trend summer 2012

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ARTART ofof ANCIENTANCIENTAAMMERIERICCAAWorld-class private collection receives a public home

CCOOLLLLABORATIVEABORATIVE ARTIARTISSTRYTRYTamarind’s enduring influence on five regional printmakers

RON DAVISMaster of Abstract Illusionism continues to push pictorial boundaries

CCATHATHEDRAL BASILICA OFEDRAL BASILICA OFST. FRANCIS OF ASSISIST. FRANCIS OF ASSISIExploring art and architecturein the heart of Santa Fe

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contentsSummer 2012

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Material WorldTranscending modernist conventions, Zane Fischer’s home proves that bold and simple can have a heart.By Rena Distasio | Photos by Kate Russell

Art of Ancient AmericaShedding light on Mesoamerican culture, politics, andsociety with a newly public world-class collection.By Rena Distasio

Rolling the StonesImpervious to the vagaries of fashion, the Tamarind Institute has long endured as a nexus for the fine art of printmaking.

BY KATHRYN M DAVIS | PHOTOS BY PETER OGILVIE

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28 FROM THE EDITOR

30 CONTRIBUTORS

32 FLASHFact, Fiction, and the Farmer’s Table; Thirty Years at the Stove; Expanding Creativity: Seoul and Santa Fe; Santa Fe Opera

38 IN MEMORIAMCollectors Mary Hunt Kahlenberg and Sandy Besser leave exceptional artistic legacies.

BY WESLEY PULKKA

40 TUNESNew Mexico’s matriarch of soul HillarySmith; producer/mixer/musician John Kurzweg

BY APRIL REESE

84 OUTLOOKCathedral Basilica of St. Francis of Assisi’streasure trove of art

BY GUSSIE FAUNTLEROY

PHOTOS BY ROBERT RECK

94 ARTIST PROFILEAs one of America’s most prolific abstractionists, Ron Davis skews color, form, and spatial relationships.

BY RIC LUM

PHOTOS BY LEE CLOCKMAN

104 ARTIST STUDIO The non-objective nature of Lilly Fenichel

BY WESLEY PULKKA

PHOTOS BY KATE RUSSELL

108 ARTIST STUDIOPainting at the speed of thought with John Wenger.

BY JON CARVER

PHOTOS BY KATE RUSSELL

130 ART MATTERSThe Harwood’s showing of Agnes Martin’s early work raises questions of intention versus education.

BY JAN ERNST ADLMANN

ON THE COVER: In the foreground is Ron Davis’sStrata (1969), molded polyester resin and fiberglass,Dodecagon Series. The piece is in the collection ofthe Portland Art Museum. The background imageis a detail of inks on paper, shot by Peter Ogilvie at Lynch Pin Press in Taos, New Mexico.

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136 TAOS HUMPhotographer Paul O’Connor’s book documents three decades of remarkable relationships.

BY LYN BLEILER

138 GASTRONOMICARancho Manzana looks back for its future.

TEXT AND PHOTOS BY GABRIELLA MARKS

148 GRASSROOTSThe Occupy Santa Fe Movement encapsulated–past, present, and future.

BY DARRYL LORENZO WELLINGTON

AND CHRISTIAN LEAHY | PHOTOS BY LISA LAW

160 END QUOTE138

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PUBLISHERCynthia Marie Canyon

EDITORRena Distasio

ART DIRECTORJanine Lehmann

COPY CHIEFCyndi Wood

EDITOR-AT-LARGERic Lum

DIGITAL PRODUCTION ASSISTANTStephen Lucero

CONTRIBUTING WRITERSJan Ernst Adlmann, Lyn Bleiler, Jon Carver, Kathryn M Davis, Rena Distasio, Gussie Fauntleroy, Christian Leahy, Ric Lum, Gabriella Marks, Wesley Pulkka, April Reese, Darryl Lorenzo Washington

CONTRIBUTING PHOTOGRAPHERS AND ARTISTSLee Clockman, Lisa Law, Gabriella Marks, Peter Ogilvie, Robert Reck, Kate Russell

SALES MANAGERCynthia Canyon, 505-470-6442

REGIONAL SALES DIRECTORJudith Leyba

NORTH AMERICAN DISTRIBUTIONDisticor Magazine Distribution Servicesdisticor.com

NEW MEXICO DISTRIBUTIONAndy Otterstrom, 505-920-6370

ACCOUNTINGDanna Cooper

SUBSCRIPTIONSVisit 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.

PREPRESSFire Dragon Color, Santa Fe, New Mexico

PRINTINGPublication 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 505-988-5007or send an e-mail to [email protected].

Trend art + design + architecture ISSN 2161-4229 is published two times in 2012, with Summer (circulation25,000) and Fall/Winter/Spring issues (circulation 35,000)distributed at outlets throughout northern and centralNew Mexico and throughout the nation at premium outlets, local grocery stores, Barnes & Noble, andHastings stores. Please ask your newsstand to carry Trend and friend us on Facebook.

Direct editorial inquiries to [email protected].

Trend, P.O. Box 1951, Santa Fe, NM 87504-1951505-988-5007

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FROM THE EDITOR

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Irecently went through several early fam-ily photo albums, and the thing thatstrikes me most (other than my unfortu-nate series of little kid haircuts from about1967 to 1970), is the number of snapshots

my mother took of her stuff. Copper pots andpans she’d hauled over from Europe (she was aGerman immigrant), paintings by my dad andother friends, the Navajo rugs she bought fromthe locals, even our Christmas trees, decoratedwith her distinctive flair.

The people also jump out at me—not my parents, brother, or relatives, but the others. Novelist Bill Eastlake and his artist wife, Martha,from whom we rented our house in my home-town of Cuba, New Mexico. R.C. Gorman, mug-ging wildly during a visit, neighbor KirkHughey dodging the camera. I remember howcarefully my parents saved up to buy one of Hughey’s paintings and how my mother’shard-won, polarizing choice quickly became part of family lore. When she died tenyears ago, a common refrain among family members was, “I’d love to have somethingto remember her by—just don’t send me that Hughey.”

Unfortunately, there are no ph otos of Agnes Martin. Memories will have to do. Or, rather,my memories of my mother’s—I barely remember the woman with whom she shared alove of roaming the desert scrublands that surrounded both our homes. But I do remem-ber the postcard-sized pen and ink drawing Martin gave my mother that I last saw stuffedin between the pages of a book. (Note to self: find that sketch!)

That was my early childhood, in a nutshell: surrounded by artists, surrounded by art, muchof it now in my care. The pots hang in my kitchen, the rugs lie on my floor, the paint-ings—even that Hughey—hang on my walls. I keep them because my mother loved them,because she believed we should surround ourselves with objects that speak to us. That’show we know who we are, she said. I long ago gave in and took her beliefs to heart. I chucked a business degree in favor of art history to become, to borrow from the music-obsessed main character in Nick Hornby’s novel High Fidelity, a “professional appreciator.”

As I am about to help put my first issue as editor of Trend magazine to bed, I like to thinkit would resonate with my mother—indeed with anyone who has had a profoundly per-sonal response to a work of art. In this, as in all our issues, we spotlight not only artists butalso their champions, because for every impulse that wields a paintbrush, manipulates a pieceof clay, or snaps a shutter, there must be another impulse willing to give it sanction, toshow it to the world and say, “See, here? This is how we tell the stories of who we are.”

—Rena DistasioEditor

Earlier this year, Trend helped launch EcoSource, a new resource guide andinteractive website of sustainable action. Its goal is to help reflect sus-tainable lifestyle choices and raise awareness of the myriad options avail-able to build and maintain thriving communities in which we can be proudto live and encourage others to visit. Join us at ecotrendsource.com for up-to-the-minute info on everything from zero energy home building andalternative energy trends to home furnishings from the greenest sources.ecotrendsource.com

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CONTRIBUTORS

Kate Russell is a nationally recognized pho-tographer based in Santa Fe. Known for herability to create evocative images and elevatesimplicity, Russell’s sensitivity to light and themoment can be seen in her photos. Her workhas appeared in numerous local and nationalpublications, including The New York Times,Western Interiors, Santa Fean Magazine, andthe books Old World Interiors by David Naylorand Designers Here and There by Michele Keith.Kate’s work with a traveling circus and thearts brought her to the world of photography,and they continue to provide inspiration forprojects both near and far.

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Lee Clockman is a nationally and interna-tionally published photographer formerlywith the Dallas Museum of Art. He residesin Ranchos de Taos, New Mexico, and alsospends time in the Dordogne region inFrance. His work has been featured in vari-ous periodicals and books, one of which,American Furniture in the Bybee Collection,was awarded the Montgomery Prize by theWinterthur Museum and Yale University forits distinguished contribution to the studyof American Decorative Arts. He is currentlyworking on new personal photographicabstract images made on the streets of Paris.

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Peter Ogilvie was raised in southern Califor-nia and studied Art and Architecture at Uni-versity of California at Berkeley. Aftergraduation he moved to Cambridge, Massa-chusetts, and started making documentaryfilms. Filmmaking lead to still photography,both fine art and commercial. Pursuing hiscareer in advertising, fashion, and fine artphotography, he has lived in San Francisco,Milan, Paris, New York, and now New Mexico.He has traveled the world on assignmentsand has won numerous awards for his workwith clients like Saks Fifth Avenue, GAP, AT&T,Levi Strauss & Co., Sony, Macy’s, Vogue, MarieClaire, and GQ.

Gussie Fauntleroy’s exploration of the longpast and present-day visual beauty of theCathedral Basilica of St. Francis of Assisiinvolved a confluence of some of herfavorite realms: art, architecture, spiritual-ity, and history—especially the rich historyof New Mexico, where she lived for 26 yearsbefore moving to southern Colorado. Shecontributes regularly to regional andnational magazines and is the author ofthree books on visual artists.

Jan Ernst Adlmann is a Santa Fe-basedauthor, art historian, and museum direc-tor/curator who has worked at institutionsthat include the Vassar Art Museum and, asVice Director, New York’s Guggenheim. Heis an emeritus member of the Associationof Art Museum Directors and a decades-long contributor to art journals such as Artin America and Museum News. He has alsohad four solo Santa Fe exhibitions as anassemblagist. R

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Ric Lum brings to Trend his perspective asan artist, designer, chef, sustainable foodadvocate, former environmental executive andentrepreneur, biker, cyclist, and lifetime skibum. As a high school junior he worked as a stringer covering motocross, and has beena graphic designer for a shipyard, designedand operated recycling plants, was a galleristand art collector, architecture gadfly, restau-rateur, and caterer—multifaceted life experi-ences he brings to the mission of finding thebest for Trend magazine.

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There was a time when SITE SantaFe hosted the only internationalbiennial in the United States. That

was in 1995, when SITE emerged as anexciting new force at the vanguard of con-temporary art. Now there are hundredsof biennial exhibitions around the world—and for the first time in 17 years, therewill not be one this summer at SITE SantaFe. Instead there will be an exhibition atleast as ambitious and in some wayslarger, bolder, and more momentous. More Real? Art in the Age of Truthiness

opens July 8 and continues through January 5, 2013, when it travels to theMinneapolis Institute of Arts (MIA). Fea-turing an international, intergenerationalroster of acclaimed and emerging artists,More Real? explores the shifting rela-tionship between fact and fiction in the21st century. Its title borrows the Stephen Colbert-coined term—“truthiness”—to question the nature of reality in anage when fact and logic are no longerconsidered necessary ingredients in whatis presented as truth.

The exhibition includes 60 works ofpainting, photography, film, sculpture,installation, and digital media. Amongthe artists: Ai Weiwei, Seung Woo Back,Zoe Beloff, Cao Fei, Jonn Herschend,Sharon Lockhart, and Eve Sussman.Opening weekend activities include apanel discussion with curator ElizabethArmstrong and participating artists, VIPlounge party, free public opening July 8,and More Real? tours of Santa Fe.More Real? is SITE’s first major col-

laboration with an institution of the scopeand prestige of the MIA, which housesone of the finest encyclopedic art collec-tions in the country. The exhibition drawson the strengths of both institutions whilesharing resources. It grew out of SITE’songoing process of re-envisioning thebiennial model and points to even moreintriguing changes on the horizon for2014. “This up-ends what people expectfrom SITE,” says Irene Hofmann, Phillipsdirector and chief curator at SITE SantaFe. “We’re raising the bar on all of SITE’sexhibitions and building a reputationapart from the biennial.” The NationalEndowment for the Arts put its stamp of

approval on More Real? by awarding it a$75,000 NEA Art Works grant. The grantsupports “art that meets the highest stan-dards of excellence, public engagementwith diverse and excellent art, lifelonglearning in the arts, and the strengthen-ing of communities through the arts.”

In August, SITE continues its popularMy Life in Art series of conversations withmajor players in the world of contempo-rary art. August 7 features Angela West-water of Sperone Westwater gallery inNew York. On August 14, Juliet Myersinterviews Sidney Felsen and Joni MoisantWeyl. Felsen is the founder of GeminiG.E.L. (Graphics Editions Workshop) inLos Angeles, one of the country’s preem-inent printmaking studios, and Weyl isowner of Gemini G.E.L. at Joni MoisantWeyl, the New York gallery representingthese works. And on August 21, the iras-cible Dave Hickey will lead a conversationwith Irving Blum, notable former direc-tor of Ferus Gallery in Los Angeles.

SITE Santa Fe’s much-anticipatedSPREAD 3.0 takes place September 7 at theSanta Fe Farmers Market. SPREAD is acommunity dinner event that generatesmicro-grants for innovative New Mexico-based artists’ projects and creative initia-tives. For a sliding scale, cash-onlyadmission ($15–$50), attendees receive din-ner plus a ballot. During dinner, up to eightartists—selected by a committee of cura-tors and artists—present brief proposalsfor new projects. These can include per-formance, public projects, interactive pieces,and studio-based work. Attendees vote ontheir favorite proposal, and following dinnerthe project with the most votes receives acash grant of all the door proceeds.

This is the third dinner in an ongoingcycle of SPREAD events that began in 2011.The winner of SPREAD 2.0 in October 2011was Jason Jaacks and the Reel Youth Sto-ries Project. The project worked with localmiddle school students to create short filmson issues of importance to the young peo-ple. Earlier this spring, SITE Santa Feoffered artists a free workshop on grantapplications and project presentations.

For more information on SITE Santa Fe eventsvisit sitesantafe.org or call 505-989-1199. R

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FACT,FICTION, and theFARMER’STABLESITE Santa Fe’sSummer EventsBy Gussie Fauntleroy

Trend » Summer 2012 trendmagazineglobal.com

Eva and Franco Mattes, Catt, Fake Cattelan sculpture (2010),taxidermy cat and bird, polyurthane resin, cage, wood

T ake one world-class New Mexico-based chef, add five of his success-ful protégés, stir in a generous amount of culinary creativity and adash of fun, and place in the kitchen of one of Santa Fe’s finest resort

restaurants. The result is a recipe for an unparalleled seven-course wine-paired dinner. More than that, it cooks up an opportunity for new genera-tions of homegrown New Mexico chefs to receive some of the most covetedculinary training the country has to offer.Thirty Years at the Stove: A Benefit for the Charles Dale Scholarship Fund is a

lavish benefit dinner set for June 26 at Encantado Resort’s Terra Restaurant.The event celebrates three decades of cooking by Terra Executive Chef CharlesDale, while also establishing the state’s first scholarship fund for young chefs.Administered by the James Beard Foundation, the fund will partner withNew Mexico culinary institutions to select deserving students to apprenticein some of the great kitchens of New York, San Francisco, and Napa Valley,or to attend a semester at one of the country’s best culinary institutions.

Chef Dale is known for opening Renaissance and two other restaurantsin Aspen, Colorado, and for bringing his regionally inspired “modern rus-tic” cuisine to Terra. The idea for a culinary scholarship emerged from hisown deep gratitude for the chefs who mentored and guided him in the

early years of his career. Amongthese: Michelin-starred chefs AlainSailhac, Daniel Boulud, GeorgesMasraff, and Jean-Paul Lacombe, adisciple of Paul Bocuse.

“The fact that they took a personalinterest in me was really a catapult tomy success,” Dale says of his mentors.

“I always say to young cooks: Don’t go for the money first. Seek out the bestchefs you can work for and get the training.” Which is what he did. Followingthe advice of Sottha Khun, then-sous-chef under Boulud at Hotel Plaza Athénéein New York, Dale worked under some of the world’s finest chefs for eightyears before opening his first restaurant. His patience and diligence paid off—he was named one of Food & Wine Magazine’s Best New Chefs in 1995, andtwice was nominated as Best American Chef in the Southwest by the JamesBeard Foundation.

Generously sharing his knowledge and encouraging young culinary tal-ent, Dale has watched his protégés rise to their own successes in restaurantsand as private chefs around the county. He invited five of these—Mark Fis-cher, Ryan Hardy, James Mazzio, Jason Tostrup, and C. Barclay Dodge—tojoin him in creating the first annual Charles Dale Scholarship dinner. Eachchef will be responsible for one course and one of six hors d’oeuvres.

Dale’s main plate offering will be citrus-cured wild Alaskan salmon withtomato jam bruschetta and arugula-parmesan salad. Among the evening’sother culinary delights: Kusshi oyster shooters with green curry, tobiko-ginger whipped cream, and chive sprouts; slow-roasted North Fork goatwith house-made chèvre agnolotti; Vermont artisan cheeses with honey-habanero sorbet and garden vegetable terrine; and hammered strawber-ries with lemon-lime scone, tequila sunrise coulis, mascarpone crème, andtangerine sprouts.

“I’m so proud of how far they’ve come, and I’m excited to cook with themas peers,” Dale says of the chefs taking part in the dinner. “It’s going to bea lot of fun—like a band getting back together for one last reunion show!”

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33trendmagazineglobal.com Summer 2012 »Trend

Venison two ways with blackberry Cumberland salsa and winter greens. Above: Chef Charles Dale

By Gussie Fauntleroy

A n epochal center for creativity almostfrom the moment of its founding,Santa Fe continues to attract inno-

vative individuals who quickly grasp thescope of the City Different’s inspirationalpower.

That power, says Mayor David Coss, ismanifested in Santa Fe’s aesthetic valuesand uniquely multi-cultural perspective.“Santa Fe is where East meets West, meetsAnglo, meets Hispanic, meets Native Amer-ican, and the creative synthesis comes out ofthat.” Long a champion of Santa Fe’s cul-tural dynamism, Coss recently entered intotwo unique creative partnerships withIcheon and Seoul, Korea—partnershipsdesigned to inspire creative solutions toshared cultural and social issues.

It all began back in 2003 when the UnitedNations Educational, Scientific, and Cul-tural Organization (UNESCO) sent severalof its officials from Paris to visit Santa Feduring its second annual Folk Art Market.During a reception held at the Governor’sMansion and attended by city councilorRebecca Wurzburger, one of the UNESCOrepresentatives exclaimed, “Santa Fe is sogifted with its many cultural assets,” andthen promptly added that she had never

heard of the city before.Councilor Wurzburger took this as a per-

sonal call to action. “Here was a very sophis-ticated, worldly woman,” she remembers,“and she obviously loved our city, but shenever knew that we even existed.” WhenWurzburger heard this spokesperson go onto say that UNESCO was thinking of startinga Creative Cities program whose purposewould be to exchange ideas with partnercities to enhance each other’s creativity andsupport social, economic, and cultural devel-opment, she knew that the program was aperfect fit for Santa Fe.

In July 2005, after much hard work fromcouncilors Wurzburger and Tom McGuire,UNESCO named Santa Fe as a Creative Cityof Folk Art (later, it added Design), makingSanta Fe the first city in the United States tobe appointed this designation, and the secondworldwide, after Edinburgh, Scotland.

Wurzburger did not stop there. Under herleadership, Santa Fe hosted the 2008 Interna-tional Conference on Creative Tourism, wel-coming eight other internationally designatedUNESCO Creative Cities to discuss, amongother topics, the concept of “creative tourism,”whereby visitors immerse themselves fully ina city’s culture and society.

In October 2011, councilor Wurzburger,Mayor Coss, and Santa Fe’s First Lady, CarolRose, traveled together to Icheon, Korea, toattend UNESCO Creative Cities Network’ssecond forum, Cities, Creativity and Net-works: Regenerating Cities through Culture.The trio also visited various exhibitions and

centers of ceramics, fash-ion, and other arts andcrafts. Recognized as thecenter of South Korea’scrafts industry, Icheon hasrecently developed astrong link between tra-ditional crafts and tech-

nological innovation. At the research-ori-ented Ceramics Institute, they witnessedseveral new designs, including a micro-thinpiece of porcelain that is being developedas a computer chip, and a new kind ofporcelain clay that, when shaped in theform of a tea cup, can withstand the pres-sure of a one-ton truck placed on top of it.They also attended the Gyeonggi Interna-tional Ceramix Biennale, which focuses oncontemporary ceramic art, and visited world-renowned Korean ceramist Sug Bong Hanin his studio.

From there they traveled to Seoul to participate as speakers at the UNESCO Creative Cities Network Conference. “Thefocus of the Seoul conference,” says Coss,“Was to encourage mayors from cities aroundthe globe to brainstorm on how creativeendeavors can help make our cities more sus-tainable.” As it so happened, Seoul’s mayor,Won-soon Park, newly elected only threeweeks prior to the conference, was also onhand. “I was the only U.S. mayor that attendedthe conference,” Coss continues. “Mayor Parkhad been to Santa Fe and really liked it, so heinvited me to meet with him in his office. Wetalked about sustainability and culture, andbecause we were both designated as a City ofDesign, he suggested that we collaborate.”

Currently, they are working on bringing


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

EXPANDING CREATIVITY

Councilor Rebecca Wurzburgeraddressing the General Assemblyat the UNESCO Creative CitiesNetwork Conference in Seoul.

Text and photos by Thomas Lehn

Santa Fe, Icheon, and Seoul Partner for Cultural Exchange

Santa Fe Mayor David Coss

Mayor Park and a delegation to Santa Fe forfurther planning on what this collaborationwill entail. There is certainly plenty of com-mon ground. “Seoul’s sustainability effortsare similar to our own,” continues Coss.“They are working on public transportation,bicycle transportation, energy efficiency, alter-native energy, and water conservation,among other things.”

Wurzburger also reports that she and themayor’s office are continuing to expand their

already-strong relationship with the city ofIcheon. Their delegation will be visitingSanta Fe during the Folk Art Market, andWurzburger has asked Icheon’s mayor toinclude the director of their tourism divi-sion as well. Wurzburger acknowledges thatthe impact of these relationships may takesome time to be felt. “What will make a hugeimpact is when we start seeing increases inthe number of visitors. And that will hap-pen.” In the meantime, “the cross-culturalexchanges are very important.”

Increased international tourism hastremendous economic benefits and alsoexpands Santa Fe’s exposure to the outsideworld. But does it necessarily strengthenthe city’s creative vitality? For instance, howwill creative tourism engage Santa Fe’s pop-ulace and will the city help finance and sup-port these initiatives? Certainly it is both

an honor and an opportunity to be desig-nated a UNESCO Creative City of Folk Artand Design, but for that designation tomean something beyond the ceremonial,city leaders must actively engage the com-munity in support of these initiatives.

Bill Miller, CEO of the non-profit organi-zation Creative Santa Fe, whose mission is to invigorate Santa Fe’s artistic and culturalscene, recently said during the launch of itsnew initiative, Imagined Futures, “While our

local and state governments are trying theirbest to [develop more creative vitality], thetruth is that their financial resources are lim-ited. They can only do so much, and theycan’t do it alone.”

What is needed, says Miller, is to onceagain affirm Santa Fe’s place as a leadingcultural, scientific, and creative hub. Thetrick is to honor the city’s rich cultural her-itage while at the same time recognize thatsomething newer and bigger, somethingstarting now, is needed to bring all aspectsof the community together over time. Cre-ative Santa Fe’s Imagined Futures is trying todo just that, with a set of focused objectivesto arrive at expansive solutions. It is thiskind of thinking, this kind of work, that willtransform the UNESCO Creative City des-ignation into relevant results for Santa Fe asa whole. R


Reception dinner for Santa Fe delegates to the second UNESCO Creative Cities Network forum in Icheon, Korea

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A s rich sunset colors wash over theSanta Fe sky this summer, operalovers will be in for an equally daz-

zling treat. Five new productions are set tograce the stage of the Santa Fe Opera begin-ning June 29. Debut and returning perform-ers, conductors, directors, and designerspromise memorable achievements to matchthe brilliance of much-loved and newlyrediscovered works.

The season opens with Giacomo Puccini’sTosca, one of the most well-known and pop-ular operas of the 19th century. Featuringa score filled with arias, duets, and chorusesof unparalleled beauty, the production pres-ents the American debut of renownedsoprano Amanda Echalaz in the title role.

A new production of Georges Bizet’s ThePearl Fishers reunites the same creative teamthat designed and directed the Santa FeOpera’s highly acclaimed 2010 productionof Madame Butterfly. A passionate love story,The Pearl Fishers was written when Bizetwas only 24. The opera’s exotic setting and

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musical brilliance presage the quality of thecomposer’s later works.

Also highlighting this summer’s seasonis the world premiere of a new edition ofGioachino Rossini’s Maometto II. Set in 15th-century Greece during a Turkish invasion,the historical tale moves to a score that wasedited from the original 1820 Naples ver-sion and the composer’s own manuscript.The exciting new production features LucaPisaroni, a fast-rising young Italian bari-tone, in the title role.King Roger by Polish composer Karol Szy-

manowski also brings history and magic tothe stage in another first-ever performanceby the Santa Fe Opera. King Roger is the storyof a 12th-century Sicilian king tempted toexcess by a mysterious prophet from theEast, disguised as a shepherd. Americanconductor Evan Rogister makes his SantaFe debut.

And for lovers of Richard Strauss operas,Arabella returns to Santa Fe for the first timesince 1997 in a new production co-producedwith the Canadian Opera Company. ErinWall plays the title character in one ofStrauss’s finest singing roles for women.

For ticket information and a complete schedule,visit santafeopera.org or call 505-986-5900 or800-280-4654.

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For much of her life, textile weaver, collector, curator, dealer, andconnoisseur Mary Hunt Kahlenberg worked to raise the statureof textile arts from its traditional position as a cultural artifact or

high craft to the status of a true fine arts medium. When she diedlast October at her home in Santa Fe at the age of 71, the world lost notonly a champion of the textile arts, but also a woman beloved byfriends and family alike for her graciousness and sense of adventure.

Kahlenberg’s groundbreaking 1972 exhibition titled The NavajoBlanket, which premiered at the Los Angeles County Museum ofArt, established her credentials as a cutting-edge curator and scholar.The exhibition traveled throughout the United States and went onto Hamburg Germany, receiving critical acclaim along the way.

“The range is amazing,” New York Times art critic Hilton Kramerwrote about the blanket show exhibition at the Brooklyn Museum.“There are designs here—fields of gray with the leanest linearembellishments—that answer to the strictest notions of minimal aes-thetics and there are others so vivid in their color, so intricate intheir accretion of forms, so overpowering in their optical effect,that they make the inevitable comparisons with recent develop-ments in op art almost laughable. Nothing that our painting has pro-duced in recent years exceeds in sheer visual power the strongestworks in this survey.”

Kahlenberg went on to found Textile Arts Inc. as a textile gallery andconsulting firm in 1978. “Mary had a strong sense of adventure and

felt she had achieved many of her goals in themuseum world,” Kahlenberg’s husband of 30years, Rob Coffland, says. “She also saw anopportunity in the emerging market forIndonesian textiles that were finding recogni-tion and acceptance in the 1970s.”

Coffland explains that Kahlenberg not onlybrought her expertise as an art historian andweaver to her enterprise but that she had aheartfelt passion for textiles, born during herchildhood attic explorations of her grand-mother’s multigenerational ribbon collection.She would go on to earn an art history degreefrom Boston University and pursue graduatestudies at the Art Institute of Chicago, as wellas study textiles at various schools in Berlinand Vienna.

“Mary truly loved textiles, but she was alsoan avid gardener,” Textile Arts gallery man-ager Susi Perry says. “One of the neatest thingsshe did for me during our 11-year workingrelationship was to place a flower on my deskon a regular basis. It was a lovely and graciousway to begin the day.”

In addition to running Textile Arts, Kahlen-berg was a research associate at the New Mex-ico Museum of International Folk Art where,as an independent curator, she helped developits Neutrogena Indonesian Textiles and FolkArt Collection.

Few in the art world today would deny thestatus of fine artist to those who make textilestheir medium. These artists, and those whocollect them, can be thankful for Mary HuntKahlenberg’s lifelong championship of textilesas an expressive and intellectually satisfyingform of fine art. R C

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IN MEMORIAM BY WESLEY PULKKA

Mary Hunt Kahlenberg’s Life in Textiles

Mary Hunt Kahlenberg

When the congenial and lovably eccentric collector Sanford(Sandy) Michael Besser died at age 75 at his Santa Fe homelast November, he left behind not only a wide circle of

family, friends, and colleagues, but also one of the most eclectic andimpressive art collections of the last several decades.

A larger-than-life personality on the Santa Fe art scene for manyyears as a curator, collector, and member of a number of arts boards,Besser held talented artists in high regard but had little patience for

artistic or administrative pretenders. “Sandy was in aclass all his own,” says Corrales-based artist Bart John-son, one of Besser’s favorites. “He had an unusualsensitivity for what artists do. What I found extraor-dinary was that Sandy collected art that was very diffi-cult and complex. He was one of those rare types whoseunique personality was directly expressed by his col-lection. He ignored fashion and other moving targetsto honor his own purely visual taste.”

The bulk of Besser’s and his late wife Diane’s pas-sionately and insightfully acquired 10,000-piece artcollection is housed in a number of major public andprivate institutions where they will continue to beshared with and act as inspiration for artists and artlovers alike. A major selection of contemporary draw-ings, innovative ceramic teapots, and African bead-work went to the de Young section of the Fine ArtsMuseums of San Francisco; 700 pieces were donatedor lent to the New Mexico International Folk ArtMuseum; and a cross section of works went to theCrystal Bridges Museum in Arkansas. Approximately1000 remaining pieces are slated for direct sale. “Partof the pure fun of having these things is to share themwith others and to be able to rearrange them to betterreveal their character,” Besser said in a 2007 interviewwith Trend magazine. “I give my prized possessionsto institutions so that poor boys and girls like I oncewas can see and enjoy them.”

In 2002 Arts and Antiquesmagazine named Besseramong the top 100 collectors in the United States. Hiseclectic pursuit of the best art by emerging and oftenunknown artists was tempered by awe-inspiring intel-ligence, a laser-like vision for the skillfully unconven-tional, and an ebullient appreciation for the riotoushumor and too often tragic pathos of being human.

As a youngster Besser began collecting butterfliesand matchbooks, eventually expanding his interests to include swiz-zle sticks and art. Following his graduation from Vanderbilt Uni-versity and subsequent marriage to Diane, Besser pursued asuccessful 35-year career as an investment banker at Stephens Inc.in Little Rock, Arkansas.

“Sandy Besser collected artwork with equal measures of passion andintelligence,” artist Alice Leora Briggs says. “His responses to worksof art seemed to be initially visceral, deeply felt, then analyzed and artic-ulated with care. Essentially he was an artist with collecting as hismedium of choice. I was humbled to have some of my pieces be partof his masterwork. I deeply admired him and his choices.”

Besser will be missed by all who knew him, whether as an inspi-ration, mentor, heartfelt friend, or loving family member. A shininglight in the art world while living, his wisdom, enthusiasm, andknowledge will continue to burn brightly through both the people andthe art collection he left behind. RK

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39trendmagazineglobal.com Summer 2012 » Trend

Collector Sandy Besser’s Artistic Legacy

Sandy Besser

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weet oul ister

Hillary Smith

It’s 9:30 on a Saturday night in Albu-querque, and the Zinc Blues Cellar, a sub-terranean bar in Nob Hill, is packed. A

mix of University of New Mexico studentsand doctors from the nearby hospital aresloughing off the week’s stresses with wineand beer and laughter, and the white noiseof their chatter permeates the small room.It’s the kind of din that can drown out what-ever band is playing. But tonight the band isSoul Kitchen, and a funny thing happens:After a song or two, people stop to listen andthe din drops to a murmur.

Over a chooglin’ rhythm section com-prised of Mark Clark on drums and Mar-cus Casman on bass, Chris Dracup peelsoff one tasty blues riff after another. But it’sthe voice, rising and falling with the ease ofa bird in flight, that has the crowd rapt. Oneminute it’s as smooth as pure agave tequila,the next, swampier than a Tennessee tentrevival in August.

The woman behind the voice is HillarySmith, New Mexico’s matriarch of soul.Smith, who also performs with the all-female group hONEyhoUSe and an old-school R&B band called Hip Pocket, grewup singing gospel in church in Hobbs, New

Mexico, and started singing in Albuquerquebands when she was still a teenager afterdropping out of UNM to focus on playingmusic. Smith, who is also a songwriter, hasbeen named best vocalist in AlbuquerqueThe Magazine’s “Best of Albuquerque”awards three times—2008, 2009, and2011— and her album No Easy Way wonfive New Mexico Music Awards in 2009,including best of the year. She also snaggedthe best vocal performance award that yearfor the song “I Prefer You.”

“Everything that comes out of her is justbeautiful to me. I could watch her and listento her all night long,” says Yvonne Perea, anAmarillo, Texas-based singer, songwriter, andguitarist who plays with Smith in hONEy-hoUSe. “Technically, I think she’s one of thebest singers that I’ve ever heard. She can raspit up or belt it out when she needs to, or shecan sing like an angel. There’s nothing shecan’t do.”

“She’s a great singer,” adds multi-plat-inum producer and singer/songwriter JohnKurzweg. “I think she’s as good as anyonein the country.”

With accolades like that, it might be easy todevelop a bit of a superiority complex. But

Smith is no diva. In person, she exudes aneasy warmth, and she is exceedingly gra-cious—when we scheduled a sit-down inter-view over email, she asked what beverage I’dlike her to have on hand. “She is one of themost loving, big-hearted, open, giving, sweet-est people that I know,” Perea says.

And yet, like most of us, Smith still hasher moments of self-doubt. Even thoughshe’s been performing for 30 years, Smithadmits she still gets nervous before everyshow. “I have a little stage fright,” she says,sitting on an overstuffed brown leathercouch in her elegantly appointed house inNorthwest Albuquerque. “But it’s gettingbetter every year. Girl, by the time I’m 80,”she says, snapping her fingers in the air,“I’ll be fearless.”

At 50, Smith seems to have already learneda thing or two about overcoming fear. Thepast year has been a time of transition: Sherecently went through a divorce, celebratedher 50th birthday in September, and down-sized from a big house near the river with ahuge yard to a less-big eco-chic home in acul-de-sac on Rio Grande Boulevard.

Right now, though, Smith is spending alot of her time in the studio with Soul Kitchen


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recording the band’s next album. She alsohas some tour dates with hONEyhoUSe thissummer in Texas and Oklahoma and hopesto play more festivals. “That’s where I becomea performer, on a big stage,” she says. “I takechances that I’d never take somewhere else.It’s where I like to be.”

One of her fondest on-stage memories isfrom the Silver City Blues Festival in south-western New Mexico. It was there that RuthieFoster, one of Smith’s biggest influences,invited her onstage to sing “Travelin’ Shoes,”a song that Soul Kitchen often performs.

One day, Smith says she’d like to openher own venue, showcasing great musiciansand maybe even serving up some suste-nance along with the beats. “I’m a killersoul food cook,” she says.

It’s unlikely that Smith will ever give upsinging, though. “It’s a great job to have,” shesays. “You get to connect with people you’venever met before. That’s a very rich life.”

You can hear Smith perform with SoulKitchen at Vanessie in Santa Fe at least oncea month, and in Albuquerque most week-ends.To see Hillary Smith’s full show schedule and

hear her music, visit her website at hilljam.com.


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There probably aren’t many men whowould say no to Sheryl Crow. But pro-ducer/mixer/guitarist/drummer John

Kurzweg did just that about seven years ago,when her management contacted him to seeif he’d be interested in producing one of hersongs. He was right in the middle of Creed’sthird album, and just didn’t have time to takeon another project.

“That’s something in my career that Itruly regret,” he says, adding that he alsogot a call from Jakob Dylan around the sametime and had to turn him down, too. “I wasvery impressed with their work, and Ithought, ‘Oh my God, I have a chance to dothis.’ But I had to say no.”

While Kurzweg is best known as a hardrock producer due to his success withCreed, Puddle of Mud, and Scott Stapp, hehas a serious soft spot for singer-songwrit-ers. “People associate me with hard rockbands, but that’s not what I really listen to,”he says, sitting on a powder-blue couch inhis living room. He is surrounded by adrum kit, a couple of lava lamps (severalmore are scattered around his studio downthe hall), a few lit candles, and copies of theNew Yorker strewn across an exquisite stone-and-wood coffee table that was given to himby one of his clients.

Having to say no to working with Crow and

Dylan was something of a dream deferred. Healso admits he was a bit apprehensive about tak-ing on such a different kind of project, at least atthat time. “It was just insecurity—could I reallyoffer them something?” he remembers think-ing. The story has a happy ending, though: Laterthat year, Kurzweg got to work with Jewel andEagle-Eye Cherry.

These days, he focuses more on mixing.That’s partly out of necessity: In an indus-try transformed by the Internet’s plethoraof cheap—or even free—online music down-loads, there’s less money to spend on top-notch production. “No one’s buying recordsnow, and the sad part is there’s a lot lessresources because of it,” he says. “Peoplelike me have to work so much cheaper.”

But Kurzweg has found that mixing canbe just as satisfying as producing. “I’ve alwaysloved mixing,” he says. “A lot of people thinkmixing is just technical, but it can affect theemotional impact of a song.” For example,putting the vocals at the forefront of a songcan create a more intimate feel; highlightingcrescendoing drums can build tension.

Tiho Dimitrov, a Santa Fe-based guitarist,singer, and songwriter who recently hiredKurzweg to mix a few songs, creditsKurzweg with extracting the hidden nuggetof gold in a track called “Sleepless Nights.”He tweaked the drums so they “had a lot

more life to them,” and added some reverband effects to parts of the song that neededfinessing, Dimitrov recalls. “It was reallylike night and day. There is a subtle differ-ence between a good record and a greatrecord. It’s going that extra mile. That’s onething I really like about working with him—‘good enough’ is not good enough.”

Apart from its professional rewards,Kurzweg has found that focusing on mixingalso has other advantages. “It’s a little lessstressful and doesn’t blow out my life,” hesays, adding that producing a record canrequire several months of intensive work. “Ican [mix] a record in a matter of weeks andI still feel like I’m contributing a lot to theproject.”

Today he’s working on a song by the Make-peace Brothers, a new group from upstateNew York known for its multi-part har-monies and feel-good, rootsy pop. The trackcame soaked in reverb, and Kurzweg isexperimenting with giving it an earthier feel.

Watching the 51-year-old Kurzweg navi-gate his way around ProTools, the complexrecording and mixing software used to makemost records these days, it’s easy to forgetthat for the first 15 years of his career, pro-ducers were still recording albums on tape.He made the shift from analog to digitalaround 1998, but not without some trepida-

TUNES

It’s All intheMix


John Kurzweg

By April Reese

tion—and a little coaching from a certainbigheaded artist/computer geek.

“I was scared to death of computers,”Kurzweg says. “My first project using themwas with Big Head Todd and the Monsters[on the 2002 album Riviera]. I was a two, andhe [singer/guitarist Todd Park Mohr] was aten. When I got on the computer, thingswould slow down.”

Kurzweg himself decided to slow downaround 2005, a couple years after moving toSanta Fe from Tallahassee, Florida, where hehad lived for almost three decades. Havingtaken on one big project after another foryears, he wanted to take a break. But by thetime he emerged from his brief hiatus about12 months later, record labels had begunslashing their budgets. Well-established pro-ducers like Kurzweg found their phones ring-ing less often. “It was bad timing,” he says. “Iturned down some important jobs duringthat time. I moved to Santa Fe, and withinthree years, my career as I knew it was prettymuch gone—not because of Santa Fe, butbecause of the changes in the industry. Peo-ple want things quicker, cheaper.”

But that lull turned out to be somewhatof a blessing in disguise, leading to smallerbut rewarding projects that allowed morecreative freedom. Kurzweg counts two ofthose projects, 2007’s Point, by the Athens,Georgia-based band Tishamingo, and

2009’s Floodplain, by local artist SeanHealen, among his most gratifying.

In the past couple of years, Kurzweg hasalso begun focusing more on his own music.An accomplished guitarist, singer, and song-writer, he recorded an album for AtlanticRecords in 1987 called Wait for the Night,under the name John Philip, but hasn’treleased another since. Over the past cou-ple of years, he’s begun playing with his ownself-titled band around Santa Fe, and oftenplays guitar with the Sean Healen Band.

‘‘He’s an incredible guitar player,” Dim-itrov says. “One of the things that impressesme about John is that he is always very spon-taneous with his playing. Most guitar playershave a dictionary of cliché licks and riffs, buthe really does think outside the box. He’sgot really good control of tone and volume,too, and he doesn’t overplay.”

While Kurzweg can wail away with thebest of them, he understands that true musi-cianship is about serving the song. “Forgetthe solo,” says Kurzweg, who started play-ing guitar when he was 11 years old and laterlearned drums as well. “It’s the rhythm gui-tar that makes a song work.”

You can see the John Kurzweg Band per-form at various venues around town, includ-ing El Paseo and El Farol. To hear his music and find out more about

his work, visit myspace.com/johnkurzweg.


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It is a collection of breathtaking size and scope. One item, a pendant-sized Olmec-style mask featuring that culture’s distinctive “jaguar-baby” face is so delicate as to be almost transparent. Another, a brightly colored Mayan funeral urn crafted from clay to depict a half-monster, half-human face, is nearly two feet in height. Thereare dozens of figurative pieces, from the whimsical and rough-hewn to the highly realistic and detailed. Vesselsabound—drinking cups, incense burners, bowls—some practical, others obviously meant for ritual use. And then there is the “bling”—cast gold and gold-and-stone inlay pieces of astonishing intricacy and beauty.

At once familiar and yet so foreign, these objects are emblematic of the cultures that thrived throughout Mexico and several South American countries for nearly 3000 years before European arrival. Who were these peoples—the Olmec, the Maya, the Aztecs—with their complex cosmology, pantheon of deities, and highly ritualized political and social life? How is it that some lived simple lives farming and fishing, while others tamed impossibly tangled jungles to carve out highly sophisticated city-states of incredible political and economic power?

The world is about to gain fresh insight into these cultures thanks to a once-private collection now available to the public. The collection was sparked by an adventure usually found only in books and movies—with a spiritedteenager as one of the main characters and the plot full of fortuitous meetings leading to the discovery of the ruins atBonampak in 1946. This ancient Mayan archaeological site in the Mexican state of Chiapas soon became famous forits Temple of the Murals, where the walls and ceilings are covered in brightly-colored frescos depicting a great battle.

Fast forward nearly seven decades later. The teenager, now grown and a resident of Santa Fe, is donating his world-class collection of ancient American art and artifacts, along with a substantial endowment, to the Walters Art Museum in Baltimore. In turn, the Walters created an exhibition that will travel to several museumsthroughout the United States, stopping first at the Albuquerque Museum of Art and History from June 10 to August 26, 2012.

“The fact that this collector had been collecting for many, many years, that he started so early on—and was one of the three outsiders who discovered Bonampak—makes this an unusual collection,” says DorieReents-Budet, the project’s consulting curator and author of the accompanying catalog Exploring Art of theAncient Americas. But beyond that, she says, “It is important to receive a collection like this because it is so culturally comprehensive, a fine seed collection that allows any museum to give the public at large a verygood sense of what they are looking at.”

And what they are looking at is not one or even several specific time periods or geographical locations.Instead, the 300-plus artifacts represent nearly 3000 years of ancient Mesoamerican history, including thirty-eight different cultures from Mexico, Belize, Guatemala, El Salvador, and northern portions of Honduras. The periods covered include Formative Pre-classic (1200 BCE–100 CE), Classic (100–900 CE), and Post-Classic (900–1521 CE).

As such, says Gary Vikan, director of the Walters, the collection offers visitors, academics, and scientists alike aninvaluable opportunity for research and contemplation. “People were studying Greek art in Roman times and studyingPompeii and Herculaneum in the 17th century,” he says. “Every decade since has gone full bore on the antiquities andmedieval era and we have pretty much posed all the basic art historical questions and found some good answers. Butthen you get to the Ancient Americas and we’re still in the infancy of our studies, still asking questions. That is exciting.”

The collection also offers the general public a rare glimpse into what art historians do behind the scenes. “Oneof my interests is in the scientific examination of art,” Reents-Budet continues, “and the Walters is one of the fewmuseums with such an outstanding, well-rounded, and robust conservation department. This is an exciting


BY RENA DISTASIO

ArtofA world-class collectiontravels to Albuquerque

AncientAmerica


new trend as museums begin to present their analytic data to the public so they canreally see what goes on behind the scenes.”

With this exhibition, Reents-Budet aimed to strike a balance between art,science, and public edification. “Museums can no longer create an exhibitionthat is a lineup of a bunch of artifacts,” she says. “What you have to do is

start with an overarching narrative, select sub themes, and then go in anddevelop that narrative and those themes. It becomes a combination of scholar-ship, visual impact, and didactics.”

Her task was even more challenging in this case because, she says, “When you put up a Greek sculpture, you don’t have to explain who the Greeks were; we all have a basic understanding of that culture. But not the ancient Americas. Still, you can’t overwhelm the objects with label copy. Narrative and design have to work together.”

The approach, says Vikan, is certainly in keeping with the Walters’s overall mission. “I want us to be a center for the research and history of this material, its science, its preservation. At the same time, I want it to be meaningful to a broad base of the general public—individuals, families, children, and the growing population of south Baltimore.”

The exhibit that is traveling to the Albuquerque Museum of Art and History will showcase around 125 items, mostly from the Classic Maya period, but will also include some Aztec and Olmec pieces. “What I like best about this exhibit,” says Andrew Connors, curator of art for the museum, “is its interesting mix of sacred and

everyday objects, giving us the rare opportunity to look at not just one, but manyancient American cultures.”

The museum will also host a series of lectures and performances in support of the exhibit, including an opening day lecture by Reents-Budet on Sunday, June 10 at 1:00 p.m. Other scheduled events include a Family Night

on Thursday, June 21, 5:00–8:30 p.m.; a lecture by art historian Kristaan Villela on the Mayan concept of time on Sunday, July 8 at 1:00 p.m.; Latin American musi-

cal performances throughout July and August; and a lecture by Andrew Connors on “The Ancient Americas in Modern Art” on Thursday, August 16 from 5:00–8:30 p.m.

“The more that we in the Southwest knowabout other cultures, many of which were existingat the same time as ours, the more richly we canunderstand our local heritage,” Connors says. “No culture lives in isolation, and those ideas of[cultural and economic] trade and the constantrefinement of our heritage inspired by communi-ties are important. We feel very fortunate to bringopportunities like this to the public.” >

As important to the ancient Americansas the grape was to the Greeks, the cacaobean figured heavily in Mayan cuisine,ceremony, and mythology. Studded withsculpted cacao bean pods and a pictorialpanel of the Mayan maize god sproutinga cacao tree, this lidded earthenware ves-sel from Early Classic Period Guatemalais likely a drinking cup for the popularmixture of chili, spices, and chocolateprized throughout Mesoamerica for itsrestorative properties.

PHOTO COURTESY THE WALTERS MUSEUM OF ART, BALTIMORE

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Ancient American art runs the gamut from thesacred to the secular. Figures like the coupleopposite (either loved ones or a shaman withhis patient) display a charming realism. At thesame time, a pervasive belief in the supernatu-ral resulted in the creation of many effigies for avariety of ritual purposes, some highly stylizedrenditions mixing human with god- and animal-like features. This jade pendant (above left) illus-trates the importance of the jaguar to themythology of the Olmec, who thrived along theGulf Coast of Mexico between 1200 and 400 BCEas ancient America’s first great civilization. TheMayan burial urn at left likewise embodies thebelief in the transmutation of human into god-like spirits at death. Above right is a silver alloyceremonial knife from Peru.


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A grouping of figures from the region surrounding Colima, Mexico. The figure at left is fromColumbia and dates between 1200–1400 CE, indicating perhaps some seafaring contact withMexico. The figure at far right is from the Late Formative to Early Classic Periods, as are thethree knife/axe forms in front of him. A hallmark of Post-Classic Colima sculpture, the threelarge incense burners in the middle feature the rounded eyes associated with the rain deityTlaloc as well as decorative elements symbolizing the ceiba tree, which represents the con-nection between heaven, earth, and the underworld in ancient American mythology.


While volcanic stone carvingslike this maize deity from Mex-ico in the Late Post-ClassicPeriod are sturdier than ceram-ics, they do suffer from wearand tear. Originally, this piecewas covered in white stucco andred, blue, and green pigment.

The ballgame known as ōllamaliztli in the Aztecanlanguage has been popular in Mesoamerica goingback to nearly 1400 BCE. A sport with religious/rit-ual overtones, it was played using a solid rubberball in a manner similar to racquetball, althoughoften the hips were used to move the ball insteadof a racquet-like object. This jadeite figure ofOlmec origin (Middle Formative Period) depicts aballplayer in full garb, including the characteristicheadband, loincloth, and hip wrap.

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Left: Many objects such as this figural urn fromZapotec, Oaxaca, Mexico, are discovered broken,and putting together the pieces becomes anintriguing process for collectors and curators. Not only do the items in the Walters collection contribute greatly to the over all study ofMesoamerican history, society, and cross-culturalexchanges, they also help curators and historiansmake their assessments regarding authentication.This urn underwent extensive thermolumines-cence testing, a process that measures ceramic firing dates, and was determined to be authentic.


This earthenware figure is from theEl Zapotal site in southern Veracruz,Mexico, where many such hollow fig-ures were found. That most wereintentionally broken before burialindicates their ritual importance.This figure wears the jaguar head-dress of a warrior, but his closed eyesand ropes around his neck and torsoindicate he was most likely a prison-er, and is perhaps now dead. He alsoappears to be wearing a top madefrom flayed human skin, a practicecommon in rituals associated withthe god of agricultural renewal.

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Material WorldZane Fischer realizes his rural-modern visionon Santa Fe’s West Side

Here in the desert Southwest—a region with a design vernacular so distinct it is almost sacrosanct—one imagines conversations betweenmost architects and homeowners must at some point deal with questionsof style: Pueblo, Territorial, Northern New Mexican? A modern interpreta-tion thereof? Something at the very least with stucco?

Zane Fischer never had those conversations. “I was looking more atmaterials,” he explains about the design process of his new home. “Andthen I discovered the people who used those materials with virtuosity.”

The resulting collage of images, culled from magazines and the Web, provided architect Alexander Dzurec with an intriguing direction. “I lookedat that collage and realized that what Zane wanted was something akin to a modern ruin.”

While it’s not as drastic as it sounds, from the beginning Fischer had avision for his home that did not include traditional methods or materials. “I have a contemporary sensibility, but I didn’t want anything shiny orsmooth,” he says. “I wanted a modernist dream house that also gave me a sense of wear and the hand of the maker in it.”

It is an affinity rooted in Fischer’s nature and his nurture. “My father was a mountaineer,” he reveals, “so from a young age I was staring at striated earth and relatively dramatic geological upheaval. I spent a lot of time outside, and I think that still makes an impression on me.”

Fischer purchased his two-and-a-half-acre property close to Agua Fria on Santa Fe’s West Side with the idea of turning it into a family compound.Fischer, his girlfriend (painter Katherine Lee), and their 10-year-old poundpup Boris planned to occupy the historic adobe on the east side of theproperty, while Fischer’s mother, Alex, would build on the empty field just to the west. Although the couple soon discovered the adobe did not suit their lifestyle, Alex fell in love with it, leaving her son with the opportunity to build his own home—and serve as its contractor.

Although the award-winning arts writer and a founder/principle of theSanta Fe design studio Anagram has remodeled a few homes over theyears, he admits there was a moment when he was “deeply terrified” at the prospect of serving as primary builder. “I thought, ‘What if I put all this time and energy into this house and it’s horrible?’”

Hiring Dzurec, president of Santa Fe’s Autotroph Design, to help streamline the process also helped to put things in perspective. “It was a successful and enjoyable collaboration because I didn’t need him to push his vision,” Fischer says. “I was manifesting mine. My main concern was with the energy involved in putting together a good plan that would make sense to subcontractors.”

Dzurec concurs. “A lot of people think, ‘Oh, the architect has the vision and the owner doesn’t know what he’s doing,’ but it’s very much a team-oriented process. If you speak the same language, there should not be a whole lot of compromise.”

In almost every aspect the pair made it work. Fischer relented on a few things—namely the root cellar—but he adamantly refused to usewood framing, drywall, or stucco.

Instead, the home’s concept is based on a series of carefully chosenmaterials whose unique mix of industrial and natural properties helpachieve the right balance between urban and rural: Brazilian cherry wooddoors, steel paneling that will rust and patina over time, rammed earth for the south side of the house, and poured concrete for the north and the

tower loft. “Concrete always gets me excited whenever I see it,” Fischer says. “It’s such a fascinating urban mate-rial, but also one that is full of character. I had to convincemy concrete contractor that he didn’t have to vibrateeverything to make it even or smooth. I like the impres-sion of the plywood, the mark of the snap ties.”

He feels the same way about rammed earth, but finding an experienced contractor proved more difficultthan anticipated. When one of the few in the regionquoted a price beyond Fischer’s budget, he andLee traveled to Phoenix to take a workshop in theprocess, eventually doing the work themselves at a tenthof the cost. The result is strikingly beautiful, full of subtlecolors and textures that one could not imagine possiblewith any other method or material.

Metal, wood, concrete, and earth: simple but confidentmaterials that satisfy Fischer’s criteria in a way that is not only sophisticated but also comfortable and efficient. “I have always felt that the most important rooms in thehouse are the kitchen and bathroom. I like those places to be big and luxurious,” Fischer says.

Because he and Lee enjoy entertaining, they designedtheir kitchen to open to the living room, which features afireplace designed by metal fabricator Peter Joseph inwhich the couple can also cook. (Joseph crafted all thehome’s awnings as well.) Two-foot-thick walls and radiantheat keep things cozy in the winter, while large windowsand a roll-up door on the south side of the living roomallow cooling summer breezes to flow throughout thehome. And the total square footage is just over 1300,meeting Fischer’s requirement for a low maintenance,energy-efficient space.

With its interplay of rustic materials and spare indus-trial design, the home is Fischer’s vision made reality. At the same time, this bold modernist statement is verymuch connected to its environs, crafted in part from theearth on which it sits, once a portion of a small ranchbelonging to storied Santa Fe couple Keith and Letta Wofford. (Fischer and Lee also intend to work the land—they keep a large coop of chickens, maintain a grey watercatchment and cistern system, and are busy planning thisseason’s plantings.) Ultimately, the house is not so mucha ruin but a record, like an archeological find or a belovedheirloom that is preserved and passed down as an embodiment of one’s ties to family and community.

Maybe it is that connection that Fischer referenceswhen he says about the final result: “I feel deeply satisfied. I feel happy and I feel comfortable here.” >

BY RENA DISTASIO PHOTOS BY KATE RUSSELL

It was important to Fischer to be able tosee as much of the outdoors as possiblefrom inside the home. When up, the cus-tomized rolling door from Overhead DoorCompany of Santa Fe creates a seamlessindoor/outdoor space. When down, it stilllets in plenty of light and provides clearviews to the south end of the property.Right: The kitchen, with its counter bardesigned and built by Fischer, opens ontothe living/dining area.


Brazilian cherry doors with forged ironhardware are set on rollers to save spaceand provide visual interest against the cin-derblock interior wall. Below: Modern andrustic elements also mix in the home’s fur-nishings, which include found and sal-vaged objects, pieces sourced from SantaFe Modern Home and Design Warehouse,and an 18th-century French farm table.

Small but efficient, the kitchen was designedfor ease of use. Right: Boris in a moment ofrepose on the stairs leading to the loft. Likethe upstairs floors and the rolling doorsdownstairs, they are also crafted fromBrazilian cherry. A print by German artistJonathan Meese entitled Armer Ritter hangson the stairwell wall.


Lee with the Victrola that serves at the only source of music upstairs. An artist who shows atSanta Fe’s Eight Modern gallery, her painting Exterior 20 (Austria-New Mexico) hangs on thewall that divides the sleeping area and the closet. Instead of throwing them out, Fischer usedthe ¾” plywood forms from the concrete and rammed earth work to construct the dividing wall.Left: Fischer has always loved sleeping outside and is currently in the process of building a bedon wheels he can roll onto the rooftop deck that adjoins the loft. He and Dzurec briefly toyedwith a one-level home, but in the end decided to go with the loft. Besides, says Fischer, “We cantake Boris up there with us and a skunk isn’t going to come lick us in the face.” The vintage lock-ers used for storage inside the closet are an eBay find.

66 Trend » Fall 2011/Winter 2012 trendmagazineglobal.com

Fischer left the home’s poured concrete floors unstained and simply sealedthem with a clear masonry sealer. The rammed earth walls are finished with lin-seed oil on the interior but left unfinished on the exterior. The red overheadlights are salvaged molds for railway track supports and the yellow lights aredesigned for heavy truck loading bays. Opposite: Lee and Fischer first met dur-ing a panel discussion at the Center for Contemporary Arts. They later bondedover launching fireworks off their chests while lying on the ground. But it wastheir collaborative post-apocalyptic motocross landscape collage involving lotsof ketchup that sealed the deal. All their limbs survived both experiences intact.



The compelling interplay between the home’s various textures and forms—the subtle striations in the rammed earth, the weathered steel panel siding,the sheen of the Quonset hut that serves as combination studio/workshop—are fully revealed in this exterior shot. Although muscular in its structure,Fischer also wanted to keep the home open and light-filled. The corner win-dows designed to help achieve this airiness initially presented a problem, butstructural engineer Bill Druc solved it by designing rebar grids as reinforce-ments against breakage from the weight of the concrete. Opposite: Theupstairs rooftop deck, accessed through the bedroom, extends the outdoorliving space. The decking material is made from a durable, eco-friendly prod-uct called Cumaru, sourced in Santa Fe from Plaza Hardwoods.

Since the venerable Tamarind Lithography Workshop moved from Los Angeles to Albuquerque in 1970 to becomethe Tamarind Institute of the University of New Mexico’s College of Fine Arts, New Mexico and the Southwest haveheld a distinctive place of leadership in the printmaking industry. The auspicious move occurred when artist JuneWayne decided to retire as the workshop’s director, her mission well on its way to fruition: to resuscitate the fine artof printmaking in the United States. Specifically, Wayne sought to make lithography the viable medium for artistsand collectors that it had been for centuries in Europe. Explains current Tamarind director Marjorie Devon, “Lithog-

raphy is probably the most complicated of all the mediums: It is difficult to control and it requires large, expensive equipment.” In order to achieve her goal, Wayne structured a multi-faceted plan around interlocking goals. Chief among them was

Tamarind’s primary purpose: to train master printers, thereby making the medium accessible to artists who could work collabora-tively with those printers at their shops. Today, Tamarind Institute is the only organization in the world that offers a systematicprogram of training and certifying master printers.

Wayne opened the Tamarind Lithography Workshop in Los Angeles in 1960. It operated with funds from the Ford Foundationfor ten years, until the persuasive—some would say demanding—artist and educator Clinton Adams, who worked closely withWayne, became dean of UNM. (He would direct the Albuquerque-based Institute until Devon replaced him in 1985.) Thankfullyfor New Mexico, it was clear to Adams that the University could support Wayne’s vision, which included the aim of educatingcollectors and curators about buying and storing prints. (Wayne even designed and built a coffee table that served as a printstorage system. When she died at the age of 93 in 2011, that coffee table was in her home.)

Although Wayne had no formal association with Tamarind once it came under the auspices of UNM, she always had plenty


Tamarind Institute regularly invites artists to create lithographs, providing the artists with the opportunity to collaborate with a master printer. Here, artist Nicola Lopez, a nativeNew Mexican now living in Brooklyn, discusses a series of proofs with Master Printer Bill Lagattuta (in black shirt and glasses) and his assistants before choosing the final image.

of opinions and advice for the Institute. She embraced the feminist movement, which her career with Tamarind anticipated toan extraordinary degree, and taught a series of seminars entitled “Joan of Art” to young women artists beginning around 1971.For the rest of her life, she continued to push the limits of many art media, collaborating with French tapestry weavers, teachingclasses, and founding the Los Angeles Council of Women in the Arts in 2002.

It is critical that the term lithography be understood as a method of producing original works of art in numbered editions. Itshould not be confused with the photographic reproductions, or “posters,” of original artworks that can be bought inexpensivelyat museum gift shops and other venues. Numerous techniques fall under the umbrella term of printmaking, and lithographyspecifically indicates an original drawing made with grease-based material on a special kind of stone. Etchings and engravingsare a very different kind of print made from incised lines; different also are monotypes, unique prints that can be reworked andprinted again. Jennifer Lynch, owner of Lynch Pin Press in Taos, credits her own versatility as an artist to her printmaking back-ground. “You have to learn process, know materials, and have a strong sense of craftsmanship,” she says. “Every art studentshould take printmaking; it requires ingenuity.”

In the mid-20th century when Abstract Expressionism—with its Modernist emphasis on muscular, action-based marks onthe canvas—was king, printmaking in general, never a thriving movement in the United States, was on the verge of extinction.Adams zeroed in on this moment in his 1997 article titled “An Informed Energy: Lithography and Tamarind,” stating that“Tamarind’s founder, the artist June Wayne . . . likened lithography’s plight to that of the whooping crane: ‘In all the worldthere were only 36 cranes left, and in the United States there were no master printers able to work with the creative spectrumof our artists.’” Nor were the artists particularly willing to work with printers: Robert Rauschenberg famously stated that he didnot understand how, in the modern era, an artist could be persuaded to do something as antiquated as “writing on rocks.”Ironically, Rauschenberg is renowned today for his prolific output of printed images.

Initial resistance was eventually replaced with enthusiasm as a younger generation of energetic artists, willing to try something


74 Trend »Summer 2012 trendmagazineglobal.com

Jennifer Lynch inks photo polymer etching, aquatint, and relief plates, which she combines to produce one of her printed artworks.


new, discovered a penchant for printmaking. Ed Ruscha noted that they “sell like hotcakes,” and prices for fine-art prints escalatedas the demand grew. The printmaking revival in the U.S. was in full swing by the 1970s, thanks largely to the efforts of two ambitious and passionate women: June Wayne at Tamarind on the west coast and Tatyana Grosman at Universal LimitedArt Editions on Long Island. These two keystones of print workshops gloried in the experimental, working with the spontaneityof Abstract Expressionism in the new, graphical arena of Pop Art. In many ways the antithesis of gestural painting, prints, created inlayers, offered artists a new vocabulary. “To this day,” says Devon, “artists who haven’t made a lot of prints find that having to con-struct an image in a new way changes their work.” Wayne’s passion was, continues Devon, truly remarkable. “What she envisionedaffected all of contemporary art by presenting new options to artists, with the whole concept of collaboration. Wayne was incrediblyimportant to the extraordinary growth of American printmaking in the last five decades. Tamarind continues as the guardian of theold-style process. There are hardly any workshops left in this country that use stones.”

It is noteworthy that women led the print revival. Perhaps the collaborative nature of printmaking reflects a basic feminine tendency to work within a community for the good of all. Based on her observations from over 30 years in the field, Devon notesthat aside from technical training and practice, “The master printer is someone who is not only highly skilled in a wide variety of techniques, but also somebody who has superb interpersonal skills. In collaboration, there has to be chemistry between themaster printer and the artist. In order to share the appropriate expressive tools, [printers must] almost read their artists’ minds.”

Lynch, who taught printmaking at the College of Santa Fe (now the Santa Fe University of Art and Design) and UNM’s Taoscampus, isn’t sure why, but notes that “most of the artists who take classes with me are women. Maybe it’s because women aremulti-taskers.” Still, the fact remains that many master printers are male—hardly surprising in an art world that has favoredmen. Nonetheless, even this cheerless remnant of sexism seems to be giving way to more equality-based statistics: Of the mem-bers of Tamarind’s 2010–2011 Printer Training Program, four out of seven participants were women.

These days, women and men arrive from around the world to train as master printers at Tamarind; in turn, they open and runprint shops all over the globe. Regionally, the following printers received their primary training at Tamarind: Robert Arber of Arber &Son Editions in Marfa, Texas; Bud Shark at Shark’s Ink in Boulder County, Colorado; and Jack Lemon of Santa Fe’s Landfall Press.(Arber and Lemon have master-printer certificates.) Michael Costello took over Hand Graphics in Santa Fe from Ron Adams, who


The spacious offices of Arber & Sons Editions in Marfa, Texas. Top: Landfall Press’s Jack Lemon and Anna Booth check a print. The large press (opposite), which Landfallacquired from a shop in Las Vegas, New Mexico, was built in France in 1870. Originally powered by steam, this direct transfer press was used to produce fine art posters, and rumor has it Toulouse-Lautrec was a customer. Lemon and Campbell are currently in the process of restoring it to showroom specs. FL

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trained at Gemini G.E.L. in Los Angeles, which was established by Tamarind master Ken Tyler. Jennifer Lynch worked at the RobertBlackburn Printmaking Workshop in New York (Blackburn, a MacArthur “genius” grant winner, was the master printer at U.L.A.E.).

Lynch recalls that when she visited New Mexico before moving here in 1992, she made a pilgrimage to Tamarind Institute.“It’s like going to Mecca. The place is weighted with experience; it was so innovative. I find it amazing how many people are here[in New Mexico] in this field.” She counts herself lucky to work with Taos-based artists Larry Bell, Ron Cooper, and, prior to hisrecent passing, Ken Price.

Now, as more printers become their own publishers, each project they take on has its own flavor, allowing for an intimacy basedon their artists’ individual talents. Arber equates printmaking to “a dance between a technician and an artist where sometimes theartist leads, and sometimes the technician.” Marfa, known to art-world cognoscenti as the home of Minimalist artist Donald Judd’sChinati Foundation, hosts residency programs. Artists arrive in this remote Texas town—previously notorious as the backdrop for the 1956 movie hit Giant—and find little to distract them from artmaking. Many of these visiting artists collaborate with Arber& Son Editions on the 30 x 30cm Project, named for the physical dimensions of the printed pages used at the press. Arber employsvarious techniques in order to capture the artist’s intent, from lithography to relief printing to digital prints. Typically, a portfoliofrom 30 x 30cm consists of two editions of up to 40 numbered copies in an exquisite, hand-built archival box constructed by Arber& Son. Artists who have worked with Arber in Marfa include John Baldessari, Bruce Nauman, and Richard Prince.

For Shark, the master printer makes “on-the-spot decisions [with] the artists during every aspect of the collaborative process—from how a plate can be made to the appropriate paper to be used for a particular image.” Although Shark did not receive a mas-ter-level certificate from Tamarind, he studied with the Workshop’s first technical director, Garo Antreasian. “My time at Tamarindwas crucial,” Shark recalls. “It was my first exposure to a professional print shop where artists and printers collaborated to makelithographs. What was happening there inspired me and I became aware of the great potential of the collaborative relationship.”After graduating from UNM in 1970, Shark moved with his wife to London, where he was hired to revive the lithography studio atEditions Alecto, working with David Hockney and several other young British artists there. Later, at Petersburg Press, he workedwith Henry Moore and James Rosenquist. The couple moved to the Boulder foothills to raise a son, and Shark opened his press in


Mark Spencer (above) and Woody Gwyn (opposite) paint images on Plexiglas plates in preparation for their monotypes being printed at Hand Graphics by master printerMichael Costello (above and opposite). Achieved by drawing or painting on smooth, non-absorbent surfaces and then transferring the works onto paper, monotypes areone-of-a-kind prints. Sometimes, there is enough ink leftover to produce another, “ghost” image, although they differ substantially from the original.


1976. Since then, he says, he’s “built many long-term collaborative relationships . . . I am always curious about what will resultfrom our collaborations and often surprised by them.”

Printers Jack Lemon, founder, and Steven Campbell, director, of the celebrated Landfall Press in Santa Fe believe that the pressexists to serve the artist, with the magic of collaboration often resulting in transcendence. Lemon founded Landfall Press in thatseminal year for printing in New Mexico, 1970; the Press was the first publisher to add wrapped, three-dimensional collage ele-ments to the prints of environmental artists Christo and Jeanne-Claude. Since Christo was initially known for his wrapped objects,this was groundbreaking work in the arena of printing, traditionally held to be a two-dimensional medium on flat paper. Pursuingthis habit of innovation in later years, Landmark Press published clay artist Robert Arneson’s Brick Suite, each portfolio accompa-nied by a cast ceramic brick embossed with the artist’s name. Terry Allen’s Juarez Suite included a record album of the artist’smusic and narratives related to the prints. For Lemon and Campbell, “The process of printmaking demands technical executionand flexibility from both artist and printer.” Landmark’s reputation for excellence is unparalleled, particularly in the litho process.

Costello of Hand Graphics (whose prominent clients include Lynda Benglis, Robert Colescott, and Nathan Oliveira) articulates thesense of transcendence that an artist and printer can find together: “I have often been asked, ‘Why make prints at all, going throughall these very technical and difficult steps, when one can easily make a painting directly on the canvas or paper?’ I have given manydifferent answers to that question: that it is energizing and freeing to work in collaboration with a master printer, that the resultsgarnered in printmaking cannot be achieved any other way, that there is a special luminescent quality to ink pressed into beautifulpaper, and all these answers are true. I always knew, however, that when I gave those answers, I wasn’t quite telling the whole story.The imprinted memory of the image prepared by the artist on the surface of the plate, also simply called the print, holds a meaninggreater than the meaning of the unprinted template: The very action of imprinting increases the print’s meaning.”

Since the early East and West Coast pioneers, the roster of artists who have collaborated to make fine-art prints is inexhaustible.It is odder, in fact, for an established artist not to make a suite of prints today, no matter how conceptual his or her work. It’s beena productive half-century since Wayne cautioned that “this remarkable medium of expression [might] die in its youth withouthaving been asked to reveal its untapped powers for new aesthetic expression.” R

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Like the city itself, the Cathedral Basilica of St. Francis of Assisi reflects many cultural influences in its architecture and art

BY GUSSIE FAUNTLEROY | PHOTOS BY ROBERT RECK

Even in architecture, it seems, Godworks in mysterious ways. If moneyhad not run out during construction

of the Cathedral of St. Francis of Assisi indowntown Santa Fe in the 1860s, a toweringpair of 160-foot-tall, multi-tiered Baroquewooden belfries, topped with domed cupo-las, would have dominated the downtownskyline—and may have toppled under theirown weight.

Engineering studies of the cathedral’struncated, never-completed stone towershave suggested that they would not havebeen able to support the soaring steeples,notes the cathedral’s former rector, Monsi-gnor Jerome J. Martínez y Alire, who servedfor 12 years before recently transferring toPojoaque. But Providence may also have

given Santa Fe another unintended giftwhen Archbishop Jean Baptiste Lamy ranshort of funds to build the lofty belfries andother elements of the French Romanesquecathedral, including a large domed cupoladesigned to loom above the sanctuary.

As it is, with its stately squared-off towersand earth-toned, golden-brown sandstoneconstruction, the cathedral has for the past125 years been a gently commanding pres-ence in downtown Santa Fe. It blends incomfortably with its low-rise, flat-toppedadobe neighbors—and with the SpanishColonial, Mexican, Pueblo, and European-American cultures out of which Santa Fehas grown. Sometimes described as ahodge-podge of influences and styles in itsarchitecture and art, the cathedral today

stands as a reflection of the gloriously eclec-tic mix of peoples and cultures that historyand circumstance have gathered here.

In part because of the quality and antiq-uity of its artifacts and art, in 2005 theCathedral of St. Francis of Assisi receivedthe papal honor of being elevated to the sta-tus of Cathedral Basilica. Pope BenedictXVI bestowed the honor, given to only afew churches around the world, as recog-nition of the cathedral’s vital role in the spir-itual life of its parishioners and itsimportance in the history of the CatholicChurch in the Southwest.

Mud “hut” originsThat 400-year history parallels the history ofSanta Fe, beginning with the city’s found-

Soulof Santa Fe

OUTLOOK


The cathedral’s Romanesque Revival interior, featuring that style’s characteristic round arches separated by Corinthiancolumns. Opposite: The round window above the large rose window is decorated with a dove symbolizing the Holy Spirit.

ing in 1610. That year saw the building ofthe first structure on the site of the pres-ent-day cathedral, at the east end of SanFrancisco Street. It was a small adobechurch built by order of the early SpanishFranciscan mission priests. In written cor-respondence in the mid-1620s, Fray AlonsoBenavides, newly arrived from Mexico City,referred to the little church as a jacál, ashanty or hut. We probably wouldn’t havecalled it that. Most likely the priest’s choiceof words was a pretext for tearing down thechurch and replacing it with a larger one.

When Benavides arrived in Santa Fe in1625 he brought from Mexico City a beau-tifully carved statue of Mary, originally calledOur Lady’s Assumption, or Our Lady of theRosary. Carbon dating of the olive wood hassuggested it was carved in the 1400s. Thefigure’s name later was changed to La Con-quistadora, a title given by the Spanish toearly images of Mary in the New World.Today she is also known as Our Lady ofPeace. The larger adobe church, built in1629, contained an honored spot for LaConquistadora. When that church wasdestroyed by fire during the Pueblo Revoltof 1680, the statue was carried to safety withFranciscans and other Spaniards who fledthe area and remained in exile for morethan a decade. With the city’s Spanishreconquest in 1693, Our Lady of Peacereturned as well. She was given her ownchapel in the third adobe parish church onthe same site, built in 1714.

By the end of the 18th century the 1714adobe church had substantially deterioratedand was rebuilt in 1808. But the La Con-quistadora Chapel was kept in placethrough that restoration and remainedwhen the stone cathedral was built in the1860s. It stands today as the cathedral’snorth transept, the oldest Marian chapel inthe United States. With thick adobe walls,vigas, and corbels carved to resemble thewaist-cord of a Franciscan habit, the chapelprovides a direct link between later archi-tectural influences and traditional SpanishColonial and indigenous Northern NewMexican building styles.

These earlier influences are also reflectedin the chapel’s magnificent Mexican Baroque

St. Francis of Assisi sculpture.

Above right: Archbishop Lamy and St. Francis Cathedral as he originally intended it to be built.

Below right: The old adobeCathedral before the rebuild.

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OUTLOOK



altar screen, or reredos, restored and paintedin gold leaf for the 400th anniversary of theCatholic Church in Santa Fe in 2010. A cen-tral nicho in the altar screen is home to OurLady of Peace. Beneath her stands a statueof Jesus the Nazarene, carved in the mid-1800s in the Mora, New Mexico, area by JoséBenito Ortega. A large painting, The ThreeTemptations of Christ (1710) by master Mex-ican Baroque painter Pascual Perez, hangson the chapel’s west wall. This and two otherof his paintings were cut into several pieces,rolled up, and carried north from Puebla,Mexico, by ox cart on the rugged CaminoReal. The pieces were carefully stitched backtogether on arrival in Santa Fe. In prepara-tion for the 400th anniversary, the Perezpaintings were painstakingly cleaned underthe direction of Santa Fean Siiri Sanchez.

Centuries of soot from candle smoke wasremoved, one cotton ball at a time.

European styleWhen the cornerstone for the present cathe-dral was laid in 1869, French-born Arch-bishop Lamy had chosen the Romanesquestyle of the parish church that character-ized his home region of Clermont-Ferrand.The façade of the cathedral in Santa Fe isalso similar to that of a 12th-century Basil-ica Church in Vézelay, France, according toSanta Fe sculptor and retired architectDonna Quasthoff. Round arches, thickstone walls, harmonious proportions,square towers, and massive pillars toppedwith carved capitals characterize this style,to which Lamy hoped to add SpanishBaroque belfries and cupola similar to those

he admired on churches in Mexico.Sandstone for the cathedral was quarried

near the present-day town of Lamy andhauled by cart to Santa Fe, well before therailroad connected the two towns in 1880.Italian stonemasons and local workers laidthe stone under the direction of Frencharchitects. Slowly, the cathedral walls rosearound the outside of the ten-foot-thickadobe walls of the earlier church, whichremained in place until the stone cathedralwas finished. The old church’s adobe brickswere then removed and used as part of thecathedral’s front terrace and other build-ings. The Cathedral of St. Francis of Assisiwas blessed on March 7, 1886.

European tradition and craftsmanshipcharacterize the cathedral’s stained glasswindows, including the magnificent rose

The cathedral’s exterior is built from yellow limestone blocks that were quarried near present-day Lamy, New Mexico.


window above the main doors. The lowerwindows and rose window were producedby the French company of Felix Gaudin inClermont-Ferrand and installed in the early1880s. For the 400th anniversary of theparish, under the leadership of the currentArchbishop Michael J. Sheehan, all 24 ofthe cathedral’s stained glass windows wererestored and cleaned.

The citizens provideEven in the 1860s, building a stone cathe-dral was an extraordinarily expensive pro-posal. Construction funds were collectedthrough required tithing of parishioners—who were not always happy about havingto donate—and from prominent Santa Feresidents, including Jewish merchants.

Lamy’s gratitude for the merchants’ assis-tance is cited as the reason for the inscrip-tion representing Yahweh, the Hebrewname of God, carved at the top of the stonearch over the cathedral’s front doors.Church officials point out that the inscrip-tion is within a triangle, a Christian symbolof the Holy Trinity.

Among local business owners providingsupport for the church at the time of Lamy’s1851 arrival in Santa Fe was the infamousgambling hall/brothel owner and entre-preneur, Maria Gertrudis Barceló, knownas Doña Tules. When Barceló died in 1852,Lamy made a gesture of thanks for her sig-nificant financial donations by allowing herto be buried under the north transept ofthe adobe church that preceded the stone

cathedral. “Sinners and saints are buriedthere,” quips Monsignor Jerome, who addsthat the archbishop did not officiate at DoñaTules’s funeral, delegating the duty toanother church official.

Modern interlude, return to traditionIn the mid-1960s, the cathedral received amajor makeover in response to the call byVatican Council II for a return to more“meaningful simplicity” in liturgy and otheraspects of religious life. The 1714 adobe St. Joseph’s Chapel in the south transept,which had been retained along with the LaConquistadora Chapel, was torn down. Thecathedral’s interior walls were painted whiteand the entire space given a spare, modernlook. The new aesthetics may have matched

José Benito Ortega’s statue of Jesus the Nazarene with the altar screen representing the 14 saints of the Americas in the background. Right: The altar screen depicting the life of St. Joseph in the Blessed Sacrament Chapel.

OUTLOOK


The cathedral’s recently restored Mexican Baroque gold-leaf altar screen

the Vatican’s ideal but they clashed with thecathedral’s Romanesque architecture and didnot sit well with the majority of parishioners.

The situation was remedied twenty yearslater in conjunction with the cathedral’scentennial anniversary in 1886. ArchbishopRobert F. Sanchez, the archdiocese’s firstSanta Fe-born archbishop, hired architectJohn McHugh to draw up renovation plans.McHugh worked with renowned New Mex-ico architect John Gaw Meem in the 1940sand 1950s and designed the Santa Fe Operain 1955. His plans, along with suggestionsby respected historian, author, and poetFray Angelico Chavez, returned the cathe-dral to its Romanesque beauty and incor-porated many of northern New Mexico’srich artistic traditions.

Central to these renovations was a pairof massive new front doors. Twenty bas-relief bronze plaques sculpted by DonnaQuasthoff and mounted on the door panelstell the history of the Spanish and Catholicpresence in New Mexico and the history ofSanta Fe. Quasthoff found inspiration forthe plaques in 12th-century French sculp-tor Gislebertus, whose expressive style shehad seen and admired as part of a volunteerteam excavating a medieval church inAutun, France.

Also new for the centennial was a three-story-tall reredos behind the main altar, rep-resenting 14 saints of the Americas. Thealtar screen features mahogany woodworkby Taos artists Robert Lavadie and PaulMartínez and depictions of the saints byicon artist Robert Lentz. A carved woodenstatue of St. Francis, originally in the 1714adobe church, occupies the central nicho.

Other well-known present-day NorthernNew Mexico Spanish Colonial artists arerepresented in the cathedral’s artwork aswell. Marie Romero Cash, a native SantaFe santera—a female artist who createsimages of saints—was commissioned in1997 to paint the Stations of the Cross thathang along the walls of the nave. The retab-los (painted images of saints) are set inframes carved by local artist Roberto Mon-toya, who also did much of the other wood-work in the cathedral. The altar screen inthe Blessed Sacrament Chapel, depictingthe life of St. Joseph, was carved by Roberto

OUTLOOK


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Montoya and painted by santera Arlene Cis-neros Sena of Santa Fe, whose work hasearned numerous awards at Spanish Mar-ket over the years.

Many voices, one heartJust as Santa Fe’s population and its artworld constitute a complex cultural mix,the artwork in and around the cathedralrepresents a wide range of traditional andcontemporary styles. Internationally knownJemez Pueblo sculptor Estella Loretto cre-ated the monumental bronze figure ofBlessed Kateri Tekakwitha that stands infront of the cathedral. Kateri (1656–1680)was a Mohawk woman who in October willbecome the first Native American to be canonized as a saint. Also on the terrace isa traditional bronze statue of ArchbishopLamy unveiled in 1915, artist Betty Sabo’smonumental figure of Saint Francis, andSaint Francis of Assisi Dancing on Water, abronze fountain in the form of a whimsicalwinged Saint Francis prancing on his toes,which was created by German-born SantaFe artist Monika Kaden.

By contrast, Gib Singleton’s Stations ofthe Cross, 14 life-sized bronze statues inthe cathedral garden, present a starkly com-pelling vision of the suffering of Jesus. Sin-gleton, an internationally known SantaFe-based artist, designed the bronze crosson the pastoral staff carried by Pope Bene-dict XVI, and helped restore Michelangelo’s

Pieta in the 1970s after it was vandalizedin the Vatican Museum.

Beyond its richness in architecture andart, and along with its central role in thefaith of its parishioners, the Cathedral Basil-ica serves the larger spiritual and culturallife of Santa Fe. Periodic ecumenical servicesbring together religions from around theworld, and often include Pueblo dances. TheSanta Fe Opera has held performances inthe sanctuary, which is a regular venue forthe Santa Fe Desert Chorale. “I really believethe cathedral is the heart of Santa Fe. Evenif people are not Catholic, they feel part of it,”reflects Monsignor Jerome. “It’s a treasuryof traditions, culture, and faith.” R


The Three Temptations of Christ (1710) by master Mexican Baroque painter Pascual Perez hangs on thewest wall of the La Conquistadora Chapel. Above: The stained glass rose window and windows featuring the Twelve Apostles in the lateral nave are some of the cathedral’s most distinctive features.

Manitou Galleries

Since arriving in the Southwest, StarYork’s body of work has reflected thecultural diversity and history of the

area. She is also inspired by the nativewildlife and mythology and the mysteries ofancient sacred sites. Star says, “This is aplace that requires a curious, open mind andrespectful patience for it to reveal all its aes-thetic and spiritual complexities. It is richlyrewarding when time and care are given.”

“When a character emerges from a work I am sculpting, I feel touched at a deeplyintimate, subconscious level. It is thisessence in a work of art that makes itintensely personal and entirely universal atthe same time. I’m much more comfortablewith animals. I trust the emotion of animalsand horses. I understand where they arecoming from and their behavior is honest.”

Star’s work can be viewed in Santa Fe atboth Manitou Galleries locations: on CanyonRoad and one block off the Santa Fe Plaza.

123 W Palace Avenue, 505-986-0440225 Canyon Road, 505-986-9833ManitouGalleries.com

Star York’s Bull Vesseland Fawn Vessel (inset)

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The drive from Santa Fe to Arroyo Hondo, the home of Ron and Barbara Davis, is one of the most scenic in New Mexico. The high-way winds upward through towering, stratified canyon walls, eventually easing into a long, gentle ascent to the Taos plateau, withWheeler Peak shimmering in the distance. Here, one can easily feel unmoored. There is all that sky, for one, and that great sec-tion of scarred earth with its dizzying drop into the Rio Grande Gorge. The feeling is not unlike the experience of contemplating

the bold delineation and mind-bending abstraction of a Ron Davis painting or sculpture.Imagining this spectacular landscape in terms of Davis’s artwork, one is reminded of the complex geometry of the Platonic solids and their

association with the four classical elements: earth (the cube or hexahedron), air (the octahedron), water (the icosahedron), and fire (thetetrahedron). The fifth solid, ether—or the human imagination—is associated with the dodecahedron, representing the orderly arrangementof the cosmos, or creation itself.

It is fitting, then, that after spending much of his life in California, Ron Davis eventually chose New Mexico for his home. He purchasedthe land in 1990 and soon thereafter began a collaboration with architect Dennis Holloway. A longtime admirer of the Navajo hogan, Davis

found within its native geometry similarpractical and spiritual applications for hisown live/work space. Together, Davis andHolloway evolved a compound comprisedof six hogan-style buildings of between fiveand twelve sides each. The studio and galleryare the largest at eleven and twelve sidesrespectively. Included in the compound is astore and exhibition space made up of twoshipping containers bridged by trusses andframed by adobe. All the doors to the build-ings face east—in the traditional way—toward the mountains.

Davis is no stranger to wide open spaces.Born in 1937 in Santa Monica, California,he was raised in Cheyenne, Wyoming, wherehe eventually attended the University ofWyoming (1955–1956) and later worked asa sheet metal fabricator for several years. In


BY RIC LUM | PHOTOS BY LEE CLOCKMAN

Ron Davis bends time, space, and form

Roll Your Own (Zig-Zag) (1963), acrylic on canvas, Optical Series

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“A Painting’s Just Gotta Look Better than the Wallpaper,” hisessay for the 40-work retrospective Ronald Davis: Abstractions1962–2002 at the Butler Institute of Art in Youngstown,Ohio, Davis wrote: “I really had no aspiration to be an artist.It was my third choice. I wanted to be a racer [racecar driver]. . . [but] I realized I might get killed doing this. That wouldhave been okay at the time, but racing is a rich man’s sport,and I couldn’t afford it. So I switched to painting. Later Ifound out that being an artist is much more dangerous—and just as expensive.”

Davis enrolled in the San Francisco Art Institute in1960—which he describes as “therapy”—at the same timedeferring conscription in the military. Attending the ArtInstitute from 1960 to 1964, he fell under the influenceof the protean muscular abstract paintings of Clyfford Stilland the Bay Area figurative works of David Park andRichard Diebenkorn. As a young artist, Davis felt he didn’t have anything to express, nor the commitment to doso. “There were issues,” he wrote in his essay, “of abstractcontent and style problems.” His main concern “was howto make a picture, not how to look at one.”

Fred Martin, president of the Art Institute at that time, commented that Davis was “a pain in the ass, but a worthwhile one.” During histenure at the school, Davis began painting as an Abstract Expressionist. Rather than emulate, his strategy became “to do a Mondrian in thestyle of Jackson Pollock and a Pollock in the style of Mondrian.”

Davis’s work took on a harder, more geometric edge around 1963, perhaps because of the influence of Frank Stella, and he began to explorevarious optical illusions garnered from sources as diverse as Persian miniatures, early Christian mosaics, Paul Klee, late Kandinsky, scientificillustration, and commercial art. He even began to exhibit locally and in 1963 received first place in the painting and drawing annual at Cal-ifornia’s Richmond Art Center, juried by Tony DeLap.

At the time, the Richmond Art Center was under the energetic direction of Rudy Turk, whose relationship with visionary art dealerNicholas Wilder would become important in the development of Davis’s career. After a semester or two of law school, Nicholas Wilder knewhe no longer wanted to be a lawyer and instead began studying art history. Wilder also instituted a contemporary exhibition program at theTOP:

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Six-Ninths Red (1966), molded polyester resin, fiberglass, andwood, Slab Series. Included inDavis’s first one-man show in New York, Six Slabs, at the Tibor de Nagy Gallery in October 1966.

Opening of Ron Davis’s first one-man show at the Nicholas Wilder Gallery in Los Angeles in October1965. On the wall is Big Blue from the Monochromatic Shaped series (1965), Liquatex acrylic on canvas. Wilder is shown at left, kissing a visitor. Davis is in the middle with glasses and mustache.

Davis’s home and studio in Arroyo Hondo. Above left: Acrylic paintings on PVC and other media (2009–2010). Above right: Davis inside hisHondo Spirit Hogan, made from wood (pine), dye, and spar varnish, and installed on the Hondo Mesa, Arroyo Hondo, New Mexico in 1991.


ArtistPROFILE

Lanyon Gallery in the Old Stanford Barn,exhibiting artists Tom Holland, Robert Hud-son, John McCracken, Dan Flavin, RobertSmithson, Agnes Martin, and the first showof Bruce Nauman’s cast body parts in fiber-glass and rubber. Wilder saw Ron Davis’swork at the Richmond Art Center drawingand painting annual and arranged a studiovisit in the spring of 1964, inviting Davis tobe in the Summer Invitational group showat the Lanyon Gallery with his piece RollYour Own (Zig-Zag).

Based on this success, in 1964 NicholasWilder put together a limited partnershipof Stanford friends, and with $6,000 theyheaded for Los Angeles to secure a spacefor a new gallery. On April 1, 1965, theNicholas Wilder Gallery opened with a showof Edward Avedisian. Davis subsequentlymoved to Los Angeles, and in October 1965received his first one-man show at theNicholas Wilder Gallery. The show featuredthe Monochromatic Shaped series, one-colorisometric panels with a one-point perspec-tive plane, extending the concept of paintingas object to painting as illusion of the planein space—quite literally, “on the wall.”

In 1966 Davis began what is regardedas one of the most astonishing runs inAmerican painting. He spent six yearsworking on his famous Slab Series, result-ing in 11 paintings that incorporate two-point perspective into a nine-square grid.Polyester resins, pigments, and dyes weresubstituted for traditional paints, whilefiberglass cloths and mats replaced canvas.Davis had to work quickly; the liquid resincured and hardened in its wax mold within30 minutes.

Next came 29 large geometric forms—the famous dodecagons, two of which, BlackTear and Vector, were featured in the GettyResearch Institute’s 2011 exhibition, PacificStandard Time: Crosscurrents in LA Paintingand Sculpture, 1945–1980. In her essay,“Ronald Davis: Objects and Illusions” inthe exhibition catalog for Ronald DavisDodecagons: 1968–1969, art historian Bar-bara Rose called the dodecagons “a seriesof powerful hallucinatory contradictions,”a synthesis of spatial illusion with geomet-ric volume and sophisticated color.

In a review in the June 28, 1968, issue,


Time magazine said of these constructs:“What makes the dodecagon distinctivelydifferent is that it is shown as though seenfrom far, far above. The effect is achievedby using a bird’s eye perspective, a methodthat relies on the vanishing of three pointsinstead of one.” Although, as the reviewpoints out, three-point perspective wasknown, it was rarely used before the 20thcentury. But airplanes and skyscrapershelped change all that. Davis’s work cap-tures that mid-air feeling: Looking at adodecagon is much like having the groundfall away from beneath one’s feet.

By 1972, ensconced in his Frank Gehry-designed, 5,000-square-foot Malibu studionear Zuma Beach, Davis was living the lifeof a successful artist. “I showed a lot, sold alot, and consumed a lot,” he says. But by thelate 1980s he’d had enough, and he left thefreeways of Los Angeles for the quieter sur-roundings of Northern New Mexico.

“Ultimately, my success was really mypersonal failure, my original goal being tobe a starving artist,” he writes again in hisessay. “Dealing with success has been somuch harder than making paintings. If I’vemade any contribution at all, it is that counterto the glacial movement of serious 20th-century painting since Cézanne towardsflatness, I reintroduced the theorems of

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Ron Davis’s studio with Dupin Cycloid (2009), pixel dust on ceramic tile and a lacquer box, on the floor.Below: Black Tear (1969), at left, and Vector (1968) at the Getty Research Institute’s 2011 exhibition,Pacific Standard Time: Crosscurrents in LA Painting and Sculpture, 1945-1980.


ArtistPROFILE


three-dimensional Renaissance mathematical perspective into my made objects—my constructions. This is my legacy, my contribution tothe art history books. With this, I stumbled into a style of painting that can excavate walls, shift the point of view of a Looker in a post-Ein-steinian relativity within the context of a terrifying, existential, overpopulated nuclear world, where the observed is . . . relative to the Looker.”

Like Marcel Duchamp, Davis reintroduced the illusion of objects into painting. “The objects themselves remained abstract and non-ref-erential, although that’s usually up to the surrealist viewer. The struggle between object and the pictorial remains central to my work.”Hence, none of the labels that usually describe non-representational art—Pop, Op, or Abstract Expressionist—apply. Instead, Davis’s workenters the realm of what Rose early on named Abstract Illusionism, whose subject is color, optics, space, and two- and three-dimensional form.

His recent work continues to push the envelope of form and space: giclée on enhanced matte paper prints; sculptural boxes and objectsmade by the fusion of pixel dust (literally, the dust that collects on a computer screen) to a variety of brushed aluminum shapes; and brightacrylics applied to 20-inch-square pieces of expanded PVC whose colors and shapes vibrate and shift in relationship to both each otherand the viewer’s eye. The paintings mark a major structural departure from previous work, where Davis relied on traditional drafting andillustration methods to create the illusions and depictions of three-dimensional objects. Now, using computer programs such as RenderMan,form-Z, and CINEMA 4D, Davis sketches out the shapes and shadows in these programs, projects the images onto his choice of surface,and applies paint accordingly.

In 1941 Duchamp released Boîte-en-valise (Box in a Valise) as a “portable museum” that allowed him to carry around miniature facsimilesof his life’s work in a traveling box. Is it too much to ask that, perhaps, we can look forward to a Davis-inspired valise, issued on the occasionof the artist’s 90th birthday and the promised retrospective at the Harwood in June 2027? What a present—for all of us—that would be. R

Ron Davis with Nine-Ninths Aqua (1966), molded polyester resin, fiberglass, and wood, Slab Series

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Storytelling Through Beads and RegaliaOf Cherokee and Choctaw descent, JerryIngram was born and raised in Battiest,Oklahoma and now resides in Ilfield, NewMexico, just east of Pecos. He began his art career at the Institute of AmericanIndian Arts (IAIA) and later graduated fromOklahoma State Technical University witha Bachelor of Arts in Commercial Art. After20 years, he turned to wax carving andbead- and quill-working. While Ingram foundvery little in the way of items decorated withbeads and quills in his own tribe’s history,he did find a plethora of Plains and Plateauexamples. His interest in authentic replica-tion inspired the traditional techniques thathe uses today, creating pieces of greatbeauty and cultural history.

Pueblo of Pojoaque Poeh Cultural Center & Museum78 Cities of Gold Road, Santa Fe, NM 505-455-5045 poehmuseum.com

Jerry Ingram, War Bonnet,beads and mixed media

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He began his a




ArtistSTUDIO BY WESLEY PULKKA | PHOTOS BY KATE RUSSELL

Lilly Fenichel’s non-objective explorations of the natural world

Lyrical Abstractions

The life and art of Lilly Fenichel, 85, islike a visual poem—at once epic andlyrical—in which she is both author

and heroine. Fenichel’s breathtaking body ofwork dramatically illustrates her commitmentto the creative arts, her unbridled passion fornature, and a lifetime of fulfilling relation-ships with other eminent members of theAbstract Expressionist movement.

In her comfortable adobe home and largeindustrial-style studio just southwest of down-town Albuquerque, vaulted ceilings showcaseradiant paintings on tall white walls, mixedmedia sculptures, and architectural modelsof installation designs. Fenichel’s richly var-ied artistic works represent years of explo-ration into the nature of materials andtechniques, as well as her foundation as aprominent member of the avant-garde in SanFrancisco and Los Angeles.

“I’ve never felt comfortable with the ‘AbstractExpressionist’ label. My work has always beennon-objective,” she says during a recent visit.“That’s what I studied in San Francisco with EdCorbett and Hassell Smith. Clyfford [Still] sawhimself as a non-objective artist—as opposedto being an Abstract Expressionist—and that’salso how I see my painting.”

Fenichel’s sensitivity to “the nature of nature” is beautifully expressed in The Skies (1974), whichexplores the tonal values of cloud formations and other atmospheric effects. On a more intimatelevel, her controversial 2003 series Just You, Just Me investigates human sexuality. Fenichel says somefemale viewers were shocked by the revealing nature of the paintings, but dismisses critics by point-ing out that her series is no more or less sexually explicit than Georgia O’Keeffe’s flowers.

Her new work involves a controlled pouring of paint onto a pure white polypropylene surface. Theresulting image develops over time as the colors blend and separate in unique ways. To create afinal image free of dust and other impurities, an elevated screen is placed over the drying paint tofilter out any airborne particles. Fenichel and studio assistant David Rogge coordinate the painstak-ing process of preparation and execution to produce each image.

Fiercely independent almost to a fault, Fenichel has been tempered by adversity and annealed inthe crucible of life experience. During her first ten years, she lived as if in a Viennese fairytale,spending summers in the Alps in the company of European intellectuals. However, these ideal sur-roundings were somewhat tarnished by the rocky relationship of her parents. Then, at the age of 12,Fenichel’s childhood ended abruptly when Nazi Germany occupied and annexed Austria in 1938.Fenichel’s family was compelled to flee or be consumed by the Holocaust.

The first leg of their journey brought them to England, where Fenichel, her father, and her siblingsawaited papers and passage to America. (Her mother went elsewhere.) Lilly and her remaining family


Lilly Fenichel

ultimately settled in Los Angeles where sheeased into the American culture andbecame what she laughingly describes as“a California beach bunny.” According toFenichel, “After the cold winters in Europe,I was in heaven in sunny California.”

Learning American cultural idiosyn-crasies was sometimes difficult, butFenichel adapted and prevailed. Her formalstudies in art and design began with sum-mer scholarships at the Chouinard Art Insti-tute, continued with design classes at LosAngeles City College, and were capped by atwo-year Fine Arts scholarship at the SanFrancisco Art Institute. It was while in SanFrancisco that she connected with the Amer-ican avant-garde near the high point ofAbstract Expressionism.

Over the years, Fenichel moved seam-lessly among members of the Hollywoodfilm industry and the founders of AbstractExpressionism. She counts many eminentartists among her friends and mentors,including Edward Corbett, Larry Bell, BeaMandelman, Louis Ribak, Charles Maddox,Bill Gersh, Elmer Bischoff, Hassel Smith,and David Park. While in Hollywood,

Fenichel worked as a photographic stylist,art director, and costume designer—allpracticed peripherally to her solitary life asa studio artist.

Then, in the late 1950s, she was introducedto New Mexico. “When Ed Corbett was firedby the new president of the San FranciscoArt Institute, he moved to Taos,” Fenichelsays. “My curiosity about the romantic storiesof the American West, with Indians and vastlandscapes, inspired me to take a bus rideto visit him. It was during that first two-weekstay that I fell in love with New Mexico. Themountains around Taos reminded me of theAlps, and I was hooked.”

More than 20 years later, Fenichel movedto New Mexico to put all of her energy intothe studio. From her years in California, shewas already acquainted with multimediaartist Larry Bell and his wife, Janet Webb,and she reconnected with them when shemoved to Talpa, a village in Taos County.

“Lilly is one of the most seriously dedi-cated artists that I know,” Bell says. “I mether when she was working as a designer inthe movie industry. There was a lot of socialinteraction between the movie people and

the community of studio artists. All youneeded to hang out was a good sense ofhumor, and Lilly always had a great sense ofhumor.”

In 1985 Fenichel moved to Albuquerque atthe suggestion of longtime friend and artistCharles Maddox, a pioneer in computer-aided design and a professor at the Univer-sity of New Mexico. Maddox and his wifefound Fenichel a studio at 500 Second Street.

Since her move to Albuquerque, Fenichelhas received two grants from the Pollock-Krasner Foundation and an Artist’s Grantfrom the Peter and Madeleine Martin Foun-dation for the Creative Arts. Her works havebeen shown in museums and galleries inNew York, California, Texas, and New Mex-ico. In 2004 the Harwood Museum in Taosfeatured Fenichel’s solo exhibition Just You,Just Me.

“Throughout my career, my work hasalternated between a freedom of imageryand metaphor and a very personal responseto nature,” Fenichel says. “It is the processand the paint that move me from one workto the next. Making art is my life. I work inthe studio every day.” R


ArtistSTUDIO

Peach on a Yellow Dish (2009), oil. Left: Spindle (2010), oil on synthetic paper.

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BY JON CARVER | PHOTOS BY KATE RUSSELL


Ajourney to visit painter, artist, and educator John Wenger inhis studio is a trip. You pass through winding mountainroads, rock formations, and windblown little New Mexico

towns until you climb up into high pine country that ends in stu-pendous views of the plains below. The piñon and juniper thatleopard-spot the landscape somehow bring to mind Albrecht Alt-dorfer’s hallucinatory Battle of Issus, a 16th-century German mas-terpiece that, in a single image, manages to capture a space everybit as vast as this desert expanse.

John Wenger lives out in the middle of this open plain, hiding inplain sight, on the old ranch lands among the winding dirt roadsand the stick corrals. The artist’s studio space and home are locatedin a seamless world of color and form slung between four moun-tain ranges. Wenger and his art—a hermit and his hermeneutics—reside in that now here nowhere, the delicious solitude ongoing, ona distant plain rising to meet you.

The painter is tall and wiry, intellectually intense, with a quick

sense of irony and humor overlaying an essentially compassionatenature. He has a ludic quality of the type often ascribed to kindlywizards in children’s stories, tempered with an air of ruggedness,and an immensely imaginative mind. He grew up in Oregon in ahouse full of oil paintings, most of them made by his uncle (whowas an art professor at the local university) but also by other fam-ily members. His first studio was his bedroom closet, where hemade tiny paintings at the age of 12. The determination to becomean artist at a very young age held him in good stead. Those whochoose art as a path prior to being able to truly grasp the full impli-cations of that choice will tend to continue to put art first, evenonce they have gained knowledge of art worlds, gallery systems,markets, auction houses, and all the other impingements uponartistic freedom and authentic creativity. To carry the innocence ofchildhood intact into adult life is, in and of itself, a tremendousachievement.

Wenger has done this. His work incorporates play and discovery,

OUTSIDE INJohn Wenger’s paintings bridge his exterior and interior life

ArtistSTUDIO

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activities in which the viewer is generously invited to participate. Thesurfaces of his paintings are richly worked, layered, and complex,finished only when they have achieved a tantalizingly deep mys-tery. His is a concise, but expressive, figurative style not unlike thatof certain Ukiyoe masters. Recent imagery reveals an elegant car-toon linearity vaguely reminiscent of the late works of Philip Gus-ton, a senior mentor and colleague at the American Academy inRome (the two men crossed paths during the time Wenger spentthere on his Prix de Rome).

In the work of both artists, certain seductive painterly means—primarily gorgeous colors and sensual surfaces—are employed tobring home subject matter that upon close inspection turns out tobe politically, philosophically, and aesthetically more profound thanany initial perusal might suggest. “There is no painting withoutseduction,” says the artist, absently pulling at the white stubble onhis chin, “but seduction alone can never be enough.” Fathom, a ten-foot-tall deep-seascape in oils on linen, sparkles

on the studio wall.

Awash in periwinkle, lapis blue, and aqua, it does indeed seduce.The linear description of circling ripples of water descending to theocean floor, spiraling around the central pipe of a burst oil well, andthe fish and sea life caught up in the maelstrom is perfectly realized.

Wenger’s work nets even more illusionistic space than Altdorferand with more succinct means. The carefully clotted surface ofseductive color is overlaid with what is best described as linearlyexpressed abstract figuration. These are pictures of places andthings, men and women, children and machines, rocks and waterand whirling energies. Surfaces are abraded and attacked. Formschaotically collide until new building blocks emerge. Allegoriesarrive out of active imagining rather than direct observation of real-ity. Wenger’s practice of simplified naturalism employs a true under-

standing of illusionistic drawing principles that are applied to theimages, arising gesturally upon the canvas under his watchful eye.They disappear just as quickly, until the pieces of past and presentcoalesce at a curiously mysterious, poetic balance of form, gesture,expression, and drawing.

After 30 years as a professor of painting at UNM, where he oftentook his students on month-long, plein-air painting trips into thewilderness (and along the way became the director of the D. H.Lawrence Ranch Summer Art Workshops Program for twentyyears), Wenger has earned the solitude and long stretches of studiotime which painters long for. It seems that besides hours of creat-ing within his modest studio, Wenger truly thrives on being out-side—far from so-called civilization—to camp, draw, and paint.Every fall he loads up a variety of friends, family, and fellow artistsinto his big bus and hosts a long weekend of camping and creatingcalled the Neo-Rio Festival up near Questa. He even convinced theBureau of Land Management to sponsor their first artist in resi-dency program.

While in the wilderness, Wenger gathers the raw materials ofhis trade. Friends describe him as painting fast and furiously onlarge pieces of archival paper that he has prepped for the journey.These images are his most abstract and gestural. Some will be left

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Wheat Ration Cypher (no date), oil on panel. Left: Sparks In Tinder (2008), oil onlinen.

as they are, others will be brought back to the studio to be coveredover or carved into in the process of finding the figurative forms sointrinsic to Wenger’s approach.

Another painting, hanging above a large table covered in all vari-eties of cactus, depicts a large green head set in the center of a darkground surrounded by various mundane and impossible objects.Within all that tenebrism lies the slashing and scrapings of a thou-sand of what Wenger calls “solutions” on his way to the finished pic-ture. Titled Sparks in Tender, this image examines the rarified momentjust before major social strife or warfare breaks out, seemingly ask-ing, How do the actions of the political actors bring us to the gravest ofhuman conflicts?He explains that this isn’t so much painting with apolitical message as it is a way for him to gather information. In theact of painting it, he came to a greater understanding of his com-prehension of such events. Most importantly, he is excited about theinformation he gains and the new knowledge he is led to by theresponse of others.

We return to Fathom. Wenger speaks about the necessity of paint-ing “at the speed of thought.” Figures and forms arise instanta-neously upon his sumptuously worked canvases, only to be erasedaway. Whole pictures arise and disappear undocumented until thepainter arrives at what he describes as “performative objects.”

“The question isn’t what do you want the artwork to say,” saysWenger. “The question is what is the artwork asking for. The request-perfomative aspect of imagist painting is a tradition that remainsunbroken for at least the past 35,000 years.”

What Wenger wants to know, in creating Fathom, is not neces-sarily what happened with the BP oil disaster. “It’s not about a spe-cific event,” he says with a soothsayer’s grin. “The painting anticipatesmore oil disasters, and will always be about the next one.”

This is why he lives so remotely, to have the time and space to par-ticipate in that ancient and ever new action that is painting. To cre-ate the “performative objects” that bring tomorrow into being. R


John Wenger. Left: Fathom (no date), oil on linen.

ArtistSTUDIO

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RICK STEVENSPerpetual Unfolding | June 22 – July 8, 2012

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CHARLOTTE FOUSTBeyond Form | August 10 – 26, 2012

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Come to Caffe Greco on historic Canyon Road for Italian coffee,pastries, sandwiches, salads, ice cream, and Señor Murphy’s candy.

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Rush Cole

Santa Fe artist Rush Cole spent nine months researching and painting the historyof New Mexico’s capital city, the oldest in America. Her montage, titled RushCole’s VIVA SANTA FE!, covers 400 years of civic history and contains more

than 50 individual pictorial elements. Three major cultures are represented by pueblobuffalo dancers, a Spanish horse and rider, and a cowboy bull rider, with the historicplaza as a backdrop. This and other art by Rush Cole are on exhibit at Jewel Mark’scharming new home at the entrance of world-famous Canyon Road in Santa Fe.

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Rush Cole’s VIVA SANTA FE!, oil on canvas, 48'' x 72''




Robert Nichols Gallery

Glen Nipshank creates vessels of clay that areorganic, bold, and sculptural. Of Bigstone Cree“First Nations” ancestry from far northern Alberta,

Canada, Glen studied art in Alberta and in Vancouver, BC,and became well known for his paintings. He later came tothe Institute of American Indian Art in Santa Fe, New Mexico,where his interest turned to pottery. Glen incorporatesimages from the land, animals, and stories of his heritage.Robert Nichols was first introduced to Native American pot-tery while on an archeological project at Mesa VerdeNational Park. It became a passion while he was stationed inthe Washington, DC, area, where historic SouthwesternIndian pottery could be found in many shops. In 1980 thegallery opened on Canyon Road, focusing on older pottery. Ithas gradually changed to showcase work by innovative livingNative artists, many of whom have pieces in museums andprivate collections across the United States and Europe.

419 Canyon Road, Santa Fe, NM 505-982-2145 robertnicholsgallery.com Glen Nipshank, Tulip Gray, ceramic, 14" high

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Top, L to R: Glen Nipshank, Tonita Roybal, Alan E. Lasiloo, Chris Youngblood, Diego Romero. Bottom: Samuel Manymules, William A. Pacheco, Margaret Tafoya, Tony Da, Maria Martinez, Helen Shupla, Jason Garcia & Santiago Romero.

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La Mesa/Christopher Thomson Ironworks Studio and Gallery

Christopher Thomson is a nationally recognized local artist and blacksmith. His work is avail-able at La Mesa of Santa Fe, a contemporary gallery, and at Christopher Thomson IronworksStudio and Gallery. The great circles of his Chinlones weave orbs of triangles and pentagons

in timeless symmetry. A Chinlone from this new sculpture series or a tall, graceful Pajo sculpture isa perfect addition to any garden setting.

Christopher Thomson Ironworks Studio and GalleryP.O. Box 578, Ribera, NM575-421-2645 christopherthomsonironworks.com

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Christopher Thomson, Chinlone garden orbs and Pajo sculpture, hand forged steel

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Albert Handell

The first artist to receive the Lifetime Achieve-ment Award from the West Coast PastelSociety, third living artist to be elected to the

Pastel Hall of Fame, author of five instructionalbooks on fine-art painting, and master painter intwo mediums, Albert Handell paints intuitively andwith consistently enthusiastic responses from allwho see his works. His compositions are paragonsof design, with principles of rhythm and balance,dominance and subordination, and astute use oflocal and arbitrary color applied in “The Quiet Mas-ter’s” unique set of signature stylistic elements.Whether in oil or in pastel, Handell paintings satisfyaesthetically, emotionally, and analytically.

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Doug Dawson

As a founding painter of the Denver Art Stu-dents’ League, Doug Dawson might be saidto live by the motto, “Never stop teaching,

never stop learning.” In masterful command of oil andpastel mediums, Dawson has been a top-sellingpainter at Ventana Fine Art for 30 years. Unafraid ofinnovation and experimentation within limits hedefines for himself, Dawson has kept his work fresh,exciting, and hard to resist. His works reside in 25museums, and he has been honored with 23 signifi-cant awards, acknowledging and affirming whatviewers recognize without hesitation—Doug Dawsonis a great painter.

Ventana Fine Art400 Canyon Road505-983-8815 ventanafineart.com Doug Dawson, Moored, pastel, 24" x 32"

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MARY SILVERWOOD1932 - 2011

18" x 24" Pastel“Blue Cliff”

ew Mexico resident Mary Silverwood was beloved by art collectors

across the country for her dazzling pastel paintings of landmarks such as Shiprock,

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Above: David Rothermel’s La Luz, acrylic on panel, 72"x 80"

DR ContemporaryDR Contemporary is the exclusive gallery of artist David Rothermel, whosepaintings reveal his deep connection to the land and light of the desert. Thegallery will be exhibiting his new non-objective series entitled Portals thissummer. These panels reflect a return to formal abstraction principles andfocus on relationships between form, color, and texture.

616½ Canyon Road, Santa Fe, NM 575-642-4981 drcontemporary.com

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Pascal was born in St. Rafael, France, and settled inSanta Fe in 1997. Prior to that time, he had gained areputation in Europe as a promising young sculptor.

Pascal creates a range of abstract meditations that seem toarise directly from the material itself, rather than from a con-scious plan. He has an extraordinary rapport with his mate-rials, concocting his own varnishes and resins as well ascreating bronze-like patinas on non-metallic surfaces. Heworks with a variety of precious woods to create sculpturesthat express the texture, aroma, and strength of each. Ofhis work, he says, “To give birth to a sculpture or series ofsculptures that will offer the opportunity for the viewer toparticipate in a conscious and sub-conscious dialoguewith it . . . results in the powerful experience of inspiration,realization, motivation, self-inquiry, and infused creativity.”

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GF Contemporary

Born in 1966 in Manchester, England, and currently living inSanta Fe, Nigel Conway’s artistic path and acclaimed stylehas made him a sought-after artist by collectors both

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The prickly ethical question raised bythe Harwood Museum of Art’s exhi-bition of Agnes Martin’s earliest works

had some critics and viewers crying foul. IfMartin were alive today, she would have beenlivid. Others, however, aligned themselveswith the opinion of art historian and criticRichard Tobin, who also wrote the show’scatalog essay. In Ann Landi’s March 14, 2011,Wall Street Journal article, “Saved from theArtist’s Fire,” he flatly states, “The museum’sresponsibility is not to the artist. Themuseum’s responsibility is to educate.”

And quite an education this has been. Noviewer with even a modicum of familiaritywith the tropes and clichés of mid-20th-cen-tury Modernism, especially those of the hal-cyon era of Abstract Expressionism, could

fail to come away from the experience with-out conflicted thoughts, not simply aboutthe ethics of the whole affair, but also aboutthe phenomenon, not unheard of, in whichan artist determines to destroy all traces oftheir pictorial evolution. If Martin had hadher way, everything before her pristine gridpaintings would be to us tabula rasa, forshe famously sought to hunt down, retrieve,and torch all her early work.

Organized by curators Tiffany Bell and JinaBrenneman, the show brought together amere handful of Martin’s earliest works, cre-ated mostly from the early 1940s to the late1950s. Seen together, they vividly illustratedthe course of the artist’s apparently arduousexperimentation with all genres. Both repre-sentational and abstract, these paintings com-

prised portraits, still lifes, landscapes, and aseries of biomorphic and geometric abstrac-tions that point towards the rarified “gridworks” of her maturity, which miraculouslyconflated Abstract Expressionism and Mini-malism into what Bell and Brenneman callMartin’s “singular genre.”

“The exhibition shows that before Martinarrived at the simplicity and directness ofher mature, non-objective work,” observesBell, “she painted for many years in a rangeof styles and techniques, addressing con-tent—the vast New Mexico landscape, pri-mordial and biomorphic forms, andhovering, atmospheric geometric shapes—that suggests a search for a way to convey anessential or universal truth.”

It is not inconceivable that had Martin


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Agnes Martin: Before the Grid unveiledAbstract Expressionist icon’s early work

Igniting Debate

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succeeded in her well-documented efforts toferret out and destroy all traces of this rev-elatory body of work, today’s viewer wouldbe much poorer when contemplating theradiant works for which she would subse-quently become famous.

Certainly, several successful modern artistshave gone to the trouble to scavenge anddestroy all traces of their development, invari-ably with no real explanation for such immo-lation. In one notable instance and preciselyin Martin’s milieu, the great Bay Area figu-rative abstractionist David Park legendarilytorched a huge pile of his early works on aSan Francisco hillside.

The will to be born anew, to be seen abovo, is understandable but ultimately lam-

entable, especially when it comes to artistsof Martin’s repute. With the Harwood’sastonishing project, however, contempo-rary art lovers have the opportunity to con-template Agnes Martin’s mature worksthrough new and irrevocably altered lenses.

For the purposes of this brief review, onecan pass over with little discussion the veryearliest pieces in the show, such as a cou-ple of totally competent, attractive, late 1940sNew Mexico watercolor landscapes, whichsurely will strike most viewers as pure TaosSociety of Artists productions. These works,and a few self-portraits, show the very youngartist learning the ropes. They are so innocu-ous, one has to wonder why Martin wouldseek to destroy them.

When the artist took a brief respite fromthe New York art scene to visit Taos in the1950s, the work she produced “raises someissues,” Ann Landi observes in “Saved fromthe Artist’s Fire.” These early works, Landipoints out, are decidedly retardataire, andshow Martin wrestling with imagery thathad long since been left in the dust by herAbstract Expressionist compatriots: vaguelygeometric forms and oozy (as Landi puts it)biomorphism, although it is possible thatthe artist was influenced by some of the Taosartists’ interest in Surrealism.

Works like The Bluebird from 1954 revealMartin juggling free-floating geometricshapes that echo, for this viewer at least,nothing so much as the vaguely “moderne”


The Islands (c. 1961), acrylic and graphite on linen

ornament of countless Formica dinette sets.More accomplished are the biomorphic

works, many of which suggest earlier influ-ences, like Kandinsky, Gorky, Miro, Arp,and, strikingly, William Baziotes, perhapsthe foremost biomorphist among theAbstract Expressionists. The best of thislot are the ethereal 1954 Dream of NightSailing and the masterful The Expulsion ofAdam and Eve from the Garden of Eden from1953, a tour de force in many respects and,at 48 x 72 inches, the largest painting by farthat escaped the artist’s torch.

The pallid palette that characterizes manyof these surviving works resonates as decid-edly feminine, even delicate. The Expulsion,save for one startling slash of vermillion,is rendered in pale pinks, tans, and ambers,

and feels like a co-mingling of the cavortingimagery of Gorky and Miro but with thereticent palette of Marie Laurencin. It is acompelling mixture. Depicted in semi-fig-urative fashion, The Expulsion impresseswith its jangling, jagged drawing and thepell-mell motion of the ill-fated couple.There is about the entire affair a sense thatMartin was kinetically invested in thetheme, even empathizing with the protag-onists. In no other work on view at the Har-wood was there such a palpable feeling ofthe artist energized. Nor was there anotherexample in which she seemed to have sofully absorbed the lessons of a handful ofpivotal works, namely Picasso’s biomorphicNight Fishing at Antibes from his Cubistperiod, and Gorky’s turbulent geometric-

cum-biomorphic abstraction Liver is theCock’s Comb.The Expulsion is a work of considerable

panache, but it was a style she would notpursue in subsequent works, and one can-not help but wonder if the artist Agnes Mar-tin eventually became was not in some waya reaction against this cacophony of ges-ture. Certainly, she could have gone the wayof a Gorky, whose works were nothing ifnot vivid demonstrations of life’s endlesstravails—so much so that art critic JohnRussell suggested the artist “allowed art toeat him alive.”

Instead, it seems Agnes Martin forged anew path entirely, eventually retreating intothe melancholy and the solace that wouldbecome her grid. R©

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SANTA FE CONVENTION CENTER , SANTA FE , NEW MEXICOO P E N I N G N I G H T G A L A / T H U R S D A Y , J U L Y 1 2 , 5 - 8 P . M .JULY 13, 11- 6 PM; JULY 14, 11-6 PM; JULY 15, 11- 6 PM / TEL 505.988.8883 / WWW.ARTSANTAFE.COM

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IMAGES FROM TOP LEFT, 1ST ROW: Shirley Klinghoffer, Director’s Choice, New Mexico; Robert Turner, Robert Turner - Photographs, California 2ND ROW:Mohammad Zia Forogh, Galleria Kabul, Afghanistan; Ken Asahina, Gallery SUDOH, Japan; Richard Dana, Cohn Drennan Contemporary, Texas 3RD ROW: YayoiKusama, Gallery EDEL, Japan; Hugo Garcia Urrutia, DECORAZONgallery, New York & Texas; Paola Rascon Tello, Amor por Juarez, Juarez, Mexico and El Paso, Texas

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Early on, the American West and Southwest, and special places like Taos, New Mexico, were sought out by those of adventurous spirit—particularly strong, creative women. Two such iconic women who sought and found freedom in Taos were artists Agnes Martin and Beatrice Mandelman. We are celebrating the centennials of their births in 2012—along with New Mexico’s centennial of statehood. To celebrate them and dozens of other remarkable women, both historic and current, Taos will have a series of special events in 2012.

Visit www.Taos.org to Win a Trip, see Specials and to view a schedule of events for Remarkable Women of Taos & Northern New Mexico.

Discover and Celebrate the Remarkable Women of Taos

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http://taos.org/

The buzz has been building around Paul O’Connor’s much-anticipated Taos Portraits book, which documents a unique group of artists and other talents who, for various reasons, have made Taos their home—including

artists Agnes Martin, Bea Mandelman, and Rachel Brown, who are also being hon-ored in the city’s year-long Remarkable Women of Taos celebration. And who, indoing so, have perpetuated Taos’s reputation for attracting “interesting” folks.Taos Portraits began with legendary Sunday night poker games, first in Venice,

California, then moving, along with some of the players, to Taos, New Mexico. Inthe late 1980s, photographer Paul O’Connor (a transplant from Malibu) received a highly coveted initiation into the exclusive boys’ club with players Jim Wagner,Larry Bell, Gus Foster, Kevin Cannon, Ed Thomas, Paul Pascarella, Barney Vorhees,and Ken O’Neil. At some point, O’Connor recalls with a smile, he looked aroundthe room at these fascinating faces, grabbed his Toyo View 4 x 5 camera, and got busy.“The guys around the poker table were my first subjects,” he says.

Thus began O’Connor’s portrait series that has grown to include 60 Taos talents—mostly artists—and entertaining stories, as well. The result, thanks to editing by Bill Whaley, bona fide Taos character and former publisher of Taos’sHorsefly newspaper, and the support of friends along the way, is a stunning book ofblack and white photos peppered with personal essays by and about the subjects.

For instance, artist Ken Price, who passed away this February, shares his version(of which he claims there are four) of a raucous Las Vegas road trip in the late 1960sto celebrate artist Larry Bell’s acquiring funds to purchase “The Tank,” a plating

BY LYN BLEILERTHE TAOS HUM

Taos PortraitsRemarkable Artists, Remarkable Characters


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machine for depositing extremely thin films of metals or non metallic materials such asquartz on to any surface. With shades of Hunter Thompson, the tale includes, among otherthings, the legendary Desert Inn, agents from the Treasury Department, and the FBI. Adopt-ing a more thoughtful tone, Bell in turn reflects on his 50-year friendship with Price that beganback in the early Ferus Gallery days in Los Angeles.

On meeting artist Bill Gersh for the first time, painter Mimi Saltzman, who moved fromNew York City to Taos in 1972, writes, “. . . he wore old fashioned cowboy clothes from1890—and was way way drunk and seductive . . . ” Gersh’s long-time friend Larry Audettewrites, “Bill set his spectrum wider than the rest of us. His scope was so large, so multi-dimen-sional, that his friends came to rely on him as a fountain of creativity and encouragement.When he left [died], the echoing emptiness we felt was deeper and more mysterious thanany of us could have imagined.”

O’Connor’s book is a veritable time capsule in the continuum of Taos’ rich history as amecca for alternative lifestyles and creative souls. It builds on a tradition established by thelate Mildred Tolbert, a gifted photographer who captured the Taos Moderns and others onfilm in the 1940s and 1950s. As photographer Gus Foster writes, “The collected work in thisbook, besides providing the insight into a very interesting group of individuals, has givenus a fine record of the diversity and creativity of the cultural world of Taos over the last 20-plus years. Of the 60 people portrayed, more than a third are no longer living, so Taos Portraits is equally important as an historical document for this community.”

___________

The official Taos Portraits book release party took place June 1 at the opening reception of theTaos Portraits exhibition at the Millicent Rogers Museum. The exhibition will run throughSunday, July 15. A related exhibit will take place at the Hulse Warman Gallery. The Harwoodwill feature several exhibits by “remarkable women,” with a showing of Agnes Martin’s worksthrough July 17 and Bea Mandelman’s collages from July 7 to October 14. For more information:taosportraits.com; taos.org/women; hulsewarmangallery.com; harwoodmuseum.org.


Larry Bell. Opposite top:Bill Gersh. Below:Sculptor Maye Torreswill be honored duringthe Remarkable Womenof Taos celebration.

http://santafegalleryassociation.org

GASTRONOMICA

There were so many things I didn’t expect when Imoved 1100 miles south-

east from San Francisco to theSouthwest. I didn’t expect thatI’d learn how to grow a gardenin the desert. I didn’t expect thatsix years into my experience, I’dhave six chickens and a stretchlimo of a daschund-chihuahuamix known as a chiweenie. Inever anticipated that I’d be ona first name basis with most ofthe farmers and ranchers fromwhom I get groceries on myweekly pilgrimage to the farm-ers’ market.

I certainly didn’t expect thatnestled in the ancient badlands ofChimayo I would be learningabout classic European defen -sive architecture, discovering ournatural tendency to form communities, and witnessing the emer-gence of new traditions that echo and celebrate old ones.

New Mexico is known for blindingly blue skies, mountain hori-zons, and visibility clear to Colorado—it’s utterly breathtaking howfar you can see in this land. And yet the landscape shelters myster-ies—hidden and notoriously private communities beyond the mainhighways that take patience, curiosity, and a GPS to discover. Todrink from the well-worn metaphor of the spring in the desert, you’dbe amazed at some of the oases concealed behind scraggly coyotefences down rambling washboard dirt roads.

On your first visit to Rancho Manzana, the dramatic mesas of theChimayo badlands give little hint as to the fertile fields and lushorchards of Rancho Manzana. The contrast is breathtaking: Justthree minutes from the parched pink cliffs that border the JuanMedina highway, you’re suddenly surrounded by tranquil green.

Jody Kent-Apple purchased the property from the renowned Ortegarug-weaving family more than 20 years ago and has painstakinglyrestored the fields and the buildings, which occupy the southernboundary of the historic Chimayo Plaza del Cerro. Dating from theearly Spanish settlers of the 1700s, the Plaza was essentially a townsquare—an area of land bordered by a connected series of build-ings—that served as residence, social space, farming land, and defen-sive protection for the families that lived there.

Today, Rancho Manzana is a bed-and-breakfast surrounded byorchards, birdsong, and fertile fields sown for harvest. A few yearsago Brett Ellison and Alexis Elton, inspired by their experienceworking with nearby Gemini Farms, joined Kent-Apple at RanchoManzana to revive the agricultural heritage of the Plaza. The cou-ple are a new breed of farmers, members of a movement that hasbeen gaining momentum for years, based on small-scale, sustain-able farming practices.

But Ellison and Elton take“back to the land” much furtherforward. Their philosophy is notjust about seeds and soil, aboutgetting dirty and growing goodfood. It is also an aestheticapproach, a romantic vision of acertain way of being. You can seeit in the old Plaza post office nowconverted to art studio whereElton, a graduate of the The ArtInstitute of Chicago, buildsorganic sculptures.

Their Aliss-Chalmers tractorin Technicolor orange is the mosticonic symbol of their uniqueway of doing things. From 1914to the early 1980s, the nameAliss-Chalmers was synonymouswith farming tractors. Today theyare the very definition of oldschool: Instead of the lumbering

combine behemoths of industrial farming, they are human-sized,with all moving parts accessible and exposed to make them easy torepair by the mechanically inclined. They’d look perfectly at homein front of an antique store, yet they are fully functional, useful, andin high demand these days for small farms like Rancho Manzana.

Ellison’s love for the Aliss-Chalmers extends beyond the simplesatisfaction of using a perfectly good tool. He wants to move awayfrom reliance on fossil fuels and convert the tractor to a new kindof hybrid, fitting it with a solar battery that will both drive the engineand provide a mobile power source for other tools on remote areasof the farm.

The return to antique tools and methods brings another, richercomponent back to working the land: the need for, and celebra-tion of, working together. As Ellison puts it, you simply can’t do italone. There are times in the farming calendar when you needyour neighbors and friends to help out on the big jobs—tilling thefields, sowing the seeds, reaping the harvest. According to Ellison,working together—for instance, when the Channing brothers andtheir team of mules from Gemini Farms helped him plant thisseason’s potatoes—is not only a more fulfilling way to get thingsdone, it is often the only way to accomplish all of the tasks thatbring produce to market.

Community is also the primary motivation at the heart of Elton andEllison’s plans to begin a dinner series this summer at Rancho Man-zana. For their version of Farm to Table, they are expanding the“kitchen garden” to grow a bounty of produce—a greater variety ofvegetables and herbs than the crops they bring to market—in orderto create and host locally-sourced dinner evenings at the Rancho.

“We’re looking to form a new bond in the customer-to-grower dia-logue.” says Elton. “These dinners will be an intimate space for edu-cating and supporting one another, farmer to mouth. Through this


Back to the Future of Farming

TEXT AND PHOTOS BY GABRIELLA MARKS


Farming teaches us that out of little, comes much: Each of these potato “seeds,” neatly planted in longrows, will yield many offspring, and the garlic plantingswill eventually produce nearly seven different varieties.Another lesson learned: Farming is 90 percent fixingthings. Reuse and recycle is the name of the game, and it’s amazing how, with a little maintenance andcare, even old farm gear does the job as well as new.The human element is just as important. Assistancefrom friends and neighbors is always appreciated, as is the hard work of mule team Jack and Jill.

GASTRONOMICA


Traditions both old and new are indelibly woveninto the fabric of daily life at Rancho Manzana.Irrigation is provided via New Mexico’s time-honored community-operated acequia system,and tractor work on a vintage Aliss-Chalmersproves that everything old can be new again.

GASTRONOMICA


we would like to think that we are creatingawareness of what it means to support localagriculture.”

Given her background in art, Elton alsowants these evenings to appeal to all of thesenses, to the eyes as well as to the palate,and therefore will include art exhibits as partof the event. It’s a compelling idea, to bringpeople together to enjoy good food and eachother, to experience first-hand the land theirfood comes from, to taste delicious recipesmade from just-picked produce, and toappreciate artwork inspired by the land.

Such evenings took place in the Plaza cen-turies ago. No doubt Ellison and Elton aregrowing more than the corn and chile thatwere the predominant crops in bygonedays—and the art is more abstract than therugs the Ortegas wove there for genera-tions—but given that the spirit is the same,generations of Plaza residents would feelright at home tonight at Rancho Manzana.R

The kind of dinner memories are made of: amazingfood, grown within eyesight of the dinner table, surrounded by blooming wisteria vines and goodfriends on a summer evening. Dishes include: oven-baked winter squash with garlic and parsley,achiote shrimp on homemade tostadas, slow-cooked goat stew, and capirotada with pistachiosand dried fruits—a fancy bread pudding to die for.

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Gala & AuctionSaturday, October 6, 2012

Stieren Orchestra Hallat � e Santa Fe Opera

Over 50 renowned artists from New Mexico and around the world have

transformed violins into stunning works of art. On October 6th, you will have

an opportunity to own these one-of-a-kind works

at our Gala & Auction. � e proceeds will

bene� t the musicians of � e Santa Fe Symphony, as well as the numerous children’s programs the

Symphony supports in New Mexico.

PresentsPresents

Saturday, October 6, 2012

Visit our website for a complete list of artists & their bios, photos of the violins,

Gala reservations and bidding information.www.paintedviolinssantafe.org

505-983-3530email [email protected]

Billy Schenck

Lawrence Baca

Gala & AuctionSaturday, October 6, 2012

Stieren Orchestra Hallat � e Santa Fe Opera

renowned artists from New Mexico and around the world have

transformed violins into stunning works of art. On October 6th, you will have

an opportunity to own these

for a complete list of

Lawrence Baca

ANTA FESYMPHONY...bringing great music to lifeTHE

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Every morning they prepared coffee and flung new sticks on theflickering campfire. Every afternoon they hauled huge jugs of

water from nearby St. Elizabeth Shelter, making sure to accomplishtheir task before nightfall, when they bedded down forthe freeze. That was how the denizens of Occupy SantaFe lived from late November 2011 to mid-January2012, the three months that the local movementmaintained a presence at Railyard Park.

The humble campsite of 20 or so tents wasan oasis of social activism and bare necessityexistence, surrounded by boutique businesses,upscale galleries, expensive homes, and the manystaples of downtown Santa’s Fe’s tourist economy.In other words: the project stuck out like a sore thumb.But the several dozen campers were committed to sym-bolically “taking back” democratic rights by occupying public spaceand living like paupers. The encampment survived the difficultiesinevitably involved in maintaining a community social organization,open to all who identified with the movement, and surviving out-doors throughout the months of bitter winter cold. It stood up forand often literally fed Santa Fe’s poor, disenfranchised, and theluckless losers in the housing market fluctuations of an expensivecity. By the time it closed, the Occupy Santa Fe camp had realizedthe distinct accomplishment of being one of the longest runningphysical occupations in the USA.

This most visible manifestation of the movement was only oneof many ongoing actions sanctioned by the Santa Fe General Assem-bly. The decision-making body of Occupy Wall Street movementscoast to coast, general assembly (GA) policies reflect the belief thatby collective action, 99 percent of Americans can create a nonvio-lent social and political movement, leveraging pure idealism andsheer numbers to nullify the influence of billion-dollar corpora-tions and the 1 percent of Americans who own 40 percent of thenational wealth. Its membership includes all professions and allincome brackets, including anyone in the 1 percent, assuming theyconcur that corporate influence has grown crassly injudicious. Itsspecific traditions were adopted from the original Occupy Wall

Street encampment at Zuccotti Park in Manhattan, and includethe “mic check” (a practice developed in New York to resist a ban on

sound systems by having the crowd become a human micro-phone), various silent hand signals like “twinkling,”

whereby the crowd wiggles their fingers to signalagreement with what is being said without drown-

ing out the general assembly speakers withapplause, and, most essentially, a mandate that allGA-approved decisions be passed by consensus.

The belief in consensus decision making hasdeep roots in American political and religious

history. In an Occupy Santa Fe group assembly,which can number 12 or 1200, everyone counts in

the tally and every decision must pass by a near una-nimity of 90 percent. The 90 percent mandate heavily invests

the group in drawing from personal experiences, individual back-grounds, and areas of focus, using a step-by-step process to askquestions and engage in a discussion that seeks through collectivereasoning to achieve collective wisdom. For the most part, generalassemblies revolve around specific plans of action, resolutions,protests, and marches, asking in the name of the movement: Whatdo we need? How can we get it? What is being proposed and why? Howcan we carry out the proposal if a consensus is reached? A failed pro-posal can be revised and reintroduced at a later date. A proposal thathas passed or appears to be on the brink of passage can still beblocked, or vetoed, by a minority of one individual. The hand sig-nal for the block is a pair of crisscrossed wrists creating an X, whichexpresses vehement disagreement, even belief a course of action isa betrayal of the principles of the 99 percent. A block will not nec-essarily stop a proposal from becoming adopted, but it will givethe floor to the unhappy minority and set in motion a subsequentround of debate, again using consensus to resolve the dilemma.

While its general assembly is the brain of Occupy Santa Fe, themovement’s arms and legs are a variety of work groups. A workgroup is a subset of activists working on a specific agenda withsanctioned goals. Given that consensus decision making is bothan education in real democracy and a painstaking discipline, a facil-

A retrospective of the Occupy Santa Fe movement, from the heady first days of its inception to the continued effortsby dedicated participants to change the paradigm of participatory government. Its bold new assertion is thatwe don’t need Wall Street or a Corporate America—and we don’t need politicians to build a better society.

TheRevolution

From Campsite to Workgroup BY DARRYL LORENZO WELLINGTON

GRASSROOTS

It’s just shy of midnight and I am burrowing deep into my sleep-ing bag at Zuccotti Park when I wake up to the fact that I have

never participated in democracy before. Not really. Behind me, the General Assembly of Occupy Wall Street is dis-

cussing a proposal to incorporate the Spokes Council model intoits governing structure. Many feel this move would enable deci-sions to be made more efficiently, and provide more just represen-tation to historically marginalized peoples and communities. Othersbalk: Occupy was only a month old and most were having their firsttaste of direct democracy.

I was riveted. Part of me was deep in this meta-conversation aboutsovereignty and empowerment in downtown Manhattan and part ofme was home in Northern New Mexico, imagining nothing lessthan the restoration of its fragmented communities to wholeness.

Fast forward through the winter to early spring. After weeks of con-tentious work group meetings, people storming away from themovement, divisiveness over strategy and tactics, and full-out mud-slinging in the press and on Facebook, I’m beginning to think themost radical act the 99 percent could pull off is to sustain a conver-sation with each other.

Clearly the euphoria of Occupy Santa Fe’s early days—the wonder,the possibility, the unfamiliar joy of sharing our stories with strangersand taking a stand together—had given way to a grittier moment andan uncomfortable developmental process.

What would it take to lay down our individual agendas? Could

we stop defending and recruiting others to our view? Could webegin to attune to the deeper needs of our community?

Could we learn the art of democracy together?It’s no wonder we are uncertain and clumsy in this. As a culture,

our participation in direct democracy has been limited, even if wehave been faithfully casting ballots, canvassing our neighborhoods,writing letters to the editor, or participating in campaigns with ourfellow citizens to protect the values and resources we hold dear.

On the other hand, we have two things going for us: what PaulHawken calls “humanity’s immune response to resist and heal theeffects of political corruption, economic disease, and ecologicaldegradation,” and a natural impulse to cooperate.

Hawken, an environmentalist, entrepreneur, and author of BlessedUnrest, charts global movements. He explains that from a biologicalstandpoint, the movement is bound to fail. “But failure is only oneway to look at it. When a cell dies in your body, is that failure? Notreally. It is life. No life without death. Biology iterates rapidly. So doesthis ‘movement.’ It is seen as fragile when it should be seen as living.”

In that aliveness, movements today are responding to concen-trated power with concentrated community, transitioning, Hawkensays “from me to we, from a world created by privilege to a worldcreated by community. The first seems orderly but causes socialand ecological messes. The second is messy but creates social andecological order.”

Many have been working with the consensus process, with its


itation work group concentrates on insuring justiceand equity in the decision-making process. Anoutreach and inclusivity work group seeks toencourage participation beyond racial, cultural,and gender lines, while a direct action workgroup concentrates on tactics involved in ral-lies, staged interventions, flash mobs, and non-violent anti-home-foreclosure actions.

The Occupy Santa Fe camp closed in January,finally overburdened by the needs of the many dis-enfranchised who had made a temporary roost there,but during its heyday, Santa Fe’s homeless and its wealthiestcitizens shared a dialogue, a meeting space, and a vote. Whatremains is a membership of around 60 dedicated activists who

comprise the work groups and continue planning andconducting actions—sometimes well publicized,

sometimes not—working outside of bureaucraticchannels, though possibly with the same goals,in a spirit of civic indignation which connectsOccupy to the Abolitionists, the Suffragists, theCivil Rights Movement, and ACT UP.

On the opening day of this year’s state legisla-ture, Occupy movements and sympathetic activists

throughout the state gathered in solidarity, linked hands,and encircled the Roundhouse, chanting Occupy slogans.

The protestors easily numbered a thousand. The action barelyreceived a blip in the media, but we knew we were there, and thespirit was with us.

Redefining the Art and Architecture of Democracy BY CHRISTIAN LEAHY

WillBeOccupied

continued on page 152


GRASSROOTS

December 7, 2011: Mic Checking PNM andthe Environmental Improvement BoardMembers of Occupy Santa Fe (OSF) alliedwith young people from United World Col-lege and Earth Care Youth Allies for Sus-tainability to register their dissent concerningPNM, the state’s largest utility, and GovernorSusanna Martinez’s bid to reverse a carbonemissions cap approved by the Environ-mental Improvement Board (EIB) duringformer Governor Bill Richardson’s admin-istration. Upon taking office in January 2011,Martinez dismissed the previous membersof the EIB and vowed to roll back regulatoryplans proposed by New Energy Economy ina visionary gambit to cut CO2 releases by 3percent a year beginning in 2013. At the pub-lic hearing, the people unplugged demandedclean energy, clean water, clean air, and cor-

porate responsibility. Martinez’s EIB did notheed the call.

December 9, 2011: Launch of Santa FeSolidarity InitiativeSomething has been rotten in the housingmarket for years, but it was not until theU.S. economy began to tank in 2008 thatthe stink was finally pinpointed. The clan-destine machinations included the peddlingof securities backed by risky mortgages andthen betting on their failure (GoldmanSachs), and selling home loans out fromunder owners who were in arrears—evenlong-term homeowners—without legal rightor the proper paperwork to do so (Bank ofAmerica, Wells Fargo, and Deutsche Bank).Even worse, some banks sold the homes oflong-term owners to new buyers at a frac-

tion of the value, all the while making falsepromises of loan modification programsthat never materialized. Ironic, consideringmany of these same institutions were “bailedout” by the American taxpayers. Yet whobailed out the homeowners? The biggestfraud yet may be the effort on the part ofthe federal government and the banks tostave off thousands of costly lawsuits byoffering homeowners pennies on the dol-lar as restitution. As a result, nearly 200,000homeowners have now been forced intoforeclosure, robbed of both their equity anda place to call home. Santa Fe Solidarity, aninitiative that has emerged from OccupyWall Street and Occupy Our Homes, seeksto address this foreclosure crisis. Its mis-sion is to shine a light on a broken, corruptsystem, to prevent further weakening of themiddle class by lending practices that destroythe very foundation upon which it lives andworks, and to demand changes to predatorylending laws and the return of homes totheir rightful owners.

Early January 2012: The 99 PledgeThe Supreme Court’s January 2012 ruling in Citizen’s United v. Federal Election Com-mittee lifted the floodgates for corporateexpenditures in candidate elections. OSFer

The Occupy TimelinePHOTOS BY LISA LAW

The following includes a few milestones that define Occupy Santa Fe and reach beyondthe City Different to engage and even help shape the national dialogue on critical issues.

Occupy rally at Bank of America


and green homes designer Alan Hoffmanbelieves “one can make the argument thatthe Occupy movement grew out of the angerand frustration” about the landmark deci-sion. His response? To spearhead the 99Pledge to overturn Citizen’s United and “getthe money out of politics.” First adopted byOccupy Santa Fe and then made availablenationally, the 99 Pledge campaign identifieswhich candidates are willing to go on recordand commit to leveling the playing field inelectoral politics and to create equal accessto the political process and erase undueinfluence by limiting all contributions inelections to what most citizens conceivablycan afford—$99. New Mexico State Repre-sentative Brian Egolf and Senator EricGriego were among the first to sign.

January 13, 2012: Solidarity with Indigenous Peoples PledgeIn an effort to educate its members on thetold and untold history of indigenous peo-ples and the effects of white supremacy andracism, OSF adopted this pledge in supportof decolonization and the full transforma-tion of our society and civilization to one

that is just, democratic, inclusive, respect-ful, and honors the Earth and all beings.The goal is to consult, partner, and workwith others to help create healed and decol-onized societies by unlearning the effectsof colonization and initiating efforts to erad-icate all systems and forms of violence andoppression. OSF honors the ground uponwhich we stand as the ancestral land ofmany Pueblo and other First Nations’ Peo-ples and recognizes the sovereignty of theremaining 19 pueblos of New Mexico, theJicarilla Apache Nation, the MescaleroApache Tribe, the Navajo Nation, and theUte Mountain Tribe.

January 17, 2012: Occupy the RoundhouseOn the opening day of the 2012 New Mex-ico Legislative Session, a coalition includ-ing labor unions, We Are People Here,Move On, Somos un Pueblo Unido, andOccupy members from around the statearrived by the Rail Runner Express,marched to the Roundhouse, and encircledit. Standing arm-and-arm and more than1000 strong, the coalition put the legisla-ture on notice, chanting, “Whose House?

Our House!” Although the nightly newsoutlets focused on the mic check of theGovernor, the real story may lie in whatOSFer Carmen Stone calls “the commu-nity that came together around commonground to join forces and reclaim ourdemocracy.” The day marked the firststatewide General Assembly, and served asa launch point for a coordinated effort totrack common-interest bills and apply polit-ical pressure on specific issues critical tothe Occupy movement.

January 25, 2012: Guess Who’s Coming To Dinner? Funded by Koch Industries and over 300 cor-porations, American Legislative ExchangeCouncil (ALEC) is behind dozens of initia-tives that are destructive to the working class,the poor, and the environment. The epitome,says prominent civil rights attorney Jeff Hass,“of business buying legislators.” While ALECwined and dined New Mexico lawmakers,OSF protested outside and dropped a bannerfrom the hotel’s roof, proclaiming “ALEC BuysLegislators.” Inside, an OSF contingent dis-tributed “menus” parodying ALEC initiatives,

Occupy Santa Fe, numerous other statewide Occupy groups, and a coalition of labor unions and advocacy organizations encircle the Roundhouse to reclaim the democratic process at the opening day of the 2012 New Mexico State Legislative Session. Right: ALEC protest event at the El Dorado Hotel, January 25, 2012.


GRASSROOTS

roots in the Iroquois Confederacy (which also influenced the U.S.Constitution), and alternative forms of community decision makingfor decades, even centuries. What could we learn from them aboutcreating order out of messiness and failure?

Iku Fujimatsu and Moe Zimmerberg have been immersed indemocratic education by building a culture of cooperation with ageneration of young people at The Tutorial School.

“The first thing kids say when they come here is that they feelaccepted,” says Fujimatsu. “They develop a deep sense that theybelong to something and that brings out the basic goodness in eachyoung person. They want to work together. They want to contributeand protect this community we have created together.”

Zimmerberg elaborates on what it takes to sustain cultural con-tinuity for the long term: “A core group of people to go throughpersonal transformation. It’s a contradiction, really. A paradox. Butconsensus works best with empowered individuals.”

How could we, the members of Occupy Santa Fe, begin to embodythat contradiction? Certainly we need to cultivate the aptitude for lis-tening, especially to dissenting or minority voices. Then ensure thata diversity of peoples, perspectives, and voices get to sit at the prover-bial table. Finally, we may consider adopting some form of ceremony,which can help create decisions that reach beyond short-term fixes tolong-term visions and understandings of the full impact of our actions.

Zenobia Barlow, executive director of the Center for Ecoliteracy,has collaborated with Okanagan educator Jeanette Armstrong toincorporate a ceremonial, indigenous decision-making process intoall aspects of the organization. Known as the Four Societies process,the community begins in ceremony and is guided to a profoundsense of interdependence. From there, “It is the responsibility of eachcommunity member to . . . turn toward the ‘other’ [and ask]: Whatcan I do to accommodate your view?”

Amalia Montoya, active in (Un)Occupy Albuquerque, offersanother seed of possibility: “Direct democracy is raising conscious-ness in this country about shared power and making right rela-tionship. The consensus process challenges privilege. We are nowlooking at how to share power. That is profound.”

No matter what shape the Occupy movement takes in themonths ahead—whether it remains whole, advancing a breadth ofinterconnected issues and the idea of interconnectedness itself, orsplinters into diverse groups, moving parallel to each other, thatcommit to different agendas and directions—one thing is certain:there is a place at the center, a still point in the midst of all theissues and actions.

Let’s design an architecture there, an architecture that supportseach of us to turn toward the other, share power, and practice the artof true democracy for the sake of our community’s wholeness. R

and attempted to mic check the dinner.ALEC members responded violently,shoving people out of the room. Themedia was rife with misinformation, butthe facts about ALEC could not beobscured. OSF was one of the first Occu-pies to recognize the importance ofprotesting its power. Weeks later, thenational Occupy mobilized 50 actionstargeting the Council and as of this writ-ing, Coca-Cola, Kraft, and McDonald’shave cut their ties with ALEC.

August 3–6, 2012: Nuke FreeNow/Hiroshima CommemorationDay Global Call to ActionHeralded by some OSFers as “our WallStreet,” the Los Alamos National Lab-oratory (LANL) is still in the business of mak-ing nuclear weapons more than 60 yearsafter the first atomic bombs were created bythe Manhattan Project and dropped on

Hiroshima and Nagasaki. OSF has teamedup with Pax Christi, Concerned Citizens forNuclear Safety, and Nuclear Watch New Mex-ico, among others, to advocate for nuclear

disarmament, clean up, peace,and justice. The coalition, knownas Nuke Free Now, has issued aglobal call to action for August3–6, in recognition of HiroshimaDay, to “transform the nuclearnarrative in the public con-sciousness and inspire a life-affirming future.” In addition tosupporting groups around theworld to organize their ownevents that raise awareness of thetrue costs of the nuclear weaponsand energy industries, Nuke FreeNow is hosting a four-day eventin Northern New Mexico that willinclude workshops, speakers, a procession to LANL, and a

hunger strike beginning July 16.

For more information or to get involved, logonto occupysantafenm.org

continued from page 149

Protesters at the US Uncut demonstration on Zafarano Street on April 15,2012. US Uncut is a grassroots movement taking direct action against cor-porate tax cheats and unnecessary public service cuts across the country.

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