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TREND ART+DESIGN+ARCHITECTURE FALL 2012 – SPRING 2013 VOLUME 13 ISSUE 2

ARCHITECTURE

Creating and Living Outside the Box

COLLABORATIVE ARTISTRY A Modern Collector’s Perspective Honors Native Heritage trendmagazineglobal.com

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The Resurrection of a Taos Icon Never mind the structural challenges and petty politics, Martina Gebhardt remained determined to bring a historic community center back to life. by L yN b LeILeR phoTos by L ee C LoCkMaN

straight from the heart Childhood experiences and adult friendships inform Lee ann and Marshall hunt’s inspired collection of Native american art. by W esLey p uLkka phoTos by k aTe R usseLL

The work of iconoclastic architect bart prince urges us to ask: Is there room for innovation amid New Mexico’s sacrosanct architectural traditions? by ReNa DIsTasIo phoTos by kaTe RusseLL

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ARCHITECTURE

Creating and Living Outside the Box

COLLABORATIVE ARTISTRY

A Modern Collector’s Perspective Honors Native Heritage

MARTINA’S HALL

Historic Taos Landmark Resurrected

Premier Issue of the Santa Fe Gallery Association Art Guide Inside

oN The CoVeR: Waterfall created by Tim star for Tesuque couple Marshall and Lee ann hunt— the subject of one of this issue’s features. photo by kate Russell.

isea’s Machine Wilderness; Mitchell Gold and Bob Williams launch santa Fe collaboration; santa Fe Botanical Garden; ricardo legorreta Tribute; seeing the light for simple, sustainable design

38 TuNes

Bulgarian import Tiho dimitrov gives the blues a modern makeover; santa Fe’s vibrant music scene through the lens of photographer coad Miller; eric George finds a home for his gypsy soul By aPril reese

79 saNTa fe GaLLeRy assoCIaTIoN’s aRT CoLLeCTING GuIDe 2012/2013

The Railyard, Canyon Road, and Downtown a Voice for art: looking Back on More than Three decades of accomplishments with the santa Fe Gallery association By Gussie FauNTleroy

84 aRTIsT sTuDIo

The abstraction of gesture in the paintings of emmi Whitehorse; the physics of Paul shapiro By Wesley Pulkka PhoTos By kaTe russell

91 aRTIsT pRofILe

Modernist master alexander Girard leaves an engaging and timeless legacy on New Mexico’s artistic landscape By rachel PriNz

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95 Taos huM The art of chitchat By lyN Bleiler

98 TReNDsouRCe 112 RooMs of TheIR oWN The personal spaces of seven santa Fe designers By VicToria Price PhoTos By PeTer oGilVie

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Before it was chic: sourcing locally has long been a way of life in New Mexico TexT aNd PhoTos By GaBriella Marks

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suBscriPTioNs Visit trendmagazineglobal.com and click “subscribe,” call 505-988-5007, or send $15.99 for one year to Trend, p.o. box 1951, santa fe, NM 87504-1951. PrePress fire Dragon Color, santa fe, New Mexico PriNTiNG publication printers, Denver, Colorado Manufactured and printed in the united states. copyright 2012 by Trend llc. all rights reserved. No part of Trend may be reproduced in any form without prior written consent from the publisher. For reprint information, please call 505-988-5007 or send an e-mail to perform@santafetrend.com

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Trend art + design + architecture issN 2161-4229 is published two times in 2012, with summer (circulation 25,000) and Fall/Winter issues (circulation 35,000) distributed at outlets throughout northern and central New Mexico and throughout the nation at premium outlets, local grocery stores, Barnes & Noble, and hastings stores. Please ask your newsstand to carry Trend and friend us on Facebook. Direct editorial inquiries to editor@trendmagazineglobal.com Trend, p.o. box 1951, santa fe, NM 87504-1951 505-988-5007

CONSTELLATIONSANTAFE.COM 24 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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Last month I spent three fun-filled days in New York City on an annual girls’ trip with several good friends. It’s been many years since I’ve taken a bite out of the Big Apple, but within only a few hours I remembered why I have always loved that city: it really seems to be the center of the universe. One of the highlights of my trip was scoring a time slot to view Yayoi Kusama’s transcendent exhibition Fireflies on the Water at the Whitney. The experience of standing in that darkened room, a million points of light reflected through infinite planes of jet-black space, prompted me to think about the places we call home—points on a map that expand outward to encompass not just the physical structures over our heads, not just our towns, cities, and regions, but also our countries, our planet, and, ultimately, the very universe itself. Does it strike anyone else as mind-blowing that we live in outer space? I’ve been tossing around ideas of what home and heritage means for a while now, because in many ways this issue is about those ideas, in particular about how we seek the comfort and stability of tradition even as we continually strive to reinvent ourselves and the world at large—and what happens when those two impulses find themselves at odds. During my last few hours in New York, I experienced that push-pull feeling—a pang of loss for the place I was about to leave coupled with a yearning for my familiar desert spaces, for wide swaths of uninterrupted sky, for air that smells like sand and sage, and for a daily routine uncluttered by urban hustle. As much as I often long for the perks and cache offered by a city that never sleeps, ultimately—for me at least—life amid the mesas and mountains of the Desert Southwest trumps life lived just about anywhere else. I also believe our artists and cultural advocates are just as capable as their big-city brethren of impacting the landscape with brilliance and verve, and this issue showcases just a few of them: iconoclasts like Bart Prince and Alexander Girard, passionate preservationists like Martina Gebhardt, and art lovers like Marshall and Lee Ann Hunt, who have nurtured the seeds of their childhood experiences into a world-class collection that is also deeply personal. And, of course, the gallery owners who throughout the years have helped Santa Fe become a cultural center of the universe in its own right. We salute them with our first ever Santa Fe Gallery Association Guide, which you’ll find inside the pages of this issue. This to me is the beauty of working for Trend magazine: we have a global reach, but never forget where it is we call home. Rena Distasio Editor

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KATE RUSSELL

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april Reese is a freelance writer and disc jockey based in santa Fe. her stories and essays on environmental issues, science, music, and travel have appeared in a variety of publications, including The New York Times, Land Letter, Greenwire, High Country News, New Mexico Business Weekly, and Backpacker. When the sun goes down, she segues into disc jockey mode, spinning tunes on kBac 98.1 radio Free santa Fe. reese holds a master’s degree in environmental studies from yale university and undergraduate degrees in english and geography from Frostburg state university in Maryland.

Wes pulkka, Phd, is an arts writer and sculptor who moved from Boulder to the east Mountains in 1992 to restore an old cabin. since 1993 he’s written columns, features, profiles, and reviews for the Albuquerque Journal, Architectural Digest, Altitude Magazine, Ministry & Liturgy Magazine, The Collector’s Guide, and other publications. his art has shown at the uNM art Museum, albuquerque Museum of art and history, Baltimore art Museum, corcoran Gallery of art, harwood art center, harwood Museum of art—Taos, seattle art Museum, american institute of architects Gallery, other art institutions, and private sector galleries.

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rachel coheN

TiM TroVillioN

Gabriella Marks is a californian expat-musicphotographer-turned-farmer-groupie. she arrived in New Mexico on pure intuition, but knows why she stays: the spectacular high desert light, the lenticular clouds, the ancient pueblo pottery shards in the garden, and the humbling experience of nurturing a single squash plant from its dry clay soil. her respect for, and relationships with, the farmers and chefs in the region grows daily.

Lyn bleiler is a freelance writer and symposium coordinator whose art and architecture background includes work with Michael Graves architect, Frank o. Gehry & associates, uNM’s harwood Museum of art, Tulane university’s Newcomb art Gallery, and the Joan Mitchell Foundation. she is author of two Images of America books by arcadia Publishing: Taos (2010) and Santa Fe Art and Architecture (2012). she is the recipient of two emily harvey Foundation residencies in Venice, italy, and a PenTales hemingway room residency in Berlin.

kelly koepke, a graduate of santa Fe’s st. John’s college Great Books Program, exemplifies New Mexico’s tongue-in-cheek sobriquet: land of entrapment. a decade later, the light, culture, and lifestyle drew her back to albuquerque, husband in tow. after a dozen more years, she’s joyfully returned to santa Fe, husband still in tow. a freelance writer, koepke contributes to various publications, and helps businesses and solo-preneurs tell their stories through social media, websites, newsletters, press releases, and ghostwritten articles.

Rachel prinz is an architectural designer, historian, and advocate for bioregional design based in Taos and albuquerque. her firm, archinia, is an architectural co-operative with a particular interest in defining aspects of place, achieving a deeper understanding of history, and reclaiming ancient naturebased technologies to design better modern architecture. she finds the best of what is old and makes it new, either through physical restoration or through building architectural languages that transcend architectural styles. rachel writes and lectures frequently, sharing ideas, research, and observations about New Mexico’s architectural legacy. R

Top: Blues for Linda 56 x 76 inches Bottom: Monk’s Mood 60 x 96 inches

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n e w s , g o s s i p , a n d i n n u e n d o f r om a r t / d e s i g n / a r c h i t e ct u r e

MACHINE WILDERNESS re-envisioning art, technology, and nature

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ew Mexico joined international cities like Istanbul, Berlin, Sydney, and Paris when Albuquerque hosted the International Symposium on Electronic Art (ISEA) Sept.19–24. This gathering of thousands of artists, scientists, thinkers, and the public explored the intersection of art and technology, which was particularly appropriate for our state to host since our open vistas have coexisted with artists and cuttingedge technology for decades. A series of exhibitions, installations, and music, dance, and theatrical performances will continue this exploration at over 50 venues through Jan. 2013 along the Albuquerque, Santa Fe, and Taos corridor. The unifying concept? Machine Wilderness. Machine Wilderness focuses on creative solutions for technology and the natural world to coexist sustainably. “The idea of Machine Wilderness could be off-putting to many,” says Andrew Connors, curator of art at the Albuquerque Museum of Art and History, and one of the event’s steering committee members. “Machines don’t care about aesthetic. Artists care, and have given rise to the notion of humanizing technology. They ask, ‘How does technology allow us to understand the wild, natural world?’” Along with 516 Arts, the Albuquerque Museum is host to the main ISEA exhibitions, including viewer-immersive environments, one of which simulates a bicycle ride through a cityscape in an interactive video game reminiscent of Grand Theft Auto. At two water-based installations, water falls down one wall and then the other becomes a fountain antenna for tracking satellite signals. The Museum’s sculpture garden features amplified projections of bats as they move inside their house and solarpowered mechanical birds squawking, preening, and roosting in response to motion. In the Museum’s lobby, benches move with the sunlight and an expanding gate divides people as they congregate. Machines and art. Wild, indeed. —Kelly Koepke Visit isea2012.org for a complete schedule of exhibitions and performances taking place throughout the region.

Right: Miwa Matreyek performed her Myth and Infrastructure, a multi-media live performance using projected animation, during the friday, september 21st gala at balloon fiesta park.

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courTesy oF isea 2012

above: Neil Mendoza and anthony Goh’s Escape exhibition at 516 arts is an interactive installation of discarded working cell phones transformed into mechanical birds who, in turn, make and answer calls.

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n e w s , g o s s i p , a n d i n n u e n d o f r om a r t / d e s i g n / a r c h i t e ct u r e

from left: aCC owner Larry Goldstone with Mitchell Gold and bob Williams

Mitchell Gold + bob Williams Launch santa fe Collaboration with aCC

cleFT: ourTesy oF MiTchell Gold. riGhT: daNiel NadelBach

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s the United States seeks to emerge from the Great Recession, some politicians and pundits continue to rue that 70 percent of our economy is driven by consumer spending. The fact is, however, that Americans love to buy, and one of the leading indicators of our economic recovery is consumer confidence. But what is not often discussed is how American spending habits have changed: Everyone is now looking for a deal. In the design industry, this has engendered a disturbingly unsustainable model of paying less, but also getting less—a disposable mentality that sacrifices quality for lower cost, and has led to a proliferation of companies selling inexpensive furniture that is not built to last. When Mitchell Gold and Bob Williams founded their eponymous North Carolinabased company in 1989, their mission was to make furniture in the United States that, as Gold puts it, “is neither over-built nor underbuilt, but is well-priced, well-made, welldesigned, with real value.” Their lines do not aim to be impulsively trendy, but rather feature consistency in the design process that allows a sofa purchased 15 years ago to still feel stylish and to blend with new pieces from each current collection. Their motto is “evolution not revolution,” and even as they break fresh design ground, the new always harmonizes with what has come before.

The 2012–2013 collection reflects Gold + Williams’s contention that the economy is, in fact, recovering. Feeling a bounce from increased consumer spending, the pair have infused more color and patterns in their new pieces. “In a tighter economy, buyers tend to make more conservative choices,” Gold muses. “But as things have settled, happier buyers want more color.” Buyers will see this reflected in brighter palettes and bolder patterning in the latest Gold + Williams collection. The designers are also making changes in the way their lines are represented. In Santa Fe, their new relationship with ACC allows them to display their furniture in a sophisticated yet unpretentious setting that will allow potential buyers to envision how Gold + Williams pieces might look in their own homes. ACC’s designers can assist customers in choosing the right pieces and in building a Gold + Williams collection to reflect their own aesthetic, which can grow over time. In larger cities, the pair are opening signature stores that give customers the ability to see the entire scope of the collection in one location. But the real news may be the way in which this dynamic design duo’s remarkable business ethos and personal ethics have ensured their resiliency in an unsteady design market—their longstanding commitment to comfort and quality combined

with excellent price points and the manner in which they conduct their business and public lives should serve as an inspiration to all aspiring entrepreneurs and design professionals. The benchmark of their business ethos is dedication to superb customer service. Their ethic is to treat their customers as they would want to be treated themselves, with an emphasis on operational excellence in their stores and factory and an ongoing commitment to create an exceptional work environment. They offer a college scholarship program for all of their employees and their families, a cafeteria that serves healthy fare, as well as a day-care program. Their personal commitment to social change extends beyond the walls of their factory, as the duo have become outspoken advocates for gay rights in America, particularly seeking to help LGBT youth. Their conscious approach to business, design, and manufacturing could serve as a model for the revitalization of manufacturing and customer service in the United States. The key seems to be that their business vision and design aesthetic have remained refreshingly simple and completely consistent. They still sell sofas for under $1500, which are built to be comfortable, stylish, and durable. And the mission statement they wrote when they put $60,000 into creating their dream business still remains their daily guide. Without “idealistic gibberish” or “phony marketing plans to get customers,” they strive daily to implement the “sincere components of the way we want to run business.” The result is not only fiscal success, manufacturing growth, and design innovation, but lives led in “joyous exploration.”—Victoria Price trendmagazineglobal.com Trend » Fall 2012/Winter 2013 31

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santa fe botanical Garden at Museum hill high glamour on a water budget Milbourn, SFBG’s executive director. Milbourn cultivated the project through land acquisition, site planning, and fundraising of the $1.2 million needed for construction of this first phase. “It’s been almost a decade. If we wanted the support of the community, it had to be worthy.” Grading and utilities work proceeds apace, with trees arriving this November and the rest of the flora in the spring. The goal is a public opening in June or July 2013. The impatient can take free walking tours of the site, including the historic Kearny’s Gap Bridge across the Arroyo de los Pinos that joins garden sections. Construction of three later phases, naturalistic and courtyard gardens and the Arroyo Trails, begins in 2014. Convincing renowned landscape architect and artist W. Gary Smith to design the project was easy, says Milbourn. “Gary has been

Drawing of the garden site plan. Top: Imported to Museum hill from san Miguel County in 2011, the historical kearny Gap bridge spans the arroyo de los pinos in the heart of santa fe botanical Garden. 32 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

caThy GroNquisT. courTesy oF saNTa Fe BoTaNical GardeN

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hen it comes to gardening, patience is a virtue. You plan, you plant, you tend and fuss. And you can wait years for your efforts to manifest. Then one day it all comes together in a spectacular show of color, form, and texture. Nothing better exemplifies this patient persistence than the soon-to-be spectacular 13acre Santa Fe Botanical Garden (SFBG) at Museum Hill. In the works for almost a decade, the first phase of the project broke ground this summer, featuring an orchard of fruit trees, beds of wildflowers and bulbs, and a “lawn” of drought-tolerant grasses, all surrounded by sculptural stone walls. “The Orchard Garden tells the story of Santa Fe—what’s been here from the beginning, what plants were and are used by indigenous peoples, what plants were introduced by inhabitants over time,” says Linda

to Santa Fe and loves it, but he never worked in New Mexico before. I can only imagine the opportunity he saw to design a garden on Museum Hill, with so many visitors who love gardening.” Smith, who first visited Santa Fe 25 years ago, works exclusively with botanical gardens, including the Lady Bird Johnson Wildflower Center in Austin and Philadelphia’s Longwood Gardens. He jumped at the chance to contribute. “Santa Fe’s garden is the kind of focus I have: creating ecologically sound gardens where the driving force is art and beauty in an ecologically friendly way, but not entirely with native plants.” Although he won’t be featuring any lush lawns. “That’s not connected to the local sense of place; it’s not respectful of northern New Mexico; and it’s ecologically irresponsible.” Instead, he has created what he calls “high glamour on a water budget,” and the results are more beautiful and satisfying than any lawn. Naturally, art will be incorporated. Awardwinning santero Ramón José López is collaborating with Smith on artistic elements for future phases of the garden. López and his wife, Nance, have also wielded influence in funding the project, though he’s reluctant to talk about or take credit for the efforts. “It’ll be a great place to visit for locals, for tourists, for everyone.” —Kelly Koepke For updates and free walking site tours, call 505-471-9103 or visit santafebotanical garden.org trendmagazineglobal.com Trend » Fall 2012/Winter 2013 33

news, gossip, and innuendo

Laurie Allegretti

courTesy oF alliaNce oF arTisT coMMuNiTies

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Legorreta Tribute

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f not for the influence of internationally acclaimed Mexican architect ricardo legorreta, the contemporary edge of architectural expression in santa Fe would not be what it is. legorreta left his signature style—defined by bold colors, geometric forms, and the play of shadow and light—on such prominent santa Fe buildings as the santa Fe university of art and design (sFuad), the santa Fe art institute (sFai), zocalo condominiums, and the Thornburg investment Management Building. The inspired architectural legacy of legorreta, who died in late 2011, will be honored oct. 19–20 in a weekend of tribute events at several santa Fe locations. among these: an exhibition at sFai, curated by architect simón de agüero, featuring legorreta drawings and models for the sFai and sFuad buildings; the screening of a video, Ricardo Legorreta’s Biographical Path; and a presentation by legorreta’s son, Victor legorreta, about his father’s work. other events include talks by Wayne lloyd, president of lloyd & associates architects, and by art historian and sFuad professor khristaan Villela. architectural tours of legorreta’s santa Fe projects also will take place. in reflecting on legorreta’s relationship with santa Fe, his son remarks, “My father loved the natural setting, the mountains, the high desert, the very special light, but above all he loved its people. There is no doubt that santa Fe attracts individuals who are looking for new solutions, new ways of living, and especially those who consider art and architecture an essential part of our lives.” —Gussie Fauntleroy

For details, see sfai.org or contact Michelle Laflamme-Childs at 505-424-5050, mchilds@sfai.org

34 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

Flash

news, gossip, and innuendo

seeing the Light for simple, sustainable Design

courTesy oF MyshelTer FouNdaTioN

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he principle of appropriate technology sounds complicated, but it’s really the ultimate “use what you have” philosophy. Combine materials at hand with people power, spend little if any money, and solve a problem. From bicycle-powered water pumps in Africa to the Liter of Light initiative in the Philippines, appropriate technology is changing the way people live. Plastic liter soda bottles are everywhere in the Philippines, but few homes outside the capital city of Manila have access to electricity. For those who do, it can be prohibitively expensive. The Liter of Light initiative teaches people how to combine water and chlorine in a bottle, place it through a hole in the roof, and voilà— create instant illumination the equivalent of a 55-watt bulb inside otherwise dark slum homes. The water, kept clean by the chlorine, diffuses the sun’s rays around the room. Without the water, the light would shine in a small spot on the floor. “What a terrific idea to help struggling people lead more comfortable lives,” says architect Jon Dick, owner of Archaeo Architects in Santa Fe. “There’s plenty we can do in this country, too, that uses this same principle to both design new and retrofit existing homes and buildings.” Orienting a building to capture passive solar heat is one of the simplest, as is bringing natural light to more than one side of a room. Understanding microclimate, wind patterns, and creating heat towers that move warm air up and away from living spaces in summer that can be closed off in winter to capture heat gain are also techniques that Dick and other architects use to respond to their clients’ increased desire for eco-friendly, energyefficient design. “Simple, early decisions can make a big difference,” Dick says. “Building smaller is a trend that’s returning, as is looking at nature to find solutions.”

Isang Litrong Liwanag (Liter of Light), Myshelter foundation’s latest venture, is a sustainable lighting project which aims to bring the eco-friendly solar bottle Light to disprivileged communities worldwide. Illac Diaz, a filipino student at the Massachusetts Institute of Technology (MIT), collaborated with fellow students to design and develop the solar bottle Light. isanglitrongliwanag.org

Biomimicry, as it’s called, is a science that solves human problems by emulating or taking inspiration from natural models, systems, and processes. Applied to design and architecture, it leads to innovations like Lotusan®, a paint that sheds water and dirt in the same way lily pads do. “Biomimicry [as a design field] is in its infancy,” says Dick, “but how nature goes about design has existed longer than we’ve been around, so it must work.” Looking to nature for affordable, scalable, eco-friendly solutions that put readily available resources to good use—such as harnessing the luminescence of the sun via plastic bottles in the Liter of Light initiative—is simply brilliant, and a lesson we can all take from developing countries. —Kelly Koepke trendmagazineglobal.com Trend » Fall 2012/Winter 2013 35

W HY C OLDWELL B ANKER P REVIEWS I NTERNATIONAL E XCEPT IONAL M ARKETING OF L UXURY H OMES

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which boasts more than 30 million visitors a year and coldwellbankerpreviews.com; as well as the Wall Street Journal (wsj.com); Yahoo!; Google; HGTV’s Frontdoor.com; HomeFinder.com; Zillow.com; Homes.com; Trulia.com; AOL.com; and Cyberhomes.com. • In a recent survey of Wall Street Journal subscribers, Coldwell Banker Real Estate ranked #1 among all measured realtors

as the company they would consider using for future real estate transactions.* • Previews leads the way in luxury and has a track record of being selected to represent some of the world’s most

exquisite properties, including 4 out of 5 of the priciest homes in the U.S.** Associate with excellence. Take advantage of this unrivaled combination of experience, expertise and resources by becoming a Coldwell Banker Previews International client. Get my heritage of professionalism working for you and call today.

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* Source: 2009 Residential Real Estate Survey. The Wall Street Journal marketing dept./Beta Research Corp. For more details on the Wall Street Journal’s 2009 Residential Real Estate Study, please contact Deborah Falcone, 212-394-5790 or Deborah.Falcome@wsj.com. ** Ultimate Homes Lists Most Expensive Houses in U.S. – June 2009

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Bulgarian Import Tiho Dimitrov Gives the Blues a Modern Makeover during much of his childhood.

Tiho Dimitrov and sean healen

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iho Dimitrov seems like an unlikely candidate to sing the blues. Gentle and softspoken, with an easy smile and exuding a quiet calm, it’s difficult to imagine the 34year-old guitar player and singer ever having to reach for a Prozac. Dimitrov was also born and raised in Bulgaria, where— at least while he was growing up—blues music was an obscurity. “It was not really the norm there to be listening to the blues, and it wasn’t widely available there either,” he says, adding that Bulgaria remained behind the Iron Curtain

38 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

Nevertheless, Dimitrov did manage to get his hands on a few blues records from John Lee Hooker, Albert Collins, and Buddy Guy, and their soulful sound inspired him to pick up a guitar and try to capture the feel of those records. Eventually, Dimitrov began writing his own songs, and continued to hone his guitar playing and develop his singing. Now, all those years of hard work are beginning to pay off in a big way: Dimitrov’s single “Sleepless Nights,” produced by Dimitrov and Rob Heineman, won Best Blues Song in this year’s New Mexico Music Awards, and the song is on the playlist at local radio station KBAC 98.1 Radio Free Santa Fe. The accolades are particularly impressive considering that “Sleepless Nights” was Dimitrov’s first recording. “It was a confirmation that I’m on the right track, that I’m doing something right,” he says of the award. “It was very validating.” Since moving to the United States with his family 14 years ago, Dimitrov has continued to grow his mojo, with the added benefit of now living in the culture that produced the music that moved him so much while growing up. Soaking up as much live music as he could, he eventually began playing guitar in other people’s bands, including the Motor Kings, Soulman Sam and the Blues Explosion, and blues/pop/rock artist Star Nayea, who has won a Grammy and a Native American Music Award. But it was only after striking out on his own about three years ago that he really started to find his own voice as a musician and songwriter. The voice that emerged is steeped in the blues but shimmers with a modern pop sensibility that makes his music accessible yet real. Like many of his biggest influences, including Eric Clapton, Susan Tedeschi, Johnny Lang, and John Mayer, Dimitrov has learned to look back while still moving forward. “The songs I record, I try to have them rooted in the blues, but I’m not attempting to create a blues record, or just copy something that’s already been done,” he says. “I like to think my songs are a contemporary interpretation of the blues.” Of all of his influences, these days he feels the greatest kinship with John Mayer. “He’s one of those guys who really has it all. He can sing well and his guitar playing is really great. And he’s from my generation—he’s my age—so it’s a little more tangible to say, ‘Well this guy does it. Maybe I can do it, too.’” Both Clapton and Mayer are good examples of the importance of serving the song, he adds, noting that some artists tend to use a song as a vehicle to showcase their guitar playing. “The guitar playing is great, but that’s not the focus,” he says. “The focus is the song.”

Voted V oted Santa S FFe’s e’s Best Men Men’s’s Clothing Store 1996 to 2012 2012 After coming to better understand the wisdom of restraint, his guitar playing and songwriting advanced by leaps and bounds. Recording his songs, which requires zeroing in on every note and nuance, has also helped him discover who he is as a musician and songwriter. “As I’m doing it, I’m learning what my strengths and weaknesses are.” Keyboardist Brant Leeper, who plays in Dimitrov’s band and has recorded some of his singles at his home recording studio, says Dimitrov is one of the hardest-working musicians with whom he has collaborated. “I’ve been in this business for a long time—I’ve toured all over the country and the world, and I’ve known a lot of good players,” says Leeper, who also plays with Coco Montoya, Seth Walker, and others. “When I met him I saw all this potential, but he wasn’t there yet as a player. It’s blown my mind how quickly he’s progressed in the past few years. His technical progress is astounding. All of a sudden it was just like, ‘Damn, you sound really good.’” Dimitrov’s evolution is apparent in his songwriting, too, Leeper adds: “It has become more complex, more sophisticated.” Dimitrov is spending a lot of time in the studio these days and hopes to complete an album’s worth of material soon. So far, he’s recorded four songs and is working on numbers five and six with producer John Kurzweg (profiled in Trend’s Summer 2012 issue). For Dimitrov, making music isn’t just a pastime; it’s a necessity. “I love developing the craft and the skill,” he says. “And I feel the urge and the need to do it. I love sitting down late at night to try to write a new song or learn a new song or just practice my guitar playing. For me, if I don’t do that, I feel like I’m going to go crazy.” To hear Dimitrov’s music, visit his Reverb Nation page at reverbnation.com/tihodimitrov

2011 2010 2009 2008 200 20077 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 Scott Barber | Canali | T Tommy ommy Bahama | Jhane Barnes

202 Galisteo | Santa Fe Fe 505.988.1959

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TuNe s phoTos by CoaD MILLeR

Jeff sipe Terry Diers sean healen

anthony Leon Catfish hodge

Gary Miller

faith amour and Gwen spatzier

Larry Mitchell, John kurzweg and Terry Diers

Johny broomdust

felecia ford

Ryan Montaño

Mark Clark

Michael hearne brant Leeper

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bill palmer and stephanie hatfield

Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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n any given night in santa Fe, you are likely to find photographer Coad Miller hopping from one bar to another, snapping shots of the city’s finest bands. like many local music fans, Miller knows that despite its small size, santa Fe (and northern New Mexico) is home to some world-class musicians. From long-time local legends Joe West, Bill hearne, and Boris Mccutcheon to up-and-coming acts such as Man No sober, Todd and the Fox, and the Free range ramblers, the city's soundscape is a feast for the ears. Miller, a film technician who prepares sets to match the script’s requirements, has also been documenting the santa Fe music scene for several years now. his shutterbug habit is a natural confluence of two of his biggest interests. “i've had a camera since i was nine,” says Miller, who grew up in New york city. “and i just love live music. i can’t even count how many concerts i’ve been to. in santa Fe we have some amazingly good musicians. There are times when the roof just gets blown off, and it’s as good as it gets.”

Doug Roberts

Jay boy adams Tone forest

katherine McGill

Jimmy Russell

Mary ellen Leonard

David Manzanares

Ryan Montaño at Vanessie’s ben Lucero

Miller often allows musicians to use his photos free of charge to promote their shows. “Most musicians are broke, so i’m not going to look for money from them,” he says. “i have over 300,000 pictures on my computer. What good do they do there? i’d rather get my images out there. if they can make someone’s gig better, i hope they use them.” Miller self-published a book of some of his favorite images called Caught in the Act, and about 100 of his photos are now on display in a special exhibition, Music Makers Caught in the Act, at Vanessie on Water street in downtown santa Fe. in the future he hopes to publish another book, possibly showcasing his landscape photography. he would like to start producing videos of local bands as well. “Finding the right image is the same whether you’re shooting with a film camera or still camera,” says Miller, whose film work is leading him in yet another direction. “i want to use my skill set to make videos for the musicians i know.” — April Reese

Robert Mirabal

Zenobia Conkerite

bert Dalton (right) Little Leroy

felix peralta

paula Rhae McDonald

Mikey Chavez

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TuNes

by apRIL Reese | phoTos by CoaD MILLeR

Eric George Finds a Home for His Gypsy Soul

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iven that Santa Fe is a high desert town in one of the most rural states in the US, it’s no wonder that its small but vibrant music scene is awash in Americana. With sangriahued mountains to the east, the serpentine Rio Grande to the west, and wide horizons beckoning from the distance, we can identify with that lonesome folksy angst, especially when there’s a little sandstone grit mixed in for good measure. But sometimes there’s nothing more satisfying than a fat slab of distorted guitar, turned up to 11. Local guitarist, singer, and songwriter Eric George’s new project, Man No Sober, scratches that itch. An intoxicating elixir of blues-infused rock, the power duo’s music rages against the injustices of the world, while never letting the jagged soundscapes overpower the message of the lyrics. Strongly influenced by Jimi Hendrix’s Band of Gypsys, Man No Sober, which also features Mikey Chavez on drums, is a rock band for the thinking man or woman. Take the track “Brothers,” the third song on the band’s new self-titled EP. Over a sinewy guitar riff and roiling drums, George sings, “We all need one another/ Everybody free/ Love for everyone, everywhere/ Why can’t we just agree?” On “Water,” George brings the sonic stew down to a low simmer to lament the global water crisis— a topic Santa Feans can relate to well. Addressing God, he asks, “Why did you turn the water against your man?” The pensive “Gypsy Soul” finds George exploring conflicted feelings about his hometown of Alba, Texas, whose conservatism chafes against his progressive worldview. “I feel like a refugee from my old life,” he sings in his strong, clear tenor. “There’s nothing left here of this boy/ I can’t go home/ I got a gypsy soul.” “It’s about loving the place that you’re from, but just knowing you can’t go home,” George explains, sitting at the kitchen counter of the small but cozy downtown house he shares with his wife and son. “There’s nothing left of that boy that was there. I love it in Texas, but I can’t understand the mentality sometimes.” Taking on issues that are close to the heart is one of George’s

42 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

eric George

strengths as a songwriter, Chavez says. “He’s really trying to get a message out there, and I really admire that and have a lot of respect for that, because it’s difficult. You make yourself vulnerable.” While stripping down the band to just two players may seem limiting, George and Chavez, who are also close friends, find it

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freeing. “We saw eye-to-eye, and it was hard to find people who saw what we were seeing. So it kind of evolved into that,â€? says Chavez. “I appreciate being two pieces sometimes, because things can get really crowded [with more members]. And the chemistry is really strong.â€?  The band takes its name from a song by reggae band Steel Pulse, about a man who tries to drown his sorrows in whiskey and gets into various kinds of trouble. But to George, No Man Sober evokes another kind of meaning: Pursuing an intoxicating dream in the face of societal pressure to conform, or “sober up.â€? “It’s about manifesting the things that you want in life,â€? he says. George, who began playing music before he could grow facial hair—first drums, at age 6, then guitar at 16—took that to heart at an early age. Through a combination of hard work, good fortune, and killer chops, he’s landed high-profile gigs with some of the music industry’s biggest names. In his first lucky break, when he was about 20, Buddy Miles, Hendrix’s former drummer in the Band of Gypsys, saw him play at a biker bar in Kenosha, Wisconsin, and recruited him to replace his ailing guitarist for the rest of his tour. A few years later, after moving from Chicago (where he served in the military for a time as a surgical assistant) to Nashville, he backed a number of top country artists, including Rascal Flatts and Keith Urban. He has also played with rockers Bret Michaels and Kid Rock. It was during a brief detour from the music business that he discovered Santa Fe. After becoming disillusioned with the music industry in Nashville he joined the corporate world for a time, traveling around the country selling medical supplies. After short stints in Santa Fe and Tyler, Texas, not far from where he grew up, he decided to quit and rededicate himself to music. While the money was good, George couldn’t reconcile the company’s pursuit of the bottom line with the little voice in the back of his head. “It just ate me up,â€? he says. “The corporate world, it’s all about growth. It’s all about the numbers. There’s no humanity. Here we were selling people disposable medical supplies. As soon as it’s used it goes in the trash, instead of sending it somewhere else where people could really use it.â€? But George had little interest in returning to Nashville to resume his music career. Still feeling a strong pull toward Santa Fe, and with a baby on the way, George and his wife decided to head back to the City Different. “In Nashville you’re always thinking, ‘How can I sell this?’â€? George says. “Here, you just make art.â€? George quit his corporate job two years ago and now focuses on music full-time, while also taking care of his young son, Eason, while his wife is at work. Despite Santa Fe’s small size, George, who turned 35 in August, believes it’s possible to build a successful music career from here, although admittedly, it’s difficult to make a living as a full-time musician. “I’ve been validated enough by other people to know I can do it,â€? he says. “It’s just the feast or famine part of it. And here in Santa Fe, it’s always feast or famine, whether you’re a musician, a painter, a bartender, a tattoo artist, or whatever. But you just have to believe it’s going to work out.â€? And the sense of community here makes even the lean times worthwhile, he adds. “We all live on that,â€? he says. “We all want to tour and do other things, but man, if you can help your community, and move your community with what you’re doing, that’s huge.â€? To hear Man No Sober’s music, visit their Reverb Nation page at reverbnation.com/mannosober trendmagazineglobal.com Trend Âť Fall 2012/Winter 2013 43

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OFFERING UP A MUCH LOVED TREASURE

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he large, magnificent hillside lot was perfect— a three-minute drive to the Plaza, spectacular mountain and city light views, absolute privacy, and the gorgeous year-round green of piñon and juniper trees. The only drawback for a couple with a young family and a sophisticated yet practical vision for their home: Already on the lot was a dreary little uninspired house—hardly fitting for such a marvelous spot. So the new owners, Paul and Ashley Margetson, had the old house removed and set about creating a home that would embody their dreams and surround their daily lives with beauty and quality for many years. Spacious, thoughtfully designed, and filled with impeccably hand-crafted details, the hacienda-like home was imbued with Mediterranean warmth and New Mexican light. Inside, generous yet perfectly proportioned rooms feature such aesthetic highlights as custom-made doors, four hand-carved by acclaimed furniture maker Jeremy Morelli himself; Moroccan-inspired ojo de buey windows; and five fireplaces, including intimate, Santa Fe-style kivas

Mah-Waan, Mah-Waan Welcome to Santa Fe’s only Native American owned Hotel located in downtown Santa Fe in the heart of the Guadalupe Railyard District. Our unparalleled personal service, warmth and hospitality make you feel at home. For the ultimate pampering and luxury, stay in our Hacienda — with fireplaces in each room and on-call butlers to fulfill your most exacting requests. Our new spa and fitness center is the perfect place to lose yourself in a Native American inspired treatment that draws on ancient healing techniques.

800-825-9876 www.hotelsantafe.com stay@hotelsantafe.com

Poised on 1.3 acres near the Governor’s Mansion, this one-of-a-kind villa enjoys magnificent views from every room and features a wealth of custom stylistic elements. and a magnificent hand-carved Canterra stone fireplace based on Ashley Margetson’s flowing grapevine design. Hand-carved nichos above the kitchen range hold santos that over the years have witnessed countless enjoyable family meals, holiday parties, and quiet gatherings with food and friends. A Spanish/Moorish theme continues in the master bath with richlyhued, hand painted tiles in multiple complementary designs. In the master suite, wrap-around views draw the eye ever outward, while the hillside setting ensures a sense of privacy and serene retreat. Other highlights of the home include a multipurpose game room, working art studio with trompe-l’oeil sky-painted ceiling, library, and multiple outdoor living and entertaining areas. As the younger Margetsons left the nest and the 6,100-squarefoot home became less of a bustling center of activity, Paul and Ashley began to entertain the notion of finding a smaller space. Now, for others equally enchanted with Santa Fe’s spectacular sunsets, twinkling city lights, and clear air, the couple presents the opportunity to purchase this exquisitely beautiful, much-loved home. Ashley Margetson is a broker at Sotheby’s International Realty. The home is offered at $1,795,000. To learn more about the property, call Ashley at 505.920.2300 or email ashley.margetson@ sothebyshomes.com. Sotheby’s International Realty is located at 231 Washington Avenue, Santa Fe, New Mexico. 505.988.8088

by LyN bLeILeR | phoTos by Lee CLoCkMaN

The Resurrection of aN aDVeNTuRe IN sMaLL-ToWN NeW MexICo poLITICs

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The entrance to the restaurant features a small reception area and retail space selling old Martina’s hall homemade marmalades and herb-infused olive oils. To the left hangs a painting by Taos artist Jack Richard smith. The stained glass window at right is by another Taos artist, Waldo Cantu. opposite: a Cantu stained glass piece depicting the Rio Grande Gorge decorates one wall of the dance hall. 48

Trend Âť Fall 2012/Winter 2013 trendmagazineglobal.com

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nspired by its rich local history and future potential, the Old Martinez Hall in Ranchos de Taos received a major facelift from German architect and cosmetics producer Martina Gebhardt. In 2006, while she was living on a farm in Utah, a long-time neighbor with Taos roots told her about an “interesting property” for sale. “He said he had found me a little fixer-upper,” Gebhardt recalls, and he became a partner on the project. Intrigued by its proximity to the iconic Ranchos Church, Gebhardt purchased the property sight-unseen, but upon arriving in Taos she soon realized the building was in far worse condition than she had imagined. “Several massive vigas were broken and the whole building was leaning,” she recounts. “The roof had major leaks and was about to cave in. I don’t think it would have lasted another year.” If that wasn’t discouraging enough, a broken water pipe undermined the structural integrity of the foundation, necessitating that Gebhardt acquire a neighboring property in order to repair it. However, as an architect with an interest in historical renovation (including restoration of an 850-year-old farmhouse near Munich), the strong-willed Gebhardt was up for the challenge. Reviving the formidable adobe landmark from a dilapidated eyesore into a thriving community hub would prove easy compared to navigating the insidious, incestuous small town political scene. Whatever the struggles, however, in the end they added yet another layer to the rich history embodied in Martinez Hall. historic gathering spot Old Martinez Hall’s colorful history spans more than two hundred years. The building sits directly behind the San Francisco de Asis Mission Church, which was built between 1772 and 1816 and made famous through paintings by Georgia O’Keeffe and photographs by Paul Strand and Ansel Adams. As it happens, Gebhardt was familiar with this particular icon of New Mexican architecture. “I pasted a photo of the church on a cover of a textbook when I studied architecture in Munich,” she says. “I kept the book long after the course

was over because I liked the [old adobe] so much.” Built over 230 years ago, the building’s impressive size (3700 square feet in front that was formerly the El Cortez Tavern, and 4800 square feet of open space in the back) has made it the scene of many lively, sometimes raucous, multicultural incarnations over the years. It has long been the location of choice for bridal showers, weddings, and baptism receptions for generations of locals. It has also served as a tavern/dance hall, community theater, drive-up liquor store, concert hall, and flamenco troupe headquarters. In short, Old Martinez Hall has been a meaningful venue for Taoseños of all stripes. Gebhardt has been passionate about preserving this tradition while expanding its role to accommodate current trends, and assuming environmental and social responsibility for its rebirth. Rock and roll and “Taos boogie” days Bill Whaley, former publisher of alternative Taos newspaper The Horse Fly and author of an upcoming book titled Gringo Stories, rented the hall in 1971 to stage concerts. Ricky Nelson performed during the height of his hit song “Garden Party,” as did rhythm and blues artist Bo Diddley. At one point, Grammy Award-winning blues artist Taj Majal filled the hall. And then there were the legendary Taos Boogies, to whom author Iris Keltz devoted an entire chapter in her book Scrapbook of a Taos Hippie: Tribal Tales from the Heart of a Cultural Revolution. “The decrepit exterior of ol’ Martinez Hall was in contrast to the grandiose dance hall inside,” Keltz writes. “Huge vigas had been hauled from mountaintops to rest on adobe walls thirty feet high. The smooth hardwood floors created and bounced along with the dancers.” Luis Valdez’s Teatro Campesino packed the house Author/activist John Nichols recalls that “Some of the greatest evenings of entertainment and political consciousness in Taos took place at Old Martinez Hall.” Luiz Valdez’s Teatro Campesino, a people’s theater group that had grown out of California’s migrant workers’ strike, came to town in 1971. When the Town Council refused to allow them to give a free performance on the plaza, Nichols and trendmagazineglobal.com Trend » Fall 2012/Winter 2013 49

from top, left to right: Martinez hall as it looked in 1943. a play is performed inside the hall in 1950. The road adjacent to st. francis Church, behind which the hall was built. The neighboring el Cortez Theatre was eventually purchased by Dennis hopper and turned into his art studio. The new old Martina’s hall, as it looks today. The Native american blessing ceremony that took place in the hall’s new theater this summer. opposite: North-side view of old Martina's hall, showing large buttress and patio dining area with custom-crafted door by local Taos woodworker Mark Romero. 50

Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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Gebhardt’s vision is to restore the integrity of the original structure, incorporate a bakery and restaurant, generate much-needed local employment, and hopefully even help revitalize the historic Ranchos de Taos Plaza.

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other sympathetic locals chipped in to rent Old Martinez Hall. “Teatro Campesino was so wonderful,” Nichols says. “So funny. So politically right on.” According to Nichols, the audience, which was 90 percent Chicano, packed Old Martinez Hall. They had to set up loudspeakers in the parking lot along with over 100 folding chairs to accommodate the overflow. “It was so exciting to be able to make a connection between the Chicano movement and the anti-war movement, and to bring the local community out in force,” Nichols says. Noteworthy neighbors With earnings from Easy Rider’s success, actor/director Dennis Hopper bought the legendary Mabel Dodge Luhan house. Later, needing a place to edit his next film, The Last Movie, he also purchased the 200-seat El Cortez Theater two doors down from Old Martinez Hall. This space eventually became Hopper’s art studio, gallery, and occasional crash pad until his death in 2010. One day Hopper invited Gebhardt into his studio/gallery, which still had old theater chairs, Easy Rider memorabilia, and Andy Warhol paintings. “He was so polite, and really a wonderful person,” she says. “We became friends. He even taught me to play

golf. Three or four weeks before his death, he was standing in the hall that was undergoing construction and was really pleased to see what was happening. He told me ‘I just know this is going to be the place in Taos.’” flamenco flourished in the old hall As a young woman, Ranchos de Taos native Catalina Rio Fernandez followed her passion for dance to Spain where she studied with grandes figuras de flamenco in Granada, Sevilla, and Madrid. Rio Fernandez married a self-professed Spanish gypsy and lived the art of the dance for 13 years, all the while connecting Taos to Spanish culture through flamenco. In 1989 she established Taos’s first school of flamenco dance with the help and generosity of Diana and Felix Martinez, then-owners of the hall who donated the space. “The very first company, Taos Flamenco Dance Company, was the seed—the beginning of the flamenco community in Northern New Mexico,” Rio Fernandez recalls. “Dance was the beginning, guitar followed, then cante [or song, considered by many to be the heart and soul of flamenco performance].” Old Martinez Hall was transformed into a colorful dance studio, hosting classes five

to seven days a week as well as scores of crowd-pleasing performances, and inspiring a generation of Taos youth. “The art of flamenco became embedded in the hearts of Taoseños because the community claimed it as their own,” says Rio Fernandez. The new old Martina’s hall In the years leading up to 2006, Old Martinez Hall had fallen into disrepair, and the adjacent Orlando Building was a two-bit pawnshop—hardly the dignified surroundings worthy of the world-famous Ranchos Church. But Gebhardt had a vision. She wanted to restore the integrity of the original structure, incorporate a bakery and restaurant that would support local organic farmers, generate much-needed local employment, and hopefully even help revitalize the historic Ranchos de Taos Plaza. In 2012 Gebhardt asked award-winning Zimmer Associates International LLC of Santa Fe—a company that specializes in interiors, planning, design consulting, and sustainable development—to consult with her on the furniture and interior design of the hall’s new restaurant. Principal Robert Zimmer had founded Rosewood Hotels in 1979 and served as its CEO until 1988, an experience that no doubt helped guide his trendmagazineglobal.com Trend » Fall 2012/Winter 2013 51

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old Martina’s aromabar is the heart of the restaurant, serving beer and wine, aromatic tapas, coffee, hot chocolate, and other specialty drinks.

company’s vision for creating powerfully distinctive properties. Zimmer Associates’ extensive project list includes OrientExpress Hotels (including the Machu Picchu Conservation and Sanctuary Lodges in Machu Picchu, Peru), Starwood Hotels and Resorts, Grand Bay Resorts, and Taj Hotels and Palaces worldwide. Closer to home, the firm has completed several projects for Robert Redford’s Sundance Film Festival and Resort, Hotel Santa Fe and Hacienda and Spa, and the Inn of the Anasazi. Zimmer Associates embraces “regenerative development,” which they describe as a natural systems approach that comprehends and builds on the complex human, natural, and economic relation52

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ships that create and sustain the vitality and viability of place. Such an approach contributes to restoration of local ecology, revitalization of community culture, and self-reliance of the local economy—goals that mirror Gebhardt’s vision. “Throughout our career—and I consider this a blessing—we’ve had the privilege to work on projects that are three to four hundred years old,” says Robert Zimmer. “Restoration, to me, is a gift to bridge the past because the past tells us how to walk consciously and be aware of the now and the future. An example is when we renovated a 16th-century monastery in Cusco, Peru, that became a hotel for Orient-Express called El Monasterio. All of the original

walls showed the tradition of the building, and how the tradition could be carried forward.” The Zimmers were also impressed by Gebhardt’s absolute love of Northern New Mexico culture, her respect for the old hall’s roots, and her passion and commitment to the Taos residents. According to Gebhardt, “We really wanted to maintain a rustic look so we incorporated as many original architectural elements as possible.” While the building boasts a state-of-the-art kitchen and modern lighting and sound system, these have been purposely concealed to maintain a historical look. Located in the former El Cortez Tavern space, the bistro-like dining area with a newly installed wood-fired pizza oven

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offers a menu that incorporates locallygrown organic and raw food at affordable prices. Galvanized metal seating and warehouse lighting fixtures contribute to the casual atmosphere, and an in-house bakery adds a tantalizing aroma. “This is a great opportunity,” Robert Zimmer explains. “It is an icon that is going to have a new life and contribute to the community, or as I explain it, ‘common-unity.’ We want it to build bridges by taking something like this as a feature that won’t change and surrounding it with the creativity and art of Taos.” To that end, revolving art exhibitions by Taos artists, as well as national and international artists, will add to the vitality of the space. A variety of music and other live performances are planned in the old dance hall to attract a mix of locals and tourists, and the facility will be available for wedding receptions and other special events. Gebhardt explains that future plans include renovation of the adjacent 10,000-squarefoot former “Orlando” space—located between Old Martina’s Hall and Dennis Hopper’s El Cortez Theater—into an arts and wellness center for workshops on everything from sustainability to holistic healing. In keeping with the property’s history of bringing community together in an informal setting, it will also be a center for music, art, workshops, dances, theater, and special celebrations. Navigating local politics That Old Martina’s Hall officially opened in September 2012 is a testament to Gebhardt’s determination and staying power. In spite of the hall’s history as a bar and drive-up liquor store, Taos County Commissions rejected her numerous requests for a beer and wine license, without which her business could not be economically viable. The process dragged on over the course of several years. Meanwhile, Gebhardt incurred significant legal costs and lost several key investors. In highly publicized hearings the commissioners cited everything from proximity to the church to excessive noise, but rumors abounded, suggesting other reasons. Frustrated but undaunted, Gebhardt was heart-

Massive adobe walls, more than four feet thick, form the backdrop for a mix of contemporary fixtures, furnishings, and art. The tables are by Taos woodworker peter Templeton of Tree of Life Woodworks. The Lyle chairs are available through Crate and barrel.

ened by the outpouring of local support. “I guess it’s just politics and I don’t take it personally. I know that the people are behind me and that makes me very happy.” Finally, in mid-June, the State Division of Alcohol and Gaming stepped in, stating that Gebhardt was indeed within the law and proper distance from the church. A beer and wine license was subsequently issued. Gebhardt admits it has been a long and arduous journey, but one to which she is

committed for the long haul. On August 14, she enthusiastically participated in a Native American blessing ceremony, complete with sage-smudging and drumming, at the new Old Martina’s Hall. All three cultures in the city’s uniquely rich heritage—Hispanic, Pueblo, and Anglo—were represented in the gathering of well-wishers, marking the official beginning of the hall’s new life and a renaissance of the historic Ranchos de Taos Plaza. R trendmagazineglobal.com Trend » Fall 2012/Winter 2013 53

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heart A couple’s unique collection honors the traditions of the past while inspiring new directions for the future esuque collectors Marshall and Lee Ann Hunt recently attended their ninth Santa Fe Indian Market. The event was one of many milestones in their epic journey from modest beginnings in Ardmore, Oklahoma, to international success in business—welllived lives that also include four children and an unbridled passion for art collecting. The couple collects according to how much they love a particular piece of art regardless of its market value. Marshall Hunt explains that all of their pieces, which focus on Native Americaninspired arts and crafts, are alive with the spirit of the artists who made them. They have dedicated the collection to honoring those artists in recognition of the value of living amid the history and culture of the region’s native peoples. “For me, multicultural Santa Fe is Mecca and we both just love it,” Hunt says. “I had come here on several hunting and fishing trips and always felt good here. But it wasn’t until Lee Ann and I visited Santa Fe together in 2004 that she suggested we buy a home here and I agreed right away.” He points out that Lee Ann has an unerring ability to see the true value in people and places. “She really helps me to be a better person.” Since then, the Hunts have given back to the community that so inspires them by avidly supporting the Southwestern Association for Indian Arts, the Institute of American Indian Arts, and the local New 56

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by WesLey puLkka | phoTos by kaTe RusseLL

Mexico Cancer Institute that supports screenings and provides lodging for cancer patients. “We’ve made a lot of great friends in Santa Fe, and we just haven’t had a bad experience here. This is our home and we feel great about it,” Marshall says. The couple’s museum-quality collection covers a wide array of artists, ranging from Glenna Goodacre and JD Challenger to Ed Archie NoiseCat and spiritual healer Lakota John. It also includes a cross section of mainstream American memorabilia, including

functioning antique soft drink machines, a drugstore soda fountain, period appliances, and illuminated signs advertising Harley Davidson Motorcycles. The Hunts own several collector cars and seven motorcycles, including a completely restored 1953 Indian Chief powered by an 80-cubic-inch Flathead V-twin engine that is housed in its own period garage complete with vintage gasoline pump and filler hose. “I had an Indian Chief when I was young so when I found this one at an auction I had to have it,” Marshall says. “It’s one of the last original Indians ever built.” Hunt’s love for Native American arts and sacred objects as well as antique Americana was developed while growing up in his mother’s antique shop in Ardmore, Oklahoma. “I just love old stuff that reminds me of my childhood,” he says. “The house that I grew up in was my mom’s antique store, so the bed I slept in for a couple of months would be replaced by a different one the next night. The experience taught me to value handmade things and to search for quality in what I choose for myself.” His passion for Native American art is also, quite literally, in his blood. An enrolled tribal member with the Oklahoma Seminole Nation, Hunt’s great-great-great grandfather on his mother’s side was captured in 1838 with many other Seminoles and brought by steamship from Tampa, Florida, to Oklahoma. “Though I grew up and live in

etched in stone, one of Marshall hunt’s prose poems commemorates the importance of the buffalo to Native americans, most especially the white buffalo, considered by many plains Indian tribes to be the most sacred of all animals. Inset: kelly haney, artist and retired Chief of the seminole Nation of oklahoma, of which Marshall hunt is a member, has long been an important friend. he also created a relief sculpture for the hunt's back portal. opposite: Lee ann hunt with her prized possession, a large clay pot carved with kachina dancers by Tammy Garcia.

This welded “americana” sculpture by Greg Congleton is titled Last Warrior and is made up of 47 different items, including forks, railroad spikes, and golf clubs. Right: a large stone plinth by New Mexico stone is capped by a 110-pound raven by Jim eppler.

the white world, my heart and soul are rooted in the Native American community and traditions,” he reflects. In 1973, he met the woman who would eventually share his artistic passion when she moved from Fort Worth to Ardmore. “There’s a five-year gap in our ages,” says Lee Ann, “so when I met Marshall I was 19 and he was 14. Even though we became good friends, to me he was still just a young boy. We did correspond over the years and stayed in touch through marriages to other people.” Years later, when they were both finally single, their relationship grew into something more than friendship. Says Lee Ann, “It seems we were destined to be together and now we can’t imagine being any other way.” 58

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Nor can they imagine a life outside Santa Fe. Their Territorial style main house, replete with 14-foot ceilings supported by enormous square-cut vigas, occupies the center of the cascading outdoor sculpture garden which pauses its descent at the rear of the house at a rippling pond surrounded by three Glenna Goodacre cast-bronze sculptures of young Indian women carrying ollas. Inside the home a compendium of paintings, mixed media pieces, sculpture, pottery, ceremonial dress, and even weaponry—located in a separate section that the couple calls their “war room”— reveal the extent of the Hunt’s collection. In the living room in front of a large sectional sofa, a hand-carved glass-topped coffee table supports several pieces of pottery, including two large polychrome vases by

Cochiti artist Virgil Ortiz. One of his beautifully executed works features a highlystylized sea horse motif. The wall opposite the sofa is dominated by a large antique-looking credenza that is actually a new custom-made piece that houses a large flat-screen television that rises from within at the touch of a button. Above the credenza, atop which stand three kachinas and two other figurative sculptures, hangs a stunning JD Challenger mural-sized painting titled They Call Me the Wind that depicts a Native American warrior in full regalia standing in front of a group of dancers below a copper sky. Near the painting’s left edge, an armored soldier on horseback seems to menace the dancers who are all in silhouette. Coincidentally, Challenger’s painting

a few of the bronzes in the sculpture garden include scott Rogers’s The Portage; Glenna Goodacre’s life-sized trio entitled Water Bearers (top); and Tammy Garcia’s Rain Messengers (left).

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shares its meaning with an excerpt from one of Marshall’s poems: I am the wind and was once from this world. I come and go as the stars spin in the sky. This day is mine I will deliver a mighty blow. I will come from four directions, Swift arrows will follow, The enemy will fall. These directions will become sacred to all, The Great Spirit has sent me. I am the resurrection. I am the wind. Hunt explains that he originally intended to commission Challenger to create a painting to illustrate this poem, but before he could discuss the work, Challenger had already completed a painting with the same theme. In a moment of synchronicity, Challenger’s wife, Denise, had a dream that Marshall Hunt should own the recently completed painting dominated by the vision of a warrior returning to defend his people. By the time Hunt contacted Challenger through his dealer, he realized that he had written the poem in Nevada at the same time that Challenger was completing the painting in Taos. “I get chills just thinking about it,” Hunt says. “It turned out to be one of the most powerful pieces in our collection.” “Marshall and Lee Ann are some of my favorite people,” says Challenger over the phone from Jackson Hole, Wyoming. “They get my work in a way that every artist hopes to be understood by their collectors. It might sound funny but there’s a connection between Marshall and me. Along with They Call Me the Wind are a couple of other paintings that felt like collaborations without really being true collaborations. Marshall is just in tune with not only my work but the whole Native American experience. My only regret is that we don’t spend more time together.” A life-long writer of poems and short stories, Hunt creates his own art in a two-story Kiva-style writing studio that is attached to his motorcycle garage. From the studio’s second floor balcony, he has views of the carefully designed and landscaped hillside property. Embellished with a series of waterfalls, small ponds, and a multiplex of patios 60

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Lee ann and Marshall, atop his 1953 Indian Chief Motorcycle. Marshall bought the fully-restored motorcycle, and an original 1917 Indian shop sign, early this year at an auction in Las Vegas, Nevada. opposite: Marshall hunt’s garage with its kiva-shaped studio above, both designed and built by Tim star of star Design.

surrounded by beautifully designed stone walls, stairways, and connecting waterways, this oasis serves as a source of writing inspiration as well as home for artwork that his writing has inspired. It is also home to the Hunts’ sculpture garden. With its serpentine paths, this “Story Trail,” as Marshall named it, features a full-scale teepee and several monumental sculptural installations. One, an origami-

inspired white buffalo by contemporary artist Kevin Box, became the inspiration for Hunt’s poem The Sacred One. In the poem, a celebration of the life cycle of the Great Plains buffalo that are finally returning to feed and clothe the hungry and cold, Marshall writes: “This is our story of life, proud and free together. We protect young and old, singing songs of peace to come, for the days and years ahead.”

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The room beneath the studio is likewise kiva-shaped and holds a variety of artwork. The drums on the wall behind the sofa are all Cochiti pueblo circa the early 1900s, and the Navajo rug was woven sometime in the 1940s. opposite: a ladder made by Navajo artist Nate yazzi leads to the studio above, whose entrance was designed to look like an old elevator with antique dial, gates, and call button. The man hugging an urn is by Roxanne swentzel and the kachina duck hunters are by Manuel Chavarria.

Other works derive from dialogues that Marshall generates with the artists whose work he collects. Near the bottom of the tall base of a metal eagle sculpture by Greg Congleton, Hunt installed a plaque inscribed with a poem titled My Brother the Eagle that was inspired by and dedicated to Jemez Pueblo sculptor Cliff Fragua, following a conversation between the two men about the importance of the eagle to indigenous societies all over the world. Hunt owns several stone carvings by Fragua including an eagle. Hunt’s short stories and poetry have evolved over the years and now include song lyrics that he hopes to develop through his personal connections in Nashville. “I feel truly blessed by the Creator with the gift of storytelling and I hope to hear some of them put to music,” he says. 62

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As if scripted by Jack Kerouac’s On the Road, Hunt’s non-writing professional career took root two weeks after his high school graduation with a hitchhiking foray to Las Vegas, Nevada. “Six months after catching a ride to Las Vegas I met my future business partner, Mark Winard,” he recalls. “Our chance meeting grew into a solid friendship between me, Mark, and his family, who adopted me as one of their own. I owe all of my success to that very fortuitous meeting that evolved into a more than 30year business partnership.” Hunt is currently a principal of NEDCO Supply, a company founded in 1982 by Winard’s father, Paul Winard. NEDCO Supply is a wholesale electrical and electronic services business that has grown to be listed among the top 100 electrical distributors in the United States with contracts reaching

around the globe. “If you accept opportunity when it comes to you, keep your head down, and work really hard, great things can happen,” Hunt says. Ed Archie NoiseCat and his wife, Jhane, have known the Hunts for several years and they have found them to be incredibly gracious, generous, and personable collectors. The Hunts acquired NoiseCat’s artist’s proof of Endangered, a bronze and kiln-cast glass sculpture based upon Northwest Coast Indian totemic concepts that won Best of Show honors at the 2008 Autry Native Art Market in Los Angeles. “Both Marshall and Lee Ann have supported the artwork of our children as well as acquiring several of Jhane’s traditional Northern and Southern Plains dolls,” says NoiseCat. “The Hunts stay in touch with their artists and have always shared their

They Call Me the Wind by JD Challenger is a major focal point of the art-filled living room. on the hand-carved coffee table sit two black and white pots by Virgil ortiz and one brown and white, a collaboration between Tammy Garcia and preston singletary.

another mixed media piece by JD Challenger called Hunt’s Horse hangs in the dining room. In the foreground is an ed Natiya bronze titled Hope Will be Carried by the Wind. Right: Marshall hunt in the “war room,” with miscellaneous war clubs, a war shirt by artist steve Lodding, and a spear by buck ennis. The room also holds the handprints of Marshall’s son when he was six years old (he is now 20). In honor of his seminole heritage, Marshall often wears a period reproduction gorget by steve Lodding. originally worn by european military in the 18th century, gorgets were brought to North america and given to Native american leaders to signify their rank, authority, and leadership. opposite: a close-up of Virgil ortiz’s pot, Blind Archer.

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newest collections as though we were family. We love them like family and always look forward to visiting with them.” The Hunt’s future artistic plans include a collaborative project involving indigenous artists from the international community with the cooperation of Cheyenne multimedia artist, spiritual leader, and friend Lakota John. Currently based in New Zealand, where he is working with and learning from the Maori and other aboriginal people, John plans to return to the United States with these experiences to kick-start the new project. “This is a complex undertaking that will happen in its own season and by its own measure without fanfare,”

John explains. “It will include indigenous artists from all 50 states in collaboration with artists from around the world. The project involves development in the arts and the creation of a wellness center using self-help programs to aid in people’s transition from self-doubt to self-reliance in our rapidly changing global environment.” Their “joyful addiction,” as Marshall describes it, is clearly not one based on exploitation or economics. Instead, the Hunts seem to be among the rare collectors whose honest and heartfelt emotional connection to the work they collect transcends clichéd expectations or assumptions we may have about avid collectors of Native American art. R

by ReNa DIsTasIo | phoTos by kaTe RusseLL

The

Past Is Now Bart Prince

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and a new paradigm for New Mexico’s residential architecture

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ike many middle-class Albuquerque neighborhoods, Las Alturas exhibits a quietly gentrified uniformity, with kelly-green lawns and blooming gardens fronting the overwhelmingly Pueblo, Territorial, or brick-and-stucco Ranch style homes. There are a few standouts—like the elegantly modern pop of steel and glass with knifeedged corners—along with a few head-scratchers, such as the mini Mediterranean villa with a massive red-tiled roof that can probably be seen from outer space. But there is nothing quite like the two-story composition of concrete block, corrugated metal, and sage-green stucco that sits on— or soars above, depending on your point of view—a slightly elevated, narrow strip of what was one of Las Alturas’s few remaining residential lots in the 1990s. Designed and built in 1993 by Bart Prince for Christopher Mead, Regents' Professor of Architecture and Professor of Art History at the University of New Mexico, and his wife, photographer Michele Penhall, the home at first seems like a totally alien construct. No doubt it’s a thrill to come upon something built by Bart Prince, especially when it’s in the middle of a residential neighborhood. I remember feeling downright giddy watching the architect’s own home and studio go up on another

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Interior, bart prince residence, albuquerque, New Mexico.

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slender residential lot, this one on Buena Vista just off Carlisle, during the early 1980s. Even today, this bold compendium of the organic and the space age still contains something of the shock of the new, a burst of laughter amid the hushed tones of its quietly respectful Southwestern-style neighbors. Even when he works at a remote site, Prince’s architecture forces a conversation about the relationship between the built environment, the natural world, and what it is, exactly, we expect from our homes. “Some people think that architecture has to blend in so that it doesn’t somehow insult its natural environment,” says Prince. “You can do that—blend in. You can also stand apart and make a statement. Or you can do a combination of both, which is what I do.” As individualistic and convention-shattering in his art as Picasso was in his, Prince is not primarily concerned with making shapes but with solving problems—of climate, site, geography, and client need and want—even though this may not immediately be apparent. Whether undulating or jutting, crashing or angling, oozing or digging in, his forms can initially seem riotously at odds with their function, prompting the viewer to ask, “What, if any, method is there to this madness?” Plenty, as it turns out. Bart Prince’s

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work may not be formulaic, but neither is it capricious. Using his own home/ studio as an example, he explains: “This is the process I go through for every building—before I even begin to design the structure. I start with the physicality of the site: where are the utilities, how do you get in and out, how tall are the trees, what’s around the lot, where does the winter sun come in? Where do I want my studio to be, my bedroom, my private spaces? I think first in an abstract sense, and it grows from there . . . I manifest those ideas into a physical solution to the problem.” Although the solution is neither exclusively practical, nor even intellectual. There is, says Prince, an important emotional element to his work as well, one that arises out of his desire to express something that is beyond the sum of the parts. “A house has to be more than the bedroom, the living room, the cost of its materials. You have to breathe life into it.” Mead recognized this immediately. “As a historian, I knew that I would be lucky to have Bart design a house, because . . . I would be contributing to the history of American architecture. At the same time . . . Bart’s pragmatic method of design meant that he would respond seriously and thoughtfully to our site, to our program, to our tight budget, and that he would answer our needs—not design a trophy house that was more about his ego than our comfort. We

When his next-door neighbors put their house up for sale, bart prince bought the property and added an elongated addition up top, which now houses his extensive collection of art. above left: Like most of his homes, prince’s personal residence does not feature a traditional front yard, a concept that, Mead points out, is both old-fashioned and antithetical to desert living. Instead, patios and native plantings punctuated with sculpture—like this one by bartholomew ochoa, one of several on prince’s property—define the outdoor spaces. opposite: a close up of the home’s exterior reveals the wealth of different materials with which he works.

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prince’s architecture forces a conversation about the relationship between the built environment, the natural world, and what it is, exactly, we expect from our homes.

would get the best of both worlds: a significant work of architecture that is precisely tailored to our practical requirements and emotional interests.” The result is a house that works on an emotional, intellectual, and economic level. Materials like corrugated metal, cedar plywood, and stucco helped Prince meet Mead’s tight budget (the house was built for only $65 per square foot) while also allowing the architect to transform their simplicity into something beautiful as well as practical. The downstairs—which contains the guest room, master suite, and the couple’s separate offices—is all about the imperatives of their private and work life. Upstairs, the 100-foot-long expanse—with its curved ceilings and walls and strategically placed windows—is the couple’s public space, one that showcases their relationship to each other, their extensive collection of artwork, and the neighborhood around them. Sited in line with the winter solstice, the home is also about the connection between interior and exterior, offering extensive views of the mountains to the east and the mesas to the west, and directing the everpresent New Mexican light. Beyond its beauty and its functionality, there is something almost hushed and reverent about the home’s interior. Mead concurs: “In many ways, the form is like a Spanish Mission church: simple, readily available materials used to create a monumental space. We tend to separate the sacred and the profane. Bart conflates the two. I don’t think it’s a deliberate choice, but one based on the notion that daily life is important. Why not celebrate it?” Prince worked similarly with a client who was moving from Santa Fe to a small rural community outside the city. After living in a conventional Santa Fe-style home for many years, she wanted something different. “The two things I asked for,” she says, “was a connection between the inside and the outside because the setting is so beautiful. My second requirement was a real sense of space, but more as an aesthetic than a 72

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riGhT: courTesy oF BarT PriNce

measurement. That’s it. Otherwise, why hire an architect if you’re going to tell him what to do?” She chose Prince based on a friend’s recommendation, never guessing that he would actually answer his own phone, much less agree to her limited budget. “His response was: ‘I should meet you on your land and we’ll go from there,’” she remembers. “Nothing about how big did I want my house or what my budget was. I got the sense that Bart [is instead motivated by] the challenge of doing something unique and rising to the occasion.” When he finally finished her drawings, she says, “He sent me an email that began, ‘Remember me?’ He was so excited by what he’d done. There’s a difference between someone who presents you with his ego and someone who is enthusiastic. Bart is enthusiastic.” The final designs were shocking. “But in a good way,” she explains. “The plan was so integrated and intact, so meaningful from one part to the other, it was almost impossible to edit it. Everything made so much sense that to tweak it would have destroyed its integrity.” Although Prince has accepted commissions from around the world, it is worth noting that so many of his homes are built in the American West. It is not a deliberate choice on his part, he says, nor does he seek commissions. Still, those who hire him are responding to something in Prince’s work, a boundless spirit and tenacious vision that is perfectly in keeping with the region’s mythos of rugged individualism.

even when homeowners have the exact same requirements, the solutions are different, says prince, shown opposite. “Take Christopher Mead’s home and the house I built in Mendocino [above right]. Their programs on paper were almost exactly the same, down to the square footage. however, each home was on a completely different site, so my response was not just to requirements on a piece of paper, but also to an understanding of the people. Two different ways of solving the same problem.” once prince drafts those solutions on paper, he builds meticulous models of each home. The work is done in his circular office, which is divided into various work sections and is situated beneath the main living area of his home.

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exterior view of the Mead-penhall house. Citing it diagonally on the small residential lot allowed prince to achieve one long, continuous space while also eliminating the need for special variances from the city. The house reflects another distinguishing prince feature: it does not establish what Mead calls the typical competition between garage and front door. Carports, driveways, and front entrances are tucked under or into the sides of homes. below: The pivoting front entrance door opens up onto—and is aligned with—the plane of the stairs, which lead to the home’s upstairs living areas. Made from open industrial tread, this staircase is meant to seem to float above the floor and guide the body upstairs, as if on air. prince achieved a similar affect with the hallway (opposite), left open to the second floor so that it becomes part of the home’s cathedral-like space.

Born in Albuquerque and raised for a time in Santa Fe, Prince boasts a family tree whose branches extend all the way back into the earliest days of New Mexico’s history. (His great grandfather LeBaron Bradford Prince was governor; his grandfather William Prince a rancher in Española; and his father, Brad Prince, owned one of Albuquerque’s top advertising agencies.) But Bart Prince would not follow in any of their footsteps. Even as a child all he wanted to do was be an architect, even if the did not yet know the exact name for this impulse. After graduating high school in the mid1960s, he began studies at the College of Architecture at Arizona State University, immersing himself in the history of Louis Sullivan and Frank Lloyd Wright. It was here that he also met his mentor, Bruce Goff. In spite of his upbringing, the design vernacular of the American Southwest held little appeal for Prince. At least not in the traditional sense. “At five years old, I remember looking at Santa Fe and saying to myself, ‘Boy, this is an ugly place.’ I appreciate its natural environment, what the Native Americans built—with honesty and for its function—but I’ve never thought that actual imitation was a solution to any problem.” Which is something that greatly appealed to his rural client. “I think if we are going to build a home, we need to justify doing so in a different and not conventional way,” she says. “Santa Fe is receptive to contemporary art, but there is a lag when it comes to architecture.” It is important to understand that Prince does not completely reject the traditions of Southwestern architecture. If anything, trendmagazineglobal.com Trend » Fall 2012/Winter 2013 75

The back of the kitchen’s pantry serves double duty as the stairwell wall, which features a painted mural by prince. The alcove below holds a four-panel screen of the four seasons originally painted for Mead’s grandparents as a memento of their life in france. In the distance, pale green solar Tex shades help block the sun’s rays while imparting an airy, nautical feel to the home’s interior. above right: The galley-style kitchen was designed for maximum efficiency. below: The home’s airiness is also achieved by the illusion of the uninterrupted flow of space from indoors to out, thanks to glass partitions and the extension of the outdoor sheet metal walls into the home. opposite: The living area with its picture window fireplace “mantel” and cedar plywood walls, which have the added benefit of not showing nail holes, allowing Mead and penhall to switch out their artwork frequently.

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he is acutely aware of the need out of which it sprung and the brilliance of those early architects’ solutions—from the Chaco builders to the Territorial Spanish. It is the reasoning behind the vernacular that is of value to us today, not its mindless duplication.

“I think a lot of Bart’s work has to do with the modernization of certain of these traditions,” says Mead. For instance, siting a home to take advantage of winter sun, deflecting wind, and using traditional New Mexican building materials like wood, stucco, concrete block, and sheet metal. “And then he asks, ‘how do these traditions function and look today?’ Bart knows a lot about the history of New Mexico, and he knows its people survived over thousands of years in harsh conditions exactly because they were able to change.” Free of the need to protect ourselves against marauding bands of outlaws and with our harsh climate tamed by central heating and air conditioning, our architecture can also be freed from certain of its traditional dictates. Perhaps that is why Prince’s homes always appear to be on the move, not anchored to the ground, bunker-like, but seeming to rise above it, like great ships, insects, or birds about to take flight. “I often say my homes are difficult to photograph because they don’t stand still long enough to have their picture taken,” Prince says. “You are not just walking into a box with a bunch of holes in it; you are battling gravity and the horizon line, but not in a negative sense. The idea is to work with space that radiates out in all directions and build something that resists that gravity, that is part of the earth and yet appears lighter.”

So the question becomes: can we—dare we?—change the paradigm of suburban Southwestern architecture? Some might say that doing so is too expensive, that it is one thing for a multi-millionaire to build a custom home on a seaside cliff somewhere in California but quite another to do so in Anytown USA. Prince balks. “People think good architecture has to be expensive, and it doesn’t,” he says, pointing out that many of his homes, including his own, had tight budgets. “I have a number of clients with limited resources who wanted something more. They didn’t like what they were seeing, and they realized that something more is available to them.” Economics aside, other critics maintain that suburban neighborhoods must remain uniform for aesthetic and cultural reasons. Again, Prince disagrees, pointing out that perhaps part of the problem is that we “accept the houses we are given” because we fear asserting ourselves in the environment. “We humans have a right to be here and express ourselves, and we don’t have to be bashful about it,” he says. “Yes, there are extremes—we don’t have to plunk down a Wal-Mart box with no sensitivity to the existing environment—but at the risk of saying that we can improve nature, I have to say that I believe that we are as much a part of nature, of the earth, as anything else. When you can’t imagine a site without the house, when you have made someone experience the environment around them in a way they normally would not have, then you know you have succeeded.” R trendmagazineglobal.com Trend » Fall 2012/Winter 2013 77

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2012/2013

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SFGA Members

SFGA ART GUIDE

I

am proud to present the debut of a new Art Guide that I have had the honor of creating with the board and staff of the Santa Fe Gallery Association. Life is so interesting these days. While great change swirls around us as a community and society, the daily work becomes a grounding responsibility that takes us down fascinating and important paths. One of those grounding responsibilities has been this new Guide, which I see as a reflection of the heart of the Santa Fe gallery scene I have known over the past 28 years. I have learned so much from the great people who bring us this sophisticated, world-class art experience! My mentors Arlene LewAllen, Elaine Horwich, Charlotte Jackson, John Schaefer, William Siegal, and others have shaped my understanding of excellence and grace in serving our community. To me, there is no place on earth like Santa Fe. Its galleries and natural beauty, the people who visit, our cuisine—the more you get to know about our town, the better it gets. We invite you to enjoy our annual Art Guide and look for an expanded issue in May 2013, with listings of exhibitions and exciting art-related events. Be sure to place Santa Fe on your list as the place to visit to find astounding creations from artists of great vision and merit! Published by Trend magazine art + design + architecture Cynthia Marie Canyon Publisher and founder Trendmagazineglobal.com Ecotrendsource.com And now the SFGA Art Guide

All cover art is from the inaugural SFGA Art Guide. For more information on this art, visit the SFGA website at santafegalleryassociation.org, or if you are reading this guide virtually, press the image above. All pages you press while reading this guide or TREND magazine online will take you to the advertiser or website for which you are seeking more information.

Editors and writers: Gussie Fauntleroy, Rena Distasio Art director: Janine Lehmann Art production: Candy Carlson, Élan Varshay Copy editor: Moriah Williams Sales: Judith Leyba, Cynthia Canyon

KATE RUSSELL

Manufactured and printed in the United States. Copyright 2012 by Trend LLC. All rights reserved. No part of SFGA Art Guide may be reproduced in any form without prior written consent from the publisher. P.O. Box 1951, Santa Fe, NM 87504 505-988-5007, e-mail: santafetrend@gmail.com

A gathering of association members

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G E R O N I MO geronimorestaurant.com 724 Canyon Rd. Santa Fe, NM 505.982.1500

from the board

SFGA ART GUIDE

Karla Winterowd

Deborah Fritz

Scott MacLaren

Latricia GonzalesMcKosky

Kathrine Erickson

Jay Etkin

Heidi Loewen

Candy Carlson

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S

anta Fe is one of the most distinctive multicultural destinations in America, featuring over 200 world-class art galleries, more than a dozen museums, a dynamic performing arts itinerary, and innovative, award-winning cuisine. All of this can be found at the base of the majestic Sangre de Cristo Mountains beneath the brilliant azure skies of New Mexico. Proudly embracing over 400 years of a rich, multicultural heritage, Santa Fe is equally unique and rare in its enthusiastic welcome of the new and exciting. The city holds the reputation as an eminent center for contemporary art, while traditional art continues to flourish. This may be the secret to Santa Fe’s \enduring vitality and allure to worldly visitors and collectors for four centuries. The art scene in this small city is multi-dimensional and wide-ranging. Santa Fe became the first U.S. city to be chosen by UNESCO as a Creative City, one of only nine cities in the world to hold this designation. Art is not just business here; it is a way of life. Time spent here will likely transform your outlook on the art world and possibly ignite your desire to make Santa Fe a regular travel destination. In 1980 the Santa Fe Gallery Association was established; a professional organization of the city’s foremost art galleries, museums, arts educational institutions, and other art-related businesses. As a vital part of the social and economic fabric of New Mexico, the Santa Fe Gallery Association promotes our creative community by advancing business, artistic, and educational endeavors, and remains on the cutting edge of technology. Our celebrated Friday Night Art Walks from 5 to 7 p.m. provide great opportunity for full immersion in Santa Fe’s wonderful abundance of art while meeting artists, locals, and collectors. Please visit the Santa Fe Gallery Association calendar page on our website to see listed events. This inaugural art guide is our gift to you. We invite you to come and be inspired by Santa Fe. Experience the relaxing charm and diversity of the art in our galleries and museums. Bask in the multi-cultural vitality and celebrated legacy of our charming and romantic city. Enjoy its natural beauty and historically preserved architecture. Accept our invitation and create your own art-infused adventure in our must-visit destination for seasoned and new art aficionados. Santa Fe Gallery Association Board of Directors

santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

SEWELL SILLMAN (1924-1992)

Peyton Wright Gallery is the exclusive representative of the Sewell Sillman Foundation and Estate.

PEYTON WRIGHT 237 East Palace Avenue 505 989-9888

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Sewell Sillman (1924-1992), Mirage #2, oil on masonite, 1969, 36 inches by 36 inches

SFGA ART GUIDE

A Voice for Art By Gussie Fauntleroy

Ray Dewey

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Santa Fe was home to a genial art scene whose focus was primarily local. Unsurprisingly, individuals who established galleries in those days tended to be of the independent, iconoclastic type, used to doing things on their own. The vision Yet a few Santa Fe gallery owners and art dealers surveyed the scene with a more prescient eye. In the mid-to-late 1970s they Joyce Robins recognized the early ripples of what would become waves of growth. Especially around the American bicentennial Santa Fe was beginning to receive regional and national attention, with articles in the New York Times, Chicago Tribune, and other major publications. Scores of shops were opening and calling themselves galleries, adding to the handful of galleries in Santa Fe prior to that time. The most forward-thinking gallery owners understood that coming together as a group could benefit the art community as a whole by establishing for its members a high level of professionalism and legitimacy in the eyes of visitors and collectors. Ray Dewey was among this group. Dewey, who retired as a gallery owner about ten years ago but still deals privately, opened Dewey Galleries on East Palace Avenue in 1976. He recalls gathering with other gallery owners in the late afternoons, drinking wine and tossing around ideas. Among the core participants in this “casual but fairly serious conversation,” as Dewey puts it, were Larry Munson of Munson Gallery, Steve O’Meara of O’Meara Gallery, artist and gallery owner Janet Lippincott of Lippincott Studio, and Linda McAdoo of Linda McAdoo Galleries. The group represented Santa Fe’s range of artistic genres, from Native American to traditional, with a relatively small focus on contemporary art. Munson, a former board member of the Art Dealers Association of America, shared the ADAA’s guidelines as a model for organization and standards. While the SFGA didn’t adopt the ADAA’s standards— they were more formal and structured than what was needed in Santa Fe—the founders used them to help set a tone of professionalism and ethics for the new organization, Dewey relates.

LEFT: JUDY DEWEY; RIGHT: DICK EVANS

e might chuckle about it now, but there was a time not long ago when people pooh-poohed the Internet as a viable venue for art. “There was actually some resistance to the idea that we needed a website,” remembers Joyce Robins, referring to the Santa Fe Gallery Association in the midto-late 1990s. As SFGA president for two years and on the board for many years during this period, Robins pushed for the creation of a gallery association website. It was one of countless ways the association’s leadership has worked together to create an ever-more vital, professional, leading-edge art experience in Santa Fe. Founded in 1980, the SFGA, Santa Fe’s first and only such organization, has witnessed dramatic changes in the local art community and the city itself. The region’s vibrant artistic spirit grew out of deep roots in Native and Spanish Colonial cultures and flowed through New Mexico’s early 20th-century art colony days. By the mid-1970s

Looking Back on More Than Three Decades of Accomplishments with the Santa Fe Gallery Association

RIGHT: KATE RUSSELL

O’Meara served as Santa Fe Gallery Association’s first president. There were no coordinated art walks in Santa Fe in those days, and show openings often took place on Sundays, a reflection of the galleries’ informal, predominantly local focus and independent approach. In fact, the fledgling association’s biggest challenge was convincing galleries to join, notes Dewey, who took the helm for the organization’s second year. Owners of some major art establishments didn’t believe they needed to work together, although many of them later saw the benefits of membership and joined. Setting standards Another pressing issue in the early 1980s in the minds of many was competition from other regional art towns. Scottsdale, Arizona, in particular, appeared as a rising threat that some feared could wipe Santa Fe’s status as a Southwest art destination off the map. “There was a lot of discussion about how to maintain our brand and identity as an art destination in the Southwest,” remembers Marie Longserre, who served as SFGA president in 1984 and 1985. “It’s so funny how we thought Santa Fe was so small and fragile and the big guys would take over. I just can’t imagine that being a main topic today.” As it turned out, of course, there was room for more than one major player in the regional art market. Longserre, in her twenties and working for El Taller Gallery when she headed the SFGA, brought to the organization enthusiasm, energy, and a love of the business end of art. Among the association’s accomplishments during her tenure was a stronger focus on branding and marketing Santa Fe as a destination for fine art. Longserre has since gone on to head the Santa Fe Business Incubator, where she has served as president and CEO for the last 15 years. While she acknowledges helping SFGA members hone their business sense, she also gives credit to the more experienced gallery owners at the time for the wisdom to steer the art community Marie Longserre toward greater professionalism and cooperation. “I always had the feeling I was in the presence of people who had a great vision for Santa Fe,” she says of the association’s founding members. “They possessed a tremendous depth of business and art experience.”

John Schaefer

The pulse of change While the SFGA made major strides in its first few years, the late 1980s, perhaps as a result of the city’s tremendous growth spurt, saw a relative leadership vacuum in the association. Membership waxed and waned, with a loose measure of organization but no official president or board between 1987 and 1990. This was a dynamic period in the Santa Fe art scene, however. A number of now-longstanding galleries opened their doors in the late 1980s and early 1990s, including Zaplin Lampert, Charlotte Jackson Fine Art, Peyton Wright Gallery, and Turner Carroll Gallery. Others such as Sena East and Sena West, also going strong at the time, were among Santa Fe’s “top galleries run by directors with a powerful vision and good eye. It was an exciting time,” recalls John Schaefer, owner of Peyton Wright and SFGA president in 1991. santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

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SFGA ART GUIDE

Broad scope, hometown focus By the time Charlotte Jackson took over the SFGA reins in 1994, serving the next three years as president, Santa Fe’s stature as an important art destination was steadily growing. The Santa Fe art community was increasingly focused on reaching out to a broader national, and even international, market. For her part, Jackson provided leadership that drew on her previous experience in art organizations in New York and the Midwest. “I’m a firm believer in the power of advertising,” she says. Dedicated “worker bees,” as she describes them, included Michael Carroll and Tonya Tur ner of Tur ner C a r r o l l G a l l e r y, Charlotte Jackson Helen Cline of Cline Fine Art, and Lynda Foshie of Running Ridge Gallery. Jackson notes that these and other members were invaluable in bringing galleries on board for collective advertising and promotional ventures. As it expanded, the association never abandoned its strong commitment to the local community. “We’re not from the outside. This is our town—we’re part of it,” Michael Carroll observes. In that vein, a major SFGA achievement in the early ’90s was the founding of ARTsmart, now a separate nonprofit organization, with the goal of raising funds for much-needed art programs and art supplies in Santa Fe’s public schools. ARTsmart received a significant boost in 1998 when gallery owners organized the first edible art tour. Today ARTfeast is a popular annual February weekend of art and food-related events involving more than 40 galleries, but in 1998 it was simply a handful of galleries asking for ARTsmart contributions during Friday evening 10 santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

openings. “The first edible art tour was free. We literally put out little schoolhouse piggybanks for donations,” recalls Joyce Robins, smiling. “It was real grassroots—Karan Ruhlen [of Karan Ruhlen Gallery] made her own gumbo to serve.” In 2012 ARTsmart passed the $1million mark in cumulative funds raised and contributed to Santa Fe schools. Riding the wave The late 1990s until the economic downturn in 2008 continued to be a healthy time for the art market, and SFGA’s leadership worked hard to harness Santa Fe’s potential as a major art destination. As part of this effort, the association encouraged the city and state to include a focus on Santa Fe’s extraordinarily rich culture and art in promotional campaigns. For gallery owners it seemed clear the art industry was a major economic driver in Santa Fe and New Mexico. But with numerous other interests competing for attention and advertising resources, convincing government officials was often another matter.

Michael Carroll and Tonya Turner

RIGHT: KATE RUSSELL

Drawing on that energy, Schaefer and then-SFGA Vice President Jane Kent, the late owner of Kent Galleries, oversaw a reinvigoration of the association, engaging new member galleries and receiving generous cooperation from hotels and other Santa Fe businesses. “We went back to the start line and regrouped,” Schaefer says. “Jane was enthusiastic, amazingly capable, focused, organized, and tenacious.”

RIGHT: GERALD LERNER

At one point the SFGA leadership asked members to keep a tally of local companies to which they wrote checks for art-related services in the period of a year. Robins remembers her gallery, for example, receiving invoices from 46 different businesses. “You frame it, you ship it, you restore Peter Gaugy it, you write about it, you advertise it,” she says of the art industry’s multi-pronged economic impact. While the numbers were impressive, they still weren’t hard-hitting enough to open the eyes of some political decision makers. Then came a set of figures that could not be ignored. In 2004, the University of New Mexico’s Bureau of Business and Economic Research, with support from the McCune Foundation, released the results of a study aimed at quantifying art as a business in Santa Fe. Among the numbers: Art, directly and indirectly, brought more than $1 billion into the city annually. The industry employed some 18,000 people. In addition, 78 percent of art-related purchases were made by non-residents, a visitor category the city and state could then target more effectively in marketing campaigns. “Especially with the state, it was a big change to think in terms of art and culture, rather than just ‘heads and beds.’ We had our work cut out for us to get it into people’s minds that art is business,” relates Carroll, who was SFGA president from 2002-2005. “But having a mission is what gives people energy. It was a blast, and I think we made a positive impact.” A spectrum of art As awareness of the importance of Santa Fe’s art scene has grown both within and outside of the state, there has also been everincreasing interest in contemporary art. SITE Santa Fe and the emergence of the Railyard Arts District reflect this trend, while Canyon Road and downtown also contain more art spaces dedicated to a contemporary vision. Even many galleries representing traditional western or southwestern painting or sculpture now include contemporary renderings in these genres, notes Peter Gaugy, who was with Gaugy Gallery when he served as SFGA president in 2006 and 2007. Gaugy currently works at Nüart Gallery. Through all the changes, however, the association has continued to maintain its strong commitment to serving the spectrum of art in Santa Fe. “One of the SFGA’s challenges is also one of its pleasures, and that is the diversity of the art market here,” Gaugy notes. A unified voice for advocacy, cooperation, and professionalism became even more crucial after 2008.

A new paradigm in paradise In the challenging economic climate of the past four years, a number of member galleries closed their doors. At the same time, new galleries have opened and some longtime establishments have taken the opportunity to change locations or expand into second spaces. Current membership remains at approximately 100, roughly half of all galleries in Santa Fe. “Those of us still standing are stronger, even to the point of being better business people,” Schaefer believes. “I think those professionals who have continued to maintain dedication to the field may find their careers even more rewarding now.” Today the Santa Fe Gallery Association serves members, collectors, and visitors with a full range of tools from the new media world, notes Karla Winterowd of Winterowd Fine Art, SFGA president since 2011. Among them: a monthly e-newsletter, newly revamped website, video website, iPhone/ smartphone app with GPS Karla Winterowd function, and social media tie-ins. A part-time SFGA manager answers dozens of email and phone calls daily about art and galleries in Santa Fe. Among the association’s most effective and popular services is a free visitor-friendly gallery map and regular calendar listings for openings and events, which include at least ten Friday night openings year-round and more than 50 artist receptions in summer. Gaugy notes that after having lived in New York, Los Angeles, San Francisco, and Europe—and having traveled extensively—he has not experienced another city with Santa Fe’s combination of desirable features, including natural beauty and an extraordinary diversity of art. “People come here for the deep culture—for the architecture, history, art, opera, and food,” he points out. “When I travel and tell people I’m from Santa Fe they look at me as if I’m from some sort of paradise, an incredibly special place. And they’re right.” Adds Winterowd, “We invite passionate art lovers to take part in the Santa Fe art adventure. We’re very excited about the future of art in Santa Fe.” SFGA Resources santafegalleryassociation.org video website: santafeart.tv iPhone/smartphone app (type in “best of Santa Fe”) Like us on Facebook: Santa Fe Gallery Association 505-982-1648 santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com 11

SFGA ART GUIDE

Railyard arts district

The Railyard Arts District is home to a group of contemporary art galleries as well as SITE Santa Fe, an internationally known contemporary art space. The goal of this collective effort is to create programming, bring together world-class international contemporary art, charlottejackson.com

and advance the message of contemporary art to the community—both at home and at large. Together, SITE Santa Fe and these galleries— all of which are housed in spacious warehousestyle buildings within walking distance of each other—have helped to transform Santa Fe’s cultural landscape in the 21st century. The galleries

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are open year-round and feature an Artwalk from 5 p.m. to 7 p.m. the last Friday of every month. The recent development of the adjacent award-winning Railyard Park, which is home to the Santa Fe Farmers Market, numerous restaurants, upscale boutiques, and local-favorite hangouts, offers a lively and entertaining destination for tourists and residents alike.

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SFGA ART GUIDE

Downtown arts + museum district Come experience the vibrant energy and rhythm of the Downtown Arts + Museum District in the heart of historical Santa Fe.

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The deep-rooted history and abounding culture of Santa Fe is preserved and celebrated in this charming walking district. Immerse yourself in Santa Fe’s rich heritage while strolling through a grand array of prestigious galleries and museums, hotel resorts, and culinary destinations. Discover artwork from more than a thousand contemporary artists to masterworks from the 19th and 20th century to historical art treasures from around the world. Join in the exuberant festivities on the First Friday of every month for a variety of special exhibition openings and cultural events featuring the artwork of internationally recognized as well as renowned regional artists in a diverse group of venues.

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Sculptures by Peter Woytuk (b. 1958) Painting by Howard Cook (1901 – 1980) Chimayo Valley 16 ¾” x 28 ¾” Pastel on paper

Signed: lower right

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POP GALLERY

POP GALLERY EVOKE CONTEMPORARY EVOKE CONTEMPORARY DAVID RICHARD CONTEMPORARY DAVID RICHARD CONTEMPORARY BLUE RAIN GALLERY BLUE RAIN GALLERY WINDSOR BETTS BROKERAGE WINDSOR BETTS ARTART BROKERAGE NIMAN FINE ART NIMAN FINE ART PIPPIN CONTEMPORARY PIPPIN CONTEMPORARY ALLAN HOUSER GALLERY ALLAN HOUSER GALLERY WORRELL GALLERY WORRELL GALLERY SIGNATURE GALLERY THETHE SIGNATURE GALLERY JOEJOE WADE FINEFINE ARTART WADE CAPRICCIO FOUND ATION at 222 CAPRICCIO FOUND ATION at SHELBY 222 SHELBY LITTLE BIRD AT LORETTO LITTLE BIRD AT LORETTO TOUCHING STONE GALLERY TOUCHING STONE GALLERY LIZA WILLIAMS GALLERY LIZA WILLIAMS GALLERY NEDRA M ATTEUCCI GALLERIES NEDRA M ATTEUCCI GALLERIES AARON PAYNE FINE ARTART AARON PAYNE FINE VERVE GALLERY OF PHOTOGRAPHY VERVE GALLERY OF PHOTOGRAPHY ADDISION ROWE GALLERY ADDISION ROWE GALLERY PEYTON WRIGHT GALLERY

PEYTON WRIGHT GALLERY

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LA POSADA’S GALLERY COLLECTION 41 LA POSADA’S GALLERY COLLECTION 42 HUNTER KIRKLAND CONTEMPORARY HUNTER KIRKLAND CONTEMPORARY 43 ARROYO ARROYO 44 GVG CONTEMPORARY GVG CONTEMPORARY 45 ADOBEADOBE GALLERY GALLERY 46 CHARLES CHARLES GALLERY AZBELLAZBELL GALLERY 47 FRANKFRANK HOWELL GALLERY HOWELL GALLERY 48 GREENBERG GREENBERG FINE ART FINE ART 49 KARANKARAN RUHLEN GALLERY RUHLEN GALLERY 50 LA MESA LA MESA OF SANTA FE OF SANTA FE GALLERY 51 MEYERMEYER GALLERY EAST GALLERY 52 MEYERMEYER EAST GALLERY MODERN 53 McLARRY McLARRY MODERN GALLERY 54 WIFORD WIFORD GALLERY ROAD ROAD CONTEMPORARY ART CANYON CONTEMPORARY ART 55 CANYON WADE WILSON ART 56 WADE WILSON ART GALLERY 57 SAGE CREEK SAGE CREEK GALLERY MEILKEMEILKE FINE ART 58 BARBARA BARBARA FINE ART INART SANTA FE 59 INART SANTA FE EIGHT MODERN 60 EIGHT MODERN

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santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

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SFGA ART GUIDE

Northwest of Santa Fe Tesuque, Pojoaque, Truchas

cardonahinegallery.com

handartesgallery.com

glenngreengallery.com

poehmuseum.com

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santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

CREDIT

SFGA ART GUIDE

Canyon Road arts district

chalkfarmgallery.com

lamesaofsantafe.com

vivocontemporary.com

gfcontemporary.com

fineartsantafe.com

marcnavarrogallery.com

bealsandabbate.com

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Historic Canyon Road Nestled into the foothills of the Sangre de Cristo Mountains, historic Canyon Road is a winding, shaded street lined with centuries-old adobes filled with the most incredible art, exceptional food, hand-made jewelry, pottery, paintings, and sculpture. The unique mingling of fine art galleries and outdoor sculpture gardens with gracious adobe homes is the essence of Canyon Road’s charm. More than 80 fine art galleries line the historic road, along with world-class restaurants and exquisite boutiques.

markwhitefineart.com

waxlander.com

santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

newconceptgallery.com

selbyfleetwoodgallery.com

giacobbefritz.com

hunterkirklandcontemporary.com

transcendencedesign.com

Peter bu r e g a The New Mexico Series

Hunter Kirkland Contemporary 200 – B Canyon Road, Santa Fe, NM 87501 phone 505.984.2111 fax 505.984.8111 www.hunterkirklandcontemporary.com New Mexico Series No.2, 2012,oil on wood panel, 60 × 48 inches

KAREN MELFI collection

Photography by Kate Russell & “Bo�courtesy of Kate Russell

225 Canyon Road Santa Fe, New Mexico 505.982.3032 800.884.7079 karenmelficollection.com

225 Canyon Road Santa Fe, New Mexico 505.984.1688 lamesaofsantafe.com

Adornment for the Body

Design for the Home

Aquamarine & Moonstone Necklaces

Fused Glass

Aquamarine, Diamond Pendant

Hand Forged Steel Table

Pam Springall Karen Melfi

Melissa Haid Christopher Thomson

ARTsmart presents the 16th Annual

A

Gr

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Santa Fe ea

4, tT 2 ime 22 y for a r a C re a t i v e C a u s e – F e b r u

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Join us for a weekend of fine ART, FOOD, WINE, FASHION & HOMES benefiting ART programs for Santa Fe’s youth Friday February 22 Fashion Show & Luncheon 11:30 am – 2 pm, $100

Edible Art Tour

5 – 8 pm, Downtown & Canyon Road, $35

Feast or Famine

8 pm, $15 or free admission with EAT ticket

Saturday February 23 Art of Home Tour

12 – 4 pm, free admission

Gourmet Dinner & Auction 6 pm, $175

Sunday February 24

Purchase Tickets at artfeast.com today! 505.603.4643, info@artfeast.com and at the ARTsmart office, 102 E. Water Street, Santa Fe, NM 87501

Thanks to all Donors, Grantors and the following Underwriters: Mary & Robert Harbour; New Mexico Tourism Department: newmexico.org and...

Artists’ Champagne Brunch & Auction 11 am – 2 pm, $75

Art of Home Tour

12 – 4 pm, free admission

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ARTsmart ensures that Santa Fe and New Mexico youth have the opportunity to explore, experience, and engage in the visual arts, a critical component of every student’s education.

selbyfleetwood gallery

KEVIN BOX

The Relationship Between Stars cast aluminum 29 x 21

Conversation Peace bronze, cast stainless steel & stone 88 x 47 x 33

600 canyon road santa fe nm

800.992.6855

505.992.8877

selbyeetwoodgallery.com

New Concept Gallery 610 CANYON

610 Canyon Road, Santa Fe, NM 87501 505.795.7570 • newconceptgallery.com

Phyllis Kapp

“You, The Stars & The Moonlight’” 59 x 46 fr Watercolor

Waxlander Gallery

622 Canyon Road • Santa Fe, NM 87501 waxlander.com • 505.984.2202

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santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

artists & Collectors

SFGA ART GUIDE

3

Daniel Nadelbach

1

Peter Ogilvie

Kate Russell

2

6

5

Left to right, from top, by row:

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1 Bill, Mayo, and Alicia Miller with dog pg 52 Trend Spring/Summer 2011 v12 issue 1

3 Cindy Miscikowski and Doug Ring pg 62 Trend Winter/Spring 2008 v8 issue 3

2 Collector: Joe Nickels Artist: Jane Rosemont Gallery: Vivo Contemporary

4 Artist: Pascal in front of his painting Block 151 Gallery: GF Contemporary

santafegalleryassociation.org SFGA Art Guide 2012/2013 trendmagazineglobal.com

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5 Artist: Marie Sena with Arizona collectors and gallery owner Michael McDowell Gallery: Pop Gallery 6 Collector: Debbie and Lewis Radicke Artist: Kevin Red Star Gallery: Windsor Betts

Mary Tamborini

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Nick Merrick

Tony Stromberg

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Left to right, from top, by row: 7 Dick and Joan Chodosh pg 34 Trend Winter/Spring 2004 v4 issue 2

10 Bobbie Foshay Miller with her dog p56 Trend Spring 2007 v8 issue 1

8 Joan and Mitchell Markow pg 60 Trend Spring/Summer 2008 v9 issue 1

11 Artist: Doug Coffin in front of his sculpture Sun/Moon Shaman Gallery: Beals and Abbate

9 Collector: Todd Greentree Artist: Rodney Hatfield Gallery: Selby Fleetwood Gallery

12 Collector: Cara Kapp Artist: Phyllis Kapp Gallery: Waxlander Gallery 13 Collectors: John and Virginia Sara Artist: Cecilia Kirby Binkley Gallery: New Concept Gallery

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CREDIT

Photo: Kate Russell

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LA ART SHOW 2013 HISTORIC | MODERN | CONTEMPORARY

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Artist

STUDIO

BY WESLEY PULKKA | PHOTOS BY KATE RUSSELL

A Slow Unfolding of Landscape Emmi Whitehorse and her symbolic connection to the natural world

Whitehorse smoothes wet gesso onto small canvases in preparation for mounting the works shown at right. Opposite: An untitled work-in-progress.

A

rtist Emmi Whitehorse is internationally renowned for her atmospheric abstractions that use color, symbol, and metaphor to celebrate the life force that makes our existence possible. “I have chosen to focus on nature, on landscape,” she wrote in a recent artist statement. “My paintings tell the story of knowing land over time—of being completely, microcosmically within a place. I am defining a particular space, describing a particular place. They are purposely meditative and meant to be seen slowly. The intricate language of symbols refers to specific plants, people, and experiences.” Whitehorse’s spacious studio ten minutes south of Santa Fe offers her the contemplative solitude and peaceful ambiance that her work demands. “I come to the studio to escape all of the noise and bother,” she says during a recent visit. “Here I can relax and focus on my work.” Her studio is filled with work in preparation for a solo show at Chiaroscuro Contemporary Art Gallery in Santa Fe. These timeless, contemplative paintings, drawings, and prints emblematically embrace the fragile and ephemeral spirit and raw energy within our living environment. Whitehorse entered the world 54 years ago on the Navajo reservation outside Crownpoint, New Mexico. Her mother was tending

sheep at a winter graze and went into labor during a heavy snowstorm. She had to ride home on horseback to catch a ride in her husband’s pickup truck down bumpy, winding, and unplowed roads to the nearest hospital in Crownpoint. The perilous journey consumed the rest of the day. Fortunately, Whitehorse waited until early the next morning to be born. “My childhood was spent playing and tending sheep in a landscape that seemed magical and endless,” she says. “It was a gift to be able to spend time alone watching the animals. My only real frustration was with the goats—[they] always had their own ideas. The goats would wander, and, of course, the sheep followed.” Whitehorse did not have conventional art materials as a child but she and her friends would make art with what fell to hand. “We used to draw on these really fine deposits of silt that we found in the washes,” Whitehorse recalls. “If you didn’t like the drawing you could just smooth them away with your hand. Like an Etch A Sketch®. The drawings we liked would be left overnight where they would collect lizard tracks or get changed by the wind. We also drew on rocks. It was fun to find them again and see if we could improve on them.” The turning point came when Whitehorse won an award for one of her abstract paintings in a statewide art competition at her

high school. “It was a strong affirmation that I could really be an artist,” she says. “Once I realized that I could still make art and study, the academics came easily.” Though her parents and grandmother— who was a weaver—lived traditional Navajo lives, they wanted Whitehorse to excel in school and get the best possible education. “When I was accepted into UNM my parents hoped I would study something serious. I couldn’t bear to tell them I was an art major. They would have been shocked to know I was drawing naked people,” Whitehorse says with a laugh. Her university path was not always smooth. When Whitehorse wrote an insightful paper on the influence of American Indian arts on mainstream contemporary art, she received pushback from her professors and fellow students. It’s a shame her teachers had not read artist and art theorist Marsden Hartley’s treatise on the same subject, written in the 1920s. Though she fast-tracked through her Master of Arts program with the intent to become a Tamarind Institute master printer, Whitehorse soon realized that her heart was not in teaching. Instead she focused on making her way in the art world, and was soon exhibiting in galleries and museums throughout the United States and Europe. One of her early exhibitions was a 1983 show titled Native Artists of the Eighties at the Sacred Circle Gallery in Seattle, owned and operated by the United Indians of All Tribes Foundation. Former gallery founding director Jim Halliday (1981–1985) said in a recent interview, “Emmi Whitehorse was recommended to us by Jaune Quickto-See Smith, who was helping us identify emerging Indian artists. [Whitehorse] was absolutely one of the greatest discoveries that we came across. The thing that I loved about her work is that it had true depth that allowed the viewer to spatially enter her world. In a self-induced meditative state she pulled the images from her life experiences, trendmagazineglobal.com Trend » Fall 2012/Winter 2013 85

Artist

STUDIO

Prickly Green II (2012), oil and chalk on paper mounted on canvas

childhood memories, and imagination.” The Sacred Circle show occurred in the third year of her professional career. Whitehorse had already exhibited in New York City and Venice, Italy. Since then her works have been exhibited in major museums and galleries throughout the United States and Europe, including Chicago, Los Angeles, San Francisco, Tucson, Santa Fe, Denver, Germany, Belgium, and Switzerland. Chiaroscuro Contemporary Art in Santa Fe currently represents Whitehorse, and gallery director John Addison has enthusiastically followed her 30-year artistic development. “Emmi’s career has grown over the years among those collecting Native American arts as well as making that crossover to mainstream collectors of all types of art,” he says. “She’s really in demand just as a painter, without regard to her Navajo heritage.” Addison points out that Emmi has recently come full circle. Her early work was very much grounded in nature, but starting in the late 1990s it became increasingly abstract. In the last few years, however, her work has returned to more landscape-based 86

Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

imagery, incorporating seedpods, ferns, and other recognizable botanicals—as witness her latest series, Opuntia, the scientific designation for a genus of cactus. Author and critic Lucy Lippard wrote in a 1997 Tucson Museum of Art catalogue essay: “In the recent work, Whitehorse has traveled into more remote territory, looking through one world into another . . . There is a weightless quality to her images . . . Her paintings seem to catch the momentary pause before these light transparent creatures blow away again . . . The forms in her new works appear to be pressed into the retina, mediating between self and landscape, melting boundaries, forming and reforming from one painting to another.” Whitehorse’s renderings are both spatially expansive and highly detailed, bearing witness to bird calls, buzzing insects, rustling leaves, animal tracks by a streambed, spring breezes, winter snows, worm paths in the mud, and the omnipresent viscous mass of ambient air, water, and earth that are truly in constant motion—embodying the layered vibrations between the

microcosm and macrocosm. Whitehorse is married to author and cultural arts business owner Mark Bahti, who earned an MFA in American Indian arts and is currently working on his doctorate. The couple has residences in Santa Fe and Tucson, and Whitehorse is currently working on a series of green paintings inspired by the cacti that dominate her Arizona home’s backyard. “The cacti are what [confront] you when you live in Tucson,” she says, explaining her interest. “It’s kind of odd that you’re just surrounded by cacti. I understand why Jim Waid paints cacti as alien things. I’m also impressed by their strangeness. It’s the green that I find interesting as well as disturbing, so I’m trying to come to terms with it and make peace. Not my favorite color, but . . .” Whitehorse’s words trail off into laughter. Ultimately, Whitehorse hopes that her artwork, regardless of subject matter, will help her viewers become more aware of their surroundings amd connect to the energy and spirit that exists within the living environment. R

Artist

STUDIO

BY WESLEY PULKKA

Unlimited Metaphor

Paul Shapiro explores matter, anti-matter, and the nature of reality

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COURTESY OF PAUL SHAPIRO

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oston-born visionary artist and blues musician Paul Shapiro explores quantum-scale energy and the magical nature of pre-matter in his Quantumscapes painting series. The both black and white and colorfully fluid abstractions residing on tables, easels, and walls in his large work-laden Santa Fe studio can be seen as investigations into the invisible world of string theory and quantum mechanics, though they are far beyond textbook illustrations. “Some people say I’m painting quantum physics but that’s just not true,” Shapiro explains. “My painting has always been about metaphor.” Shapiro describes his imagery as reflecting a new concrete reality beyond our common assumptions about the material world. Even though he was a successful representational landscape painter who attracted many imitators of his style, he was compelled in 1990 to follow the independent evolution of his painting toward pure abstraction. “One night I had a dream wherein I went to the mailbox and found an art magazine in a plastic bag, unopened,” he says. “When I woke I felt a strong sense of loss. It took a couple of weeks to realize that I was leaving established art parameters and was going in a new direction. I always listen to dream messages because they have been consistently beneficial.” In recognition of his contribution to the arts in New Mexico and his more than 50-year career, Shapiro received the 2010 Governor’s Award for Excellence in the Arts. In his artist statement, he explained why he moved toward abstraction after 20 years as a successful representational artist: “Even though my work was fairly loose and abstract, I felt very confined by the envelope around recognizable forms and gravity-based relationships. In my abstract paintings I have tried to create a concrete reality that brings the invisible world to the surface: evocative implications of a suggested parallel reality similar to what happens in poetry.” At 72, Shapiro is a highly energetic, erudite, and articulate Above: Photonic Code #12 (2011), acrylic on paper. Opposite: Paul Shapiro with his Gibson Dobro, an acoustic slide guitar used mainly by blues musicians. truth-seeker with an agile mind. His discussions move seamlessly among subjects ranging from art and music to the teachings of early 20th-century French alchemist Fulcanelli, to esoteric healing modalities (including his own successful battle with kidney disease), to politics, spirituality, personal history, and reminiscences about Jerry Murad's Harmonicats, a musical group popular in the 1950s. An inventive, process- and materials-oriented artist, Shapiro pursues ideas until he exhausts their potential. His studio is packed with examples of these production journeys from the known to the unknown, and he also commits himself to studying a host of other interests: collecting, customizing, and playing the harmonica; practicing Tai Chi; writing and composing original music; and inventing new and modifying established media. He is also trained in energy-based healing modalities. “Even though I drew and made clay sculpture throughout my childhood, I had no exposure to the art world or any artists while growing up,” he says. “My family and my working-class neighbors were not educated in the arts. I was already enrolled at Northeastern University with a major in biology when a friend invited me to visit a studio painting class at the School of the Museum of Fine Arts, Boston

KATE RUSSELL

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[also known as the Museum School]. I knew immediately that I could do that and become an artist. It was a crazy decision.” Shapiro dropped out of Northeastern in 1958 to enroll in night classes in drawing at the Museum School, where he subsequently attended the day school program through 1962. “I fell in love with work by Miro, Kandinsky, and Paul Klee, and ended up being the only abstract painter in class,” Shapiro says. “After a while I started to paint expressionist landscapes from my imagination. A friend asked me if I had ever been to New Mexico. When I said no, he encouraged me to visit [the state] because my intuitive landscapes looked like they belonged out here.” Shapiro made three painting trips to New Mexico during the 1970s, and his landscapes immediately found an audience. He made his permanent move to Santa Fe in 1982. “Though I did well with the landscapes, I’ve never been able to paint for money. When that series came to an end in 1990 there was no going back. My work comes through me as if from somewhere outside of my personal experience. When my imagery begins to change I have to follow the new direction, because the original inspiration has already run its course,” Shapiro says. For Shapiro’s 2006 solo exhibition catalogue at Zane Bennett Contemporary Art, critic Jon Carver wrote: “There is no beginning and there is no end. The magician’s ability to be in multiple places at the same time is another way to acknowledge the sage’s deep realization that the incredibly complex multiplicity of universes . . . is also, in sum total, the seamless oneness of the cosmos . . . Basically, Shapiro’s paintings ask the question: what is the fundamental nature of reality? Art and philosophy, which rose together in human consciousness, have always asked this question. . . . In one sense it is the only question . . . And it is Shapiro’s brilliance to grasp this, and then to bring his considerable artistic skill to the project of framing the question, and embarking headlong upon a protean search for the answers.” Near the end of our interview, Shapiro moves to a large worktable where he begins to separate stacks of small paintings while drawing attention to their ghostly black and white imagery. “After working on these things for some time, I had this revelation that these are metaphors for energy systems similar to what quantum physics is looking at— pre-matter states. This is stuff I’m really interested in and have been reading about, and all of a sudden these ideas began to appear in several series of paintings. I named one series Photonic Code because they reminded me of light particles,” Shapiro says. String theory—which is argued by some to be more like a philosophy, with its dreamlike eleven-dimensional universe and five separate but equal mathematical theorems—could offer Shapiro unlimited metaphorical latitude in which to explore energy systems and the mythology of physics while practicing self-expression. If any artist could take such a perilous path, Shapiro is likely to be the first to reach the mountaintop. Paul Shapiro’s work may be seen at GF Contemporary in Santa Fe. 90

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Cosmotex #67 (2006), acrylic on panel Top: Galactic #5 (2008), acrylic on panel

COURTESY OF PAUL SHAPIRO

STUDIO

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Alexander Girard The Legacy of the Mid-Century Modern Maestro in New Mexico TEXT AND PHOTOS BY RACHEL PRINZ

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enowned designer a diverse array of projects that Alexander “Sandro” ranged from the interior architecHayden Girard was ture of star-quality restaurants in responsible for some of the MidNew York to colorful, worldly inteCentury Modern era’s most innoriors to complement the stark vative designs in furniture, Modernism of Saarinen. Girard housewares, and interiors. Much also designed functional items of his work he produced from his including a tableware line for studio in Santa Fe, where he Georg Jensen and both the interimoved with his wife and children ors of and products for the Herin 1953. In the years that followed, man Miller Textiles and Objects Girard made an indelible mark on showroom and Herman Miller America’s and New Mexico’s artisshowrooms in Grand Rapids and tic and architectural landscape, San Francisco. leaving a legacy that continues to Although Girard would work for inspire and excite design enthusiHerman Miller until 1975, he asts and visitors alike. accepted many other commissions Girard was born in New York from clients throughout the City in 1907 and raised in Florence, country, including several right Italy. His Italian father—a master here in New Mexico. In 1966, he woodworker and an arts and turned his attention to a complete antiquities dealer—was likely a rebranding of Braniff International large source of his early inspiraAirways, not only creating new tion. Girard pursued his formal and coordinating color schemes education at the Royal School of Many of the Compound's customers request and enjoy John Wayne’s favorite for airplane and ground equipArchitecture in Rome and at New table, a corner booth sitting under a smiling silver moon. ment, but also revamping nearly York University. 17,000 company items—everything While working in New York in the 1930s, the soft-spoken and from the buttons on the captains’ uniforms to matchbooks, signage, serious Girard met and married his wife, Susan Needham March. and furniture. He even redesigned the typeface for all of Braniff’s They were adoring partners, traveling the globe and amassing a printed materials. folk art collection that would become the largest in the world. Along Ten years after moving to Santa Fe, restaurateur Bill Hooten the way, they also befriended some of the era’s greatest artists and approached Girard to renovate the main house of the McComb resarchitects, including Eero Saarinen, Charles and Ray Eames, and felidence on Canyon Road into a restaurant. In the 100 years since it low New Mexico transplant Georgia O’Keeffe. had been built, the residence had grown from a single room into a In his early career, Girard had offices in Florence, New York sprawling complex of buildings, inspiring the apt naming of the City, and Detroit and Grosse Point, Michigan. He designed radio new restaurant—the Compound. Leaving the blended Spanish bodies and a factory for Detrola Radio, facilities for Ford and LinPueblo Revival and Territorial architecture of the exterior and the coln car companies, furniture for Knoll, and several residences as walled courtyards and gardens alone, Girard added only a simple well. In 1947, in a precursor to several later collaborations of the two front entrance portal. On the interior, he dismantled the maze of tiny masters, Girard joined Saarinen’s team for its award-winning design rooms, opening up the space to create an axial arrangement of dinsubmission to the St. Louis Gateway competition—the St. Louis ing rooms along one side of an open hallway and a bar and exterior Gateway Arch. patio along the other. He replaced a load-bearing wall with a tree Girard’s life changed in 1952 when his friend of nearly 15 years, trunk, angled the bancos to create personal dining niches, and sunk Charles Eames, offered him the position of Director of the Fabric the bar—a reference to the conversation pit he invented and installed Division at Herman Miller. It was at this same time—fueled by a in his own home nearly ten years before. passion for folk culture, a desire to be in a suburban environment, Girard was playful in the way he treated the whitewashed interior. and a need to be accessible to his bi-coastal clientele—that Girard For decoration, a patchwork of Mexican and Navajo weavings “tiled” moved his family into a nearly 200-year-old hacienda in Santa Fe. the flat ceilings of one, while a ten-foot-long painted snake unduFrom his office across the dirt road from their home, Girard lated to dramatic effect along another. Three-dimensional murals designed lines for Herman Miller, including furnishings, textiles, and inlaid wood doors were added throughout, and he decorated and wall coverings for the interiors of Mid-Century Modernist masnichos and stands with pieces from his own folk art collection. ter architects like George Nelson, Saarinen, and Eames, as well as Girard designed the table settings as well, placing white china

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against crisp ecru tablecloths, finishing the bancos in faux leather, and designing a curvilinear white oak chair for additional seating. And again, he designed a personalized alphabet for the menus and signs. When completed, Architectural Forum deemed the Compound, “The Town’s Newest and Best Restaurant.” Today, it is the last of the Girard-designed restaurants in operation, and nearly 50 years after its opening still maintains a reputation for exceptional dining and service. Another of Girard’s renowned New Mexico projects is his mosaic/mural for the sanctuary of the First Unitarian Church of Albuquerque. The sanctuary was designed in 1964 by Harvey Hoshouer, an MIT graduate, former Girard employee, and collaborator with such legendary architects as Ludwig Mies van der Rohe, Harry Weese, and I.M. Pei. Hoshouer hired Girard to design an altarpiece for this starkly modern space, a 40' x 8' mosaic comprised of 5000 wood tiles harvested from abandoned barns purchased from ranchers in the Jemez Mountains and spotted by Girard’s son Marshall at horseback riding camp. Father and son hand-disassembled each barn, starting with the roof, stacking each board with cardboard between, and loading as many trailers as it took to get the barn down to Santa Fe. The wood was cut into three-inch squares by a church member and installed into an arrangement of colors, shades, and symbols by Girard’s team. The colors are original to their reclaimed condition, and include tar-scarred roof sheathing and stained and painted details. Completed in 1965, the mural depicts 22 symbols representing the wisdom of the world’s religions. The First Unitarian mural was not Girard’s first or last. He also designed the 180-foot-long, three-dimensional Reflections of an Era mural for Saarinen’s John Deere headquarters in Moline, Illinois. Girard and five other team members scoured antique shops throughout the United States to collect the more than 3000 three-dimensional pieces of company memorabilia dating as far back as 1860 that comprise the mural. Its background, though mostly obscured, is also reclaimed wood.

irard’s design for the Multiple Visions: A Common Bond exhibit at the Museum of International Folk Art in Santa Fe showcases nearly 10,000 of his and Susan’s folk art pieces. The exhibit, located in an addition to the museum’s original John Gaw Meem structure designed by Hoshouer, first opened in 1982 and captivates with unique displays that engage not only the art itself, but our response to it, asking us to confront our intellectual and emotional mindsets by illuminating ideas of sameness, difference, and perspective. In placing the collection’s multitude of objects into unexpected arrangements, or locating pieces in places we may not have predicted and not explaining any of it, Girard seems to suggest that color, pattern, and language—and therefore ideas—are perhaps more fluid than we may have believed. As if illustrating this, the entrance to the exhibit quotes an old Italian proverb often quoted by Girard: “Tutto il mondo e paese” or “The

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Girard’s design for the Multiple Visions: A Common Bond exhibit at the Museum of International Folk Art in Santa Fe. Nearly 10,000 of his and Susan’s folk art pieces are showcased here.

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Drawing of the Compound restaurant exterior.

whole world is one hometown.” After his death in 1993, Susan Girard unsuccessfully attempted to find a writer to prepare a retrospective on her husband’s work. When she passed on several years later, their children searched for someone to commit themselves to their father’s legacy and tell his story. They eventually found Todd Oldham, a renowned designer in his own right, whose family homestead in Abiquiu gave him an understanding of the New Mexican culture Girard had “left civilization” in which to immerse himself. Oldham had previously produced design compendiums of Charley Harper and Joan Jett; had collaborated with legends Michael Graves, Camille Paglia, Amy Sedaris, and John Waters; and produced design studies on Mid-Century Modern aesthetics, embroidery, collage, and fabric printing and dyes. The Girard family recognized him as an excellent fit. With help from Girard’s children and grandchildren, in 2011 Oldham and writer Keira Coffee produced an exceptional monograph. In the 664-page tome, titled Alexander Girard, Coffee states, “In his lifetime Girard created not just a new style but a style of looking at things. He raised questions about how we make things, how we notice them, whether things speak to us or we speak to them. From the beginning of his career, Girard had an interest in the concord between lines, objects, colors. 94

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He disregarded trends and went to work showing others his discoveries.” Throughout his career, Girard created thousands of simple, elegant, and colorful designs for the humanist Mid-Century Modern aesthetic. He was more concerned with eliciting a feeling for the space than in intellectualizing the design. One newspaper of the time noted, “If Girard did it, it’s not just another anything.” Perhaps because of this, unlike much of the design of the period, Girard’s work is still venerated: his fonts and typographies have been reinvigorated by House Industries in the form of blocks, games, puzzles, and nativity sets; Elektra introduced a bicycle with Girard details; and MaXimo Design, Urban Outfitters, and Anna Sui have Girard details in their collections. Although he was an internationally renowned designer, New Mexico was Girard’s spiritual as well as literal home. Through their use of reclaimed barn wood from the Jemez Mountains, the First Unitarian Church mural in Albuquerque, the patio doors of the Compound restaurant in Santa Fe, and the Girard exhibition space at the Museum of International Folk Art all illustrate the connectedness Girard felt to New Mexico’s landscape and history. That reflection of age-old traditions reinterpreted in a modern way remains one of the most timeless and engaging aspects of his work. R

THE TAOS HUM

BY LYN BLEILER

PEC HAA KU C H of Th e A r t t C h i tc h a

J. MATTHEW THOMAS

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hat began as an informal salon for Japanese-based architects and designers nearly a decade ago has grown into a global movement promoting creative community conversation. Since 2003, some 539 Pecha Kucha (PK) locations have cropped up worldwide in major cities like Berlin, Havana, San Pãulo, Moscow, and Seoul, as well as the remote outpost—thanks to organizers J. Matthew Thomas and Richard Spera—of Taos. Pecha Kucha Nights are the brainchild of Tokyo architects Astrid Klein and Mark Dytham who, eager to share work and ideas with peers, hosted casual gatherings they called Pecha Kucha— Japanese for conversation, or “chitchat.” Recognizing the potential danger in providing creative types (themselves included) with a microphone and projection screen, Klein and Dytham implemented a “less is more” format. Presenters are limited to 20 images and 20 seconds per image for a total of six minutes and forty seconds. The 20 x 20 pace keeps things lively and allows for multiple participants per evening. Since networking is a key PK component, food, drink, and music are provided to encourage social interaction. So how did Pecha Kucha come to be in New Mexico? A few years ago Thomas, an architect, attended a PK event in New York City. “I was blown over by the explosion of creativity and inspiration,” he says. “I called Richard [Spera] immediately and said we had to bring this to Taos.” Later, while working in Lebanon, Thomas presented his own work at Pecha Kucha Beirut. Shortly thereafter the partners submitted an application, and in fall of 2010 they hosted Taos’s first official Pecha Kucha Night. “For us, the excitement of doing a PK night here in Taos is gathering

Poster for PK Night Taos event volume 5.

the community to share their cre- Artwork by Joel Larson. Above left: PK Night ativity while tapping into a global Taos event volume 4, fall 2011 at TCA. Speaking is Erin Elder with Practice Liberating community,” Thomas explains. Art Through Necessary Dislocation (PLAND). Videos and posters of Taos happenings appear on the Pecha Kucha website along with other worldwide PK programs, making the global connection palpable. Although originally intended for architects and designers, PK’s scope now embraces all forms of creativity. Taos audiences have enjoyed six-minute flashes from artists/painters Randall LaGro, Mel Scully, and Conrad Cooper (complete with upright bass accompaniment); poets Veronica Golos, Ned Dougherty, and Ashley Bauer; performance artists Runway Vigilantes; jeweler Maria Samora; photo journalist Dorie Hagler; book artist Anthony Hassett; photographer/documentary filmmaker Kathleen Brennan; and beekeeper Melanie Kirby, among others. “Pecha Kucha is the variety show of the 21st century,” says Thomas. “It shows us the creative being in all of us, from the midwife to the tattoo artist to the farmer. Pecha Kucha becomes this platform for getting to know your neighbors and their art that inspires, entertains, and surprises.” Averaging three per year, Taos Pecha Kucha nights continue to grow in popularity, enjoying sell-out crowds at the Harwood Museum of Art and Taos Center for the Arts. Future goals include securing larger venues like the newly renovated Old Martina’s Hall, possible “evenings under the stars” at the recently completed Taos Mesa Brewing Company, participation from outlying communities like Peñasco and Santa Fe, and of course, lots more “chitchat.” For more information: pecha-kucha.org trendmagazineglobal.com Trend » Fall 2012/Winter 2013 95

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TRENDsource

KATE RUSSELL

DESIGN PROFILES Inspired partnerships inform Santa Fe’s built environment

Jesse Gries, Greenstar Builders, Parade of Homes 2012 Grand Hacienda winner. Design by HLV Interiors.

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DAVID NAYLOR INTERIORS

KATE RUSSELL

Private Residence | Ojo Caliente, New Mexico

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n their professional and daily lives, the homeowners are sophisticated, cosmopolitan, and on the go. When they get away to Santa Fe to relax and gather with family, including grandkids, they want a cheerful setting where everyone can pile onto the sofa and watch movies together. David Naylor Interiors (formerly called Visions Design Group) worked with the homeowners to create such a space. As part of a whole-house remodel, the contemporary home’s long, narrow living room became the focus of family activity with a colorful 12-piece sectional sofa and ottomans. Each movable section sports performance fabric in a different bold, bright pattern. Leather dining chairs in various colors add to the home’s lively look, while an Old-World, restrained contemporary aesthetic comes through in hand-carved furnishings from Naylor’s in-house woodworking shop. Both design approaches are part of a wide range of possibilities and new lines available at the designer’s 2000-square-foot showroom in Santa Fe.

111 N. Saint Francis Drive, Santa Fe, NM | 505.988.3170 | DavidNaylorInteriors.com | visionsdesigngroup.com trendmagazineglobal.com Trend » Fall 2012/Winter 2013 99

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CONSTELLATION HOME ELECTRONICS Distributed Audio and Media System | Santa Fe, NM

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215 N. Guadalupe, Santa Fe, NM | 505.983.9988 | constellationsantafe.com

JAMES HART

all it stealth installation. Constellation Home Electronics calls it a custom solution to the question of concealing a large, flat-screen television in a way that perfectly fits the homeowners’ aesthetic and needs. For the sleekly contemporary formal living room of this Santa Fe north-side estate, fine cabinetmakers created a pair of white leather-paneled cabinets. In one, Constellation installed a flat-screen television that emerges with the push of a button via motorized lift. Across the room a matching cabinet hides a dry bar. A similar leather-paneled cabinet above a custom fireplace in the homeowner’s office also conceals a television. “Custom furniture and cabinetry solutions can help incorporate electronics into any room,” notes Constellation founder and president, Jason Suttle. “It requires thought and design, as well as consideration of electronics and aesthetics, taste, priorities, and budget. With Constellation’s expertise, people can have something special just for them.”

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TIERRA CONCEPTS

WENDY MCEAHERN

Las Campanas residence | Santa Fe, NM

Project Team Construction Tierra Concepts Inc. Architect Brad Isaacson Interior design Larry Nearhoof, ACC Fine Furnishings Appliances Builders Source Tile and lighting Allbright & Lockwood Ltd. Granite and tile United Stoneworks Bath and kitchen fixtures Santa Fe By Design Geotherma : Joe Annon, Energy Savings Systems LLC Landscaping Sam Lunt, Gardensong

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xquisitely designed and built homes are the trademark of Tierra Concepts, the only Santa Fe area builder to have won the Parade of Homes’ Grand Hacienda Award four times. A 6800-square-foot home featured in the 2012 Parade of Homes exemplifies this standard. Completed by Tierra Concepts, it features two-foot-thick exterior walls combining insulation-filled frame and adobe walls. Along with a geothermal heating and cooling system, this provides “incredible thermal efficiency,” notes Tierra Concepts co-owner Kurt Faust. The home’s original hacienda-style design—with fountain-themed entry courtyard, sculptural hand-tooled ceiling tinwork, and massive beams in the great room—was re-visioned by architect Brad Isaacson to incorporate Old World elements and a contemporary feel. Other Tierra Concepts residences completed this year include a Beverley Spears-conceived La Cienega home and a 5200-square-foot residence designed by Robert Zachary. Kurt and Eric Faust and Keith Gorges founded Tierra Concepts in 1993 with a commitment to aesthetics, quality, and complete customer satisfaction.

1512 Pacheco Street, Suite D206, Santa Fe, NM | 505.780.1157 | tierraconceptssantafe.com 102 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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SANTA FE BY DESIGN / ACCESSORY ANNEX Las Campanas Residence | Santa Fe

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KATE RUSSELL

s the exclusive local debut showroom for Axor Design Studio products, Santa Fe By Design incorporated ahead-of-the-wave Hansgrohe bath fixtures in this new Tierra Concepts home. These include a sink that allows faucets to be installed in any of several configurations, according to the homeowner’s choice. In the master bath, for example, both handles sit on one side of the sink. Sand-colored double-wave concrete sinks enhance the warm, contemporary feel of the other bathrooms. In the kitchen a Sonoma Cast Stone concrete chef’s sink ties together the room’s earth-tone hues and modern look. Santa Fe By Design specializes in plumbing fixtures, door and cabinet hardware, mirrors, counter tops, concrete products, and bath accessories. As with this project, co-owner Kathy Fennema notes that the company’s services and client’s imagination can be a magical mix: “It was so wonderful to work with these clients who were willing to be creative and include state-of-the-art plumbing fixtures and accessories that make this home unique.”

Project Team Bath and kitchen fixtures: Santa Fe By Design Construction: Tierra Concepts Inc. Architect: Brad Isaacson Interior design: Larry Nearhoof, ACC Fine Furnishings Appliances: Builders Source Tile and lighting: Allbright & Lockwood Ltd. Granite and tile: United Stoneworks Geothermal: Joe Annon, Energy Savings Systems LLC Landscaping: Sam Lunt, Gardensong

1512 Pacheco Street, Suite D101, Santa Fe, NM | 505.988.4111 | santafebydesign.com trendmagazineglobal.com Trend » Fall 2012/Winter 2013 103

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ALLBRIGHT & LOCKWOOD Las Campanas Residence | Santa Fe, NM

KATE RUSSELL

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hen construction of a grand, Old-World-style home was halted midway, the challenge for new building and design firms was to morph the space from its original traditional style into a more contemporary aesthetic favored by the home’s new owners. Allbright & Lockwood participated in this successful design integration with elegant lighting and flooring. Long, graceful pendants and thoughtfully placed directional lighting provide the expansive kitchen with a modern touch. The kitchen/dining wing was graced with porcelain tile flooring in a quiet pattern, contrasting beautifully with existing Versailles-pattern floors. And Terzani Italian rust- and gold-finished wall sconces featuring amber- and white-hued glass add to the transitional contemporary look. The home is one of seven entrants in the 2012 Parade of Homes involving Allbright & Lockwood, among them the Grand Hacienda winner. Co-owner Arthur Reeder remarks that this particular partnership with Tierra Concepts and the owners produced an “extremely elegant, yet livable home.”

621 Old Santa Fe Trail, Suite 5, Santa Fe, NM | 505.986.1715 | allbrightlockwood.com 104 Trend » Summer 2012 trendmagazineglobal.com

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ACC FINE FURNISHINGS

KATE RUSSELL

Las Campanas Residence | Santa Fe, NM

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lue doors and window frames may keep away evil spirits in Santa Fe tradition, but a cool blue interior invites a very contemporary spirit of minimalist beauty and elegance. Larry Nearhoof, creative director with ACC Fine Furnishings, had this in mind when he selected aquas and blues to complement the neutral palette for this home, featured in the Santa Fe Area Homebuilders Association 2012 Parade of Homes. ACC furniture graces every room, including living room chairs by Mitchell Gold + Bob Williams. The lovely master bedroom features Ann Gish linens and a luxuriously thick aqua strata-shag rug by Chandra. For more than thirty years ACC (formerly American Country Collection) has brought high-end furnishings and complimentary world-class interior design services to New Mexico. Now, along with traditional furnishings, ACC’s three award-winning Santa Fe showrooms also present transitional and modern lines. “We’re a premier destination for quality brands, great design, and signature style,” Nearhoof says of the firm’s new direction. “It’s a big turn for us.”

620 Cerrillos Road, Santa Fe, NM | 505.984.0955 | accsantafe.com trendmagazineglobal.com Trend » Fall 2012/Winter 2013 105

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STATEMENTS IN TILE / LIGHTING / KITCHENS / FLOORING

KATE RUSSELL(2)

Bath Remodel | Santa Fe, New Mexico

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hat could be more delightful than a home filled with the charm of old Santa Fe, tucked away in the historic part of town? The same home—but with 21stcentury conveniences. That’s what Statements In Tile / Lighting / Kitchens / Flooring accomplished in the remodel of this eastside home. The addition of a master suite/master bath incorporates a Moorish interlocking tile wainscot around the bathtub, enhanced by a buff-colored concrete floor tile. For the shower and countertop, Calacatta white marble with gold and soft-grey veins pulls together the bath’s sophisticated palette. Statements also updated the kitchen with a lovely grey arabesque tile backsplash, complementing the existing cabinetry and Carrera marble countertops. “The tile gives the rooms a fresh feel while maintaining the historical look that attracted us to the home initially,” the homeowner explains. “We did not want it to look new—just touches of Spain and Mexico, the influences that make Santa Fe so interesting.”

Project Team Architect Christopher Purvis Architects Contractor Denman & Associates

Tile Statements In Tile/Lighting/Kitchens/Flooring Plumbing fixtures and door hardware Dahl Plumbing Electrician Oso Electric Plumber Glen’s Plumbing & Heating Tile Setter Hunter Tile

1441 Paseo de Peralta, Santa Fe, NM | 505.988.4440 | statementsinsantafe.com 106 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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CLEMENS & ASSOCIATES INC. Private Residence | Santa Fe, NM n all the outdoor spaces of this newly completed contemporary Santa Fe home, a rectilinear stepping-stone motif adds to its beauty by echoing the home’s strong, clean lines. A clear example of this theme is found in the semi-enclosed entry courtyard, with its flagstone-surrounded rectangular bubble fountain and low, flagstonetopped garden border walls. The space, softened with Japanese maple, aspen, and white roses, welcomes guests almost as an initial entry room, notes landscape architect Catherine Clemens. Off the living room, enhanced native plantings—salvia, penstemon, catmint, and sumac among them—form the backdrop for a portal/patio with sunset views. A second portal was expanded with a flagstone seating area bordered by natural stone groupings and xeriscaped plants. Looking back on the project, Clemens remarks, “It’s always a pleasure to work with a talented team of professionals who support each other’s craft and create a home and garden that are truly exceptional.”

KATE RUSSELL (2)

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Project Team Landscape Architect Clemens & Associates Inc. Architect Deborah Auten Architecture Construction Tierra Concepts Inc.

1012 Marquez Place, Suite 201, Santa Fe, NM | 505.982.4005 | clemensandassociates.com

CORONADO PAINT & DECORATING Santa Fe Community College Renovation Santa Fe, NM

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magine the logistics: 50,000 square feet of flooring to remove, more than 33,000 square feet of porcelain to lay, and 20,000 small pieces of end-grain wood flooring to install, among countless other details—all in just seven weeks in public spaces where activity continues to take place. That was the challenge when Coronado Paint & Decorating installed new flooring in Santa Fe Community College’s common areas as part of a major renovation project at the school. The result: Warm earth tones of offset brick-pattern porcelain tiles in the corridors create an inviting feel, with multi-colored inset tile designs adding visual interest. The campus center boasts beautiful, locally produced flooring made of reclaimed wood from fire-scorched New Mexico forests. Miles Poteet, president of Coronado’s commercial division—who oversaw the project—puts it this way: “When students came back from semester break, it looked like a new school.” KATE RUSSELL

Project Team Flooring Coronado Paint & Decorating Designer Interior designer Ronnie DiCappo, AAHID, ASID, of Hartman + Majewski Design Group

2929 Cerrillos Road, Santa Fe, NM | 505.473.5333 | coronadodecorating.com

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D MAAHS CONSTRUCTION

KATE RUSSELL

Bath Remodel | Santa Fe, New Mexico

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hen this Las Campanas home was built, the master bath was no doubt stylishly contemporary in an early 1990s way. But tastes and styles change, and years of rain leaking around an exterior glass block wall didn’t help. So when Douglas Maahs, owner of D Maahs Construction LLC was enlisted as designer/builder in a major remodel, the previously dark and claustrophobic-feeling bath was transformed into a masterpiece of spacious beauty, luxurious functionality, and truly contemporary style. Among the highlights: a top-of-the-line steam room with rain shower and wall shower, in-floor radiant heat, and stone-pebble design combined with amber glass tile. Custom-made concrete and travertine sinks match the serene feel of the travertine floor. And the homeowner’s guilty pleasure: Thanks to an interior window and in-wall speakers, the freestanding deep-soaking tub has a direct view to the television in the adjoining master bedroom. The elegant new room, as Maahs puts it, is a “museum piece.”

Project Team Design and Construction D Maahs Construction LLC Tile and Lighting Statements In Tile Lighting / Kitchens / Flooring Fixtures Santa Fe By Design Glass The Glass Doctor

P.O. Box 5061, Santa Fe, NM | 505.992.8382 | dmaahsconstruction.com 108 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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STAR DESIGN Marshall Hunt Studio | Tesuque, New Mexico

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PHILLIP KARSHIS (2)

ater tumbles merrily over and around rocks and under an arched stone footbridge, following the natural slope of a hillside on Lee Ann and Marshall Hunt’s Tesuque property. Tall, leafy elms shade the stream, which flows alongside an exquisitely constructed stone and adobe studio for more than 75 feet. Yet the waterfall, despite its natural appearance, is manmade. Designed and built by Star Design, it uses a recirculating pump and 1200-gallon hidden tank, supplemented by rooftop rainwater catchment, to create a water-conscious cascade with a tranquil, idyllic feel. The waterfall is a highlight of the studio project, whose construction includes a circular, kiva-like tower featuring stonework by master stonemasons from O & L Construction of Santa Fe. Star Design owner Tim Star, a design/builder for 30-plus years in California and Hawaii before settling in northern New Mexico, specializes in custom adobe homes with green-built elements.

Project Team Design/Construction Star Design Stonework O & L Construction LLC Landscaping Jeremy Medlock, Taos

78 Cities of Gold Road, Santa Fe, NM | 505.603.7855 | tstar8@gmail.com trendmagazineglobal.com Trend Âť Fall 2012/Winter 2013 109

Design Project

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JENNIFER ASHTON INTERIORS Private Residence, Santa Fe, NM

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or clients of Jennifer Ashton Interiors, the art of living well begins, literally, with art. In the case of this eastside Santa Fe remodel—a duplex converted into a single home—a favorite painting from the homeowner’s collection sets the color palette and mood for a new kitchen/dining room in the heart of the home. The quietly whimsical Robert Zakanitch lithograph of floating teacups and angels inspired the diamond-finish wall plaster’s subtle peach-colored tone in the dining room. A beech/maple floor and gently whitewashed vigas contribute to the light feeling of the space. In the kitchen, cool blue-green undertones in reflective glass tile contrast with the warmth of the walls. And a touch of rustic character was added with a custom dining table and wall-mounted kitchen shelving, both from reclaimed barn wood. “The room almost has a sand and water quality, like being by the ocean in an adobe,” Ashton remarks. “Art was significant in creating the subtleties and softness of the space.” LAURIE ALLEGRETTI

Project Team Interior Design Jennifer Ashton, Allied ASID, in conjunction with Samuel Design Group Contractor Frank Yardman Construction Ltd. Co. Artwork Angel Food by Robert Zakanitch

468 W. Water Street, Suite 3, Santa Fe, NM | 505.913.0104 | jenniferashtoninteriors.com

arpet U Tile U Wood U Laminate Carpet Bamb U Vinyl U Stone U Cork Bamboo min M Benjamin Moore Paint U American Clay Windo ow Tr Treatments U Sundries Free Estimates Free Design Consulting Professional Installations

NAD P ORA ATING TING CORONADO AINT & DECORA PAINT DECORATING 2929 Rd, Santa Fe NM 87507 9 Cerrillos Cerr 5333 www w.Cor .CoronadoDecorating.com 110 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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KITCHEN DIMENSIONS Remodel | Santa Fe, NM Project Team Kitchen Kitchen Dimensions Architect/Homeowner Robert C. Glazier, AIA

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KATE RUSSELL

hen an older, Museum Hill-area home received an extensive remodel, the problem of an outdated, closed-off feeling kitchen called for a simple yet architecturally challenging solution: Move it to another part of the home. The new kitchen was set under a loft area at one end of a large family room, full of activity and graced with views and light. Kitchen Dimensions worked with the architect/homeowner to design a clean contemporary aesthetic, with textural interest and a semi-traditional personality. Flanking the range and concealing a refrigerator and pantry space are tall twin walnut cabinets stained in semi-opaque taupe. A deep center island features an extra-thick, soft-white engineered stone countertop with subtle grey veining—a practical, updated alternative to marble. As with every site-specific, client-specific Kitchen Dimensions project, the lovely new room is “not your typical kitchen,” notes company owner and certified kitchen designer Joan Viele. “Never a dull kitchen!”

150 S. St. Francis Drive, Santa Fe, NM | 505.986.8820 | kitdim.com

WISEMAN & GALE & DUNCAN INTERIORS Private Residence, Santa Fe, NM

I

KATE RUSSELL

t wasn’t so much a particular style, set of historical references, or furniture choices that drove the interior design for this Santa Fe home, notes Pam Duncan of Wiseman & Gale & Duncan Interiors of Santa Fe. It was the homeowner’s personality, which shines through in every room. “She’s cheerful, energized, and enthusiastic, so the colors in the home reflect her zest,” Duncan says. An abstract painting in shades of red over the living room fireplace exemplifies this passion for life, and Duncan complemented the artwork with such pieces as richly patterned, red-infused armchairs by O. Henry House and spring green chairs by Hickory Chair. The whole house interior design also incorporated colorful textiles from different cultures, including Guatemalan, Navajo, and a ceremonial wedding textile from Uzbekistan. “We five designers in the studio respond with professional experience to the client’s very personalized vision,” Duncan explains. “We’re pleased—and the homeowners are pleased—that this is a happy looking space.”

150 S. St. Francis Drive, Santa Fe, NM | 505.984.8544 | wgdinteriors.com trendmagazineglobal.com Trend » Fall 2012/Winter 2013 111

ROOMS OF THEIR

OWN

Seven Santa Fe designers discuss the sometimes daunting—but always fun—process of crafting their personal spaces

BY VICTORIA PRICE | PHOTOS BY PETER OGILVIE

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e’ve all heard the story of the cobbler’s wife, who goes unshod while her hardworking husband makes shoes for everyone but her. When Trend asked me to speak with some of my fellow Santa Fe designers about the process of creating their own homes, I wondered whether my colleagues were anything like me— too busy working on other people’s homes to focus much on their own.

Simplicity rules For Edy Keeler, this is certainly true. She admits that, despite being wellknown for her bold use of color and absolute aversion to white walls, the ones in her own home have remained white for almost two decades because she simply never got around to painting them. At the end of the day, she is “interested in dinner, not paint chips.” Ironically, Keeler has been hired by two other designers to help finish up homes they are building, because the prospect of completing their own projects seemed too daunting. Keeler and her partner, architect Bob Zachry, built their modest modern home 18 years ago. They designed an open floor plan, clean lines, and cement floors to accommodate their active, dog-filled lives, and furnished it with pieces from Design Within Reach, Knoll, and LeCorbusier. Keeler’s aesthetic is clean, simple, and favors lux fabrics and natural materials and palette—but no brown or round—with an emphasis on surprising colors like chrome yellow that transition from inside to out. Keeler refers to Zachry’s eccentric decision to torque every interior angle five degrees as “really fun,” and still loves their decision to create an open loft sleeping space and use four French doors to “march down each side of the house” as much as she did when they built it. After working on other people’s projects all day, Keeler wants to keep her life simple. “It’s not that I didn’t once love cabbage roses,” she quips. “It’s that I found that I could live without them, even in my garden.”

A taste for adventure Some of my other colleagues find that exposure to the latest design trends has engendered an aesthetic wanderlust. Jeff Fenton and his partner, graphic artist Chris Martinez, have lived in 14 homes over 22 112 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

Designer Jeff Fenton and his partner Chris Martinez’s homage to a “modern farmhouse” is highlighted in the pairing of an antique French farmhouse table with six Louis Ghost chairs. The peaked wall behind the table features Martinez’s original photography from his Drive By series, which further accentuates the contrast between sophisticated urban and collected farmhouse that appeals to the couple. On the right, the breakfast area features a mid-century Eero Saarinen table which plays host to four vintage Italian side chairs, all situated beneath a reproduction French-inspired chandelier.

A Bastiano rosewood sofa by Gabina for Knoll, designed by Tobia years. “I tend to get bored with a space Fenton beautifully articulates the Scarpa in 1969, and the classic Eames lounge chair, also in rosewood, the moment it’s finished and am ready blessing and curse of a designer’s make for comfortable cloud-watching out the 15-foot postcard winfor the next challenge,” Fenton admits. knowledge: “The tremendous bendow. Both are from Zachry’s collection, and the cherry dining room “Chris knows he’s in trouble when the efit of designing for yourself is the table is his design. The dining room table chairs, as well as all shelving, are also in cherry. The steel mesh floor lamp is Keeler’s design. last picture has been hung and the real wealth of resources and selections estate section is lying on the kitchen table. to which you have access. The I like to challenge myself with style, and have been through many— tremendous challenge of designing for yourself is that same some with more success than others. But that’s the fun, experimentwealth of access. I generally try to provide a client with three ing with different styles to complement the architecture, the area in options that I believe will work best and then begin the diawhich we lived, or the particular stage in our lives. Design should be fun, logue. When designing for myself I know there are more than not paralyzing—an opportunity to learn about yourself. We describe our three options.” current home as modern farmhouse with a twist of Paris flea market.” The couple’s adventurousness has taught them that one of the best ways Designing for two to learn is by being willing to make mistakes, something every designer Santa Fe-born designer Lisa Samuel acknowledges that having knows is much better to do in one’s own home than that of a client. Fenan extensive knowledge of what is possible makes it harder for ton humorously recalls one lesson he learned in the early 1990s: “We were her to pare down her personal decisions, especially when she is living in a historical Washington, DC, row house filled with antiques designing for two. “I know exactly what I like, but I do have a huswe’d collected. The magazines were featuring a new trend called Santa band, and I’m also designing for him. It’s actually quite a volley Fe Style. We were intrigued. Turns out there is a reason it’s called Santa between us, but I think that exchange creates the best possible Fe Style. That’s where it works best. It absolutely does not work to paint results as we’ve worked at blending our unique tastes into one all your antiques white and then add touches of painted cactus, coyotes, that satisfies us both.” and skulls. What were we thinking? Fortunately, I’ve learned to put the Samuel describes this aesthetic as “earthy modern,” reflecting paint brushes down and steer clear of clichés in design.” the clean lines and comfortable interiors that showcase

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the organic and traditional art objects she and her husband, Les, love to collect. She thinks of their home as being made up of “zones” that allow people to transition easily from one space to another, indoors or out. The couple’s favorite room is their library. Located off the master bedroom, it provides easy access to the main courtyard with its seating for six, a water feature, and aspen trees that flutter in the breeze. When designing for himself, David Naylor says, “Nobody says no, and editing is difficult without judgment.” A design omnivore, Naylor admits, “I love everything—all at once!” He describes his style as “multicultural,” blending of all the influences he has come to appreciate over a lifetime of designing. Naylor also likes to move every two or three years. His pattern has been to “buy a dump, fix it up, and sell it. I walk my walk, and I like to try things on myself before I spring them on clients.” For the first time, he and his partner are living in a new, contemporary condo on Alto Street—a clean-lined, efficient space that reminds him very pleasantly of his ten years in New York City. In the past, Naylor and his partner tended to live “simpler, funkier, easier” than his clients, reveling in the Northern New Mexican quirkiness of the spaces they have remodeled. But at 52, never having had

new appliances, Naylor expresses almost childlike glee in enjoying many of the things that he insists upon for his clients when he says, “I love cooking on new appliances, and I love having a tricked-out master closet.”

Elements of surprise Like Fenton, Annie O’Carroll finds sometimes designers just know too much, and often the hardest thing is actually making a decision and sticking to it. Applying the same objectivity you would use with a client is key. Although her taste is constantly evolving, her preference is for uncluttered spaces, clean lines, textural materials, and sophisticated elements with splashes of unexpected color thrown in. O’Carroll’s dining room is perhaps her favorite reflection of her many-faceted life. She took great pleasure in designing a custom round table, painting the walls a blue to match a favorite jacket, and then throwing in red leather chairs. Elements such as a mirror found at a garage sale and a candlestick discovered on a trip to New Orleans lend the modern space a personalized feel, blending the styles O’Carroll loves the most in the place where she loves to entertain friends.

An antique wing-back chair lends an air of recycled chic to Lisa Samuel’s earthy modern bathroom.

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A minimalist’s aesthetic For both Kris Lajeskie and Thomas Lehn, the task seems simpler. The design statements of their own homes are a conscious reflection of exactly the aesthetic they promote to their clients. Their homes are a showcase of their styles, yet in very different ways. Interior and furniture designer Lehn is a relative newcomer to Santa Fe, and he brings with him an “invitingly minimalist” international aesthetic honed at Cranbrook and the School of the Art Institute of Chicago. Following his decision to become an early investor in Ricardo Legorreta’s Zocalo project, Lehn and his wife, artist Jane Lackey, engaged in a very conscious planning process: “Because so little was built at the time, we were able to make some critical changes to the floor plan and finish selections that were different from those proposed by Legorreta. It was important to create an environment that was simple, restful, and quiet; contrary to the orange exterior of Zocalo. Intentionally, we wanted a palette that was soft and dry, integrating natural materials—sandstone flooring, natural cedarwood millwork, and soft white walls that support the quiet artwork integrated throughout, which serves as a marker of transition.” The furnishings, many of which were designed by Lehn, are light in color and made with natural materials, wool, leather, and wood. Though only 1700 square feet, the home’s lightness and minimal decor gives an illusion of expansiveness. Thomas Lehn and Jane Lackey’s simple approach to living is reflected in the unobtrusive palette and shapes that comprise their living and dining areas. Seasonal flowers in sensuous colors are their main indulgence, as are the small containers and objects collected throughout their travels, which are displayed on the floating shelves in their dining room. “We keep our environment neutral so that the artwork stands out,” says Lehn.

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“Designing a residential interior is a process of supporting life activities of the dweller,” says Lehn. “Because we create spaces for others and art in our shared studio, we wanted a quiet refuge at home, a place to wipe our eyes clean from our daily activities. Too often residential interiors are loaded with objects, furnishings, and art. We prefer not to crowd our space with distractions.” This is precisely the quietly minimal philosophy he tries to implement with his clients.

Journey-inspired Kris Lajeskie’s home also showcases the aesthetic she promotes in her work, a home whose objects and materials reflect her life values. For Lajeskie, designing for herself is a spontaneous adventure of self-affirmation. She feels absolutely free to do what she wishes, which is reveling in the mix between old and new. “I have always focused on artisan-made furnishings and decorative items,” she says. “My taste is very refined, so I love to break it up with organic and sometimes primitive elements.” Her personal spaces reflect the sumptuous aesthetic that has

made her justifiably famous around the country. “I surround myself with all the things that give me joy: comfortable furniture in rich fabrics, organic materials in metals, semi-precious stones, feathers.” Much of Lajeskie’s inspiration comes from her travels. On a recent trip to Istanbul she indulged her well-known taste for luxurious fabrics, bringing home silks, velvets, and embroidered goods from the Grand Bazaar, which she will use for client projects and for pillows in her own home. Lajeskie’s penchant for travel informed her decision to live in a small historical adobe casita, which she finds perfect for her “onthe-go lifestyle.” She fell in love with the private patio off the kitchen, which she describes as a wonderful outdoor living extension to the home and her own secret garden. “The common wall is all glass, and I love seeing the sky and light and watching the change of seasons from inside. It’s also my favorite space to gather with visiting friends and clients.” Her spiritual journey is also reflected in her collection of religious art that graces her casita, many of which are rosaries that she wears. She loves the spontaneity of picking up a design element

Kris Lajeskie’s living room showcases her signature design aesthetic—a mix of old and new, modern and traditional, organic and metallic. Many pieces were gathered during her frequent travels. The result is a sumptuous style that has made her highly sought-after with clients around the country.

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A self-described “design omnivore,” David Naylor designed his living room to reflect his love of blending a myriad of different styles and textures, resulting in an elegant multicultural vibe.

118 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

Annie O'Carroll delighted in designing this round table for her dining room, which unites the room’s eclectic mix of artwork, found objects, blue walls, and vibrant red leather chairs.

and putting it on for the day, as well as the honesty of living with objects that reflect her own life and values. Her ethos is simple: “I surround myself with comfort, function, and beauty that is meaningful to me, just as I do for my clients.”

The personal and the communal My own aesthetic was honed by living with and working for a designer mother who began buying and flipping houses in the 1960s—one a year—while I, willingly or not, lived through the process. For me the word “home” has never implied permanence, because my peripatetic mother changed styles and locations the way most people change clothing. This undoubtedly has played a big part in my decision to rent instead of buy for the last decade, which gives me freedom to roam and a convenient excuse for focusing on the houses of my clients instead of my own. Nonetheless, even in my current contemporary loft space in a transitional neighborhood, I revel in seeing all the parts of my life and my aesthetic reflected in favorite pieces from my family art collection, installed alongside pieces by artists whose work I love. Per-

haps the most graphic representation of my personal design values is my Saarinen Womb chair, which I still find to be one of the best examples of contemporary style, and certainly my own favorite piece. On any given day, however, you will find it covered with a disgustingly hairy fleece blanket because my beloved Dalmatian, Jack— who makes all my ads look better—apparently is himself a connoisseur of beauty and design. My spotted best friend eschews (at least it’s not chews) even the most expensive dog beds, and instead can always be found in the place he loves the most, his Womb chair. For me, one of the best aspects of our Santa Fe design community is that it is just that—a community. We are not a group of competitive, disparate backbiters, but colleagues who come together to produce events that benefit our city and support each other by sharing resources and ideas. The graciousness of my colleagues in sharing their homes and their ideas about design reminded me not only of how grateful I am to be a part of this community, but also how truly fortunate Santa Feans are to have such a wealth of design resources, both human and material, at their fingertips.R trendmagazineglobal.com Trend » Fall 2012/Winter 2013 119

GASTRONOMICA TEXT AND PHOTOS BY GABRIELLA MARKS

Farmto

Table

A dish of comfort food unites culinary traditions past and present

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he word “local” has evolved in recent years to signify a culinary philosophy that implies getting to know the people who grow the food we eat, supporting economic self-sufficiency as well as sustainable practices of seasonal availability, and keeping soil healthy. But the concept is as old as the hills here. Antonio Manzanares of Shepherd’s Lamb personifies this heritage. On the family ranch in Tierra Amarilla that originally belonged to his grandfather, Manzanares has revived the tradition of raising organic lamb (although they didn’t call it that back then) in the mountains of northern New Mexico, an area that was once among the greatest lamb-producing regions in the world.

Above: The lamb shanks braising in their pot, surrounded by seasonal vegetables, all of which would also make a nice accompaniment to the dish. Below: In winter, the sheep at Shepherd’s Ranch gather each morning to walk down to graze at the ranch’s lower pasture.

In contrast to the decades of family tradition behind Shepherd’s Lamb, chef Andrea Meyer of The Love Apple restaurant in Taos is a relative newcomer to our world of local food. She is one of those rare birds who did not ascend from a long line of cooks and apprenticeships, but instead wound her way to chef de cuisine at this exceptional restaurant through passion and curiosity. Meyer hadn’t begun to really notice food until her Washington State University college roommate began reproducing at home the recipes she had learned in the restaurant where she worked. The food was tasty, 120 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

straightforward, and easy to prepare. Meyer was intrigued: this was more than mere sustenance. Straying from her writing studies to explore food, Meyer found a job at the iconic Essential Bakery of Seattle, the first major wholesale bakery to use organic ingredients. There, her education in the political and creative context of food began in earnest, and she was as interested in the sourcing of food as she was in its preparation. Through a Sustainable Education program at WSU, Meyer also worked dawnto-dusk at Sea Breeze Farm on Vashon Island, Washington. Here, she learned first-hand how much incredibly hard work and dedication is required to earn a basic living on a small farm. These experiences helped to focus her food philosophy, one driven by the idea of quality without compromise. And while organic ingredients play a key role at The Love Apple, Meyer realizes the technical term “organic” has lost relevance in a bureaucratic tangle of paperwork and certification that is prohibitively expensive for small-scale farmers. For her, local, seasonal ingredients are the first priority. If a farmer is making a living in her community growing a heritage breed of apple but isn’t certified organic, she will support that farm rather than ship organic apples in from California. Manzanares was one of the first people Meyer met when searching for local farmers willing to deliver to Taos. Her preference for Shepherd’s Lamb is equal parts flavor and philosophy: she finds the lamb rich rather than gamey, and after visiting the family ranch and seeing the high-altitude pastures in which the lambs are raised, she has tremendous respect and trust for Manzanares’s way of doing things. For Manzanares, notions of traditional and natural are closely entwined. Because sheep tend to forage better at high altitude where they aren’t as vulnerable to the heat and drought that can occur lower on the plains, he shepherds his animals in the summer through mountain pastures. They are kept in the same flock for their entire lives, and they are not fed grain, which, Manzanares explains, changes the flavor of the meat. This dish is a beautiful tribute to the relationship between farmer and chef: organic lamb raised according to tradition less than a hundred miles from the plate, and a regional southwestern molé that is re-imagined with a lighter tone and a brighter palette than its traditional predecessor.

Shepherd’s Lamb Shanks Braised with Roasted Squash, Oaxacan Red Molé, and Avocado Crème Fraîche Oaxacan Red Chile Molé This may be made up to two days ahead. Sauté in two tablespoons olive oil: 1-½ cups onions, halved and sliced 1 tablespoon garlic Once lightly browned, add: 2 corn tortillas or 1 piece ciabatta or sourdough bread soaked in water until soft ¼ cup piñon nuts ¼ cup pepitas (pumpkin seeds) ¼ cup currants or raisins ¼ cup sesame seeds, toasted 16 oz. fresh or canned tomatoes with juice 2 oz. Mexican Ibarra chocolate, chopped

Cool and puree in food processor. Set aside. In a separate bowl, combine: 2 containers mild red chile, thawed 1 tablespoon fresh oregano 1-½ teaspoons cinnamon ½ teaspoon ground cloves ½ teaspoon allspice 2 tablespoons red wine vinegar 1 teaspoon salt Whisk in pureed mix from above to combine thoroughly. This recipe makes three quarts—enough to serve with shanks and for breakfast with eggs and tortillas. >

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GASTRONOMICA

Avocado Crème Fraîche Start the crème fraîche the night before you wish to serve the shanks. 1 cup heavy cream 2 tablespoons buttermilk 1 avocado 1 teaspoon salt 1 teaspoon pepper 1 tablespoon cilantro Combine the heavy cream and buttermilk in a bowl and let sit at room temperature (about 70 degrees) overnight. The next day, stir and transfer to the refrigerator. Immediately before serving, mash avocado and mix with thickened crème fraîche. Mix in salt, pepper, and cilantro.

Braising the Shanks Preheat oven to 300 degrees. In a roasting pan with lid, combine: 3 carrots, roughly chopped 5 ribs celery, roughly chopped 1 onion, roughly chopped 3 bay leaves 1 cinnamon stick ½ orange, with peel on, sliced Add and bring to simmer: 2 cups white wine 4 cups chicken or beef stock Meanwhile, in a large sauté pan, heat two tablespoons canola or peanut oil until hot. Sear four hind shanks, browning on each side. Once seared, add to roasting pan and transfer to 300 degree oven. Cook for six hours.

Roasted Squash Peel and dice one butternut squash. Toss with olive oil and salt and pepper. Transfer to a baking sheet. Three hours into the braising time, put the squash in the oven with the shanks for a slow roast. To serve, remove shanks from braising liquid and place atop roasted squash. Smother with molé and finish with a dollop of avocado crème fraîche. Serves 4. R 122 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

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Museum Hill Café 710 Camino Lejo, Santa Fe, New Mexico 505-984-8900 | museumhillcafe.net

BY RENA DISTASIO PHOTOS BY DOUGLAS MERRIAM

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useum Hill Café is dining with unparalleled views, whether from the newly expanded patio or through the floor-toceiling windows. Diners are treated to a breathtaking hundred-mile expanse of azure skies and rolling piñondotted hills surrounded by four world-class museums on a bluff above Santa Fe. Museum Hill Café is also a restaurant with a point of view. Weldon Fulton, who opened the restaurant in June 2010, delights in reinterpreting culinary traditions, from Southwestern staples to the time-honored soup, salad, and sandwich. Piled-high Reubens, tuna melts, and chicken soup are among the hearty, comforting options. Locally produced, grass-fed beef from Bonanza Creek Ranch makes for a superb burger or patty melt. Lighter fare includes Asian shrimp tacos marinated in mandarin orange and Chinese chile, grilled salmon salad on a bed of mixed greens with pineapple mango salsa, fresh gazpacho, and the MHC Cobb Salad. Southwestern-style dishes range from a well-stuffed burrito with the best house-made red chile in town to smoked-duck flautas and Tacos Jalapeños. A sumptuous selection of desserts and pies are made fresh daily with ice cream provided by Taos Cow. There’s always something happening at Museum Hill Café, whether it’s a jazz trio on a Friday night in the summer or a classical pianist providing background music for your leisurely lunch. An incredible wine and beer list and a full spectrum of Illy® coffee drinks are available to sip on the patio while taking in the incredible views. Mandarin orange and Chinese chili add a burst of bright flavor to the Asian shrimp tacos. Napa cabbage supplies crunch while corn tortillas and avocados add local flavor. Top right: Enjoy the million-dollar views while sipping on a glass of wine, beer, or one of the restaurant's specialty drinks. trendmagazineglobal.com Trend » Fall 2012/Winter 2013 123

Wine/Dine Advertisement

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

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

A

t Saveur, food is a matrix of possibilities, a source of beauty, nourishment, and satisfaction. Colors, aromas, flavors, and textures will delight the senses and nourish the spirit with comforting goodness. The food at Saveur is prepared with love and care to highlight its natural goodness. Succulent pink shrimp nestled on a bed of cool avocado and fresh roasted bell peppers create a collage of color reminiscent of the French countryside or a New Mexico sunset. Chopped beets glisten like a bowl of garnets in a side dish. Iceberg lettuce drizzled with the finest Blue cheese entices with its simplicity. For quality ingredients and impeccable presentation in a lovely restaurant setting, visit Saveur for breakfast or lunch. Whether you are on the go or ready to sit down to an afternoon of nourishment, you can select from mouth-watering entrees such as rib-eye steaks, lobster seafood crepes, and duck confit; generous made-to-order sandwiches of the finest deli meats and cheeses; delicious, hearty soups; and a wide variety of tasty salads. Indulge in a glass of French wine or enjoy an espresso, steaming latte, or silky chai with a luscious dessert to whisk away a stressful day. Savuer’s dishes are whole, pure, and seasoned by experience. Proprietors Dee and Bernie Rusanowski celebrate the joy of food, and their exuberant goodwill makes everyone feel like family. Daily, and sometimes for a lifetime, loyal clientele come to Saveur to dine in the company of friends and welcome those that soon may become friends. Saveur serves up delectable cuisine with gracious hospitality to satisfy the soul. Bonjour Saveur! 124 Trend  Fall 2012/Winter 2013 trendmagazineglobal.com

COURTESY OF ESSENTIAL GUIDE

BY SKYA ABBATE | PHOTOS BY CHIP BYRD

Wine/Dine

ABOVE LEFT AND BOTTOM: KATE RUSSELL; ABOVE CENTER AND RIGHT: COURTESY OF ESSENTIAL GUIDE

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Everything at Saveur is as beautiful as it is delicious—even a simple sandwich is prepared with an artful eye. The variety of buffet items invite diners to create their own plates, or take a bit here and there to accompany a bowl of soup or a hearty sandwich.

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AD INDEX ANTIQUES, HOME FURNISHINGS, RUGS & ACCENTS ACC Fine Furnishings & Interior Design accsantafe.com 505-984-0955 .......................................2,105 Antiquarius Imports antiquariusimports.com 575-776-8381 ............................................54 Asian Adobe asianadobe.com 505-992-6846 ......................................12–13 Casa Navarro marcnavarrogallery.com 505-986-8191 ........................SFGA Guide 35 Casa Nova casanovagallery.com 505-983-8558.....................inside back cover Constellation Home Electronics constellationsantafe.com 505-983-9988 .............................24, 100-101 David Naylor Interiors davidnaylorinteriors.com 505-988-3170 ........................................3, 99 Jennifer Ashton Interiors jenniferashtoninteriors.com 505-913-0104 ....................................34, 110 La Mesa of Santa Fe lamesaofsantafe.com 505-984-1688 ........................SFGA Guide 32 La Puerta Originals lapuertaoriginals.com 505-984-8164 ............................................14 New Mexico Auction & Consignment 575-776-1562 ............................................54 Pandora’s pandorasantafe.com 505-982-3298 ..............................................6 Santa Kilim santakilim.com 505-986-0340 ............................................81 Violante & Rochford Interiors vrinteriors.com 505-983-3912 ......................................10–11 Wiseman & Gale & Duncan Interiors wdinteriors.com 505-984-8544 ......................................8, 111 Xanadu xanadusantafe.com 505-424-3231 ......................................16–17 ARCHITECTS, DESIGNERS & LANDSCAPE COMPANIES ACC Fine Furnishings & Interior Design accsantafe.com 505-984-0955 ......................................2, 105 Clemens & Associates clemensandassociates.com 505-982-4005.....................................18, 107 Star Design 505-603-7855 ....................................55, 109 Tierra Concepts tierraconceptssantafe.com 505-780-1157 ......................................9, 102 Transcendence Design Contemporary transcendencedesign.com 505-984-0108 ..................................SFGA 44 ARTISTS & GALLERIES A Gallery Santa Fe agallerysantafe.com 575-603-7744 ........................SFGA Guide 22 Addison Rowe Gallery addisonrowe.com 505-982-1533 ........................SFGA Guide 23 Beals & Abbate Fine Art bealsandabbate.com 505-438-8881 ..................SFGA Guide 40–41 Maurice Burns 505-471-0501 ............................................29 Cardona-Hine Gallery cardonahinegallery.com 505-689-2253 ........................SFGA Guide 29 Casweck Galleries casweckgalleries.com 575-988-2966 ..................SFGA Guide 24–25

Chalk Farm Gallery chalkfarmgallery.com 575-983-7125 ........................SFGA Guide 48 Evoke Contemporary EVOKEcontemporary.com 575-995-9902 ........................SFGA Guide 19 GF Contemporary gfcontemporary.com 505-983-3707 ........................SFGA Guide 42 GVG Contemporary gvgcontemporary.com 505-982-1494 ........................SFGA Guide 33 Giacobbe Fritz Fine Art giacobbefritz.com 505-986-1156 ........................SFGA Guide 43 Glenn Green Galleries and Sculpture Garden glenngreengalleries.com 505-820-0008 ..........................SFGA Guide 5 Hand Artes Gallery handartesgallery.com 505-689-2443 ........................SFGA Guide 29 Hunter Kirkland Contemporary hunterkirklandcontemporary.com 505-984-2111 ........................SFGA Guide 31 Karen Melfi Collection karenmelficollection.com 505-982-3032 ........................SFGA Guide 32 Keshi keshi.com 505-989-8728 ............................................78 Mark White Contemporary markwhitecontemporary.com 505-982-2073 ..................SFGA Guide 14–15 Mark White Fine Art markfineart.com 505-982-2073 ........................SFGA Guide 34 Marji Gallery & Contemporary Projects marjigallerysantafe.com 505-983-1012 ..................SFGA Guide 16–17 New Concept Gallery newconceptgallery.com 505-795-7570 ........................SFGA Guide 38 Peyton Wright peytonwright.com 505-989-9888.........SFGA Guide 6,back cover POP Gallery popsantafe.com 505-820-0788 ........................SFGA Guide 21 Santa Fe Gallery Association santafegalleryassociation.org 505-982-1648 ..............SFGA Guide 1–49, 79 Selby Fleetwood Gallery selbyfleetwoodgallery.com 505-992-8877 ........................SFGA Guide 37 Transcendence Design Contemporary transcendencedesign.com 505-984-0108 ........................SFGA Guide 44 ViVo Contemporary vivocontemporary.com 505-982-1320 ........................SFGA Guide 45 Waxlander Gallery waxlander.com 505-984-2202 ........................SFGA Guide 39 William Siegal Gallery williamsiegal.com 505-820-3300.....................inside front cover Windsor Betts Art Brokerage House windsorbetts.com 575-820-1234 ........................SFGA Guide 20 Winterowd Fine Art fineartsantafe.com 505-992-8878 ..........................SFGA Guide 1 Zaplin Lampert Gallery zaplinlampert.com 505-982-6100 ............................................82 BUILDERS, CRAFTSMEN, DEVELOPERS & MATERIALS AllBright & LockWood allbrightlockwood.com 505-986-1715 ....................................27, 104 D Maahs Construction dmaahsconstruction.com 505-992-8382 ....................................18, 108

126 Trend » Fall 2012/Winter 2013 trendmagazineglobal.com

Coronado Paint and Decorating coronadodecorating.com 505-473-5333 ..................................107, 110 Green Star Builders hvlinteriors.com 505-983-3601 ..............................................4 HVL Interiors hvlinteriors.com 505-983-3601 .............................................5 La Puerta Originals lapuertaoriginals.com 505-984-8164 ............................................14 Santa Fe By Design santafebydesign.com 505-988-4111 ....................................19, 103 Star Design 505-603-7855 ....................................55, 109 Statements in Tile/Lighting/Kitchens/Flooring statementsinsantafe.com 505-988-4440 ....................................23, 106 Tierra Concepts tierraconceptssantafe.com 505-780-1157 ......................................9, 102 CITIES, EVENTS & MUSEUMS ARTFeast Santa Fe artfeast.com 505-603-4643 ........................SFGA Guide 36 LA Art Show laartshow.com 561-822-5440 ............................................83 Poeh Cultural Center & Museum poehmuseum.com 505-455-5041 ..........................SFGA Guide 7 Santa Fe Gallery Association santafegalleryassociation.org 505-982-1648 ..............SFGA Guide 1–49, 79 Taos New Mexico USA taos.org....................................................145 ELECTRONICS Constellation Home Electronics constellationsantafe.com 505-983-9988 ............................24, 148–149 FASHION & JEWELRY Beeman Jewelry Design beemanjewelrydesign.com 877-927-6763 ..............................................7 Cottam’s Ski Shops Santa Fe cottamsskishops.com 505-982-0495 ............................................78 Cottam’s Ski Shops Taos cottamsskishops.com 575-758-2822 ............................................96 Cottam’s Ski Shops Taos Ski Valley cottamsskishops.com 575-776-8719 ............................................96 Golden Eye golden-eye.com 505-984-0040 ............................................35 Harry’s 505-988-1959 ............................................39 Jerry Szor Contemporary Jewelry jerryszor.com 214-691-5400 ............................................32 Karen Melfi Collection karenmelficollection.com 505-982-3032 ........................SFGA Guide 32 Keshi keshi.com 505-989-8728 ............................................78 Lily of the West Boutique lilyofthewest.com 505-982-5402 ............................................80 New Mexico Auction & Consignment 575-776-1562 ............................................54 Paragon Outdoors 575-776-2489...........................................145 Peruvian Connection peruvianconnection.com 505-438-8198 ............................................15

Rippel and Company johnrippel.com 505-986-9115 ............................................21 Spirit of the Earth spiritoftheearth.com 505-988-9558 ............................................25 Teca Tu tecatu.com 505-982-9374 ............................................43 Things Finer thingsfiner.com 505-983-5552 ..............................................1 Tom Taylor tomtaylorbuckles.com 505-984-2232 ............................................26 HEALTH & BEAUTY Body Spa bodyofsantafe.com 505-986-1111 ........................SFGA Guide 44 Lotus Beauty 505-988-9965 ............................................33 KITCHENS, BATHROOMS, FLOORING, TILE, LIGHTING & HARDWARE AllBright & LockWood allbrightlockwood.com 505-986-1715 ....................................27, 104 Kitchen Dimensions kitdim.com 505-826-8820.......................................8, 111 Santa Fe By Design santafebydesign.com 505-988-4111.....................................19, 103 Statements in Tile/Lighting/Kitchens/Flooring statementsinsantafe.com 505-988-4440 ....................................23, 106 PHOTOGRAPHY Peter Ogilvie Fine Art Nudes nudesbyogilvie.com 505-820-6001 ............................................87 REAL ESTATE, AND BANKS Los Alamos National Bank lanb.com 800-684-5262 ............................................94 Ashley Margetson Sotheby’s International Realty 505-920-2300 ......................................44–45 Taos Luxury Property Rentals taospropertyrentals.com 877-577-9448 ............................................96 Yancy Whittaker Coldwell Banker Previews International santafehomesandestates.com 505-988-7285 ext. 324 ........................36–37 RESTAURANTS, CATERERS & LODGING The Blonde Bear Tavern blondebeartavern.com 575-737-6900 ext. 6996 ............................96 Coyote Cafe coyotecafe.com 505-983-1615 ..........................................127 Geronimo geronimorestaurant.com 505-982-1500 ..........................SFGA Guide 3 Hotel Santa Fe the Hacienda and Spa hotelsantafe.com 800-825-9876 ............................................44 Museum Hill Café museumhillcafe.net 505-984-8900 ..........................................123 Saveur Bistro 505-989-4200 ...................................124-125 Taos Inn taosinn.com 575-758-2233 ............................................97 Walter Burke Catering walterburkecatering.com 505-473-9600 ..........................................122

END QUOTE PHOTO BY KATE RUSSELL

Under the sublime law of progress, the present outgrows the past. The great heart of humanity is heaving with the hopes of a brighter day. All the higher instincts of our nature prophesy its approach; and the best intellects of the race are struggling to turn that prophecy into fulfillment. —HORACE MANN

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SEWELL SILLMAN (1924-1992)

Peyton Wright Gallery is the exclusive representative of the Sewell Sillman Foundation and Estate.

PEYTON WRIGHT

237 East Palace Avenue 505 989-9888

Santa Fe, New Mexico 87501

www.peytonwright.com

800 879-8898

info@peytonwright.com

Sewell Sillman (1924-1992), Mirage #2, oil on masonite, 1969, 36 inches by 36 inches

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