer of affordable housing for artists, to conduct a feasibility study. The nonprofit, which has initiated 46 live-work projects across the country, confirmed the city’s dire need for something similar. When the City Council voted unanimously to donate a five-acre parcel of land worth $1.2 million, the project became viable. Creative Santa Fe then released a request for proposals to select a local developer. New Mexico Inter-Faith Housing (NMIF) was chosen, with chief operative officer Werwath at the helm. Creative Santa Fe and NMIF ran a competition to select a a design team of architects. “We’re hoping to create this ecosystem where it’s not just about low-cost space to be creative, but also being co-located with all these
Garcia and his apprentices make the pieces that end up in Parade of Homes and ShowHouse Santa Fe each year, but this is nothing unusual in a neighborhood of makers.
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TOP AND BOTTOM: COURTESY OF ATKIN OLSHIN SCHADE ARCHITECTS, TREY JORDAN ARCHITECTURE, DA SILVA ARCHITECTURE, AND SURROUNDINGS.
The Arts and Creativity Center’s west-facing entry. Center: Architects and designers of the project include, from left: Miguel da Silva, Sandra Donner, Tushita Vavas, Trey Jordan, Will Iadevaia, Shawn Evans, Garron Yepa, and Miriam Diddy. Bottom: An aerial view of the ACC site.
Members of the ACC outreach team include designers, artists, and other makers gathered by affordable housing consultant Daniel Werwath (front left). Top: Creative Santa Fe director Cyndi Conn (center) and board chairman Bill Miller (right) rallied groups around the city’s affordable rental housing crisis, receiving unanimous support for a land donation from the City Council and Mayor Javier Gonzales (left). trendmagazineglobal.com
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The neighborhood’s many converted industrial spaces are home to such wonders as those chiseled in marble by sculptor Paul Bloch, whose work is influenced by jazz and more than a decade of work and study in Italy. trendmagazineglobal.com
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other creative people,” says Werwath. “Thrown into the pot are resources that make new tools and technologies available, coupled with courses that help people become more economically vibrant in their practices.” The complex includes a shared resources space that will house MAKE Santa Fe (currently located around the block), where anyone can become a member and gain access to tools like an industrial sewing machine, a laser cutter, a 3-D printer, a plasma cutter, and a CNC router. The ACC’s 60 units will primarily target low-income tenants, renting for somewhere between $363 and $606 a month. But this project cannot solve the city’s rental housing crisis by itself. “There should be air-raid sirens going off right now with the statistics,” warns Werwath, citing the city’s latest housing needs assessment, which concluded that 3,000 additional units of affordable rental housing are needed just to meet today’s demands. With a miniscule vacancy rate, waiting lists for affordable rentals are dauntingly long. On top of that, says Werwath, the past two years saw doubledigit increases in rents across the city, with a 13 percent increase in 2016 and a ten percent increase in 2015, leaving the puzzled and dwindling population with a near 25 percent rent inflation. “It’s at a crisis point,” he concludes. Fortunately, he says, the ACC is one of two affordable rental projects approved by the city this year, a 98
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signal to developers that there’s support for a new direction. The ACC requires that tenant selection reflect the diversity of the low-income sector, not of the entire population, thus avoiding the mistake made by some well-intentioned affordable projects. “The area is under a bunch of unique gentrification pressures that are really serious,” admits Werwath. “It’s no longer the edge of town, and when other places are so restrictive, it makes this area precious.” Securing affordable rental space there is a proactive measure against the dangers of gentrification, he explains, and he hopes the ACC becomes a model for what the city can do with other swaths of unused land. The units are designed for flexible use, with north- and southfacing windows that take in the northern light desired by painters and maximize energy efficiency. A central spine of greenery will connect the complex, with units situated to promote interaction among the residents, explains Shawn Evans of AOS Architects, known for affordable housing and community development projects. Jordan says the team aims to leave the design open to whatever character the community takes on. Much of the exterior walls of the buildings, for instance, are reserved for mural or projection work to be curated by residents. “This is going to be a place that, like the neighborhood, is loud
Metal artist Diego Velรกzquez crafts custom commercial and art pieces at Santa Fe Metal Design on Siler Lane. Opposite: Blacksmith, woodworker, and Spanish Colonial artist Rene Zamora has designed many of the doors and gates found throughout Santa Fe. trendmagazineglobal.com 99
Will Wood designs custom furniture elements at Ironwood Forge on Trades West Road. Top, from left: MAKE Santa Fe regulars include artists Cia Thorne, Anaid Garcia, and Katrina Mendoza. Opposite: Tools of the trade at Ironwood Forge and other smith shops in the neighborhood. 100 TREND Summer 2017
“Without affordable rental housing the city’s development will drive out the diversity we’re known for, and leave in its stead a retirement wasteland.”
Artist Michael Freed of Offroad Productions hosts quarterly curated shows in his Trades West Road studio.
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and messy and permissive,” says Evans. “This is part of a movement to recognize the cultural and economic diversity of this town, to position this place and these people as the real makers of the future of Santa Fe.” “What makes this project so successful is the outreach they’ve done,” says Heidi Zimmer of Artspace. Of concern to organizers, however, are other livework projects that sank like lead balloons in other cities, likely due to failed outreach. “It’s not easy,” says Werwath. “It’s always the same dozen people who show up at meetings, and they’re not the people you’re trying to serve.” But when Creative Santa Fe won a National Endowment for the Arts grant to fund outreach, Werwath pulled together a team to tap into the city’s creative groups to determine what diverse makers want and need. “We’re working with artists from different subsections of the community and saying, ‘Here’s the funding, here’s the information we want to gather. Let’s work together to produce events that reach your constituencies.’ ” Such events include last year’s lowrider festival hosted by Enchanted Expressions Car Club and organized by lowrider aficionada Justice Lovato, whose family owns a car shop across the street from the ACC plot. With increasing access to shared tools and potential collaborations, there’s no telling what tinkerers will do. When sought-after auto artist Carlos Muñoz checked out MAKE Santa Fe, he started thinking about how his business could use a laser cutter to create patterns for stencils to paint cars. Project organizers express faith that they can represent and amplify the neighborhood’s strengths. “We’re giving the city a platform to be larger problem solvers and create a pilot project,” says Conn. “We want to show the world that this is replicable, and that true collaboration is always better.” Flux and development remain the area norm. While some people keep to themselves in refurbished warehouse studios, others start new businesses, like Christian Moreno, who teamed up with Adam Griego to start Honest Automotive. A typical cluster forms where Trades West Cabinet Shop shares a complex with painter and curator Michael Freed, who leases space on either side of his building to metal artist Adam Rosen of Metal Mogul and painter John Vokoun, who does printing and pre-press at Fire Dragon Color. Nearby, thousands of participants have practiced circus arts at Wise Fool, trendmagazineglobal.com 103
Multimedia artists Crockett Bodelson (left) and Sandra Wang of SCUBA have recently taken up residence in the area. Opposite: Lowrider guru Justice Lovato organized a festival for ACC’s outreach last year.
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and while Diego Velázquez at Santa Fe Metal Clad smiths elements for contemporary design around town, dozens of other makers toil at their trades. Back at Aztec Upholstery, Garcia marvels at his good fortune. “I don’t know why they come for me,” says the go-to consultant for carpenters and designers. “I think it’s because I’m interested in making the industry better. The style, comfort, and quality have to get better every time in order for us to be content with ourselves.” At this point, Garcia feels obligated to pass on his skills. He teaches with Delancey Street Foundation, which provides workforce training to former substance abusers, ex-convicts, and others in need. He’s trained workers in San Juan Pueblo and even San Francisco, where participants were inspired to open an upholstery shop after his weeklong visit. Across the street is longtime resident Ed Crist, who sculpts and does auto welding, along with recent neighborhood additions Sandra Wang and Crockett Bodelson. The artist duo bought their warehouse after finding that a rental downtown provided little foot traffic to their gallery space. Wang has set up a communal ceramics studio there with two kilns, a pottery wheel, and a separate room for glazing. “It takes a
lot of effort for ceramic artists to collect all that expensive equipment,” she says. “When you have that, it almost feels like [you have] an obligation to share.” Wang is pleased to hear about the incoming ACC space, which she thinks will further the area’s creativity. “We had to look to the Siler area to find more affordable studio space, and we feel more at home now. We’re around other artists, people who understand what we’re doing—and nobody cares if we’re playing loud music or having an event.” Wang does express caution about expansion. “It’s exciting to hear about things coming in, like a grocery store or a restaurant, but you have to consider the impact, and how that can price out families who have been here for a long time,” she says. “Crockett and I always try to keep a DIY status, keep things low-key. We want to contribute to the creative community, but we want to do it responsibly.” Her one complaint? “We need more women. It’s a bunch of dudes around here.” R Select photos in the article come from a project commissioned by Creative Santa Fe as part of the outreach and design process for Siler Yard, which was supported by a National Endowment for the Arts grant. trendmagazineglobal.com 105
“Coyote” • 16" x 20" • Acrylic
“San Francisco de Asis Church” • 24" x 30" • Acrylic
“Alpha Buffalo” • 16" x 20" • Acrylic
“Wolf Running Through Hell or High Water” • 30" x 40" • Acrylic
JOHN NIETO A LIVING LEGEND • Original acrylics, drawings, serigraphs, giclées, posters & book
The distinction of being a premier colorist with a lifetime of extraordinary achievements qualifies John Nieto as a living legend. A sampling of his honors includes exhibiting at Le Salon des Nations, Paris, France, and in a solo show at Tokyo’s Axis Gallery, accompanied by a hardbound, Japanese language book. Among Nieto’s countless commissions are the Winter Olympics in 2002, Salt Lake City, Utah, and in 2006, Torino, Italy, both of which are documented in his lavishly illustrated book, John Nieto: Forces of Color and Spirit. With artworks found in more than 20 major museum and public collections and in private collections worldwide, Nieto’s paintings are an investment in American art history. At Ventana Fine Art, we are proud to have hosted 31 solo exhibitions for this living legend.
VENTANA FINE ART 400 Canyon Road
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Santa Fe, NM 87501
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505-983-8815
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800-746-8815
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www.ventanafineart.com
“Red Bear” • 30" x 24" • Acrylic
JOHN NIETO AN AMERICAN ICON • Friday, August 18, 2017 • 5 to 7pm
VENTANA FINE ART 400 Canyon Road
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Santa Fe, NM 87501
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505-983-8815
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800-746-8815
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www.ventanafineart.com
LA MESA OF SANTA FE
225 Canyon Road • Santa Fe NM 505-984-1688 • lamesaofsantafe.com
Suzanne Betz Christopher Thomson
Gregory Lomayesva
Richard Mole and Christopher Thomson
Melissa Haid
Handcrafted dinnerware, pottery, glass art, lighting, furniture, and fine art by more than fifty contemporary artists.
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Karen Melfi Collection jewelry and small sculpture
K
aren Melfi has a long and distinguished history as a shop owner and jewelry designer. Her gallery has proudly been doing business in the same location for more than 28
years. Our gallery is devoted to showcasing the work of local artisans, as well as featuring collections by artists from across the US. Each piece reflects the natural beauty and atmosphere of Santa Fe, creating a one-of-a-kind aesthetic that makes a beautiful addition to any jewelry box in a wide range of price points. We provide an intimate setting where our guests can receive our devoted time and attention. KMC specializes in Natural Color Diamonds, fea-
225 Canyon Road, Suite 2, Santa Fe (505) 982-3032 | karenmelficollection.com
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Debrianna Mansini, owner Karen Melfi, and Patrice Ray at Karen Melfi Collection of Santa Fe
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La Mesa of Santa Fe artists & galleries
W
andering into La Mesa of Santa Fe, it’s hard to know where to rest your eyes. Colorful groupings are everywhere, made up of beautifully designed, handcrafted
items for the home: pottery, glass, furniture, weavings, art, and wonderful outdoor sculptures. “It’s a gallery that defies definition,” says Mary Larson, who opened the store with partners in 1982, and has been sole owner for the past 30 years. Drawn in by color, customers are often tempted to purchase an entire arrangement. “There are few other galleries showing this variety of mediums by mostly local artists,” Larson adds, which is likely why the gallery draws its share of new and repeat clients. Once they are able to focus, customers often find much of the art fits any style home—in any location.
225 Canyon Road, Santa Fe (505) 984-1688 | lamesaofsantafe.com
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Owner Mary Larson and Pamela Romero at La Mesa of Santa Fe
Photography by Wendy McEahern
KAREN MELFI collection
225 Canyon Road Santa Fe, New Mexico 505.982.3032 karenmelďŹ collection.com
DANIEL PHILL
Terete
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OWEN CONTEMPORARY 225 Canyon Road • Santa Fe NM 87501 • 505.820.0807 • owencontemporary.com • art@owencontemporary.com
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225 Canyon Road • Santa Fe NM 87501 • 505.820.0807 • owencontemporary.com • art@owencontemporary.com
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Owen Contemporary artists and galleries
T
im Owen believes there’s much to be said for a repertoire that’s narrow and deep, rather than shallow and wide. Carrying just 12 artists in two genres—landscape and
abstract—the gallery formerly known as Karan Ruhlen has been deepening its expertise for two decades. “You get to know them just like family,” he says of the gallery’s artists. About half of the three sculptors and nine painters work in the local area, and Owen himself has been part of the family since he finished a degree in gallery management 14 years ago. As an additional service to assist clients with their selection, he will digitally place artworks into images of their space. “Our goal is for the collector to purchase a piece that they’ll love and cherish for a long time,” he says.
225 Canyon Road, Suite 18, Santa Fe (505) 820-0807 | owencontemporary.com
Owner Tim Owen at Owen Contemporary of Santa Fe
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Dancing Ladies de Santa Fe
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fashion & accessories
ancing Ladies de Santa Fe began 14 years ago after owner Cass Schuck settled in Santa Fe following 20 years in Southeast Asia. There she had visited hill tribes and collected
handspun, handwoven, richly embroidered textiles, which she transformed into gorgeous clothing of her own design. Her stylish creations honor the beauty, intricate artistry, and cultural expression the tribal women weave into their textiles, which incorporate hand-drawn, waxresist batik cloth and hand-dyed cotton and silk embroidery. Cass also designs elegant, sumptuous jackets and tunics fashioned from antique, museum-quality textiles. Visitors to Dancing Ladies encounter a dramatic array of colors and a wide selection of hemp jackets, shirts, and smocks, as well as jewelry, accessories, men’s clothing, and other art-to-wear clothing. “Originally, the finest textiles were all made by women for men,” Cass points out. “Now these textiles are remade by women, for women. It’s about time!”
225 Canyon Road, Suite 3, Santa Fe (505) 988-1100 | dancing-ladies.com
116 TREND Summer 2017
Dancing Ladies de Santa Fe store interior
Dancing Ladies
JIM ARNDT, PARASOL PRODUCTIONS
exquisite wearable textiles
225 CANYON ROAD, SUITE 3, SANTA FE, NM 505.988.1100 DANCING-LADIES.COM DANCINGLADIESDSF@QUEST.NET
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GVG Contemporary artists & galleries
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T
he spare, elegant space of GVG Contemporary off Canyon Road is like an oasis for the eyes and soul. “Every day we hear people say, ‘Oh good—it’s really clean, simple, and calming,’”
Blair Vaughn-Gruler says of the gallery she opened in 2009 with husband and fellow artist Ernst Gruler. The two knew from the start that they didn’t want to try to be all things to all people. When they relocated to Santa Fe from Sedona, they decided to open a gallery that focused on their work and shared vision, which Blair describes as “side by side, on parallel journeys.” The other artists represented by the gallery are likewise longtime associates who engage with “the materiality of what we’re working with,” Blair says. “That’s a niche we’ve carved out for ourselves.” Ernst Gruler is a furniture artist, metal sculptor, and painter of moody-hued abstractions, while Blair is an abstract painter of a noticeably more ethereal timbre. Yet they knew when they met 27 years ago that they shared something essential in common. Today, sharing a business, studios, a marriage, and two sons, their partnership radiates a flexible strength that is palpable upon entering the clear, modern space that is GVG. “There is a lot of super saturated and wildly expressive art out there these days,” Blair says. “We’re the antithesis of that.” And because it is a space so carefully curated, GVG has a clarity of focus that immediately attracts those tuned to their channel—which turns out to include the couple’s two grown sons. Now artists in their 30s who both wound up in Santa Fe, they joined the cuttingedge multimedia art collective known as Meow Wolf. “So many people say you can’t make it as an artist,” says Blair, “but it can be done.” The proof is in the solid success of GVG Contemporary, which has thrived amid world-class competition on Canyon Road by staying true to its original intent. “A lot of galleries try to have something for everyone,” says Blair, “but we just
Owners Blair Vaughn-Gruler and Ernst Gruler, at GVG Contemporary
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241 Delgado Street | Santa Fe, NM (505) 982-1494 | gvgcontemporary.com
ANGELA MERON
focus on what we do, and that’s our recipe.”
ROBERT STRIFFOLINO “GARDEN REFLECTIONS” OIL ON CANVAS
LAURA GOODWIN “BARCA PRIMAVERA” BLOWN GLASS
KENT TOWNSEND “WALL HANGING CABINET” ROSEWOOD & SILVER
ROBERT STRIFFOLINO – “Gardenscapes & Other Views” September 15 – October 16, 2017 GLOBE FINE ART | 727 CANYON ROAD SANTA FE, NM 87501 505-989-3888 www.globefineart.com MONDAY - SATURDAY 10AM - 6PM, SUNDAY 11AM - 5PM PHOTO & DESIGN: MARK BERNDT
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Desert Son of Santa Fe fashion, jewelry, & accessories
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indy Adler’s small business philosophy, as owner and manager of Desert Son of Santa Fe, is both timeless
and more relevant than ever: service so personalized and thoughtful that she knows many of her clients’ kids and dogs. It’s true that along with her Canyon Road shop she maintains a Desert Son of Santa Fe website and Facebook page where clients can view the ever-changing array of contemporary handbags, footwear, belts, buckles, jewelry, and apparel she hand-selects. Yet Mindy bucks the digital trend by not selling online. “I still feel the personal attention, going over size and fit, is better done in person or by phone,” she says. The other enduring values at the heart of Mindy’s approach are extraordinary quality and beauty. That means seeking out and drawing on the talents of Santa Fe and Native American silversmiths and jewelry designers—Walt Doran, Dawn Wallace, and Anthony Lovato and sons among them— along with designers from around the globe. Representing some of Europe’s most respected designers of apparel, footwear, and handbags, Desert Son of Santa Fe carries lines by Henry Beguelin, Officine Creative, Marsèll, Giorgio Brato, Nigel Preston & Knight, Karl Donoghue, and others. Western boots are handmade in El
Owner Mindy Adler, at Desert Son of Santa Fe
Paso, and custom belts are produced onsite at the Canyon Road shop. A New York native with a background in art and design, Mindy entered the business 24 years ago to share her lifelong passions. “I’ve always loved fashion, leather, quality construction, and things that were unique,” she says. “My clients are from all over, and I want whatever they buy from my shop to be something they’ll always adore, that lasts, and that doesn’t look costume-y when they return home.” To make that possible she continually seeks out and gets to know new talent in the field. “When you personally know your jewelers and designers it’s easy to stand behind what you sell—you know the story behind the work,” she says. One result, as her years in the business attest, has been longstanding rewarding relationships based on mutual appreciation and respect. Or, as she puts it, “keeping it personal, keeping it real.”
725 Canyon Road | Santa Fe, NM (505) 982-9499 | desertsonofsantafe.com 122 TREND Summer 2017
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Škate russell photography
The Art of The Machine is a block-party style event celebrated in the Siler-Rufina nexus that showcases artists, makers, creators, performers and mad scientists who use machines, hack technology, invent contraptions and generally get their geek on with gadgetry, gizmos and mechanical genius. This year AOTM is teaming up with MAKE Santa Fe—the city’s community makerspace—to produce the event. There will be food, fire and fantastic, unforgettable flights of fancy. **The third annual Art of The Machine is organized in conjunction with the Arts + Creativity Center.
LOCATION: MAKE Santa Fe ADDRESS: 2879 All Trades Rd EVENT TIME: July 1, 2017 | 2–10p MORE INFO: ahafestival.com
kate russell photography
This project is supported in part by an award from the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.
artist PROFILE BY GUSSIE FAUNTLEROY PHOTOS BY KATE RUSSELL
Peter Chinni in his Taos studio, which also houses a music corner for Chinni’s keyboard and sheet music.
LIFE FORCE Peter Chinni’s art continues to flourish and unfold after more than 70 years
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s a boy, Peter Chinni caught his first glimpse of the unimaginable power of the unseen—the force of life that explodes through a tiny seed and expresses itself in infinite physical forms. Standing near a stone wall in the immigrant village of Mount Kisco, New York, where he was born in 1928, he happened to glance over and see a delicate flower emerging from the concrete between the stones. “How can it grow out of that?” he wondered. Years later, living in Italy as a young art student, he was introduced to the writings of Austrian philosopher Rudolf Steiner, and he began to see layers of deeper meaning in the phenomenon that had so impressed him as a boy. “It was a physical manifestation of a certain kind of energy, and we’re surrounded by that energy. It’s happening all around us as we speak,” he says. “I’m trying to envision it in physical form.” In his studio in an industrial section in the south end of Taos, Chinni (pronounced key-nee) is surrounded by works expressing dynamic tension and life-generating movement. Sculptures in bronze, stainless steel, and aluminum, from tabletop size to monumental, include cascading forms suggesting seedpods bursting open, or rows of vertebrae, or circles, discs, and nautiluses as if they had been spinning and were suddenly stilled. Intricate balsa wood wall pieces in rhythmic patterns of color evoke a sense of what music might look like if translated into three dimensions. Many works feature the recurring theme of interlocking parts that don’t quite touch. Chinni’s paintings and mixed-media, low-relief wall pieces, though fewer, echo similar feelings and themes. The work filling Chinni’s studio reflects the ever-evolving artistic path he has followed during an internationally acclaimed career spanning 71 years and counting. Although at 89 the sculptor and painter is no longer able to lift heavy objects, his quick mind, steady flow of ideas, and ingenuity in adapting new materials keep his artistic process rolling along. Propelling this movement is his fascination with vibrational energy and the unfathomable physical and metaphorical potential of the seed—“I’ve meditated on the seed for years,” he says. Just as important is inspiration from his lifelong love of music and a strong connection with Italy, a place dear to his heart—so dear, in fact, that in the early 1970s he purchased a tiny hilltop village At the Loeb Gallery in New York City in the late 1960s, once owned by the original Medici family and Chinni stands in front of, and holds a maquette of, Natura began to restore it before family and economic Extensa, purchased by the Rockefeller estate. With him are gallery owner Albert Loeb and assistant Harriet Griffin. circumstances required him to sell. >
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A gifted child, Chinni was raised in a large, supportive Italian-American family where his parents and his mother’s five sisters “magnified my accomplishments,” he says. Among his emerging gifts: singing, playing multiple musical instruments, and excelling at sports, theater, and visual arts. At the Art Students League in New York City his talent was noticed and he was referred to the acclaimed Italian art critic and historian Lionello Venturi, who endorsed Chinni for entrance into the Accademia di Belle Arti di Roma. After his stint at the Accademia, Chinni took private lessons in painting, etching, and sculpture with Italian artists, and participated in several exhibitions. Also crucial to his development as an artist was the Roman family with whom he lived for a time. Highly educated and cultured, the family held Saturday salons frequented by artists, composers, musicians, and poets. Although Chinni’s grasp of Italian was still developing, he remembers listening, mesmerized. Among the important influences he absorbed in Italy was that of the early-20th-century Italian Futurist movement, which emphasized the visual expression of motion, modernity, speed, and light. Initially Chinni “tiptoed,” as he puts it, from figurative into abstract art, but soon began pouring all his creative energy into organic and geometric three-dimensional imagery and forms. Reflecting on a long and remarkable life, Chinni periodically refers to certain works in his studio— 128 TREND Summer 2017
Metropolis (on the artist’s worktable, seen from the sculpture’s top) incorporates dozens of balsa wood step-shapes to evoke the abstract idea of an ancient city. Chinni was inspired by images of the ruins of 2,000-year-old African villages, where only doorways and window frames remain. Opposite: Chinni’s sculptures and paintings share a common aesthetic that combines the futuristic with the ancient.
originals from bronze limited editions or maquettes produced for public art competitions over the years. There is Natura Extensa (1965), a graceful, organic form in gold-plated bronze purchased by the Rockefeller Collection in Pocantico Hills, New York, and directed by Nelson Rockefeller to be placed in a spectacular spot overlooking the Hudson River. La Columba, featuring 12-foothigh, gently fanning ribbons of stainless steel, was commissioned in 1978 by the city of Columbia, Missouri. Initially snubbed by some in the community as far too contemporary, it is now a local icon. Perhaps Chinni’s most memorable career moment came in 1974 with an invitation by the Shah of Iran and his wife, Farah Diba, to present a one-artist show as part of a celebration at a new palace on the Island of Kish in the Persian Gulf. All the work, including a nine-foot-tall spiraling stainless-steel piece, was purchased by royal attendees. Many other Chinni works are in private collections internationally and in the permanent collections of the Smithsonian American Art Museum, the Whitney Museum of American Art, the Hirshhorn Museum, the Beeckestijn Museum in Holland, and the Amon Carter Museum of American Art in Fort Worth. Over the decades he has been honored with numerous one-man and group museum and gallery exhibitions in New York City, Washington, D.C., Italy, Switzerland, Belgium, the Netherlands, and France. > trendmagazineglobal.com 129
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In 2013 one of his large-scale works was installed in front of the Harwood Museum of Art in Taos. Long divorced and having raised two daughters, he had settled in the bucolic Northern New Mexico town in 2003. “What I really wanted to do was be able to work every day, quietly,” he says of the move. These days, an older Chinni sculpture may provide the spark of inspiration for a new piece, but always with a twist that reflects his current interests and thoughts. “The idea of repeating what I’ve done is not part of my vocabulary,” he says. “I still want to take that next step.” As an example, he points to a worktable where dozens of precisely cut and hand-painted balsa wood panels are held together by clamps in intricate, rhythmic patterns of color and shape. Involving months of laborious process, the as-yet-untitled piece will end up as wall sculpture, between four and six feet wide, inspired by the artist’s Mardi Gras (2014)—but with color pushed to an electric extreme. “I’m getting back into the world of color,” he says. “It’s very exciting.” On another table is Metropolis, an eight-foot-wide balsa wood wall piece in progress, whose step shapes, layers, and negative spaces echo packed-earth structures suggestive of ancient cities. The idea grew out of images of the ruins of 2,000-year-old African villages, where only doorways and window frames remain, Chinni says. The artist’s own ancestral roots lie in the Calabria region of southern Italy, from which his father immigrated to New York at age 17. He describes it as a place whose people are famous for being both hardworking and hardheaded. “I have that,” he says, crediting his father for his strong work ethic and his Calabrian heritage for an irrepressible creative drive. “I’m trying to come up with something better every time.” R peterchinni.com 130 TREND Summer 2017
Ancient Mask (2016), bronze, 25 x 21½ x 6. In 1957 Chinni’s friend, American sculptor James Wines looked at his drawings with their threedimensional feeling and declared, “Peter, you’re a sculptor.” Chinni picked up some clay, formed his first sculptural piece, and discovered his friend was right. Since then he has done both painting and sculpture.
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BY NANCY ZIMMERMAN PORTRAIT BY DANIEL QUAT
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Currier in her studio.
rin Currier is an avid world traveler, but she’s not on the lookout for trendy destinations or the next great food fad. From South America to Southeast Asia, Egypt to Italy, she seeks out the humble people whose daily lives are invisible to most visitors but whose collective energy and spirit form the backbone of their cultures. “It’s an entire universe of the people, the cultures, their arts that’s vast and rich,” she says. Back home in her Santa Fe studio, Currier pays homage to these unsung individuals by depicting their extraordinary dignity and resilience in the face of oppression, injustice, persecution, and displacement in luminous collage paintings that sometimes resemble religious art. Using found objects and discarded materials to highlight the unassuming beauty of even the lowliest materials—like empty tea boxes or colorful wrappings that were tossed in the trash— she draws parallels between society’s tendency to dispose of things without a thought and the marginalization of many of the world’s peoples. “So much in today’s world is discarded,” Currier says, “but there’s so much beauty in it that people usually don’t even notice. Human beings have been discarded in a similar way, treated as if they’re dispensable.” In Currier’s capable hands, these ordinary people become objects of respect, affection, and admiration as she illuminates our shared humanity. Her newest series, Fight Like a Girl, takes aim at the misogyny and victimization so many women and girls experience by exalting their strength and beauty. “In my new work, I’m interested in finding examples where feminine strength is alive and well. It persists in so many unlikely places—girls’ boxing rings in Pakistan, and skate parks in Afghanistan,” says Currier, who transforms these scenes into appealing images of young girls bursting with energy and creativity. “It’s about our commonalities as human beings,” she explains. “The first thing you notice in the paintings is these engaging girls who look like young girls everywhere— they could be your daughters or sisters. Then you notice they’re wearing headscarves and you realize, ‘Oh, they’re Muslims,’ almost trendmagazineglobal.com
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as an afterthought. I want people to feel that personal connection before they notice that these girls are ‘the Other.’ ” In this way Currier underscores the similarities that bind us; in her world, we’re not defined by our differences but rather by what we have in common. Currier has been drawing since before she could walk or talk, and her long experience brings an easy confidence to her work that mirrors that of her subjects. Her glowing portraits come alive with vibrant, jewel-toned colors, giving the works a celebratory quality that radiates joy and fellowship. In an age where people are often unable to bridge religious and political differences through reasoned discourse, art’s transcendent appeal can serve as the glue that binds us. Currier shows us how that works, emphasizing beauty and harmony rather than anger and fear with her optimistic but clear-eyed take on the world around us. R erincurrierfineart.com
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COURTESY OF BLUE RAIN GALLERY
Afghan Schoolgirls, acrylic and marker on wood panel, in an early stage. Below left: Parsnips, Carrots, and Beans, acrylic and mixed media on panel. Below Right: Sri Ma, acrylic and mixed media on panel.
MIMS: Educating the Whole Person for the Whole World. The Mandela International Magnet School (MIMS)—Santa Fe’s only public International Baccalaureate World School—has accomplished a lot in the three short years since its inception. In that time, MIMS has: • Established a sister school with El Colegio Montepinar in Murcia, Spain. Each year, El Colegio Montepinar students spend 12 days with MIMS students in Santa Fe, and MIMS students spend 12 days with them in Murcia. This summer, the program will conduct its first annual “Spanish Language Institute,” a fourweek total-immersion program in which students receive special Spanish classes in the morning, join regular Montepinar classes in the afternoon, and live with Montepinar families. • Had students and clubs achieve various state and regional recognitions including: second-ranked intermediate chess team; first place in the statewide Aldo Leopold writing contest; first place in the National History Day competition; third place in the regional Model U.N. competition; and second place in the State English Language Spelling Bee. Students from grades 7-10 also participated in the State Spanish Language Spelling Bee this past school year. • Had our Mandela International Magnet School Tech Education (MIMSTE) group present at local and statewide conferences and give workshops on tech education.
• Received full accreditation from the International Baccalaureate Organization for both the Middle Years Program (MYP) and Diploma Program (DP). • Partnered with the International Folk Art Alliance, where students serve as Global Youth Ambassadors to visiting folk artists from around the world during July’s Folk Art Market. Students then maintain contact with the artist, helping them implement their community project. • Received more than 400 applicants for admission. Plus, beginning next school year, MIMS will move into its own building on Agua Fria, and in 2019, will will graduate its first IB Diploma students.
A 7-12 IB World School established 2014
We encourage everyone to visit MIMS—or volunteer as a mentor—and learn about how we are changing the educational landscape in New Mexico. Mr. Benjamin Hairgrove, the current Vice Chancellor of the Collegiate High School in Cedar Hill, Texas, will assume the role of Principal Learner beginning in school year 2017 - 2018.
505.469.7231 • MIMS.SFPS.INFO
Education is the most powerful weapon one can use to change the world. La educación es el arma más poderosa que puedes usar para cambiar el mundo. —Nelson Mandela MIMS students visiting their sister school in Murcia, Spain.
artist studio BY RENA DISTASIO PHOTOS BY KATE RUSSELL
Bodyand Spirit
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ewelry maker Kristin Diener runs a finger down a length of chain on one of her necklaces and stops at about the one-and-a-half-inch mark. The hand-soldered sterling silver links are tiny, an eighth- to a quarter-inch long. “This section took me eight hours,” she says, “And that was working full steam.” The piece, Blue Sky: Cascade (2013), is nearly 20 inches long and striking in its intricacy: link after link supporting a sterling silver plate shaped like half a sunburst and adorned with semiprecious stones, off of which more chains—what Diener calls “danglies”—are attached, themselves linking additional stones and tiny bits of found objects. Looking at this and the other finished and unfinished pieces housed in her Northeast Albuquerque studio, one gets an immediate sense of the transformative quality of both her process and the resulting works; the obsessive nature of their construction becomes an act of devotion, turning jewelry into sculpture, adornment into armor. Born in the Midwest and raised in New York, Georgia, and Alabama, Diener received her MFA in jewelry making and metalsmithing from Bowling Green State University in 1986. She had been studying ceramics and drawing before learning of a jewelry class taught just once every two years. “As a kid I had always loved the ancient historical jewelry I had seen in books or museums, so I took the class and thought, ‘This is it,’ ” she says. Since her instructor was more into casting than fabricating, Diener worked for several years in clay, producing organic, botanical-themed shapes. It was toward the end of her seven years in Boston that she began to experiment with soldering. A move to New Mexico in 1996 finally forced her hand. “I couldn’t cast anymore because I didn’t have the equipment, so I began fabricating.” And, she says, she rediscovered the beauty of turquoise and just how “yummy” sterling silver could be. Which is not to say her work in any way mimics the turquoise and silver work
Diener, in the egress behind her studio, wearing North Star: Earth-Sea-Sky-Soul Navigation: Madam X’s Ear (2016), necklace with handmade chain of sterling silver, fine silver, and brass; precious and semiprecious stones; mica and foil; and various found objects. Coast Is Clear: Eyeglasses For Divination of the Future (2001), is about the irony of thinking you have life figured out and then things fall apart.
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Winter’s Heart: Devotion (2017), sterling silver, fine silver, gold, hint of brass, topaz, heart charm, shell buttons, bone, pearl, enameled headpin with 24k gold leaf.
of Native American jewelers. She starts with a theme or an idea, not a form or a function. An avid traveler, especially throughout the American South, her work has always been about navigation—the journey, not the destination—and, most recently, how we are guided by water and the stars. Which is perhaps why much of her work is built around the shape of the cross. “I learned when reading about archetypal imagery that the cross is energizing,” she says. “It represents a crossroads.” A lover of all forms of ancient armor and ceremonial jewelry, Diener’s work also references the pageantry and talismanic qualities inherent in certain forms of body decoration. “When I see beautiful ancient jewelry and metalwork and armor and chatelaines and samurai swords and Peruvian nose rings and kingfisher feather crowns and crowns encrusted with jewels . . . I do know that [they are] related to rank, beauty, and gender,” she says. “That fascinates me, often dismays me, and informs my studies.” She is similarly drawn to the power of found objects, both from her own life and travels and those of others, which she always incorporates into her work. Navajo tears (rounded obsidian pebbles) collected on her hikes, bits of colored foil, animal hair and bones, the nose piece from a long-discarded pair of eyeglasses, antique buttons—they all become elements of the overall story she tells. “I am not thinking about gender,” she continues. “I am thinking about the human body and spirit . . . about going someplace fantastical.’” R kristindiener.com 138 TREND Summer 2017
INQUIRIES & STUDIO VISITS
LAUREN MANTECÓN
lauren.mantecon@gmail.com 503-473-2786 laurenmantecon.com
The Sky is Falling, Anchor the Light 80” x 96” | 2017
WORKSHOPS & MENTORING Mantecón Studio, Santa Fe, NM manteconstudio.com
Friesen Gallery Ketchum, Idaho
Muse Gallery Hilton Head, South Carolina & Columbus, Ohio
Imogen Gallery Astoria, Oregon
artist studio BY NANCY ZIMMERMAN PORTRAIT BY CHRISTINA LA LIBERTÉ
ViSUAL POETRY s a painter, photographer, architect, and appreciator of beauty in all its forms, Charles Gurd sees art as a field of energy that is transferred from the artist to the viewer. “Reality is in continual motion, and particle physics proves that energy manifests as the color spectrum,” he points out. “Great art is that which transfers the most energy.” A native of Montreal, Quebec, Gurd initially studied behavioral psychology before taking up architecture, which led him to work with such notable companies as I. M. Pei & Partners and the design office of Charles and Ray Eames. “I was always into drawing, even as a kid,” he says, “and I went into architecture so I could draw for a living. In those pre-computer days, architecture was all about drawing.” As satisfying as that was, he became frustrated with the lengthy time frames that major architectural projects demanded, which averaged about ten years from concept to completion. “I wanted to explore ideas and aesthetics at my own pace,” he says. “I had always been drawn to photography, which demands a visual acuity and training of the eye that’s similar to drawing. It required a concentration that, as with drawing, was necessary for pulling out the poetic essence of the subject matter.” Ultimately, though, it’s painting that feeds his soul and allows him to integrate his many interests—nature, metaphysics, ancient philosophies, the transcendent potential of art. “The expression of an artist should be one of unity,” he says. “Physicists recognize that everything in nature is unified, and a work of art is only successful when expressing that truth. On one level, nature can be read as total randomness, but on another level as total unity. Brush marks on a canvas resulting in
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Charles Gurd in his Santa Fe studio with some of his works in progress.
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unity help viewers to become more unified within themselves as a result of viewing the art.” Gurd’s paintings evince a Pollock-esque sensibility, fusing color and motion into an indivisible whole that takes the viewer beyond the abstraction to address some of art’s core issues: randomness versus order, chaos versus control, fragmentation versus integration. Stripped of all narrative content, his work explores an inner landscape that throbs with energy and spontaneity even as it distills these forces into a single, cohesive entity. By showing us the unity of purpose and form that underlies the apparent randomness of nature, Gurd’s paintings offer us a complete experience, what he calls “a plane of poetics that’s nonverbal, with its own logic system that cannot be verbalized. It has to do with a source of energy encapsulated in the work.” Gurd maintains studios in Santa Fe, the Luberon region of France, and Victoria, B.C., all places that inspire him and help him achieve the transfer of energy that lies at the core of his work. As he travels from home to home, he opens his heart and mind to the inherent perfection of nature and, indeed, our own existence, to produce works that speak to the wonders and challenges of the human condition. R charliegurd.ca
COURTESY OF CHARLES GURD
Top: Tryptych, Dance With Unity, oil on canvas. Center: Veil, oil on canvas. Bottom: Diptych Enthalpy, oil on canvas. Gurd’s kinetic work explores the nature of energy and its role in creating unity.
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Beeman Jewelry Design jewelry
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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 suc-
cess—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 realtor 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
Owner John Beeman, at Beeman Jewelry Design
own jewelry gallery there in 2010. Soon he was meeting and collaborating with Native silver-
smiths, 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 incorporating components of their work in his own elegant, one-of-a-kind designs. He especially enjoys a fully custom approach. 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 LISA RODRIGUEZ
artist says. “I love beauty in all forms, and jewelry is but one form—people are another.”
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john@johnbeeman.com (425) 422-3990 | beemanjewelrydesign.com
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The
Dream Team It takes a special group of people to create a special home
BY NANCY ZIMMERMAN | PHOTOS BY KATE RUSSELL
W
hen creating a custom house, it’s not unusual for the principal players— homeowner, architect, designer, and builder—to encounter a fair amount of friction in the process. With hundreds of decisions to be made, innumerable variables to be accommodated, and a range of disagreements to resolve, the parties must work in concert to make it all come together, and conflicts almost inevitably arise. But for Deb Nichols, a Kansas transplant who commissioned a home to be built in the hills north of Santa Fe, the home-building experience was a pleasure from beginning to end. The harmonious interaction between Nichols and her team was so anomalous, in fact, that they still talk about it in a tone of wonder, and they refer to themselves as the “dream team” because of the project’s resounding success. The key players were architect Larry Andren, designer David Naylor, and builder Kim Dressel, all deeply experienced in the art and science of executing a shared vision. Nichols, a biologist, brought her scientific ability to focus and a welcome decisiveness to the effort as well. Andren’s unexpected death earlier this year has made everyone’s appreciation of one another’s contributions all the more poignant, as this home, completed in the fall of 2016, was one of his final projects. “Larry was such a gentleman,” Dressel says, “talented and humble. Sometimes architects drink too much of their own Kool-Aid, but that wasn’t Larry.” “This is the sixth house I’ve had built,” Nichols says, “and it was the easiest and most successful.
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The rounded shapes of the sofa and reclaimed teak table contrast well with the rectilinear geometries of the space. Opposite: The wooden chair backs echo the grain of the floor tiles, introducing an earthy element to the space. The walls were tinted to complement the artwork. Previous spread: The home’s entry includes a water feature and sitting area in front of the 800-pound center-pivot door.
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I was lucky to have found Larry, who then introduced me to David. I met Kim because I had gone to many open houses, and it turned out that all the homes I liked had been built by him. They obviously wear really well—they all still looked new.” “Working with Larry and Kim was like being a part of a holy trinity,” adds Naylor, who had collaborated with Andren for decades, usually coming in at the beginning of the project so he could weigh in on design decisions, preventing problems or missed opportunities and maximizing the design’s potential. Naylor also appreciated Dressel’s meticulous attention to every detail of the building process and his easy-going affability. The sense of fellowship that grew over the course of the project yielded a home that all agree is very special. Upon entering the 3,000-square-foot house through its monumental 800pound, center-pivot door, the first thing one notices is the stunning view of the Sangre
de Cristo Mountains, made accessible by a wall of windows and glass doors that open onto a covered portal and an open-air fire pit with a water feature beyond. The portal is equipped with a grill and a pizza oven, with infrared heaters in the ceiling to facilitate use of the space in all seasons. The rounded contours of the fire pit and the dramatic curved steps that lead to it contrast with the angles and straight lines of the house, softening the effect. “It’s all a progression, with harmony and balance,” Dressel says. The same idea was used inside by Naylor, who designed the furniture to define separate spaces within the open expanse that makes up the living and dining areas. Crafted by artisans in Naylor’s own workshop, the semicircular sofa mitigates the rectilinear nature of the room to give it a warm, welcoming feeling. The coffee table of reclaimed teak echoes the shape of the sofa, its contemporary design making for a successful blend of old and new.
The barstools at the kitchen island are also made from reclaimed wood to bring the same balance to the sleekly modern kitchen. Wood shelves and counters throughout the home were crafted with live edges to preserve the original lines of the tree trunk, and natural materials like stone, glass, and steel underscore the contemporary yet organic quality of the home. “Every room is very calming, but with interesting things to look at in each of them,” Nichols says. “I find something different every time I sit down because of the light, which varies over the course of a day.” One of her favorite features is the flooring, which is made of ceramic tiles with a metallic copper sheen that have the appearance of high-end wood but retain tile’s ease of care. The beautiful “grain” adds texture, as do the dining chairs, which continue the theme of unique wooden accents. Nichols is an avid art collector, so trendmagazineglobal.com
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The heated portal and fire pit make the outdoor space usable most of the year. The panoramic views are visible from the living area as well as the bedroom suites.
DESIGN WAVE
Glass tiles add dimension and elegance to the powder room. The effect is subtly dramatic without being over the top. Opposite: The uncluttered look of the master bedroom is enhanced by “floating� bedside tables. Coolness and warmth are combined in the color scheme, with the earthy walls and floor enlivened by a subtle blue and gold palette.
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the house was designed specifically to showcase the many fine paintings, ceramics, and glassworks she brought with her. “She submitted an inventory of the art works,” Naylor explains, “so Larry and I devised a floor plan with designated places for the art, and we avoided any strident or competing materials in the overall plan so the art would stand out.” Beautiful plaster walls were a must, Nichols says, and their custom color was selected to complement the art and give a nod to the Southwest palette. The rest of the color scheme includes liberal use of blue/ turquoise, with splashes here and there of red and yellow, all combining to assert the home’s high-desert identity without being clichéd or overly trendy. Nichols intends to retire here, so a timeless quality was essential for her. The master suite and a guest suite are situated at opposite ends of the home, each with patios and expansive views that can be enjoyed in complete privacy. Bathroom wall tiles bear the look and even the feel
of linen, adding another layer of texture to the design. As in the living-dining room, the color selections here harmonize with the colors of nature just outside, and the effect is one of coziness combined with spaciousness. Andren’s trademark ceilings throughout, ranging from heights of 11.5 feet to 13 feet, with eight-foot-high doors, lend the modestly sized rooms an airiness, even a grandeur, while creating a sense of intimacy that’s never claustrophobic. The den shares that cozy feeling as well. “I was least sure about this room,” Nichols confesses. “I was afraid it would be too dark, but it’s just the right amount of light.” The den sits just across from a full bath, so it can be converted to a bedroom if necessary. Naylor equipped it with a large-screen television, a builtin wraparound desk, and an L-shaped sectional sofa to keep the furnishings to a minimum for a more tailored, unfussy look. A barn door with elegant hardware completes the picture. Despite Nichols’s initial reservations about the room, she’s
happy she trusted Naylor to deliver an attractive, functional space. “She was great to work with,” Naylor says of Nichols. “She asked us to choose our best materials, and preferred that we put forth just a couple of options for her to choose from. She made her decisions quickly and firmly, which was a big help. It was a dream job, and I think it shows in the house. All the materials are a concert for the eyes,” he says, “with bass notes like the large porcelain floor tiles with their coppery tones; mid notes embodied in the cabinet materials, kitchen slabs, and front door; and high notes brought in by the lighting and the art.” Both Naylor and Andren were trained as painters, and their artistic understanding of proportion and the relationships of objects within a space helped to give the home a kind of internal resolution, just as the art it houses provides a sense of being fully realized. “I don’t like to match things to paintings,” explains Naylor. “That ‘matchymatchy’ look is very contrived. I prefer trendmagazineglobal.com
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to use opposites, pairing old materials like reclaimed wood with contemporary design.” He also likes the various elements in a room to have a relationship with one another without being either too coordinated or too disparate. “If you have too many kinds of furnishings competing with each other, you end up with a wild party,” he says. “If you bring together items that have subtle relationships to one another, the wild party becomes a family reunion—everything’s different, but you can tell they’re related.” This is especially true in the powder room, which features dimensional glass tiles that turn the wall into a feature, mirroring the f loor texture without overpowering it. “This was David’s room,” Nichols notes, “a drama room. I was a little nervous about how bright it would be, but I trusted him to make it work, and he did.” Another dramatic bathroom feature is the infrared sauna in the master bath. A particularly appealing aspect of the 152 TREND Summer 2017
home is its overall energy efficiency. The HVAC system is completely computerized, and fresh air is pumped into the home continuously to maintain a healthy environment. There’s a carbon water filtration system, as well as a leak-detection system that calls the owner and the alarm company in the event of a problem. “It has a Home Energy Ratings Systems score of 50,” Dressel says, which makes it 50 percent more energy-efficient than a standard new home and 80 percent more than the average resale home. He used a forced-air heating system rather than radiant heat, employing a high-efficiency burner and compressor that can be programmed from a phone. Dressel points out that it was the trust that existed among everyone involved that made the experience of designing and building this home such a gratifying one. “We listened very closely to Deb, so when she saw we were taking all her needs and preferences seriously, she left it to
The den is as much a retreat as it is a study, with high windows bringing in light to the cozy space. As with the rest of the house, the room was designed to showcase the owner’s collection of paintings and sculpture.
us and didn’t get in the way like some homeowners do.” “It was a dream job in every way,” Naylor concurs. “When it comes to design, my first answer is always the best answer, but that can become diluted when clients change directions on me. Deb trusted us, and we were able to make it all come together as planned.” “I’d wanted to live in the West for a long time,” Nichols says of her decision to retire in Santa Fe. “Now every time I’m in the home, I like it better.” That sentiment is a fitting tribute to the entire team, but especially to Andren, who leaves a legacy of elegant, eminently livable houses whose residents cherish their beauty and functionality. R
Ric Lum
The Rio Feast Project / 2015 to the present and ongoing
Citizen / Artist Activist action to build a watershed/ foodshed / community through connection
The Daily Sculpture Project / 1981 to the present and ongoing To inquire about supporting The Rio Feast Project through donations, subscriptions to art editions, dinners, performances and project swag email: deliciousrevolution@gmail.com or go to theriofeastproject.ART
Cañón camino morada, navidad, batería, para fremont ellis y willis clark edition prototype: adobe, chile, electrical parts, light bulb, silk screen, wood, fabric; size variable; 2016; Ric Lum
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.”
1512 Pacheco St, Ste D206 | Santa Fe, NM 87505 505.780.1159 | Eric@TierraConceptsSantaFe.com OfficeSpaceSantaFe.com
Interior Design
Suite A104 505.983.7055 annieocarroll.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
Form + Function Suite C203 505.820.7872 formplusfunction.com
H & S Craftsmen, LLC Suite C204 505.988.4007 handscraftsmen.com Archaeo Architects Suite A105 505.820.7200 archaeoarchitects.com
Sweetwater Harvest Kitchen Building B 505.795.7383 sweetwatersf.com
the accessory annex Suite C104
505.988.4111 santafebydesign.com
Santa Fe By Design Suite D101 505.988.4111 santafebydesign.com
Custom Window Coverings, Inc Suite A101 505.820.0511 customwindowcoverings.biz
Ritual Hair, Skin & Nails Suite A201 505.820.9943 ritualhairstyling.com
business profile
Form + Function lighting, fixtures & Accessories
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Owner Lette Birn in her showroom at Form + Function of Santa Fe
A
couple walks into a lighting showroom and gazes
a way of helping clients navigate the world of LEDs, watts,
around, overwhelmed with the seemingly infinite
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choices in lighting technologies and design.
and function the best in every room.
They find a salesperson and try to describe their
But Birn’s passion for educating people about light-
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She believes that understanding the effects of lighting is
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not just for health care professionals, designers, or archi-
work closely with the homeowners to correct or enhance it.
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unable to find a single fixture they liked. Since then, the
for fine art. Yet even with its individualized services, Birn
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can powerfully affect everything from mood to health. With a staff trained through the American Lighting Association, Form + Function offers free initial in-home consultations as
156 TREND Summer 2017
1512 Pacheco Street, Suite C203, | Santa Fe, NM (505) 820-7872 | formplusfunction.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.
1512 Pacheco Street . Suite D101 . Santa Fe, New Mexico 87505 . 505.988.4111 . santafebydesign.com
FAU C E T S ,
F I X T U R E S
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H A R DWA R E
W I T H
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D I F F E R E N C E
Conscious Building BY ASHLEY M. BIGGERS PHOTOS BY KIRSTEN JACOBSEN
earthships
They’re no longer just for hippies. What used to be ‘alternative’ is going mainstream
W
hen Earthships first made their appearance in Taos back in the ’70s, they were decades ahead of their time. Today, the Greater World Community is home to 75 of these sustainable residences spread over 633 acres of sagebrush mesa north of town. Earthship Biotecture, the umbrella company with for-profit and nonprofit arms, has also built vessels in every state and 20 countries, from China to 158 TREND Summer 2017
Scotland. Architect and Earthship Biotecture founder Michael Reynolds says he’s been “waiting for the curve to catch up.” Finally, it just may have. Although Earthship Biotecture hasn’t seen a spike in on-demand blueprint downloads or more requests for custom homes, Reynolds says there’s been a steady crescendo of interest. Earthships are in the sweet spot between customer demand and increased design enhancements. >
Above: Cluster of split-level Earthships in the Gravel Pit Reclamation Project in the Greater World. This project was built within a 24-acre abandoned gravel pit and demonstrates the revitalization of scarred and damaged lands with sustainable housing. Trees are watered with runoff from the exterior landscaping. Left: Portrait of Earthship creator Michael Reynolds from the poster for the feature documentary Garbage Warrior about his fight to make sustainable housing and systems more accessible to victims of natural disasters and the general public. trendmagazineglobal.com 159
Conscious Building
Reynolds first built a house of used tires packed with earth in Taos in 1972 to reduce human demand on finite resources. Since then the pressures of global climate change have increased. Humans are “seriously impacting the Earth’s ability to support human life,” Reynolds says. “We’re abusing our only ride through the solar system.” He, along with a fleet of Earthship academy students and interns—as well as other designers—has adapted the Earth-friendly vessels for climates as diverse as Taos’s high desert and the Philippines’s tropics, designing models at every price point. “These vessels encounter the phenomena of the planet to achieve sustenance of people,” Reynolds says. Additionally, as the recession lingers, homeowners are seeking the budget-friendly lifestyle these off-grid houses afford. Six sustainable principles guide Earthship design: the use of recycled and natural materials, thermal and solar heating/ cooling, renewable energy (such as wind), water harvesting, wastewater treatment, and food production. The Earthships are living systems that maximize resources. Take the water system as one example: Rainwater is harvested and stored, filtered into sinks and showers, then siphoned into low-flow toilets or greenhouse plant beds. Blackwater goes into the septic system and, once filtered, supplies outdoor landscaping. Earthships’ characteristics blend ancient and modern. New Mexicans will recognize their passive solar orientation and adobe walls, building techniques that have flourished here for centuries. Perhaps less recognizable are adaptive measures such as the use of recycled cans and bottles, which earned Reynolds the nickname “Garbage Warrior” and an eponymous 2007 documentary film. Earthship Biotecture’s initial goal was to create a fully sustainable home with a zero-carbon footprint. It achieved that goal in the early aughts but continues to perfect the design, particularly in Earthship Village Ecologies (EVE), a two-acre experimental site in Taos. Earthship Biotecture designers research in this real-world environment thanks to the 2007 passage of the Sustainable Development Testing Site Act, which exempts EVE from building codes. Constructed with 45 percent recycled materials and visible through the cascade of aluminum cans imbedded in the walls and the ripple of glass bottles over doorways, the vessel begins with a negative carbon footprint. EVE doesn’t feature Earthships’ typical earthen berm hunched on the backside to conceal the water cistern and aid passive heating/cooling; EVE is testing how thick walls must be for a comfortable living space without that mound. Conceived as a home for a small group of cohabitants rather than a single family, EVE also aims to address contemporary financial struggles, as the residents work together to support themselves independent of the global economy. Earthship Biotecture’s research led to the development of the Simple Survival Model, first deployed in Haiti after the 160 TREND Summer 2017
Top: Fire pit and seating area outside the Phoenix Earthship. This home has hosted thousands of overnight guest and guided tours since its completion in 2010. Exterior landscaping flourishes in a series of lined botanical cells that keep water from leaching in to the ground too quickly. Center: Interior greenhouse of the Phoenix Earthship nightly rental. The greenhouse area holds two interior fish ponds and a jungle greenhouse that produces tropical fruits year-round. Bottom: Plastered entryway to an Earthship in the Greater World Community. All electricity for the house is produced with photovoltaic panels mounted on the roof. Detailing above windows and door is made from repurposed metal harvested from old appliances.
Top: This modular Earthship in the Gravel Pit Reclamation Project consists of two round rooms connected by a greenhouse hallway that contains the kitchen, a graywater planter, and a bathroom. The “Hut� module was developed during a hurricane-relief effort in Honduras. Center: Detail of a bottlebrick wall utilizing both repurposed glass and plastic bottles. The bottle bricks allow a light, strong, concrete matrix to be built in almost any shape without using forms. They also allow light in and create a stained-glass effect. Bottom: A bedroom and bathroom of an older Earthship in a mountain community overlooking the Taos Valley. The finish on the walls is smooth adobe plaster and the floors are flagstone. The tub and steps are made from old cans laid in cement and plastered with stucco.
Top: A typical Global Model Earthship. Utilizing R&D from the past 45 years, this type of Earthship is the most thermally stable home available. Center: The thermal buffer zone of a Global Model Earthship. This area helps protect the interior living spaces from temperature variations outside, both extreme heat and cold. This hallway connects the rooms of the house and is where the interior graywater botanical cells are located. Bottom: Looking from the master bathroom of a Global Model Earthship into the master bedroom. All Earthships use rainwater for shower and bath and recycled graywater that has traveled through an interior botanical cell for flushing the toilet.
trendmagazineglobal.com 161
PAULINE FABRY
Conscious Building
Top: An Earthship Academy student lays bottle bricks on the wall of a two-story Earthship. The Earthship Academy is a month-long program incorporating hands-on construction training and theoretical classes on autonomous design principles. Center: Tire walls form the foundation of an Earthship as well as the load-bearing walls for the roof. Framing for south-facing windows is perpendicular to the winter sun at the lowest point in the sky. This allows for the maximum solar gain during the coldest part of the year. Bottom: Earthship builders “pack out� a tire wall, filling in the voids between the pounded tires to make the wall flat for receiving layers of plaster. Bottle partition wall in the foreground is made from old beer bottles laid like bricks.
162 TREND Summer 2017
The Earthship Village Ecologies project is part of the Sustainable Development Testing Site, two acres within the 630-acre community set aside for R&D without the constraints of conventional building codes. The Test Site Act was signed into law by Governor Bill Richardson in 2006.
Conscious Building
2010 earthquake. Since then, Earthship Biotecture’s nonprofit arm has deployed a dozen humanitarian missions to places such as Malawi, Sierra Leone, Guatemala, the Philippines, and the Six Nations of the Grand River reserve in Canada. Despite Earthships’ affordability in the developed world, their cost is still considered astronomical in the developing world. The Simple Survival Model solves this problem: It can be built for as little as $300—with the heavy use of found materials—and the construction drawings cost less than $10. It can also be built in as little as a month to help avert housing crises after natural disasters. The model’s central U shape functions like a studio apartment, with space for a kitchenette, bedroom, and living space. Two smaller Us frame the front-facing greenhouse, providing space for a shower and bathroom. A car battery delivers electricity. Save for having to collect graywater from the shower to bucket-flush the toilet, it’s a comfortable living space that allows for water harvesting, sanitation, and food preparation. Other Earthship models, however, have all of today’s conveniences. Contrary to the popular assumption that Earthships are a “hippie ideal,” in the words of foreman Rory Moreland, the vessels could now blend in to any housing subdivision in the country and be just as much off-grid. Reflecting on his journey, Reynolds says his greatest lesson hasn’t been about design, it’s been about people. He’s learned to meet people where they are by delivering all the ease of modern living. First there’s the function. Global models like Picuris, one of four Earthships available to rent for nightly stays, are outfitted with a full-size refrigerator, washer and dryer, dishwasher and a flat-screen TV. In Taos’s high desert, there’s plenty of sun to power the appliances. Water is less plentiful, yet through the water reuse systems, residents can shower daily. Then there’s the fashion. The Phoenix, another of the nightly rentals, features artisan details like mica-plaster walls, elaborate glass-bottle walls and headboards, and a wall of plastic water bottles reminiscent of punched-tin designs. It’s still highly functional, with an elaborate greenhouse that grows edible crops like the calamansi tree (a citrus plant from the Philippines) and sustains a water feature for freshcatch fish. Chickens in an outside coop—a mini Earthship of their own—supply eggs. In general, Earthships’ U-shaped pods each have a function, as a bedroom or a living room, for example. Today, this design is conducive to the work-live-play environments urban dwellers seek as they move away from office jobs in favor of mobile desktops. Over the past 45 years, Earthships have evolved to meet modern needs. Says Rohan Guyot-Sutherland, global education and communications coordinator, “Earthships are more than buildings. They’re about how you live.” R 164 TREND Summer 2017
Top: Cylindrical bathroom wall in a custom owner-built Earthship made from 1,200 bottle bricks laid in cement and plastered with gypsum. Bricks are made from two bottles cut in half with the ends taped together with packing tape. Center: Neither retro nor contemporary, the Earthship aesthetic is uniquely its own and invariably welcoming. Bottom: Plastered entryway to an Earthship in the Greater World Community. Detailing above windows and door is made from repurposed metal harvested from old appliances.
Inger Jirby’s New Mexico
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business profile
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Owner Dawn Mirabal, at Taos Mountain Gallery and Gift Shop
artwork and gifts, from objects by Taos glassblower Ira Lujan and paintings by Ed Sandoval to pottery, jewelry, accessories, textiles, artisanal bath and body products, and locally made greeting cards. Mirabal is the only retailer in New Mexico to carry products from renowned clothing designer Patricia Michaels of Taos Pueblo. Engaging and knowledgeable, Mirabal has progressed from working at a Pueblo store without electricity to becoming a social-media marketing guru for the global destination that Taos has become. In addition to working at the resort, Mirabal hosts trunk shows and meet-the-artist events, striving to support the aims of other female entrepreneurs. “I want for all the youth to see that success is possible,” she says. “You just have to stay true to yourself, be honest, travel, and achieve your dreams. Anything is possible.”
Inside El Monte Sagrado | 317 Kit Carson Road | Taos, NM (575) 737-9840 TREND Summer 2017 Summer 2017 16852TREND
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BACA RAILYARD ART AND DESIGN CENTER
SOLANGE SERQUIS
W
hen does a neighborhood become “a thing”? This organic cultural process, a combination of planning, accident, atmosphere, and buzz, is fascinating to watch and even more fun to participate in—especially if you are in the business of design. Until recently the southern portion of the Santa Fe Railyard development was overshadowed by the growing profile of the north, an established arts district. But lately this forgotten wedge-shaped section that once held coal storage for the railway is coming into its own, thanks to the gravitational pull of a handful of design businesses. Most significantly, when the long-delayed underpass on Saint Francis Drive is completed this fall, the two sections of the Railyard will finally be linked by a walking/biking trail, as originally planned, introducing the Baca district to the aesthetically voracious Santa Fe public. It doesn’t hurt that the 10-acre neighborhood sits across Baca Street from Counter Culture Café and the arts district that has grown up around it—and beyond that, as part
of the spreading Siler Road art phenom anchored by Meow Wolf. And like those neighborhoods, which share a more hip, urban vibe than downtown, Baca Railyard is still discovered mostly by accident once you’ve parked the car. It starts on the north side of Cerrillos Road, where you might have gone furniture shopping for something contemporary or cutting edge at Santa Fe Modern, Molecule Design, or The Raven. Behind this front lot sits the enclosed wedge of 17 parcels belonging to the city and leased to developers per the Railyard Master Plan. Until recently, nothing would have drawn you back to these quiet streets, but now they host a cluster of cool-looking modern buildings housing architecture, design, and art businesses—starting with the Santa Fe studio of internationally acclaimed artist Ricardo Mazal on Shoofly Street, which put the neighborhood on the map for the art cognoscenti. Jeff Littrell is the latest to jump in. He moved his antiques and interiors business here from downtown in late April “because
this center has more energy, is more vibrant, and I could design a much bigger showroom—three times as large as the old one.” Since the land is leased, developers have only to finance the building, making the cost per square foot highly appealing for a warehouse-style purpose. “And the foot traffic is amazing,” Littrell adds with surprise. At the other end is old-timer Adriana Siso, who moved Molecule Design here nearly seven years ago. The only other complex at the time was a live-work warehouse developed by Brett Chomer that now houses Caveman Coffee, Undisputed Fitness, Salon del Mar, and Justin’s Frame Designs. “We were innovative in that we were the first building made of shipping containers,” says Siso. The sprouting of colorful, contemporary buildings since then—several under construction, including a four-unit expansion of the live/work known as Twisted Cow Compound—is helping draw notice to businesses who recognized the area’s potential early on, such as Yares Art Projects and the architecture firm Needbased. continued on page 176 trendmagazineglobal.com 169
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With the trail linkage under Saint Francis nearing completion, landscape architect Solange Serquis—who worked on the Railyard Master Plan—saw a perfect opportunity to offer retail refreshment near the trail entrance to Baca Railyard. The teahouse Opuntia Café, part of an office-lodging complex, is being designed around the concept of a glass house and gardens lush with plants, and is set to open on Shoofly Street this summer 2017. “I’m excited about the teahouse—it will bring more people,” notes Gabe Rippel, a fabricator of steel furniture and coowner of Santa Fe Modern, in the back of which he recently opened a showroom in response to growing foot traffic. Now the “cool little furniture row,” as he calls it, is starting to gain an awareness of itself that has spawned talk of branding it as Santa Fe’s first design center. 176 TREND Summer 2017
“The ‘design’ keyword I’ve had in my mind for a few years,” says Siso, one of several business owners taking credit for the push. “If you research design districts, they’re in cities that are growing. A design district is hip, cutting edge, with fresh ideas.” The labeling gets a nod from the nonprofit Santa Fe Railyard Community Corp. (SFCC), which leases and manages Railyard land, although they had not targeted any specific type of development other than local and mixed use. “The project has grown organically over time, based on the location’s attributes that led to a different kind of feel than the North Railyard,” says Richard Czoski, SFCC executive director. With lower-priced leases and smaller parcels—and the mandate to get a mix of local businesses—Baca has grown slowly and relationally by word of mouth. Home building has naturally followed. One of the
few remaining parcels is being developed into a four-unit residential complex by Devendra Contractor of DNCA Architects, a designer of galleries in the North Railyard. The detached homes with small gardens, which he has dubbed Shoofly Pie, metaphorically complete the neighborhood’s linkage to the North Railyard, as Contractor is also moving his offices to Baca. “It’s a wonderful opportunity for me now, as a developer, to further the aesthetic and artistic balance that I started in the North Railyard,” he says, adding that he has always been “a huge believer” in the project, north and south, in the face of early skepticism. As an architect who also worked on the Master Plan—which explicitly prohibits buildings in Pueblo Revival style—he and other believers are glimpsing in the nascent “Baca Railyard Design Center” a long-awaited reinterpretation of Santa Fe style.
DANIEL QUAT (4)
continued from page 169
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BACA ARTS DISTRICT
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n many cities, “revitalization” means out with the old and in with the new. That’s not so in the Baca Street Arts District, where neighborhood stalwarts like Natural Stones, Counter Culture Café, Liquid Light Glass studio, Donna Nova/Girasole Glass, Reflective Jewelry, and sculptor Mike Masse share space with relative newcomers Art.i.fact, Hyperclash, and Gray Matter. The combination of upstarts and elders contributes to a vibrancy that even Brooklynites would find enviable. “I moved in when there were no other storefronts,” says Garrick Beck, who has owned Natural Stones for 23 years. “I bet my bottom dollar on this place coming to life, and, lo and behold, it has.” Baca Street merchants and artists don’t simply co-exist; the neighborhood is steeped in a strong sense of community that comes through in myriad ways. For example, in May, business owners joined forces to raise money for La Familia Medical Center, which provides health care to Santa Feans with limited means. In July, they pull out the stops for the Baca Street Bash, a block party that attracts locals and tourists alike. They also host a Halloween party in October, and two months later, they celebrate local artists with the annual Baca Street Arts Tour.
Baca Street and the adjacent Baca Railyard district—which encompasses the railyard property south of Saint Francis Drive—have long been magnets for artists. Aesthetically, the area couldn’t be further from the pretty adobe galleries that line Canyon Road. Masse, who has had the same studio space since 1990, remembers when the neighborhood was mostly rough-andtumble industrial buildings. “Counter Culture was just a vacant building surrounded by a chain-link fence when I moved in,” he recalls. The neighborhood retains—and embraces—some of that industrial feeling. Many of the businesses feature loft-like interiors that utilize cement floors and high, exposed ceilings. In a bit of poetic legacy, Masse’s son Nate has contributed to the artsy vibe with murals he recently painted on 930 and 931 Baca Street. The quadrant that includes Counter Culture, Natural Stones, and Art.i.fact is covered with eccentric images that call to mind bills posted on New York City walls. On the other side of the parking lot, which is anchored by Liquid Light Glass Studio, Nate created a swarm of bees against a bold blue backdrop. There’s plenty of art inside those buildings, too. Art.i.fact, a high-end consignment clothing boutique, offers up the ART.i.factory,
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an art space that features regular exhibitions of emerging local artists. Counter Culture also hosts a rotation of Santa Fe talent. Natural Stones may not exhibit art, but they supply a huge contingent of local artists with beautiful gemstones. Hyperclash sells hip handmade clothing and accessories crafted from reclaimed materials. Liquid Light Glass Studio is expanding its gallery space to showcase owner Elodie Holmes’s work, as well as that of other local glass artists. (Holmes, it should be noted, was awarded the 2016 Governor’s Award for Excellence in the Arts.) Donna Nova/Girasole Glass offers stunning hand-crafted glass beads, and next door at Gray Matter, you’ll find intricate, quirky egg tempera paintings by Miranda Gray alongside her husband Bruce’s fascinating collection of vintage tools. A short walk down the street delivers you to Reflective Jewelry, which opened in 1995. The store features original designs and ethically sourced materials. In addition to being brilliant craftspeople, the owners are strong neighborhood supporters who participate in all the Baca Street events and projects. The Baca Street community embraces locals and visitors with the same gusto. Grab a cup of coffee at Counter Culture Café and wander west. You’re sure to find a treasure.
FROM LEFT: DANIEL QUAT, KATE RUSSELL, DANIEL QUAT
Santa Fe’s Entrepreneurial Epicenter
ELODIE HOLMES
Photo: Wendy McEahern
Liquid Light Glass
Gallery & Studio • Demos
926 Baca Street • Suite 3 • Santa Fe, NM 87505 • 505.820.2222 www.liquidlightglass.com • sales@liquidlightglass.com
DONNA NOVA Lampworked glass leaves Lampworked glass beads Glass beadmaking lessons Ethnographic Jewerly
donna@donnanova.com | donnanova.com | 505-920-2150 926 Baca St., #5 | Santa Fe, NM 87505
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STONES FOR JEWELERS, LAPIDARIES AND DESIGNERS
Serving Santa Fe for over 20 years
930 Baca St. • Suite C, Santa Fe • NM 87505 505-982-5000 • artifactsantafe.com
930 Baca Street (next to Counter Culture Cafe) naturalstones.net | 505.820.7764
Passion of the Palate NEW MEXICO’S CULINARY INSPIRATION
Down to Earth
It’s summer, the time to replace the rich, hearty foods that nourished us through the coldweather months with garden-fresh fare from the farmers market or our own home plots. One of the joys of the season is devouring simply prepared foods that require little or no embellishment—juicy tomatoes bursting with flavor, tender greens, fresh herbs, voluptuous strawberries, yellow squash, corn on the cob. A splash of fruity olive oil, an astringent dash of vinegar, and a little salt and pepper are pretty much all you need to let the bright summer flavors shine through, a reminder of how our food used to taste when we were kids, before factory farming and industrial agriculture robbed it of its flavor and nutrition. The ease of preparation makes impromptu dinner parties a summertime staple, requiring little more than a table, a grill, and group of friends to bring it all together. Whether you’re lounging in your own backyard or lingering on the patio of a favorite local restaurant, the arrival of the season’s peak produce signals a shift toward simplicity as we savor the seasonal delicacies in their natural state. Bon appétit! PHOTO BY DOUGLAS MERRIAM trendmagazineglobal.com 181
SANTA FE’S ICONIC RESTAURANT Watch the sunset with music, a cold cocktail and fresh ceviche on the Rooftop Cantina. Enjoy world class dining paired with award winning wines in the Cafe. Try one of two dozen signature champagne cocktails at the speakeasy style Den.
Come spend your evening with us! W W W. COYOTECAFE .C O M
132 W. WATER STREET SANTA FE NM 87501 | 505.983.1615 wAJCrty@COYOTECAFE&CANTINA
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The Compound
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. Blending the classic appeal of traditional Santa Fe architecture with a sleekly minimalist aesthetic, Kiffin has managed to honor the city’s past while reflecting its hipper, more accessible present. 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. The wine list pairs especially well with the food, so don’t miss the opportunity to sample a new vintage.
TOP AND BOTTOM: BONCRATIOUS. OPPOSITE: KATE RUSSELL
653 Canyon Road, Santa Fe, New Mexico 505-982-4353 | compoundrestaurant.com
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Desserts are inventive as well, ranging from decadent to refreshing—or a mixture of both, such as apple galette with apple sorbet and Granny Smith–fennel salad, or crème brûlée tart with mulled wine–poached pears. Outside the elegant dining room are a flowerfilled patio and a smaller garden patio for private parties. All private dining rooms can be reserved for groups of 10 to 200 people, with special tasting menus available. Last year The Compound celebrated 50 years in Santa Fe, and the tradition continues. Open daily from 12 to 2 p.m. and 6 to 8 p.m. (except Sunday, which offers dinner only).
Slow-cooked seared polenta triangles with wild mushrooms sauteed with shallots, white wine, herbs, and butter and accompanied by black truffle relish, shaved Parmesan, and watercress. Opposite: The interior of the Compound. Chef Mark Kiffin.
photo courtesy Sazon
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 • www.sazonsantafe.com Monday - Saturday Dinner Service • 5:00pm until closed • Bar opens at 4 o’clock
Passionof thePalate
WELL SEASONED
The sights, sounds, and surprises of seasonal cooking
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BY ANDREW ROUSH PHOTOS BY DOUGLAS MERRIAM
Clockwise from top left: Sage Merriam and Rick Allred check a watermelon for ripeness; Shannon Plummer, Andrew Roush, and Sage in the kitchen; Andrew and Doug Merriam tend the grill; Doug and Andrew enjoy a toast with the other guests; Rick slices watermelon for the salad. Opposite: A grilled rib-eye steak with vegetables, a recipe from the cookbook.
D
oug Merriam holds the end of a watermelon in one hand, a spoon in the other. Standing over the sink, he samples a bite, turns, smiles, and exclaims, “It tastes like summer!” An impromptu summer gathering is forming at the home of Merriam—a photographer—and his wife, Shannon, and daughter Sage. It’s the kind of spur-of-themoment Sunday afternoon get-together that Santa Fe seems to encourage this time of year. The local climate also encourages remarkably bright, fresh produce across Northern New Mexico. As Rick, an old friend and fellow photographer, slices the rest of the watermelon and I attempt to form burger patties that won’t plump into
meatballs on a hot grill, the house is filling with the characteristic earthy tang of justoff-the-vine tomatoes and discs of cucumber that smell exactly like a coming rain. Merriam’s first cookbook, Farm Fresh Journey: Santa Fe Farmers Market Cookbook, is a loving ode to the seasonal pleasures of Santa Fe living, and today we’re cooking from it. With a world-renowned farmers market right in the Railyard, life here is easy to suffuse with flavors that fit that simultaneously timeless and trendy idea of seasonality. Part photo book, part cookbook, part paean to local agriculture, Farm Fresh Journey’s 312 pages overflow with color and light, soaring skies and humble, dirt-caked hands. For nearly a decade, Merriam paced
farmers market aisles gathering recipes, techniques, and stories from producers from New Mexico’s 15 northern counties. He went to farms and watched them shepherd precious water to their fields, hunch over their plants, and deal with tax bills, land issues, and problems of aging. The intimacy shows. In addition to simple recipes suitable for cooks at any level and colorful, evocative photos, the book is punctuated with Lesley King’s tender essays that document the growth of the beloved chile pepper, from planting to harvest. That’s why Merriam calls his self-published labor of love a “true seasonal cookbook.” The book was born out of this humble backyard where we now gather. In 2001, inspired by the bounty of the Santa Fe trendmagazineglobal.com 189
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Clockwise from top left: Cucumber salad; green-chile cheeseburgers; watermelon salad; and fresh cherry tomatoes. Opposite: Peach-raspberry ice cream (top); blackberry pie (bottom). All the recipes are from Merriam’s cookbook.
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Farmers Market, Merriam decided to repurpose an old fence into a potting shed and put four raised beds in his backyard— a tiny farm on a quiet residential street. Sage’s school class even visited the backyard farm on a mini field trip. Merriam tracked the seeds he used and carefully documented his work in bursting binders full of crop rotation data. He started talking to local producers and eventually took the idea for a market-inspired cookbook to the farmers market board, which gave him their blessing. “Doug just has so much creativity in him,” Shannon says. “It was his way of channeling his creativity, because it just comes out everywhere.” As he began collecting recipes, he realized there was a bigger story: the story of nurturing a seed into a meal, of growing in a desert. Thus began a ten-year journey to document the backbreaking labor that goes into a simple, soulful meal. It was an ordeal to document torrential rains and wily coyotes, boom years and busts. He struggled to get the right photos of the dishes, sometimes going back years later to re-photograph them. He tested recipes, solicited essays, and laid out the design page by page. And he was undaunted. “It would have been really easy to walk
away, but I felt like I had to keep my word,” Merriam says. The farmers were bugging him each week about when the book would be finished. Finally, late last year, everything was in place. The fruits of his labor are evident as we crowd into the kitchen, surrounded by watermelon radishes and organic tomatoes, when Merriam walks in, camera in hand. “This is the kind of thing I love to shoot,” he says as his shutter clicks away and we finish our preparations. I carry the plate of burgers out to the grill, and we both take a moment to appreciate the warmth, until we begin to appreciate the shade. The grill is hot and we watch the burgers, fresh green onions, and Technicolor bell peppers all develop
a smoky char. When paired with a smooth, sharp, melty cheese and the familiar burn of green chile, these burgers will be a starring attraction in a shining constellation of summery dishes. I sip a cool beer, and suddenly we both notice a new smell on the air. It’s something earthy, mineral-like. Soon we see dark thunderheads creeping into our periphery. A predictable summertime shower is approaching—one we failed to predict. “Monsoon season,” Merriam says plainly. This, of course, is the downside of a summer dinner party. Santa Fe’s portales and pergolas are tempting in summer, but often a sliver of afternoon is given over to a brief but ferocious storm. The farmers, of course, aren’t complaining, so neither trendmagazineglobal.com 191
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Clockwise from top left: Garden-fresh tomatoes with their distinctive aroma; Mary and Tom Dixon of Green Tractor Farm in La Cienega; Farmer Phil Loomis at the Farmers Market; fresh produce from Merriam’s own garden. Opposite: Farmer Steve Wall of Buckin’ Bee Honey.
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Summer produce and flowers at the Santa Fe Farmers Market, the inspiration for Merriam’s cookbook.
will we. We manage to pull everything off the grill in the nick of time and retreat inside. Rick’s at the stove, reducing balsamic vinegar and telling us about a recent trip to Italy, where, he notes, the lemons are the size of softballs and are rivaled only by the massive bell peppers. Raindrops streak down the windows, but safe from the storm, we laugh and talk about the messiness of cooking, especially in summer. Your clothes absorb smoke, your pants collect droplets of oil, your hands get sticky from finger foods. And all of this is a joy. It’s the point. It’s 194
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summer. In winter, posoles and green chile stews comfort us. In summer, succulent watermelon, sweet, tangy balsamic, and salty feta delight us, dribble down chins, inspire seconds. Those rain-scented cucumbers, dressed simply with cider vinegar, cilantro, and flaky salt, are cool and addictive. Green chile cheeseburgers—well, what can I say about those that hasn’t been said? Except, perhaps, for this: fresh ingredients make all the difference. Rick and Sage are helping set the table as we hear a low rumble that may as well be
my stomach. We sit down, untroubled by the rain. Merriam’s still trying to get the perfect shot of the table piled with summertime goodies, and we tease him as he strains to get his camera high above the table. Finally we all sit down, momentarily silenced by mouthfuls of smoky peppers and tangy salads. Slowly we start affirming our enjoyment to each other: These radishes are surprisingly good, aren’t they? Grilling the burgers made a big difference, didn’t it? We raise our glasses and keep talking about the meal, about life. We are oblivious to any subsequent rumblings, and as we begin to pick at the bits left on serving platters, a glance outside reveals that the sun has returned, burned away the clouds, and ushered in that nebulous period after a summer storm that is hot-cool, steamy-sunny, and strangely pleasant. The back door slides open, and I catch a few droplets falling from the awning. This is what seasonal eating is all about. Call some friends. Bring what looked good at the market. Cook it simply. And roll with the punches. “As long as the ingredients are good,” Merriam says, “you don’t have to do much.” Just enjoy. That’s the ethos he brought to Farm Fresh Journey, and having eaten recipes from it, I find it’s easy to confirm. Dishes begin to be cleared, Shannon, Rick, and Sage sit together to watch a video, and Merriam and I begin floating between the kitchen and the living room, checking the score of the baseball game each time we hear the roar of the crowd. Once everything’s put away, only a hulking watermelon half remains, perched on the cutting board. It seems to point to the possibility of future summer gatherings. Everything is comfortable, jovial. The rain turned out to be no problem. After all, it’s part of what led to such a pleasant meal. It’s a wonderful moment of Santa Fe living, detached from time, focused on the place, filled with laughter and some very good food. In short, it tastes like summer. R Farm Fresh Journey: Santa Fe Farmers Market Cookbook can be purchased on select Saturdays at the Santa Fe Farmers Market, or at farmfreshjourney.com.
business profile
Saveur Bistro restaurants
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Owners Bernie and Dee Rusanowski, at Saveur Bistro of Santa Fe
D
ee Rusanowski remembers her husband Bernie waking her up early one morning a few years after the couple retired and closed Dee’s Restaurant, the popular downtown Santa Fe eatery they owned and ran for 22 years. Since retiring they seemed to be working harder than ever, volunteering seven days a week with organizations including museums, the Santa Fe Rape Crisis Center, and the Lensic
Performing Arts Center. Upon waking Dee up, Bernie proposed that they come out of retirement and open anoth-
er restaurant. “If I’m going to work this hard I want to get paid for it,” he said. “You must have had a bad dream. Go back to sleep,” Dee replied. But he persisted, and after agreeing to his wife’s conditions of no nights, no weekends, and a month off for traveling each year, she agreed. It was 2003, and the couple purchased Saveur. Food has been central to the Rusanowskis’ life since they met in 1957 while both were working at a restaurant in California. They married in 1959, and in 1975 they moved to Santa Fe and opened Dee’s. There, Dee originated the hand-held breakfast burrito and the tortilla burger, both now staples of New Mexico fast food. “I’m famous for a few things,” she says, smiling. Today Saveur is as beloved as Dee’s was, although the French-inspired breakfast and lunch restaurant has a different approach to ordering and an emphasis on fresh, high-quality ingredients. Saveur’s beautifully presented, pay-by-weight buffet offers soups and hot dishes made daily from scratch, and an array of salads, vegetables, and desserts. Favorites include French onion soup, barbecued spare ribs, poached fresh salmon, and blanc de poulet, Dee says. She adds that Saveur uses organic ingredients as much as possible, including organic brown eggs and free-range chicken. Menu items and custom sandwiches are also available, along with beer and imported wine. Another key ingredient in Saveur’s success is the Rusanowskis’s appreciation for their customers and a genuproprietors’ warm hugs greet longtime customers. “When you like people this is not a job,” Dee says. “It’s fun.”
204 Montezuma Ave. | Santa Fe, NM | (505) 989-4200 198
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DANIEL QUAT
ine love of people. In the bistro’s lively, community-like atmosphere, strangers strike up conversations and the
Lunch: 11-3 505-984-8900 | www.MuseumHillCafe.net 710 Camino Lejo | Santa Fe, NM 87505
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M
Art collective Meow Wolf adds a culinary dimension to its popular installation
HUNGRY LIKE THE BY MEGAN KAMERICK PHOTOS BY KATE RUSSELL
WOLF
eow Wolf, the Santa Fe art collective that created the fabulously successful House of Eternal Return, broke new ground in showing just how savvy and successful a for-profit, art-based business can be. But they did overlook one potential revenue stream during their heady first year: food. That was remedied by Trinity Kitchen, Meow Wolf’s new food truck specializing in Cajun and Creole dishes, which opened in late May and joined the trucks that already congregate at the 1352 Rufina Circle site. “When we first opened the project more than a year ago, we didn’t even really think about food as something that would be needed,” says Damian Taggart, Meow Wolf’s chief business development officer. “We kind of missed the boat on that. We were scrambling to get the doors open. People were working up until the opening to get things done.” Over time, food trucks began showing up in the parking lot, and Taggart and his team realized they could tap another source of revenue by starting their own operation. “We started looking at food and beverage as a bigger strategy for the company,” Taggart says. “We’re looking at doing a coffee bar inside as well.” For those familiar with Louisiana cuisine who may have seen many inauthentic versions outside that state, fear not. The creative mind behind Trinity Kitchen is Eliot Chavanne, a native of Shreveport who also called New Orleans home for several years. A big fan of Cajun-Creole cuisine, Chavanne saw an opportunity to fill a niche in Santa Fe, which, despite its plethora of dining options, lacks Cajun and traditional Southern restaurants. Chavanne followed his partner, one of Meow Wolf’s cofounders, to Santa Fe in 2013 and has been working for the company since last year. He’s been trying to get the food truck going ever since. “I’ve been a bit of a pest toward Vince [Kadlubek], our CEO,” he says. “This is my passion. It’s something trendmagazineglobal.com 201
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Louisiana native Eliot Chavanne (previous page) offers authentic dishes like chicken and waffles (top), ribs (above left), and gumbo (above right) at Trinity Kitchen. Opposite: Restaurateur Connor Black of Shreveport joined Chavanne in his food truck venture. 202
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I’ve been doing since high school. It’s something I always loved to do.” Chavanne helped open Whole Foods’ Mid-City location in New Orleans and was a buyer for the store, so he maintains great connections with seafood suppliers. The oysters, which will be served raw and in fried oyster po’boys, and the crawfish for the étouffée will come from Louisiana. He’s also working with Kyzer Farms near Albuquerque, which he says has terrific naturally raised hogs. The pork products go into dishes such as the cochon de lait po’boy, made with roasted suckling pig, and the apple-smoked pork ribs. Chavanne is also a butcher, so he makes his own andouille sausage for the gumbo and jambalaya, as well as boudin sausage for the fried boudin balls, served with pickled peppers and remoulade. He also cures his own Tasso ham, a type of spicy ham popular in Cajun dishes. “Having worked for Whole Foods and being a chef and butcher, it’s easy for me to do this in-house. It’s saving money in the long run, and you get a better-quality product.” Chavanne is working with Fano Bread in Albuquerque to get just the right French
bread for the po’boys, as well as with Silver Leaf farms for produce. He also talked his longtime friend from Shreveport, Connor Black, out of opening an oyster bar there and instead moving to Santa Fe to help him launch Trinity. The truck itself is a trailer-style unit, 24 feet long with a six-foot porch on the back for a smoker. It has freezers, prep tables, and lots of counter space. “It’s a massive trailer,” Chavanne says, “so it doesn’t really limit our menu.” The name, Trinity Kitchen, is not a nod to New Mexico’s atomic history but rather a reference to the “holy trinity” at the base of many Cajun and Creole dishes: onions, celery, and green peppers. Taggart says the food truck provides one more dining option for visitors to the House of Eternal Return, which attracted more than 400,000 people in its first year of operation and brought in $6 million. The food truck adds another revenue stream for the company, as well as valuable experience that Taggart says will be useful as Meow Wolf looks to expand into new markets— potentially opening a Trinity Kitchen in locations like Austin and Denver.
The company will also take the mobile operation to events around Santa Fe, including the Santa Fe Bike and Brew, Spanish Market, the Herb & Lavender Festival at Rancho de las Golondrinas, the Renaissance Fair, and others. Trinity Kitchen isn’t Meow Wolf–branded, Taggart says. The food truck is just the latest phase of growth for Meow Wolf, which also launched an incubator for other creative businesses. The company will move into its new headquarters and manufacturing space later this year to help facilitate its expansion into other markets. Meow Wolf decided to forgo the more traditional path of a nonprofit, grantfunded arts organization in favor of a for-profit model. The collective began its growth spurt after participating in the Albuquerque-based Creative Startups business accelerator. They’re classic entrepreneurs, according to Alice Loy, Creative Startups’s cofounder, and their latest venture is further proof. “I think Meow Wolf tracks closely with what other entrepreneurs see, which is where the market is going, before others see it,” Loy says. R trendmagazineglobal.com 203
© Pei Ketron © Jennifer Spelman © Tricia Cronin
SANTA FE CUBA SAN MIGUEL WORKSHOPS IN SANTA FE SAN MIGUEL AND CUBA
Educational Par tners: Nikon & Epson
5 0 5 .9 8 3 .1 4 0 0 • w w w. s a n t a f e w o r k s h o p s . c o m
www.aosarchitects.com
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AOS Architects and Trey Jordan Architecture are pleased to be collaborating with Creative Santa Fe, New Mexico Inter-Faith Housing, daSilva Architecture, Surroundings, and the Santa Fe community of creative professionals on the design of the Siler Yard Arts + Creativity Center.
ADVERTISERS ANTIQUES, HOME FURNISHINGS, RUGS, & ACCENTS
Charles Gurd charliegurd.ca...........................................6–7
Aimee Lacalle aimeelacalle.com......................................4–5
Charlotte Shroyer Charlotteshroyer.com 575-751-0375 ...........................................18
Casa Nova casanovagallery.com 505-983-8558.......................................44–45 Jeff Littrell Antiques jefflittrellantiques.com 404-372-1038...................................172–173
Christopher Thomson christopherthomsonironworks.com 505-470-3140............................................110 The Contemporary Austin thecontemporaryaustin.org.........................53
Owen Contemporary owencontemporary.com 505-820-0807...........................114–115, 116 Patina Gallery patina-gallery.com 505-986-3432..............................................23 Peyton Wright Gallery peytonwright.com 505-989-9888............................................IFC Pippin Contemporary pippincontemporary.com 505-795-7476...................................108–109
Molecule molecule-design.com 505-989-9806...................................174–175
David Michael Kennedy davidmichaelkennedy.com 575-581-9504.......................................50–51
Pandora pandorasantafe.com 505-982-3298.......................................26–27
Geoffrey Gorman / Selby Fleetwood Gallery selbyfleetwoodgallery.com 800-992-6855..............................................12
Santa Fe Modern santafemodern.com 505-992-0505............................................171
Globe Fine Art globefineart.com 505-989-3888............................................121
Violante & Rochford Interiors vrinteriors.com 505-983-3912...........................................2–3
GVG Contemporary gvgcontemporary.com 505-982-1494...........................118–119, 120
Ventana Fine Art ventanafineart.com 505-983-8815; 800-746-8815...........106–107
ARCHITECTS & DESIGNERS
Hunter Kirkland Contemporary hunterkirklandcontemporary.com 505-984-2111.......................................16–17
William Siegal Gallery williamsiegal.com 505-820-3300.......................................42–43
Inger Jirby / Wiford Gallery jirby.com wifordgallery.com 575-758-7333, 505-982-2403...................165
BUILDERS, LIGHTING, FIXTURES, & MATERIALS
AOS Architects aosarchitects.com 505-982-2133............................................205 David Naylor Interiors davidnaylorinteriors.com 505-988-3170.......................................14, 52 Kinsey Architecture & Construction kinseyarchitecture.com 505-469-5396.............................................10 Trey Jordan Architecture treyjordan.com 505-983-5624............................................205 Violante & Rochford Interiors vrinteriors.com 505-983-3912...........................................2–3
KC Tebbutt / Untitled Fine Art untitledfineartgallery.com 575-758-3969............................................166 Kevin Box / Selby Fleetwood Gallery selbyfleetwoodgallery.com 800-992-6855..............................................15 Kimberly Webber / Untitled Fine Art kimberlywebber.com untitledfineartgallery.com 575-758-3969............................................167
Railyard Arts District santaferailyardartsdistrict.com...................40 Ric Lum theriofeastproject.ART deliciousrevolution@gmail.com................153 Susan Stamm Evans / Selby Fleetwood Gallery selbyfleetwoodgallery.com 800-992-6855..............................................11
Allbright & Lockwood allbrightlockwood.com 505-986-1715...............................................9 Form+Function formplusfunction.com 505-820-7872...................................154, 156 Justin’s Frame Designs santafeframing.com 505-955-1911............................................180 Rippel Metal 505-570-0958............................................170
ARTISTS, GALLERIES & MUSEUMS
La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688...................................111, 112
Santa Fe by Design santafebydesign.com 505-988-4111...................................155, 157
Addison Rowe Gallery addisonrowe.com 505-982-1533..............................................37
Lauren Mantecón laurenmantecon.com 503-473-2786............................................139
Albuquerque Museum albuquerquemuseum.org 505-243-7255............................................207
Liquid Light Glass / Elodie Holmes liquidlightglass.com 505-820-2222............................................179
Statements in Tile / Lighting / Kitchens / Flooring statementsinsantafe.com 505-988-4440.............................................13
Art Santa Fe artsantafe.com............................................28
Manitou Galleries manitougalleries.com 505-986-0440; 505-986-9833.....................29
Big Vision Gallery & Design Studio bigvisionarts.com 928-202-6320..............................................34
Meow Wolf meowwolf.com 505-395-6369.......................................20–21
Blue Rain Gallery blueraingallery.com 505-954-9902..............................................41
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Niman Fine Art namingha.com 505-988-5091................................................8
Woods Design Builders woodsbuilders.com 505-988-2413..............................................19 EDUCATION, EVENTS & ART DISTRICTS AHA Festival ahafestival.com.................................124–125 Albuquerque Museum albuquerquemuseum.org 505-243-7255............................................207
The Contemporary Austin thecontemporaryaustin.org.........................53 Mandela International Magnet School mims.sfps.info 505-469-7231............................................135 Meow Wolf meowwolf.com 505-395-6369.......................................20–21 Railyard Arts District santaferailyardartsdistrict.com...................40 Santa Fe Photographic Workshops santafeworkshops.com 505-983-1400............................................204 EYEWEAR, BEAUTY, & HEALTH The Beauty Bar jessevans.com 505-983-6241............................................IFC Christus Health Plan christushealthplan.org 1-844-282-3026.........................................BC Eldorado Dental eldoradodental.com 505-466-0999.............................................39 Light and Love lightandlove.info 505-955-9919............................................207 Oculus Botwin Eye Group oculusbotwineyegroup.com 505-988-4442, 505-954-4442.......................1 FASHION, JEWELRY, & ACCESSORIES Artifact Consignment artifactsantafe.com 505-982-5000...........................................180 Beeman Jewelry Design beemanjewelrydesign.com 425-422-3990.....................................25, 143 Dancing Ladies dancing-ladies.com 505-988-1100.....................................116,117 Desert Son of Santa Fe desertsonofsantafe.com 505-982-9499...................................122–123 Donna Nova donnanova.com 505-920-2150...........................................180 The Golden Eye goldeneyesantafe.com 505-984-0040..............................................33 Karen Melfi karenmelficollection.com 505-982-3032.....................................112,113 Natural Stones naturalstones.net 505-820-7764 ..........................................180
Santa Fe Scout Collection / Circle Antiques santafescoutcollection.com 505-660-6442.......................................................177 Spirit of the Earth spiritoftheearth.com 505-988-9558.......................................................IBC Taos Mountain Gallery & Gift Shop 575-737-9840......................................................168 PHOTOGRAPHY & PRODUCTION Kate Russel Photography ahafestival.com katerussellphotography.com........................124–125 Peter Ogilvie / William Siegal Gallery nudesbyogilvie.com williamsiegal.com 505-820-3300.......................................................131 Santa Fe Photographic Workshops santafeworkshops.com 505-983-1400......................................................204 REAL ESTATE & BANKS Los Alamos National Bank lanb.com 505-662-5171......................................................208
LightandLove .info
Pacheco Park officespacesantafe.com 505-780-1159......................................154–155, 157 RESTAURANTS, FOOD, DRINK, & LODGING Café Sonder cafesonder.com 505-982-9170......................................................199 The Compound Restaurant compoundrestaurant.com 505-982-4353..............................................184–185 Coyote Café coyotecafe.com 505-983-1615..............................................182–183 Midtown Bistro midtownbistrosf.com 505-820-3121..............................................196–197 Museum Hill Cafe museumhillcafe.net 505-984-8900......................................................200
Paul Sarkisian July 2017 – June 2018
Color, composition, texture, pattern, symbolism, and phenomenology: these are the basic elements of painting. In an artistic career spanning nearly 70 years, Paul Sarkisian has deeply investigated the complex alchemy of these elements.
Saveur Bistro 505-989-4200.......................................................198 Sazón sazonsantafe.com 505-983-8604..............................................186–187 State Capital Kitchen statecapitalkitchen.com 505-467-8237.......................................................195
Albuquerque Museum 2000 Mountain Road NW (in Old Town) 505-243-7255 cabq.gov/museum
Cultural Services Department, City of Albuquerque, Richard J. Berry, Mayor
trendmagazineglobal.com
207
Paul Sarkisian Untitled (right leaning red51), 2005 polyurethane on wood 168 x 89 in.
TONY MALMED JEWELRY ART
COLEY BROWN
Handmade in Santa Fe since 1982
108 Don Gaspar • Santa Fe, NM 87501 • 505-988-9558 • spiritoftheearth.com
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